Andalusia and al-Andalus

Assembled from 14 blocks · 2 evidence · 6 related

1. Story
2. The southern third of the Iberian peninsula, and under Islamic rule from 711 the polity of al-Andalus, whose courts became the western terminus of the Arab musical world. Andalusia is where this Journey's Mediterranean corridor lands: the ʿūd, the theory written around it, the muwashshaḥ and zajal poetic forms and the nūba suite were all cultivated here between the ninth and fifteenth centuries, in Córdoba, Seville, Granada and lesser centres. Two directions of transmission follow from that, and they should not be confused. Northward, instruments of oud type entered Christian Europe, acquired frets and a new name and became the lute — a diffusion whose evidence is etymological and iconographic and whose dating is loose. Southward, after the fall of Granada in 1492 and the expulsions that followed, the living repertoire went to the Maghreb, where it is still performed. The idea that the region's later music, flamenco above all, is a direct continuation of Andalusi practice is far weaker than either of those, and this pack does not assert it.
3. Knowledge
4. Andalusia and al-Andalus
5. Connections
6. The Andalusi nūba
7. Córdoba
8. Ziryāb (Abū al-Ḥasan ʿAlī ibn Nāfiʿ)
9. Ziryāb arrives at the Umayyad court of Córdoba
10. A European lute is depicted in the Libro de los juegos
11. Granada falls and the Andalusi repertoire crosses to the Maghreb
12. Evidence
13. The Andalusi nūba tradition developed in al-Andalus between the ninth and fifteenth centuries and survives in the Maghreb as ala in Morocco, ṣanʿa in Algeria and maʾlūf in Tunisia and Libya, carried there by musicians and families displaced after 1492. V55 verification basis: retrieved in search summary blending this interview with encyclopaedic reference entries; the interview was not listened to or read in full and the attribution of each element to Reynolds specifically is not established.
14. The medieval European lute descends from the gut-strung Arabian oud, takes its name from the Arabic al-ʿūd, cannot be distinguished from the ʿūd in Western iconography until about the thirteenth century, and appears in the Libro de los juegos commissioned by Alfonso X and completed c. 1283; European players added frets. V55 verification basis: retrieved in search summary with the substance attributed to this Met essay; the essay page itself was not opened, and no plate, accession number or footnote in it was read.