Which of the following was a member of the Quintet of the Hot Club of France?
a. Sidney Bechet
b. Django Reinhardt
c. Jelly Roll Morton
d. Nick LaRocca
B
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CD 1:13, “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 luna drummers praise Naa Abdulai . . .”—answered and punctuated by “booming, single stokes.”
The drummed chorus phrase is easily heard and identified as a rhythmically structured pattern which keeps returning after the vocalized verses. (See close listening, WOM, p. 88.) Listen to the recording, refer to the accompanying Close Listening chart, 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?
How does Bernini's David (Fig. 23-4) distinguish itself from Renaissance images of the same subject?
A. He depicts David at a dramatic moment of quiet contemplation. B. He based the figure on ancient sculptures of athletes. C. He captures the action of the figure moving through space. D. He shows David as a young contemporary man.
Referring to a distinctive form of Japanese drama, the term noh means __________.
A. accomplishment B. warrior C. truth D. action
Discuss antitraditional forms of expression in music and dance
What will be an ideal response?