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who asked the first question? - International Research Center For ...

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47‣ West Africa is <strong>the</strong> only region in sub-Saharan Africa where dronepolyphony is found (possibly <strong>the</strong> result of <strong>the</strong> influence of <strong>the</strong> Tuaregethnic and cultural element);‣ Madagascar polyphonic traditions show <strong>the</strong> features of continentalAfrican, as well as Austronesian polyphonic traditions;‣ North African music is based on vocal monophonic tradition, with <strong>the</strong>remarkably developed professionalism, virtuoso singing style andmusical instruments;‣ I suggest distinguishing Sahara as a separate region of Africa, on <strong>the</strong>ground of <strong>the</strong> specific polyphonic traditions of <strong>the</strong> Berber-Tuaregpeoples. Tuareg tradition of drone polyphony is unique within <strong>the</strong>African continent. Sahara musical traditions do not show links nei<strong>the</strong>rwith <strong>the</strong> sub-Saharan polyphonic traditions, nor <strong>the</strong> monophonictraditions of <strong>the</strong> North Africa.Vocal Polyphony in EuropeIt would be quite safe to say <strong>the</strong> Europe is <strong>the</strong> second most polyphonic continentof our planet. Although in most of <strong>the</strong> cases European traditional cultures did not retain<strong>the</strong> vitality of African polyphonic traditions, <strong>the</strong> number of polyphonic regions and <strong>the</strong>sheer diversity of polyphonic traditions create <strong>the</strong> unique European “polyphonictapestry”.Few remarks will give <strong>the</strong> reader some general idea about <strong>the</strong> peculiarities of <strong>the</strong>European traditions of vocal polyphony:‣ Unlike <strong>the</strong> sub-Saharan Africa, where <strong>the</strong> distribution of <strong>the</strong> polyphonictraditions is represented mostly as an unbroken geographic region thatcovers thousands of <strong>the</strong> square kilometers, most of European traditionsof vocal polyphony represent certain isolated “islands”;‣ Also unlike Africa, where we have polyphonic sub-Sahara and mostlymonophonic North Africa, <strong>the</strong>re is hardly a major part of Europe where<strong>the</strong> monophonic traditions would be as prevalent as in <strong>the</strong> North Africa.Pockets of polyphony are scattered all across <strong>the</strong> European continent insou<strong>the</strong>rn, nor<strong>the</strong>rn, central, and eastern regions of Europe. Traditions of<strong>the</strong> vocal polyphony are better survived in sou<strong>the</strong>rn (Mediterranean) andeastern regions of <strong>the</strong> Europe;‣ Many European polyphonic traditions show <strong>the</strong> obvious signs of <strong>the</strong> lateinfluence of European professional polyphony. Of course, musicprofessionalism existed in many different regions of <strong>the</strong> World as well(including North Africa), and some of <strong>the</strong>se traditions had much longertradition of professionalism, than Europe (for example, few regions fromNorth Africa to East Asia, labeled by Lomax as “Old High Cultures”.Lomax, 1968). But, unlike European classical (professional) tradition,non-European professional vocal traditions were mostly orientated onsolo performer, or at least, on monophonic music (or variant

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