“. . . with the exception of music used in [Muslim] religious rituals, Arab music is part of a tradition that is shared by __________________________. . . . The Arab world is actually the birthplace of [these] three monotheistic religions . . . which, due to their common roots, share _____________. What aspects from the “domain of music” justify considering the Middle East or the Arab world
a “single music-culture”?
What will be an ideal response?
• Jews, Christians, and Muslims
• ". . . many cultural attributes, from liturgical texts and stories, to traditions of religious chant, to philosophical ideas regarding mysticism."
• The theoretical building blocks of music (scales, rhythms, and forms); the material culture of music (families of related instruments); the relationship of language, poetry and storytelling to music; and musical aesthetics (the power and beauty associated with making and experiencing music)
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According to Worlds of Music, what are some of the questions about the Arab world and, by extension, the Middle East, which the chapter has answered by its investigation into music from this culture area? (Answers may vary.)
What will be an ideal response?
The tomb of Emperor Qin attempted to __________.
A. recreate the emperor's world B. defeat the emperor's enemies C. capture the glories of Chinese history D. appease the emperor's ancestors
Long lyrical melodies, melismatic text setting, and rich polyphonic textures
a. made text more clearly understood. b. ran the risk of obscuring the text to be sung. c. were outlawed completely by the Catholic Church. d. made printing difficult.
Because the work of each designer impinges on that of the others, each designer must be sensitive to the ideas and needs of the others
Indicate whether the statement is true or false