#gambus

Facundus 

Illustration from a version of the Commentary on the Apocalypse, or the Beatus, c. 1047., northern Spain.

Note David's lyre and the angels' lutes.

The lyre resembles the Ethiopian begenna I posted recently, which is still used for Christian devotional music.

The story as I know it:

Tar means string in Proto-Indo-European and Sanskrit. Instrument names like kithara and guitar have this word in it.

The kithara was a classical Greek large lyre.

Cithara is Latin for lyre, and in the renaissance it was used for lute, as well.

Words like citole/citula/cistern/gittern referred to medieval European wire-strung instruments derived from the classical Roman fretted instrument.

Cittern arose from this tradition by the 16th century. The 18th century English guittar was a cittern. It traveled to Portugual via sea trade and became the guitarra portuguesa. I I don't think it made it to the new world, though other citterns did, called mandola or bandola.

The guitarra latina and guitarra morisca (pictured) were medieval instruments of Spain, the former being the citole from the Roman Empire and the latter being the qanbus/gambus from the Moorish conquest of Andalusia.

The guitarra italiana was a 16th century lute with a longer neck. Lutes were ouds brought to Spain by Moors. Arabic "al'ud,' meaning "the wood" or "the fragrance" became laúd (Sp), luth (Fr), liuto (It), lute (En), etc.

The chitarrone of 17th century Italy, aka the theorbo, was literally a big chitarra (italiana). It was also used as a humanist symbol to replace the lyre or kithara of the classical Greek lyric poets. Thus, it is also symbolically a big kithara.

Todya's guitar took on its familiar waisted shape in 14th century Spain and France. Its rosette was Arabic, not like the citole's and gittern's, which were Gothic. To me this indicates its Moorish origin. Before that, I don't know, though I did find its tuning in an 11th century Persian oud treatise. That may be coincidence.

All Latin American guitars are derived from European ones. The Hawaiian ukulele that the Portuguese brought over, the cuatro venezolano and the Mexican jarana jarocha retain some of its old character from the 16th and 17th centuries.

These images are from the Cantigas de Santa Maria, a medieval Spanish songbook.

These are vihuelas. Left is a vihuela de arco (bowed viol) and right is a vihuela de peñola (plectrum viol).

Vihuelas in Spain and viols in Italy were played da gamba (held by the legs) by the 15th century. The viola da gamba survives as the double bass viol (the orchestral contrabass).

The violin family took shape in 16th century Italy: violin (small viola), viola, violoncello aka cello (little big-viola), violone (big viola). In the 16th and 17th century, violone was a broad name for any large bowed viola. The double bass that survives to the present is part of the viol family (viola da gamba), not the violin family (violin, viola, cello).

In 16th century Spain and Italy, a waisted, flat-backed instrument called the vihuela de mano/viola da mano was used as an alternative to the bowl-backed lute. In Spain the lute/oud had Islamic connotations, and the vihuela Christian ones.

Portuguese, and subsequently Brazilians, called our guitar the violão. That name comes from this medieval tradition.

NTB Siap Jadi Tuan Rumah Festival Bintang Vokalis Gambus dan Pop Religi Nasional

Hj. Niken Saptarini Widyawati barbareto.com | Mataram – Ketua Dewan Pimpinan Wilayah Lembaga Seni dan Qasidah Indonesia (DPW LASQI) NTB Hj. Niken Saptarini Widyawati, memastikan bahwa Provinsi NTB siap menjadi tuan rumah dan menyambut kedatangan para tamu khafilah LASQI dari berbagai provinsi di Indonesia karena menurutnya hal tersebut merupakan riski bagi Provinsi NTB. “Insyaallah dengan…

Musik Zapin yang berkembang di alam melayu berasal dari arab. Mengacu pada kata Zafran. Ia menjadi salah satu cara dalam penyebaran agama islam di semenanjung melayu. Bait-bait lagunya berisi pesan dan nasehat juga pedoman hidup. Dikenalkan dalam kelompok pengajian. 

Alunan musik gambus dan marwas mengiringi tarian zapin yang banyak memainkan gerakan kaki. Jauh sebelum zapin dibawa ke panggung pertunjukan Ia nya hanya di tarikan oleh laki-laki. Pemain gambus dalam seni Zapin di umpamakan sebagai imam. 

 MESJID MEKAH 

 Mesjidlah mekah (2x) menara tujuh (2x) Tempat terahim lailahaillallah, allahhu robbi, tempat terahim sembahyang subuh (2x) Imam berempat (2x) bersungguh sungguh (2x) Hentikan tegah, laillahaillah allahhu robbi, hentikan tegah kerjakan suruh (2x) Mesjidlah mekah (2x) di lengkung gunung (2x) Samalah tengah, lailahaillah, allahu robbi, samalah tengah ka’ba tullah (2x) Nabinya allah (2x) duduk termenung (2x) Cinta berakhir lailahhaillallah, allahu robbi, cinta berakhir kepada allah (2x)LEBIH SEDIKIT

gambus; @bahAREIEF