According to WOM, what are some of the questions about the Arab ...

[Jipu 123]

According to WOM, what are some of the questions about the Arab world and, by extension, the Middle East, which the chapter has answered by its investigation into music from this culture area?
 
  What will be an ideal response?

Question 2

What was Ofra Hazas cultural background? What had happened to her music? What do you hear in CD 3:14 that shows (A) the influence of traditional Arab music and (B) Western influence?
 
  What will be an ideal response?

[lorealeza]

Answer to Question 1

 . . . answer questions regarding geography, history, and material culture
 . . . use the music as a way to explore issues of ethnicity and identity, aesthetics, gender, and spirituality
 . . . a consideration of this music in its cultural context . . . leading us to think about the function of music in the culture of diaspora
 . . . investigate the biographies of individual musicians and audience members. . leading to
 a discussion of the roots of their individual musical worlds and the routes their musical paths have taken over time. This might bring us to the
 larger themes of diaspora, cultural genocide, and the political economy of music.
 Finally we could try to figure out what the music means and to whom?

Answer to Question 2

 Ofra Haza was a Yemeni Jew who grew up in Israel performing in community theater. (Yemen is home to Jews, Muslims, and Christians who differ in terms of ethnicity, socio-economic class, and political organization. . . . In 1948 Israelis sent planes to evacuate virtually the entire Jewish community (50,000) from Yemen to Israel.)
 She was picked up on the nascent mediascapes of international pop music and, by the 1990s was a strong player in a relatively new music/marketing category called World Beat' or EthnoPop,' something we now more often find under the ambiguous term world music.
 (A) Arab influence: CD 3:14, Im Nin'alu is from the traditional collection of religious songs of the Yemenite Jews called the Divan and was written by a 17th century poet, Rabbi Shalom Shabbezi. . . . You can hear a brass tray and tin can, household items that acquired the function of percussion instruments during a time of musical repression in Yemen.
 (B) Western influence: The music features a quasi-Western sounding chamber ensemble that includes oboes and violin . . .
 Note the solo female voice (Ofra Haza) sings (A) unaccompanied in free meter at the beginning of the selection followed by an abrupt change to (B) strong, rhythmic music in a Western meter (solo female voice continues accompanied by ethnopop background). (A) = Arab influence, (B) = Western influence

[Jipu 123]

Both answers were spot on, thank you once again

[lorealeza]

Great! Please up vote