Damascus-SANA
The tangible and intangible heritage occupies an important part of the Syrian cultural identity, of which the people of Syria are proud of, regardless of their diversity and in which land they are guests.
And when we ask about Aleppo, the answer is united by a “musical cultural stock” with its lyrical pioneers that took the throne of Syrian music and carried it by its musicians and singers from local pulpits to international cultural forums.
In these days, Syria is preparing to receive the product of the Aleppo Qudoud file, which was worked on in 2018, to be on the representative list of human heritage at the United Nations Educational, Cultural and Scientific Organization UNESCO, after the tireless and systematic work carried out by the Syrian Trust for Development in cooperation with the local community in Aleppo, government institutions and specialists, foremost among them The late singer Sabah Fakhri, who provided moral and scientific support and participated in part of his career in enriching this file.
The beginning goes back to the first pioneer of the art of al-Qudud, the son of the city of Homs, the poet and musician Sheikh Amin al-Jundi, who was considered one of the pillars of the Arab cultural renaissance in the eighteenth century.
Qudud, as described by music specialists, is lyrical systems established on religious or civil lyrical systems and built on popular popular kidds to benefit from their popularity and process and achieve their presence.
There are two types of qadud, the first, the ordinary, popular, which are ancient lyrical systems inherited from the ancestors, and the bulk of them do not know their writer or composer.
Al-Qudud was not confined to the city of Aleppo, as there are Homsi, Damascene, coastal and others, but the specialists attribute the reason for its association with Al-Shahba because Aleppo is a school of authentic singing through the ages.
Dean of the Higher Institute of Music, Maestro Adnan Fathallah, explained in a statement to SANA that Sheikh Amin al-Jundi lived for a period in Aleppo and the rest of his life lived in Homs and died there. This Qudoud on Radio Aleppo.
Maestro Fathallah pointed out that the idea of Qudoud began with an interlude “Wasq al-Atash” written entirely by Sheikh Amin al-Jundi, which is a group of Qudud and purely Aleppo songs.
Fathallah also reviewed many qudud, whose author’s name is unknown, along with their shrines, including in the shrine of the Hijaz “Mili Ma Mal Hawa” and “Yamaila ‘Ala Ghosun” “Lulu Blolo” “Qadak al-Mayas” and from the shrine of monitoring is “Yatira Tairi” and “Yamal al-Sham.” Both of them belong to Abu Khalil al-Qabbani.
As for the shrine of al-Bayat, which has an intimate and warm character, it is there, according to Fathallah, the first ten of my beloved, and the Quras, and in the shrine of the Persians, oh sweet, by the looted sheikh, referring to the diversity of the sources of Qudud and their mixing with the rest of the Syrian heritage. What a happy Subhiya” by Abu Khalil al-Qabbani and “Sakaba”, which sings with different words in a number of governorates.
Rasha Mahfoud
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