Nag Biegu” (“Ferocious Wild Bull”) praises a king of Dagbon in the late 1800s (Naa Abdulai). “As they dance to the drumming, people recall the bravery of the king.” The piece is in a verse-chorus form (verse = A, chorus = B). “In the verse, the vocalist and leading lunga drummers praise Naa Abdulai . . .”—answered and punctuated by “booming, single strokes.” The drummed chorus
phrase is easily heard and identified as a rhythmically structured pattern which keeps returning after the vocalized verses. (See Transcription 3-16, Worlds of Music, p. 136). Listen to the recording, refer to the accompanying Active Listening, and identify what you hear in the drums at the beginning of the selection and, in elapsed time (minutes: seconds), where the sung verses (A) and choruses (B) occur.
What will be an ideal response?
• (0:00-0:07) the pitches and tones of the drums change
• (0:08–0:20) B drummed chorus
• (0:21–0:57) A sung verse
• (0:59–1:08) B drummed chorus
• (1:09–1:44) A sung verse
• (1:45–1:54) B drummed chorus
• (1:55–2:08) A sung verse to fade
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What are some of the musical affects that are possible on the pipa? (Answers may vary)
What will be an ideal response?
The Katholikon of the monastery of Hosios Loukas features an iconostasis that __________.
A. functions as the focal point where the altar is located B. acts as a long, congregational area flanked by side aisles C. provides more space for the worshipers to gather D. separates the sanctuary from the congregation
The gardens at Versailles are described as classically harmonious because they __________.
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What artistic style avoided sentimentality?
A. Realism B. Impressionism C. Post-Impressionism D. Romanticism