Describe and discuss the performance of “Batal al-Bab” as it is performed by vocal soloists Salah Ba’bad and Khula al Siyabia with ‘ud soloist Salim Magrashi
What will be an ideal response?
• Complementary male and female soloists and choruses
• The piece is strophic
• "The instrumental introduction is roughly the same as the instrumental interludes, although different instrument are featured during each interlude. . ."
• "While the lush violins, the chimes, and the synthesizer suggest that this recording is . . . world pop, the incredible plosive plucking technique of Salim Maqrashi's ‘ud playing defines it as music from the Gulf. . . . [It is] the Salalah-based bar'a style."
• The bar‘a rhythm can be counted in 2/4 (1+2+1+2+) or a quick 4/4 (12341234). Let's count it in two: 2/4 (1+2+1+2+).
• "Since the rhythmic pattern is chugging along in 2 (1+2+1+2+), but the lines of poetry are sung in groups of 10 beats, the beginning of each line falls alternately on a different beat of the bar‘a rhythmic pattern (Transcription 10.9).
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What was the basis of the Monteverdi-Artusi controversy?
A) the superiority of equal temperament over just intonation B) whether unprepared dissonance is allowed for text expression C) whether music should be published using the single-impression or multiple impression process D) the superiority of the major and minor modes over the church modes
In any given city in Africa, one would experience solely Christian rituals or solely Muslim rituals or solely the rituals of indigenous beliefs, but never a mix
Indicate whether the statement is true or false
Discuss the contributions of Stephen Sondheim to the development of the American musical
What will be an ideal response?
This listening example is most representative of which one of the following?
A. black gospel (first phase) B. contemporary gospel C. the Billy Sunday-Homer Rodeheaver era D. all of the above