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80Fig. 3. Modulation from G to G# tonal centreThe scale in East Georgian table songs is very consistent – always the samediatonic scale, commonly known as Mixolydian (white keys from “G” to the next “ G”). Ishall specially discuss the scales of Georgian polyphonic songs in a later separate section,as I do not believe this name (“Mixolydian”) adequately expresses the nature of this scalein eastern Georgian table songs.Modulations always occur in the bass part (when the bass moves to another pitch),but it is one of the high melodic voices that prepare this modulation. The most commonway of preparing the modulation is the appearance of the elements of the future scalewithin the initial tonal centre. For example, if we are in “G” Mixolydian (which has noblack keys) and want to move (modulate) into “A” Mixolydian (which has C# and F#),the top melody will sing a melodic phrase, containing F#, and this will give the basssin gers (and listeners as well) a powerful signal that the key must move a major secondup into “A” Mixolydian. In the same way, if we want to modulate from the same “G” (noblack keys) down into“F” (which has two black keys – B flat and E flat) the best way to“prepare” the modulation is to sing the note B flat in one of the high parts and the basswill move down to “F”. This technique of modulation is remarkably similar to themodulation methods of classical European music. For example, if we want to move from“C” major (no black keys) into “F” major (one black key – B flat), the easiest way is tohave the note B flat appearing within the C major chord. When we hear the elements ofthe future scale, our ear is prepared to move there, both in Georgian and Europeanclassical music systems.Long table songs are not the only genres of polyphonic music in East Georgia.There are plenty of other singing genres here as well – from horse-riding to love, healing,working and round dances. Interestingly, none of them are performed in the style of thelong table songs. Although the moderate use of ornaments is encountered in most of theeastern Georgian genres (particularly in the solo, opening sections), the rhythm is usuallyprecise, the songs do not employ the complex system of modulations, pedal drone ismostly replaced by the rhythmic drone, or ostinato, and the verbal text is often renderedby all three parts simultaneously. Here are the two examples of this singing style:
81Ex. 30. Gigini [humming] lyrical song (Garakanidze, Jordania, 2004:5)Ex. 31. Garekakhuri Lashkruli [A horse riding song] (Garakanidze,Jordania, 2004:65)
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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
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 70 and 71: 70200), the difference between dron
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 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
Page 121 and 122: 121research about sutartines (Slavi
Page 123 and 124: 123LatviaAnother Baltic country, La
Page 125 and 126: 125Ex. 68. Estonia. Setu polyphony
Page 127 and 128: 127Tbilisi State Conservatory in th
Page 129 and 130: 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 “
Page 311 and 312:
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
Page 401 and 402:
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
Page 427 and 428:
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
Page 437 and 438:
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
Page 447 and 448:
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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