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

More documents

Recommendations

Info

88During our 1999 fieldwork in Georgia we (Nino Tsitsishvili and myself) speciallyrecorded one of the most popular and not-so-difficult songs “I am going to Guria” fromtwo of the brilliant improvisers of the Gurian song, Anzor Erkomaishvili from the famousErkomaishvili family (leader of famous “Rustavi” choir), and Vazha Gogoladze fromChokhatauri. Nino and I provided two parts and the Gurian master-singers were asked toperform a few versions of each part of the song: easier, moderately improvised and veryimprovised versions. For those particularly interested in the improvisational techniques ofGurian singers, a comparison of all these versions could be highly interesting. Here is thevery simple version of the song to give the reader an idea of it:Ex. 34. Mival Guriashi. [I am going to Guria] Simple version (transcribed byJoseph Jordania)Here are only four versions of the bass part that can be performed with this song.Although we did record the variations of two top parts as well, it is obvious that the basspart has the biggest improvisational freedom, biggest number of versions (here are onlytwo from each singer), and the biggest differences between the versions:
Fig. 5. Mival Guriashi, simple high parts with four different bass versionsperformed by Vazha Gogoladze and Anzor Erkomaishvili (only the first part of thesong – bars 1-9. Transcribed by Nino Tsitsishvili)89
Page 3 and 4:
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 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 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 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
Page 131 and 132: 131throughout medieval northern Eur
Page 133 and 134: 133electronic media; and whether th
Page 135 and 136: 135To complete the review of the Ce
Page 137 and 138: 137(9) The singing style is harsh a
Page 139 and 140:
139ItalyWith its internationally re
Page 141 and 142:
141than 120 Sicilianvillages and it
Page 143 and 144:
143Vocal Polyphony in AsiaAsia is b
Page 145 and 146:
145music of Ancient Greece itself i
Page 147 and 148:
147possible space of a second.” T
Page 149 and 150:
149sources from the 5 th (Favstos B
Page 151 and 152:
151polyphonic singing came from Taj
Page 153 and 154:
153(asamchilog, choir). 6/8 metre i
Page 155 and 156:
155or less in unison, and one voice
Page 157 and 158:
157Lithuanian sutartines, where you
Page 159 and 160:
159idea of how rich (and how unknow
Page 161 and 162:
161Ex. 90. China, Tibet (Bucher, 19
Page 163 and 164:
163South-East AsiaVietnamAccording
Page 165 and 166:
165Not all the traditions and music
Page 167 and 168:
Vocal Polyphony in North AmericaThe
Page 169 and 170:
169west of the region (Densmore, 19
Page 171 and 172:
171the Indian melodies continue wit
Page 173 and 174:
173(Burney 1975:84. Cited from Kaep
Page 175 and 176:
175Easter Island] and the westernmo
Page 177 and 178:
177of Northwest American Indians an
Page 179 and 180:
179Of course, to say that the pre-W
Page 181 and 182:
181faraway cultures without contact
Page 183 and 184:
183• Anne Draffkorn Kilmer sugges
Page 185 and 186:
185some extinct civilizations (anci
Page 187 and 188:
187hear assertions that a certain s
Page 189 and 190:
189population of North Greece, moun
Page 191 and 192:
191and possibly about the cultural
Page 193 and 194:
193rules of Polynesian traditional
Page 195 and 196:
1953. Social organization of the si
Page 197 and 198:
197(2) Another inconvenience is tha
Page 199 and 200:
199According to the common belief o
Page 201 and 202:
201level. Darwin made a correct con
Page 203 and 204:
203during the 20 th century sutarti
Page 205 and 206:
205Even in cases of century- and mi
Page 207 and 208:
207With the convincing and well-doc
Page 209 and 210:
209Conclusions for the previous two
Page 211 and 212:
211Indo-European family of language
Page 213 and 214:
213all musicians are Bachs, but all
Page 215 and 216:
215Switzerland, Germany, Austria, I
Page 217 and 218:
217evidence for them. If a proto-Ca
Page 219 and 220:
219West and Central Asia. Solo perf
Page 221 and 222:
221monophonic singing styles. So, w
Page 223 and 224:
223(1) Drone dissonant-based polyph
Page 225 and 226:
225the ancient drone polyphony with
Page 227 and 228:
227major forests, islands, continen
Page 229 and 230:
229the influence of the “oriental
Page 231 and 232:
231• Florian Messner (1980) point
Page 233 and 234:
233(“collective”) sutartines wi
Page 235 and 236:
235Case Study #7Overtone Singing of
Page 237 and 238:
237together wit Valentina Suzukei (
Page 239 and 240:
239(8) As harmonics are a universal
Page 241 and 242:
241(as “collective sutartines”)
Page 243 and 244:
243perspective, can provide more us
Page 245 and 246:
245For a further discussion of this
Page 247 and 248:
247with two other parts, sung by so
Page 249 and 250:
249that there is hardly a single do
Page 251 and 252:
251hairiness, Cavalli-Sforza sites
Page 253 and 254:
253Two possible historical models m
Page 255 and 256:
255where the former pearl diving bo
Page 257 and 258:
257new territories (subject to the
Page 259 and 260:
259minimum? And did the development
Page 261 and 262:
261settlement history, and the most
Page 263 and 264:
263instruments from Mediterranean r
Page 265 and 266:
265music transcription. There are 5
Page 267 and 268:
267• Even the transcription of Ku
Page 269 and 270:
269“Music iconography can reveal
Page 271 and 272:
271specific double flute made from
Page 273 and 274:
273Case Study #14Polynesian Polypho
Page 275 and 276:
275complexity plus precise enunciat
Page 277 and 278:
277Case Study #15The Beatles: Ancie
Page 279 and 280:
279Acknowledging the crucial differ
Page 281 and 282:
281• Performance style. Arguably
Page 283 and 284:
283C-major key, G major chord could
Page 285 and 286:
285Ending of the songs on non-tonic
Page 287 and 288:
287Fig. 16. Medieval West Georgian
Page 289 and 290:
289phenomenon in the history of the
Page 291 and 292:
291North America (according to the
Page 293 and 294:
293Part 3Singing, Questioning, Thin
Page 295 and 296:
295European and Middle Eastern mono
Page 297 and 298:
297This characteristic raises one s
Page 299 and 300:
299is not only a linguistic problem
Page 301 and 302:
301with all their communicative ski
Page 303 and 304:
303cooperative (and not competitive
Page 305 and 306:
305group and groom each other, they
Page 307 and 308:
307hungry lion. And here comes anot
Page 309 and 310:
309“attacking power” of the “
Page 311 and 312:
311Singing in Peaceful Times:Toward
Page 313 and 314:
313he changed his view and linked t
Page 315 and 316:
315Gestural Theory of Language Orig
Page 317 and 318:
317among hominids. The situation of
Page 319 and 320:
319whistle with a whistle. The inte
Page 321 and 322:
321referential function. In contemp
Page 323 and 324:
323mental abilities, but even music
Page 325 and 326:
325articulated elements, where the
Page 327 and 328:
327development experts would unanim
Page 329 and 330:
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
Page 335 and 336:
335apes’ and humans’ mental abi
Page 337 and 338:
337The fascinating fact about the T
Page 339 and 340:
339curiosity cannot exist, although
Page 341 and 342:
341• Question intonation is argua
Page 343 and 344:
343A few cases of “wolf children
Page 345 and 346:
345(2) Children under two and pidgi
Page 347 and 348:
347Let’s Talk: Origin of SpeechTh
Page 349 and 350:
349article concluded with the sugge
Page 351 and 352:
351are disposed to accept such a vi
Page 353 and 354:
353articulated speech among the anc
Page 355 and 356:
355speech (possibly in conjunction
Page 357 and 358:
357function, while in the sub-Sahar
Page 359 and 360:
359acquired, it is one of the most
Page 361 and 362:
361millennia. So the historical dyn
Page 363 and 364:
363of stuttering was mostly margina
Page 365 and 366:
365when I reminded her of our conve
Page 367 and 368:
367• A comparison of the stutteri
Page 369 and 370:
369predisposition towards stutterin
Page 371 and 372:
371There are some well-researched p
Page 373 and 374:
373Developmental dyslexiaStuttering
Page 375 and 376:
375mastery or correct usage of soun
Page 377 and 378:
377• As the process of the declin
Page 379 and 380:
379major African ground predators (
Page 381 and 382:
381PostScript:Moral and ethics issu
Page 383 and 384:
383(Jordania, 1989:240), believing
Page 385 and 386:
385without turning these difference
Page 387 and 388:
387Central African Republic, Bangul
Page 389 and 390:
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
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 and 444:
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
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
show all

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

Create successful ePaper yourself

Delete template?

Save as template?