Available evidence suggests that the long-necked bowl lute evolved in Mesopotamia early in the second millenium B.C. while the necked spike lute first appeared in Egypt at about the same time.The long-necked bowl lutes appeared in Europe by way of Asia Minor, and in China andIndia via Iran and Centreal Asia. The spike bowl lutes were distributed throughout Northern Africa. In new Cultural settings these instruments underwent modifications in design and construction materials as they were used to perform genres of music alien to the land of their origin.

In the near East and South and Central Asia, the oldest inhabitants were the Semites (western sector) and the Dravidians (eastern sector). In the middle of the second millenium B.C., "Aryan" peoples from north of the Black Caspian sea migrated into this regions settling in the central and eastern sectors. Again at the end of the first millenium A.D. Turks from Central Asia entering this region formed the Ottoman Empire in the western sector and the Moghal empire in the eastern. With such a mix up between different nations and cultures the long-necked lute took many forms and names.

Tanbur, Tambura : in Afghan regions

Nefer :spiked lutes of North Africa.

Pandour, pandir panturi, fandyr : long necked lutes of Ancient Greece and Byzantium

Saz : long necked lutesof Asia minor/Turkish

Bozuq : longed necked lutes of Arabia and vicinity

Sehtar : longed necked lutes of Iran and vicinity

Dutar : longed necked lutes of Afghanistan and central Asia

Sitar,Tambura : longed necked lutes of Indian sub-continent.

It is known that prior to the era of Muslim expansion into South Asia, there were no musical instruments of the long-necked lute category in the region. The fact that the sitar is a long-necked lute and that other instruments of this category existed in the near east an central asia prior to the era of expantion suggests that there may very well be a historical connection between the two groups of instruments.

The conquest of the Punjab region by the Ghaznavids took place in the Year 1030. This marked the beginning of the era of Muslim expantion into the region and the establishing of Turkic and Afghan ruling dynasties in India. It was at this point in time that the long necked lute arrived in India.

Drone instruments have existed in India for more than a thousand years, but there is no evidence that there where any long necked type instrument before the Muslim invasion of India.

According to popular history it was Amir Khusrau who "invented" the sitar. Due to the absence of any mention of the sitar in the writings of Amir Khusrau (1285-1351) or in those of his contemporaries it is unlikely that any musical instrument with this name existed at that time. It would be incorrect to say that Amir Khusrau invented this type of instrument though he may have modified it fo the performance of "light" Indian genres.

Some historians think that the sitar comes from the Uzbeck dutar, some from the Persian setar, tarafdar sitar etc...But we don't know which influenced which since they existed together for 700 years and borowed features back and forth. Basicaly, the muslim long necked lute influenced the Indian stringed instruments. The sitar evolved from a sub species of long-necked lutes herein referred to as the "Indian tanbur". This tanbur developed from the Saz (Turkey) , Sethar (Iran), dutar, dumbra(Afghanistan). The word sitar was used the first time in the text : "Aammira-raso of Jodhpur, Tajasthan, "c.1725. The early sitar had 3 strings, two of which are tuned in unison and one an octave below.

USTAD IMDAD KHAN (1848-1920)

USTAD ENAYET KHAN (1895-1938)

USTAD VILAYAT KHAN
(Photo © Ira Landgarten)

ANNAPOURNA

NIKHL BANERJEE

Stage 1: 19th century

additon of the jawari bridge found on the bin.widening of the neck,movable metal frets.

Stage 2: end of the 19th ct.

Addition of the chikari and sympathetic strings on the kachapti vina and the adition of two strings on the sitar

stage 3 : 20th century

Addition of the chikari and sympathetic strings on the sitar .The sitar also increased in size to make room for the sympathetic strings

The texts were liberally adapted from the book: "Sitar music in Calcutta" by James Sadler Hamilton. University of Calgary Press, CITY