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The rebec (sometimes rebecha, rebeckha, and other spellings, pronounced or ) is a bowed stringed instrument of the and the early . In its most common form, it has a narrow boat-shaped body and one to five strings.


Origins
Popular from the 13th to 16th centuries, the introduction of the rebec into Western Europe coincided with the Arabic conquest of the Iberian Peninsula. There is, however, evidence of the existence of bowed instruments in the 9th century in Eastern Europe. The Persian geographer of the 9th century cited the bowed (or lūrā) as a typical bowed instrument of the Byzantines and equivalent to the pear-shaped Arab .Margaret J. Kartomi, 1990For a possible etymological link between Arabic rebab and French rebec see American Heritage Dictionary

The rebec was adopted as a key instrument in Arab classical music and in it was used in the tradition of Arabo-Andalusian music, which had been kept alive by descendants of as refugees following the . The rebec also became a favorite instrument in the tea houses of the .

The rebec was first referred to by that name around the beginning of the 14th century, though a similar instrument, usually called a lira da braccio (arm lyre), had been played since around the 9th century. The name derives from the 15th century rebec, altered in an unexplained manner from the 13th century ribabe, which in turn comes from the Arabic rebab. An early form of the rebec is also referred to as the rubeba in a 13th century Moravian treatise on music. Medieval sources refer to the instrument by several other names, including kit and the generic term .

A distinguishing feature of the rebec is that the bowl (or body) of the instrument is carved from a solid piece of wood. This distinguishes it from the later period and known in the Renaissance.


Tuning
The number of strings on the rebec varies from 1 to 5, although three is the most common number. Early forms of the instrument commonly had 2. The strings are often tuned in fifths, although this tuning is not universal. Many depictions of the rebec show its bridge as flat, which would mean that several strings were bowed at the same time. This suggests that the strings would likely be tuned in fifths and fourths similar to the fiddle and mandora. The instrument was originally in the treble range, like the violin, but later larger versions were developed, so that by the 16th century were able to write pieces for consorts of rebecs, just as they did for consorts of .


In use
The rebec was often played by professional and musicians at feasts. In northern Europe, musicians typically held it at the shoulder, while musicians in southern Europe and northern Africa held it down in the lap and gripped the bow from below.
(2025). 9780521625555, Cambridge University Press.

The use of frets on the rebec is somewhat ambiguous. Many scholars who have written about the instrument have described it as fretless. However, some illustrations from the 13th century onward depict frets on the rebec. It is possible to attribute this discrepancy to the fact that frets on bowed instruments appeared in Europe in the early renaissance, but not in England until the 15th century.

In time, the viol came to replace the rebec, and the instrument was little used beyond the renaissance period. The instrument was used by masters until the 18th century, however, often being used for the same purpose as the , a small pocket-sized violin. The rebec also remained in use in , especially in and . , a genre of music from , often includes the rebec. Chilote Waltz (a variation of traditional , played in Chiloe Island, ) also uses the rebec.


Artists
  • The original Michael Nyman Band included a rebec before the band switched to a fully amplified lineup.
  • Les Cousins Branchaud, a group from , Canada, includes a rebec player.
  • Ensemble Micrologus, an group, has a member who performs on rebec.
  • is a multi-instrumentalist specializing in early bowed strings like the rebec. She also plays in , an early music and folk music group.
  • is a French musician, composer and improvisor who performs on, among other instruments, the rebec.
  • , while being more famous for his work on violin and bagpipes, also plays the rebec in the .
  • Sisters and have released a number of albums that include the rebec.
  • , a European music group, often includes the rebec in their performances.
  • Sérgio Roberto Veloso de Oliveira (from Mestre Ambrósio and Siba e a Fuloresta), and Antônio Nóbrega plays the rebec in a very Brazilian folkloric way, which has a large number of players in its north-east part.
  • A rebec, played by , is used in the song "Kingfisher" on the 2010 album Have One On Me by American multi-instrumentalist .Have One On Me album booklet


In popular culture
Hugh Rebeck is a minor character in William Shakespeare's Romeo and Juliet, one of the musicians called by Peter in an oft-cut scene. Presumably, he is named for the instrument that he plays.

In a scene in , a goatherd entertains Don Quixote and by playing a rebec and singing a love song.

A rebec featured prominently in one of ' (12th century) stories: Liliwin, the title character of The Sanctuary Sparrow, earned his living by playing that instrument. His rebec was damaged by a mob that accused him of murder, but one of the monks repaired it and returned to him at the end of the story.


See also


External links

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