Editing Oud (section)

===Origins theory from religious and philosophical beliefs===
[[File:Aleppo-Music0Band.jpg|thumb|left|[[Syria]]n musicians in [[Aleppo]] with an oud, {{circa|1915}}]]
According to Abū Ṭālib al-Mufaḍḍal (a-n-Naḥawī al-Lughawī) ibn Salma (9th century), who himself refers to Hishām ibn al-Kullā, the oud was invented by [[Lamech (descendant of Cain)|Lamech]], the descendant of [[Adam]] and [[Cain and Abel|Cain]].<ref>{{Cite book|title=Kitāb al-Malāhī wa Asmāʾihā min Qibal al-Mūsīqā|last=ibn Salma|first=Abū Ṭālib al-Mufaḍḍal (a-n-Naḥawī al-Lughawī)|publisher=Al-Hay’a al-Miṣriyya al-ʿĀmma li-l-Kitāb|year=1984|location=Cairo - Egypt|pages=13–14|quote=ذكر هشام بن الكلّى أنّ أول من عمل العود فضرب به رجل من بني قابيل، ويقال: قايين بن آدم، يقال له: لامك، وكان عمّر زمانا طويلاً، ولم يكن يولد لهُ، فتزوّج خمسين امرأة وتسرّى بمائتي سريّة [...] ثم ولد له غلام قبل أن يموت بعشر سنين، فاشتد فرحه، فلما أتت على الغلام خمس سنين مات، فجزع عليه جزعًا شديدًا، فأخذه فعلّقه على شجرة، فقال: لا تذهب صورته عن عيني حتى يتقطّع أشلاء أو أموت، فجعل لحمه يقع عن عظامه حتى بقيت الفخذ بالساق والقدم والأصابع، فأخذ عودًا فشقّه ورقّقه وجعل يؤلف بعضه على بعض، فجعل صدره على صورة الفخذ، والعنق على صورة الساق، والإبريق على قدر القدم، والملاوي كالأصابع، وعلّق عليه أوتارًا كالعروق، ثم جعل يضرب به ويبكي وينوح حتى عمي، فكان أول من ناح، وسمّى الذي اتّخذ: عودًا، لأنه اتُخذ من عود}}</ref> Another hypothetical attribution says that its inventor was [[Mani (prophet)|Mani]].<ref name=":0"/> Ibn a-ṭ-Ṭaḥḥān adds two possible mythical origins: the first involves the Devil, who would have lured the "People of David" into exchanging (at least part of) their instruments with the oud. He writes himself that this version is not credible. The second version attributes, as in many other cultures influenced by Greek philosophy, the invention of the oud to "Philosophers".<ref name=":1" />

====Central Asia====
One theory is that the oud originated from the Persian instrument called a&nbsp;''barbat&nbsp;''(Persian: بربت ) or ''barbud'', a lute indicated by Marcel-Dubois to be of Central Asian origin. The earliest pictorial image of the barbat dates back to the 1st century BC from ancient northern [[Bactria]] and is the oldest evidence of the existence of the barbat.<ref name="BARBAT">{{cite web |last1=During |first1=J |title=BARBAT |url=http://www.iranicaonline.org/articles/barbat |website=Encyclopaedia Iranica}}</ref> Evidence of a form of the barbaṭ is found in a Gandhara sculpture from the 2nd-4th centuries AD which may well have been introduced by the [[Kushan Empire|Kushan]] aristocracy, whose influence is attested in Gandharan art.<ref name="BARBAT"/> The name barbat itself meant ''short-necked lute'' in [[Middle Persian|Pahlavi]], the language of the [[Sasanian Empire]], through which the instrument came west from Central Asia to the Middle East, adopted by the Persians.<ref name=Iranica/><ref name=centralasia>{{Cite book |last= Blum|first= Stephen|title = Oxford Music Online|date=20 January 2001 |publisher= Oxford Music Online, Grove Music Online|quote= The ‘ūd (lute) is believed to be a later development of a pre-Islamic Persian instrument called barbat...[was part of] eastwards diffusion of Middle Eastern and Central Asian chordophones... the pipa, likewise derived from the barbat or from its prototype|doi = 10.1093/gmo/9781561592630.article.05284|chapter= Central Asia|isbn= 978-1-56159-263-0}}</ref>

The barbat (possibly known as mizhar, kirān, or muwatter, all skin topped versions) was used by some Arabs in the sixth century.<ref name=EncyclopiaIslam>{{cite book|title=First Encyclopaedia of Islam: 1913-1936|url=https://books.google.com/books?id=ro--tXw_hxMC&pg=PA986|year=1993|publisher=BRILL|location=Leiden|isbn=978-90-04-09796-4|page=986}}</ref> At the end of the 6th century, a wood topped version of the Persian-styled instrument was constructed by al Nadr, called "ūd", and introduced from Iraq to Mecca.<ref name=EncyclopiaIslam/> This Persian-style instrument was being played there in the seventh century.<ref name=EncyclopiaIslam/> Sometime in the seventh century it was modified or "perfected" by [[Mansour Zalzal]], and the two instruments (barbat and "ūd shabbūt") were used side by side into the 10th century, and possibly longer.<ref name=EncyclopiaIslam/> The two instruments have been confused by modern scholars looking for examples, and some of the ouds identified may possibly be barbats.<ref name=EncyclopiaIslam/> Examples of this cited in the ''[[Encyclopedia of Islam]]'' include a lute in the [[Cantigas de Santa Maria]] and the frontispiece from ''The Life and Times of Ali Ibn Isa'' by Harold Bowen.<ref name=EncyclopiaIslam/>

The oldest pictorial record of a short-necked lute-type ''vīnā'' dates from around the 1st to 3rd centuries AD.<ref>{{Cite journal|last=Karaikudi S.|first=Subramanian|year=1985|title=An introduction to the Vina|journal=Asian Music|volume=16|issue=2|pages=7–82 (10)|quote=We find representations of the nissāri vinas in sculptures, paintings, terracotta figures, and coins in various parts of India […]. The lute type vina [...] is represented in Amaravati, Nagarjunakonda, Pawaya (Gupta period), Ajanta paintings (300-500 A.D.) [...]. These varieties are plucked by the right hand and played by the left hand|doi=10.2307/833772|jstor=833772}}</ref> The site of origin of the oud seems to be Central Asia.<ref>{{Cite journal|last=Picken|first=Laurence|year=1955|title=The origin of the short lute|journal=The Galpin Society Journal|volume=8|pages=32–42 (40)|quote=With the evidence as yet available, it is reasonable to place the site of origin of the short lute in Central Asia, perhaps among Iranised Turco-Mongols, within the area of the ancient first-century kingdom of the Kusanas. This conclusion must not be taken to exclude the possibility that short lutes first appeared somewhat earlier and somewhat further to the West-in Parthia, for example; but at present the evidence of the Kusana reliefs is the only evidence of their existence in the first century[...] The lutes of the Kusanas would seem to be the first representations of undoubted short ovoid lutes; and Fu Hsüan’s essay, one of the first texts in any language devoted to a short lute, though not to an ovoid lute.|doi=10.2307/842155|jstor=842155}}</ref> The ancestor of the oud, the barbat was in use in pre-Islamic Persia. Since the Safavid period, and perhaps because of the name shift from barbat to oud, the instrument gradually lost favor with musicians.<ref name=":2">{{Cite journal|last=Lawergren|first=Bo|year=2001|title=Iran|journal=The New Grove|pages=521–546 (534)}}</ref>

The [[Turkic peoples]] had a similar instrument called the ''[[komuz|kopuz]]''.<ref name=":3">{{Cite journal|last=Chabrier|first=Jean-Claude|year=2008|title=ʿŪd|journal=Encyclopedia of Islam|pages=534|quote=The ḳabūs (al-Ḥid̲j̲āz), ḳabbūṣ (ʿUmān), ḳanbūṣ (Ḥaḍramawt), ḳupūz or ḳūpūz (Turkey) is a very old instrument. Ewliyā Čelebi [q.v.] says that the ḳūpūz was invented by a vizier of Meḥemmed II (d. 886/1481) named Aḥmed Pas̲h̲a Hersek Og̲h̲lu. He describes it as being a hollow instrument, smaller than the s̲h̲as̲h̲tār, and mounted with three strings (Travels, i/2, 235). On the other hand, Ibn G̲h̲aybī says that the ḳūpūz rūmī had five double strings. The instrument is no longer used by the Turks, although it has survived under the name of kobza, koboz, in Poland, Russia, and the Balkans, but here it is the lute proper and not a barbaṭ type}}</ref> This instrument was thought to have magical powers and was brought to wars and used in military bands. This is noted in the [[Göktürk]] monument inscriptions{{Citation needed|date=January 2017}}. The military band was later used by other Turkic state's armies and later by Europeans.<ref name=":4">Fuad Köprülü, ''Türk Edebiyatında İlk Mutasavvıflar'' (First Sufis in Turkish Literature), Ankara University Press, Ankara 1966, pp. 207, 209.; Gazimihal; Mahmud Ragıb, ''Ülkelerde Kopuz ve Tezeneli Sazlarımız'', Ankara University Press, Ankara 1975, p. 64.; ''Musiki Sözlüğü'' (Dictionary of Music), M.E.B. İstanbul 1961, pp. 138, 259, 260.; Curt Sachs, ''The History of Musical Instruments'', New York 1940, p. 252.</ref>{{Verify source|date=January 2017}}