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440Bantu speakers 33, 36-39Bartok, Bela 120, 233, 243, 278Bashkirs 49, 62, 65-66Baskakov, N. N.235Basque 138, 213-216, 253, 396Batonebo 8Bazmadzain 149Beatles, The 20, 25, 277, 278, 289, 291Performance style 281-82; writing songs together 278-80; closeness to the ancientEuropean polyphonic traditions 277-78, 289; drone 287-88; dissonances 286-87;vocal harmonies 288-89; chord progressions 282-85Bedouins 145, 149, 166Beethoven 148, 277, 284-85, 300Bei 139Belarus 19, 49, 52, 72-74, 212, 215, 221, 225, 227, 253, 387-91Bellona 174, 175Belosvetova, Irina 19, 69, 70Bemmel, Eric van 20Bendorf, Villis 19, 123-24, 388-90Benzon, William 314Berber 41, 44-45, 47, 253 (see also Tuareg)Berdzenishvili, Levan 18Berdzenishvili, Vladimer 85Berlin Wall 215Betsileo 43Bickerton, Derek 15, 339, 343-44Blaeva, Tamara 19, 57, 251, 389, 390-91Blumenschine, Robert 308Binford, Louis 309Bithel, Caroline 19, 136-37, 392Blacking, John 30, 39-41, 311--12blown instruments 148, 261, 272, 389polyphonic 171, 172, 262; double 238; triple 238; quadruple 238; and vocalpolyphony 263-64, 291; polyphonic and unison constructions 262-63, 271, 377;in Mesoamerica 268, 270; in ancient Mesopotamia 264;Bloodstein, Oliver 358body percussion 295, 296Boetius 34Bogdanov, Igor 19Boiarkin, Nikolai 19, 62, 387-91Boiarkina, Liudmila 63, 390Boiko, Martin 19, 121, 124, 184, 231, 389, 390Boiles, Charles 269, 270Bonobos 301, 335Borjomi 9, 148, 251-52, 329, 388, 389Botswana 34
441Brambats, Karl 183, 231Brandel, Rose 33Brandl, Rudolf 27, 183, 240, 388, 393Breton 135Bryansk 51, 227Broughton, Simon 19Brown, Steven 314, 318, 393Bucher, Karl 160-61, 308, 312Buffey Lynn, Keith, Sarah, Heather 20Bulgaria 9, 12, 19, 52, 62, 105-08, 113, 183, 188, 209, 215, 221, 225, 230, 247, 262,287,278, 389, 396Bunun 36,Burkina Faso 45Burma (Nyanmar) 164, 166Burundi 36Bushmen 39, 182, 258, 278, 386,Traditional songwriting 40;Byrne, Richard 19, 310, 317, 346Californian Indians 168, 202Calvin, William 306Caluza, Reuben 41Cambrensis 96, 128-130, 201Canon 27, 29, 39, 53, 120-21, 123, 133, 155-56, 159, 161, 229, 241, 243-44, 250, 391canto a dispetto 140canto a vatoccu 140Carthage 45Castelo-Branco, Shalva 137, 395Caucasia 26, 55, 58-63, 74, 148, 180, 198, 200, 207, 215-16, 220, 223, 237, 240, 242,244, 251, 253, 267-68, 286, 290, 296, 352, 354, 382, 387, 389-91, 394North Caucasia 19, 34, 49, 54-55, 58-63, 82, 252, 387; Transcaucasia 63, 74, 99,180; Caucasian languages in 55, 58, 200, 214;Caucasians ( as a race) 237, 352in North Africa 253; in North Asia 260; in East Asia 248-51; in Central Asia237-38;Cavalli-Sforza, Luigi Luca 216-17, 249, 251-53, 257, 259-60, 348, 359Central Africa 28, 37-39, 181, 191, 192Central Asia 11, 25, 61, 66, 143-44, 149-51, 155, 166, 177, 180, 184, 205, 219-20, 235-39, 244, 247, 249, 260, 262, 263, 290, 352,360, 364, 370-71Central Europe 49, 131, 133-34, 209, 223, 237, 354-55Chadwick, Helen 18Chameri 114-16, 221-23, 225, 245, 254Chamorro, Arturo 269Chavchavadze, Zurab 18, 96Chechens 49, 55, 60, 61, 180Chidjavadze, Otar 18, 388
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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 (
Page 381 and 382:
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
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 and 436: 435WEIDENREICH, FRANZ. 1943. The "N
Page 437 and 438: 437Materials of the Voronezh confer
Page 439: 439Aotearoa (New Zealand) 174Apan,
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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