Listen to Three Slow-Paced songs. As you listen, follow the Active Listening guide Worlds of Music, p. 120. Notice how the three songs merge together, one into the next, and how the percussion ensemble accompanies with the polyrhythmic part demonstrated in Demonstration: Agbekor. If you can read music notation, see if you can follow the music from the transcriptions (3-13, 3-14, 3-15, Worlds of
Music pp. 121 - 123. Notice the repetition of musical ideas (melodic phrases) and how the use of repetition (same alphabetical letter) and contrast (different alphabetical letter) gives different musical forms to the Three Slow-Paced songs. When and how do the three songs start?
What will be an ideal response?
• (0:00-ca. 0:40) Agbekor Song 1 (fade in on song)
• (ca. 0:42–ca. 2:01) Agbekor Song 2 starts with a solo male voice singing three ascending tones, each spaced four steps apart on "‘Gbe – ko – viawo."
• (ca. 2:02–2:52) Agbekor Song 3 starts with the same solo male voice singing "a – vu ma . . ." up an ascending four-step interval, then immediately descending down a three-step interval.
You might also like to view...
Titian's "Venus" of Urbino was likely painted ___________.
A. to commemorate a marriage B. as a portrait C. to honor the gods D. for the Medici home
In "Cosa Sento," whose melody is rapid and fluttering, showing the character's state of agitation?
a) Susanna b) the Count c) Basilio d) Cherubino
All visible lines have color.
Indicate whether the statement is true or false.
Which feature of this image illustrates a convention of English portraiture?
a) the three-quarter profile b) the inclusion of objects related to the subject c) realistically detailed renderings d) the depiction of recognizable features of the subject