Discuss the first musical example, “Al-Shaghal,” in terms of the ensemble, the instrumentation, the structure of the form (who does what, when), and the “musical building blocks of the piece” (for example, the melodic mode and the rhythm). You may also comment on musical aesthetics and the “agreed-upon rules of performance” between musicians and audience
What will be an ideal response?
ANSWER:
• Al-Shaghal is performed by a takht ensemble including the instruments, ‘ud, violin, qanun, nay, buzuq, and riqq • "Al-Shaghal" is in the musical mode or maqam Bayyati. The scale of maqam Bayyati includes a neutral tone or half flat on the second degree, and sometimes on the sixth degree as well. • "Al-haghal" is in the rhythmic mode wahdah, which can be played with many variations. • The aesthetic of tarab involves inspiring and inspired performance. Audience members confirm and encourage inspired playing by the musicians. • Each musician in the ensemble has an opportunity to improvise a taqasim or improvisation over a rhythmic and melodic vamp or an ostinato pattern played by the other members in the ensemble. • The taqasim on the instrument, buzuq performed by A. J. Racy is described in the chapter.
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In the sarcophagus of Lucius Pullius Peregrinus, what is the most likely reason why the portrait head of the wife is featureless?
A) ?His wife suffered a damnatio memoriae after her death, and her portrait was erased. B) ?He was probably unmarried at the time of his death, and the portrait was never completed. C) ?His wife predeceased him, and her portrait was erased. D) ?He rejected the idea of burial with his wife and wanted to change the portrait to something else.