The Fifth International Symposium on Traditional Polyphony ...

Lithuanian and Ainu Vocal Polyphony: Certain Parallels
of horn’ musical polyphony of Central Africa. This is a unique sort of “canon in time” (Aroma (compiler), 1992: 2, 3)
319
29 <strong>The</strong> first woman who begins to blow is described as kol’ö ‘leaves behind’ and obzlan’ pölias’ö ‘plays the pipe in the front’; the
second woman is sometimes characterised by the Russian words, gonitsia, goniaet, nastigaet ‘chasing after’, ‘driving as in a hunt’
and the like (Julanova, 1997: 163)
30 What is interesting is that the musicians who enter later do not comprehend neither the double (in two parts) nor the triple (in
three parts) principle of interlocking (in German, Verzahnung, Ineinandergreifen) as syncopation but consider their own entry as
“their very own, the correct” rhythm of playing, i.e., repetition of the same only in a different time segment (Kubik, 1988: 84)
31 <strong>The</strong> phenomena of canon in African music were quite comprehensively described by G. Hercog (Herzog, 1949), R. Brandl
(Brandl, 1965) and other researchers
32 <strong>The</strong> sutartinės (perhaps Ainu upopos also) have an unusual hypnotic effect (although, to date, no one has officially made an
in-depth study of this). <strong>The</strong> monotonous rhythm and the frequent repetition of the refrains as well with their actual structures are
believed to contribute to this effect
References
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