who asked the first question? - International Research Center For ...
who asked the first question? - International Research Center For ... who asked the first question? - International Research Center For ...
124that this sharp dissonance has a special “fermata” sign on top [a semicircle with the dotinside] at this very moment means that singers were consciously trying to achieve thissharp dissonant harmony and held it longer [“fermata” means that these notes must besung considerably longer, “drawn out”]:Ex. 67. Latvia. Three-part drone polyphony (archive recording made by A.Yurian, from Villis Bendorf)As I have mentioned before, Latvian ethnomusicologist Martin Boiko researchedand found some interesting elements of sutartines-style singing in Latvia as well,although no songs of the unique “secondal polytonal sutartines” have been found inLatvia (Boiko, 1992, 1992a).EstoniaEstonia is the smallest and the only non-Baltic speaking country in the Balticregion (actually, it was the smallest republic of the whole USSR). The Estonian languagebelongs to the Finnish group of the Finno-Ugric family of languages. Hunter and fisherancestors of the Estonians (and Finns) migrated to North Europe from the region of theUral Mountains in the middle of the third millennia B.C. A few centuries later they werejoined by the first Baltic tribes, who made their way to the Baltic region by the end of thethird Millennia. According to publications of Estonian ethnomusicologists concerning thedistribution of the traditional vocal polyphony, Estonia is the most monophonic out of thethree Baltic countries. However this does not mean that there is no polyphonic singing atall. Two different types of vocal polyphony have been documented in Estonia (both in thesouthern part of Estonia, closer to Latvia. Sarv, 1988):(1) The first type of polyphony is present in the singing traditions of the specificethnic group Setu. Setu live in the Southeastern corner of Estonia. The polyphonic styleof Setu can be characterized by: (1) two-part singing (mostly), (2) the variant-heterophonic performance of the main melody by a big group, and (3) the top harmonicpart, perform ed by a soloist (Sarv, 1988). This top melody (native term for it is “kill’a”)has an obvious element of a drone. If you look at the top part, it is easy to see that Kill’ausually changes only slightly – it goes to the next note and then comes back to the samenote again:
125Ex. 68. Estonia. Setu polyphony (from Vaike Sarv)Ex. 69. Estonia. Three-pats singing with elements of drone (from Vaike Sarv)(2) Another polyphonic style in Estonia is drone. Drone polyphony is present intwo regions – among the same Setu, and in the Southwestern corner of Estonia. Thedrone in Setu is not very clearly defined. In a few examples of traditional Setu two-partsinging the texture is complemented by the third part. This is the lowest part, which haselements of a drone, and is performed by a soloist.Another region with drone polyphony is situated in the Southwestern corner ofEstonia, next to the Latvian border. Examples of drone polyphony were recorded here byTampere at the beginning of the 20 th century and published in the 1930s. This is a typicalexample of two-part drone polyphony. The drone character is very well defined, withboth pedal and rhythmic versions of the drone. The melody has a small range and isperformed by a soloist. There are characteristic repetitive dissonant clashes of the droneand the melody on the sharp seconds (Tampere, 1938). This style does sound very similarto the Latvian drone singing style. As this tradition of Estonian drone polyphony is notvery well-known to European readers, let us have a look at a three examples:Ex. 70. Estonian drone polyphony (Tampere, 1938:5, #14)Ex. 71. Estonia (Tampere, 1938:5, #7)Ex. 72. Estonia (Tampere, 1938:7, #16)According to the available information, Finland is the only state in NorthEurope where we do not have any historical sources or later information about the
- Page 74 and 75: 74Besides the drone and heterophoni
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- Page 78 and 79: 78East GeorgiaEast Georgia consists
- Page 80 and 81: 80Fig. 3. Modulation from G to G# t
- Page 82 and 83: 82Polyphonic singing traditions in
- Page 84 and 85: 84In this four-part section we can
- Page 86 and 87: 86Improvisation in western Georgian
- Page 88 and 89: 88During our 1999 fieldwork in Geor
- Page 90 and 91: 90Interestingly, as Anzor Erkomaish
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- Page 95 and 96: 95Ex. 37. Lile. Ritual song dedicat
- Page 97 and 98: 97David Shugliashvili, both eastern
- Page 99 and 100: 99Urban MusicThe urban singing styl
- Page 101 and 102: 101Ex. 42. Suliko. Urban love song.
- Page 103 and 104: 103In Georgian traditional polyphon
- Page 105 and 106: 105BalkansThe Balkans are one of th
- Page 107 and 108: 107the tradition of polyphonic sing
- Page 109 and 110: 109It represents an interesting mix
- Page 111 and 112: 111Ex. 54. Bosnia and Herzegovina,
- Page 113 and 114: 113MacedoniaSpeaking about Macedoni
- Page 115 and 116: 115Ex. 59. Albania. Laberi style po
- Page 117 and 118: 117of fact, together with Romania,
- Page 119 and 120: 119countries of the Baltic region a
- Page 121 and 122: 121research about sutartines (Slavi
- Page 123: 123LatviaAnother Baltic country, La
- Page 127 and 128: 127Tbilisi State Conservatory in th
- Page 129 and 130: 129contracted this peculiarity of s
- Page 131 and 132: 131throughout medieval northern Eur
- Page 133 and 134: 133electronic media; and whether th
- Page 135 and 136: 135To complete the review of the Ce
- Page 137 and 138: 137(9) The singing style is harsh a
- Page 139 and 140: 139ItalyWith its internationally re
- Page 141 and 142: 141than 120 Sicilianvillages and it
- Page 143 and 144: 143Vocal Polyphony in AsiaAsia is b
- Page 145 and 146: 145music of Ancient Greece itself i
- Page 147 and 148: 147possible space of a second.” T
- Page 149 and 150: 149sources from the 5 th (Favstos B
- Page 151 and 152: 151polyphonic singing came from Taj
- Page 153 and 154: 153(asamchilog, choir). 6/8 metre i
- Page 155 and 156: 155or less in unison, and one voice
- Page 157 and 158: 157Lithuanian sutartines, where you
- Page 159 and 160: 159idea of how rich (and how unknow
- Page 161 and 162: 161Ex. 90. China, Tibet (Bucher, 19
- Page 163 and 164: 163South-East AsiaVietnamAccording
- Page 165 and 166: 165Not all the traditions and music
- Page 167 and 168: Vocal Polyphony in North AmericaThe
- Page 169 and 170: 169west of the region (Densmore, 19
- Page 171 and 172: 171the Indian melodies continue wit
- Page 173 and 174: 173(Burney 1975:84. Cited from Kaep
125Ex. 68. Estonia. Setu polyphony (from Vaike Sarv)Ex. 69. Estonia. Three-pats singing with elements of drone (from Vaike Sarv)(2) Ano<strong>the</strong>r polyphonic style in Estonia is drone. Drone polyphony is present intwo regions – among <strong>the</strong> same Setu, and in <strong>the</strong> Southwestern corner of Estonia. Thedrone in Setu is not very clearly defined. In a few examples of traditional Setu two-partsinging <strong>the</strong> texture is complemented by <strong>the</strong> third part. This is <strong>the</strong> lowest part, which haselements of a drone, and is performed by a soloist.Ano<strong>the</strong>r region with drone polyphony is situated in <strong>the</strong> Southwestern corner ofEstonia, next to <strong>the</strong> Latvian border. Examples of drone polyphony were recorded here byTampere at <strong>the</strong> beginning of <strong>the</strong> 20 th century and published in <strong>the</strong> 1930s. This is a typicalexample of two-part drone polyphony. The drone character is very well defined, withboth pedal and rhythmic versions of <strong>the</strong> drone. The melody has a small range and isperformed by a soloist. There are characteristic repetitive dissonant clashes of <strong>the</strong> droneand <strong>the</strong> melody on <strong>the</strong> sharp seconds (Tampere, 1938). This style does sound very similarto <strong>the</strong> Latvian drone singing style. As this tradition of Estonian drone polyphony is notvery well-known to European readers, let us have a look at a three examples:Ex. 70. Estonian drone polyphony (Tampere, 1938:5, #14)Ex. 71. Estonia (Tampere, 1938:5, #7)Ex. 72. Estonia (Tampere, 1938:7, #16)According to <strong>the</strong> available information, Finland is <strong>the</strong> only state in NorthEurope where we do not have any historical sources or later information about <strong>the</strong>
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