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 ...
18Saharan African populations, than to the research on many purely musicological topics(for example, the history of European opera or the musical language of the 19 th centurysymphony).During my 20 years of interdisciplinary research I was extremely lucky to meetsome of the most renowned experts in some of the fields I was interested in and toreceive very encouraging and deeply interested responses from them. I am a strongbeliever in dialogues between scholars of different disciplines, and I hope that behindsome inevitable technical errors, at least some of the non-musicologist readers of thisbook will acknowledge the possibilities of a fresh look at some of the old problems intheir spheres.And finally, I would like to acknowledge the big group of my colleagues andthe experts of different fields that greatly contributed to my research during these twentyyears. I have been extremely lucky to have been able to meet and discuss my ideas with alarge group of scholars from the different disciplines from around the world. My biggestthanks should go to ethnomusicologist Izaly Zemtsovsky, whose unique expertise notonly in ethnomusicology, but equally in musical composition, philosophy and oralfolklore played a critical role in the shaping of my multidisciplinary model of the originsof choral singing, language and speech. Although I have never been (formally) hisstudent, I do consider myself a member of his “school”.I am very grateful to classical philologist Rismag Gordeziani from Tbilisi StateUniversity, for his continuing support of my research from the late 1980s; classicalphilologist Levan Berdzenishvili for his support and for his contribution in creating theLatin neologism “interrogo ergo cogito”, Zurab Kiknadze, expert on Sumerian languageand culture, linguist Zurab Chavchavadze (who died tragically very young in 1989,arguably in a KGB-organised car crash) for his contribution in my understanding ofmedieval Georgian terminology, and the leading Georgian linguist Thomas Gamkrelidzefor his professional critical remarks. I am very grateful to a big group of Georgianmusicologists and musicians whose help was very much appreciated in supporting myresearch and in contributing to the series of international conferences “Problems of folkpolyphony” – Manana Doijashvili, Rusudan Tsurtsumia, Alexander Shaverzashvili,Edisher Garakanidze, Gia Kancheli, Grigol Chkhikvadze, Otar Chidjavadze, GulbatToradze, Valerian Magradze, Manana Andriadze, Manana Shilakadze, Lia Dolidze, VanoZhgenti, Mzia Iashvili, Tamaz Gabisonia, Gogi Tabatadze, Ketevan Nikoladze, NatoZumbadze, Ketevan Baiashvili, Nino Kalandadze, Nino Shvelidze, Tina Zhvania, NanaValishvili, David Shugliashvili, Ketevan Matiashvili, Elguja Dadunashvili, LelaMakarashvili and many more.I am also deeply grateful to the Georgian traditional singers Vazha Gogoladze,Jokia Meshveliani, Anzor, Anania and Ladime Erkomaisvili’s and many other experts inGeorgian traditional polyphony. Their deep knowledge and critical minds often helpedme to formulate the important features of Georgian traditional polyphony, its scalesystem, harmonic and cadencial peculiarities. I am also very grateful to non-Georgianperformers of Georgian polyphonic music from different countries for their interest inmany aspects of Georgian polyphonic music. Quite few of them (Frenk Kane from Paris,Carl Linich from the USA, Alan Gasser from Canada, Helen Chadwick, Frankie
Armstrong, Joan Mills and Richard Gough from the UK, and particularly Stuart Gelzerfrom USA) contributed to the research of different aspects of Georgian music.I am very grateful to the big group of ethnomusicologists, musicologists andassociates from different countries for their generous support during the different stagesof my research with materials and advice: Nikolai Kaufmann and Boryana Alexandrova(Bulgaria, Boryana is currently in USA), Oskar Elschek (Slovakia), Tim Rice, DieterChristensen, Bruno Nettl, Steven Brown, Ted Levin, James Cooke Brown and RedjebJordania (USA), Caroline Bithel, Simon Broughton and Nigel Watson (UK), GeraldFlorian Messner, Marco Pavlishyn, Margaret Kartomi, Cathy Falk and Iain McFarlane(Australia), Anna Czekanowska (Poland), Robin Timmerman (Canada), Simha Arom,Tran Quang Hai and Jacqueline Thomas (France), Nguen Van Nam (Vietnam), WolfgangLaade and Thomas Hausermann (Switzerland), Minoru Morita (Japan), ArdianAhmedaja, Gerlinde Haid, Franz Fodermayr and Nona Lomidze (Austria), Shituni Spiro(Albania), Susanne Ziegler (Germany), Igor Bogdanov, Yuri Sheikin, late ViktorVinogradov, Maria Roditeleva and Eduard Alexeev (Russia, now Maria and Eduard arein the USA), Zinaida Mozheiko, Galina Kutireva and Galina Tavlai (Belarus, Galina isnow in St. Petersburg), late Viktor Matvienko, Irina Belosvetova and Nina Gerasimova-Persidskaia (Ukraine), Anatoly Rakhaev, late Tamara Blaeva and Manashir Iakubov(North Caucasia, Manashir now in Moscow), Nailia Almeeva (Tatarstan, now in St.Petersburg), Zoia Tajikova (Tajikistan, now in the USA), Nikolai Boiarkin (Mordva),Oleg Gerasimov (Mari), Nadia Zhulanova (Komi), Daiva Rachiunaite-Vychiniene(Lithuania), Martin Boiko and Villis Bendorf (Latvia), Vaike Sarv (Estonia). Withouttheir generous help my knowledge of many traditional polyphonic cultures would bemuch more limited.I want also to thank the leading Russian expert of medieval European polyphonyYuliya Evdokimova (Moscow) for her deep interest towards my model and constructiveremarks. I am also grateful to Russian archaeologist Boris Frolov for his interest andprofessional support.My contact with Russian linguist Viacheslav Vsevolodovich Ivanov wasextremely important for my early interest in the neurological aspect of music andlanguage studies and the musical heritage of the Ancient Mesopotamia. Support fromNorwegian anthropologist Thor Heyerdahl (1914-2002) was crucial for my interest in themusical traditions of the Ancient Mesoamerica, as well as in the polyphonic traditions ofthe Andean region and the Polynesian islands. Big thanks to primatologist Richard Byrne,who was always most helpful answering my questions about “questioning apes”, hiscolleague Klaus Zuberbuhler, and Thomas Geissmann, an expert on gibbon singing.My very special thanks should go to a big group of speech pathologists (mostlyexperts in stuttering) whose live interest and support was crucial in developing myinterest in this, for me, new and exciting field: the leading Russian expert on stuttering,head of the Moscow Centre of Speech Pathology Viktor Sklowsky, Tatiana Vizel andNikita Khrushchev from Moscow for introducing me to the world of speech pathologyclinical research; Yuri Elkin from Sankt Petersburg for bringing the works of PaolaMenyuk to my attention; Thanks to speech pathologists from Australia – Mark Onslow,Michelle Lincoln, Ashley Craig. Big thanks to Annaliese Hastings from Melbourne,Australia, for her help in establishing professional contacts with speech pathologistsworking with Chinese populations, Stefan Hoffman from Germany, Eugene B. Cooper,19
- Page 3 and 4: ContentsForeword and acknowledgemen
- Page 5: South Asia: India (Assam; Southern
- Page 9: more enjoying the traditional ‘Ho
- Page 12 and 13: 12the rest of the country does not
- Page 14 and 15: 141989:Let me briefly introduce som
- Page 16 and 17: ‣ During the last 20 years of my
- Page 20 and 21: and of course, Sheree Reece from th
- Page 22 and 23: 22Part 1.World stylesof traditional
- Page 24 and 25: used term, although not universally
- Page 26 and 27: 30 January, 1986). Hugh Shields gav
- Page 28 and 29: western Georgian polyphonic “trio
- Page 30 and 31: 30contains more than one compositio
- Page 32 and 33: 32rhythmic component in African mus
- Page 34 and 35: Gerhard Kubik, if you want to count
- Page 36 and 37: 36missionaries was very much aided
- Page 38 and 39: as witness recordings by barely a d
- Page 40 and 41: 40England provides an incredibly in
- Page 42 and 43: of West Africa is a well-known and
- Page 44 and 45: 44African populations played a cruc
- Page 46 and 47: 46unusual element of Tuareg culture
- Page 48 and 49: 48heterophony). European profession
- Page 50 and 51: 50famously declared that to verify
- Page 52 and 53: Out of these five main types of Rus
- Page 54 and 55: 54heterophonic and octave forms of
- Page 56 and 57: 56Ex. 3. Abkhazia. (Akhobadze, Kort
- Page 58 and 59: 58Balkarians and KarachaevisThese t
- Page 60 and 61: 60Ossetian polyphony is based on th
- Page 62 and 63: 62Garakanidze, who conducted a shor
- Page 64 and 65: 64in the southern part of the settl
- Page 66 and 67: 66Almeeva noted the presence of the
Armstrong, Joan Mills and Richard Gough from <strong>the</strong> UK, and particularly Stuart Gelzerfrom USA) contributed to <strong>the</strong> research of different aspects of Georgian music.I am very grateful to <strong>the</strong> big group of ethnomusicologists, musicologists andassociates from different countries for <strong>the</strong>ir generous support during <strong>the</strong> different stagesof my research with materials and advice: Nikolai Kaufmann and Boryana Alexandrova(Bulgaria, Boryana is currently in USA), Oskar Elschek (Slovakia), Tim Rice, DieterChristensen, Bruno Nettl, Steven Brown, Ted Levin, James Cooke Brown and RedjebJordania (USA), Caroline Bi<strong>the</strong>l, Simon Broughton and Nigel Watson (UK), GeraldFlorian Messner, Marco Pavlishyn, Margaret Kartomi, Cathy Falk and Iain McFarlane(Australia), Anna Czekanowska (Poland), Robin Timmerman (Canada), Simha Arom,Tran Quang Hai and Jacqueline Thomas (France), Nguen Van Nam (Vietnam), WolfgangLaade and Thomas Hausermann (Switzerland), Minoru Morita (Japan), ArdianAhmedaja, Gerlinde Haid, Franz Fodermayr and Nona Lomidze (Austria), Shituni Spiro(Albania), Susanne Ziegler (Germany), Igor Bogdanov, Yuri Sheikin, late ViktorVinogradov, Maria Roditeleva and Eduard Alexeev (Russia, now Maria and Eduard arein <strong>the</strong> USA), Zinaida Mozheiko, Galina Kutireva and Galina Tavlai (Belarus, Galina isnow in St. Petersburg), late Viktor Matvienko, Irina Belosvetova and Nina Gerasimova-Persidskaia (Ukraine), Anatoly Rakhaev, late Tamara Blaeva and Manashir Iakubov(North Caucasia, Manashir now in Moscow), Nailia Almeeva (Tatarstan, now in St.Petersburg), Zoia Tajikova (Tajikistan, now in <strong>the</strong> USA), Nikolai Boiarkin (Mordva),Oleg Gerasimov (Mari), Nadia Zhulanova (Komi), Daiva Rachiunaite-Vychiniene(Lithuania), Martin Boiko and Villis Bendorf (Latvia), Vaike Sarv (Estonia). Without<strong>the</strong>ir generous help my knowledge of many traditional polyphonic cultures would bemuch more limited.I want also to thank <strong>the</strong> leading Russian expert of medieval European polyphonyYuliya Evdokimova (Moscow) for her deep interest towards my model and constructiveremarks. I am also grateful to Russian archaeologist Boris Frolov for his interest andprofessional support.My contact with Russian linguist Viacheslav Vsevolodovich Ivanov wasextremely important for my early interest in <strong>the</strong> neurological aspect of music andlanguage studies and <strong>the</strong> musical heritage of <strong>the</strong> Ancient Mesopotamia. Support fromNorwegian anthropologist Thor Heyerdahl (1914-2002) was crucial for my interest in <strong>the</strong>musical traditions of <strong>the</strong> Ancient Mesoamerica, as well as in <strong>the</strong> polyphonic traditions of<strong>the</strong> Andean region and <strong>the</strong> Polynesian islands. Big thanks to primatologist Richard Byrne,<strong>who</strong> was always most helpful answering my <strong>question</strong>s about “<strong>question</strong>ing apes”, hiscolleague Klaus Zuberbuhler, and Thomas Geissmann, an expert on gibbon singing.My very special thanks should go to a big group of speech pathologists (mostlyexperts in stuttering) <strong>who</strong>se live interest and support was crucial in developing myinterest in this, for me, new and exciting field: <strong>the</strong> leading Russian expert on stuttering,head of <strong>the</strong> Moscow Centre of Speech Pathology Viktor Sklowsky, Tatiana Vizel andNikita Khrushchev from Moscow for introducing me to <strong>the</strong> world of speech pathologyclinical research; Yuri Elkin from Sankt Petersburg for bringing <strong>the</strong> works of PaolaMenyuk to my attention; Thanks to speech pathologists from Australia – Mark Onslow,Michelle Lincoln, Ashley Craig. Big thanks to Annaliese Hastings from Melbourne,Australia, for her help in establishing professional contacts with speech pathologistsworking with Chinese populations, Stefan Hoffman from Germany, Eugene B. Cooper,19
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