The Eight International Symposium on Traditional Polyphony, Proceedings, 26–30 September, 2016, Tbilisi, Georgia, © 2018 (full version)

Booklet of the Eight International Symposium on Traditional Polyphony, 2016

GENERAL THEORY AND MUSICAL-AESTHETIC ASPECTS OF POLYPHONY

Joseph Jordania (Australia/Georgia) – National Minorities, Traditional Polyphony, Cultural Policy and State Borders (p. 24–30)

Marina Kavtaradze (Georgia) – The Adaptation of Traditional Musical Culture under the Conditions of Globalization (p. 36–40)

Caroline Bithell (Great Britain) – Polyphony, Heritage and Sustainability (p. 48–54)

Anna G. Piotrowska (Poland) – The Notion of Polyphony as a Travelling Concept – Short Overview (p. 61–68)

Andrea Kuzmich (Canada) – Creating New World “Folk Culture” through Old Polyphonic Songs (p. 77–84)

Audio examples: 01, 02

Video examples: 01, 02, 03

Gia Baghashvili (Georgia) – The Aesthetic Category of Eternity in Kartli-Kakhetian Table Songs (p. 91–95)

Marina Kaganova (USA) – My Voice is Mine because it Goes from Me (p. 102–108)

GENESIS OF POLYPHONY IN THE LIGHT OF HUMAN EVOLUTION

Manuel Lafarga (Spain) – Music and Language in Homo Lineage (p. 119–131)

Penelope Sanz Gonzalez (Spain) –Tonal Perception Phylogeny, Vocal Behavior in Human Evolution (p. 140–151)

REGIONAL STYLES AND MUSICAL LANGUAGE OF TRADITIONAL POLYPHONY

Susanne Schedtler, Herbert Zotti (Austria) – About Differences of Multipart Singing in Austia. Viennese and Alpine Song (p. 158–164)

Frank Scherbaum (Germany), Simha Arom, Frank Kane (France) – Graphical Comparative Analysis of the Harmonic Structure of the V. Akhobadze Corpus of Svan Songs (p. 170–184)

Frank Kane (France), Frank Scherbaum (Germany) – Using Body Vibrations for Teaching, Visualization and Analysis of Traditional Georgian Singing (p. 190–197)

Lasha Martashvili (Georgia) – A System for the Flawless Notation of Georgian Polyphonic Folk Music (p. 203–213)

Žanna Pärtlas (Estonia) – The Brides of Death: the Seto Collective Laments to Maiden (p. 220–227)

Audio examples: 01, 02

Natalia Zumbadze (Georgia) – On the Polyphonic Nature of Tushetian Songs (p. 234–245)

Alla Sokolova (Russian/Adygea) – Shouts and Exclamations in Multitimbral Polyphony of the Circassian Dance Circle (p. 252–259)

Audio examples: 01, 02, 03

Tamaz Gabisonia (Georgia) – Regularities of Bass Tuning in Georgian Traditional Music (p. 265–275)

Larisa Khaltaeva (Russian) – Bourdone Multi-Voice: Texture and (Or) Myth? (p. 282–293)

Liudmila P. Kazantseva (Russian) – A Concept of Intonation in Polyphonic Music (p. 300–306)

Jelena Jovanović (Serbia) – Common Elements in the Two-Part and Unison Singing inthe East and Central Regions of Serbia (p. 311–319)

Gordana Blagojević (Serbia) – The Role Polyphonic Singing in the Establishment of Interethnic Dialogue: Serbian-Jewish Baruch Brothers Choir from Belgrade (p. 326–334)

Audio examples: 01, 02, 03, 04

Baia Zhuzhunadze (Georgia) – Meskhetian Folk Songs – from Polyphony to Monophony (p. 340–345)

Audio examples: 01, 02, 03a, 03b

Giorgi Kraveishvili (Georgia) – Klarjetian Folk Music and Its Parallels with Meskhetian (a Process of Monophonization) (p. 352–357)

Audio examples: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16

Nana Mzhavanadze (Georgia) – On One Cadence Articulation in Svans’ Singing Repertoire (p. 365–374)

Kae Hisaoka (Japan) – New Tushetian Female Songs as an Alternative to Georgian Male Polyphonic Culture (p. 378–381)

Nicolas Royer-Artuso (Canada) – Heterephony: from Performance to Actualization (p. 387–391)

Eno Koćo (Great Britain/Albania) – Samuel Baud-Bovy, and Independent Voice amid the Local Schools of Thought and Globally Dominant Trends (p. 400–408)

Audio examples: 01, 02, 03

Maia Gelashvili (Georgia) – The Gurian Nanina (p. 413–418)

Daiva Račiunaite-Vyčiniene (Lithuania ) – The Scale of Five Sounds as the Basis of Vocal Polyphony in Northeastern Aukštaitija: Introduction to the Problem (p. 425–434)

POLYPHONY IN SACRED MUSIC

Nino Pirtskhalava (Georgia) – For the issue of Ioanne Petritsi’s Musical terminology (p. 442–446)

Tamar Chkeidze (Georgia) – Functions and Roles of Voices in the Formation of Eclesiastic Polyphony in Georgian Church Chant (p. 452–458)

Achilleas Chaldaeakes (Greece) – Is Polyphony Hidden into Byzantine Monophony? (p. 464–469)

Matthew Arndt (USA) – Some Statistical Properties of Harmony and Voice Leading in Shemokmedi School Georgian Chant (p. 474–483)

Malkhaz Erkvanidze (Georgia) – On the Canon and Canonic Thinking in Georgian Traditional Music (p. 489–502)

Magda Sukhiashvili (Georgia) – The Term Mortuli in old Georgian Hymnographic Manuscripts (p. 507–511)

PERFORMANCE AND TRANSITION OF THE TRADITION

Svetlana Spajić (Serbia) – Keeping Traditional Polyphony Alive (p. 520–528)

POLYPHONY IN INSTRUMENTAL MUSIC

Rayisa Gusak (Ukraine) – Solo and Ensemble Polyphonic Performance in the Traditional Instrumental Musical Culture of Ukraine (p. 536–541)

Teona Rukhadze (Georgia) – Gudastviri in the Traditional Music of Georgians Living in Georgia and beyond its Borders (Polyphony and Other Peculiarities of Performance) (p. 549–555)

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

Video examples: 01, 02, 03

HISTORICAL RECORDINGS

Riccardo La Spina (USA) – Paradise around the ‘Horn’: Harmonization Peculiarities in Early Recordings of Hawaiian Vernacular Ensemble Singing (1904–14) (p. 568–580)

Oliver Gerlach (Germany) – Competences in Italo-Albanian Multipart Song during the Last 60 Years (p. 588–601)

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

Susanne Ziegler (Germany) – 25 Years Later: Remembering Field Recordings in Guria 1991 (p. 608–613)

ROUND TABLE

Forms, Structural Types and Cartography of Traditional Polyphony – Speakers Joseph Jordania (Australia/Georgia), Daiva Račiunaite-Vyčiniene (Lithuania ) (p. 620–624)