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Oud scent is popular in the Middle East, the Arab world, and in Arab culture, where it is used as a traditional aromatic and perfume in many forms. Oud is also one of the reasons why the Arab region developed trade routes in ancient times. Popular amongst Muslims, it has been traditionally used in Mosques where the incense chips are burned. [38]
This is a list of people notable for playing the oud This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources .
The oud (Arabic: عود, romanized: ʿūd, pronounced) [1] [2] [3] is a Middle Eastern short-neck lute-type, pear-shaped, fretless stringed instrument [4] (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.
Simon Shaheen (سيمون شاهين); born Tarshiha, Upper Galilee is a Palestinian-American oud and violin player and composer. [1] [2] [3] At the age of 2, Shaheen moved with his family to Haifa, but spent most of the weekends in Tarshiha, an Arab village in Galilee. The Shaheen family is known for its musicality with music instructor and ...
Arabian Waltz features Abou-Khalil's compositions for string quartet (performed by the Balanescu Quartet), along with oud, Michel Godard on tuba or serpent, and frame drums. In 2008, Abou-Khalil released an album entitled "Em Português" ("In Portuguese"), where he mixes fado with Arabic music with the participation of the fadista Ricardo Ribeiro .
The Arabic Oud House was created in 1999 in Cairo by Iraqi oud player and composer Naseer Shamma. [1] Shamma, who graduated from the Baghdad Academy of Music, is a UNESCO Artist for Peace [2] and has been distinguished by other organizations like the International Red Crescent and Red Cross Societies as goodwill ambassador.
Arabian Waltz is an album by the Lebanese oud player and composer Rabih Abou-Khalil, featuring the Balanescu Quartet, which was recorded in 1995 and released on the Enja label the following year. [ 1 ]
Pitch measurement analyses of relevant audio recordings reveal that, equal temperaments based on bike-chained "multiples of twelve" are essentially not compatible with authentic Middle Eastern performances; substantiating the notion instruments strictly based on them would clash audibly with a justly tuned/intoned tanbur, oud, ney, or kemenche.
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