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| 1 | |
The takht ensemble in "Iraqi Café" (disk 1, track 15) features |
| | A) | improvisations played on the 'ud |
| | B) | modulations to different maqam |
| | C) | heterophonic melodic texture |
| | D) | all of the above |
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| 2 | |
Listen to "Zeina" (disk 4, track 16), then indicate the best answer for each of the following questions.
The introductory call-and-response part is played by |
| | A) | qanun call Answered by violins and cellos |
| | B) | violin call Answered by riqq |
| | C) | guitar call Answered by tambourine |
| | D) | idiophones exclusively |
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| 3 | |
After the introductory call-and-response section |
| | A) | the riqq improvises a free rhythm section |
| | B) | the nay plays an ornamented melody over a masmoudi rhythm |
| | C) | a guitar plays in call-and-response with the flute |
| | D) | percussion alternates with strings |
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| 4 | |
The tempo in this piece |
| | A) | stays the same throughout |
| | B) | speeds up gradually from start to finish |
| | C) | slows down gradually from start to finish |
| | D) | begins medium-slow, then has a contrasting fast section in the middle, and finally concludes with a return to the original medium-slow tempo. |
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| 5 | |
Listen to "Belhadawa Walla Belshaawa?" (disk 4, track 20), then indicate the best Answer for each of the following questions.
The introductory section uses |
| | A) | triple meter |
| | B) | heterophony |
| | C) | call-and-response |
| | D) | free rhythm |
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| 6 | |
The piece features a number of popular Egyptian dance rhythms, including |
| | A) | rumba, zaar, and fallahi |
| | B) | Saaidi, zaar, and fallahi |
| | C) | rumba, Saaidi, and fallahi |
| | D) | rumba, zaar, and Saaidi |
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