"Alexandre Sènou Adandé" Ethnographic Museum
(Benin)


The "Alexandre Dumas" School of Foreign Languages
(Bulgaria)


Burkina Faso Cultural Heritage Branch
(Burkina Faso)


The Museum of Art and Archeology of the University of Antananarivo
(Madagascar)


National Museum of Mali
(Mali)


St. Boniface Museum
(Manitoba, Canada)


Andalusian Study and Research Centre
(Morocco)


Musée acadien de l'Université de Moncton
(New Brunswick, Canada)


World Music Research Laboratory
(Quebec, Canada)


Canadian Museum of Civilization
(Quebec, Canada)


Museum of the Romanian Peasant
(Romania)


The Arab and Mediterranean Music Centre
(Tunisia)

THE COBZÃ (folk lute)

the cobza (folk lute)
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Note Book
The cobzã (folk lute)
Doina factory
Date: Unknown; probably the 1960s
Wood, metal strings
50 cm x 28 cm
Museum of the Romanian Peasant

The cobzã or folk lute, a cordophone instrument of the Eastern lute family, has existed in the southern and eastern provinces of Romania (Moldavia, Wallachia and southern Oltenia) for several hundred years. As early as the 16th century, it was depicted in church murals. Widespread in cities and towns up until the beginning of this century, it has gradually been replaced in traditional popular groups (tarafs) by the cimbalon (tambal) or Hungarian dulcimer.

There are very few cobzã or cobzã players today. They usually belong to large national folk groups who have taken over the instrument to "preserve" it for posterity. These groups are "customers" of a few stringed-instrument makers in northern Moldavia who still produce the instrument.

The cobzã is made from a fairly large pear-shaped soundbox that extends into a fairly short, wide, thick neck. The neck bends inwards almost at right angles. The cobzã’s eight strings are grouped in twos and tuned in a major tuning (usually D, F#, A). The player plucks the strings with a goose-feather plectrum or small comb using supple up-and-down movements of the right wrist.

Today, the cobzã is used as an harmonic accompanying instrument. Only a few good musicians (like Marin Cotoanþã from Wallachia, recorded here) can include two or three simple dance melodies in their repertoire. Two kinds of accompaniment have evolved for the cobzã , one in non-arpeggiated tuning and the other in figured tuning based on one of several melody-rhythm forms (tiituri).

S.R.