The Fourth International Symposium on Traditional Polyphony, Proceedings, 15–19 September, 2008, Tbilisi, Georgia, © 2010 (full version)

Booklet of the Fourth International Symposium on Traditional Polyphony, 2008

 

HISTORICAL ASPECTS OF POLYPHONY

Joseph Jordania (Australia/georgia) – Music and Emotion: Humming in the Beginning of Human History (p. 41–49)

Urša Šivic (Slovenia) – Slovenian Part Singing: A Mith or Reality? (p. 58–66)

Gia Baghashvili (Georgia) – The Aesthetic Mechanism of the Paucity of Melismatic in Georgian Folk Music Genres of the Pre-Christian Provenance (p. 71–77)

Taida Lange (Latvia) – An Older Indigenoue Stratum or Traditional Music in Latvia – Drone Polyphony and its Connectionwith Recitative-Like Songs (p. 85–96)

Susanne Ziegler (Germany) – Siegfried F.Nadel and his Contribution to Gerogian Polyphony (p. 106–115)

 

REGIONAL STYLES AND MUSICAL LANGUAGE OF TRADITIONAL POLYPHONY

Dieter Christensen (USA/Germany) – Vocal Polyphony in Western Polynesia – Some Questions About Origins (p. 126–139)

Victor A. Grauer (USA) – Some Notable Features of Pygmy and Bushmen Polyphonic Practice, with Special Reference to Survivals ofTraditional Vocal Polyphony in Europe (p. 147–157)

Gerald Florian Messner (Australia) – They Howl Like Wolves. . . (“ ululant ad modum luporum…”) A newlook at an old persistent Lombardian polyphonicoral tradition loathed by medieval and Renaissance music scholars (p. 165–174)

Nino Kalandadze-Makharadze (Georgia) – The Multipart Lyrical Cradle Song in Georgia (p. 183–197)

Olivier Tourny (Israel) – Ethiopian Vocal Polyphonic Techniques: a Global Insight (p. 204–215)

Maka Khardziani (Georgia) – Svan Hunting Song (p. 222–227)

Daiva Račiunaite-Vyčiniene (Lithuania) – Two Ways the Sutartines Have Spread in ModernCulture: the Sacred and the Profane (p. 237–250)
Vladimer Gogotishvili (Georgia) – Specificfutures of the “Fourth Cadence” in Multipart Kartli-Kakhetian Songs (p. 258–266)

Alla Sokolova (Russia/Republic of Adygea) – Zhu – Vocal Part of the Adyghe Traditional Instrumental Polyphony (p. 278–291)

Davit Shugliashvili (Georgia) – Atypical Elements in Georgian Folk Songs (p. 299–308)

Simha Arom & Polo Vallejo (France) – Towards a Theory of the Chord Syntaxof Georgian Polyphony (p. 321–335)

Žanna Pärtlas (Estonia) – A “Hen-and-Egg” Problem: Interrelation Between Scale Structure and VerticalStructure in Setu Multipart Songs (p. 342–353)

Natalia Zumbadze (Georgia) – Georgian MultipartSinging and its Additional Arguments (p. 361–370)

Franz Foedermayr & Werner A. Deutsch (Austria) – Transcribing HistoricalSound Recordings: Multipart Songs from Guria Recorded by Robert Lach in 1916 (p. 376–394)

Lu Yu-Hsiu (Taiwan) – A Phenomenon or a Concept? The Polyphony of Aborigines in Taiwan (p. 402–406)

 

POLYPHONY AND INSTRUMENTAL MUSIC

Tamaz Gabisonia (Georgia) – Forms of the Georgian Folk Instrumental Polyphony (p. 417–424)

Manana Shilakadze (Georgia) – Early Forms of Accompanement in Georgian Tradition (p. 432–439)

 

POLYPHONY IN GEORGIAN TRADITIONAL SACRED MUSIC

Manana Andriadze & Tamar Chkheidze (Georgia) – Moduses in Georgian Church Singing (p. 449–460)

Ekaterine Diasamidze (Georgia) – On Some Aspects of Polyphony inGeorgian Chanting (p. 466–469)

Svimon Jangulashvil (Georgia) – More than Three-Part Chants in Georgian Liturgical Tradition (p. 479–490)

John A. Graham (USA) – The Role of Memory in the Transmission of Georgian Chant (p. 498–515)

Zaal Tsereteli (Georgia) – Deciphering the Old Georgian Neumatic System and Ways of Re-Introducing it into Practice (p. 522–530)

Nino Pirtskhalava (Georgia) – Ioane Petritsi’s Musical and Aesthetic Thinking According to Nemesius of Emesa’s “On Human Nature” (p. 541–549)

 

SOCIOLOGICALASPECTS OF POLYPHONY

Caroline Bithell (Great Britain) – Polyphony in the Global Village: Motives and Meanings (p. 563–571)

Anna G. Piotrowska (Polska) – World Music and Traditional Music. The Problem of Authenticity (p. 581–589)

Nana Valishvili (Georgia) – Georgian Traditional Polyphony and the Problem of Performing Folk Music in Modern Georgia (On theExamples of National Folklore Festival of 2005–2006) (p. 598–607)

Carsten Wergin (German) – Thoughts on “Social Polyphony” in the Southwest Indian Ocean (p. 615–622)

Rusudan Tsurtsumia (Georgia) – Georgian Polyphony in a Modern Socio-Cultural Context (p. 630–636)

John Shortis and Moya Simpson (Australia) – GeorgianFolk Music Meets Beatles (p. 643–652)