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56Ex. 3. Abkhazia. (Akhobadze, Kortua, 1957:226)Ex. 4. Abkhazia. (Akhobadze, Kortua, 1957:221)Ex. 5. Abkhazia. (Akhobadze, Kortua, 1957:117)The first scholarly works about Abkhazian music appeared at the beginning of20 th century (Araqishvili, 1916) and few others followed during the 20 th century (Kovach& Dzidzaria, 1929, 1930; Akhobadze, Kortua, 1957; Khashba, 1977, 1983; Asuba, 1986;Shamba, 1986), although none of them were published in Western European languages.The article of the author of this book in the Garland encyclopedia of the World Musicseems to be the first available for the western readers publication about this veryinteresting polyphonic tradition (Jordania, 2000a:851-854).
57Adighis“Adighis” is a Russian term for several ethnic groups living in the western part ofthe North Caucasia (population about 120 000). To Europeans they are more knownunder the name “Cherkesses” (or “Circasians”. Circasians are in fact a small group withinAdighis). Polyphony plays an important role in musical traditions of the Adighis. Dronepolyphony is leading, although among Adighis drone is generally more movable andsometimes has its distinguished melodic line (sometimes it is closer to ostinato). Thetraditional term for the drone is “ezhu” (means “everybody”). Blaeva mentions threetypes of Adighian traditional polyphony: (1) two-part drone polyphony, (2) Responsorialalternation of the soloist and the ezhu, and (3) overlapping alternation of the soloist andezhu (Blaeva, 1988:10). Term ezhu is used among neighboring Balkarians andKarachaevis as well (despite their languages belonging to different family of languages).Two-part polyphony is dominating, although among one of the Adighian groups –Kabardinians three-part singing (with double drones in fifths or octaves) is quite usual.On the other hand, according to the available information, part of Adighis - Abadzekhsand Circassians have monophonic singing traditions and they sing in unison.Many ancient rituals are still present in Adighian traditional culture. The centralfigure of Adighian society and culture is djeguako, who comprises the highly respectedroles of the community historian, composer, and the keeper of the traditional values andinstitutions. The first notions about the Adighian traditional music and polyphonyappeared in the 1850s. The publication of three volumes of the “Folk Songs andInstruments Tunes of Adighis” (Gippius, 1980, 1981, 1986) is considered as one of thebest ethnomusicological publications of the Soviet Union. Together with the Ossetianpolyphonic traditions, Adighian polyphony came to be known the earliest (out of allNorth Caucasian polyphonic traditions) among the Western scholars. (M. Schneider usedthe examples of Kabardinian polyphony in “History of Polyphony”).Ex. 6. Adighis. (Gippius, 1980:128)Ex. 7. Adighis. (Gippius, 1980: 128)
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ContentsForeword and acknowledgemen
Page 5: South Asia: India (Assam; Southern
Page 9: more enjoying the traditional ‘Ho
Page 12 and 13: 12the rest of the country does not
Page 14 and 15: 141989:Let me briefly introduce som
Page 16 and 17: ‣ During the last 20 years of my
Page 18 and 19: 18Saharan African populations, than
Page 20 and 21: and of course, Sheree Reece from th
Page 22 and 23: 22Part 1.World stylesof traditional
Page 24 and 25: used term, although not universally
Page 26 and 27: 30 January, 1986). Hugh Shields gav
Page 28 and 29: western Georgian polyphonic “trio
Page 30 and 31: 30contains more than one compositio
Page 32 and 33: 32rhythmic component in African mus
Page 34 and 35: Gerhard Kubik, if you want to count
Page 36 and 37: 36missionaries was very much aided
Page 38 and 39: as witness recordings by barely a d
Page 40 and 41: 40England provides an incredibly in
Page 42 and 43: of West Africa is a well-known and
Page 44 and 45: 44African populations played a cruc
Page 46 and 47: 46unusual element of Tuareg culture
Page 48 and 49: 48heterophony). European profession
Page 50 and 51: 50famously declared that to verify
Page 52 and 53: Out of these five main types of Rus
Page 54 and 55: 54heterophonic and octave forms of
Page 58 and 59: 58Balkarians and KarachaevisThese t
Page 60 and 61: 60Ossetian polyphony is based on th
Page 62 and 63: 62Garakanidze, who conducted a shor
Page 64 and 65: 64in the southern part of the settl
Page 66 and 67: 66Almeeva noted the presence of the
Page 68 and 69: 68UkraineRegarding polyphonic singi
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Page 72 and 73: 72BelarusBelarus is a part of the
Page 74 and 75: 74Besides the drone and heterophoni
Page 76 and 77: 76of the feast traditions and long
Page 78 and 79: 78East GeorgiaEast Georgia consists
Page 80 and 81: 80Fig. 3. Modulation from G to G# t
Page 82 and 83: 82Polyphonic singing traditions in
Page 84 and 85: 84In this four-part section we can
Page 86 and 87: 86Improvisation in western Georgian
Page 88 and 89: 88During our 1999 fieldwork in Geor
Page 90 and 91: 90Interestingly, as Anzor Erkomaish
Page 92 and 93: 92Different western Georgian dialec
Page 95 and 96: 95Ex. 37. Lile. Ritual song dedicat
Page 97 and 98: 97David Shugliashvili, both eastern
Page 99 and 100: 99Urban MusicThe urban singing styl
Page 101 and 102: 101Ex. 42. Suliko. Urban love song.
Page 103 and 104: 103In Georgian traditional polyphon
Page 105 and 106: 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
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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
Page 413 and 414:
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
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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
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447Iso 114, 116 (see also drone)Ist
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449McFarlane, Iain 19McNeill, Willi
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451Niger 45Nikoladze, Ketevan 18, 2
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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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