The Fifth International Symposium on Traditional Polyphony ...

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508 Franz Föedermayr Phonogram 2767 (fig. 4) According to Lach (1931), the phonogram contains a two-part Megrelian dance song consisting of meaningless syllables. <strong>The</strong> most striking elements are four refrain-like phrases prominently emerging by their strong performance (fig. 5). <strong>The</strong>y have a double-fourth structure Eflat 3 — Aflat 3 — Dflat 4 , in the shape of a mirror image of two bow-shaped melodies first running off stepwise and then, again stepwise, running together. <strong>The</strong> lower voice draws its bow from Aflat 3 step by step downwards to Eflat 3 and again step by step back to Aflat 3. <strong>The</strong> upper voice draws its bow, again stepwise, from Aflat 3 upward to Dflat 4 and returns, again step by step, back to Aflat 3 . This structure is common to all four phrases, their performance, however, is done with much variation: (1) <strong>The</strong> convergence of the two melodic bows at Aflat 3 in phrases R 2 , R 3 and R 4 is delegated, as it were, by the lower voice to the upper voice, because instead of going from Gflat 3 to Aflat 3 , the lower voice makes a jump downwards to Dflat 3, thus introducing the transition figure Dflat 3 —Eflat 3 —F 3 to the next subsection; In R 1 the convergence is delayed by the upper voice. (2) It is only in the lower voice that the upbeat to the double bow is done in the same manner in all four cases, namely from Eflat 3 via F 3 to Aflat 3 . <strong>The</strong> upper voice varies more. In R 1 and R 4 it forms parallel thirds with the lower voice, reaching in this way the starting tone of the double bow by anticipation, but with quarter notes instead of eight notes. <strong>The</strong> upbeat figure in R 2 is built by two fifths so that – because of the anticipation in the upper voice – the main part begins with a third chord, and Dflat 4 is reached via a changing note. In R 3 the upbeat is formed by a changing note-figure in such a manner that the parallel thirds are shifted in time by a eight-note and reaching Aflat 3 by anticipation. In a similar manner also the upper melodic bow in the core of the double bow is performed with more variation than the one in the lower voice, namely by passing tones, changing and passing note-figures (especially in R 1 , R 3 and R 4 ), whereas the structure is more clearer expressed in R 2 . <strong>The</strong> results of the analysis can be summed up as follows: all three songs are well structured and compact entities, each with an individuality of its own. Trying to find something that they have in common, we would surely detect one or the other musical element characteristic of a Megrelian multi-part style, but apart from that, the most important common feature is an aesthetic principle which I would like to name “variety in compactness”. Whether the different designs of a melodic third (as in phonogram 2762/2), the refinement of shifting the metrical beat in two widely identical melodies in phonogram 2762/1, or the subtleties of varying the four refrain-like phrases in phonogram 2767 – in all cases the tendency is clearly recognizable: each song has only one or two structural elements or patterns, but they are varied in a masterly way within the limits of a style (possibly by improvisation). But despite the scarceness of the elements no stereography arises. Instinctively recognizing the structure of the songs, the listener is captivated and charmed by the subtleties of the performance. References Födermayr, Franz, Deutsch, Werner A. (2010). “Transcribing historical sound recordings: Multipart songs from Guria recorded by Robert Lach in 1916”. In: Proceedings of the IV <strong>International</strong> <strong>Symposium</strong> on Traditional Polyphony. P. 376-394. Editors: Tsurtsumia, Rusudan and Jordania, Joseph. Tbilisi: <strong>International</strong> Research Center for Traditional Polyphony of Tbilisi State Conservatoire Lach, Robert. (1931). Gesänge russischer Kriegsgefangener. Bd. 3, Abt. 2. Mingrelische, abchasische, svanische und ossetische Gesänge (Songs of Prisoners of War: Megrelian, Abkhasian, Svanetian and Ossetian Songs). Wien, Leipzig: Hölder-Pichler- Tempsky
franc foedermairi. danarTi Franz Föedermayr. APPENDIX suraTi 1. fonograma 2762/1, speqtograma Figure 1. Phon. 2762/1, spectrogram suraTi 2. fonograma 2762/1, solo dasawyisi 1 (zemoT) da 2 (qvemoT), speqtograma Figure 2. Phon. 2762/1, solo introduction 1 (above) and 2 (below), spectrogram 509
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m o x s e n e b e b i 4-8 oqtomberi
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s a r C e v i redaqtorebisagan ....
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franc foedermairi (avstria) megruli
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Davit Shughliashvili (Georgia) “W
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edaqtorebisagan winamdebare krebulS
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edaqtorebisagan koleqcias. moxseneb
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From The Editors G
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aziuri tradiciuli polifonia ASIAN T
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18 ioseb Jordania anobis arsebuli t
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20 ioseb Jordania mkvlevarebis yura
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22 ioseb Jordania xmianobasTan da T
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24 TRADITIONAL POLYPHONY IN ASIA: P
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26 Joseph Jordania scholar Schehera
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28 Joseph Jordania 2. Asian polypho
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30 Joseph Jordania gestion not only
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32 virtualuri heterofonia: kompozic
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34 munir nuretin bekeni (aSS) migvi
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36 MÜNIR NURETTIN BEKEN (USA) VIRT
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38 Münir Nurettin Beken This becam
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40 munir nuretin bekeni. danarTi M
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42 nino ciciSvili (avstralia, saqar
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44 nino ciciSvili (2) reCitaciuli b
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46 nino ciciSvili upirveles yovlisa
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48 nino ciciSvili kulturis arsebobi
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50 NINO TSITSISHVILI (AUSTRALIA, GE
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52 Nino Tsitsishvili Factor 3: scal
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54 Nino Tsitsishvili A historical i
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56 Nino Tsitsishvili References Ale
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58 kunZul balis gamelanis musikis p
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60 maikl tenzeri saciis xangrZliobi
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62 maikl tenzeri arsebobas, Sreebs
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64 Michael Tenzer repeats cyclicall
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66 Michael Tenzer pulsations serves
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68 maikl tenzeri. danarTi Michael T
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70 magaliTi 4. bgeris simaRlis, dro
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72 iu-siu lu Tsou (Tsou) 6 733 seis
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74 iu-siu lu sawyis etapze taivanel
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76 iu-siu lu 4 paralelur kvartebsa
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78 Yu-Hsiu Lu in Taiwanese aborigin
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80 Yu-Hsiu Lu earliest tribes in th
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82 iu-siu lu. danarTi Yu-Hsiu Lu. A
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84 marina qavTaraZe, ekaterine buCu
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92 Marina Kavtaradze, Ekaterine Buc
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98 rie koCi akompanementiT, instrum
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100 cxr. 3 rie koCi 1) kanonuri uko
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102 rie koCi rasac mReroda wamyvani
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104 ON THE POLYPHONIC SINGING STYLE
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106 singing the same melody followi
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108 Rie Kôchi 3. Recent movements
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110 Rie Kôchi Kôchi, Rie. (ed.).
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112 rie koCi. danarTi Rie Kôchi. A
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115 ala sokolova (adiRe, ruseTi) ad
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adiReas tradiciuli kulturis ameburi
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123 ALLA SOKOLOVA (RUSSIA, REPUBLIC
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The Meanings and C
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The Meanings and C
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The Meanings and C
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ala sokolova. danarTi Alla Sokolova
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133 natalia zumbaZe, qeTevan maTiaS
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kavkasiel xalxTa mravalxmianoba da
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143 NATALIA ZUMBADZE, KETEVAN MATIA
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Caucasian Peoples’ Polyphony and
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natalia zumbaZe, qeTevan maTiaSvili
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155 maia gelaSvili (saqarTvelo) pan
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pankisis xeobis qistebis tradiciuli
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ON THE STUDY OF THE TRADITIONAL MUS
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On the Study of the Traditional Mus
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163 maka xarZiani (saqarTvelo) samx
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samxmiani simRerebis gaerTxmianebis
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samxmiani simRerebis gaerTxmianebis
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On the Change of Three-Part Songs i
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On the Change of Three-Part Songs i
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173 manana SilakaZe (saqarTvelo) qa
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qarTuli da adiReuri instrumentuli m
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177 MANANA SHILAKADZE (GEORGIA) GEO
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Georgian and Adyghe Music in the Co
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manana SilakaZe. danarTi Manana Shi
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Ktradiciuli polifoniis regionuli st
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186 Jana partlasi mizezis gamo. upi
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188 Jana partlasi naxevartoniani ki
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190 ŽANNA PÄRTLAS (ESTONIA) RETRA
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192 Žanna Pärtlas melodic lines c
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194 Jana partlasi. danarTi Žanna P
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196 damwyebi xma qarTul mravalxmian
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198 Tamaz gabisonia g) mxolod simRe
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200 Tamaz gabisonia sovs, damwyebis
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202 Tamaz Gabisonia of these songs
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204 Tamaz Gabisonia mazhogh). So do
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206 Tamaz gabisonia. danarTi Tamaz
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212 gerald florian mesneri mosaxldn
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214 gerald florian mesneri lebi da
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216 GERALD FLORIAN MESSNER (AUSTRAL
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218 Gerald Florian Messner gives us
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220 Gerald Florian Messner Audio Ex
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222 daviT SuRliaSvili rac Seexeba a
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224 daviT SuRliaSvili tradicia, rom
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226 daviT SuRliaSvili damowmebuli l
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228 Davit Shughliashvili characteri
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230 Davit Shughliashvili the bell),
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232 daviT SuRliaSvili. danarTi Davi
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234 daviT SuRliaSvili. danarTi Davi
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236 elena iovanoviCi (serbeTi) hibr
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238 elena iovanoviCi rebiT, sakvlev
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240 elena iovanoviCi lis `damuqeba~
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242 JELENA JOVANOVIĆ (SERBIA) HYBR
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244 Jelena Jovanović (Dević, 1979
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246 Jelena Jovanović of the new st
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248 Jelena Jovanović Scope of Ethn
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250 elena iovanoviCi. danarTi Jelen
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252 elena iovanoviCi. danarTi Jelen
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254 liTSi aris SemTxveviTi modulaci
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256 simha aromi, polo valeho mimdev
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258 92 simha aromi, polo valeho ara
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260 axla ganvixiloT G kilos sxvadas
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262 simha aromi, polo valeho gadaxr
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264 simha aromi, polo valeho Semdeg
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266 OUTLINE OF A SYNTAX OF CHORDS I
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268 Simha Arom, Polo Vallejo 51 Mag
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270 Simha Arom, Polo Vallejo Betwee
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272 Simha Arom, Polo Vallejo 5 II I
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274 Simha Arom, Polo Vallejo 88 Ere
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276 Simha Arom, Polo Vallejo Let us
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278 andrea kuzmiCi (kanada) qarTuli
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280 andrea kuzmiCi musikologia da T
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282 andrea kuzmiCi da profesiuls 3
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284 ANDREA KUZMICH (CANADA) THE TRA
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286 Andrea Kuzmich traditional musi
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288 Andrea Kuzmich the ability to l
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290 daiva raCiunaite-viCiniene (lit
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292 daiva raCiunaite-viCiniene Sin
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294 daiva raCiunaite-viCiniene litv
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296 daiva raCiunaite-viCiniene / su
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298 daiva raCiunaite-viCiniene nebi
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300 daiva raCiunaite-viCiniene buli
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302 daiva raCiunaite-viCiniene wreS
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304 (Stasys Paliulis) mier 1932 wel
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306 LITHUANIAN AND AINU VOCAL POLYP
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308 Daiva Račiūnaitė -Vyčinien
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318 10 C. Forlivesi assumes that mu
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322 daiva raCiunaite-viCiniene. dan
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334 mixail lobanovi eTnografiisadmi
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336 mixail lobanovi yoveli maTgani
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338 vielebTan, aramed Crdilo-evropu
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340 Mikhail Lobanov Konz mäthil Gr
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342 Mikhail Lobanov due to the lowe
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344 Mikhail Lobanov Kravchinskaia,
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346 mixail lobanovi. danrTi Mikhail
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348 mixail lobanovi. danrTi Mikhail
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350 ana piotrovska ungreTSi boSa mu
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352 ana piotrovska tradicia grZelde
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354 ana piotrovska iseT istoriul mi
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356 THE NOTION OF SO CALLED GYPSY M
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358 Anna Piotrowska be claimed that
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360 Anna Piotrowska Consequently im
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362 Anna Piotrowska Nettl, Bruno. (
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364 nino razmaZe indi mindi da sxv.
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366 nino razmaZe qme. (2) Sesrulebi
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368 THE DYNAMICS OF THE EVOLUTION O
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370 Nino Razmadze was always perfor
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372 nino razmaZe. danarTi Nino Razm
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374 magaliTi 4. oTxxmianoba patara
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377 ekaterine oniani (saqarTvelo) q
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qarTuli galobis mravalxmianobis sak
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ON THE POLYPHONY OF GEORGIAN CHANT
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On the Polyphony of Georgian Chant
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ekaterine oniani. danarTi Ekaterine
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387 jeremi fauci (aSS) siZvele da t
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siZvele da tradiciuloba qarTul trad
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Ancientness and Traditionality in G
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401 svimon (jiqi) jangulaSvili (saq
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mravalxmiani musikaluri qsovilis tr
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SPECIFIC FEATURES OF THE POLYPHONIC
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Specific Features of the Polyphonic
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svimon (jiqi) jangulaSvili. danarTi
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ivliane nikolaZe: qarTul ZlispirTa
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Ivliane Nikoladze: The</str
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jon a. gremi. danarTi John A. Graha
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M 447 ekaterine diasamiZe (saqarTve
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mravalxmianobis formebi rusul saekl
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mravalxmianobis formebi rusul saekl
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Polyphonic Forms in 17th century Ru
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Polyphonic Forms in 17th century Ru
Page 457 and 458: ekaterine diasamiZe. danarTi Ekater
Page 459 and 460: 459 baia JuJunaZe (saqarTvelo) XIX
Page 461 and 462: XIX saukunis qarTuli samgaloblo tra
Page 463 and 464: XIX saukunis qarTuli samgaloblo tra
Page 465 and 466: New Tendencies in the Nineteenth-Ce
Page 467 and 468: New Tendencies in the Nineteenth-Ce
Page 469 and 470: aia JuJunaZe. danarTi Baia Zhuzhuna
Page 471 and 472: aia JuJunaZe. danarTi Baia Zhuzhuna
Page 473 and 474: gamSvenebaTa struqturuli formulebi
Page 475 and 476: ORNAMENTED STRUCTURAL FORMULAS IN T
Page 477 and 478: Ornamented Structural Formulas in t
Page 479 and 480: nino naneiSvili. danarTi Nino Nanei
Page 481: nino naneiSvili. danarTi Nino Nanei
Page 485 and 486: 485 gerda lexlaitneri (avstria) non
Page 487 and 488: zogierTi mosazreba mravalxmiani mus
Page 493 and 494: Some Considerations on the Interpre
Page 499 and 500: gerda lexlaitneri, nona lomiZe. dan
Page 501 and 502: gerda lexlaitneri, nona lomiZe. dan
Page 503 and 504: 503 franc foedermairi (avstria) meg
Page 505 and 506: megruli simReris sami Sedevri, Cawe
Page 507: Three Masterpieces of Megrelian Son
Page 511 and 512: franc foedermairi. danarTi Franz F
Page 513: franc foedermairi. danarTi Franz F
Page 517 and 518: 517 morimoto masako, honda manabu,
Page 519 and 520: qarTuli tradiciuli mravalxmianobis
Page 521 and 522: 521 MORIMOTO MASAKO, HONDA MANABU,
Page 523 and 524: Study on the Sound Structure of Geo
Page 525 and 526: morimoto masako, honda manabu, niSi
Page 527 and 528: 527 kavai norie, morimoto masako, h
Page 537 and 538: kavai norie, morimoto masako, honda
Page 539 and 540: kaxuri simRerebis gaSifvris sakiTxe
Page 541 and 542: CHALLENGES IN MUSICAL TRANSCRIPTION
Page 543 and 544: nona lomiZe. danarTi Nona Lomidze.
Page 551: nona lomiZe. danarTi Nona Lomidze.
Page 555 and 556: 555 leila maruaSvili (saqarTvelo) q
Page 557 and 558: qarTuli xalxuri polifoniis tradicie
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qarTuli xalxuri polifoniis tradicie
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qarTuli xalxuri polifoniis tradicie
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Refraction of Georgian Folk Polypho
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leila maruaSvili. danarTi Leila Mar
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leila maruaSvili. danarTi Leila Mar
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ioseb Jordania, xelovnebaTmcodneobi
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polo valeho, eTnomusikologiis doqto
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578 simpoziumis organizatorebi mxar
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