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040			_cCUS
082	0	0	_a782.42162927405694 _bCOH/P
100	1		_aCohen, Dalia.
245	1	0	_aPalestinian Arab music: a Maqam tradition in practice/ _cDalia Cohen and Ruth Katz.
260			_aChicago: _bUniversity of Chicago Press, _c2006.
300			_axi, 518 p.; _bill. ; _c24 cm.
505			_aChapter 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
650		0	_aSongs, Arabic _zIsrael _xHistory and criticism.
650		0	_aPalestinian Arabs _zIsrael _xHistory and criticism.
700	1		_aKatz, Ruth,
942			_cWB16