Palestinian Arab music: a Maqam tradition in practice/ Dalia Cohen and Ruth Katz.
Material type:
TextSeries: Chicago studies in ethnomusicologyPublication details: Chicago: University of Chicago Press, 2006Description: xi, 518 p. : ill. ; 24 cmISBN: 0226112993 Subject(s): Songs, Arabic -- Israel -- History and criticism | Maqām | Palestinian Arabs -- Israel -- History and criticism | Folk music -- Israel -- History and criticismDDC classification: 782.42162927405694 | Item type | Current library | Call number | Status | Date due | Barcode | Item holds |
|---|---|---|---|---|---|---|
General Books
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Central Library, Sikkim University General Book Section | 782.42162927405694 COH/P (Browse shelf(Opens below)) | Available | P19416 |
Includes bibliographical references (p. 501-508) and index.
Chapter 1. The Research Topic, Problems, Objectives, and the Tradition Studied
1.1. On Studying the Practice of an Oral Tradition
1.2. The Group and Its Tradition
Chapter 2. The Performing Group
2.1. Theoretical Considerations
2.2. Variables That Affect Performance
2.3. Brief Biographical Sketch of a Creative Performer
Chapter 3. Pitch and the Maqamat
3.1. Intonation
3.2. Collections of Notes
3.3. The Functions of Important Notes
3.4. Melodic Intervals
3.5. Range
3.6. Motives
3.7. The Phrase Unit
3.8. Summary: A Comparison of the Maqamat by Pitch Factors
Chapter 4. Rhythm and Structure
4.1. Duration
4.2. Density Tempo
4.3. Beat and Tempo
4.4. Meter
4.5. Form
4.6. Summary
Chapter 5. Melisma and Style
5.1. On the Nature of Melismata
5.2. Studying Melismata: Methods, Examples, and Findings
5.3. Summary
Chapter 6. The Text
6.1. General Characteristics of the Texts Examined
6.2. The Main Structural Components of the Text: Poetic Meter and Rhyme
6.3. Summary
Chapter 7. Musicopoetic Frames
7.1. Theoretical Background
7.2. Findings
7.3. Summary
Chapter 8. The Performer's Role in Shaping the Performance
8.1. The Effect of Types of Performers on Some Significant Musical Components
8.2. The Boundaries of Creativity in Folk Tradition: The Individual Performer
Summary
The Musical Components
The Framework of the Maqamat
The Connection with Extramusical Factors
The Methodological Model
Implications
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