The oud ( ; , ) is a Middle Eastern 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 similar to other types of lute, and to Western lutes which developed out of the Medieval Islamic oud. Similar instruments have been used in the Middle East, some predating Islam, such as the barbat from Persia. Different versions of the oud are used in Arabia, Turkey, and other Middle Eastern and Balkan regions. 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 () 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.The shibr (singular of ashbār) is a measurement unit which equals roughly 18-24 cm, depending on the hand. It equates to the measured length between the tip of the thumb and the tip of the auricular finger when stretched flat and in opposite directions. The shibr otherwise measures 12 fingers (36:3): a "full" finger should be about 2 cm in width. 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 Persia, 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'.
Historically, oud strings were made of stretched and tightly wound animal gut, whereas modern strings are made with silk, nylon, copper and/or silver bound wire. The instrument is played by plucking stringers with a risha, which means feather in Arabic, that was traditionally made from an eagles feather. Although today, the risha is most commonly made from plastic, and less often from tortoise shell or filed down animal bone.
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.
Names and etymology
The () literally denotes a thin piece of wood similar to the shape of a straw. It may refer to the wooden plectrum traditionally used for playing the oud, to the thin strips of wood used for the back, or to the wooden soundboard that distinguishes it from similar instruments with skin-faced bodies. Henry George Farmer considers the similitude between and al-ʿawda ("the return" – of bliss).
Multiple theories have been proposed for the origin of the Arabic name oud. The word oud (عود) means "from wood" and "stick" in Arabic. In 1940 Curt Sachs contradicted or refined that idea, saying oud meant flexible stick, not wood. A western scholar of Islamic musical subjects, Eckhard Neubauer, suggested that oud may be an Arabic borrowing from the Persian word rōd or rūd, which meant string.. Another researcher, archaeomusicologist Richard J. Dumbrill, suggests that rud came from the Sanskrit rudrī (रुद्री, meaning "string instrument") and transferred to Arabic (a Semitic language) through a Semitic language. While the authors of these statements about the meanings or origins of the word may have accessed linguistic sources, they were not linguists.
However, another theory according to Semitic language scholars, is that the Arabic ʿoud is derived from Syriac ʿoud-a, meaning "wooden stick" and "burning wood"—cognate to Biblical Hebrew ’ūḏ, referring to a stick used to stir logs in a fire.
Names for the instrument in different languages include (, plural: ), , Syriac: , , , (although the barbat is a different lute instrument), or , and Azeri: ud
History Musical instruments from pre-history
The entire complete history of the development of the lute family is not fully compiled at this date, only some of it. The highly influential organologist Curt Sachs distinguished between the "long-necked lute" and the short-necked variety. Douglas Alton Smith argues the long-necked variety should not be called lute at all because it existed for at least a millennium before the appearance of the short-necked instrument that eventually evolved into what is now known as the lute.
Musicologist Richard Dumbrill today uses the word more categorically to discuss instruments that existed millennia before the term "lute" was coined. Dumbrill documented more than 3000 years of iconographic evidence for the lutes in Mesopotamia, in his book The Archaeomusicology of the Ancient Near East. According to Dumbrill, the lute family included instruments in Mesopotamia prior to 3000 BC. He points to a cylinder seal as evidence; dating from 3100 BC or earlier (now in the possession of the British Museum); the seal depicts on one side what is thought to be a woman playing a stick "lute". Like Sachs, Dumbrill saw length as distinguishing lutes, dividing the Mesopotamian lutes into a long-necked variety and a short. He focuses on the longer lutes of Mesopotamia, and similar types of related necked chordophones that developed throughout the ancient world: Greek, Egyptian (in the Middle Kingdom), Elamites, Hittite, Roman, Bulgar, Turkic, Indian, Chinese, Armenian/Cilician, Canaanite/Phoenician, Israelite/Judean, and various other cultures. He names among the long lutes, the pandura, the panduri, tambur and tanbur.
The line of short-necked lutes was further developed to the east of Mesopotamia, in Bactria and Gandhara, into a short, almond-shaped lute. Curt Sachs talked about the depictions of Gandharan lutes in art, where they are presented in a mix of "Northwest Indian art" under "strong Greek influences". The short-necked lutes in these Gandhara artworks were "the venerable ancestor of the Islamic, the Sino-Japanese and the European lute families." He described the Gandhara lutes as having a "pear-shaped body tapering towards the short neck, a frontal stringholder, lateral pegs, and either four or five strings." The oldest images of short-necked lutes from the area that Sachs knew of were "Persian figurines of the 8th century B.C.," found in excavations at Suza, but he knew of nothing connecting these to the Oud-related Gandharan art 8 centuries later.
Spread of oud to Europe When the Umayyads conquered Hispania in 711, they brought their ud along. An oud is depicted as being played by a seated musician in Qasr Amra of the Umayyad dynasty, one of the earliest depictions of the instrument as played in early Islamic history.
During the 8th and 9th centuries, many musicians and artists from across the Islamic world flocked to al-Andalus. Among them was Abu l-Hasan ‘Ali Ibn Nafi‘ (789–857), a prominent musician who had trained under Ishaq al-Mawsili () in Baghdad and was exiled to al-Andalus before 833 AD. He taught and has been credited with adding a fifth string to his oud and with establishing one of the first schools of music in Córdoba.
By the 11th century, Muslim Iberia had become a center for the manufacture of instruments. These goods spread gradually to Provence, influencing French troubadours and trouvères and eventually reaching the rest of Europe. While Europe developed the lute, the oud remained a central part of Arab music, and broader Ottoman music as well, undergoing a range of transformations.
Although the major entry of the short lute was in western Europe, leading to a variety of lute styles, the short lute entered Europe in the East as well; as early as the sixth century, the Bulgars brought the short-necked variety of the instrument called Komuz to the Balkans.
Origins theory from religious and philosophical beliefs
According to Abū Ṭālib al-Mufaḍḍal (a-n-Naḥawī al-Lughawī) ibn Salma (9th century), who himself refers to Hishām ibn al-Kullā, the oud was invented by Lamech, the descendant of Adam and Cain. Another hypothetical attribution says that its inventor was Mani. Ibn a-ṭ-Ṭaḥḥān adds two possible mythical origins: the first involves the Devil, who would have lured the "People of David" into exchanging (at least part of) their instruments with the oud. He writes himself that this version is not credible. The second version attributes, as in many other cultures influenced by Greek philosophy, the invention of the oud to "Philosophers".
Central Asia One theory is that the oud originated from the Persian instrument called a barbat (Persian: بربت ) or barbud, a lute indicated by Marcel-Dubois to be of Central Asian origin. The earliest pictorial image of the barbat dates back to the 1st century BC from ancient northern Bactria and is the oldest evidence of the existence of the barbat. Evidence of a form of the barbaṭ is found in a Gandhara sculpture from the 2nd-4th centuries AD which may well have been introduced by the Kushan aristocracy, whose influence is attested in Gandharan art. The name barbat itself meant short-necked lute in Pahlavi, the language of the Sasanian Empire, through which the instrument came west from Central Asia to the Middle East, adopted by the Persians.