386:
453:
370:
465:
239:
355:
is made of walnut or cedar wood. It is divided into two parts, with the skin soundboard covering the lower part, the instrument gradually narrowing into a hollow neck in which there are sound holes and to which the peghead is finally connected. The part covered with leather is curved on both sides to facilitate bowing. The other part, towards the head, is covered with a thin red copper plate pierced by round rosettes and which is bordered by a decorative border. Similar to the old Arab lutes, its head is 12 cm long, bent back almost at a right angle, and has two large, side-positioned tuning keys. There is a bony saddle at the junction of the body and head.
405:
429:
219:
441:
24:
319:(1194â1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.
359:
down against the neck in the manner of a violin: the instrument does not have a fretboard. Instead the musician uses their fingernails to stop the strings at different notes. The two strings are tuned to a fifth interval, e.g. Gâd or dâa. The bow is small, curved, and made of metal, with horse hair stretched between the ends.
67:(Instruments in which sound is produced by one or more vibrating strings, in which the resonator and string bearer are physically united and can not be separated without destroying the instrument, in which the strings run in a plane parallel to the sound table, in which the strings are sounded using a bow)
354:
The
Northwest African rebab consists of two joined parts: the elongated, boat-shaped instrument (Morocco) or pear-shaped instrument (Algeria and Tunisia), and the bent-back tuning head. The body up to the peghead is hollow; the carved body is 48â60 cm long, 9â12 cm wide, 8 cm deep, and
358:
the instrument has two gut strings, which start from the bottom of the instrument and pass through a tailpiece (made of a piece of reed split in half) and extend towards the bridge. The strings run above the copper plate covering the upper part of the body at such a height that they cannot be pushed
362:
The instrument's voice, rich in overharmonics, is used to underline vocals in an instrumental ensemble. While playing, the head of the instrument is at the musician's left shoulder, the lower part rests on the right knee, or it stands vertically between the musician's legs. The left hand is almost
363:
always in the default position, it rarely changes position. As usual for oriental stringed instruments, the string held in the hand with the palm turned outward plays on the higher string, occasionally touching the lower one. Nowadays, the instrument is used only by the older generation.
303:, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo's royal
385:
369:
624:, especially in Oran, Tunis, Tlemcen, Tetuån, Rabat and Salé. Many travelled overland to France, but after the assassination of Henry of Navarre by Ravaillac in May 1610, they were forced to emigrate to Italy, Sicily or Constantinople.
404:
464:
181:). The Maghreb rebab was described by a musicologist as the "predominant" rebab of North Africa, although the instrument was in decline with younger generations when that was published in 1984.
452:
63:
192:
Arabic ۱ۚۧۚ۩) refers to a group of significantly different stringed instruments, plucked or bowed lutes in regions under the influence of Islam. In North-West Africa and
173:
traditions of the Arab world, but also branched into
European musical tradition in Spain, Sicily, and the Holy Roman Empire. In the late Middle Ages, the European
276:. During the 8th and 9th centuries, many musicians and artists from across the Islamic world flocked to Iberia. By the 11th century, Muslim sections of Spain, or
428:
299:
Beside the introduction of the lute to Spain by the Moors, another important point of transfer of lutes and rebabs from
Arabian to European culture was
648:
Brockhaus
Riemann music lexicon III. (ROE). Ed. Carl Dahlhaus, Hans Heinrich Eggebrecht. Budapest: Music Publishing House. 1985. ISBN 9633305723
326:, they took refuge in countries across the Mediterranean Sea, in Africa. Of those permanently expelled, the majority eventually settled in the
573:
588:
311:
in 1140. Sicilian influence increased as Tuscan poets visited Sicily in the 13th century to partake of the local culture. His
674:
669:
75:
Developed in
Andalusian Spain/North Africa, likely applying a bow to a plucked lute with a skin soundboard, such as a
679:
300:
46:
664:
316:
296:
remained a central part of Arab music, and broader
Ottoman music as well, undergoing a range of transformations.
440:
238:
651:
Fetis, François-Joseph. Histoire générale de la musique . Librairie de Firmin Didot FrÚres, Fils et C ie (1869)
196:
in the
Iberian Peninsula, a short-necked lute played with a bow was developed. It survives today as part of
269:
338:, even as Europeans continued to develop their fiddles into the rebec and viel (which in turn became the
254:
Instruments from Spain; instruments that followed shared similar names (coming from different languages)
225:
376:
323:
470:
Rebab late 19th century, Algerian or
Moroccan, in the collections of the Metropolitan Museum of Art
197:
334:), and others to France, Sicily, Italy and Constantinople. The Maghreb rebab was preserved in the
544:
51:
684:
528:
229:
58:
280:, had become a center for the manufacture of instruments. These goods spread gradually to
8:
419:
308:
150:
95:
76:
411:
304:
415:
292:
and eventually reaching the rest of Europe. While Europe developed the lute, the
591:
The Origin and
Meaning of Courtly Love: A Critical Study of European Scholarship
529:
MarĂa Rosa
Menocal; Raymond P. Scheindlin; Michael Anthony Sells, eds. (2000),
178:
169:
is a bowed lute now played mainly in Northern Africa. It fits within the wider
140:
110:
658:
621:
606:
327:
88:
218:
312:
289:
145:
285:
277:
273:
193:
492:
Sadie, Stanley, ed. (1984). "RabÄb, section 3, short necked fiddles".
281:
135:
130:
617:
343:
335:
331:
115:
604:
Boase, Roger (4 April 2002). "The Muslim Expulsion from Spain".
245:
120:
80:
29:
23:
174:
170:
125:
105:
616:
The majority of those permanently expelled settling in the
339:
434:
Woman playing a rebab, Palatine chapel (Palermo, Sicily).
84:
41:
Maghribi rabÄb, Moorish rebab, rebab, rebeb, rbeb, rbab
177:
developed from this instrument (and from the related
458:
RebĂĄb in the musical instrument museum in Brussels.
375:Panel of the Altarpiece of Santa MarĂa la Mayor de
224:Two musicians playing the "rabé morisco" from the
656:
203:
593:, Manchester University Press, 1977, pp. 70â71.
516:The New Grove Dictionary of Musical Instruments
494:The New Grove Dictionary of Musical Instruments
391:RebĂĄb with oriental short-necked lute from the
248:), one with a bow, the other plucked by hand.
576:The Cambridge History of Musical Performance
569:
567:
565:
418:). Muslim musicians played in the court of
582:
578:, Cambridge University Press, Feb 16, 2012
562:
509:
507:
505:
503:
487:
485:
657:
522:
603:
514:Sadie, Stanley, ed. (1984). "Rebec".
513:
500:
491:
482:
13:
642:
244:Musicians playing the vihuela (or
14:
696:
410:Muslim musicians, ceiling of the
574:Colin Lawson and Robin Stowell,
463:
451:
446:Boat-shaped rebab, 19th century.
439:
427:
403:
384:
379:, now in the Museum of Zaragoza.
368:
317:Frederick II, Holy Roman Emperor
237:
217:
22:
307:, dedicated by the Norman King
59:HornbostelâSachs classification
629:
597:
545:"The journeys of Ottoman ouds"
537:
349:
1:
496:. pp. 180â181. Volume 3.
204:Muslim and Europeans interact
675:Moroccan musical instruments
670:Algerian musical instruments
533:, Cambridge University Press
531:The Literature of Al-Andalus
7:
270:Umayyads conquered Hispania
10:
701:
101:
94:
71:
57:
45:
37:
21:
680:Bowed string instruments
518:. p. 201. Volume 3.
475:
198:Andalusi classical music
665:Lute family instruments
397:Codex of the musicians.
393:Cantigas de Santa MarĂa
226:Cantigas de Santa MarĂa
52:bowed string instrument
377:Albalate del Arzobispo
284:, influencing French
190:rabĂĄb, rabĂĄba, rubĂĄb,
230:Alfonso X of Castile
324:driven out of Spain
272:in 711 and created
96:Related instruments
18:
420:Roger II of Sicily
322:When Muslims were
309:Roger II of Sicily
16:
305:Cappella Palatina
211:Plucked and bowed
159:
158:
692:
636:
633:
627:
626:
601:
595:
586:
580:
571:
560:
559:
557:
556:
541:
535:
534:
526:
520:
519:
511:
498:
497:
489:
467:
455:
443:
431:
407:
388:
372:
241:
221:
26:
19:
15:
700:
699:
695:
694:
693:
691:
690:
689:
655:
654:
645:
643:Reference books
640:
639:
634:
630:
602:
598:
587:
583:
572:
563:
554:
552:
543:
542:
538:
527:
523:
512:
501:
490:
483:
478:
471:
468:
459:
456:
447:
444:
435:
432:
423:
416:Palermo, Sicily
412:Palatine chapel
408:
399:
389:
380:
373:
352:
266:
265:
264:
263:
251:
250:
249:
242:
234:
233:
232:, 13th century.
222:
213:
212:
206:
155:
66:
33:
12:
11:
5:
698:
688:
687:
682:
677:
672:
667:
653:
652:
649:
644:
641:
638:
637:
628:
596:
581:
561:
536:
521:
499:
480:
479:
477:
474:
473:
472:
469:
462:
460:
457:
450:
448:
445:
438:
436:
433:
426:
424:
409:
402:
400:
390:
383:
381:
374:
367:
351:
348:
256:vihuela, viola
253:
252:
243:
236:
235:
223:
216:
215:
214:
210:
209:
208:
207:
205:
202:
179:Byzantine lyra
167:Maghrebi rebab
157:
156:
154:
153:
148:
143:
141:Calabrian lira
138:
133:
128:
123:
118:
113:
111:Byzantine lyra
108:
102:
99:
98:
92:
91:
83:or an earlier
73:
69:
68:
61:
55:
54:
49:
47:Classification
43:
42:
39:
35:
34:
27:
9:
6:
4:
3:
2:
697:
686:
685:Islamic music
683:
681:
678:
676:
673:
671:
668:
666:
663:
662:
660:
650:
647:
646:
632:
625:
623:
622:Barbary Coast
619:
613:
609:
608:
607:History Today
600:
594:
592:
589:Roger Boase,
585:
579:
577:
570:
568:
566:
550:
549:oudmigrations
546:
540:
532:
525:
517:
510:
508:
506:
504:
495:
488:
486:
481:
466:
461:
454:
449:
442:
437:
430:
425:
421:
417:
413:
406:
401:
398:
394:
387:
382:
378:
371:
366:
365:
364:
360:
356:
347:
345:
341:
337:
333:
329:
328:Barbary Coast
325:
320:
318:
314:
310:
306:
302:
297:
295:
291:
287:
283:
279:
275:
271:
261:
257:
247:
240:
231:
227:
220:
201:
199:
195:
191:
187:
182:
180:
176:
172:
168:
164:
163:Maghreb rebab
152:
149:
147:
144:
142:
139:
137:
134:
132:
129:
127:
124:
122:
119:
117:
114:
112:
109:
107:
104:
103:
100:
97:
93:
90:
86:
82:
78:
74:
70:
65:
62:
60:
56:
53:
50:
48:
44:
40:
36:
31:
25:
20:
17:Maghreb rebĂĄb
635:Fetis, p.146
631:
615:
611:
605:
599:
590:
584:
575:
553:. Retrieved
551:. 2016-03-08
548:
539:
530:
524:
515:
493:
396:
395:manuscript,
392:
361:
357:
353:
321:
313:Hohenstaufen
298:
293:
267:
259:
255:
189:
185:
183:
166:
162:
160:
131:Pontian lyra
350:Description
286:troubadours
146:Cretan lyra
38:Other names
659:Categories
555:2016-04-26
278:Al-Andalus
194:Al-Andalus
315:grandson
290:trouvĂšres
274:Andalusia
184:The name
72:Developed
32:, Morocco
282:Provence
136:lijerica
618:Maghreb
344:vihuela
336:Maghreb
332:Maghreb
116:gadulka
28:Rebab,
301:Sicily
260:vielle
246:vielle
121:gambus
89:barbat
81:gambus
64:321.71
30:Meknes
614:(4).
476:Notes
186:rebĂĄb
175:rebec
171:rebab
151:rabel
126:gudok
106:rebec
77:rubab
342:and
340:viol
288:and
268:The
258:and
161:The
620:or
346:).
294:oud
228:of
165:or
87:or
85:oud
79:or
661::
612:52
610:.
564:^
547:.
502:^
484:^
200:.
558:.
422:.
414:(
330:(
262:.
188:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
