V Symposium – International Symposium on Traditional Polyphony

Booklet of the Fifth International Symposium on Traditional Polyphony, 2010

ASIAN TRADITIONAL POLYPHONY

Joseph Jordania (Australia, Georgia) – Traditional Polyphony in Asia: Problems and Perspectives (p. 24–31)

Audio examples: 01, 02, 03, 04, 05

Münir Nurettin Beken (USA) – Virtual Heterophony: Composition, Variation, Texture and Memory in Turkish Classical Music (p. 36–41)

Nino Tsitsishvili (Australia/Georgia) – Exploring the Beginnings of Love Songs in the Light of Early Human History (p. 50-57)

Michael Tenzer (Canada) – Polyphonic Aspects of Balinese Gamelan Music (p. 63–70)

Audio examples: 01, 02a, 02b, 02c, 03a, 03b, 04, 05a, 05b, 06

Yu-Hsiu Lu (Taiwan) – Development of a New Polyphonic Style – Case of the Taiwan Aborigines (p. 77–83)

Marina Kavtaradze, Ekaterine Buchukuri (Georgia) – The Problem of Interrelation Between Polyphony and Monophony on the Example of Georgian Urban Musical Folklore (p. 91–96)

Audio examples: 01, 02, 03

Rie Kôchi (Japan) – On the Polyphonic Singing Styles in Ainu Traditional Music and Some Recent Changes (p. 104–112)

Audio examples: 01, 02, 03, 04

CAUCASIAN POLYPHONY

Alla Sokolova (Russia, Republic of Adyghea) – The Meanings and Codes of the Amoebean Form of Singing in the Adyghe Traditional Culture (p. 123–132)

Audio examples: 01, 02

Natalia Zumbadze, Ketevan Matiashvili (Georgia) – Caucasian Peoples’ Polyphony and Its Relation with Georgian Polyphony (According to the Audio Album – The Music of the Caucasian Peoples – from the Phonogram Archives of Tbilisi State Conservatoire) (p. 143–154)

Audio examples: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31

Maia Gelashvili (Georgia) – On the Study of the Traditional Music of the Kists (Chechens and Ingushes) from the Pankisi Gorge of Georgia (p. 159–162)

Audio examples: 01

Video examples: 01, 02

Maka Khardziani (Georgia) – On the Change of Three-Part Songs into One-Part Songs in Georgian Traditional Music (Racha and Svaneti) (p. 168–172)

Audio examples: 01, 02, 03, 04, 05, 06, 07, 08, 09

Manana Shilakadze (Georgia) – Georgian and Adyghe Music in the Context of Polyphony (Typological Parallels) (p. 177–182)

REGIONAL STYLES AND MUSICAL LANGUAGE OF TRADITIONAL POLYPHONY

Žanna Pärtlas (Estonia) – Retracing Processes of Change: the Case of the Scales of the Setu Songs (Southeast Estonia) (p. 190–195)

Audio examples: 01, 02

Tamaz Gabisonia (Georgia) – The Starting Voice in Georgian Polyphony (p. 201–210)

Gerald Florian Messner (Australia) – Significant Aspects of Carinthian Multi-Part Singing. Part of the Diverse Polyphonic Vocal Tradition in the South Eastern Alpine Adriatic Region (p. 216–220)

Audio examples: 01, 02, 03, 04

Davit Shughliashvili (Georgia) – “Wordless” Polyphony in Georgian Traditional Music (p. 227–235)

Jelena Jovanović (Serbia) – Hybrid Vocal Forms – Mixture of Older and More Recent Vocal Styles and of Traditional Music Dialects in Jasenica Region in Central Serbia (p. 242–252)

Simha Arom (France), Polo Vallejo (Spain) – Outline of a Syntax of Chords in Some Songs from Samegrelo (p. 266–277)

Andrea Kuzmich (Canada) – The Transnational Ancestry of Georgian Polyphony: Other Practitioners of Traditional Georgian Songs and Narratives of the Past (p. 284–289)

Daiva Račiūnaitė -Vyčinienė (Lithuenia) – Lithuanian and Ainu Vocal Polyphony: Certain Parallels (p. 306–332)

Mikhail Lobanov (Russia) – Joint Singing of the Vepses and Archaic Phenomena in the Peasants’ Multipart Singing in the Baltic Countries (p. 339–348)

Anna Piotrowska (Poland) – The Notion of so Called Gypsy music and the Tradition of Improvisation (p. 356–362)

Nino Razmadze (Georgia) – The Dynamics of the Evolution of One Song (on the example of Patara Saqvarelo – My Little Love) (p. 368–374)

POLYPHONY IN SACRED MUSIC

Ekaterine Oniani (Georgia) – On the Polyphony of Georgian Chant (p. 381–386)

Jeremy Foutz (USA) – Ancientness and Traditionality in Georgian Traditional Vocal Music (p. 394–400)

Svimon (Jiki) Jangulashvili (Georgia) – Specific Features of the Polyphonic Musical Texture Transformation in Decorated Chanting (p. 409–424)

John A. Graham (USA) – Ivliane Nikoladze: The Alternate Redacteur of the Georgian Heirmoi (p. 432–446)

Ekaterine Diasamidze (Georgia) – Polyphonic Forms in 17th century Russian Liturgical Music (p. 452–458)

Baia Zhuzhunadze (Georgia) – New Tendencies in the Nineteenth-Century Georgian Chanting Tradition (p. 464–471)

Nino Naneishvili (Georgia) – Ornamented Structural Formulas in the Easter Heirmoses (p. 475–481)

HISTORICAL RECORDINGS OF TRADITIONAL MUSIC

Gerda Lechleitner (Austria), Nona Lomidze (Austria, Georgia) – Some Considerations on the Interpretation of Multipart Music on Early Sound Documents (p. 492–502)

Audio examples: 01, 02, 03

Video examples: 01, 02

Franz Föedermayr (Austria) – Three Masterpieces of Megrelian Song Recorded by Robert Lach in 1916 (p. 506–513)

STUDY OF TRADITIONAL POLYPHONY BY THE APPLICATION OF DIGITAL MEDIA

Morimoto Masako, Honda Manabu, Nishina Emi, Kawai Norie, Oohashi Tsutomu (Japan) – Study on Sound Structure of Georgian Traditional Polyphony: Quantitative Analysis of Its Fluctuation Structure (p. 521–526)

Kawai Norie, Morimoto Masako, Honda Manabu, Onodera Eiko, Nishina Emi, Oohashi Tsutomu (Japan) – Study on Sound Structure of Georgian Traditional Polyphony: Analysis of Its Temperament Structure (p. 532–537)

Nona Lomidze (Austria, Georgia) – Challenges in Musical Transcriptions of Kakhetian Songs (p. 541–551)

TRADITIONAL AND ART MUSIC

Leila Maruashvili (Georgia) – Refraction of Georgian Folk Polyphony in Professional Music (p. 562–572)

Audio examples: 01, 02, 03, 04a, 04b, 05, 06, 07