. Musical instruments . ose of learning Persian singing and performing onthe lute. Through him, it is said, the lute was brought toMekka. Saib Chatir, the son of a Persian, is spoken of asthe first performer on the lute in Medina, 682 ; and of anArab lutist, Ebn Soreidsch from Mekka, 683, it is especiallymentioned that he played in the Persian style ; evidentlythe suj^erior one. The lute, el-ood, had before the tenthcentury only four strings, or four pairs j)roducing four tones,each tone having two strings tuned in unison. About thetenth century a string for a fifth tone was added. T
. Musical instruments . ose of learning Persian singing and performing onthe lute. Through him, it is said, the lute was brought toMekka. Saib Chatir, the son of a Persian, is spoken of asthe first performer on the lute in Medina, 682 ; and of anArab lutist, Ebn Soreidsch from Mekka, 683, it is especiallymentioned that he played in the Persian style ; evidentlythe suj^erior one. The lute, el-ood, had before the tenthcentury only four strings, or four pairs j)roducing four tones,each tone having two strings tuned in unison. About thetenth century a string for a fifth tone was added. The stringswere made of silk neatly twisted. The neck of the instrumentwas provided with frets of string, which were carefully regu-lated according to the system of seventeen intervals in thecompass of an octave before mentioned. Other favouritestringed instruments were the taynboura, a kind of luti witha long neck, and the quaiiun, a kind of dulcimer strung withlambs gut strings (generally ilinu in unison tor each tone). 1-1G. I5.—• , SiiAKA or :. Abiut i- No. >;) ;i(- ^n[ in.; (iiiiiii. S NiN (Iliitf). Itr>i;iii. Kithcinmry ];:iii. Kn. .,y, ?>!.1. Sam in (l>ulciim,-i) Cam:. Pi 1. jiiii.; W. uliii. ;. 771, ,-(.. Victoria and Allnii Musmiii. ORIENTAL. 55 and played upon with two little pkctra which the performerhad fastened to his fingers. The qiiannn is likewise still inuse in countries inhabited by Muhammadans. The Persiansantir, the prototype of our dulcimer, is mounted with wirestrings and played with two slightly curved sticks. Themusician depicted in the left-hand corner of Fig. 15c isplaying a santir. Al-Farabi, one of the earliest Arabian musical theoristsknown, who lived in the beginning of the tenth century, doesnot allude to the fiddle-bow. This is notewortlu inasmuch asit seems in some measure to supj^ort the opinion maintainedby some historians that the bow originated in England orWales. Unfortun
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