DOCSLIB.ORG

Chapter 11 Josquin Des Prez and Renaissance Polyphony

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapter 11 Josquin Des Prez and Renaissance Polyphony Chapter 11 Josquin des Prez and Renaissance Polyphony TRUE/FALSE 1. The making of music in parts began as a very complex procedure. ANS: F REF: Chapter 11, "Early Counterpoint", pg. 68 2. By the twelfth century, composers had begun to notate measured rhythms. ANS: T REF: Chapter 11, "Early Counterpoint", pg. 68 3. The proper of the mass is the part that is unchanging. ANS: F REF: Chapter 11, "The Mass", pg. 69 MULTIPLE CHOICE 1. Counterpoint is a. the practice of composing music by d. the movement which countered the punching holes in paper Reformation b. the practice of combining melodically e. a compositional technique for creating interesting parts hymns and chorales c. pointing out the heretics in the Catholic Church ANS: B REF: Chapter 11, "Polyphony and Counterpoint", pg. 68 2. Early counterpoint was created by either adding a drone to a chant melody or a. having the monks sing and hum d. adding the nuns an octave above the monks simultaneously b. composing a secular tune in contrast to the e. playing a lyre along with a voice chant c. having the voices move in parallel motion ANS: C REF: Chapter 11, "Early Counterpoint", pg. 68 3. More measured rhythms make possible a. more intricate coordination among the d. the addition of more percussion parts instruments b. wider vocal ranges e. the use of less paper c. dancing in the worship service ANS: A REF: Chapter 11, "The Innovations of Renaissance Polyphony", pg. 68 4. Singing a round such as “Row, Row, Row Your Boat” or” Frere Jacques” is an example of a. alliteration d. monophonic singing b. imitation e. cantus firmus c. boerdom ANS: B REF: Chapter 11, "The Innovations of Renaissance Polyphony", pg. 68 5. The heart of the Mass is the a. septuigent d. transubstantiation b. lifting up of the saints e. gloria c. Kyrie ANS: D REF: Chapter 11, "Symbolism In Music For the Mass", pg. 69 6. ***Sound File EV_Ch11_Q06.mp3 attatched*** The texture of this example is a. monophonic d. canophonic b. polyphonic e. nonphonic c. homophonic ANS: B [EV_Ch11_Q06.mp3 is in the Listening Items for Tests section of Instructor Companion Site. Go to www.cengage.com/music to find the Instructor Companion Site for MUSIC.] REF: Chapter 11, "Listen Up!", pg. 70 7. ***Sound File EV_Ch11_Q07.mp3 attatched*** The tenor voice is stating the melody of “L’homme arme’” as a a. drone d. round b. cantus firmus e. requirement for all Kyrie segments c. monophonic introduction ANS: B [EV_Ch11_Q07.mp3 is in the Listening Items for Tests section of Instructor Companion Site. Go to www.cengage.com/music to find the Instructor Companion Site for MUSIC.] REF: Chapter 11, "Listen Up!", pg. 70 COMPLETION 1. _____ was the most esteemed composer of the early sixteenth century. ANS: Josquin, or Josquin des Prez REF: Chapter 11, "Josquin de Prez (Fast Facts)", pg. 67 2. _______ is the polyphonic technique in which other parts restate a melodic idea. ANS: Imitation REF: Chapter 11, "The Innovations of Renaissance Polyphony", pg. 68 3. The medieval practice of manuscript ________ parallels early counterpoint in that both involved the elaborate decoration of sacred text. ANS: Illumination REF: Chapter 11, "The Innovations of Renaissance Polyphony (caption)", pg. 69 4. The Agnus Dei is sung shortly before _____________. ANS: communion or Eucharist REF: Chapter 11, "The Five Mass Movements", pg. 69 5. The part of the Ordinary of the Mass that means “holy” is the _________. ANS: Sanctus REF: Chapter 11, "The Five Mass Movements", pg. 69 MATCHING a. parts of the mass that change from day to f. parts of the mass that do not change day b. bread and wine literally change to body and g. means against blood of Christ c. highly regarded composer in France h. means holy d. three part form in which each section is i. added to a chant melody to create early different polyphony e. polyphonic technique in which other parts j. texture with more than one voice restate a melodic idea soon after its first presentation 1. drone 2. Josquin 3. proper 4. imitation 5. contra 6. Sanctus 7. transubstantiation 8. ABC 9. polyphonic 10. ordinary 1. ANS: I REF: Chapter 11, "Early Counterpoint", pg. 68 2. ANS: C REF: Chapter 11, Introduction, pg. 67 3. ANS: A REF: Chapter 11, "The Mass", pg. 69 4. ANS: E REF: Chapter 11, "The Innovations of Renaissance Polyphony", pg. 68 5. ANS: G REF: Chapter 11, "Polyphony and Counterpoint", pg. 67 6. ANS: H REF: Chapter 11, "The Five Mass Movements", pg. 69 7. ANS: B REF: Chapter 11, "Symbolism In Music For the Mass", pg. 69 8. ANS: D REF: Chapter 11, "Listen Up!", pg. 70 9. ANS: J REF: Chapter 11, "Polyphony and Counterpoint", pg. 67 10. ANS: F REF: Chapter 11, "The Mass", pg. 69 ESSAY 1. What was the major innovation in Renaissance polyphony? How did this affect the music of the Renaissance? ANS: the distribution of rhythmically and melodically distinctive material among all of the parts polyphony measured rhythm most obvious in use of imitation More instrumental and dance music more complex vocal parts in sacred works REF: Chapter 11, "The Innovations of Renaissance Polyphony", pg. 68 2. List the five parts of the ordinary of the mass, define the Latin term and describe the purpose for each in the service. ANS: Kyrie - Lord Have Mercy - forgiveness Gloria - Glory to God in the highest - praise Credo - creed, statement of faith Sanctus - Holy proclaiming God as Holy Agnus Dei - Lamb of God, takes away the sin of the world, sung before communion REF: Chapter 11, "The Five Mass Movements", pg. 69 3. What are some of the reasons that Josquin’s music was so popular among his peers? ANS: Well written use of familiar cantus firmus tunes praised by Martin Luther master of polyphonic composition REF: Chapter 11, Introduction, pg. 67 .
Load more

Recommended publications
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • Josquin Des Prez: Master of the Notes
    James John Artistic Director P RESENTS Josquin des Prez: Master of the Notes Friday, March 4, 2016, 8 pm Sunday, March 6, 2016, 3pm St. Paul’s Episcopal Church St. Ignatius of Antioch 199 Carroll Street, Brooklyn 87th Street & West End Avenue, Manhattan THE PROGRAM CERDDORION Sopranos Altos Tenors Basses Gaude Virgo Mater Christi Anna Harmon Jamie Carrillo Ralph Bonheim Peter Cobb From “Missa de ‘Beata Virgine’” Erin Lanigan Judith Cobb Stephen Bonime James Crowell Kyrie Jennifer Oates Clare Detko Frank Kamai Jonathan Miller Gloria Jeanette Rodriguez Linnea Johnson Michael Klitsch Michael J. Plant Ellen Schorr Cathy Markoff Christopher Ryan Dean Rainey Praeter Rerum Seriem Myrna Nachman Richard Tucker Tom Reingold From “Missa ‘Pange Lingua’” Ron Scheff Credo Larry Sutter Intermission Ave Maria From “Missa ‘Hercules Dux Ferrarie’” BOARD OF DIRECTORS Sanctus President Ellen Schorr Treasurer Peter Cobb Secretary Jeanette Rodriguez Inviolata Directors Jamie Carrillo Dean Rainey From “Missa Sexti toni L’homme armé’” Michael Klitsch Tom Reingold Agnus Dei III Comment peut avoir joye The members of Cerddorion are grateful to James Kennerley and the Church of Saint Ignatius of Petite Camusette Antioch for providing rehearsal and performance space for this season. Jennifer Oates, soprano; Jamie Carillo, alto; Thanks to Vince Peterson and St. Paul’s Episcopal Church for providing a performance space Chris Ryan, Ralph Bonheim, tenors; Dean Rainey, Michael J. Plant, basses for this season. Thanks to Cathy Markoff for her publicity efforts. Mille regretz Allégez moy Jennifer Oates, Jeanette Rodriguez, sopranos; Jamie Carillo, alto; PROGRAM CREDITS: Ralph Bonheim, tenor; Dean Rainey, Michael J. Plant, basses Myrna Nachman wrote the program notes.
    [Show full text]
  • Immaterial Cultural Heritage: a Resource for Sustainable Tourism? – Cultural Politics and Local Experiences with the Unesco Status
    Eckehard Pistrick IMMATERIAL CULTURAL HERITAGE: A RESOURCE FOR SUSTAINABLE TOURISM? – CULTURAL POLITICS AND LOCAL EXPERIENCES WITH THE UNESCO STATUS Dynamic Touristic Visions Versus Immaterial Preservation Agendas One of the main research agendas of the discipline of ethnomusicology since more than 100 years has been the preservation and documentation of im- material/intangible cultural heritage. Every outside intrusion/alteration of the practices – considered to be worth documenting and transcribing – was con- sidered a potential threat to its presumed authenticity. Ethnomusicology, in this respect, assumed an increasing role within what in a globalised context we might call the ‘authentification industry’. It is, therefore, not surprising that ethnomusicologists always had a sceptical view on the long-term effects of tourism on local culture. The potential of tourism for the mission of eth- nomusicologists is, therefore, to be reconsidered – and it is in this light that I want to see my contribution to this volume. Talking about sustainable tourism means also talking about ‘cultural’ sustain- ability. How can tourism contribute to preserve local cultural practices in situ? What role illustrates authenticity in this case? How can tourism promote cul- tural diversity in collaboration with national cultural policies and with the cultural policies of transnational actors such as UNESCO? How can immate- rial cultural heritage, such as local and musical knowledge or oral histories, be incorporated into a holistic touristic vision considering social everyday prac- tices, material and immaterial heritage as complementary elements of a whole? It seems that, particularly, immaterial cultural heritage has played a neglected role in the touristic sector. Already, the elements of the term itself: ‘imma- terial’, ‘intangible’, and ‘heritage’ have become questioned and increasingly contested terms in the community of musicologists.
    [Show full text]
  • Renaissance Counterpoint Towards a Better Understanding of Basso Continuo Repertoire Prepared by Lucas Harris Revised 10/2000
    A Crash-Course in Renaissance Counterpoint Towards a Better Understanding of Basso Continuo Repertoire Prepared by Lucas Harris Revised 10/2000 I. Introduction In the period of the birth of basso continuo, it is certainly true that musicians and composers began to think more ‘vertically’ and less ‘horizontally,’ meaning that harmonic thinking in terms of block chords began to challenge the long-reigning contrapuntal procedures of Renaissance composition. This probably happened for a number of different reasons, not least of which is that it simplified accompaniment, thereby making self-accompanied singing more practical as well as freeing more attention to expressing the text. However, the highly evolved and complex system of Renaissance counterpoint could not have just disappeared overnight. In fact, despite the radical challenges that it sustained around 1600, Renaissance counterpoint still informed how music was made throughout the whole Baroque (think of music today nearly a century after the ‘collapse of tonality’). This is just to recognize that in many ways we are coming to the basso continuo repertoire from the opposite direction from its composers: the dominant approach to making music in our day involves melodies over chords, whereas theirs was one where individual but inter-dependent parts meshed to form a texture. It might do us some good to get some basics as to how Renaissance music theory worked. Though the whole corpus of rules is huge and took years to learn and master, we can be selective and brush on a few small topics that are fairly easy to grasp and will offer the most help in understanding the ‘horizontal’ component of basso continuo repertoire.
    [Show full text]
  • 3 Singing from the Pulpit : Improvised Polyphony and Public Ritual In
    55 3 Singing from the Pulpit : Improvised Polyphony and Public Ritual in Medieval Tuscany BENJAMIN BRAND Among the most distinctive features of late medieval churches were the screens that marked the division between the choir and the nave. Known variously as “rood screens,” “jubés ,” or “ Lettner,” they have traditionally been viewed as barriers that divided the clergy from the laity and thus accentu- ated the exclusivity of the mass and offi ce liturgies celebrated in the east end of the church. Only recently have they been recognized as facilitating com- munication between clerics and laypeople. Just as preachers delivered ser- mons in the vernacular from atop the screens, so these structures featured sculptural reliefs that depicted stories from the bible in a naturalistic style comprehensible to the laity and aptly described as a “visual vernacular.” 1 Equally important, the screens were sites of musical performances. At Notre Dame of Paris, for instance, the canons typically sang organum (i.e. polyph- ony) at High Mass from the eagle lectern situated in the middle of the choir behind (and at some distance from) the jubé . 2 On select Christological and Marian feasts, however, they fi rst processed to the crucifi x atop the screen, where as many as six of them sang a responsory verse polyphonically. 3 Th e following abbreviations denote libraries and archives: ACPist = Archivio Capitolare, Pistoia; BCIS = Biblioteca Comunale degli Intronati, Siena; BCL = Biblioteca Capitolare, Lucca; BGV = Biblioteca Guarnacci, Volterra; BRF = Biblioteca Riccardiana, Florence; BUB = Biblioteca Universitaria, Bologna. 1 J . E . J u n g , Th e Gothic Screen: Space, Sculpture, and Community in the Cathedrals of France and Germany, ca.
    [Show full text]
  • Polyphony of Ceriana the Compagnia Sacco
    Study Guide Polyphony of Ceriana The Compagnia Sacco A FILM BY HUGO ZEMP Table of contents THE MAKING OF THE FILM BY HUGO ZEMP Preparation 3 The Events 4 Shooting and Editing 5 Body Positions and Movements 7 Postscript 9 References 11 LA COMPAGNIA SACCO DI CERIANA BY GIULIANO D’ANGIOLINI Excerpts of the liner notes of CD Buda Records 3018100 12 The Singers 12 Drone Polyphony 13 The Repertoire 14 The Songs 16 Acknowledgment and Credits 19 2 THE MAKING OF THE FILM BY HUGO ZEMP deal of voice-over narration and only short excerpts of sing- ing, did not satisfy my ethnomusicological requirements (and pleasure), so I thought it would be exciting to go to Ceriana and make an entirely different film. We agreed on a date. For this occasion, The Compagnia Sacco invited Giuliano d’Angiolini, an Italian composer and musi- cologist, originally from a neighboring valley, who lived and still lives in Paris. I was glad to meet the author of the article that inspired me to make the film. He was familiar with some of my publications and had seen my earlier documentaries when he was a student at the Accademia Musicale Chigiana in Siena (Italy), where the father of Italian ethnomusicology, redentore rebaudo and nicodemo martini Diego Carpitella, invited me to a summer seminar in 1984. While in Ceriana, I spoke about my particular way of filming PREPARATION music, distinctive from TV norms and aesthetics. Giuliano strongly supported the project and the members of The Com- pagnia Sacco accepted the idea. This is how the film making After thirty-seven years of working with the CNRS (National adventure started.
    [Show full text]
  • 2Music of the Middle Ages
    M usic of the Middle Ages 2Elizabeth Kramer 2.1 OBJECTIVES 1. Demonstrate knowledge of historical and cultural contexts of the Middle Ages 2. Recognize musical styles of the Middle Ages 3. Identify important genres and uses of music of the Middle Ages 4. Identify aurally, selected compositions of the Middle Ages and critically evaluate its style 5. Compare and contrast music of the Middle Ages with today’s contemporary music 2.2 KEY TERMS AND INDIVIDUALS • a cappella • drone • Alfonso the Wise • gothic • bubonic plague • Guillaume de Machaut • cadence • Hildegard of Bingen • cathedrals • hymn • Catholic Church • mass • chant • melisma • classical Greece and Rome • Middle Ages (450-1400 CE) • clergy • nobility • commoners • Perotin • courtly love • polyphony • courts • Pope • Crusades • Pythagoras Page | 34 UNDERSTANDING MUSIC MUSIC OF THE MIDDLE AGES • refrain • syllabic • rhythm according to the text • university • Roman Empire (27 BCE – 476 CE) • vernacular literatures • song • verse • strophes • Virgin Mary 2.3 INTRODUCTION AND HISTORICAL CONTEXT 2.3.1 Musical Timeline Events in History Events in Music 2nd millennia BCE: First Hebrew Psalms are written 7th Century BCE: Ancient Greeks and Romans use music for entertainment and religious rites 6th Century BCE: Pythagoras and his experi- ments with acoustics From the 1st Century CE: Spread of Christianity through the Roman Empire 4th Century BCE: Plato and Aristotle write 4th Century CE: Founding of the monastic about music movement in Christianity c. 400 CE: St Augustine writes about church c. 450 CE: Fall of Rome music 4th – 9th Century CE: Development/Codification of Christian Chant c. 800 CE: First experiments in Western Music 11th Century CE: Rise of Feudalism & the Three Estates 11th Century CE: Guido of Arezzo refines of mu- 11th Century: Growth of Marian Culture sic notation and development of solfège 1088 CE: Founding of the University of Bolo- gna 12th Century CE: Hildegard of Bingen writes c.
    [Show full text]
  • Music History Lecture Notes Renaissance & Reformation 1450 AD – 1600 AD
    Music History Lecture Notes Renaissance & Reformation 1450 AD – 1600 AD This presentation is intended for the use of current students in Mr. Duckworth’s Music History course as a study aid. Any other use is strictly forbidden. Copyright, Ryan Duckworth 2010 Images used for educational purposes under the TEACH Act (Technology, Education and Copyright Harmonization Act of 2002). All copyrights belong to their respective copyright holders, This Unit We Will Take Coded Notes: • If you need to take Cornell notes for another class (e.g. AVID), this method of note taking will still work. • As you take notes, underline all names and dates. • At the end of the unit, you will go back and highlight key concepts. The Renaissance • Literally means: Rebirth • High Renaissance 1450-1500 C.E. • 1453 Turks conquer Constantinople – Byzantine scholars take Greek artifacts back to Italy • Transitional Renaissance 1550- 1600 • Great renewal of European interests in Ancient Greek & Roman Cultures Constantinople Europe around 1500 AD The Renaissance • A new concept emerges • Humanism – A dedication to human, instead of spiritual ideals and values – Salvation after death is no longer the only goal – Fulfillment in life and enjoyment the pleasures of the senses Important Renaissance Artists • Michaelangelo • Leonardo Da Vinci • Raphael • Shakespeare Art by Michelangelo Michelangelo’s Sistine Chapel Sistine Detail Art by Raphael Lady with Unicorn, St. George & the Dragon Raphael’s “The Crucifixion” and “A Knight’s Dream” Art by Leonardo Da Vinci Madonna of the
    [Show full text]
  • A Journey of the Vocal Iso(N)
    A Journey of the Vocal Iso(n) A Journey of the Vocal Iso(n) By Eno Koço A Journey of the Vocal Iso(n) By Eno Koço This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Eno Koço All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7067-6 ISBN (13): 978-1-4438-7067-2 This book is dedicated to the memory of my mother, Albanian soprano Tefta Tashko Koço (1910–1947), who has been a mentor, an inspiration, and a guardian angel throughout my whole life and to whom I shall be eternally grateful TABLE OF CONTENTS List of Music Examples: Notation and Audio ........................................... ix List of Illustrations .................................................................................... xi Preface ..................................................................................................... xiii Acknowledgements ................................................................................ xvii Introduction ............................................................................................. xix Part I: Synthesis Chapter One ................................................................................................
    [Show full text]
  • Renaissance & Response January
    Renaissance & Response POLYPHONY THEN & NOW JANUARY 21 ° 22 ° 23 AUSTIN, TEXAS 2010-2011 season 1 2 Renaissance & Response POLYPHONY THEN & NOW Early Voices Friday, January 21, 8:00 pm Pre-concert talk at 7:00 pm Craig Hella Johnson Defining Mastery Artistic Director & Conductor Saturday, January 22, 4:00 pm Pre-concert talk at 3:00 pm Robert Kyr Composer-in-Residence A Flowering in Spain Saturday, January 22, 8:00 pm Renaissance & Response is funded in part through Meet the And Then Came Bach Composer’s MetLife Creative Sunday, January 23, 3:00 pm Connections program. Pre-concert talk at 2:00 pm St. Martin’s Lutheran Church 606 W. 15th Street, Austin Season Sustaining Underwriter 3 Supporters Season Sustaining Underwriter Business & Foundation Supporters The Kodosky The The Meadows Russell Hill Rogers Foundation Mattsson-McHale Foundation Fund for the Arts Foundation The Rachael & Ben Vaughan Foundation Public Funding Agencies Conspirare is funded and supported in part by the City of Austin through the Cultural Arts Division, the Texas Commission on the Arts, and the National Endowment for the Arts, which believes that a great nation deserves great art. Media Sponsors Leadership support for Meet The Composer’s MetLife Creative Connections program is generously provided by MetLife Foundation. Additional support is provided by The Amphion Foundation, Argosy Foundation Contemporary Music Fund, BMI Foundation, Inc., Mary Flagler Cary Charitable Trust, Aaron Copland Fund for Music, Inc., The William & Flora Hewlett Foundation, The James Irvine Foundation, Jerome Foundation, mediaThe foundation, National Endowment for the Arts, New York City Department of Cultural Affairs, New York State Council on the Arts, Pennsylvania Council on the Arts and Virgil Thomson Foundation, Ltd.
    [Show full text]
  • MTO 17.1: Davis, Stream Segregation And
    Volume 17, Number 1, April 2011 Copyright © 2011 Society for Music Theory Stream Segregation and Perceived Syncopation: Analyzing the Rhythmic Effects of Implied Polyphony in Bach’s Unaccompanied String Works Stacey Davis NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.1/mto.11.17.1.davis.php KEYWORDS: Bach, implied polyphony, rhythm, perception ABSTRACT: Many movements from Bach’s unaccompanied string works contain implied polyphony. Although earlier approaches describe this technique as a way of using arpeggiation to embellish a melodic line, disguise an otherwise unacceptable melodic progression, delay the resolution of dissonance, or create underlying voice-leading patterns, these descriptions cannot account for the variety and complexity of the implied polyphony in these pieces. This paper presents an additional analytical approach that uses research on auditory stream segregation and phenomenal accents to determine transitions between implied voices. Based on this type of analysis, it is proposed that Bach did not treat implied polyphony as solely a melodic feature. He instead used implied polyphony to apply irregular accent patterns to the isochronous surface of the music, thereby creating perceived rhythmic variety at the fastest levels of the metric hierarchy. Received DATE [1] In contemplating Bach’s works for solo cello, Pablo Casals remarked, “It is fantastic to think that with one note after the other there can be melody, the central voices and the bass all together. A wonderful polyphony—and this is an invention of Bach. We have to give the proper expression to each voice” (Blum 1977, 143–144).
    [Show full text]
  • World Distribution of Vocal Polyphony
    Joseph Jordania (2011). Polyphonic regions of the world. In: “Why do People Sing? Music in Human Evolution”, pp. 19-37. The publishing programm Logos. World Distribution of Vocal Polyphony As soon as ethnomusicologists learnt about different polyphonic traditions from different parts of the world, they were puzzled by the mosaic distribution of traditions in polyphonic singing. Some regions of the world are mostly monophonic, while others are mostly polyphonic, and in some regions monophony is dominating while there are isolated islands of polyphonic singing. Despite the strong interest of ethnomusicologists towards the concept of polyphony, and particularly towards the origins of polyphony, there are surprisingly few works where an interested person can find the information about the world distribution of vocal polyphony. Marius Schneider’s book “The History of Polyphony” (1934-1935, second edition in 1969) and two books by the author of this book (1989, 2006) are in fact the only works that try to represent all the known traditions of vocal polyphony of the world. I will now discuss the distribution of vocal polyphony on the different continents. In this survey I decided not to have notated examples as the book is aimed to the general educated reader as much as it is to professional musicians and musicologists. If you want to find notated examples of polyphony from different cultures, you can see them in my book ‘Who Asked the First Question: the Origins of Human Choral Singing, Intelligence, Language and Speech’ (2006), and if you want not only to see the notated examples, but to hear recorded examples from different cultures as well, you can see my forthcoming book ‘Choral Singing in Human Culture and Evolution.’ The most polyphonic regions of the world are sub-Saharan Africa, Europe, Melanesia and Polynesia.
    [Show full text]