From Afghan Rubāb to Kabuli Afghan Rubāb

A study of the diachronic evolution of the Afghan rubāb reveals a number of transformations that testify to the need to adapt the instrument to the needs of different repertoires. In addition to the evolution of the pegbox, as can be seen on the instrument from the 1855 Universal Exhibition, there has been an increase in the size of the instruments (from the largest to the smallest kalān or shāh, miyana and zircha), but also a reduction in the number of tarhā or melodic strings (changing from three doubled strings to three single strings) and raising the bridge at the string sim-e barachakpassage. These transformations took place during the 20^th century. They correspond to the invention of so-called Kabuli : which brings together the classical genre, influenced by the science of the Northern India rāga music to the kiliwāli genre, composed of musical elements borrowed from the different traditions of the country. By increasing the size of the instruments, it was possible to add sympathetic strings: from 7 for the oldest instruments to 15 for the most modern. The transformation of the bridge represents a significant change in Kabuli style notably through the development of the rhythmic playing named sim-e kārior parandkārion the string sim-e barchak.