Rebabs
Mevlâna mausoleum, Konya, Turkey

The rebab (Arabic الربابة or ربابة - "a bowed (instrument)"),^[1] also rebap, rabab, rebeb, rababah, or al-rababa) is a type of string instrument so named no later than the 8th century and spread via Islamic trading routes^{[citation needed]} over much of North Africa, the Middle East, parts of Europe, and the Far East. The bowed variety often has a spike at the bottom to rest on the ground, and is thus called a spike fiddle in certain areas, but there exist plucked versions like the kabuli rebab (sometimes referred to as the robab or rubab). Furthermore, besides the spike fiddle variant, there also exists a variant with a pear-shaped body, quite similar to the Byzantine lyra and the Cretan lyra. This latter variant travelled to western Europe in the 11th century,^[2] and became the rebec.

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 a membrane such as parchment or sheepskin and has a long neck attached. There is a long thin neck with a pegbox at the end and there are one, two or three strings. There is no 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 (little over an octave), and was gradually replaced throughout much of the Arab world by the violin and kemenche. It is related to the Iraqi instrument the Joza, which has four strings.

Construction[link]

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. In Southeast Asia, 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" may have a body made of half a coconut shell. The more sophisticated versions have a metal soundbox and the front may be half-covered with beaten copper, and half with cowskin.

Arabia, Persia and the Ottomans[link]

Bedouin playing a rebab during World War II

The rebab was heavily used, and continues to be used, in Persian traditional music. There is also a bowed instrument in Persian music named Kamanche which has similar shape and structure. The Rebab is also played in other countries such as north-western India, most likely tracing its origin to Greater Iran because of its use in the Sassanid court.

Asian heartland[link]

Jack Hsu of The Hsu-nami's band performing on the Erhu spike-fiddle^[3] to progressive rock music

The spike fiddle variants are very commonly used by many East and Central Asian ethnic groups and their diaspora around the world, such as the Huqin variety used by most ethnic groups of China, the morin khuur of Mongolia, the Byzaanchy of Tuva, the Kokyu of Japan, Haegeum of Korea, kyl kiak of Kyrgyzstan, Saw sam sai of Thailand and many others. These are generally used in playing traditional folk tunes, but have also become popular in arrangements of contemporary music, including such genres as classical, jazz, and rock.^[4]

[edit] Malay Archipelago

K.P.H. Notoprojo, famous Indonesian rebab player

In the Indonesian gamelan the rebab 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.^[5] 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 the difficult technique.^[5] There are typically two per ensemble, one for pelog and one for slendro, never played together.^[5]

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 the buka when it is part of the ensemble.^[6]

In the eastern Malaysian states of Kelantan and Terengganu, the Rebab is used in a healing ritual called "Main Puteri". The musician healer is sometimes taken to hospitals in cases where doctors are unable to heal ailing patients.

See also[link]

• Rubab (instrument)
• Rebec
• Gadulka
• Gusle
• Gudok
• Kamancheh
• Kemenche
• The lyra of Crete
• Kobyz
• Lira, the medieval bowed instrument of the Byzantine Empire
• Lijerica

Notes[link]

External links[link]

• Turkish Rebab Master Ibrahim Metin Ugur
• Nay-Nava the encyclopedia of persian music instruments
• Rebab
• The Rebab
• Arabic rababa photo
• http://nuke.liuteriaetnica.it/Default.aspx?tabid=91
• FERNWOOD An American music group that uses a Rebab.
• Matthaios Tsahouridis
•  Chisholm, Hugh, ed. (1911). "Rebab". Encyclopædia Britannica (11th ed.). Cambridge University Press. 

References[link]

• Margaret J. Kartomi: On Concepts and Classifications of Musical Instruments. Chicago Studies in Ethnomusicology, University of Chicago Press, 1990

v t e Traditional Arabic musical instruments Plucked lutes Buzuq Gimbri Guembri Lotar Oud Qanbus Sintir Lavta Zithers Qanun Bowed lutes Kamanjah Rababa Lyres Simsimiyya Kissar Tanbūra Flutes Ney Kawala Reed instruments Arghul Habbān Jirba Mijwiz Mizmar Mizwad Rhaita Drums Bendir Daf Goblet drum Hajir Mazhar Mirwas Naqara Naqareh Riq Tar Tabl baladi Other percussion Krakebs Manjur Mihbaj Sagat (zills) Sistrum Clapping Clay Jug

Ustad Mohammad Omar (1905—1980) was a musician from Afghanistan who played the rubab.

Early life and career[link]

Mohammad Omar began music lessons under his father, Ibrahim, who taught him singing, sarod, rubab and dutar. In the mid-20th century, he was Director of the National Orchestra of Radio Afghanistan, which brought together folk musicians from the different regions and distinct ethnic communities of Afghanistan.^[1]

In 1974, Mohammad Omar received a Fulbright-Hays Foreign Scholar Fellowship to teach at the University of Washington, making him the first Afghan musician to teach at a major university in the United States. On November 18, 1974, Mohammad Omar gave a public concert at the university, his first rabab performance in front of a Western audience; he was accompanied on tabla by Zakir Hussain. In 1978 he met the German jazz-rock groupe Embryo at the Goethe Institut in Kabul. The concert was filmed for the movie Vagabundenkarawane by Werner Penzel.

Discography[link]

• Embryo's Reise 1980 (Schneeball 20)
• Virtuoso from Afghanistan 2002 (SFW)

Notes[link]

External links[link]

• Smithsonian Folkways Page on Ustad Mohammad Omar
• Review of one of his albums on RootsWorld
• World Music Central - Ustad Mohammad Omar

This Afghanistan biographical article is a stub. You can help Wikipedia by expanding it. v t e

Mohammed Omer (born 1984) is a Palestinian journalist. He has reported for numerous media outlets, including: the Washington Report on Middle East Affairs,;^[1] Al Jazeera;^[2] New Statesman;^[3] Pacifica Radio; Electronic Intifada;^[4] The Nation;^[5] Inter Press Service;^[6] Free Speech Radio News;^[7] Vermont Guardian;^[8] ArtVoice Weekly;^[9] the Norwegian Morgenbladet;^[10] and Dagsavisen; the Swedish dailies Dagen Nyheter; and Aftonbladet; the Swedish magazine Arbetaren;^[11] the Basque daily Berria; and the German daily Junge Welt; and the Finish magazine Ny Tid.^[12] He also founded the Rafah Today blog ^[13]

Awards[link]

In 2008, Omer was awarded the 2007 Martha Gellhorn Prize for Journalism.^[14] In the award citation, Omer was honored as "the voice of the voiceless" and his reports were described as an "humane record of the injustice imposed on a community forgotten by much of the world.".^[15] Noam Chomsky said he had been following Omer's work for several years, and was pleased to learn of his award, "an honor that he richly deserves." He went on, he "...has continued his work with courage and integrity. It is no exaggeration to say that he can serve as a model of honorable journalism,".^[16] He was also awarded the Ossietzky Prize by Norwegian P.E.N in 2009. Norwegian P.E.N is a branch of P.E.N International. The Prize was awarded for "outstanding achievements within the field of free expression".^[17] He was also given an honorable mention in Pulse Media's 20 Top Global Media Figures of 2009.^[18]

• “Best Youth Voice” (2006).^[19]
• Martha Gellhorn Prize for Journalism (2008) ^[14]
• Ossietzky Prize (2009)^[20]
• Press Freedom Prize (2009) ^[21]

Background[link]

Omer was raised in the Rafah refugee camp at the southern end of the Gaza Strip near the Egyptian border. Mohammed began working to support his family at age six when his father was in an Israeli prison. In time, he landed a job at a backpack factory and since then has built an impressive resume as a translator, journalist, and program coordinator."^[22]

Mohammed graduated with dual Bachelor degrees, English and Literature, from the Islamic University of Gaza in June 2006.^[23]

Incidents[link]

Israeli restrictions have sometimes stopped him travelling to the West Bank.^[24]

In 2008, while traveling back to the Gaza Strip via Allenby Bridge to the West Bank, Omer reported that he was stripped to his underwear, humiliated and beaten by Israeli soldiers while traveling into the West Bank from Jordan. According to a United Nations report, Mohammed Omer is convinced that the brutal assault occurred when the security services were frustrated at their inability to confiscate the money he had been awarded.^[25]

He was subsequently hospitalized upon his return to Gaza, where it was discovered that Omer had sustained several broken ribs and various bodily contusions as a result of the ordeal.^[26][27] The government of The Netherlands, who had sent a diplomat to welcome Omer and accompany him to Gaza, lodged an official protest with Israel about Omer's mistreatment.^[28] Israel's Government Press Office said in a statement that Omer was never subjected to physical or mental abuse. It said his account was full of contradictions and was "without foundation".^[29]

References[link]

External links[link]

• Mohammed Omer 2007 Martha Gellhorn Prize
• Gaza journalist Mohammed Omer: His life and words
• Rafah Today
• Telephone Interview with Mohammed Omer Regarding Detainment Abuse on Democracy Now
• Mohammed Omer's 'Truth'
• The Dangers and Difficulties of Reporting from Gaza
• Life in Hell: A Journalist's Account of Life in Gaza" with Mr. Mohammed Omer at The Palestine Center

Jordi Savall
Background information
Birth name	Jordi Savall i Bernadet
Born	January 14, 1942 Igualada, Catalonia
Genres	Classical
Occupations	Gambist
Instruments	Viola da gamba, viola da braccio
Website	http://www.alia-vox.com/

Jordi Savall i Bernadet (Catalan pronunciation: [ˈʒɔrði səˈβaʎ]; born January 14, 1942, in Igualada, Catalonia) is a Catalan viol player, conductor and composer. He has been one of the major figures in the field of Western early music since the 1970s, largely responsible for bringing the viol (viola da gamba) back to life on the stage. His characteristic repertory ranges from Medieval to Renaissance and Baroque music, though he has occasionally ventured into the classical or even the romantic period.

Musical education[link]

Savall's musical training started at the age of six in the school choir of his native town (1947–55). After completion of training at the Barcelona Conservatory of Music (1959–65), he specialised in early music, collaborating with Ars Musicae Barcelona of Enric Gispert and studying under August Wenzinger at the Schola Cantorum Basiliensis in Basel, Switzerland (1968–70). In 1974 he succeeded Wenzinger as professor of viola da gamba at the Schola Cantorum Basiliensis.

Ensembles[link]

In 1974 he formed the ensemble Hespèrion XX (known since 2000 as Hespèrion XXI), together with the soprano Montserrat Figueras (his wife, who died in 2011), Lorenzo Alpert and Hopkinson Smith. Hespèrion XX favoured a style of interpretation characterised by great musical vitality and, at the same time, ultimate historical accuracy.

Jordi Savall with viol

In 1987 he returned to Barcelona to found La Capella Reial de Catalunya, a vocal ensemble devoted to music from before the 18th century.

In 1989 Savall created Le Concert des Nations, an orchestra which is generally dedicated to music from the baroque period, but sometimes also performs music from the classical or romantic repertoire (e.g. Sinfonía Grande Orquesta by Juan Crisóstomo de Arriaga).

More recently, Savall has performed with his family. The Savall family ensemble has included Jordi Savall's late wife, Montserrat Figueras, and their two children, Arianna and Ferran. Arianna Savall plays the harp and sings, like her mother. Ferran Savall plays the theorbo (bass lute) and sings (not only with his family but also in jazz clubs in Barcelona).^[1]

Recordings[link]

Savall's discography includes more than 100 recordings. Originally recording with EMI Classics, and then from 1975 with the Astrée label of Michel Bernstein, since 1998 he has released his records under his own label, Alia Vox.^[2]

Honours and awards[link]

In 2000 Savall was awarded the Premi d'Honor Lluís Carulla, given for service to Catalan culture or for scientific, cultural or civic works in the Catalan language.

He was awarded the Doctor Honoris Causa degree by the University of Barcelona on 27 November 2006.

He was twice nominated for a Grammy, and won the 2011 Grammy Award for 'Best Small Ensemble Performance' for Dinastia Borja. Església i poder al Renaixement.

In 2008 Savall was appointed a European Union ambassador for intercultural dialogue. In June 2008 he and his wife, Montserrat Figueras, were named "Artists for Peace" by UNESCO.^[3]

In February, 2009 he received the Handel Music Prize from the city of Halle, Germany, and the National Music Prize from the National Council of Music and Arts of Catalonia. In 2010, he was given the Praetorius Musikpreis Niedersachsen and a MIDEM Classical Award, for his album "Jerusalem –La ville des deux Paix: La paix céleste et la paix terrestre."^[4]

In 2012 Savall was awarded the Léonie Sonning Music Prize.^[5]

Filmography[link]

Savall adapted and performed music for the 1991 Alain Corneau film, Tous les matins du monde. His work on this film earned him a César award from the French film industry in 1992. The soundtrack has sold more than a million copies worldwide.

As a composer, Jordi Savall has written music for the following films:

• (1991) Tous les matins du monde (All the Mornings of the World) by Alain Corneau
• (1993) El Pajaro de la felicidad (The Bird of Happiness) by Pilar Miró
• (1993) Joan the Maiden, Part 1: The Battles by Jacques Rivette
• (1994) Joan the Maiden, Part 2: The Prisons by Jacques Rivette
• (1997) Hosszú alkony (i.e. Long Dusk) by Attila Janisch
• (1997) Marquise by Vera Belmont
• (1998) Top Secret by Jacques Rivette

References[link]

External links[link]

Wikimedia Commons has media related to: Jordi Savall

• Alia-vox.com, Jordi Savall's official website.
• Complete discography at Medieval.org
• The private website Classic @ la carte is devoted primarily to Jordi Savall's works.
• Misteria Paschalia Festival
• [2]