ECHOES OF THE OUD: THE RESONANT LEGACY OF AL ANDALUS IN THE WESTERN ORCHESTRAL TRADITION
DOI:
https://doi.org/10.35631/IJMOE.830026Keywords:
Al-Andalus, Ziryab, Musical Synthesis, Oud and Lute, Muwashshah and ZajalAbstract
The historiography of Western classical music has long been dominated by a Eurocentric narrative that treats the Arab-Andalusian influence as an exotic periphery rather than a constitutive element. This oversight obscures the profound genealogical link between the musical aesthetics of Al-Andalus and the structural foundations of the Western orchestral tradition. This study aims to bridge this research gap by proposing a conceptual model of "Harmonic Integration" that traces the resonant legacy of the Andalusian oud and the innovations of Ziryab (789–857 AD) into the European canon. Through a synthesis of historical ethnomusicology analysis, this paper demonstrates that the cyclical organization of the Andalusian Nuba functions as a sophisticated prototype for the European Baroque suite. Furthermore, it identifies the evolution of the oud into the European lute as the primary vehicle for the transmission of harmonic theory, facilitating the shift from modal heterophony to polyphonic practice. The research highlights how Ziryab’s systematization of the Andalusian school catalyzed a broader "Cultural Synthesis," fostering hybrid genres like the Muwashshah and Zajel and establishing a "virtuoso-composer" model that professionalized the European musician. Beyond music, this aesthetic refinement is shown to mirror the architectural evolution of the Islamic Qubba and monumental facades, creating a unified "Andalusian aesthetic". The study concludes that the Western orchestra is a product of Mediterranean intercultural dialogue, challenging rigid East-West binaries. These findings offer significant theoretical implications for decolonizing music history and practical applications for contemporary performance and pedagogy, advocating for a recognition of the shared DNA within the classical tradition.
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