who asked the first question? - International Research Center For ...

147possible space of a second.” These dissonances “seems to be so congenial to theYemenite singers that there can be no question of haphazard intonation” (Gerson-Kiwi.1980:72).(e) The style of parallel organum (in Yemenite wedding songs). In this style assoon as the leading singers starts a song, he is joined by the “chorus which adds the lowerfourth to the principal melody and maintains this organal technique until the end” (ibid,72):The presence of vocal polyphony among the Samaritans is particularlyinteresting as the Samaritans have been in “nearly complete social and cultural isolation”(Gerson-Kiwi, 1980:73). Three forms of polyphony had been distinguished by the author:(1) The canonic diaphony, based on a completely linear logic ofdevelopment with strict rhythmic organization, and without clearharmonic connections to each other: “one could even venture to saythat we have here an early example of atonality, though the canonicsections are thematically connected with each other and follow thesame modality. But in this interchained fabric where one sectionovercrosses the other, these orders are no longer effectual, and theauditive impression is that of a complete disruption of tonality”.According to Gerson-Kiwi, this technique is designed to shorten theprayer by reciting two different verses simultaneously. The authordraws parallels with the technique of motet of the ars antiqua (ibid, 75)(2) The organal homophony, resulting from reciting the text of “TheSong of the Sea” by the whole congregation. The thick sound consistsof the low consonances (tonic, fifth and the octave) and the array of thedissonant sounds.(3) Vocal drone organum. So, drone is present among the Samaritans aswell: “The solid sound columns moving over the drone with perfectease and brilliant tone color, provide one of the most advanced formsof a spontaneous polyphony” (ibid, 78).The third polyphonic tradition, discussed by Gerson-Kiwi, is in Greece, amongthe Jews of the Isle of Corfu. Two distinct styles are distinguished:(1) Bourdonized Third Parallels. As the name of the style suggests, themain melody is followed by a harmony-triad, and the drone is used togive support to the melody.(2) “Tenor-Motet” Style. This style consists of the organum-likemovements “of fifths, thirds and even seconds” with slightornamentation in the refrain.Then Gerson-Kiwi discusses the possibility of the external influence of traditionalpolyphony on Jewish polyphonic traditions from southern Albanians, NorthwesternGreece and Albanians living in southern Italy and comes to the conclusion that there areclear signs of such an influence.Some other sources from the Middle East also suggest the presence of organumtypeliturgical singing. H. Husmann discusses the singing in parallel fourths inSyrian Christian churches. He notes the closeness of the Syrian tradition to the