31-600: Rabab may refer to: Music [ edit ] Rabāb or rebab, a bowed string instrument Rubab (instrument) or rabab, a Central Asian plucked instrument People [ edit ] Rabab Abdulhadi (born 1955), American professor, activist, and author Rabab Eid (born 1990), Egyptian freestyle wrestler Rabab Fetieh , Saudi professor of orthodontics Rabab Hashim (born 1992), Pakistani television actress See also [ edit ] Rababe Arafi (born 1991), Moroccan middle-distance runner Topics referred to by
62-464: A bouzouki -like, plucked stringed instrument; however, with the use of a bow , changes to the size and construction of the instrument was made. The first recorded reference to a bowed lyra is from the 9th century, by Persian geographer Ibn Khurradadhbih (d. 911); in his lexicographical discussion of instruments, he cites the lyra ( lūrā ) as the 'typical' instrument of the Byzantines, along with
93-433: A distinct and attached piece, however this might be due to stylistic abstraction . The lyras of Novgorod (1190 AD) are closer morphologically to the present bowed lyras ( see gallery ): they were pear-shaped and 40 cm long; they had semi-circular soundholes and provision for three strings. The middle string served as a drone while fingering the others by finger or fingernail alone, downwards or sidewards against
124-442: A membrane such as parchment or sheepskin and has a long neck attached. It has a long thin neck with a pegbox at the end, and has one, two or three strings . It also lacks a fingerboard . The instrument is held upright, either resting on the lap or on the floor. The bow is usually more curved than that of the violin . The Rebab, though valued for its voice-like tone, has a very limited range (a little over an octave ), and
155-561: A small, nipple-like mute mechanism (puting). The Rebab is used in the makyong ensemble, tarik selampit and also in a healing ritual called "Main Peteri". Byzantine lyra The Byzantine lyra or lira ( Greek : λύρα ) was a medieval bowed string musical instrument in the Byzantine (Eastern Roman) Empire . In its popular form, the lyra was a pear-shaped instrument with three to five strings , held upright and played by stopping
186-424: Is an essential elaborating instrument , ornamenting the basic melody . A two-string bowed lute consisting of a wooden body, traditionally though now rarely a single coconut shell, covered with very fine stretched skin. Two brass strings are tuned a fifth apart and the horse hair bow is tied loosely (unlike modern Western stringed instruments) with the proper tension controlled by the players bow hand, contributing to
217-484: Is different from Wikidata All article disambiguation pages All disambiguation pages Rab%C4%81b Rebab ( Arabic : ربابة , rabāba , variously spelled rebap , rubob , rebeb , rababa , rabeba , robab , rubab , rebob , etc) is the name of several related string instruments that independently spread via Islamic trading routes over much of North Africa , Middle East , Central Asia , Southeast Asia , and parts of Europe . The instrument
248-417: Is typically bowed , but is sometimes plucked . It is one of the earliest known bowed instruments, named no later than the 8th century, and is the parent of many bowed and stringed instruments. There are chiefly three main types: A long-necked bowed variety that often has a spike at the bottom to rest on the ground (see first image to the right); thus this is called a spike fiddle in certain areas. Some of
279-566: The ney , (a species of clarinet,) and the tambour , or tambourine ." It is called "joza" in Iraq, named after the sound box material made of a coconut shell. There is also a bowed instrument in Persian music named Kamanche which has similar shape and structure. It spread to different regions including South East Asia through Islamic trading routes. In the Indonesian gamelan the rebab
310-792: The Politiki lyra (i.e. lyra of the Polis, or City, referring to Constantinople) ( Greek : πολίτικη λύρα ) also known as the Classical kemence ( Turkish : Klasik kemençe or Armudî kemençe) from Constantinople , used in today's Turkey and Greece , the Cretan lyra ( Greek : κρητική λύρα ) and the one used in the Greek islands of the Dodecanese , the gadulka ( Bulgarian : Гъдулка ) in Bulgaria ,
341-404: The buka when it is part of the ensemble. In Malaysia , especially the eastern Malaysian states of Kelantan and northern Terengganu ( Besut ), Rebab is one of important traditional music instruments. Its appearance is significantly different from rebabs from other regions. It has 3 strings, 3 tuning pegs (telinga), a decorative, detachable headstock (kepala), a skin made of cow's stomach and
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#1732780168877372-803: The gusle in Serbia and Montenegro , the Calabrian lira ( Italian : lira Calabrese ) in Italy, and the Pontic lyra (Greek: ποντιακή λύρα; Turkish: Karadeniz kemençe) in the Pontic Greek communities, that existed (or still exist) around the shores of the Black Sea . The gudok , a historical Russian instrument that survived until the 19th century, is also a variant of the Byzantine lyra. Similarly to
403-402: The stringed musical instrument of classical antiquity to the new bowed string instrument. The Byzantine lyra is sometimes informally called a medieval fiddle , or a pear-shaped rebec , or a kemanche , terms that may be used today to refer to a general category of similar stringed instruments played with a horsehair bow. The Byzantine lyra had rear tuning pegs set in a flat peg similarly to
434-524: The urghun (organ), shilyani (probably a type of harp or lyre ) and the salandj (probably a bagpipe ). Together with the Arabic rebab — which sees its ancient roots in Indian instruments like the sarangi — the lyra is widely considered to be the ancestor of many modern European bowed instruments. The lyra spread widely via Byzantine trade routes between Eurasia and Africa; European writers in
465-598: The 11th and 12th centuries used the terms ' fiddle ' and 'lira' interchangeably when colloquially referring to bowed instruments. The Middle Eastern rabāb was probably inspired by early South Asian lap-fiddles, like the Indo-Nepalese sarangi , before later arriving in Western Europe , likely through continued Arab presence in the Iberian Peninsula . Both instruments spread further throughout
496-403: The 11th century, and became the rebec . This rabāb is the ancestor of many European bowed instruments, including the rebec and the lyra , though not of bowed instruments in the lyre family such as the crwth , jouhikko , talharpa and gue . This article will only concentrate on the spike-fiddle Rebab, which usually consists of a small, usually rounded body, the front of which is covered in
527-498: The Byzantine Empire), including Greece , Crete ( Cretan lyra ), Karpathos (Karpathian lyra), Albania , Montenegro , Serbia , Bulgaria (the gadulka ), North Macedonia , Croatia ( Dalmatian lijerica ), Italy (the Calabrian lira ), Turkey (the politiki lyra and the Pontic lyra or kemençe ) and Armenia . The most likely origin of the Byzantine lyra is with the long-necked, pear-shaped pandura ,
558-399: The Byzantine lyra is in fact an instrument belonging to the family of bowed lutes; however, the designation lyra ( Greek: λύρα ~ lūrā, English: lyre ) constitute of a terminological survival relating to the performing method of an ancient Greek instrument. The use of the term lyra for a bowed instrument was first recorded in the 9th century, probably as an application of the term lyre of
589-585: The continent, birthing many bowed fiddles across Europe such as the medieval rebec , the Swedish silverbasharpa (and eventual nyckelharpa ), and the Scando-Icelandic talharpa , among others. A notable example is the Italian lira da braccio , a 15th-century bowed string instrument that many consider to be the predecessor of the contemporary violin. From the organological point of view,
620-412: The difficult technique. There are typically two per ensemble, one for pelog and one for slendro , never played together. The rebab does not have to conform exactly to the scale of the other gamelan instruments and can be played in relatively free time, finishing its phrases after the beat of the gong ageng (the big gong that "rules" the ensemble, see: colotomy ). The rebab also frequently plays
651-547: The front may be half-covered with beaten copper , and half with cowskin. an endpin is similar to the cello. According to Richard Wallaschek, bowed rebab was developed under Muslim culture. The Rebab was heavily used, and continues to be used, in Arabic Bedouin music and is mentioned by Johann Ludwig Burckhardt in his travelog Travels in Arabia : "Of instruments they possess only the rababa , (a kind of guitar,)
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#1732780168877682-505: The instruments developing from this variant have vestigial spikes. A short-necked double-chested or "boat-shaped" variant; plucked versions like the Maghreb rebab and the kabuli rebab (sometimes referred to as the robab or rubab ) also exist. Besides the spike fiddle variant, a variant with a pear-shaped body, quite similar to the Byzantine lyra and the Cretan lyra , also exists. This latter variant travelled to western Europe in
713-516: The lyras found at Novgorod, the Cretan lyra , the Gadulka , the Calabrian Lira and the Greek lyras of Karpathos , Macedonia , Thrace and Mount Olympus are manufactured from a single wood block ( monoblock ), sculpted into a pear-shaped body. The slightly rounded body of the lyra is prolonged by a neck ending on the top in a block which is also pear-shaped or spherical. In that, are set
744-409: The medieval fiddle and unlike the rabāb and rebec . However, the strings were touched by the nails laterally and not pressed from above with the flesh of the finger such as in the violin. The lyra depicted on the Byzantine ivory casket of Museo Nazionale, Florence (900 – 1100 AD) has two strings and pear-shaped body with long and narrow neck. The soundboard is depicted without soundholes and as
775-517: The pegs facing and extending forward. The soundboard is also carved with a shallower arch and has two small semi-circular, D-shaped soundholes . The Cretan lyra is probably the most widely used surviving form of the Byzantine lyra, except that in Crete instrument-making has been influenced by that of the violin. Currently, numerous models tend to integrate the shape of the scroll, the finger board and other morphology of some secondary characteristics of
806-510: The rebab is a large instrument with a range similar to the viola da gamba , whereas versions of the instrument further west tend to be smaller and higher-pitched. The body varies from being ornately carved, as in Java, to simpler models such as the 2-string Egyptian "fiddle of the Nile." They may have a body made of half a coconut shell, while the more sophisticated versions have a metal soundbox, and
837-464: The same term [REDACTED] This disambiguation page lists articles associated with the title Rabab . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Rabab&oldid=1101516365 " Categories : Disambiguation pages Disambiguation pages with given-name-holder lists Hidden categories: Short description
868-457: The string, for there was no fingerboard to press them against: a method which gives the notes as clearly as the violin and remains normal in lyras both in Asia as well as on present bowed instruments in post-Byzantine regions such as the Cretan lyra . The lyra of the Byzantine empire survives in many post-Byzantine regions until the present day even closely to its archetype form. Examples are
899-581: The strings from the side with the fingertips and fingernails. The oldest known depiction of the instrument is on a Byzantine ivory casket, dated to circa 900–1100 AD, preserved in the Bargello in Florence ( Museo Nazionale, Florence, Coll. Carrand, No.26 ). Modern variants of the lyra are still played throughout the Balkans and in areas surrounding the Black Sea (and most of the historical territories of
930-518: The violin. The modern variants of the lyra are tuned in various ways: LA–RE–SOL (or a–d–g , i. e. by fifths ) on the Cretan lyra ; LA–RE–SOL (or a–d–g , where SOL [=g] is a perfect fourth higher than RE [=d] rather than a fifth lower) in Thrace and on Karpathos and the Dodecanese ; LA–LA–MI ( a–a–e , with the second LA [=a] an octave lower), in Drama ; MI–SOL–MI ( e–g–e , i. e.
961-505: Was gradually replaced throughout much of the Arab world by the violin and kemenche . The Iraqi version of the instrument ( jawza or joza ) has four strings. The Rebab is used in a wide variety of musical ensembles and genres , corresponding with its wide distribution, and is built and played somewhat differently in different areas. Following the principle of construction in Iran , Ahvaz ,