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 ...
226examples according to the gradual increase of the heterophonic elements. So you willsoon have a clear evolutionary picture of the evolution of polyphony from monophony: atthe bottom of the scale you can put the unison examples (as the most archaic,“monophonic layer”); then comes the unison singing with only occasionally emergingheterophonic elements; next would be examples where heterophonic “deviations” fromthe unisons are quite numerous, and finally you may have examples where heterophony isthe leading element of the texture, and where the unison only is used at the crucialmoments of melodic development (this would be the latest, already the “polyphoniclayer”).The only problem with this very simple and ostensibly logical evolutionarytransformation from monophonic to polyphonic singing is that existing facts do notsupport this scenario. So, there is nothing wrong with this kind of classification ofunison-heterophonic traditions per se, but if we want to consider this gradation as thehistoric model of the evolution of polyphony from monophony, we immediately run intomajor contradictions with the existing facts. Even if we forget about the general tendencyof the disappearance (and not the appearance) of polyphonic traditions around the world,discussed earlier in this part, the evolution of monophony into polyphony throughheterophony still faces contradictions.Let us first of all note the difference between the heterophonic elements inpolyphonic cultures and heterophonic polyphony per se.Heterophonic elements can be potentially present in every polyphonic cultureand style, where at least one of the parts is performed by more than one person. Forexample, in Georgian polyphonic songs different bass singers may occasionally singdifferent notes. These notes are never haphazard, and they are as a rule a third or a fifthapart (according to the principle of “third and fifths substitution”, mentioned during thediscussion of Georgian polyphonic tradition in the first part).Heterophonic polyphony is a type of texture where all (or almost all) the singersperform the main melody of the song heterophonically. In this “case study” we will beconcentrating on heterophonic polyphony, not the heterophonic elements in other types ofpolyphony.Let us now have look at the patterns of stratification of heterophony in one of themost important regions of the distribution of heterophonic polyphony in the world, anddefinitely the largest region of the distribution of heterophonic polyphony in Europe –Eastern Europe. This is the ethnic territory of the eastern Slavs, who are particularly wellknown for their rich traditions of heterophonic polyphony.Heterophony among Eastern Slavs has a few different versions, but the unitingfeature between them is the above-mentioned tradition of singing the main melody as a“thick” heterophonic melody. The singers call this heterophonic melody a “bass” part(see the section about Russian polyphonic traditions on this subject). In eastern Slavictradition heterophonic singing of the main melody is often accompanied by a functionallydifferentpart (usually a high part), mostly performed by a single performer.If we want to understand the history of the phenomenon, first of all we need tohave a careful look at the geographic distribution of this phenomenon in a wider context.Let us ask two important questions: (1) is this phenomenon distributed throughout asingle uninterrupted territory or throughout several isolated smaller territories? And (2) isthis phenomenon distributed throughout geographically isolated regions (like mountains,
227major forests, islands, continental fringes) or throughout easy to access territories? Theanswers to these questions are usually very easy to discover, and are very informative atthe sam e time. Here are the simple answers to these two questions:(1)Heterophony is distributed virtually throughout the whole ethnicterritory of the Russian populations, as well as the Ukrainian andBelarus populations. Only in a couple of smaller regions do we see theexistence of a different type of polyphony – drone polyphony. Thissimple and well known fact among Russian ethnomusicologists pointsto the earlier chronological period of distribution of drone polyphonyand the later distribution of the heterophonic singing style.(2) The area of the distribution of heterophony is the hundreds of thousandkilometers of open area of Eastern Europe, north from the Black andCaspian Seas. No major geographically isolating ecological systemsexist on this territory. Except one. The only geographically isolatingregion on this huge territory is Polessye, the biggest forest region ofthe Europe, the border region between all three Slavic peoples(particularly – between the Ukraine and Belarus). And again –Polessye is almost the only region where another (drone) type ofpolyphony is distributed.Therefore, the distribution pattern of heterophony on the territory of EasternEurope point to its late distribution. This is particularly evident in comparison of thedistribution pattern of heterophony with another polyphonic type of the Eastern Europe –drone polyphony. Drone polyphony of Polessye and some other (also isolated!) smallerregions (like the Bryansk and Belgorod districts in Russia) must be chronologically mucholder than the tradition of heterophonic singing.The idea of the possible later origin of heterophony, as the result of losing theancient “more polyphonic” tradition, has been expressed (as one of the historicalpossibilities) by Russian and Ukrainian scholars. For example, Sokolova declared“Heterophony is not the primordial type of polyphony, but a specific version of thetexture of the ‘podgolosochnaia polifonia’ type” (Sokolova, 1989:44). Efremovconcluded his recent paper, delivered at the Tbilisi 2004 International Symposium ontraditional polyphony, with the idea that the dissonant small range drone polyphony anddissonant small range heterophony is the archaic form of Ukrainian polyphony, and theheterophony with parallel thirds and large range (up to sixth) melodies is a historicallylater form of group singing (Efremov, 2005).If we have another look at the geographic map of Eurasia, we can see the possiblereasons for the disappearance of the older forms of polyphony in most of the territory ofEastern Europe: this territory is totally unprotected by any serious geographic barriers, sothe new migrating waves (coming from the east, by the way) were able to go throughwithout any major natural obstacles. This was the region where the migration waves fromCentral and East Asia (the most monophonic regions of Eurasia) were coming intoEurope.
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227major forests, islands, continental fringes) or throughout easy to access territories? Theanswers to <strong>the</strong>se <strong>question</strong>s are usually very easy to discover, and are very informative at<strong>the</strong> sam e time. Here are <strong>the</strong> simple answers to <strong>the</strong>se two <strong>question</strong>s:(1)Heterophony is distributed virtually throughout <strong>the</strong> <strong>who</strong>le ethnicterritory of <strong>the</strong> Russian populations, as well as <strong>the</strong> Ukrainian andBelarus populations. Only in a couple of smaller regions do we see <strong>the</strong>existence of a different type of polyphony – drone polyphony. Thissimple and well known fact among Russian ethnomusicologists pointsto <strong>the</strong> earlier chronological period of distribution of drone polyphonyand <strong>the</strong> later distribution of <strong>the</strong> heterophonic singing style.(2) The area of <strong>the</strong> distribution of heterophony is <strong>the</strong> hundreds of thousandkilometers of open area of Eastern Europe, north from <strong>the</strong> Black andCaspian Seas. No major geographically isolating ecological systemsexist on this territory. Except one. The only geographically isolatingregion on this huge territory is Polessye, <strong>the</strong> biggest forest region of<strong>the</strong> Europe, <strong>the</strong> border region between all three Slavic peoples(particularly – between <strong>the</strong> Ukraine and Belarus). And again –Polessye is almost <strong>the</strong> only region where ano<strong>the</strong>r (drone) type ofpolyphony is distributed.Therefore, <strong>the</strong> distribution pattern of heterophony on <strong>the</strong> territory of EasternEurope point to its late distribution. This is particularly evident in comparison of <strong>the</strong>distribution pattern of heterophony with ano<strong>the</strong>r polyphonic type of <strong>the</strong> Eastern Europe –drone polyphony. Drone polyphony of Polessye and some o<strong>the</strong>r (also isolated!) smallerregions (like <strong>the</strong> Bryansk and Belgorod districts in Russia) must be chronologically mucholder than <strong>the</strong> tradition of heterophonic singing.The idea of <strong>the</strong> possible later origin of heterophony, as <strong>the</strong> result of losing <strong>the</strong>ancient “more polyphonic” tradition, has been expressed (as one of <strong>the</strong> historicalpossibilities) by Russian and Ukrainian scholars. <strong>For</strong> example, Sokolova declared“Heterophony is not <strong>the</strong> primordial type of polyphony, but a specific version of <strong>the</strong>texture of <strong>the</strong> ‘podgolosochnaia polifonia’ type” (Sokolova, 1989:44). Efremovconcluded his recent paper, delivered at <strong>the</strong> Tbilisi 2004 <strong>International</strong> Symposium ontraditional polyphony, with <strong>the</strong> idea that <strong>the</strong> dissonant small range drone polyphony anddissonant small range heterophony is <strong>the</strong> archaic form of Ukrainian polyphony, and <strong>the</strong>heterophony with parallel thirds and large range (up to sixth) melodies is a historicallylater form of group singing (Efremov, 2005).If we have ano<strong>the</strong>r look at <strong>the</strong> geographic map of Eurasia, we can see <strong>the</strong> possiblereasons for <strong>the</strong> disappearance of <strong>the</strong> older forms of polyphony in most of <strong>the</strong> territory ofEastern Europe: this territory is totally unprotected by any serious geographic barriers, so<strong>the</strong> new migrating waves (coming from <strong>the</strong> east, by <strong>the</strong> way) were able to go throughwithout any major natural obstacles. This was <strong>the</strong> region where <strong>the</strong> migration waves fromCentral and East Asia (<strong>the</strong> most monophonic regions of Eurasia) were coming intoEurope.