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276east to west, in both cases supported by the dominant ocean currents. (By the way, mostof the ocean currents also “follow the Sun” from east to West.)This ancient migration of European groups to Central America, whatever slim itmight seem today, is supported by the possibility of the further southern migration andcrossing the difficult “tropical belt” by dwellers of the colder non-tropical regions in theAndes we have already discussed.Whatever fantastic and unrealistic it may seem, it is my duty to note, that musicaldata do support the “round-the-half-world” travel of Europeans from Mediterranean Seato Central America, and then, via the Andes Mountain passage, to Polynesia. Crucialpoints of this support are as follows:(1) The presence of the European type drone polyphony with thecharacteristic secondal dissonances in Ancient Central America (ininstrumental, and possibly in vocal music as well);(2) The presence of drone polyphony among the Q’eros, unique highmountain survival of pre-Inca culture and population;(3) The presence of more polyphonic traditions among few other peoplesof the Andes region; and(4) The presence of the European type drone vocal polyphonic traditionsin Polynesia.I fully realize that at the moment these facts of the presence of the European typedrone polyphony in Mesoamerican civilizations, in high mountain regions of the Andesand Polynesia are not sufficient to support the romantic hypothesis raised by ThorHeyerdahl about the possible pre-Contact links between the ancient Europe and theMesoamerica, with the subsequent continuation of the travel via Andes to the PolynesianIslands. But if at any point in the future any additional support for this bold and currentlyunrealistic transcontinental travel thorough two oceans and the “tropical belt” comes tothe knowledge of scholars, then the tradition of European type drone polyphony, found inMesoamerica, in Andes (including Q’eros) and Polynesia must be seriously taken intoaccount.
277Case Study #15The Beatles: Ancient Soundsin Hit ParadesPaul McCartney and George Martin had a few interesting discussions about theorchestration of The Beatles “Yesterday” (the first song where the very unusual stringquartet was used on a rock-band recording). “Mozart would not have used that minorseventh”, said George Martin to Paul, and that gave Paul even more incentive to put thisseventh into the arrangement. Of course, John Lennon loved this “bluesy” minor seventh.On another occasion Martin did not like the idea when Paul said he wanted one of theviolins to keep the high “A” during the last appearance of the immortal melody of“Yesterday”. “You can’t double the third!” George Martin told to Paul. “You wannabet?” said Paul (Coleman, 1995:46). I think many would agree, that this long hovering“A” gives the last appearance of the melody some special beauty and even poignancy.George Martin, as usual, was absolutely correct from the point of view of thesacred rules of professional harmony – many music students would remember thataccording to the classical harmony, doubling of the third was considered a big mistake. Inthe 18 th and 19 th century European composers were openly criticized for the lack ofprofessionalism for making such blunders (like doubling the third, or having parallelfifths).Paul McCartney was correct from the point of view of the highest authority of themusical art – our ears. George Martin finally agreed with him, because despite his strongclassical musical education, going against the established rules was an important part ofhis own creative nature.Every epoch has its own aesthetic rules, its musical language, connected to thewhole set of specific technical elements. For the most of the human history most of thepeople were raised in a musical environment of a single culture, therefore they werefamiliar with one “musical language” only. It was almost impossible for them tocomprehend the music based on the different set of rules. For example, according toJames Porter, “Beethoven and Haydn … clearly puzzled by the modality of the [Scottish]tunes and effects derived from bagpipe technique (such as double tonic or a freelypentatonic structure), could not understand why some tunes did not end on her “tonic” orhome key” (Porter, 2000:367). Even these composers, deservedly ranked among thegreatest in human history, “failed to understand the modality of the tunes. Even whenthey found them attractive, they cast them in continental harmonies” (Porter, 2000: 372-373).If we look at the history of European music it is not difficult to see thatprofessional and traditional musical languages often existed side by side, sometimesmisunderstanding each other. Traditional music was often perceived by the professionalcomposers as simple and even “primitive”, at the best deserving a new life byharmonizing traditional tunes with new professional harmonies. Despite this arrogance ofprofessional musicians, traditional musical language was sometimes well ahead of thedevelopment of musical language of professional music.Lithuanian traditional singing
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ContentsForeword and acknowledgemen
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South Asia: India (Assam; Southern
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more enjoying the traditional ‘Ho
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12the rest of the country does not
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141989:Let me briefly introduce som
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‣ During the last 20 years of my
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18Saharan African populations, than
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and of course, Sheree Reece from th
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22Part 1.World stylesof traditional
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used term, although not universally
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30 January, 1986). Hugh Shields gav
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western Georgian polyphonic “trio
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30contains more than one compositio
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32rhythmic component in African mus
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Gerhard Kubik, if you want to count
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36missionaries was very much aided
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as witness recordings by barely a d
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40England provides an incredibly in
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of West Africa is a well-known and
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44African populations played a cruc
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46unusual element of Tuareg culture
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48heterophony). European profession
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50famously declared that to verify
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Out of these five main types of Rus
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54heterophonic and octave forms of
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56Ex. 3. Abkhazia. (Akhobadze, Kort
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58Balkarians and KarachaevisThese t
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60Ossetian polyphony is based on th
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62Garakanidze, who conducted a shor
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64in the southern part of the settl
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66Almeeva noted the presence of the
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68UkraineRegarding polyphonic singi
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70200), the difference between dron
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72BelarusBelarus is a part of the
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74Besides the drone and heterophoni
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76of the feast traditions and long
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78East GeorgiaEast Georgia consists
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80Fig. 3. Modulation from G to G# t
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82Polyphonic singing traditions in
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84In this four-part section we can
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86Improvisation in western Georgian
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88During our 1999 fieldwork in Geor
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90Interestingly, as Anzor Erkomaish
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92Different western Georgian dialec
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95Ex. 37. Lile. Ritual song dedicat
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97David Shugliashvili, both eastern
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99Urban MusicThe urban singing styl
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101Ex. 42. Suliko. Urban love song.
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103In Georgian traditional polyphon
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105BalkansThe Balkans are one of th
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107the tradition of polyphonic sing
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109It represents an interesting mix
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111Ex. 54. Bosnia and Herzegovina,
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113MacedoniaSpeaking about Macedoni
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115Ex. 59. Albania. Laberi style po
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117of fact, together with Romania,
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119countries of the Baltic region a
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121research about sutartines (Slavi
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123LatviaAnother Baltic country, La
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125Ex. 68. Estonia. Setu polyphony
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127Tbilisi State Conservatory in th
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129contracted this peculiarity of s
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131throughout medieval northern Eur
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133electronic media; and whether th
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135To complete the review of the Ce
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137(9) The singing style is harsh a
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139ItalyWith its internationally re
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141than 120 Sicilianvillages and it
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143Vocal Polyphony in AsiaAsia is b
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145music of Ancient Greece itself i
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147possible space of a second.” T
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149sources from the 5 th (Favstos B
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151polyphonic singing came from Taj
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153(asamchilog, choir). 6/8 metre i
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155or less in unison, and one voice
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157Lithuanian sutartines, where you
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159idea of how rich (and how unknow
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161Ex. 90. China, Tibet (Bucher, 19
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163South-East AsiaVietnamAccording
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165Not all the traditions and music
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Vocal Polyphony in North AmericaThe
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169west of the region (Densmore, 19
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171the Indian melodies continue wit
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173(Burney 1975:84. Cited from Kaep
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175Easter Island] and the westernmo
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177of Northwest American Indians an
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179Of course, to say that the pre-W
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181faraway cultures without contact
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183• Anne Draffkorn Kilmer sugges
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185some extinct civilizations (anci
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187hear assertions that a certain s
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189population of North Greece, moun
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191and possibly about the cultural
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193rules of Polynesian traditional
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1953. Social organization of the si
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197(2) Another inconvenience is tha
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199According to the common belief o
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201level. Darwin made a correct con
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203during the 20 th century sutarti
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205Even in cases of century- and mi
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207With the convincing and well-doc
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209Conclusions for the previous two
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211Indo-European family of language
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213all musicians are Bachs, but all
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215Switzerland, Germany, Austria, I
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217evidence for them. If a proto-Ca
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219West and Central Asia. Solo perf
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221monophonic singing styles. So, w
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223(1) Drone dissonant-based polyph
Page 225 and 226: 225the ancient drone polyphony with
Page 227 and 228: 227major forests, islands, continen
Page 229 and 230: 229the influence of the “oriental
Page 231 and 232: 231• Florian Messner (1980) point
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Page 235 and 236: 235Case Study #7Overtone Singing of
Page 237 and 238: 237together wit Valentina Suzukei (
Page 239 and 240: 239(8) As harmonics are a universal
Page 241 and 242: 241(as “collective sutartines”)
Page 243 and 244: 243perspective, can provide more us
Page 245 and 246: 245For a further discussion of this
Page 247 and 248: 247with two other parts, sung by so
Page 249 and 250: 249that there is hardly a single do
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Page 253 and 254: 253Two possible historical models m
Page 255 and 256: 255where the former pearl diving bo
Page 257 and 258: 257new territories (subject to the
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Page 265 and 266: 265music transcription. There are 5
Page 267 and 268: 267• Even the transcription of Ku
Page 269 and 270: 269“Music iconography can reveal
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Page 273 and 274: 273Case Study #14Polynesian Polypho
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Page 279 and 280: 279Acknowledging the crucial differ
Page 281 and 282: 281• Performance style. Arguably
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Page 285 and 286: 285Ending of the songs on non-tonic
Page 287 and 288: 287Fig. 16. Medieval West Georgian
Page 289 and 290: 289phenomenon in the history of the
Page 291 and 292: 291North America (according to the
Page 293 and 294: 293Part 3Singing, Questioning, Thin
Page 295 and 296: 295European and Middle Eastern mono
Page 297 and 298: 297This characteristic raises one s
Page 299 and 300: 299is not only a linguistic problem
Page 301 and 302: 301with all their communicative ski
Page 303 and 304: 303cooperative (and not competitive
Page 305 and 306: 305group and groom each other, they
Page 307 and 308: 307hungry lion. And here comes anot
Page 309 and 310: 309“attacking power” of the “
Page 311 and 312: 311Singing in Peaceful Times:Toward
Page 313 and 314: 313he changed his view and linked t
Page 315 and 316: 315Gestural Theory of Language Orig
Page 317 and 318: 317among hominids. The situation of
Page 319 and 320: 319whistle with a whistle. The inte
Page 321 and 322: 321referential function. In contemp
Page 323 and 324: 323mental abilities, but even music
Page 325 and 326: 325articulated elements, where the
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327development experts would unanim
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329years after 1996, if I see a new
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331• Why do we ask questions?This
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333With the emergence of the abilit
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335apes’ and humans’ mental abi
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337The fascinating fact about the T
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339curiosity cannot exist, although
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341• Question intonation is argua
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343A few cases of “wolf children
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345(2) Children under two and pidgi
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347Let’s Talk: Origin of SpeechTh
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349article concluded with the sugge
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351are disposed to accept such a vi
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353articulated speech among the anc
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355speech (possibly in conjunction
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357function, while in the sub-Sahar
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359acquired, it is one of the most
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361millennia. So the historical dyn
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363of stuttering was mostly margina
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365when I reminded her of our conve
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367• A comparison of the stutteri
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369predisposition towards stutterin
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371There are some well-researched p
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373Developmental dyslexiaStuttering
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375mastery or correct usage of soun
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377• As the process of the declin
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379major African ground predators (
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381PostScript:Moral and ethics issu
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383(Jordania, 1989:240), believing
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385without turning these difference
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387Central African Republic, Bangul
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389polyphon y.” 4. Nailia Almeeva
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391aural tradition: Results and the
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3931. Tamar Chkheidze. “Peculiari
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395Krimanchuli (Yodel) in West Geor
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397ReferencesABDUSHELISHVILI, MALKH
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399ASAFIEV, BORIS. 1971. Musical fo
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401BLACKING, JOHN. 1973. How musica
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403BUCHER, KARL. 1923 (1919). Arbei
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405COOKE, PETER. 1998. East Africa:
Page 407 and 408:
407ELSCHEKOVA, ALICA. 1963. “Der
Page 409 and 410:
409GANDOUR, JACK, SORANEE H. PETTY,
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411HALPERN, IDA. 1975. “Music of
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413JELINEK, JAN. 1978. Homo erectus
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415methodologies? Erich Stockmann z
Page 417 and 418:
417---- 1975. Music of Ainu. In Pro
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419KUTER, LOIS. Brittany. In The Ga
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421MACCHIARELLA, IGNAZIO. 2005. The
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423Symposiu m on Traditional Polyph
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425PERETZ, ISABELLE. 2003. Brain sp
Page 427 and 428:
427---- 2003. The geographical dist
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429SALEH, MAGDA. 2002. Dance in Egy
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431SNOWDON, CHARLES T. 1982. “Lin
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433THORNE, ALAN G., and MILFORD H.
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435WEIDENREICH, FRANZ. 1943. The "N
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437Materials of the Voronezh confer
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439Aotearoa (New Zealand) 174Apan,
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441Brambats, Karl 183, 231Brandel,
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443Dancing 10, 31-32, 36, 38, 40-43
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445Gamkrelidze, Thomas 18, 216, 253
Page 447 and 448:
447Iso 114, 116 (see also drone)Ist
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449McFarlane, Iain 19McNeill, Willi
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451Niger 45Nikoladze, Ketevan 18, 2
Page 453 and 454:
453Qollas 171questions, asking ques
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Sotho 40Sorce-Keller, Marcello 139-
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457Tsurtsumia, Rusudan 18, 392-4, 3
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Zhoukoudian 353Zhvania, Tina 18, 39
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