The Afghan rubab in Central Asian and Turkic musical culture: Historical development, structural features, and modernization

Abstract

This study examines the historical development, structural characteristics, and modernization of the Afghan rubab within the broader context of Central Asian and Turkic musical culture. Drawing on historical sources, organological studies, visual materials, museum specimens, and the author’s own scholarly and practical investigations, the article compares the Afghan rubab with related regional varieties, including the Bukhara, Tajik, Pamiri, Indian, and Kashmiri rubabs, as well as the sarangi. The comparative analysis focuses on body construction, soundboard materials, string systems, playing position, sound production, and performance technique. The findings reveal that the Afghan rubab shares substantial structural and functional similarities with the Bukhara and Tajik rubabs, particularly in its deep wedge-shaped body, lateral recesses, short neck, leather-covered resonating section, and horizontal plectrum technique. The Pamiri and Kashmiri varieties also display notable similarities in body form, playing position, and string organization, while the Indian rabab shows close structural affinities. By contrast, the sarangi differs fundamentally in its vertical playing position and bowed performance technique. These comparisons support the view that the Afghan rubab should be understood as part of an interconnected Central Asian rubab family rather than as an instrument belonging exclusively to a single national tradition. The study further traces the modernization of the instrument in Uzbekistan, including changes in neck length, fret structure, tuning mechanisms, string materials, tonal range, and ergonomic design. Particular attention is given to the modified seven-string Afghan rubab, which provides easier access to the upper register, improved intonation, greater technical freedom, and expanded performance possibilities. The study concludes that the historical continuity and modern transformation of the Afghan rubab contribute significantly to contemporary performance, music education, orchestral practice, and the preservation of Turkic musical heritage..