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Music
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by
discussion of it.
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conceptualize about the devices and means whcih would elicit its
ethnonusicology.
A. Perimeters or Borders
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Figure 1
SUMMARY OF STRURAL SEGMENTATION DEVICES IN THE LITERARY,
5) natural bar
the
segment
3) fluting, cu
4) bent/broken
5) window/nic
ON
2) of discursive 2) geom./flor
elenent
3) increase in 3) 3-dimensional
complexity and bays
4) domed chai
domed edifi
5) courtyar
4) variant tec
execu
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C. Cyclic Coipmletion
The third category of module separators has been called
Cyclic Conpletion, for it emphasizes divisions within the work of
art through recurring instances of the completion of some form of
cycle. In the literary arts, completion of each metric cycle
serves to mark off modular segments. One might also regard the
completion of the discursive element-the idea, the episode or
the story-as another example of literary Cyclic Completion.
architectural complex.
D. Alternation or Juncture
between one
part
of a pp0
another;
alternation
of rhyming
patterns
within
a poem;
andand
changes
in the
subject matter
through introduction of a different character, event, time or
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workmanship.
nature of that unity and variety, this author, in other works (al
of those regions.
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many parts of the Muslim world, though the Arabic term has not
been as widely adopted. It includes tuned or percussion
interjections or interludes of various lengths which separate one
1973:46). fla, taslim, tardid, ruiu and raddah are but a few
of Islamic history.
B. Internal Repetition
The second category of musical segmentation devices includes
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music, in both unmetered and metered genres, for both secular and
religious contexts.
centers" (1977: 48-49). For Powers, they are "goal tones" (1980);
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the maqam in use (Hi.jz IKr Kurd). In this case, the B below
middle C and the F above it, as "tonics" for the two tetrachords
of the maqam are the tones of stability which mark the ends of
the musical cycles. In addition, the completion of each line
evidences the appearance of an identical or varied repetition of
a refrain motif (see Figure 3). Only the ending of line 4 avoids
poetic-nusical completion, instead delaying the resolution of
aesthetic tension to the end of the following line.
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Figure 2
Sono Cairo
Isq-ini
al al
RahESI
7017080,
Side
-sqinl
Band
2 A
1.. Orchestra 2 3 5 6 7 8 9 10 11 13
6,
10
2.k
Jn vr Gi J e pI mA wn
.
3..
6e
AI, dI I I 11 I i I ' L J v l _
---._T
amen (peace)
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Figure 3
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D. Alternation or Juncture
"nusical," since they are intrinsic to the music itself; and four
1975:9-10) .
alternations
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NOTES
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dhikrbarat in Maylaysia.
world.
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REFERENCES CITED
Arberry, A.J.
1943-46 "Orient Pearls at Random Strung," Bulletin of
the School of Oriental and African Studies,
Bencheneb, Moh.
Browne, Edward G.
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el Helou, Selim
Kartomi, Margaret J.
1973 Matjabat Songs in Central and West Java.
Canberra: Australian National University Press.
Lichtenstadter, Ilse
1976 Introduction to Classical Arabic Literature.
New York: Schocken Books.
Malm, William P.
Merriam, Alan P.
Nettl, Bruno
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Powers, Harold S.
Ethnomusicoloagy, 13(3):425-468.
25(1):41-71
Signell, Karl L.
Slobin, Mark
Sweeney, Amin
1974 "Professional Malay Story-Telling: Some Questions
of Style and Presentation," Studies in
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Wickens, G.M.
DISCOGRAPHY
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PLATES
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Plate 1
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Plate 2
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Plate 3
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Plate 4
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