The Fifth International Symposium on Traditional Polyphony ...

More documents

Recommendations

Info

520 morimoto masako, honda manabu, niSina emi, kavai norie, oohaSi cutomu pleqsuri rxeva, rac Segnebulad ver aRiqmeba, SeiZleba, xels uwyobdes improvizaciis kom– ponentis warmoqmnas. Tanamedrove smeniTma fiziologiam aRmoaCina, rom bgeris stacionaruli (myari), umoZ– rao xasiaTi (rogoricaa ucvleli bgera da misi xangrZlivoba), gamomuSavebulia smeniTi nervuli sistemis adreul fazaze, maSin, rodesac bgerebis arastacionaruli, rTuli xasi– aTi (rogoricaa rxeva amplitudaSi da sixSireSi), gadamuSavebulia mTeli smeniTi sistemis mier, maT Soris, tvinis umaRlesi sistemiT, sadac Sedis Talamusi da cerebraluri qerqi (Moore, 1995). sainteresoa, rom qarTuli tradiciuli polifoniis gamomsaxvelobiTi stra– tegia Zalian racionaluria, radgan is Seicavs ukiduresad mdidar cvalebad (arastaci– onarul) rxevas, romelic Zalian aqtiurdeba mTeli smeniTi nervuli sistemiT. 5. daskvna Cven gamovimuSaveT indeqsi, saxelwodebiT Differential Summed Variation of ME Spectra, romelmac, saSualeba mogvca, raodenobrivad Segvefasebina bgeris speqtris rxevis sirTule. am indeq– sis gamoyenebiT, erTmaneTs raodenobrivad SevadareT mikrodroiT domenSi simZlavris speq– tris rxevis sirTule qarTul tradiciul mravalxmianobasa da bel canto-s vokalur stilTan. rogorc aRmoCnda, qarTuli tradiciuli mravalxmianobis simZlavris speqtri xasiaTdeba ufro rTuli rxeviT, vidre bel canto simRera. aRmoCenili adasturebs rTuli rxevis (fluq– tuaciis) gansakuTrebul mniSvnelobas qarTuli tradiciuli mravalxmianobis gamomsaxve– lobiT strategiaSi. SeniSvnebi 1 morimoto masako, honda manabu – nevrologiisa da fsiqiatriis erovnuli centri, iaponia; niSina emi – iaponiis Ria universiteti; kavai norie, oohaSi cutomu _ saerTaSoriso mecnierebis ganviTarebis fondi, cukuba (Tsukuba) Targmna marika nadareiSvilma
521 MORIMOTO MASAKO, HONDA MANABU, NISHINA EMI, KAWAI NORIE, OOHASHI TSUTOMU 1 (JAPAN) STUDY ON SOUND STRUCTURE OF GEORGIAN TRADITIONAL POLYPHONY: QUANTITATIVE ANALYSIS OF ITS FLUCTUATION STRUCTURE 1. Introduction <strong>The</strong> Western European concept of music that provides the foundation for con-ventional music and audio theory regards an articulated musical tone having a stationary sound signal structure as the basic musical component. By way of contrast, in applying the sound communication model in the communication science domain, we postulate a biological concept of music in which music is defined as follows: music is an artificial sound system activating a neuronal auditory system and reward-generating system endowed with an informational structure that, at the macro-temporal level, provides sustaining patterns encoded by genes and cultures while at the micro-temporal level, continuously changes and is thus non-stationary (Oohashi, 2003; Morimoto, 2004). This definition of music as being essentially non-stationary in character and thus offering a continuously changing informational structure at the micro temporal level is therefore quite at odds with the Western European concept of music, which regards stationary “musical tones” as the constituent musical component. We previously examined the hyper-symbolic sound structure of traditional Georgian polyphony and compared it with singing voices from other cultures by using the maximum entropy spectral analysis method (MESAM) to visualize and observe the spectral fluctuation at the micro-temporal level. We discovered that the sound structure of traditional Georgian polyphony contains rich temporal fluctuation of power spectra at the micro-temporal level. Our previous method of analysis, however, was simply based on a qualitative inspection of the spectral array without providing any quantitative information regarding the complexity or degree of spectral fluctuation. <strong>The</strong>refore, in the present study, we have developed an index that makes it possible to quantitatively evaluate the complexity of the fluctuation of the sound spectrum. 2. Methods We analyzed two traditional Georgian songs: Chakrulo (solo) and Khasanbegura (trio). <strong>The</strong>se were recorded with a 4939 microphone (Brüel & Kjær, Nærum, Denmark) and Y. Yamasaki’s high-speed sampling, one-bit coding signal processor. This recording system has a sampling frequency of 3.072MHz and a good response over 100kHz. For the comparison, we also analyzed an operatic solo recorded in DVD-audio (Cura, 2001). Power spectral analysis at a micro-temporal level was carried out by MESAM, applying the mathematical formulae of the maximum entropy method and the power spectral estimation from the autoregressive model (Nishina, 2004; Morimoto, 2004). First, we digitally sampled the recorded singing voice data using DAQ Card- 6062E and the device’s software (National Instruments Co., Austin, TX, USA) with a sampling frequency of 250 kHz. <strong>The</strong> power spectrum of the sound data was calculated for every 20-msec epoch with an overlap of 10 msec by the maximum entropy method, which is known to be suitable for precise spectral estimation from a short period of data. <strong>The</strong> frequency resolution was 500 Hz. <strong>The</strong> estimated power spectra were displayed in a three-dimensional array. <strong>The</strong> spectral estimation and three-dimensional display were made by MATLAB (<strong>The</strong> MathWorks, Inc.,
Page 1 and 2:
m o x s e n e b e b i 4-8 oqtomberi
Page 3 and 4:
s a r C e v i redaqtorebisagan ....
Page 5 and 6:
franc foedermairi (avstria) megruli
Page 7 and 8:
Davit Shughliashvili (Georgia) “W
Page 9 and 10:
edaqtorebisagan winamdebare krebulS
Page 11 and 12:
edaqtorebisagan koleqcias. moxseneb
Page 13 and 14:
From The Editors G
Page 15:
aziuri tradiciuli polifonia ASIAN T
Page 18 and 19:
18 ioseb Jordania anobis arsebuli t
Page 20 and 21:
20 ioseb Jordania mkvlevarebis yura
Page 22 and 23:
22 ioseb Jordania xmianobasTan da T
Page 24 and 25:
24 TRADITIONAL POLYPHONY IN ASIA: P
Page 26 and 27:
26 Joseph Jordania scholar Schehera
Page 28 and 29:
28 Joseph Jordania 2. Asian polypho
Page 30 and 31:
30 Joseph Jordania gestion not only
Page 32 and 33:
32 virtualuri heterofonia: kompozic
Page 34 and 35:
34 munir nuretin bekeni (aSS) migvi
Page 36 and 37:
36 MÜNIR NURETTIN BEKEN (USA) VIRT
Page 38 and 39:
38 Münir Nurettin Beken This becam
Page 40 and 41:
40 munir nuretin bekeni. danarTi M
Page 42 and 43:
42 nino ciciSvili (avstralia, saqar
Page 44 and 45:
44 nino ciciSvili (2) reCitaciuli b
Page 46 and 47:
46 nino ciciSvili upirveles yovlisa
Page 48 and 49:
48 nino ciciSvili kulturis arsebobi
Page 50 and 51:
50 NINO TSITSISHVILI (AUSTRALIA, GE
Page 52 and 53:
52 Nino Tsitsishvili Factor 3: scal
Page 54 and 55:
54 Nino Tsitsishvili A historical i
Page 56 and 57:
56 Nino Tsitsishvili References Ale
Page 58 and 59:
58 kunZul balis gamelanis musikis p
Page 60 and 61:
60 maikl tenzeri saciis xangrZliobi
Page 62 and 63:
62 maikl tenzeri arsebobas, Sreebs
Page 64 and 65:
64 Michael Tenzer repeats cyclicall
Page 66 and 67:
66 Michael Tenzer pulsations serves
Page 68 and 69:
68 maikl tenzeri. danarTi Michael T
Page 70 and 71:
70 magaliTi 4. bgeris simaRlis, dro
Page 72 and 73:
72 iu-siu lu Tsou (Tsou) 6 733 seis
Page 74 and 75:
74 iu-siu lu sawyis etapze taivanel
Page 76 and 77:
76 iu-siu lu 4 paralelur kvartebsa
Page 78 and 79:
78 Yu-Hsiu Lu in Taiwanese aborigin
Page 80 and 81:
80 Yu-Hsiu Lu earliest tribes in th
Page 82 and 83:
82 iu-siu lu. danarTi Yu-Hsiu Lu. A
Page 84 and 85:
84 marina qavTaraZe, ekaterine buCu
Page 86 and 87:
Page 88 and 89:
Page 90 and 91:
Page 92 and 93:
92 Marina Kavtaradze, Ekaterine Buc
Page 94 and 95:
Page 96 and 97:
Page 98 and 99:
98 rie koCi akompanementiT, instrum
Page 100 and 101:
100 cxr. 3 rie koCi 1) kanonuri uko
Page 102 and 103:
102 rie koCi rasac mReroda wamyvani
Page 104 and 105:
104 ON THE POLYPHONIC SINGING STYLE
Page 106 and 107:
106 singing the same melody followi
Page 108 and 109:
108 Rie Kôchi 3. Recent movements
Page 110 and 111:
110 Rie Kôchi Kôchi, Rie. (ed.).
Page 112 and 113:
112 rie koCi. danarTi Rie Kôchi. A
Page 115 and 116:
115 ala sokolova (adiRe, ruseTi) ad
Page 117 and 118:
adiReas tradiciuli kulturis ameburi
Page 119 and 120:
Page 121 and 122:
Page 123 and 124:
123 ALLA SOKOLOVA (RUSSIA, REPUBLIC
Page 125 and 126:
The Meanings and C
Page 127 and 128:
The Meanings and C
Page 129 and 130:
The Meanings and C
Page 131 and 132:
ala sokolova. danarTi Alla Sokolova
Page 133 and 134:
133 natalia zumbaZe, qeTevan maTiaS
Page 135 and 136:
kavkasiel xalxTa mravalxmianoba da
Page 137 and 138:
Page 139 and 140:
Page 141 and 142:
Page 143 and 144:
143 NATALIA ZUMBADZE, KETEVAN MATIA
Page 145 and 146:
Caucasian Peoples’ Polyphony and
Page 147 and 148:
Page 149 and 150:
Page 151 and 152:
Page 153 and 154:
natalia zumbaZe, qeTevan maTiaSvili
Page 155 and 156:
155 maia gelaSvili (saqarTvelo) pan
Page 157 and 158:
pankisis xeobis qistebis tradiciuli
Page 159 and 160:
ON THE STUDY OF THE TRADITIONAL MUS
Page 161 and 162:
On the Study of the Traditional Mus
Page 163 and 164:
163 maka xarZiani (saqarTvelo) samx
Page 165 and 166:
samxmiani simRerebis gaerTxmianebis
Page 167 and 168:
samxmiani simRerebis gaerTxmianebis
Page 169 and 170:
On the Change of Three-Part Songs i
Page 171 and 172:
On the Change of Three-Part Songs i
Page 173 and 174:
173 manana SilakaZe (saqarTvelo) qa
Page 175 and 176:
qarTuli da adiReuri instrumentuli m
Page 177 and 178:
177 MANANA SHILAKADZE (GEORGIA) GEO
Page 179 and 180:
Georgian and Adyghe Music in the Co
Page 181 and 182:
manana SilakaZe. danarTi Manana Shi
Page 183:
Ktradiciuli polifoniis regionuli st
Page 186 and 187:
186 Jana partlasi mizezis gamo. upi
Page 188 and 189:
188 Jana partlasi naxevartoniani ki
Page 190 and 191:
190 ŽANNA PÄRTLAS (ESTONIA) RETRA
Page 192 and 193:
192 Žanna Pärtlas melodic lines c
Page 194 and 195:
194 Jana partlasi. danarTi Žanna P
Page 196 and 197:
196 damwyebi xma qarTul mravalxmian
Page 198 and 199:
198 Tamaz gabisonia g) mxolod simRe
Page 200 and 201:
200 Tamaz gabisonia sovs, damwyebis
Page 202 and 203:
202 Tamaz Gabisonia of these songs
Page 204 and 205:
204 Tamaz Gabisonia mazhogh). So do
Page 206 and 207:
206 Tamaz gabisonia. danarTi Tamaz
Page 208 and 209:
Page 210 and 211:
Page 212 and 213:
212 gerald florian mesneri mosaxldn
Page 214 and 215:
214 gerald florian mesneri lebi da
Page 216 and 217:
216 GERALD FLORIAN MESSNER (AUSTRAL
Page 218 and 219:
218 Gerald Florian Messner gives us
Page 220 and 221:
220 Gerald Florian Messner Audio Ex
Page 222 and 223:
222 daviT SuRliaSvili rac Seexeba a
Page 224 and 225:
224 daviT SuRliaSvili tradicia, rom
Page 226 and 227:
226 daviT SuRliaSvili damowmebuli l
Page 228 and 229:
228 Davit Shughliashvili characteri
Page 230 and 231:
230 Davit Shughliashvili the bell),
Page 232 and 233:
232 daviT SuRliaSvili. danarTi Davi
Page 234 and 235:
234 daviT SuRliaSvili. danarTi Davi
Page 236 and 237:
236 elena iovanoviCi (serbeTi) hibr
Page 238 and 239:
238 elena iovanoviCi rebiT, sakvlev
Page 240 and 241:
240 elena iovanoviCi lis `damuqeba~
Page 242 and 243:
242 JELENA JOVANOVIĆ (SERBIA) HYBR
Page 244 and 245:
244 Jelena Jovanović (Dević, 1979
Page 246 and 247:
246 Jelena Jovanović of the new st
Page 248 and 249:
248 Jelena Jovanović Scope of Ethn
Page 250 and 251:
250 elena iovanoviCi. danarTi Jelen
Page 252 and 253:
252 elena iovanoviCi. danarTi Jelen
Page 254 and 255:
254 liTSi aris SemTxveviTi modulaci
Page 256 and 257:
256 simha aromi, polo valeho mimdev
Page 258 and 259:
258 92 simha aromi, polo valeho ara
Page 260 and 261:
260 axla ganvixiloT G kilos sxvadas
Page 262 and 263:
262 simha aromi, polo valeho gadaxr
Page 264 and 265:
264 simha aromi, polo valeho Semdeg
Page 266 and 267:
266 OUTLINE OF A SYNTAX OF CHORDS I
Page 268 and 269:
268 Simha Arom, Polo Vallejo 51 Mag
Page 270 and 271:
270 Simha Arom, Polo Vallejo Betwee
Page 272 and 273:
272 Simha Arom, Polo Vallejo 5 II I
Page 274 and 275:
274 Simha Arom, Polo Vallejo 88 Ere
Page 276 and 277:
276 Simha Arom, Polo Vallejo Let us
Page 278 and 279:
278 andrea kuzmiCi (kanada) qarTuli
Page 280 and 281:
280 andrea kuzmiCi musikologia da T
Page 282 and 283:
282 andrea kuzmiCi da profesiuls 3
Page 284 and 285:
284 ANDREA KUZMICH (CANADA) THE TRA
Page 286 and 287:
286 Andrea Kuzmich traditional musi
Page 288 and 289:
288 Andrea Kuzmich the ability to l
Page 290 and 291:
290 daiva raCiunaite-viCiniene (lit
Page 292 and 293:
292 daiva raCiunaite-viCiniene Sin
Page 294 and 295:
294 daiva raCiunaite-viCiniene litv
Page 296 and 297:
296 daiva raCiunaite-viCiniene / su
Page 298 and 299:
298 daiva raCiunaite-viCiniene nebi
Page 300 and 301:
300 daiva raCiunaite-viCiniene buli
Page 302 and 303:
302 daiva raCiunaite-viCiniene wreS
Page 304 and 305:
304 (Stasys Paliulis) mier 1932 wel
Page 306 and 307:
306 LITHUANIAN AND AINU VOCAL POLYP
Page 308 and 309:
308 Daiva Račiūnaitė -Vyčinien
Page 310 and 311:
Page 312 and 313:
Page 314 and 315:
Page 316 and 317:
Page 318 and 319:
318 10 C. Forlivesi assumes that mu
Page 320 and 321:
Page 322 and 323:
322 daiva raCiunaite-viCiniene. dan
Page 324 and 325:
Page 326 and 327:
Page 328 and 329:
Page 330 and 331:
Page 332 and 333:
Page 334 and 335:
334 mixail lobanovi eTnografiisadmi
Page 336 and 337:
336 mixail lobanovi yoveli maTgani
Page 338 and 339:
338 vielebTan, aramed Crdilo-evropu
Page 340 and 341:
340 Mikhail Lobanov Konz mäthil Gr
Page 342 and 343:
342 Mikhail Lobanov due to the lowe
Page 344 and 345:
344 Mikhail Lobanov Kravchinskaia,
Page 346 and 347:
346 mixail lobanovi. danrTi Mikhail
Page 348 and 349:
348 mixail lobanovi. danrTi Mikhail
Page 350 and 351:
350 ana piotrovska ungreTSi boSa mu
Page 352 and 353:
352 ana piotrovska tradicia grZelde
Page 354 and 355:
354 ana piotrovska iseT istoriul mi
Page 356 and 357:
356 THE NOTION OF SO CALLED GYPSY M
Page 358 and 359:
358 Anna Piotrowska be claimed that
Page 360 and 361:
360 Anna Piotrowska Consequently im
Page 362 and 363:
362 Anna Piotrowska Nettl, Bruno. (
Page 364 and 365:
364 nino razmaZe indi mindi da sxv.
Page 366 and 367:
366 nino razmaZe qme. (2) Sesrulebi
Page 368 and 369:
368 THE DYNAMICS OF THE EVOLUTION O
Page 370 and 371:
370 Nino Razmadze was always perfor
Page 372 and 373:
372 nino razmaZe. danarTi Nino Razm
Page 374 and 375:
374 magaliTi 4. oTxxmianoba patara
Page 377 and 378:
377 ekaterine oniani (saqarTvelo) q
Page 379 and 380:
qarTuli galobis mravalxmianobis sak
Page 381 and 382:
ON THE POLYPHONY OF GEORGIAN CHANT
Page 383 and 384:
On the Polyphony of Georgian Chant
Page 385 and 386:
ekaterine oniani. danarTi Ekaterine
Page 387 and 388:
387 jeremi fauci (aSS) siZvele da t
Page 389 and 390:
siZvele da tradiciuloba qarTul trad
Page 391 and 392:
Page 393 and 394:
Page 395 and 396:
Ancientness and Traditionality in G
Page 397 and 398:
Page 399 and 400:
Page 401 and 402:
401 svimon (jiqi) jangulaSvili (saq
Page 403 and 404:
mravalxmiani musikaluri qsovilis tr
Page 405 and 406:
Page 407 and 408:
Page 409 and 410:
SPECIFIC FEATURES OF THE POLYPHONIC
Page 411 and 412:
Specific Features of the Polyphonic
Page 413 and 414:
Page 415 and 416:
Page 417 and 418:
svimon (jiqi) jangulaSvili. danarTi
Page 419 and 420:
Page 421 and 422:
Page 423 and 424:
Page 425 and 426:
ivliane nikolaZe: qarTul ZlispirTa
Page 427 and 428:
Page 429 and 430:
Page 431 and 432:
Page 433 and 434:
Ivliane Nikoladze: The</str
Page 435 and 436:
Page 437 and 438:
Page 439 and 440:
jon a. gremi. danarTi John A. Graha
Page 441 and 442:
Page 443 and 444:
Page 445 and 446:
Page 447 and 448:
M 447 ekaterine diasamiZe (saqarTve
Page 449 and 450:
mravalxmianobis formebi rusul saekl
Page 451 and 452:
mravalxmianobis formebi rusul saekl
Page 453 and 454:
Polyphonic Forms in 17th century Ru
Page 455 and 456:
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 and 508: Three Masterpieces of Megrelian Son
Page 509 and 510: franc foedermairi. danarTi Franz F
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: qarTuli tradiciuli mravalxmianobis
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 529 and 530: qarTuli tradiciuli mravalxmianobis
Page 531 and 532: qarTuli tradiciuli mravalxmianobis
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
Page 563 and 564: Refraction of Georgian Folk Polypho
Page 569 and 570: leila maruaSvili. danarTi Leila Mar
Page 571 and 572:
leila maruaSvili. danarTi Leila Mar
Page 573 and 574:
ioseb Jordania, xelovnebaTmcodneobi
Page 575 and 576:
polo valeho, eTnomusikologiis doqto
Page 578 and 579:
578 simpoziumis organizatorebi mxar
show all

The Fifth International Symposium on Traditional Polyphony ...

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?