The Tenth International Symposium on Traditional Polyphony, Proceedings, 20–24 Octomber, 2020, Tbilisi, Georgia, © 2022 (full version)

Booklet of the Tenth International Symposium on Traditional Polyphony, 2020

SOCIAL ASPECTS OF TRADITIONAL POLYPHONY

Daiva Račiūnaitė-Vyčinienė (Lithuania) – Polyphonic Singing as a Musical, Social, and Political Phenomenon: An Analysis of Lithuanian Cases (p. 23–37)

Audio examples: 01, 02

Video examples: 01, 02

Matthew Knight (Canada) – Preservation, Safeguarding, Resilience: Conceptualizing Sustainbility and Ecologies of Music in Svaneti (p. 45-52) 

Temur Tunadze (Georgia) – Folkloric Teams of Upper Achara (30-40ies of the 20th Century) (p. 58-72)

Gordana Blagojević (Serbia) – The Role of Information Technology in the Practice of Polyphonic Singing and Playing at the Time of COVID-19 Virus Pandemic: The Case of Serbia (p. 80-85)

Video examples: 01, 02, 03, 04, 05

TRADITIONAL VOCAL POLYPHONY AND NATIONAL MINOROTIES

Emi Ocada (Japan) – Traditional Polyphonic Singing Culture and Interpersonal Cooperativeness Among the Chakhesang Naga, an Ethnic Minority in Northeast India (p. 92-102)

Helen Rees (UK/US) – Polyphonic Folksinging Among Tibeto-Burman Groupsin Southwest China (p. 109-117)

Audio examples: 01, 02, 03

REGIONAL STYLES AND MUSICAL LANGUAGE OF TRADITIONAL POLYPHONY

Andrea Kuzmich (Canada) – More on now Georgian Polyphony Conveys of Eternity or Ancestry: Musical Analysis of Temporal Distortions in Georgian Polyphony (p. 126-133)

Audio examples: 01, 02

Natalia Zumbadze (Georgia) – About another Argument of Polyphony in Georgian Song (p. 140-147)

Audio examples: 01, 02, 03, 04, 05, 06

Rytis Ambrazevićius (Lithuania) – Musical Scales in Lithuanian Traditional Vocal Homophony (p. 153-161)

Mario Morello (Canada) – Salentine Identity, Legacy, and Songs as Cultural Artifacts: Investigating Ancestral Sentiment in the Transformative Perfomance of Polyphonic Singing in Salento (p. 172-182)

Mohammad Ashkan nazari (Iran) – A Semiotic Reading of the Correlation between Polyphony and Sensuality in Hawrami Music; how Erotic Literature Triggers Heterophonic Folk Hawrami Music Performances (p. 192-201)

David Shugliashvili PhD in Musicology (Georgia) – The Effect of Silence and Pause in Georgian Traditional Music (p. 209-223)

Audio examples: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21

Video examples: 01, 02, 03, 04

Zhang Shan, Liu Xiangkun (China) – The Biphonic Morphology of Kazakh Sibizği and its Constituent Mechanism (p. 229-238)

Tiziana Palandrani (Italy) – Polyphony in Montoro (Córdoba) (p. 244-250)

Audio examples: 01

Žanna Partlas (Estonia) – Controlled Disorder In Polymusic: The Case Of The Seto Wedding Song Genre Kaasitamine (p. 257-265)

Audio examples: 01, 02, 03, 04

Brian Fairley (Usa) – “There Is No Dogma, But There Is A Frame”: Formulaic Improvisation In The Gurian Trio Song (p. 272-282)

Jillian Fulton-Melanson (Canada) – Polyphonic Folk Revivals Searching for Memories in Tarab-Scapes (p. 292-300)

Giorgi Kraveishvili (Georgia) – The Roots of Laz Music (p. 306-315)

Audio examples: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20

Video examples: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10

Khatuna Damchidze, Nino Makharadze (†) (Georgia) – Dance Lekuri (p. 323-330)

Audio examples: 01, 02, 03, 04

Eva C. Banholzer (Austria) – Singing on the Edge Mountaineers as Yodelers – Yodelers As Mountaineers (p. 338-345)

Audio examples: 01, 02, 03, 04

Rytis Ambrazevičius (Lithuania) – Some Acoustic Features of Austrian Yodeling (p. 349-353)

Ulrich Morgenstern (Austria) – Motif-Centricity and Binary Harmony two Fundamental Principles in European Folk Music and their Significance for the Austrian/Alpine Tradition (p. 362-375)

POLYPHONY IN THE SACRED MUSIC

Matthew Arndt (Usa) – “Kilo is Everything”: On Ornamentation on Georgian Chant (p. 380-389)

Tamar Chkheidze (Georgia) – Modal Structures of Eucharistic Canon in Georgian Chanting Tradition (In the context of Local chanting traditions of East and West Christendom) (p. 395-403)

Ekaterine Kazarashvili (Georgia) – Canon of Christmas Matins in Georgian Chanting Tradition (In the Context of Common Orthodox Liturgical Practice) (p. 409-413)

TRADITIONAL POLYPHONY AND POPULAR MUSIC

Joseph Jordania (Australia/Georgia) – The Origins of Pop and Rock Music in the Light of the Primordial Binary Function of Music (p. 420-424)

Nino Tsitsishvili (Australia/Georgia) – “Synthesis” and “Fusion” as two Distinct Forms of Relationship Between Different Musical Cultures (p. 428-430)

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

Teona Lomsadze (Georgia) – Folk-Fusion in Georgian Musical Reality (p. 437-441)

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

Miguel Ángel Santaella (Venezuela-The Netherlands) – A North-South Axis, Right at the Middle: A Personal Approach to Arranging Venezuelan Folk and Popular Music for a Cappella Choir (p. 449-460)

TRADITIONAL POLYPHONY IN INSTRUMENTAL MUSIC

Yannick Wey (Swizerland) – Büchel Performance and the Idea of a ‘Natural’ Harmony In Alpine Music (p. 467-476)

Manuel Lafarga, Penelope Sanz (Spain) – Triple Pipes In Nuraghe Culture: 4000 Years Of Polyphony In The Mediterranian Barbagia (Sardinia) (p. 482-492)

PERFORMANCE AND TRANSMISSION OF TRADITION 

Anastasiia Mazurenko (Ukraine) – Microinterval Tuning of Parts in Ukrainian Traditional Polyphonic Performance (p. 498-507)

Audio examples: 01, 02, 03, 04

Bernard Kleikamp (Niderrlands) – The Bisserov Sisters from Bulgaria and their Two-Part Style of Singing (p. 513-518)

Video examples: 01

ROUND TABLE: TRADITIONAL MUSIC AND CONTEMPORARY SOCIETY SPEAKER: TEONA LOMSADZE (p. 523-526)