Oud

rdf:langString Oud

rdf:langString Oud

rdf:langString left

rdf:langString right

rdf:langString Turkish-style oud, as played in Turkey, Greece, Armenia, etc.

rdf:langString Egyptian long lutes, c. 1350 B.C.

rdf:langString Gandhara banquet with lute player

rdf:langString Egyptian lute players with long-necked lutes. Fresco from the tomb of Nebamun, a nobleman in the 18th Dynasty of Ancient Egypt

rdf:langString Naseer Shamma, famous in the new generation oud virtusos

rdf:langString Hellenistic banquet scene from the 1st century AD, Hadda, Gandhara. Short-necked, 2-string lute held by player, far right

rdf:langString Arabic oud from Egypt

rdf:langString Iranian barbat

rdf:langString Syrian oud

rdf:langString Munir Bashir, an acclaimed musician, considered to be the supreme master of the Arabic maqam scale system

rdf:langString center

rdf:langString *String instruments *Necked bowl lutes

rdf:langString The oud plectrum, called risha in Arabic, mızrap in Turkish and zakhme in Persian

rdf:langString Oud arbi in the Horniman Museum, London, UK

rdf:langString center

rdf:langString center

rdf:langString Egyptian lute players 001.jpg

rdf:langString Indo-GreekBanquet.JPG

rdf:langString Holding the risha pos 1.jpg

rdf:langString Holding the risha pos 2.jpg

rdf:langString Horniman instruments 28 .jpg

rdf:langString Horniman instruments 29.jpg

rdf:langString MBashir.jpg

rdf:langString Oud total .JPG

rdf:langString Persian_Barbat.jpg

rdf:langString Syrian oud .jpg

rdf:langString Naseer Shamma en los Encuentros Averroes de Córdoba .jpg

rdf:langString

rdf:langString عود

rdf:langString *Angélique *Archlute *Barbat (lute) *Baglamadaki *Bağlama *Biwa *Bouzouki *Cobza *Cümbüş *Daguangxian *Đàn tỳ bà *Dombra *Domra *Dutar *Kobza *Lavta *Liuqin *Lute *Mandocello *Mandola *Mandolin *Mandolute *Pandura *Pipa *Qanbus *Rud *Setar *Tanbur *Tanbur (Turkish) *Tar (Azerbaijani instrument) *Tembûr *Theorbo *Torban

rdf:langString The oud (Arabic: عود, romanized: ʿūd, pronounced [ʕuːd]; Somali: kaban or cuud) is a short-neck lute-type, pear-shaped, fretless stringed instrument (a chordophone in the Hornbostel–Sachs classification of instruments), usually with 11 strings grouped in six courses, but some models have five or seven courses, with 10 or 13 strings respectively. The oud is very similar to other types of lute, and to Western lutes. Similar instruments have been used in the Middle East, North Africa (particularly the Maghreb, Egypt and Somalia), and Central Asia for thousands of years, including Mesopotamia, Egypt, the Caucasus, the Levant, anatolian Greeks, Albania and Bulgaria; there may even be prehistoric antecedents of the lute. The oud, as a fundamental difference with the western lute, has no frets and a smaller neck. It is the direct successor of the Persian Barbat lute. The oldest surviving oud is thought to be in Brussels, at the Museum of Musical Instruments. An early description of the "modern" oud was given by 11th-century musician, singer and author Al-Hasan Ibn al-Haytham (c. 965–1040) in his compendium on music Ḥāwī al-Funūn wa Salwat al-Maḥzūn. The first known complete description of the ‛ūd and its construction is found in the epistle Risāla fī-l-Luḥūn wa-n-Nagham by 9th-century philosopher of the Arabs Yaʻqūb ibn Isḥāq al-Kindī. Kindī's description stands thus: [and the] length [of the ‛ūd] will be: thirty-six joint fingers—with good thick fingers—and the total will amount to three ashbār. And its width: fifteen fingers. And its depth seven and a half fingers. And the measurement of the width of the bridge with the remainder behind: six fingers. Remains the length of the strings: thirty fingers and on these strings take place the division and the partition, because it is the sounding [or "the speaking"] length. This is why the width must be [of] fifteen fingers as it is the half of this length. Similarly for the depth, seven fingers and a half and this is the half of the width and the quarter of the length [of the strings]. And the neck must be one third of the length [of the speaking strings] and it is: ten fingers. Remains the vibrating body: twenty fingers. And that the back (soundbox) be well rounded and its "thinning" (kharţ) [must be done] towards the neck, as if it had been a round body drawn with a compass which was cut in two in order to extract two ‛ūds. In Pre-Islamic Arabia and Mesopotamia, the stringed instruments had only three strings, with a small musical box and a long neck without any tuning pegs. But during the Islamic era the musical box was enlarged, a fourth string was added, and the base for the tuning pegs (Bunjuk) or pegbox was added. In the first centuries of (pre-Islamic) Arabian civilisation, the stringed instruments had four courses (one string per course—double-strings came later), tuned in successive fourths. Curt Sachs said they were called (from lowest to highest pitch) bamm, maṭlaṭ, maṭnā and zīr. "As early as the ninth century" a fifth string ḥād ("sharp") was sometimes added "to make the range of two octaves complete". It was highest in pitch, placed lowest in its positioning in relation to other strings. Modern tuning preserves the ancient succession of fourths, with adjunctions (lowest or highest courses), which may be tuned differently following regional or personal preferences. Sachs gives one tuning for this arrangement of five pairs of strings, d, e, a, d', g'. Historical sources indicate that Ziryab (789–857) added a fifth string to his oud. He was well known for founding a school of music in Andalusia, one of the places where the oud or lute entered Europe. Another mention of the fifth string was made by Al-Hasan Ibn al-Haytham in Ḥāwī al-Funūn wa Salwat al-Maḥzūn.

rdf:langString Composite chordophone sounded with a plectrum

rdf:langString Syrian oud made by Abdo Nahat in 1921