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43-470: Arabic qanuns are usually constructed with five skin insets that support a single long bridge resting on five arching pillars, whereas the somewhat smaller Turkish qanuns are based on just four. This allows Arabic variants of the instrument to have more room for the installation of extreme bass and treble strings. Kanuns manufactured in Turkey generally feature 26 courses of strings, with three strings per course in

86-454: A rhythmic component. Al-Kindi (801–873 AD) was a notable early theorist of Arabic music. He joined several others like al-Farabi in proposing the addition of a makeshift fifth string to the oud . He published several tracts on musical theory , including the cosmological connotations of music. He identified twelve tones on the Arabic musical scale, based on the location of fingers on and

129-404: A Turkish kanun are typically 95 to 100 cm (37–39") in length, 38 to 40 cm (15–16") in width, and 4 to 6 cm (1.5–2.3") in height. In contrast, an Arabic qanun measures a bit larger as mentioned. Qanun is played on the lap while sitting or squatting, or sometimes on trestle support, by plucking the strings with two tortoise -shell picks (one for each hand) or with fingernails, and has

172-501: A Turkish kanun. Likewise, the late Swiss-French qānūn performer Julien Jalâl Ed-Dine Weiss (1953–2015), who was critical of the tuning deficiency of Eurocentric octave divisions in approximating just intervals , is known to have conceived, since 1990, a number of prototypes that were entirely based on low prime-limit or simple integer ratio Pythagorean and harmonic intervals; which were once again built, on instructions from Weiss, by Ejder Güleç. Course (music) A course, on

215-577: A center for the manufacture of instruments. These goods spread gradually throughout France, influencing French troubadours , and eventually reaching the rest of Europe. The English words lute , rebec , and naker are derived from Arabic oud , rabab or Maghreb rebab , and naqareh . Bartol Gyurgieuvits (1506–1566) spent 13 years as a slave in the Ottoman Empire . After escaping, he published De Turcarum ritu et caermoniis in Amsterdam in 1544. It

258-407: A justly tuned/intoned tanbur , oud , ney , or kemenche . Alternate tuning approaches for the qanun thus also exist. Turkish music theorist Ozan Yarman has proposed, for example, an academical 79-tone temperament for the expression within tolerable error-margins of Maqamat / Makamlar / Dastgaha at all pitch levels, that was implemented by the renowned late luthier Ejder Güleç (1939–2014) on

301-470: A mix between Eastern and Western. Beginning in the mid-1980s, Lydia Canaan , musical pioneer widely regarded as the first rock star of the Middle East fused English lyrics and Western sound with Middle-Eastern quarter tones and microtones and became the first internationally successful Lebanese recording artist. Western pop music was also influenced by Arabic music in the early 1960s, leading to

344-617: A nine-string baroque guitar has five courses: most are two-string courses but sometimes the lowest or the highest consists of a single string. An instrument with at least one multiple-string course is referred to as coursed , while one whose strings are all played individually is uncoursed . Multiple string courses were probably originally employed to increase the volume of instruments, in eras in which electrical amplification did not exist, and stringed instruments might be expected to accompany louder instruments (such as woodwinds or brass). Eventually, however, they came to be employed to alter

387-457: A six-string guitar; however, older instruments were often tuned one tone lower D-G-C-F-A-D to reduce the tension on the neck, and commonly played with a capo on fret 2. The lowest three courses (E-A-D) are normally tuned at octaves, with the primary string uppermost and the octave below it, while the upper two courses (B-E) are tuned to unison. The G course is either unison or at octaves. On some electric twelve-string guitars , and most notably

430-453: A standard range of three and a half octaves from A2 to E6 that can be extended down to F2 and up to G6 in the case of Arabic designs. The instrument also features special metallic levers or latches under each course called mandals . These small levers, which can be raised or lowered quickly by the performer while the instrument is being played, serve to slightly change the pitch of a particular course by altering effective string lengths. On

473-411: A stringed musical instrument , is either one string or two or more adjacent strings that are closely spaced relative to the other strings, and typically played as a single string. The strings in each multiple-string course are typically tuned in unison or an octave . Normally, the term course is used to refer to a single string only on an instrument that also has multi-string courses. For example,

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516-469: Is one of the first European books to describe music in Islamic society. In the early 20th century, Egypt was the first in a series of Arab countries to experience a sudden emergence of nationalism , as it became independent after 2000 years of foreign rule. English, French and European songs were replaced by national Egyptian music. Cairo became a center for musical innovation. Female singers were some of

559-451: Is the music of the Arab world with all its diverse music styles and genres . Arabic countries have many rich and varied styles of music and also many linguistic dialects , with each country and region having their own traditional music . Arabic music has a long history of interaction with many other regional musical styles and genres. It represents the music of all the peoples that make up

602-1129: The Rickenbacker 360/12 , the octave strings are below the primary strings. The national instrument of Colombia, the tiple Colombiano, has four courses of three strings each. Its higher-pitched relative, the tiple requinto, is similarly triple-strung. The American tiple, a smaller instrument loosely derived from the Colombian tiple, uses two double-strung courses and two triple-strung courses. The electric twelve-string bass has twelve strings in four triple courses. Basses have also been built with six double courses and other configurations but these are very rare. Arabic music Features Types Types Features Clothing Genres Art music Folk Prose Islamic Poetry Genres Forms Arabic prosody National literatures of Arab States Concepts Texts Fictional Arab people South Arabian deities Arabic music ( Arabic : الموسيقى العربية , romanized :  al-mūsīqā l-ʿarabiyyah )

645-631: The mandolin family, except some versions of the lowest-pitched, have courses each of two or three strings, most commonly eight strings in four courses. The exception is some varieties of mando-bass, which have four individual strings. The baroque guitar has five courses, with the bottom four always double strung, and the top string (the " chanterelle ") either double or single. There are also several patterns of modern ten-string guitar but all have ten single strings, played individually. The twelve-string guitar has twelve strings, in six courses. The courses are most often tuned E-A-D-G-B-E, similarly to

688-503: The 1940s and 1960s, Arabic music began to take on a more Western tone – Egyptian artists Umm Kulthum and Abdel Halim Hafez along with composers Mohammed Abdel Wahab and Baligh Hamdi pioneered the use of western instruments in Egyptian music. By the 1970s several other singers had followed suit and a strand of Arabic pop was born. Arabic pop usually consists of Western styled songs with Arabic instruments and lyrics. Melodies are often

731-518: The 8th century. A direct ancestor of the modern guitar is the guitarra morisca (Moorish guitar), which was in use in Spain by the 12th century. By the 14th century, it was simply referred to as a guitar. A number of medieval conical bore instruments were likely introduced or popularized by Arab musicians, including the xelami (from zulami ). Some scholars believe that the troubadors may have had Arabian origins, with Magda Bogin stating that

774-490: The Arab poetic and musical tradition was one of several influences on European "courtly love poetry". Évariste Lévi-Provençal and other scholars stated that three lines of a poem by William IX of Aquitaine were in some form of Arabic, indicating a potential Andalusian origin for his works. The scholars attempted to translate the lines in question and produced various different translations. The medievalist Istvan Frank contended that

817-514: The Arab world today . Pre-Islamic Arabia was the cradle of many intellectual achievements, including music, musical theory and the development of musical instruments . In Yemen , the main center of pre-Islamic Arab sciences, literature and arts, musicians benefited from the patronage of the Kings of Sabaʾ who encouraged the development of music. For many centuries, the Arabs of Hejaz recognized that

860-519: The best real Arabian music came from Yemen, and Hadhrami minstrels were considered to be superior. Pre-Islamic Arabian Peninsula music was similar to that of Ancient Middle Eastern music. Most historians agree that there existed distinct forms of music in the Arabian peninsula in the pre-Islamic period between the 5th and 7th century AD. Arab poets of that time—called shu`ara' al-Jahiliyah ( Arabic : شعراء الجاهلية) or "Jahili poets", meaning "the poets of

903-563: The case of all regional variants. Contemporary Arabic designs use Nylon or PVF strings that are stretched over the bridge poised on fish-skins as described on one end, and attached to wooden tuning pegs at the other end. Ornamental sound holes called kafes are a critical component of what constitutes the accustomed timbre of qanun. However, they normally occupy different locations on the soundboard of Turkish kanuns compared to Arabic qanuns, and may also vary in shape, size and number depending on geography or personal taste. The dimensions of

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946-443: The contemporary music of his time. His sound has a classical flavor due to the heavy use of the string orchestra. But he also made some use of electronic keyboards and guitars in harmony with the strings, or alternating with the strings. His best work is published as recordings under the name of the singer. The singers include Umm Kulthum , Abdel Halim Hafez , Shadia , Layla Murad , Najat Al Saghira , Fayza Ahmed , Warda (whom he

989-619: The development of surf music , a rock music genre that later gave rise to garage rock and punk rock . Surf rock pioneer Dick Dale , a Lebanese American guitarist, was greatly influenced by the Arabic music he learnt from his uncle, particularly the oud melodies and skills which he later applied to his electric guitar playing when recording surf rock in the early 1960s. Baligh Hamdi who created and composed many hit songs for several Arab singers, frequently said that he drew upon musical ideas and aesthetics in Egyptian folk melodies and rhythms in composing his songs. He also drew on ideas in

1032-493: The drum, the lute or the rebab , and perform the songs while respecting the poetic metre . The compositions were simple and every singer would sing in a single maqam . Among the notable songs of the period were the huda (from which the ghina derived), the nasb , sanad , and rukbani . Both compositions and improvisations in traditional Arabic music are based on the maqam system. Maqams can be realized with either vocal or instrumental music, and do not include

1075-493: The electroacoustically referenced equal-tempered semitone of 100 cents into 6 equal parts, yielding – for all intents and purposes – 72 equal divisions (or commas ) of the octave pitch resolution. Not all pitches of 72-tone equal temperament are available on the Turkish kanun, however, since kanun-makers affix mandals that only accommodate modulations/transpositions popularly demanded by performers. This has subsequently led to

1118-405: The end of his life. Beech adds that William and his father did have Spanish individuals within their extended family, and that while there is no evidence he himself knew Arabic, he may have been friendly with some Europeans who could speak the language. Others state that the notion that William created the concept of troubadours is itself incorrect, and that his "songs represent not the beginnings of

1161-468: The expense of octave equivalences . Despite the mentioned discrepancies, hundreds of mandal configurations are at the player's disposal when performing on an ordinary Turkish kanun. On the other hand, the nowadays widespread application of equidistant 24-tones on Arabic and 72-tones on Turkish qanun models presents an ongoing source of controversy. This is particularly in regards to how adequate such Eurocentric octave divisions are in faithfully reproducing

1204-469: The familiar interrupted and irregular pattern of mandals on the Turkish kanun becoming a visual guide for players, in facilitating modal and intonational navigation on an instrument which is ordinarily bereft of pitch markers. Some kanun-makers may also choose to divide the semitone distance from the nut of the lower registers into 7 parts instead for microtonal subtlety (and the highest registers, conversely, into 5 parts due to spacing constraints); but do so at

1247-499: The first to adopt a secular approach. Egyptian performer Umm Kulthum and Lebanese singer Fairuz were notable examples of this. Both have been popular through the decades that followed and considered legends of Arabic music. Moroccan singer Zohra Al Fassiya was the first female singer to achieve wide popularity in the Maghreb region, performing traditional Arab Andalusian folk songs and later recording numerous albums of her own. During

1290-497: The lines were not Arabic at all, but instead the result of the rewriting of the original by a later scribe. The theory that the troubadour tradition was created by William after his experience of Moorish arts while fighting with the Reconquista in Spain has been championed by Ramón Menéndez Pidal and Idries Shah . George T. Beech states that there is only one documented battle that William fought in Spain, and it occurred towards

1333-459: The main reasons for the predominance of Jewish instrumentalists in early 20th century Iraqi music was a school for blind Jewish children in Baghdad founded in the late 1920s by the qanunji ("qanun player") Joseph Hawthorne ( Yusef Za'arur ) ( Hebrew : דנדהי ללוואלד-יוסף זערור). Salima Pasha was one of the most famous singers of the 1930s–1940s. The respect and adoration for Pasha were unusual at

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1376-519: The medieval Arab world . They include the lute , which shares an ancestor with the oud ; rebec (an ancestor of the violin) from rebab , guitar from qitara , naker from naqareh , adufe from al-duff , alboka from al-buq , anafil from al-nafir , exabeba (a type of flute) from al-shabbaba , atabal (a type of bass drum ) from al-tabl , atambal from al-tinbal , the balaban , castanet from kasatan , and sonajas de azófar from sunuj al-sufr . The Arabic rabāb , also known as

1419-441: The period of ignorance"—used to recite poems with a high notes. It was believed that Jinns revealed poems to poets and music to musicians. The choir at the time served as a pedagogic facility where the educated poets would recite their poems. Singing was not thought to be the work of these intellectuals and was instead entrusted to women with beautiful voices who would learn how to play some instruments used at that time such as

1462-437: The player to use the fingernail of the thumb to depress on the leftmost ends of the courses to achieve on-the-fly intervallic alterations. With the advent of electronic tuners some decades later, standardization of the placement of reference mandals on the qanun began. While Armenian kanuns now employ only equidistant half-tones and Arabic qanuns exact quarter-tones as a result, Turkish kanun-makers went so far as dividing

1505-558: The regular diatonically tuned qanun, mandal technology was first implemented, according to Turkish musicologist Rauf Yekta , some 30 years prior to his submission of his invited monograph on Turkish Music to the 1922 edition of Albert Lavignac's Encyclopédie de la Musique et Dictionnaire du Conservatoire . Levantine qanuns, prior to that time, remained rather inflexible and cumbersome to perform on (especially as demanding modulations/transpositions came into vogue that were increasingly emulating Western tonality and key changes ), requiring

1548-556: The spiked fiddle, is the earliest known bowed string instrument and the ancestor of all the European bowed instruments, including the rebec , the Byzantine lyra , and the violin. The Arabic oud in Arab music shares an ancestor with the European lute . The oud is also cited as a precursor to the modern guitar . The guitar has roots in the four-string oud, brought to Iberia by the Moors in

1591-459: The state that comes from listening to music". In 1252, Safi al-Din developed a unique form of musical notation , where rhythms were represented by geometric representation. A similar geometric representation would not appear in the Western world until 1987, when Kjell Gustafson published a method to represent a rhythm as a two-dimensional graph. By the 11th century, Islamic Iberia had become

1634-554: The strings of the oud. Abulfaraj (897–967) wrote the Kitab al-Aghani , an encyclopedic collection of poems and songs that runs to over 20 volumes in modern editions. Al-Farabi (872–950) wrote a notable book on Islamic music titled Kitab al-Musiqa al-Kabir (The Great Book of Music). His pure Arabian tone system is still used in Arabic music. Al-Ghazali (1059–1111) wrote a treatise on music in Persia which declared, "Ecstasy means

1677-746: The timbral characteristics (the "tone") of instruments as well. Strings within a multi-string course may both/all be tuned to the same pitch (e.g. mandolins); they may be tuned to the same pitch class but in different octaves (e.g. Tiple); or the strings may be tuned to different pitches, usually for special effect. Examples of instruments that use two-string courses include: Examples of instruments that use three-string courses include: Examples of instruments that use four- (or more) string courses include: As may be seen, some instruments contain courses with differing numbers of strings. A typical piano, for example, contains courses with one, two, and three strings, in different parts of its range. All members of

1720-597: The time, since public performance by women was considered shameful in the region, and most female singers were recruited from brothels. The music in Iraq began to take a more Western tone during the 1960s and 1970s, notably by Ilham Madfai , with his Western guitar stylings with traditional Iraqi music which made him a popular performer in his native country and throughout the Middle East. The majority of musical instruments used in European medieval and classical music have roots in Arabic musical instruments that were adopted from

1763-420: The traditionally or classically understood fluid pitches and inflexions of Arabic music or Ottoman classical music scales. Pitch measurement analyses of relevant audio recordings reveal that, equal temperaments based on bike-chained "multiples of twelve" are essentially not compatible with authentic Middle Eastern performances; substantiating the notion instruments strictly based on them would clash audibly with

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1806-461: Was established by the Iraqi Jewish musicians, Saleh and Daoud al-Kuwaity . The brothers played a pioneering role in the modern music of Iraq. Saleh was considered the father of Iraqi maqam and wrote the first song. He also composed for famous singers of that era in Iraq and the Arab world, such as Salima Murad , Afifa Iskandar , Nazem al-Ghazali , Umm Kulthum , Mohammed Abdel Wahab . One of

1849-742: Was married to for a decade), Sabah , and other singers. He had also collaborated with the legendary singer Aziza Jalal who promoted her songs Mestaniak and Haramt El Hob Alaya one of the best Arabic songs in the 80s. In the 1990s, Arab artists who took up this style were Amr Diab , Moustafa Amar , Najwa Karam , Elissa , Nawal Al Zoghbi , Nancy Ajram , Haifa Wehbe , Angham , Fadl Shaker , Majida Al Roumi , Wael Kfoury , Asalah Nasri , Myriam Fares , Carole Samaha , Yara , Samira Said , Hisham Abbas , Kadhem Al Saher , Ehab Tawfik , Mohamed Fouad , Diana Haddad , Mohamed Mounir , Latifa , Cheb Khaled , George Wassouf , Hakim , Fares Karam , Julia Boutros , and Amal Hijazi . In 1936, Iraq Radio

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