The Second International Symposium on Traditional Polyphony, Proceedings, 23–27 September, 2004, Tbilisi, Georgia, © 2005 (full version)

Booklet of the Second International Symposium on Traditional Polyphony, 2004

THEORETICAL AND MUSICAL-AESTHETICAL ASPECTS OF TRADITIONAL POLYPHONY

Izaly l. Zemtsovsky (USA) – Polyphony as “Ethnohearing” and Its “Musical Substance”: Homo Polyphonicus in Action (p. 25–32)

Joseph Jordania (Australia) – “Interrogo Ergo Cogito”: “I am Asking Questions, Therefore I Think”: Responcorial Singing and the Origins of Human Intelligence (p. 39–44)

Woolf Van Silver (UK) – Is Polyphonic Singing Uniquely Human… and can studies provide an evolutionary model for understanding of the origins of human polyphony? (p. 47)

Gia Baghashvili (Georgia) – The Aesthetic Polystageness of Georgian Musical Folklore (p. 52–54)

Nino Pirtskhalava (Georgia) – On the Significance of Ioane Petritsi in the History of Georgian Hymnography (p. 61–67)

Tamaz Gabisonia (Georgia) – Hypotheses About the Process of the Formation of Georgian Polyphonic Singing (p. 73–78)

REGIONAL STYLES AND THE MUSICAL LANGUAGE OF TRADITIONAL POLYPHONY

Dieter Christensen (USA) – Vocal Polyphony in Bosnia-Hercegovina in the Georgian and Mediterranean Context (p. 90–101)

Daiva Raciunaite-Vyciniene (Lithuania) – Manifestations of Drone in the Tradition of Lithuanian Polyphonic Singing (p. 106–114)

Nato Zumbadze (Georgia) – Georgian Batonebi Songs (p. 120–128)

Ardian Ahmedaja (Austria) – On the Diversity of Multipart Singing Among the Albanians: The Relationship Between the Parts in the Songs of Toskeri and Myzeqe (p. 137–157)

Nino Kalandadze-Makharadze (Georgia) – The Funeral Zari in Traditional Polyphony (p. 166–178)

Yevgeny Yefremov (Ukraina) – Role of a Tonality in the Formation of Early Texture in Ukrainian Polessye (p. 184–189)

Bozena Muszkalska (Poland) – “DIRTY SINGING” As a Feature of the Sound Ideal in the Traditional Polyvocality of Mediterranean Cultures (p. 195–199)

Maka Khardziani (Georgia) – Reflection of the Tradition of Hunting in Svan Musical Folklore (p. 205–208)

Vladimer Gogotishvili (Georgia) – On Authentic and Plagal Types of Monotonic (Non-Octave) Scales in Georgian Traditional Vocal Polyphony (p. 218–226)

Thomas Haeusermann (Switzerland) – The Georgian Calendar Song for Easter Chona (p. 233–241)

Nino Ghambashidze (Georgia) – The Tradition of Chona (Easter Ritual) and Some Issues of Its Genesis (p. 248–253)

Otar Kapanadze (Georgia) – The Iinterrealationship Between the Round-Dance Songs of the East Georgian Mountain and Plain Regions (p. 259–270)

Gerline Haid (Austria) – Yodel from Austria – A Contribution to Early European Polyvocality (p. 274–283)

Ketevan Manjgaladze (Georgia) – Varieties of Krimanchuli (Yodel) in West Georgia’s Folk Songs (p. 289–292)

Marina Kvizhinadze (Georgia) – Rhythmic and Intonational Features of the Ritual Songs Dedicated to the God of Vine (p. 299–306)

 

FORMAL ANALYSES OF MUSICAL LANGUAGE OF TRADITIONAL POLYPHONY

Franz Foedermayr & Werner A. Deutsch (Austria) – Analysing Drone Polyphony (p. 314–337)

Emi Nishina, Manabu Honda, Tadao Maekawa, Satoshi Nakamura, Masako Moritomo, Reiko Yagi, Norie Kawai & Tsutomu Oohashi (Japan) – Hyper-Symbolic Sound Structure of Kartuli Polyphonia (p. 343–348)

Elguja Dadunashvili (Georgia) – The Problem of Documentation of Cultural Heritage documentation (p. 352–353)

Lela Makarashvili (Georgia) – Georgian Folk Music Database System (p. 357–358)

Mikhail Lobanov (Russia) – The Polyphonic Performance of Folk Songs and the Systematization of Tunes (p. 362–364)

POLYPHONY IN GEORGIAN CHURCH SINGING

Zaal Tsereteli (Georgia) – The Possibility of Interpreting Ancient Georgian Chants Through 19TH Century Transcriptions (p. 374–380)

DaviT Shughliashvili (Georgia) – On a Tradition of the East Georgian Chants (p. 388–393)

Tamar Chkheidze (Georgia) – On the Interrelation of a List of Creli (Type of Hymns) and System of Neumes (p. 399–403)

Khatuna Managadze (Georgia) – Heirmoses of ST. ANDREW of Crete’s “CANON OF REPENTANCE” (p. 409–414)

Magda Sukhiashvili (Georgia) – On Some Aspects of the Manifestation of Dasdeblis Metsniereba (SCIENCE OF HYMNS) in Georgian Chants (p. 421–429)

Marika Ositashvili (Georgia) – On the Interconnection of Georgian Secular and Sacred Polyphony (p. 434–444)

TRADITIONAL POLYPHONY AND INSTRUMENTAL MUSIC

Manana Shilakadze (Georgia) – Polyphony and Georgian Folk Music Instruments (Chonguri) (p. 453–457)

Tinatin Zhvania (Georgia) – Harmony of the Georgian Song and Chonguri Tunings (According to the Materials of the 2004 Fieldwork in Guria, Western Georgia) (p. 462–468)

SOCIOLOGICAL ASPECTS OF TRADITIONAL POLYPHONY

Rebecca Stewart (The Netherlands) – Traditional Georgian Polyphony, A Veritable ZEDASHE (p. 477–482)

Clayton Parr (USA) – Toward a New Choral Multiculturalism (p. 487–490)

Laurent Stephen (France) – Why Do Foreigners Sing Traditional Georgian Songs? (p. 495–497)

Nino Tsitsishvili (Australia) – The Embryo of Change: Heavy Rock, Gender Relationships and Traditional Music-Culture in Georgia (p. 505–512)

Nona Lomidze (Austria) – Viennese Phonogram Archive and Georgian Records (p. 516–522)

Norie Kawai, Satoshi Nakamura, Yuriko Tsuchiya, Arika Yajima, Mikio Kametani (Japan) – Historical Overview of Geinoh-Yamashirogumi’s Approach to Kartuli Polyphonia: 1969–2004 (p. 530–537)