Mazhar.

Large circular frame drum (40 to 60 cm wide, otherwise more) with one membrane. It is found in Egypt, Syria and Turkey (see Drum, §I, 1(vi)). There has been some confusion between mizhar and mazhar. The former, a chordophone of early Islamic times, is copiously discussed in written sources, while the second is known chiefly through oral transmission and is rarely mentioned in the texts. The two words share the same plural, mazāhir.

There are contradictions in the sources, Arab as well as Turkish and Western, on the question of whether the mazhar has jingles on the circumference of the frame, as in the historical Arabian duff (see also Tār). In resolving these contradictions, it should be noted that the rings are not of Arab origin but were introduced under Islam and probably came from Iran.

The mazhar has religious significance, though in Syria its usage extends to secular music. It is called on in places of worship, where about a dozen may be assembled. Anyone may play, but usually they are entrusted to those with fine voices. The beating of the mazhar creates a deafening noise which heightens tension during ceremonies, most of all in the initiation ordeals of the neophytes. It is played with the right hand at the far side of the frame, striking the edge and the centre; the left hand holds the instrument still and gently inclined outwards to facilitate the swinging of the jingles. The player-singer may hide his face behind the membrane, modifying the timbre of the voice, or move the instrument away and allow the voice to be heard naturally; or he may combine these techniques. The qualitative duration of a good mazhar, with taut, dry skin and therefore with a shrill timbre, is reckoned at not more than 20 minutes; after that the effect of the playing makes the skin relax and the instrument becomes heavier. On such occasions, a sacristan is charged with reviving it by warming it on a fire. A detailed account of this instrument is given in GroveI (C. Poché).