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70200), the difference between drone and heterophonic types ofpolyphony is a difference of kind; Here is the examples of two-partdrone polyphony from Polissia:Ex. 19. Ukraine. (From Elena Murzina)Ex. 20. Ukraine. (Belosvetova, 1989:32-33 )In Poltava region the drone is “shaken” although the closeness to the previousexamples is obvious:Ex. 21. Ukraine. (From Elena Murzina)(2) Unison-Heterophonic polyphony with the elements of two-partRussian type podgolosochnaia polifonia. In this style the main melodyis performed by the majority of singers and a solo singer performs acontrasting melodic part on top of the melody. This style has notreceived much attention in Ukrainian musicology as well, althoughdefinitely was not neglected as drone polyphony. East Ukraine is richwith podgolosochnaia polifonia, and the west Ukraine (Northwest) ismostly heterophonic.Here is the example of two-part polyphony with parallel thirds and unisons incrucial points:
71Ex. 22. Ukraine. (From Elena Murzina)The most complex tradition of this type of polyphony, based on two- and threepartsinging comes from the river Don Cossacks:Ex. 23. Ukraine. (From Tatiana Rudichenko)(3) And finally, the late style of traditional polyphony, based on Europeanchordal and harmonic system. As I have already mentioned earlier,this style has been overwhelmingly represented in mainstreampublications of Ukrainian musicologists. Here is the typical example:Ex. 24. Ukraine. Late polyphonic style. (Gordeichuk, 1989:95)
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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
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 56 and 57: 56Ex. 3. Abkhazia. (Akhobadze, Kort
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
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
Page 107 and 108: 107the tradition of polyphonic sing
Page 109 and 110: 109It represents an interesting mix
Page 111 and 112: 111Ex. 54. Bosnia and Herzegovina,
Page 113 and 114: 113MacedoniaSpeaking about Macedoni
Page 115 and 116: 115Ex. 59. Albania. Laberi style po
Page 117 and 118: 117of fact, together with Romania,
Page 119 and 120: 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
Page 199 and 200:
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
Page 211 and 212:
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
Page 219 and 220:
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
Page 231 and 232:
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
Page 267 and 268:
267• Even the transcription of Ku
Page 269 and 270:
269“Music iconography can reveal
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271specific double flute made from
Page 273 and 274:
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
Page 281 and 282:
281• Performance style. Arguably
Page 283 and 284:
283C-major key, G major chord could
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285Ending of the songs on non-tonic
Page 287 and 288:
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
Page 295 and 296:
295European and Middle Eastern mono
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297This characteristic raises one s
Page 299 and 300:
299is not only a linguistic problem
Page 301 and 302:
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
Page 309 and 310:
309“attacking power” of the “
Page 311 and 312:
311Singing in Peaceful Times:Toward
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313he changed his view and linked t
Page 315 and 316:
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
Page 331 and 332:
331• Why do we ask questions?This
Page 333 and 334:
333With the emergence of the abilit
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335apes’ and humans’ mental abi
Page 337 and 338:
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
Page 367 and 368:
367• A comparison of the stutteri
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369predisposition towards stutterin
Page 371 and 372:
371There are some well-researched p
Page 373 and 374:
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
Page 383 and 384:
383(Jordania, 1989:240), believing
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385without turning these difference
Page 387 and 388:
387Central African Republic, Bangul
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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
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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
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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
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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,
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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
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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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