The Eleventh International Symposium on Traditional Polyphony, Proceedings, 26–30 September, 2022, Tbilisi, Georgia, © 2024 (full version)

Booklet of the Eleventh International Symposium on Traditional Polyphony, 2022

THEORY AND HISTORY OF POLYPHONY

Joseph Jordania (Australia/Georgia) – Many Faces of Ethnomusicology (p. 23–28)

COMPARATIVE STUDY OF RADITIONAL POLYPHONY

Polo Vallejo (Spain) – Revisiting the Triton (p. 35–42)

Kae Hisaoka (Japan) – Preliminary Study on the Traditional Music around the Black Sea Coast: Focusing on Georgian and Circassian Ritual Songs, Instruments, and Polyphony (p. 47–50)

REGIONAL STYLES AND MUSICAL LANGUAGE OF TRADITIONAL POLYPHONY

Simha Arom, Florent Caron-Darras, Michele Castelengo, Frank Kane (France), Ana Lolashvili (Georgia), Frank Scherbaum (Germany) – Categorization of Chord Inventories and Chord Progressions in Georgian Polyphony (p. 57–64)

Michele Castelengo (France) – A New Approach to Analyzing the Musical Scales of Traditional Vocal Polyphony (p. 70–80)

Marina Decristoforo (USA), Madona Chamgeliani (Georgia) – “And May Your Marshrutka Have Good Passengers”: Prayers, Songs, And Rituals of the Svan Feast Day of Gula Gabriel (p. 86–94)

Nino Naneishvili, Paata Alaverdashvili (Georgia) – Batonebis Iavnana and Internal Family Systems Therapy (p. 100–104)

Meri-Sofia Lakos (Finland), Mohammed Ashkan Nazari (Iran) – Polyphony in the Music of Hawraman (A Study of the Unconscious Polyphony Yielded in the Interaction of Shemshal and Singing in Hawraman’s Traditional Music) (p. 112–120)

Natalia Zumbadze (Georgia) – Concerning the Polyphony of Khevsurian Singing (p. 127–132)

Žanna Pärtlas (Estonia) – Rising and Falling Tonality in Seto Multipart Songs (South-East Estonia). The Kergütämine Technique and its Functions (p. 139–148)

Teona Rukhadze, Sandro Natadze (Georgia) – Tradition in Contemporaneity – The Results of the 2021 Svaneti Field Research (p. 156–161)

Janika Oras (Estonia) – Seto Multipart Singing and Other Music. Changing Meanings and Functions of Multipart Tradition over Time through the Eyes of Elderly Singers (p. 168–172)

POLYPHONY IN THE SACRED MUSIC

Tamar Chkheidze (Georgia) – The Essence of the “formulae” Mode in Georgian Chanting and Its Realization in Multipart Context (p. 183–194)

Ekaterine Kazarashvili (Georgia) – St. Stepane the Confessor (Karbelashvili) about Georgian Chanting (Based on Vasil Karbelashvili’s Personal Letters) (p. 201–206)

COMPUTATIONAL ETHNOMUSICOLOGY

Frank Scherbaum (Germany) – Five Years of Computational Analysis of Traditional Georgian Vocal Music: The GVM Project (p. 214–220)

Daiva Račiūnaitė-Vyčinienė (Lithuania) – Audiovisual Documentation and Communication Problems from the Perspective of Ethnomusicologist: Several Instances of Lithuanian Polyphonic Singing (p. 231–242)

Caroline Bithell (UK) – Intercultural Musicking in the Virtual World: Online Georgian Singing Workshops in Times of COVID (p. 250–256)

SOCIAL ASPECTS OF TRADITIONAL POLYPHONY

Andrea Kuzmich (Canada) – Sing with Ukraine: Political Koliada or Guerrilla Carolling as a Response to the War in Ukraine (p. 267–273)

Mario Morello (Canada) – “Ragazzine, vi Prego Ascoltare..” The Polyphonic Song as an Instrument to Collectively Summon an Anti-War Space, Investigated through Italian Songs of Wartime Resistance (p. 281–287)

Maka Khardziani (Georgia) – The Impact of Migration Processes on Ethnic, Religious, Cultural Identity and Traditions of Svan Eco-Migrants (p. 294–298)

ROUND TABLE

Musical Tourism (p. 318–333)