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225the ancient drone polyphony without any major external influences. Let me mention afew polyphonic traditions of the Europe to illustrate my ideas:• No external influences. Ancient European drone polyphony withoutmajor external influences could be represented by the polyphonic traditions of westernGeorgia (particularly in Svaneti), Laberi in Albania, Shops in Bulgaria, the centralPolessye region in the Ukraine and Belarus, or drone polyphony in Latvia (both two- andthe currently disappeared three-part traditions). Here the ancient European dronepolyphony with the secondal dissonances does not show any major traces of the influenceof West Asian melismatic monophony or European professional polyphony.• Mixture of two styles (A). Ancient European drone polyphony withthe influence of West Asian melismatic monophony could be represented by thepolyphonic singing traditions of East Georgians (particularly “long” table songs),Chameri from Albania, Albacete drone polyphony from East Spain, melismatic easternand southeastern Portugal polyphony, Farsheroti Macedonians polyphony from Romania,or southeastern Serbian polyphony. Here the ancient drone polyphony is mixed withornamented melodies and free rubato flow.• Mixture of two styles (B). Ancient European drone polyphony withthe influence of European professional polyphony could be represented by the singingtraditions of west Georgian urban style a cappella songs (particularly from Imereti), anew Balkan popular singing style “na bas” (group of songs and traditions withoutmelismatic elements in the melody), most of the polyphonic traditions of the Alps, ordrone polyphony from eastern Lithuania (“collective sutartines”) with triadic chords.• Mixture of three styles. Ancient drone polyphony with the doubleexternal influence from West Asian melismatic melody and from late Europeanclassical polyphony. These are historically the most interesting polyphonic styles, wherethe mixture of all three major styles is evident. I think few European traditions couldrepresent this category: Corsican polyphony with drone, freely flowing melismaticmelody, triadic chords and TSD harmonies is a clear example of the mixture of all threemajor European styles; Sicilian polyphony and North Sardinian polyphony also showobvious elements of the mixture of these three styles. Some of the Balkan “na bas”singing style with ornamented melodies and parallel thirds could also be included in thiscategory.Case Study #5HeterophonyHeterophony is strategically positioned between polyphony and monophony. Tohave a heterophonic singing all you need is to have a group of singers, singing in unisonwhere some members of the group do not strictly follow the unison. Even rare deviationsare enough to see the elements of heterophony. Ethnomusicologists often useheterophonic polyphony as a flexible model to illustrate the process of the emergence ofpolyphony from monophony. If you believe in the evolutionary development ofpolyphony from monophony, you can have a look at the musical tradition of any nationalmusical culture with developed heterophonic traditions and classify heterophonic