2 edition of Dawr al-qāḍī fī takhfīf al-ʻuqūbah found in the catalog.
Includes bibliographical references (p. 275-285).
|Statement||Dār al-Kutub al-Qānūnīyah|
|Publishers||Dār al-Kutub al-Qānūnīyah|
|The Physical Object|
|Pagination||xvi, 67 p. :|
|Number of Pages||80|
Role of judge in courts; criminal law; Libya; Morocco; laws and legislations. File Size: 1MB.
Consequently, we find ourselves wondering about the relation between the composer of the dawr and its performer. The dawr was recorded by Baidaphon in 1921 on two 27cm records, B-082151, B-082152, B-082153, B-082154. Microfilm negative available for reproduction. Starting then, any addition the singer decided to perform during a concert was his own responsibility, while the recorded version was considered as the standard one. On the instrumental level, there is an independent musical overture for each dawr it was composed for.
The munshid links these phrases either with tarannum or by repeating the lyrics of the previously performed part. He recorded seven with Mechian between 1915 and 1917, and three mentioned earlier with Baidaphon in 1921. It is said that he used to perform them in twice the duration of the recordings.
Written in very large casual naskh in black ink with use of another color yellow? Physical description: 11 lines per page. We can find a dawr composed to a rhythmic cycle or another that are different from the traditional 4-pulse rhythm type.
Those changes are equally relative to the recordings and to live performances. Who wanted to highlight the almost exact same style in two recordings of the same dawr?
Microfilm negative available for reproduction.
175 and 176 are pasted one with the other.
The performance of the dawr certainly varied throughout the different phases of its evolution.