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223(1) Drone dissonant-based polyphony of the old European populations, and(2) Richly ornamented, free rhythm and non-metric time based monophony of thepopulations brought by at least some migration waves of Indo-Europeans.I suggest that this initial closeness of two main ingredients of the “Great EuropeanStylistic Mixture” created the similarity of the drone polyphonic traditions of EastGeorgians, Chameri Albanians, Corsicans or the Albacete residents from eastern Spain(to name a few), and not the westward migrations of Georgians to southern Albania oreastern Spain, or the eastward migrations of Spaniards or Albanians to Caucasia.More mixture: The Influence of EuropeanProfessional PolyphonyStratification of European polyphonic traditions is further complicated by theapparently late influence of European professional polyphony. European professionalpolyphony (itself a result of the mixture of Middle Eastern monody and ancient Europeanpolyphony) first appeared at the end of the first millennia, then gained confidence andwent from strength to strength from the 15 th century on. By the 19 th -20 th centuriesEuropean professional polyphony became the most influential musical style of our planet,influencing indigenous musical traditions throughout Africa, Asia, Oceania, Australia,and America.Before we discuss the influence of European professional polyphony on Europeantraditional polyphonic cultures, let us name a few well-known and most importantfeatures that entered European traditions of polyphonic singing from Europeanprofessional polyphony:(1) Prevalence of parallel thirds and sixths between the parts,(2) Prevalence of triadic chords, and(3) Tonic-dominant-subdominant functional system with typical base movementsby fourth and fifths.Here is the list of a few traditional polyphonic styles of Europe that show signs ofthe late influence of European professional polyphony:• Singing “na bas”, very widely distributed in virtually all the Balkan polyphoniccultures, is mostly based on two-part singing, prevalence of the parallel thirds betweenthese two parts, the peculiar cadence formula in the base (jump of the base fourth down,often considered as a jump from Tonic to Dominant), and finishing musical sentences onthe “empty fifths”;• Another very important region of the distribution of the mixture of ancientEuropean and late European professional polyphony is the biggest mountain range ofCentral Europe – the Alps. Choral singing of the Alps mountaineers in Austria,Switzerland, Northern Italy, and Southern Germany is the backbone of their traditionalmusic. Harmonies here are usually fuller (three and four-part) than in the Balkan mostlytwo-part singing tradition of “na bas”. The influence of European professional polyphony