Malouf, and its closely related cousin in Libya, were later influenced by Ottoman music. This process peaked in the middle of the 18th century, when the Bey of Tunisia, Muhammad al-Rashid, a musician, used Turkish-style instrumental compositions in his work and firmly set the structure of the Nuba. Though his system has evolved considerably, most of the instrumental sections of modern nubat are derived from al-Rashid. After the fall of the Ottoman Empire, Tunisia became a French protectorate and the declining Malouf was revitalized. Baron Rodolphe d'Erlanger, a French-naturalized Bavarian living near Tunis, commission a collection of ancient works, working with Ali al-Darwish of Aleppo. Al-Darwish and d'Erlanger's pioneering study of Tunisian music was presented at the International Congress of Arabic Music, held in 1932. Baron Rodolphe d'Erlanger died only a few months after the congress, which revolutionized Arab music across the world. In Tunisia, the meeting inspired The Rachidia, which was formed in 1934 to preserve the malouf. The Rachidia undertook some alterations, revising lyrics that were considered profane, and also constructed two performance spaces in the old city of Tunis. The Institute also helped to transition Malouf from being performed by folk ensembles with only a few instruments (including 'ud, tar, darbuka, rabab and bendir) to symphonic pieces inspired by Western classical music and Egyptian ensembles. The most influential such orchestra was called the Rashidiyya Orchestra, led by violinist Muhammad Triki. Rashidiyya Orchestra used a large chorus as well as contrabass, cello, violin, nay, qanun, and 'ud sharqi, and followed the developing rules of Arab musical theory and notation. The thirteen surviving nubat were created during this time, distilled from the highly divergent folk forms still in use. Western musical notation was used; along with the popularization of recorded music, the use of improvisation quickly declined. These changes helped to popularize Malouf, though not without critics and gave the music a reputation as classical art music. After Tunisian independence in 1957, the country's first president, Habib Bourguiba, promoted the Malouf, recognizing its unifying potential. The then-director of the Rashidiyya Orchestra, Salah el-Mahdi, wrote the Tunisian national anthem, and eventually also became the leader of the music department of the Ministry of Cultural Affairs. His musical theories became a major part of the Orchestra, as well as its successor, Institut Supérieur de Musique. Mezwed Purely Tunisian music with pop Tunisian touch. Most popular mezwed singers are Heddi Habbouba, Habib