The Oud: A Journey from Antiquity to the Peninsular of Malaysia

by Dr. Raja Zulkarnain RMY

The oud, a pear-shaped stringed instrument, has a rich and diverse history that spans centuries and continents. Its journey from antiquity to the Malay Peninsula reflects cultural exchange, artistic evolution, and the enduring allure of music. In this introductory article for the Taqsim blog, we swiftly delve into the origins of the oud, trace its path across civilizations, and explore its significance in the context of Malaysia.

The oud, also known as the ʿūd (Arabic: عود‎), holds a special place in the chronicles of musical heritage. Its distinctive resonance has echoed through the corridors of time, captivating listeners from Baghdad to Andalusia, from Persia to the Arabian Peninsula. As we embark on our exploration, let us unravel the threads that bind this ancient instrument to the vibrant cultural tapestry of Malaysia.

The oud’s origins are shrouded in the mists of antiquity. Its earliest traces lead us to the cradle of civilization—the ancient Mesopotamian region. Here, in the fertile crescent between the Tigris and Euphrates rivers, musicians plucked the strings of early lutes, laying the groundwork for what would become the oud.

The term “oud” itself derives from the Arabic word for “wood,” emphasizing the instrument’s construction from a resonant wooden body. Its design evolved over time, influenced by interactions with neighboring cultures. The oud’s journey took it to Persia (modern-day Iran), where it absorbed melodic nuances and intricate ornamentation.

With the spread of Islam, the oud found a new home. The Abbasid courts of Baghdad embraced it, elevating it to a symbol of refined taste and intellectual pursuits. Renowned scholars like Al-Farabi and Ibn Sina (Avicenna) extolled its virtues, recognizing its ability to evoke emotions and connect souls.

The oud’s timbre resonated in the poetry of Al-Mutanabbi and the mystical verses of Rumi. It accompanied courtly gatherings, whispered secrets in moonlit gardens, and adorned the palaces of caliphs. Its frets mapped the maqamat(musical modes), each mode a universe of expression.

As the Islamic empire expanded, so did the oud’s influence. In Al-Andalus (Muslim Spain), it flourished alongside other artistic forms. Ziryab, the polymath musician, introduced innovations—adding a fifth string, refining playing techniques, and codifying musical theory. The oud resonated in the Alhambra’s courtyards, bridging cultures and epochs.

The Mediterranean became a conduit for musical exchange. Oud players sailed with traders, their melodies echoing across ports. Byzantine, Jewish, and Christian musicians embraced the oud, weaving it into their own traditions. The oud’s journey mirrored the silk routes, connecting Baghdad to Cordoba, Constantinople to Venice.

Our voyage concludes in the Malay Peninsula, where the oud’s arrival is less documented but no less significant. Traders, pilgrims, and scholars brought it to the bustling ports of Malacca and Penang. Here, it blended with local instruments—the gambus, rebab, and serunai—creating a unique soundscape. Malaysia’s oud players, composed intricate melodies that resonated in royal courts and village celebrations. The oud’s warm tones found kinship with the tropical forests and azure seas. Its strings whispered tales of love, longing, and resilience. The oud’s journey—from ancient Sumer to the Malay archipelago—mirrors humanity’s quest for beauty, knowledge, and connection. As we explore its history, let us celebrate the oud’s enduring legacy and its role in shaping the cultural mosaic of Malaysia. 

Welcome to Taqsim, where the oud’s melodies await your discovery!

 

Note: This introductory article draws upon historical research, academic sources, and oral traditions. Further exploration into specific periods and regional variations will follow in subsequent posts.

References:

1. Al-Farabi. Kitab al-Musiqa al-Kabir (The Great Book of Music).

2. Touma, Habib Hassan. The Music of the Arabs. Amadeus Press, 1996.

3. Wright, Owen. The Modal System of Arab and Persian Music. Oxford University Press, 1978.