257:, Europe and Oceania. It is believed that the origins of polyphony in traditional music vastly predate the emergence of polyphony in European professional music. Currently there are two contradictory approaches to the problem of the origins of vocal polyphony: the Cultural Model, and the Evolutionary Model. According to the Cultural Model, the origins of polyphony are connected to the development of human musical culture; polyphony came as the natural development of the primordial monophonic singing; therefore polyphonic traditions are bound to gradually replace monophonic traditions. According to the Evolutionary Model, the origins of polyphonic singing are much deeper, and are connected to the earlier stages of human evolution; polyphony was an important part of a defence system of the hominids, and traditions of polyphony are gradually disappearing all over the world.
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region in
Eastern Georgia; and contrasted polyphony with three partially improvised sung parts, characteristic of western Georgia. The Chakrulo song, which is sung at ceremonies and festivals and belongs to the first category, is distinguished by its use of metaphor and its yodel, the krimanchuli and a "cockerel’s crow", performed by a male falsetto singer. Some of these songs are linked to the cult of the grapevine and many date back to the eighth century. The songs traditionally pervaded all areas of everyday life, ranging from work in the fields (the Naduri, which incorporates the sounds of physical effort into the music) to songs to curing of illnesses and to Christmas Carols (Alilo). Byzantine liturgical hymns also incorporated the Georgian polyphonic tradition to such an extent that they became a significant expression of it.
829:. After paghjella's revival in the 1970s, it mutated. In the 1980s it had moved away from some of its more traditional features as it became much more heavily produced and tailored towards western tastes. There were now four singers, significantly less melisma, it was much more structured, and it exemplified more homophony. To the people of Corsica, the polyphony of paghjella represented freedom; it had been a source of cultural pride in Corsica and many felt that this movement away from the polyphonic style meant a movement away from paghjella's cultural ties. This resulted in a transition in the 1990s. Paghjella again had a strong polyphonic style and a less structured meter.
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drone, holding the interval of a fifth around the melody. Intervals and chords are often dissonances (sevenths, seconds, fourths), and traditional
Chechen and Ingush songs use sharper dissonances than other North Caucasian traditions. The specific cadence of a final, dissonant three-part chord, consisting of fourth and the second on top (c-f-g), is almost unique. (Only in western Georgia do a few songs finish on the same dissonant c-f-g chord.)
1646:, p. 356, "Neither of the polyphonic textures characteristic of south Albanian singing is unique to Albanians. The style is shared with Greeks in the Northwestern district of Epirus (see Fakiou and Romanos 1984) while the Tosk style is common among Aromanian communities from the Kolonje region of Albania the so-called Farsherotii (see Lortat-Jacob and Bouet 1983) and among Slavs of the
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238:(1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to "successive composition", where voices were written in an order with each new voice fitting into the whole so far constructed, which was previously assumed.
276:. 900, are usually considered the oldest extant written examples of polyphony. These treatises provided examples of two-voice note-against-note embellishments of chants using parallel octaves, fifths, and fourths. Rather than being fixed works, they indicated ways of improvising polyphony during performance. The
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has been proclaimed by UNESCO an
Intangible Cultural Heritage of Humanity. Popular singing has a highly valued place in Georgian culture. There are three types of polyphony in Georgia: complex polyphony, which is common in Svaneti; polyphonic dialogue over a bass background, prevalent in the Kakheti
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Albanian polyphonic singing can be divided into two major stylistic groups as performed by the Tosks and Labs of southern
Albania. The drone is performed in two ways: among the Tosks, it is always continuous and sung on the syllable 'e', using staggered breathing; while among the Labs, the drone is
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Harmony was considered frivolous, impious, lascivious, and an obstruction to the audibility of the words. Instruments, as well as certain modes, were actually forbidden in the church because of their association with secular music and pagan rites. After banishing polyphony from the
Liturgy in 1322,
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developed the organum that was introduced centuries earlier, and also added a third and fourth voice to the now homophonic chant. In the thirteenth century, the chant-based tenor was becoming altered, fragmented, and hidden beneath secular tunes, obscuring the sacred texts as composers continued to
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The notion of secular and sacred music merging in the papal court also offended some medieval ears. It gave church music more of a jocular performance quality supplanting the solemnity of worship they were accustomed to. The use of and attitude toward polyphony varied widely in the
Avignon court
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Chechen and Ingush traditional music can be defined by their tradition of vocal polyphony. Chechen and Ingush polyphony is based on a drone and is mostly three-part, unlike most other north
Caucasian traditions' two-part polyphony. The middle part carries the main melody accompanied by a double
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is arguably the oldest polyphony in the
Christian world. Georgian polyphony is traditionally sung in three parts with strong dissonances, parallel fifths, and a unique tuning system based on perfect fifths.
286:. 1000, is generally considered to be the oldest extant example of notated polyphony for chant performance, although the notation does not indicate precise pitch levels or durations. However, a two-part
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that is known for its polyphony. Traditionally, Paghjella contains a staggered entrance and continues with the three singers carrying independent melodies. This music tends to contain much
2008:
2056:
1490:
Karlsberg, Jesse P. (2021). "The Folk
Scholarship Roots and Geopolitical Boundaries of Sacred Harp's Global Twenty-first Century". In Shenton, Andrew; Smolko, Joanna (eds.).
1804:
77:
549:, until it again began to grow a following throughout the United States and even in places such as the United Kingdom, Germany, Poland, and Australia, among others.
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744:('many voices'). In terms of Western classical music, it is not strictly polyphonic, due to the drone parts having no melodic role, and can better be described as
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is also sometimes used more broadly, to describe any musical texture that is not monophonic. Such a perspective considers homophony as a sub-type of polyphony.
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Traditional (non-professional) polyphony has a wide, if uneven, distribution among the peoples of the world. Most polyphonic regions of the world are in
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terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with
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sometimes sung as a rhythmic tone, performed to the text of the song. It can be differentiated between two-, three- and four-voice polyphony.
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region of
Northern Greece (see N.Kaufamann 1959 ). Macedonians in the lower villages of the Prespa district also formerly sang this style "
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1629:, p. 87 Albania: "Singers in Pogoni region perform a style of polyphony that is also practised by locals in Vlach and Slav communities ."
1014:. Other Central African peoples tend to sing with parallel lines rather than counterpoint. In Burundi, rural women greet each other with
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said Gregorian chant should be the focus of liturgical services, without excluding other forms of sacred music, including polyphony.
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529:, by the mid-18th century. This tradition passed with emigrants to North America, where it was proliferated in tunebooks, including
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331:, or the sacred text might be placed within a familiar secular melody. The oldest surviving piece of six-part music is the English
482:
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1235:
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Hendrik van der Werf (1997). "Early Western polyphony", Companion to Medieval & Renaissance Music. Oxford University Press.
545:. While this style of singing has largely disappeared from British and North American sacred music, it survived in the rural
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polyphonic singing in Polynesia. Polynesian traditions were then influenced by Western choral church music, which brought
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play with this new invention called polyphony. The lyrics of love poems might be sung above sacred texts in the form of a
2028:
1335:. History of music theory, books I and II: polyphonic theory to the sixteenth century, Book 2. Da Capo Press. June 1974.
1273:. History of music theory, books I and II: polyphonic theory to the sixteenth century, Book 1. Da Capo Press. June 1974.
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298:, is thought to have originated in a monastery in north-west Germany and has been dated to the early tenth century.
1660:
Kahl, Thede (2008). "Multipart singing among the Aromanians (Vlachs)". In Ahmedaja, Ardian; Haid, Gerlinde (eds.).
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1030:, like that of the pygmies, features melodic repetition, yodeling, and counterpoint. The singing of neighboring
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Balkan drone music is described as polyphonic due to Balkan musicians using a literal translation of the Greek
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traditionally sing with drone polyphony, other East African groups use more elaborate techniques. The
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Who Asked the First Question? The Origins of Human Choral Singing, Intelligence, Language and Speech
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Although the exact origins of polyphony in the Western church traditions are unknown, the treatises
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Polyphonic Voices: National Identity, World Music and the Recording of Traditional Music in Corsica
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refers to the drone, which accompanies the iso-polyphonic singing and is related to the ison of
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in southern Albania and northwestern Greece. This type of folk vocal tradition is also found in
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European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja,
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1958:"The Akazehe of Burundi: Polyphonic Interlocking Greetings and the Female Ceremonial"
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from the beginning to the end of its religious importance in the fourteenth century.
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1880:'Polyphonic regions of the world' in 'Why do People Sing? Music in Human Evolution'
1838:'Polyphonic regions of the world' in 'Why do People Sing? Music in Human Evolution'
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and is sung in a nasal temperament. Additionally, many paghjella songs contain a
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2017:
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Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman, 1997,
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is traditional folk singing of this part of southern Europe. It is also called
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1218:. Polyphony in North American Indian music. Musical Quarterly, 1961, 47:354–62
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warned against the unbecoming elements of this musical innovation in his 1324
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of varying lengths in another. In all cases the conception was probably what
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782:, polyphony is common, and polyphonic music follows a set of common rules.
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European Voices I: Multipart singing in the Balkans and the Mediterranean
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World Routes in Georgia – Ancient polyphony from the Caucasus region
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Echoes from Georgia : seventeen arguments on Georgian polyphony
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2100:
2009:
Tuning and Intonation in Fifteenth and Sixteenth Century Polyphony
1108:(1999). "The Grammar of Early Music: Preconditions for Analysis",
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219:
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Sacred Harp Singing in Europe: Its Pathways, Spaces, and Meanings
1516:"Startseite - Forschungszentrum für Europäische Mehrstimmigkeit"
364:
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2038:
1730:"Learn about Corsican traditional music, groups and recordings"
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traditionally use parallel harmonies rather than counterpoint.
355:
European polyphony rose prior to, and during the period of the
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This article is about the musical texture. For other uses, see
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Within the context of the Western musical tradition, the term
187:) or a texture with one dominant melodic voice accompanied by
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1985:
Jordania, Joseph (2011). "Polyphonic regions of the world".
1941:
Jordania, Joseph (2011). "Polyphonic regions of the world".
1923:
Jordania, Joseph (2011). "Polyphonic regions of the world".
1602:
A free, unpublished version of this passage is available on
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consisting of two or more simultaneous lines of independent
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2014:
World Routes in Albania – Iso-Polyphony in Southern Albania
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Masterpiece of the Oral and Intangible Heritage of Humanity
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1936:
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1494:. Lanham, MD: Rowman & Littlefield. pp. 221–240.
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are host to instrumental polyphony, in the form of bamboo
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church music, where the drone group accompanies the song.
146:
755:
is a form of traditional folk polyphony practiced among
986:, for example, sing with as many as six parts, and the
183:, as opposed to a musical texture with just one voice (
1548:
Music-cultures in contact: convergences and collisions
1545:
Kartomi, Margaret J.; Blum, Stephen (9 January 1994).
1571:Александър Заралиев, Двугласът в българския фолклор,
1284:"Earliest known piece of polyphonic music discovered"
525:
included polyphonic multi-melodic harmony, including
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134:
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940:Europeans were surprised to find drone-based and
2031:African Pygmy music, with photos and soundscapes
1350:"Translated from the original Latin of the bull
840:is a traditional style of polyphonic singing in
1373:Vatican II, Constitution on the Liturgy, 112–18
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1769:Curcumia, R. Jordania, Joseph, 1954- (2009).
1590:. Cambridge Scholars Publishing. p. xx.
966:host polyphonic singing, typically moving in
671:, Bosnia and Herzegovina, Croatia and Albania
8:
1987:Why do People Sing? Music in Human Evolution
1943:Why do People Sing? Music in Human Evolution
1925:Why do People Sing? Music in Human Evolution
1893:Kaeppler, Adrienne L.; Christensen, Dieter.
1851:Kaeppler, Adrienne L.; Christensen, Dieter.
1803:: CS1 maint: multiple names: authors list (
1313:Modernism and Music: An Anthology of Sources
1192:Why do People Sing? Music in Human Evolution
1162:Why do People Sing? Music in Human Evolution
399:The oldest extant polyphonic setting of the
1290:. University of Cambridge. 17 December 2014
411:, dated to 1364, during the pontificate of
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1956:Facci, Serena; Ciucci, Alessandra (2020).
1807:) CS1 maint: numeric names: authors list (
1442:The Sacred Harp: A Tradition and Its Music
1226:
1224:
717:(previously primitive polyphony) includes
1969:
1573:Младежка историческа общност, 08.03.2013.
1419:. Detroit, MI: Information Coordinators.
912:use vocal polyphony, as do the people of
1018:, a two-part interlocking vocal rhythm.
517:Protestant Britain and the United States
27:Simultaneous lines of independent melody
1444:. Athens: University of Georgia Press.
1081:
958:Traditional sub-Saharan African harmony
561:Albanian polyphonic folk group wearing
1796:
1492:Christian Sacred Music in the Americas
1417:Fuging Tunes in the Eighteenth Century
753:polyphonic singing tradition of Epirus
115:
888:maintain rich polyphonic traditions.
7:
1974:– via IUScholarWorks Journals.
964:Sub-Saharan African music traditions
351:Western Europe and Roman Catholicism
1758:. British Forum of Ethnomusicology.
817:has a unique style of music called
793:) has been proclaimed by UNESCO a "
458:, Missa super Bella'Amfitrit'altera
1356:Corpus iuris canonici, ed. a. 1582
948:into Polynesian musical practice.
25:
657:, in southern Albania (see below)
578:Polyphonic singing in the Balkans
2139:
1112:. New York: Garland Publishing.
785:The phenomenon of Albanian folk
651:and southern Albania (see below)
403:attributable to one composer is
130:
116:Problems playing this file? See
73:
1315:. University of Chicago Press.
1110:Tonal Structures of Early Music
311:European polyphony rose out of
1584:Koço, Eno (27 February 2015).
1136:Encyclopædia Britannica Online
1038:, is more typically parallel.
102:(Part I), a famous example of
1:
1823:"Georgian Polyphonic Singing"
1707:"Albanian Folk Iso-polyphony"
1587:A Journey of the Vocal Iso(n)
341:
2004:Thirteenth-Century Polyphony
1962:Ethnomusicology Translations
1471:(PhD). Wesleyan University.
1415:; Manns, Charles G. (1983).
1010:and contrapuntal, featuring
738:
703:), as well as men choirs in
202:is usually used to refer to
1775:. Nova Science Publishers.
916:. Many of these styles are
864:Georgian polyphonic singing
294:recently discovered in the
99:Das Wohltemperierte Clavier
2273:
1901:. Encyclopaedia Britannica
1859:. Encyclopaedia Britannica
1754:Bithell, Caroline (1996).
955:
226:. Also, as opposed to the
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32:Polyphony (disambiguation)
29:
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2137:
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1895:"Oceanic Music and Dance"
1878:Jordania, Joseph (2011).
1853:"Oceanic Music and Dance"
1836:Jordania, Joseph (2011).
1561:– via Google Books.
1195:. Logos. pp. 6o–70.
1165:. Logos. pp. 13–37.
1070:Venetian polychoral style
759:, Albanians, Greeks, and
423:Notable works and artists
1989:. Logos. pp. 21–22.
1971:10.14434/emt.v0i10.30278
1399:Polyphony and the Modern
1046:The peoples of tropical
39:Not to be confused with
1440:Cobb, Buell E. (1989).
175:) is a type of musical
1352:Docta sanctorum patrum
791:Albanian iso-polyphony
640:Bosnia and Herzegovina
627:Bosnia and Herzegovina
614:Bosnia and Herzegovina
574:
547:Southern United States
429:Tomás Luis de Victoria
417:Second Vatican Council
389:Docta Sanctorum Patrum
105:contrapuntal polyphony
63:
53:
1734:www.corsica-isula.com
1465:Lueck, Ellen (2017).
1130:DeVoto, Mark (2015).
871:Chechens and Ingushes
813:The French island of
560:
62:
52:
1945:. Logos. p. 21.
1927:. Logos. p. 20.
1882:. Logos. p. 35.
1840:. Logos. p. 36.
1670:. pp. 267–280.
898:New Guinea Highlands
536:The Southern Harmony
488:Missa Papae Marcelli
467:Messe de Nostre Dame
462:Guillaume de Machaut
439:Mass for Five Voices
409:Messe de Nostre Dame
405:Guillaume de Machaut
2029:Aka Pygmy Polyphony
1621:. Routledge, 2004.
1477:10.14418/wes01.3.69
1413:Temperley, Nicholas
1393:Chaucer's Polyphony
1363:. pp. 1256–57.
1026:The singing of the
859:Republic of Georgia
715:Incipient polyphony
521:English Protestant
272:, both dating from
269:Scolica enchiriadis
69:Sample of polyphony
2247:Polyphonic singing
1551:. Currency Press.
1243:. Tbilisi: Logos.
1002:(e.g. that of the
990:use counterpoint.
761:ethnic Macedonians
731:parallel intervals
687:: woman choirs in
677:singing, in Serbia
632:Bosnian root music
575:
523:west gallery music
499:Missa Pange Lingua
337:Sumer is icumen in
307:Historical context
302:European polyphony
263:Musica enchiriadis
255:sub-Saharan Africa
92:No.17 in A flat,"
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1782:978-1-60876-477-8
1728:Keyser, William.
1627:978-0-415-93990-4
1597:978-1-4438-7578-3
1526:on 9 January 2018
1501:978-1-5381-4873-0
1451:978-0-8203-2371-8
1202:978-9941-401-86-2
1172:978-9941-401-86-2
857:Polyphony in the
723:call and response
685:Southern Bulgaria
279:Winchester Troper
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1768:
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1738:
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1727:
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1689:
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1614:
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1559:
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1427:
1411:
1410:
1406:
1384:Jonathan Fruoco
1381:
1377:
1372:
1368:
1360:
1344:
1343:
1339:
1331:
1327:
1307:
1303:
1293:
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1282:
1281:
1277:
1269:
1265:
1257:
1251:
1240:
1232:Joseph Jordania
1230:
1229:
1222:
1214:
1210:
1203:
1185:
1184:
1180:
1173:
1155:
1154:
1150:
1140:
1138:
1129:
1128:
1124:
1104:
1100:
1087:
1083:
1078:
1056:
1044:
1024:
1022:Southern Africa
1006:) is typically
1000:African Pygmies
996:
976:
968:parallel motion
960:
954:
938:
926:Solomon Islands
896:The peoples of
894:
882:
873:
855:
850:
848:Caucasus region
835:
811:
780:Aromanian music
765:North Macedonia
709:Pirin Macedonia
645:Epirote singing
602:Ojkanje singing
597:Byzantine chant
555:
542:The Sacred Harp
519:
456:Orlandus Lassus
425:
394:Pope Clement VI
353:
344:
309:
304:
296:British Library
251:
169:
133:
129:
123:
122:
114:
112:
111:
110:
109:
82:
74:
71:
65:
55:
49:
44:
35:
28:
23:
22:
15:
12:
11:
5:
2270:
2268:
2260:
2259:
2254:
2249:
2244:
2234:
2233:
2227:
2226:
2224:
2223:
2221:Micropolyphony
2218:
2209:
2204:
2195:
2189:
2186:
2185:
2180:
2178:
2177:
2170:
2163:
2155:
2146:
2145:
2138:
2136:
2134:
2133:
2128:
2123:
2118:
2113:
2108:
2103:
2098:
2096:False relation
2093:
2088:
2083:
2077:
2074:
2073:
2064:
2062:
2061:
2054:
2047:
2039:
2033:
2032:
2026:
2025:on BBC Radio 3
2020:
2011:
2006:
1999:
1998:External links
1996:
1993:
1992:
1977:
1948:
1930:
1912:
1885:
1870:
1843:
1828:
1814:
1781:
1761:
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1698:
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1564:
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1537:
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1500:
1482:
1457:
1450:
1432:
1425:
1404:
1390:'s polyphony:
1375:
1366:
1346:Pope John XXII
1337:
1325:
1301:
1275:
1263:
1249:
1220:
1208:
1201:
1178:
1171:
1148:
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1098:
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1079:
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1072:
1067:
1065:Polyphonic Era
1062:
1060:Micropolyphony
1055:
1052:
1043:
1040:
1023:
1020:
995:
994:Central Africa
992:
975:
972:
953:
950:
937:
934:
900:including the
893:
890:
881:
878:
872:
869:
854:
851:
849:
846:
838:Cantu a tenore
834:
831:
810:
807:
712:
711:
693:Bistritsa Babi
678:
672:
658:
652:
647:, in northern
642:
629:
621:, in Croatia,
616:
599:
554:
551:
518:
515:
514:
513:
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491:
480:
475:
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459:
453:
442:
431:
424:
421:
392:. In contrast
381:Pope John XXII
363:, the seat of
357:Western Schism
352:
349:
308:
305:
303:
300:
292:Saint Boniface
250:
247:
218:forms such as
113:
83:
72:
67:
66:
57:
56:
47:
46:
45:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2269:
2258:
2255:
2253:
2250:
2248:
2245:
2243:
2240:
2239:
2237:
2222:
2219:
2217:
2213:
2210:
2208:
2205:
2203:
2199:
2196:
2194:
2191:
2190:
2187:
2183:
2176:
2171:
2169:
2164:
2162:
2157:
2156:
2153:
2142:
2132:
2131:Voice leading
2129:
2127:
2124:
2122:
2119:
2117:
2114:
2112:
2109:
2107:
2104:
2102:
2099:
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2041:
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2027:
2024:
2021:
2019:
2015:
2012:
2010:
2007:
2005:
2002:
2001:
1997:
1988:
1981:
1978:
1972:
1967:
1963:
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1721:
1708:
1702:
1699:
1696:
1693:
1692:Gerlinde Haid
1687:
1684:
1679:
1677:9783205780908
1673:
1669:
1668:Böhlau Verlag
1665:
1664:
1656:
1653:
1649:
1645:
1644:0-226-77972-6
1641:
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1632:
1628:
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1612:
1609:
1605:
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1588:
1580:
1577:
1574:
1568:
1565:
1560:
1558:9780868193656
1554:
1550:
1549:
1541:
1538:
1525:
1521:
1520:www.mdw.ac.at
1517:
1511:
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1426:0-89990-017-8
1422:
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1389:
1385:
1379:
1376:
1370:
1367:
1359:
1357:
1353:
1347:
1341:
1338:
1334:
1333:Riemann, Hugo
1329:
1326:
1322:
1321:0-226-01267-0
1318:
1314:
1310:
1305:
1302:
1289:
1288:www.cam.ac.uk
1285:
1279:
1276:
1272:
1271:Riemann, Hugo
1267:
1264:
1256:
1252:
1250:99940-31-81-3
1246:
1239:
1238:
1233:
1227:
1225:
1221:
1217:
1212:
1209:
1204:
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1193:
1188:
1182:
1179:
1174:
1168:
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1158:
1152:
1149:
1137:
1133:
1126:
1123:
1119:
1118:0-8153-2388-3
1115:
1111:
1107:
1106:Margaret Bent
1102:
1099:
1095:
1094:0-19-816540-4
1091:
1085:
1082:
1075:
1071:
1068:
1066:
1063:
1061:
1058:
1057:
1053:
1051:
1049:
1041:
1039:
1037:
1033:
1032:Bantu peoples
1029:
1021:
1019:
1017:
1013:
1009:
1005:
1001:
998:The music of
993:
991:
989:
985:
981:
980:Maasai people
973:
971:
969:
965:
959:
951:
949:
947:
943:
935:
933:
931:
927:
923:
919:
915:
911:
907:
903:
899:
891:
889:
887:
879:
877:
870:
868:
865:
860:
852:
847:
845:
843:
839:
832:
830:
828:
827:picardy third
824:
820:
816:
808:
806:
804:
800:
796:
792:
788:
787:iso-polyphony
783:
781:
776:
772:
770:
766:
762:
758:
754:
749:
747:
742:
741:
734:
732:
728:
724:
720:
716:
710:
706:
702:
698:
694:
690:
686:
682:
679:
676:
673:
670:
666:
662:
659:
656:
655:Iso-polyphony
653:
650:
646:
643:
641:
637:
633:
630:
628:
624:
620:
619:Ganga singing
617:
615:
611:
607:
603:
600:
598:
595:
594:
593:
591:
587:
583:
579:
572:
568:
564:
559:
553:Balkan region
552:
550:
548:
544:
543:
538:
537:
532:
528:
527:fuguing tunes
524:
516:
512:
511:
506:
503:
501:
500:
495:
492:
490:
489:
484:
481:
479:
478:Jacob Obrecht
476:
474:
471:
469:
468:
463:
460:
457:
454:
452:
451:
450:Spem in alium
446:
445:Thomas Tallis
443:
441:
440:
435:
432:
430:
427:
426:
422:
420:
418:
414:
410:
406:
402:
397:
395:
391:
390:
386:
382:
376:
372:
370:
366:
362:
358:
350:
348:
339:
338:
334:
330:
325:
321:
317:
314:
306:
301:
299:
297:
293:
289:
285:
281:
280:
275:
271:
270:
265:
264:
258:
256:
248:
246:
244:
239:
237:
236:Margaret Bent
233:
229:
225:
221:
217:
213:
209:
205:
201:
196:
194:
190:
186:
182:
178:
174:
173:
163:
127:
121:
119:
107:
106:
101:
100:
95:
91:
87:
70:
61:
42:
37:
33:
19:
2216:Counterpoint
2211:
2069:
2066:Counterpoint
1986:
1980:
1964:(10): 1–37.
1961:
1951:
1942:
1924:
1903:. Retrieved
1898:
1888:
1879:
1873:
1861:. Retrieved
1856:
1846:
1837:
1831:
1817:
1771:
1764:
1755:
1749:
1737:. Retrieved
1733:
1723:
1711:. Retrieved
1701:
1686:
1662:
1655:
1634:
1617:
1611:
1604:Google Books
1586:
1579:
1567:
1547:
1540:
1528:. Retrieved
1524:the original
1519:
1510:
1491:
1485:
1467:
1460:
1441:
1435:
1416:
1407:
1397:
1391:
1378:
1369:
1355:
1354:as given in
1351:
1340:
1328:
1312:
1304:
1292:. Retrieved
1287:
1278:
1266:
1255:the original
1236:
1211:
1190:
1181:
1160:
1151:
1139:. Retrieved
1135:
1125:
1109:
1101:
1084:
1045:
1025:
997:
984:Dorze people
977:
961:
946:counterpoint
939:
914:Manus Island
895:
883:
874:
856:
836:
812:
798:
797:". The term
786:
784:
777:
773:
750:
745:
739:
735:
714:
713:
680:
663:singing, in
589:
585:
581:
577:
576:
540:
534:
520:
508:
497:
486:
465:
448:
437:
434:William Byrd
413:Pope Urban V
398:
387:
377:
373:
354:
335:
310:
283:
277:
273:
267:
261:
259:
252:
242:
240:
227:
224:contrapuntal
206:of the late
199:
197:
125:
124:
103:
97:
41:Polytonality
36:
2207:Heterophony
2018:BBC Radio 3
1713:31 December
1530:14 November
1386:'s work on
1216:Bruno Nettl
1132:"Polyphony"
1048:West Africa
1042:West Africa
1034:, like the
974:East Africa
932:ensembles.
922:Guadalcanal
683:singing in
533:books like
345: 1240
212:Renaissance
208:Middle Ages
84:A bar from
2236:Categories
2198:Homorhythm
1899:Britannica
1857:Britannica
1141:1 December
1076:References
1028:San people
1004:Aka people
978:While the
956:See also:
757:Aromanians
740:polyphōnos
669:Montenegro
638:region of
623:Montenegro
567:fustanella
531:shape-note
483:Palestrina
313:melismatic
118:media help
96:862, from
2212:Polyphony
2202:Homophony
2193:Monophony
2106:Imitation
2070:polyphony
1825:. UNESCO.
1799:cite book
1791:432991038
1294:20 August
962:Numerous
942:dissonant
936:Polynesia
892:Melanesia
884:Parts of
819:Paghjella
803:Byzantine
746:multipart
719:antiphony
695:) and in
592:singing.
590:old-style
369:antipopes
367:and then
243:polyphony
241:The term
200:polyphony
193:homophony
185:monophony
126:Polyphony
86:J.S. Bach
2111:Ricercar
1905:7 August
1863:7 August
1739:18 April
1709:. UNESCO
1648:Kastoria
1348:(1879).
1311:(2004).
1234:(2006).
1189:(2011).
1159:(2011).
1054:See also
1012:yodeling
1008:ostinato
924:and the
842:Sardinia
833:Sardinia
769:Bulgaria
701:Nedelino
697:Rhodopes
636:Podrinje
510:Miserere
288:antiphon
232:melismas
2252:Harmony
2121:Subject
1694:p. 241
1388:Chaucer
1016:akazehe
930:panpipe
886:Oceania
880:Oceania
853:Georgia
823:melisma
815:Corsica
809:Corsica
689:Shopluk
681:Dvuglas
634:in the
606:Croatia
586:archaic
582:ancient
571:Skrapar
563:qeleshe
361:Avignon
324:Pérotin
316:organum
282:, from
249:Origins
228:species
216:Baroque
177:texture
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988:Wagogo
952:Africa
908:, and
729:, and
727:drones
705:Bansko
675:Izvika
665:Serbia
649:Greece
610:Serbia
415:. The
320:Léonin
189:chords
181:melody
172:-ə-nee
2126:Voice
2116:Round
2101:Fugue
2086:Catch
2081:Canon
1361:(PDF)
1258:(PDF)
1241:(PDF)
918:drone
661:Gusle
604:, in
365:popes
329:trope
220:fugue
204:music
90:Fugue
2214:and
2200:and
2068:and
1907:2018
1865:2018
1809:link
1805:link
1787:OCLC
1777:ISBN
1741:2018
1715:2010
1672:ISBN
1640:ISBN
1623:ISBN
1592:ISBN
1553:ISBN
1532:2011
1496:ISBN
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1396:and
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1296:2021
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1090:ISBN
1036:Zulu
910:Yali
906:Dani
902:Moni
767:and
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565:and
539:and
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322:and
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170:LIF
168:pə-
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