Andalusi nubah


Andalusī nūbah, also transliterated nūba, nūbā, or nouba, or in its classical Arabic form, nawba, nawbah, or nōbah, is a musical genre found in the North African Maghrib states of Morocco, Algeria, Tunisia, and Libya but, as the name indicates, it has its origins in Arabo-Andalusian music. The name replaced the older use of sawt and originated from the musician waiting behind a curtain to be told it was his turn or nawbah by the sattar or curtain man.
The North African cities have inherited a particularly Andalusian musical style of Granada. The term gharnati in Morocco designates a distinct musical style from "Tarab Al Ala" originating in Cordoba and Valencia, according to the authors Rachid Aous and Mohammed Habib Samrakandi in the latter's book Musiques d'Algérie.

Form, texts, and performance

According to tradition, there were initially 24 nubat, one for each hour of the day. Each nuba must have a duration of 1 hour.
Lyrics are sung by a soloist or in unison by a chorus, and are chosen from the muwashshah or zajal poetic forms, which are in classical and colloquial Arabic, respectively.
An andalusi nubah uses one tab' per performance, and includes several instrumental pieces as well as predominantly vocal pieces accompanied by instrumentation. These differ as to mizan or rhythmic pattern .
Formally the tempo increases while the awzan simply within each of five sections, called mawazin. The sections are introduced by short instrumental pieces and vary according to region, the name of a section indicating the wazn used:
The instrumental ensemble used includes the ud, rabab or rebec, nay, qanun, tambourine, and a goblet drum called darbuka. The instrumentalists also serve as chorus.

Scales

Tunisia

In Tunisia, the 13 nubat are traditionally said to have been classified and organized by the 18th-century aristocratic amateur Muhammad al-Rashid Bey, who died in 1759. He is also credited with the composition or commissioning of the 27 instrumental pieces that introduce and separate the main vocal pieces in the nuba cycle. In this system, the 13 nubat are treated as a single overarching cycle, given a sequence in which, ideally, they should be performed.

Morocco

The nubat of Morocco were collected and classified toward the end of the 18th century by the musician Al Haïk from Tetuan.
Unlike the nubat from Algeria or Tunisia, Moroccan nubat are long, so it is rare for a Moroccan nuba to be played in its entirety. Another distinction is that many Tunisian or Libyan nubat and some Algerian nubat are considered as being of Turkish inspiration, whereas Moroccan nubat are free of this influence.

Discography