the great qanunji ("qanun player") Joseph Hawthorne (Yusef Za'arur) (Hebrew: דנדהי ללוואלד-יוסף זערור‎). Salima Pasha was one of the most famous singers of the 1930s–1940s. The respect and adoration for Pasha were unusual at the time, since public performance by women was considered shameful by some countries in the region, and most female singers were recruited from brothels. The music in Iraq began to take a more Western tone during the 1960s and 1970s, notably by Ilham Madfai, with his Western guitar stylings with traditional Iraqi music which made him a popular performer in his native country and throughout the Middle East. Influence of Arabic music The majority of musical instruments used in European medieval and classical music have roots in Arabic musical instruments that were adopted from the medieval Arab world. They include the lute, which shares an ancestor with the oud; rebec (an ancestor of the violin) from rebab, guitar from qitara, naker from naqareh, adufe from al-duff, alboka from al-buq, anafil from al-nafir, exabeba (a type of flute) from al-shabbaba, atabal (a type of bass drum) from al-tabl, atambal from al-tinbal, the balaban, castanet from kasatan, and sonajas de azófar from sunuj al-sufr. The Arabic rabāb, also known as the spiked fiddle, is the earliest known bowed string instrument and the ancestor of all the European bowed instruments, including the rebec, the Byzantine lyra, and the violin. The Arabic oud in Arab music shares an ancestor with the European lute. The oud is also cited as a precursor to the modern guitar. The guitar has roots in the four-string oud, brought to Iberia by the Moors in the 8th century. A direct ancestor of the modern guitar is the (Moorish guitar), which was in use in Spain by the 12th century. By the 14th century, it was simply referred to as a guitar. A number of medieval conical bore instruments were likely introduced or popularized by Arab musicians, including the xelami (from zulami). Some scholars believe that the troubadors may have had Arabian origins, with Magda Bogin stating that the Arab poetic and musical tradition was one of several influences on European "courtly love poetry". Évariste Lévi-Provençal and other scholars stated that three lines of a poem by William IX of Aquitaine were in some form of Arabic, indicating a potential Andalusian origin for his works. The scholars attempted to translate the lines in question and produced