Analysis of information sources in references of the Wikipedia article "Тар" in Russian language version.
The tar is a long necked lute from Iran. A similar shaped and named instrument is used in the Caucasus states (i.e.Azeri tar /Caucasus tar). This instrument ["tar" = "string"] appeared in its present form in the middle of the eighteenth century.
The practice spread rapidly, and inspired tradisional Uzbek musicians to adopt the estrada musicians's electric guitars, synthesizres and drums sets, combining them with local instruments like the Azerbaijani tar (a plucked lute), doyra (frame drum) and gijjak (spike fiddle or violin held vertically).
In 1870–1875, the famous tar-player Mirza Sadiq Asad Oglu (1846–1902, the city Shusha) improved the main mugham musical instrument tar. For amplification of sound, Mirza Sadiq increased the number of strings, changed the number of frets, and added the fret Zabul for the better performance of mugham Segah. He modernized the way of holding the tar: The player places it horizontally on the chest instead of the former Iranian way of holding on the lap. This kind of Azerbaijani tar is widely used in the South Caucasus, Dagestan, Central Asia, Turkey, and other countries of the Middle East.
It exists in two forms, the Iranian and the Caucasian. <...>
The Caucasian tār (tār-e qafqāzi) is differentiated from the Iranian by its shallower, less curved body; in Azerbaijan, in large instruments, the two bulging sections are glued together. <...> The Caucasian tār is highly esteemed in Azerbaijan and Armenia; it is sometimes found among the Turks of Khorāsān and in Uzbek ensembles, and has recently been introduced in Turkey. <...>
The Armenian tar (târ) has a double-bowl, pear-shaped soundbox, usually carved from a single block of mulberry wood and covered in lamb or fish skin, with a walnut wood neck holding 25 movable gut frets
Azeri art music is also played in other regions of the Caucasus, especially among the Armenians, who have adopted the system of maqām and the instruments kamāṇča and tār.
It remained essential to the Azerbaijani genre known as muğam, which is performed by a trio consisting of Azerbaijani tar (distinct from the Persian variety), kəmənçe (spike fiddle), and a singer who also plays the frame drum (dəf) during instrumental interludes.
In the 1920s the musician and composer Vardan Buniyatian (1888–1960) constructed a family of t‘aṙyer and k‘yamanchanerof different pitches and timbres, from which an Middle Eastern symphony orchestra was created. These instruments have now spread to Dagestan and other Central Asian republics.
It exists in two forms, the Iranian and the Caucasian. <...>
The Caucasian tār (tār-e qafqāzi) is differentiated from the Iranian by its shallower, less curved body; in Azerbaijan, in large instruments, the two bulging sections are glued together. <...> The Caucasian tār is highly esteemed in Azerbaijan and Armenia; it is sometimes found among the Turks of Khorāsān and in Uzbek ensembles, and has recently been introduced in Turkey. <...>
The Armenian tar (târ) has a double-bowl, pear-shaped soundbox, usually carved from a single block of mulberry wood and covered in lamb or fish skin, with a walnut wood neck holding 25 movable gut frets
It remained essential to the Azerbaijani genre known as muğam, which is performed by a trio consisting of Azerbaijani tar (distinct from the Persian variety), kəmənçe (spike fiddle), and a singer who also plays the frame drum (dəf) during instrumental interludes.
The tar is a long necked lute from Iran. A similar shaped and named instrument is used in the Caucasus states (i.e.Azeri tar /Caucasus tar). This instrument ["tar" = "string"] appeared in its present form in the middle of the eighteenth century.
Azeri art music is also played in other regions of the Caucasus, especially among the Armenians, who have adopted the system of maqām and the instruments kamāṇča and tār.
In the 1920s the musician and composer Vardan Buniyatian (1888–1960) constructed a family of t‘aṙyer and k‘yamanchanerof different pitches and timbres, from which an Middle Eastern symphony orchestra was created. These instruments have now spread to Dagestan and other Central Asian republics.
It remained essential to the Azerbaijani genre known as muğam, which is performed by a trio consisting of Azerbaijani tar (distinct from the Persian variety), kəmənçe (spike fiddle), and a singer who also plays the frame drum (dəf) during instrumental interludes.
