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436XINGRONG, Zhang. 1997. “A new discovery: Traditional eight-part polyphonicsinging of the Hani of Yunnan,” Translated by Helen Rees. CHIME 10-11:145-152.YASSER, JOSEPH. 1938. A theory of evolving tonality. New York: Americanlibrary of Musicology.YAVORSKY, BOLESLAV L. 1923. Main elements of Music. Moscow. (InRussian)YURIAN, A. 1907. Materials for Latvian folk music. Riga. (In Russian)ZELINSKA, MAGDA FERL, and EDWARD J. P. O’CONNOR. Czech Republicand Slovakia. In The Garland Encyclopedia of World Music. Vol. 8, Europe. Edited byTimothy Rice, James Porter and Chris Goertzen, pp. 716-735. New York: GarlandPublishing.ZEMTSOVSKY, IZALY. 1969. Ethno genesis in the light of musical folklore.Narodno Stvaralashtvo (Beograd) 29-32/69:201-211. (In Russian)---- 1972. Examples of Folk polyphony. Leningrad: Sovetskii Kompozitor.(In Russian)---- 1986. " The problem of the musical dialogue: Antiphony anddiaphony”, in Problems of folk polyphony. Edited by Joseph Jordania, pp. 9-11. Tbilisi:Georgian Musical Society Press. (In Russian.)---- 1986a. Problem of genesis of musical language (Intonation – Thinking– Culture). In Problem of genesis and early forms of musical culture, extended abstractsof the conference, held in Dilijan, Armenia, 24-30 October 1986. Pp. 34-37. Erevan:Armenian Academy of Sciences. (In Russian)---- 1988. Music and ethno-genesis. Sovietskaia Etnografia 2:12-22. (InRussian with English summary)---- 1990. Music and ethnic history: An attempt to substantiate a Eurasianhypothesis. Yearbook for traditional music, vol. 22: 20-28. New York.---- 1993. “ Dialogie Musicale,” in Cahiers de musiques traditionelles,Geneve, 1993, vol. 6: Polyphonies, pp 23-37.---- 2000. Russia. In The Garland Encyclopedia of World Music. Vol. 8,Europe. Edited by Timothy Rice, James Porter and Chris Goertzen, pp. 754-789. NewYork: Garland Publishing.---- 2003. Sound space of Eurasia. In Eurasian space: Sound, image,word. Edited by Viacheslav Vs. Ivanov, pp. 397-408. Moscow: Iaziki SlavianskoiKulturi. (In Russian)---- 2003a. Polyphony as a way of creating and thinking: The musicalidentiry of homo Polyphonicus. In The First International Symposium on TraditionalPolyphony, 2002. Edited by Rusudan Tsurtsumia and Joseph Jordania, pp. 35-53. TbilisiState Conservatory.---- 2006. “Musical Dialogue”, in From the world of Oral Tradition: NotesDespite. Sankt-Petersburg National Institute of Music, Theatre and Music. (In Russian)---- 2006a. “Polyphony as ‘ethnohearing’ and its ‘musical substance’:‘Homo polyphonicus is action,” in The Second International Symposium on TraditionalPolyphony, 2004. Edited by Rusudan Tsurtsumia and Joseph Jordania, pp. 25 - 38. TbilisiState Conservatory.ZHULANOVA, NADIA. 1989. “Some peculiarities of the types of vocalpolyphony among Komi-Permiaks,”in Vocal polyphony of the peoples of Russia.
437Materials of the Voronezh conference, 24-29 September 1989. Edited by MargaritaEngovatova, pp. 56-58.ZIEGLER, SUSANNE. 1990. “The discovery of Georgian polyphony – Varyingtrends in a century of research. In VII European Seminar in Ethnomusicology, 509-516.Berlin.ZIMMERMAN, GERALD, SVEN LILJEBLAD, ARTHUR FRANK, andCHARLOTTE CLEELAND. 1983. The Indians have many terms for it: Stuttering amongthe Bannock-Shoshoni. Journal of Speech and Hearing Research 26: 315-18.ZUBROV, EZRA B. W. 1989. "The demographic modeling of Neanderthalextinction", in The Human revolution: Behavioural and biological perspectives on theorigin of modern humans, vol. 1. Edited by P. Mellars and C. B. Stringer, pp. 212-31.Edinburgh: EdinburghUniversity.
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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
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225the ancient drone polyphony with
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227major forests, islands, continen
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229the influence of the “oriental
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231• Florian Messner (1980) point
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233(“collective”) sutartines wi
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235Case Study #7Overtone Singing of
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237together wit Valentina Suzukei (
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239(8) As harmonics are a universal
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241(as “collective sutartines”)
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243perspective, can provide more us
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245For a further discussion of this
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247with two other parts, sung by so
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249that there is hardly a single do
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251hairiness, Cavalli-Sforza sites
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253Two possible historical models m
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255where the former pearl diving bo
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257new territories (subject to the
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259minimum? And did the development
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261settlement history, and the most
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263instruments from Mediterranean r
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265music transcription. There are 5
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267• Even the transcription of Ku
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269“Music iconography can reveal
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271specific double flute made from
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273Case Study #14Polynesian Polypho
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275complexity plus precise enunciat
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277Case Study #15The Beatles: Ancie
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279Acknowledging the crucial differ
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281• Performance style. Arguably
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283C-major key, G major chord could
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285Ending of the songs on non-tonic
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287Fig. 16. Medieval West Georgian
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289phenomenon in the history of the
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291North America (according to the
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293Part 3Singing, Questioning, Thin
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295European and Middle Eastern mono
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297This characteristic raises one s
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299is not only a linguistic problem
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301with all their communicative ski
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303cooperative (and not competitive
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305group and groom each other, they
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307hungry lion. And here comes anot
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309“attacking power” of the “
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311Singing in Peaceful Times:Toward
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313he changed his view and linked t
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315Gestural Theory of Language Orig
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317among hominids. The situation of
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319whistle with a whistle. The inte
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321referential function. In contemp
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323mental abilities, but even music
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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
Page 385 and 386: 385without turning these difference
Page 387 and 388: 387Central African Republic, Bangul
Page 389 and 390: 389polyphon y.” 4. Nailia Almeeva
Page 391 and 392: 391aural tradition: Results and the
Page 393 and 394: 3931. Tamar Chkheidze. “Peculiari
Page 395 and 396: 395Krimanchuli (Yodel) in West Geor
Page 397 and 398: 397ReferencesABDUSHELISHVILI, MALKH
Page 399 and 400: 399ASAFIEV, BORIS. 1971. Musical fo
Page 401 and 402: 401BLACKING, JOHN. 1973. How musica
Page 403 and 404: 403BUCHER, KARL. 1923 (1919). Arbei
Page 405 and 406: 405COOKE, PETER. 1998. East Africa:
Page 407 and 408: 407ELSCHEKOVA, ALICA. 1963. “Der
Page 409 and 410: 409GANDOUR, JACK, SORANEE H. PETTY,
Page 411 and 412: 411HALPERN, IDA. 1975. “Music of
Page 413 and 414: 413JELINEK, JAN. 1978. Homo erectus
Page 415 and 416: 415methodologies? Erich Stockmann z
Page 417 and 418: 417---- 1975. Music of Ainu. In Pro
Page 419 and 420: 419KUTER, LOIS. Brittany. In The Ga
Page 421 and 422: 421MACCHIARELLA, IGNAZIO. 2005. The
Page 423 and 424: 423Symposiu m on Traditional Polyph
Page 425 and 426: 425PERETZ, ISABELLE. 2003. Brain sp
Page 427 and 428: 427---- 2003. The geographical dist
Page 429 and 430: 429SALEH, MAGDA. 2002. Dance in Egy
Page 431 and 432: 431SNOWDON, CHARLES T. 1982. “Lin
Page 433 and 434: 433THORNE, ALAN G., and MILFORD H.
Page 435: 435WEIDENREICH, FRANZ. 1943. The "N
Page 439 and 440: 439Aotearoa (New Zealand) 174Apan,
Page 441 and 442: 441Brambats, Karl 183, 231Brandel,
Page 443 and 444: 443Dancing 10, 31-32, 36, 38, 40-43
Page 445 and 446: 445Gamkrelidze, Thomas 18, 216, 253
Page 447 and 448: 447Iso 114, 116 (see also drone)Ist
Page 449 and 450: 449McFarlane, Iain 19McNeill, Willi
Page 451 and 452: 451Niger 45Nikoladze, Ketevan 18, 2
Page 453 and 454: 453Qollas 171questions, asking ques
Page 455 and 456: Sotho 40Sorce-Keller, Marcello 139-
Page 457 and 458: 457Tsurtsumia, Rusudan 18, 392-4, 3
Page 459 and 460: Zhoukoudian 353Zhvania, Tina 18, 39
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