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444Egypt 149, 182, 255, 264, 266ecological zones 256-57, 272, 275Ekmalian, Makar 149‘Eleanor Rigby’ 287Elkin, Yuri 19Elschek, Oskar 19, 182, 251, 389, 392Elschekova, Alica 131-32, 183, 231, 233, 392Emsheimer, Ernst 183, 216, 230, 262England 128-9, 258, 318, 360England, Nicholas 30, 39-40, 386Engovatova, Margarita 51-52, 390-91Enigma (rock band) 161Epir (Epirus) 105, 117-8, 221, 247, 263Erkomaishvili family of singersAnzor 8-9, 88-90, 96, 104, 393; Artem 96Estonia 19, 118-9, 124-25, 201, 231, 262, 387, 389-90Ethiopia 32, 36ethics and moral 381-84, 393Erigena, Johan Scot 129Estreicher, Zygmunt 297, 309Europe (see Eastern; North; Central; Western; also drone in)European professional polyphony 47, 74, 87, 184, 206, 250, 296,influence on traditional cultures 74, 110, 128, 142, 223-25, 233, 244-45, 290;origins of 126, 182, 198, 201, 203, 205-6, 210, 239, 241; and Caucasian folkpolyphony 207Evrei ( see also Jews) 67Ezhu 57-58, 389Falk, Dean 318, 347, 351Falk, Cathy 19Farsheroti 105, 221, 25Fasi 173-74Fedorenko, Irina 52, 54, 391Finney, Ben 273,Finno-Ugric languages 62, 66, 118, 124, 213, 240, 341Flute 42, 46, 111, 138, 160, 171, 264, 268-72 (see also blown instruments)Fodermayr, Franz 19, 392, 393Fonagy, Ivan 313, 321Fossey, Dian 337France 13, 19, 26, 134-5, 138, 143, 214, 318, 319, 391-96Frolov, Boris 19, 313Ga 42Gabisonia,Tamaz (Thomas) 28-30, 84, 388-90, 392, 393-4, 396Galao 159Gamelan 23, 143, 179, 392
445Gamkrelidze, Thomas 18, 216, 253Garakanidze, Edisher 92-93, 95, 97-8, 100-1, 150, 388-90, 392Garrincha 300Gasser, Alan 18Gelzer, Stuart 19, 393Genie 342-345Georgi a: traditional polyphony 74-75; regional characteristics 76-95; men and womensinging 103-4; religious music 96-99; urban music 99-101; scales 101-3;melody 103; modulations79-80; traditional songwriting 91; improvisation 86-90Gerasimov, Oleg 19, 64-65, 389-90Gerasimova-Persidskaia, Nina 19, 387Gerson-Kiwi, Edith 146-47, 183Gippius, Evgeni 53, 57, 67, 201, 390glee singing 129Gogoladze, Vazha 18, 88-89, 91Gogotishvili, Vladimer 101, 103, 127, 388, 392-4, 396goig 137Golden Fleece 20golosnik 51Goodall, Jane 322, 337Gorani 20Gordeziani, Rismag 18, 216, 253, 268Gough, Richard 19, 394Great Britain 128, 365Greece 12, 102, 105, 115-18, 144-5, 147, 188-8, 209, 215, 220-22, 247, 263, 319, 378Greenhood, William 301, 313Grimaud, Yvette 38, 182Guadalcanal Island 175Gun<strong>the</strong>r, Robert 30Guria 8-9, 83-85, 87-92, 97, 278, 388-9, 393-4, 396Gymanfa Ganu 130Hai, Tran Quang 19, 150, 392-93Haid, Gerlinde 19, 133, 394-5Halpern, Ida 168, 372hamhama 145Hammerich, Angel 126Han 158-59Hani 159, 160, 394Haozi 158harmony: singing in 8-9, 75, 205, 261; in Africa 33-36, 41 in European triadic 68, 118,126, 133-4, 148, 205, 233, 277, ; in folk music 124, 128-9, 133, 135, 141, 147,160, 168, 170, 174, 190, 192, 208, 395-96; in instrumental music 269; in rockmusic 282-89.Harrison George 106, 280, 287,Hastings, Anneliese19, 365
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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
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389polyphon y.” 4. Nailia Almeeva
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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 and 440: 439Aotearoa (New Zealand) 174Apan,
Page 441 and 442: 441Brambats, Karl 183, 231Brandel,
Page 443: 443Dancing 10, 31-32, 36, 38, 40-43
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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