Dictionary of Music and Musicians

THE NEW GROVE Dictionary of Music and Musicians

SECOND EDITION

Edited by Stanley Sadie

Executive Editor John Tyrrell

VOLUME 11

Harpege to Hutton

~ GROVE

PAGE 1

Verizon Wireless Exhibit 1043-0001 © Macmillan Publishers Limited 2001

First Edition of A Dictionary of Music and Musicians, planned and edited by SIR GEORGE GROVE, DCL, in four volumes, with an Appendix edited by J.A Fuller Maitland, and an index by Mrs Edmond Wodehouse, 1878, 1880, 1883, 1889 Reprinted 1890, 1900

Second Edition, edited by J.A FULLER MAITLAND, in five volumes, 1904-10

Third Edition, edited by H.C. COLLES, in five volumes, 1927

Fourth Edition, edited by H. C. COLLES, in five volumes, with Supplementary Volume, 1940

Fifth Edition, edited by ERIC BLOM, in nine volumes, 1954; with Supplementary Volume 1961 Reprinted 1961, 1973, 1975

American Supplement, edited by WALDO SELDEN PRATT, in one volume, 1920 Reprinted with new material, 1928; many later reprints

The New Grove Dictionary of Music and Musicians TM first edition edited by STANLEY SADIE in twenty volumes, 1980 Reprinted 1981, 1984, 1985, 1986, 1987, 1988, 1989, 1990, 1991, 1992, 1993, 1994, 1995 Reprinted in paperback 1995, 1996, 1997, 1998

The New Grove Dictionary of Music and Musicians™ second edition edited by STANLEY SADIE I executive editor jOHN TYRRELL, published in twenty-nine volumes in the year 2001

This edition is distributed within the United Kingdom and Europe by Macmillan Publishers Limited London, and within the United States and Canada by Grove's Dictionaries Inc., New York

Grove, Grove's, The New Grove and The New Grove Dictionary of Music and Musicians are trademarks of Macmillan Publishers Limited, London and its associated companies. Macmillan Publishers Limited, London and its associated companies are the proprietors of the trademarks Grove's, The New Grove and The New Grove Dictionary of Music and Musicians throughout the world.

Text keyboarded by Alden Bookset, Oxford, England Database management by Semantico, Brighton, England Pagination by Clowes Group, Suffolk, England Printed and bound by Quebecor World, Taunton, Massachusetts, USA

British Library Cataloguing in Publication Data Ubrary of Congress Cataloging in Publication Data The New Grove dictionary of music and musicians. -2nd ed. The new Grove dictionary of music and musicians I edited by 1. Music- Dictionaries 2. Musicians -Dictionaries Stanley Sadie; executive editor, John Tyrrell. -2nd ed. I. Sadie, Stanley, 1930- p. em. ISBN 0-333-60800-3 Includes bibliographical references and index. ISBN 1-56159-239-0 (cloth: alk.paper) 1. Music-Encyclopedias. 2. Music-Bio-bibliography. I. Sadie, Stanley. II. Tyrrell, John. ML100 .N48 2000 780'.3-dc21 00-0055156

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Verizon Wireless Exhibit 1043-0002 Heterophony 465

While his music is deliberately academic and Heterophony (from Gk. heteros: 'other', 'different' and in general, he combines a fluent contra punta! phone: 'voice'). Term coined by Plato, of uncertain (developed from his study of Baroque music) with a meaning; now used to describe simultaneous variation of individual tonal harmonic style. His slow move a single melody. Plato used the word (Laws, vii, p.812) have a delicately woven poetry, together within when discussing the unsuitability of music for lyre and for voices- a very smooth melodic line. His first voice in musical education. It is not clear if he meant that successes were with the Concerto grosso and the the 'other voice' (the lyre) provided a contrasting melody, a harmonization of the vocal part or deliberate variations Symphony, both first conducted by Furtwangler. on it. Thus its meaning could range from reference to WORKS minute discrepancies in singing or playing in unison or (selective list) octaves (even, for instance, those produced unintention op.11, 1935-6; op.29, 1943; op.62, 1954; op.109, ally within the first violins of an orchestra) to the most 129, 1986 complex of contrapuntal writing. works incl. Pf Conc.,op.21, 1939; Cone. grosso, op.18, In modern times the term is frequently used, particularly Konzertante Musik, op.39, 2 strorch, 1947;2 Pf Cone., 1950; Regnart-Variationen, op.65, 1955; Cone. for Orch, in ethnomusicology, to describe simultaneous variation, 1957; Sinfonietta, op.73, str, 1959; Konzertante accidental or deliberate, of what is identified as the same Variationen iiber ein Thema von Robert Schumann, op.88,pf, melody. Ex.l, from Beethoven's Missa solemnis, illus 1971-2: Kammerkonzert, op.92, ob, small orch, 1973; Vc trates the practice of distributing the same melody among op.96, 1975; Vn Cone., op.100, 1976; Sinfonietta no.2, different voice or instrument partswithdifferentrhythmic op.104, 1978; Sinfonietta no.3, op.117, fl, ob, cl, bn, pf, densities. While this is a common enough occurrence 1982-3; Sinfonietta no.4, op.122, 2 hn, 4 tpt, 2 trbn, tuba, between the cello and double bass parts in European orchestral writing, it is basic to some non-European with orch incl. Fiedellieder, op.22, 1939-40; music, for example the gamelan music of south-east Asia ~eittna<:hts:karltat:e, op.27, 1942-3; Psalmen-Triptychon, op.36, (see INDONESIA). Vom Wesen und Vergehen, op.45, 1948; Struwwelpeter op.49, 1949; Weihnachtsgeschichte, op.54, 1950-51; vom dankbarenSamariter op.57, 1952; Passionsmusik Ex..1 Beethoven: Missa solemnis, Credo dem Evangelisten Lukas, op.103, 1977; Messe, op.l13,

2 pf qts, 2 str trios, other chbr works; pieces for pf, org, song cycles, many sacred and secular choruses A~:::: II~ ~ publisher: Schott ( Mainz) vn2~ J 11 J ij ;. J J ;j ;) : BIBLIOGRAPHY Musik und Musiker der Gegenwart (Essen, 1949) Musikder Gegenwart (Mainz, 1949) nattsg<:scht6plrte Tonalitiit', Musica, vii (19 53), 56-60 Orj,elnnusik Kurt Hessenbergs: Gedanken zum 80. Geburtstag Komponiste:n', Musica sacra, cviii/4 ( 1988), 329-35 ed.: Kurt Hessenberg: Beitriige zu Leben und Werk (Mainz, [incl. list of works] KLAUS KIRCHBERG

cui d- gea bs'

Tha cui ui ::~ - bs'

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cui uid bs'

Tha cui d ea rbs'

PAGE3

Verizon Wireless Exhibit 1043-0003 466 Heterophony

The term 'heterophony' is also used in discussion of Buryat Mongol shaman's drum in the possession of the much accompanied vocal music of the Middle East and Mongolian academic Tsoloo is decorated with represen East Asia, where the instrument provides an embellished tations of a moon and crow. version of the vocal part. One instance is the relationship See also MoNGOL MUSIC. between lyra and voice in the performance of Kleftic BIBLIOGRAPHY ballads (see GREECE, §IV, 1(iv)). Heterophony is also W. Heissig: 'Shamanen und Geisterbeschwi:irer im Kiiriye-Banner', likely to occur frequently in group singing within orally Folklore Studies, iii/1 (1944), 39-72 transmitted monophonic traditions, as in ex.2, where the S. Badamhatan:Hiivsgiiliin Tsaatanardynaj baidlyntoim [A sketch highly individual and ornamental treatment given to a of the lifestyle of the Tsaatan (reindeer) people of Hi:ivsgol] success, a (Ulaanbaatar, 1962) lustige Wi. straightforward metrical psalm tune is explained as the V. Di6szegi: 'EthnogenicAspects ofDarkhatShamanism',Acta work of 'individual people, who in the singing fellowship orient alia academiae scientiarum hungarica, xvi (1963 ), 55 reserve the freedom to bear witness to their relation to S. Badamhatan: 'Hi:ivsgi:iliin Darhad Yastan' [The Darhat yastan of God on a personal basis' (Knudsen). Hi:ivsgi:il], Studia ethnographica, iii/1 ( 1965), 3-157 J.P. Potapov: 'The ShamanDrumas a Source of Ethnographical BIBLIOGRAPHY History', Shamanism in Siberia, ed. V. Di6szegi and M. Hoppa! MGG2 (R. Schumacher) (Budapest, 1978) G. Adler: 'Uber Heterophonie',]bMP 1908, 17-27 C.A. Pegg: Mongolian Music, Dance and Ora/Narrative: Performing Die Abentem T. Knudsen: 'Ornamenta!Hymn/PsalmSinginginDenmark, the Diverse Identities (Seattle, 2001) [with CD] Schau man Faroe Islands and the Hebrides', DFS Information (1968), no.2, CAROLE PEGG Manuel V< 10 niiiode Ia, W.P. Mahn: 'On the Meaning and Inventionofthe Term Hetsch, (Karl) Ludwig Friedrich [Louis] (b Stuttgart, 26 Maifest] (c Der Opern "Dis phony'", EthM, xvi (1972), 247-9 April 1806; PETER COOKE d Mannheim, 28 June 1872). German Delacour a composer, conductor and teacher. In 1824 he went to Wien,S}a1 Hetes,jan. See HATAS family. Tiibingen to study theology, but on leaving the seminary Leon and "1: he set up as a music teacher; Princess Elisabeth of Vienna, An Hets [Khets]. Mongolian FRAME DRUM, also known as Wiirttemberg was among his earliest pupils. He soon Der Sechsuhr; Vienna, An hengereg. Mongol shamanic drums have a single head moved back to Stuttgart where his first large-scale work, andWillne! stretched over a wooden frame and are held by an interior the opera Ryno, was produced in 1833 and published Barfiissele ( wooden handle. There are two such frame drums soon afterwards. Hetsch became director of music at Volksoper, displayed in Ulaangom Museum, Uvs aimag ('province'), Heidelberg in 1846, and in 1856 director of the court Gaudeamw Mongolia. The drum-handle of one of these, belonging to theatre at Mannheim, where he had wider scope for his Quichotte ( Cervantes), Badalgarav shaman from Ziiiinhangai sum ('district'), talents and where he remained until his death. The comprises two crossed wooden sticks. In addition, a University of Ttibingen gave him an honorary doctorate twisted wire stretches along the back from which hang a in 1867. Im Foyer: gesa row of small percussive devices (holbogo) in the shape of One of Hetsch's lifelong friends was the poet Eduard Gegenwart M usikalische ~ weapons. The handle ofthesecondframedrum, belonging Morike, with whom he shared an enthusiasm for Mozart Franz Schuber. to a Tuvan shamaness, Yamaan, from present-day and an antipathy to Wagner. His settings of the poems in Pfordten) Naranbulag sum, is a single wooden stick representing Morike's novella Maler No/ten (1832) were published in ed. K. Hofman the shaman's ancestor-spirit (ongon). The head and chest an appendix to the novella, and Mi:irike dedicated his Tagebuchnc of the carved figure are coloured pink, its crown black, short story Mozart auf der Reise nach Prag (1855) to and its eyes and forehead bright red. The lower end of the Hetsch. Hetsch's songs are unpretentious but have some MGG1 (H.W< figure/handle, with its red and blue patterns, give the melodic charm. They include settings of Der Feuerreiter 0. Schneiderei1 impression of a costume. Along the wire that serves as and Das verlassene Miigdlein. Other compositions include P. Grunsky: 'EJ 'arms' hang eight holbogo; others are attached to the Heuberger it a setting of Psalm 130 for soloists, chorus and orchestra 187-98 drum's frame and also dangle as earnings of the ongon. op.9 (1846), incidental music for Die Jungfrau von W.E. Studwell: Nine anklebones are fitted around the 185 mm-deep Orleans, masses and orchestral music. RichardHeu Bibliograph; frame over which deer-skin is stretched. The beaters of BIBLIOGRAPHY 45-53 both instruments are similar: one side bears percussive ADB (Kliipsel) metal devices attached to a metal strip running like a H.-H. Krummacher,H.Meyer and B. Zeller,eds.: EduardMiirike: spine down its leaf-shape; the other is made partly of Werke und Briefe, v (Stuttgart, 1969), 259-75 Heudelinne [f single and partly of double hide. GWIL YM BEECHEY poser and vi! pieces for tn Among Tsaatans of Hi:ivsgol aimag, north-west Mon Hettisch, Johann. See HATAS family. golia, the frame and handle of the drum must be made deux violles ( from a larch tree struck by lightening. The instrument Heuberger, Richard (Franzjoseph) (b Graz, 18June 1850; Rauen, his s, symbolizes the saddle animal on which the shaman travels d Vienna, 28 Oct 1914). Austrian critic and composer. de violle was or the mount that carries the invoked spirit to the shaman, He gave up an engineering career in 1876 to devote also reprinte and the animal is identified with that of the skin from himself to music, studying in Graz with W.A. Remy. composer's C· which the single drumhead is made (Potapov). Among Moving to Vienna, he became director of the Academ suites of the 1 certain Mongol groups, the shamanic drum is called the ischer Gesangverein in 1876 and the Singakademie in string bass 'black stag' (Heissig). That the Dar hats of Hi:ivsgi:il aimag 1878, was a teacher at the conservatory from 1902 and allemande, cc perceive the drum as a riding animal is indicated by the directed the Wiener Mannergesang-Verein, 1902-9. He tiona! moverr material used for it: horse-hair, reindeer's sinew, red was also a music critic, writing for the Neues Wiener rondeau, cha' cotton thread representing blood vessels, and anklebones; Tagblatt from 1881, the Munich Allgemeine Zeitung played alone ( and the naming of its various parts: 'ear', 'heart', from 1889, and succeeding Hanslick on the important and the prelu 'backbone', 'sacrificial ribbon', 'halter', 'rein' and so on and influential Neue freie Presse (1896-1901); he also music IS caus. (Di6szegi). Drums are 'enlivened' during a special cere edited the Musikbuch aus Osterreich (1904-6). Besides chordal figun mony before being used for shamanizing. The skin of a collections of his criticisms, he published a biography of stops charact!

PAGE 4

Verizon Wireless Exhibit 1043-0004 674 Hommel

arrange1 the nor generall imitatio texture nies. A1 ansen a Bach, w position Zaubert a compi geordne richt (N chism e' incomp curricul:

Homorhy same rh]

Hommel, Swedish, 19th century (MusikhistoriskaMuseum, Stockholm) Horns (C Catalan for a partly fretted box zither used in the Low Countries soprano, supporting bass, or accompanimental inner (1917-2 and adjacent parts of Germany, and in Scandinavia (see parts - work togetherto articulate an underlying succes- studied' illustration). The hommel may have been developed in his were Ex.l Tallis: If ye love me (c1549) the Netherlands from the smaller and less dynamically and 1951 powerful SCHEITHOLT and £PINETTE DE VOSGES, which in 19671 TREBLE examples from the early 17th century greatly resemble; in Preslmcit I~ later instruments both the shape and the stringing were If ye love me, __ keep my com~mand- ments, In his not standardized. A counterp Hommels have been trapeziform, rectangular, and in ALID from 19: the shape of a fiddle, viol or half bottle. Some have a I~ If ye love me, __ keep my com-mand-ments, shows gr superimposed fretboard or fretbox (the latter, sometimes 11 intense e called a second soundbox in the Low Countries, is also TENOR - contribut found in Appalachian dulcimers) and up to 12 bourdons I" If *ye love me,__ keep my com-mand-ments, sonido, S arranged in double or tri pie courses and attached to metal written a wrest pins instead of wooden pegs. The fretted strings are BASS During tl and his VIi stopped and all the strings sounded by the same methods If ye love me, __ keep my com-mand-ments, as on the epinette de Vosges; there is evidence, however, musicha1 of hommels having sometimes been bowed in Friesland sion of harmonies. Homophonic music balances the works do and the province of Holland. Some forms, with local melodic conduct of individual parts with theharmonies names such as vlier, blokviool, krabber and pinet, are still played in Belgium and reproductions of earlier hommels Ex.2 Chopin: Nocturne in E, op.62 no.2 (1846) ~--~- lt Lento -. :::;;;;-__ Variacions: are often used in modern folk groups in the Netherlands. chbrorcl See also Low COUNTRIES, §II, 3. fol .,; 1952;Po sostenuto- Presfncie BIBLIOGRAPHY ! ~ ..._ ~ _t (1976); B C. Douwes: Grondigondersoek van toonen dermusijk (Franeker, ...--- 1990;Ad 1699/R) S. Walin: Die schwedische Hummel (Stockholm, 1953) F.J. de Hen: 'Folk Instruments of Belgium, Part One', GS], xxv Choral: 6 n' (1972), 87-132 AgnusD< H. Boone: 'De hommelin de Lage Landen',Brussels Museum of that result from their interaction, but one part-often but Riba), 19 Musical Instruments Bulletin, v ( 197 5) [special issue, incl. Eng. not always the highest - usually dominates the entire Solo vocal VI and Fr. summaries] texture. mort(M. A. Pilipczuk: 'Die "Hummeln" in Schleswig-Holstein, Vierlanden und While in principle the same basic precepts govern the Solo vocal VI Niedersachsen', Lichtwerk-Heft, no.63 (1998), 27-33 melodic behaviour of all the parts, in practice the treble hores (S. 1 For further bibliography see ZITHER. tends to be more active than the others and to have a drum, 19: JOAN RIMMER Lo.pe de v wider ambitus, and while conjunct motion is the rule in 1962; En. Homophony (from Gk. homophonia: 'sounding alike'). upper voices, leaps are common and sometimes even retrobade Poly phonic music in which all melodic parts move together prevalent in the bass. Inner parts are used to fill in between 1970; 3 c at more or less the same pace. A further distinction is the two outer voices, which form the contrapuntal Solo vocal w sometimes made between homophonic textures that are framework of the music. Tagore), 1 (Espriu), 1 homorhythmic (ex.1) and those in which there is a clear Homophonic textures occur in most if not all European Maragall) differentiation between melody and accompaniment musical traditions. Since at least the middle ofthe Baroque no.147 de (ex.2). In the latter case all the parts- whether melodic period music theorists have regarded the homophonic 1974

PAGES

Verizon Wireless Exhibit 1043-0005 Honauer, Leontzi 675

arrangement of four voices (soprano, alto, tenor, bass) as CHAMBER AND INSTRUMENTAL the normative texture of Western music: it has been For 5 or more insts: Sextet, wind trio, str trio, 1959; Miisica per a 7 generally assumed that all tonal music, including melodic insts, fl, pf, str qt, db, 1960; Miisica per a 6, fl, cl, bn, pf, perc, db, 1962; Miisica per a 8, fl, cl, tpt,pf, perc, str trio, 1964; Polifonia, imitation, can be represented in terms of a four-part 11 wind, 1965; 4 textures, fl, ob, cl, bn, pf, perc, vn, 1966; Wind texture and heard as chorale-like successions of harmo Octet, 1967; Heptandre, fl, ob, cl, pf, perc, vn, vc, 1969; nies. An important pedagogical practice has therefore Impromptu per a 10, fl, ob, cl, tpt,pf, perc, strqt, 1970; Musica arisen around the 371 chorale harmonizations of J.S. per a 11, fl, ob, cl, tpt, trbn, pf, perc, str qt, 1971; Wind Qnt, 1971; 2 soliloquis, fl, cl, bn, tpt, trbn,pf, perc, vn, va, vc, db, Bach, while Gottfried Weber chose a homophonic com 1974;Nonet, 1979 position - the march of the priests from Mozart's Die Str qts: no.1, 1938; no.2, 1949; no.3, 1950; no.4, 1956; no.S, 1960; Zauberflote- for the first ever roman-numeral analysis of no.6, 1966; no. 7, 1968; no.8, 1974 a complete piece, in the third edition of the Versuch einer Otherworksfor2-4 insts: Duo, fl, cl, 1936; Sonata, ob, b cl, 1942; geordneten Theorie der Tonsetzkunst zum Selbstunter Duos, vns, 1953; Trio, fl, b cl, vn, 1953; Trio, a fl, ob, b cltbn, 1954; Miisica, harp, fl, ob, b cl, 1955; 2 invencions, cl, pf, 1963; 2 richt (Mainz, 1830-32, ii). This music-theoretical cate moviments, 2 vn, 1964; Str Trio, 1968;Impromptu,gui, perc, chism even now continues to form the basis of instruction 1971;lmpromptu, vn/vc,pf, 1971 in composition and analysis in many undergraduate music Pf: Variacions sabre un tema popular, 1943; Entre dues linies, 1948; curricula. Sonatano.2, 1955; 3 impromptus, 1955; 4 invencions, 1958; BRIAN HYER Impromptus 6 i 7, 1960;2 invencions, 2 pf, 1964; Impromptu 8, 1966; Presencies, 1967; 2 soliloquis, 1972 Homorhythmic. Having all parts or voices moving in the Other solo inst: Suite, gui, 1940; Sonata, vn, 1941; 2 moviments, vn, same rhythm, hence a special type of HoMOPHONY. 1957; 2 moviments, vc, 1957; 2moviments,gui, 1958; 2 invencions, org, 1963; 2 soliloquis, gui, 1972; Soliloqui, vc, 1972; Soliloqui,fl, 1972;Soliloqui,tpt, 1972 Horns (Oller), Joaquim (b Barcelona, 21 Aug 1906). Principal publishers: A! puerto, Boileau, Clivis, Moeck, Seesaw Catalan composer. He had cello lessons with Armengol (1917-22), trained to become an engineer (1922-9) and WRlTINGS (selective list) studied composition with Gerhard (1930-36). Works of ed., R. Reti: Tonalidad, atonalidad y pantonalidad (Madrid, 1965) his were performed at the ISCM festivals of 1937, 1939 'Consideraciones sabre Ia mllsica electroacllstica', Revista musica and 1956, and at several Barcelona festivals in the 1960s; catalana, vi (1985),26-7 in 1967 he received a prize from the city of Barcelona for Robert Gerhard y su obra (Oviedo, 1987,2/1992 as Gerhard; Eng. Presencies. trans. in preparation) Records i reflexions des del darrer tram del cami (Barcelona, 1989) In his early compositions Horns employed a free counterpoint, already moving towards atonality, and BIBLIOGRAPHY from 1954 he used 12-note serial techniques. His music R. Barce: 'La vida y Ia miisica de Joaquin Horns', Estafeta literaria no.217 (1961), 11 only shows great unity and clarity of structure, achieving an M. Albet: 'La miisica de Joaquin Horns', Imagen y sonido, no. 55 intense expressivity with a minimum of means. He has (1968),55-6 contributed articles on 20th-century music to Imagen y W .E. Levinsky: 'Vier katalanische Komponisten in Barcelona', Me los, sonido, Serra d'or and La vanguardia. In addition he has xxxviii (1971), 92-103 R. Barce: 'JoaquinHoms',Imagen ysonidono.107 (1972), 72-6 written a seminal study on the life and works of Gerhard. M. de Celis: joaquin Horns en su terraplen', Estafeta literaria de During the 1980s and 90s he received numerous awards, sonidos, no.521 (1973) 46-7 and his works have been widely performed. Although his P. Horns Fornesa: Catcilogodelas obras de Joaquin Horns (Madrid, music has remained loyal to modernism, most of his later 1988) F. Taverna-Bech: Catcilogos de compositores espafioles: Joaquim works do not adhere to strict 12-note technique. Horns (Madrid, 1994) WORKS J. Casanovas and A. Llanas: Joaquim Horns (Barcelona, 1996) A. MENENDEZ ALEYXANDREIANTONI PIZA ORCHESTRAL Variacions sabre un tema popular, chbr orch, 1943; Concertina, pf, (b Strasbourg, 2 June 1737; d ?Stras chbr orch, 1946; Entre dues linies, 1948; Miisica per a cordes, Hanauer, Leontzi 1952; Polifonia,str, 1954; 2 invencions,str, 1959; Invenci6, 1964; bourg, ?1790). Alsatian keyboard teacher and composer. Presencies, 1967; Simfonia breu, 1972; Climes, 1973; 2 soliloquios The son of Leon Hanauer, a mus!cian at Strasbourg (1971l); Bifonia, 1982; Derivacions, 1990; Memorilia, sym. movt, Cathedral, and Anne-Marie Zimmermann, Hanauer 1990; Adagio I para cuerdas, str orch, 1991 probably received his initial musical education from his

VOCAL father and his brother Fran~ois Xavier U:on (1731-88). Choral: 6 nadales populars, 3vv, 1939; 10 responsoris, 1939-42; Leontzi was resident in Paris by 1761, probably in the Agnus Dei, 1943; Antifona, 1950; Gradual, 1956; 3 estances (C. retinue of Prince Louis de Rohan, the coadjutor of the Riba), 1957; En Ia meva mort (B. Rossell6-Porcel), 1966 diocese of Strasbourg. Leopold Mozart's letter ofFebruary Solo vocal with orch: 4 salms, Bar, chbr orch, 1939; Dol~ angel de Ia 1764 confirms Hanauer's growing importance in Paris mort (M. Torres), A, orch, 1965 and the young Wolfgang used his sonatas op.1 no.1 (1, Solo vocal with ens: Can~ons de J. Carner,lv, windqnt, 1935; Les 3 ), op.2 no.1 (1) and op.3 (1) in his pasticcio piano hares (S. Espriu), lv, fl, ob, cl, 1956; Via crucis, reciter, strqt, drum, 1956; Mrs Death (S. Espriu),lv, fl,gui, 1961; 2 poemas de concertos, KV41, 37 and 40 respectively. In 1770, Lope de Vega, lv, pic, tpt, vc, 1961; Poema de J. Brossa, lv, vc, db, probably encouraged by Valentin Roeser, Hanauer com 1962; En el silenci obscur (Torres), lv, cl, pf, 1965; Hares pleted two suites for piano and wind accompaniment. retrobades (J. Vinyoli), lv, cl, 1965; Les hares (Espriu), lv, str qt, The four quartets and other works became widely 1970; 3 Cants sense paraules, lv, 1972 available, including in Vienna, where Hanauer probably Solo vocal with pf: 2 poemas de J. Carner, 1934; Ocells perduts (R. resided from 1771 to 1775. Between 1775 and 1785, the Tagore), 1940; 4 nadales populars, 1951; Cementiride sinera (Espriu), 1952; Poema de Holder lin, 1960; Vistes al mar(]. year that the Prince de Rohan was incarcerated, Hanauer Maragall), 1961; El caminant i el mur (Espriu), 1962, orchd; Sonet is documented as a composer and master of the clavecin no.147 de Shakespeare, 1964; Proverbi de J. Salvat-Papasseit, and pianoforte in Paris. Bemetzrieder and the Alrnanach 1974 musical hailed him as one of the two best teachers of the

PAGE6

Verizon Wireless Exhibit 1043-0006 THE NEW GROVE Dictionary of Music and Musicians

SECOND EDITION

Edited by Stanley Sadie

Executive Editor John Tyrrell

VOLUME 17

Monnet to Nirvana

~ GROVE

Verizon Wireless Exhibit 1043-0007 © Macmillan Publishers Limited 2001

First Edition of A Dictionary of Music and Musicians, planned and edited by SIR GEORGE GROVE, DCL, in four volumes, with an Appendix edited by ].A Fuller Maitland, and an index by Mrs Edmond Wodehouse, 1878, 1880, 1883, 1889 Reprinted 1890, 1900

Second Edition, edited by ].A FULLER MAITLAND, in five volumes, 1904-10

Third Edition, edited by H.C. COLLES, in five volumes, 1927

Fourth Edition, edited by H.C. COLLES, in five volumes, with Supplementary Volume, 1940

Fifth Edition, edited by ERIC BLOM, in nine volumes, 1954; with Supplementary Volume 1961 Reprinted 1961, 1973, 1975

American Supplement, edited by WALDO SELDEN PRATT, in one volume, 1920 Reprinted with new material, 1928; many later reprints

The New Grove Dictionary of Music and Musicians ™ first edition edited by STANLEY SADIE in twenty volumes, 1980 Reprinted 1981, 1984, 1985, 1986, 1987, 1988, 1989, 1990, 1991, 1992, 1993, 1994, 1995 Reprinted in paperback 1995, 1996, 1997, 1998

The New Grove Dictionary of Music and Musicians™ second edition edited by STANLEY SADIE I executive editor JOHN TYRRELL, published in twenty-nine volumes in the year 2001

This edition is distributed within the United Kingdom and Europe by Macmillan Publishers Limited London, and within the United States and Canada by Grove's Dictionaries Inc., New York

British Library Cataloguing in Publication Data Library of Congress Cataloging in Publication Data The New Grove dictionary of music and musicians.- 2nd ed. The new Grove dictionary of music and musicians I edited by 1. Music- Dictionaries 2. lvlusicians- Dictionaries Stanley Sadie; executive editor, John Tyrrell.- 2nd ed. I. Sadie, Stanley, 1930- p. em. Includes bibliographical references and index. ISBN 0-333-60800-3 ISBN 1-56159-239-0 (cloth: alk.paper) 1. Music-Encyclopedias. 2. Music-Rio-bibliography. I. Sadie, Stanley. II. Tyrrell, John. ML100 .NIB 2000 780' .3--dc21 00-0055156

PAGE 8

Verizon Wireless Exhibit 1043-0008 6 Monody through which in turn - possibly more than through any Monosoff[Pancaldo], Sonya (b Cleveland, 11 June 1927). other medium - the new Baroque style based on the American violinist. After training at the Juilliard School, continuo was quickly disseminated throughout Italy; it where her instrumental teacher was Louis Persinger and took several years longer to become accepted in other her chamber music coaches were Felix Salmond and Hans countries. Florence was the main centre of monody up to Letz, she became a founding member of the New York about 1620, after which the initiative passed to Venetian Pro Musica under Noah Greenberg. In :l963 she founded composers; but monodies were written in many other and directed the Baroque Players of New York, later places, especially in Rome and at courts and cathedral called the Chamber Players. An advocate of Baroque and cities in northern Italy, by both professional and amateur Classical music played on period instruments, she has composers. A high proportion were published. Volumes increasingly devoted her energies to playing and lecturing of monodies, some including one or two by other on early music. She has recorded sonatas by Bach, Biber, composers as well as pieces for two or more voices, were Carelli, and Geminiani, and, with fortepiano, several produced by over 100 composers, of whom Caccini, Mozart sonatas; the Carelli recording in particular Grandi, Berti, Peri, Marco da Gagliano, Sigismondo demonstrates her command of Baroque ornamentation. D'India and Claudio Saracini are among the most She has also written extensively on Baroque performance interesting and important; some produced single volumes, practice and on the history of the violin. A former Fellow others as many as half a.dozen in the space of a few years. of the Radcliffe Institute and a research associate of the Monodies are relatively unimportant in the work of the Smithsonian Institution, she was appointed associate two greatest Italian composers of the period, Monteverdi professor at Cornell University in 1972 and full professor and Frescobaldi. Nevertheless the quality of their finest in 1974. From 1972 to 1987 she played in the Amade examples and of the best songs of the other composers Trio with Malcolm Bilson (fortepiano) and John Hsu named, together with the sheer quantity of songs written (cello). over a comparatively short period, makes Italian monody GEORGE GELLES/BETH LEVY the most important body of solo song of its time and Monothematic. A term used to describe a piece of music established the fruitful tradition of solo vocal chamber constructed on a single THEME, either in one movement music that lasted throughout the Baroque period in Italy. or in several, throughout which that theme is used; any The term may also be applied to Italian solo motets of incidental material that appears is of little structural the same period (see MoTET, §III, 2(i)). They were less importance. assiduously cultivated than were secular songs, but there The point is an example of monothematicism from the are a few fine examples by Monteverdi, and composers 16th century; others are the instrumental fantasia and such as Barbarino and Ignazio Donati published collec vocal motet, though in both of these forms multi-sectional tions of them that show that such pieces were prompted structures are found coupled with plurality of themes. In and influenced by the popularity of secular monodies, the variation canzonas and ricercares of the 17th century, many of whose most characteristic features inform them however, one theme was modified rhythmically to provide also. the basis of each section, and a genuine monothematicism BIBLIOGRAPHY results. The concept was revived in Bach's Art of Fugue FortuneiSS; MGG2 (C.V. Palisca) and Musical Offering. The 18th-century fugue, provided N. Fortune: 'Italian Secular Monody from 1600 to 1635: an that it is based on a single subject and uses no prominent Introductory Survey', MQ, xxxix (1953 ), 171-95 C.V. Palisca: 'Vincenzo Galilei and some Links between "Pseudo counter-subject, may also be said to be monothematic. A Monody" and Monody', MQ, xlvi ( 1960), 344-60; repr. in stretto fugue like the one in C:!f from book 2 of Bach's Studies in the History of Italian Music and Music Theory (Oxford, '48' is of this kind; the G minor fugue of book 1 is 1994 ), 346-63 monothematic by virtue of the fact that its counter-subject N. Fortune: 'A Handlist of Printed Italian Secular Monody Books, is derived by inverting and reversing the order of the two 1602-1635', RMARC, no.3 (1963 ), 27-50, no.4 (1964 ),98 J. Racek: Stilprobleme deritalienischenMonodie (Prague, 1965) figures of the subject. Bach's Inventions were specifically N. Fortune: 'Solo Song and Cantata',NOHM, iv (1968), 140-80 designed to show young composers how to manipulate a J.W. Hill: Roman Monody, Cantata, and Opera from the Circles single theme; many of his binary dance movements are around Cardinal Montalto (Oxford, 1997) also entirely derived from the opening theme by a process NIGEL FORTUNE/TIM CARTER of continuous extension and elaboration (e.g. the Alle mande of English Suite no.3). Monogammique (Fr.). See NoTATION MONOGAMMIQUE. Monothematicism is perhaps a more remarkable feature Monophony (from Gk. monos: 'single', and phone: 'voice'). in music conceived in forms normally exhibiting thematic Music for a single voice or part, for example plainchant plurality, such as the sonata or rondo. Many of Haydn's and unaccompanied solo song. The term is contrasted mature sonata first movements derive the opening of their with PoL YFHONY (music in two or more independent second-group material from the first group either in a parts), HETEROPHONY (the simultaneous sounding of a very evident way (Symphony no.104) or with more melody or line and a variation of it) and HoMOPHONY concealed art (String Quartet op.77 no.2). Such move (which implies rhythmic similarity in a number of parts). ments are said to be in monothematic sonata form, though For monophonic vocal forms in Western music see material of a contrasting nature almost inevitably makes PLAINCHANT; TROUBADOURS, TROUVERES; MINNESANG; its appearance later in the second group. Mozart's melodic MEISTERGESANG; LAUDA and SoNG; see also ESTAMPIE. prodigality and his different approach to development Monophonic music is also important in non-Western and made him less inclined to use such forms, though they traditional cultures, where it may have an improvised or appear in several mature works (e.g. the first movements drone accompaniment. of the Piano Trio in Bb K502, the String Quintet in D K593 and the finale of Symphony no.39 K543). A Monopoli, Giacomo. See INSANGUINE, GIACOMO. particularly interesting example is the Rondo in D for

Verizon Wireless Exhibit 1043-0009 I I

I I .· i I

THE NEW GROVE Dictionary of Music and Musicians

SECOND EDITION

Edited by Stanley Sadie

Executive Editor John Tyrrell

VOLUME 20

Pohlman to Recital

~ GROVE

PAGE 10

Verizon Wireless Exhibit 1043-0010 © Macmillan Publishers Limited 2001

First Edition of A Dictionary of Music and Musicians, planned and edited by SrR GEORGE GROVE, DCL, in four volumes, with an Appendix edited by ].A Fuller Maitland, and an index by Mrs Edmond Wodehouse, 1878, 1880, 1883, 1889 Reprinted 1890, 1900

Second Edition, edited by ].A FULLER MAITLAND, in five volumes, 1904-10

Third Edition, edited by H.C. COLLES, in five volumes, 1927

Fourth Edition, edited by H.C. COLLES, in five volumes, with Supplementary Volume, 1940

Fifth Edition, edited by ERIC BLOM, in nine volumes, 1954; with Supplementary Volume 1961 Reprinted 1961, 1973, 1975

American Supplement, edited by WALDO SELDEN PRATT, in one volume, 1920 Reprinted with new material, 1928; many later reprints

The New Grove Dictionary of Music and Musicians™ second edition edited by STANLEY SADIE I executive editor JOHN TYRRELL, published in twenty-nine volumes in the year 2001

This edition is distributed within the United Kingdom and Europe by Macmillan Publishers Limited London, and within the United States and Canada by Grove's Dictionaries Inc., New York

British Library Cataloguing in Publication Data Library of Congress Cataloging in Publication Data The New Grove dictionary of music and musicians. - 2nd ed. The new Grove dictionary of music and musicians I edited by 1. Music -Dictionaries 2. Musicians- Dictionaries Stanley Sadie; executive editor, John Tyrrell.- 2nd ed. I. Sadie, Stanley, 19 30- p. em. Includes bibliographical references and index. ISBN 0-333-60800-3 ISBN 1-56159-239-0 (cloth: alk.paper) 1. Music-Encyclopedias. 2. Music-Bio-bibliography. I. Sadie, Stanley. II. Tyrrell, John. MLlOO .N48 2000 780' .3-dc21 00-0055156

Verizon Wireless Exhibit 1043-0011 74 Polynesia: Bibliography

TOKELAU HAW AD ]. Huntsman: Ten Tokelau Tales (Auckland, 1977) Ha' aku'i Pele i Hawai'i: Pele Prevails in Hawai'i, Hula Records A. Thomas and T. Inelao: 'Profile of a Composer: lhaiaPuka, a HS-560 (1978) Pulotu of the Tokelau Islands', Oral Tradition, v/2-3 (1990), Na leo Hawai'i kahiko: Voices of Hawai'i, Bishop Museum ARCS 1 267-82 (1980) A. Thomas: A New Song and Dance from the Central Pacific: Hawaiian Drum Dance Chants: Sounds of Power in Time, Creating and Performing the Fatele of Tokelau in the Islands and Smithsonian Folkways SF 40015 (1989) [incl. notes by E. Taylor] in New Zealand (New York, 1996) HukilauHulas, GNP Crescendo GNPD-35 (1992) Hana hou: Do it Again, Hawaiian Hula Chants and Songs, Pan 2033 TONGA (1993) [incl. notes by A. and L. Linkels] E.W. Gifford: Tongan Myths and Tales (Honolulu, 1924/R) Hawaiian Steel Guitar Classics 1927-38, Arhoolie CD-7027 (1993) E.E.V. Collocott: Tales and Poems of Tonga (Honolulu, 1928/R) Hawaiian Slack Key Guitar Masters, Dancing Cat Records 08022 ].C. Beaglehole, ed.: The Journals of Captain James Cook: Edited 38032-2 (1995) from Original Manuscripts (Cambridge, 1969) HAWAil FILMS !.F. Helu: 'Tongan Poetry IV: Dance Poetry', Faikava,iv ,28-31 Hawaiian Rainbow, videotape, dir. R. Mugge, Mugshot Productions R.M. Moyle: Tongan Music (Auckland, 1987) (Secane, PA, 1987) A. Linkels: Geluiden van Verandering in Tonga (Katwijk a an Zee, 1988) Kumu Hula: Keepers of a Culture, videotape, dir. R. Mugge, Mugshot Productions (New York, 1989) A.L. Kaeppler: Tongan Musical Genres in Ethnoscientific and 1993 Merrie Monarch Festival: Hula, the First Years, dir. R. Ethnohistoric Perspectives (forthcoming) 30 Yamamoto, T AK Communications (Honolulu, 1994) TlNALU (ELLICE ISLANDS) SAMOA G.W. Wyatt: Jottings From The Pacific (London, 1885) Fa'a-Samoa: The Samoan Way: Between Conch Shell and Disco, Pan C.M. David: Funafuti or Three Months on a Coral Island: an 2066 (1995) [incl. notes by A. and L. Linkels] Unscientific Account of a Scientific Expedition, by Mrs. Edgeworth David (London, 1899) TONGA R.G. Roberts: 'Te Atu Tuvalu: a Short History of the Ellice Islands', Miilie! Beautiful! Dance Music of Tonga, Pan 2011 (1992) [incl. Journal of the Polynesian Society, lxvii (1958), 394-423 notes by A. and L. Linkels] D. Christensen: '0 ld Musical Styles in the Ellice Islands, Western Faikava, the Tongan Kava Circle, Pan 2022 (1993) [incl. notes by A. Polynesia', EthM, xviii ( 1964 ), 34-40 and L. Linkels] D. Christensen and G. Koch: Die Musik der Ellice-Inseln (Berlin, Ifi palasa, Tongan Brass, Pan 2044 (1994) [incl. notes by A. and L. 1964) Linkels] Ko e temipaletapu: the Holy Temple: Church Music ofTonga,Pan RECORDINGS 7007 (1996) [incl. notes by A. and L. Linkels] Afo '0 E 'Ofa: Strings of Love: Tongan String Band Music, Pan GENERAL 2088 (1997) [incl. notes by A. and L. Linkels] Spirit of Polynesia: Traditional Chants, Drum Dances and Other Faikava, Tonga: Sounds of Change, Pan 2098 (1998) [incl. notes by Music from Rapa Iti, Fiji, Hawaii, New Zealand, Tonga, Samoa, A. and L. Linkels] Tokelau, Niue, Nauru, Tuvalu, Marquesas, Tahiti, Bora Bora, Cooks and Easter Island, Saydisc SDL 403 (1993) [incl. notes by 11JVALU D. Fanshawe] Tuvalu: a PolynesianAtol/Society,Pan 2055 (1994) [incl. notes by A. and L. Linkels] DANCE BARBARA B. SMITH (1, 1-2, II, 2), ADRIENNE L. KAEPPLER (1, Fiafia: Dances from the South Pacific, Pan 150 (1994) 3), KEVIN SALISBURY (II, l(i)), MERVYN McLEAN (II, !Iii), Hula, haka, hoko: Polynesian Dances, Pan 162 ( 1997) III, 4), AMY K. STILLMAN (II, 3(i-iv)), JANE F. MOULIN (II, 3(v)), RICHARD M. MOYLE (III, 1, 2, 6), THOMAS ALLAN (III, COOK ISLANDS 3), DIETER CHRISTENSEN (III, 5) Te kuki air ani: the Cook Islands, Songs, Rhythms and Dances, Pan 2099 (1998) [incl. notes by A. and L. Linkels] Polyphon (i). A MusiCAL BOX playing music from inter changeable steel discs. It was invented in Leipzig in 1886 EASTER ISLAND by G.A. Brachhausen and P. Riessner. The trade name Isla de Pascua, EM! (Chile) LDC 36547-36548 (1965) The Easter Island, Peters International FARN 91040 (1976) was also used for other products of their firm, the Musique de l'fle de Pilques: RapaNui,Societe Fran~aise de Poly phon-Musikwerke: it was subsequently used by some Productions Phonographiques AMP 7 ( 1976) to mean any make of disc-playing machine. See also Musica de Ia isla de Pascua, col!. R. Campbell,Facultad de Artes de MECHANICAL INSTRUMENT. Ia Universidad de Chile, Secci6n de Musicologia (1991) Easter Island, Marquesas Islands, rec. 1970 and 1985,JVC VIGC Polyphon [polyphone] (ii). See POLJPHANT. 5273-2 (1994) Rapa Nui, Noiseworks 130 (1995) Polyphony. A term used to designate various important Rapa Nui, ArionARN 64345 (1996) categories in music: namely, music in more than one part, Te pita o te henua: End of the World: Easter Island Songs and Dances, Pan 2077 (1996) [incl. notes by A. and L. Linkels] music in many parts, and the style in which all or several of the musical parts move to some extent independently. FRENCH POLYNESIA Polyphonos ('many-voiced') and polyphonia occur in The Gauguin Years: Songs and Dances of Tahiti, Nonesuch ancient Greek without any connotations of musical H-72017 (1965) Te Ka'ioi, Oceane Production,Serie C013 (1990-91) technique. After classical antiquity, forms of the adjective The Tahitian Choir: Rap a Iti, i, Triloka Records 7192-2 (1992) [incl. came into use in modern languages, designating both non notes by P. Nabet-Meyer]; ii, Shanachie 64055 ( 1994) [incl. notes musical phenomena such as birdcalls, human speech and by P. Nabet-Meyer] multiple echoes, and musical phenomena such as instru Tubai Choir, from the Polynesian Odyssey, Shanachie 64049 (19 93) mental range and tonal variety, as well as the various [incl. notes by P. Nabet-Meyer] tunes playable on an automatic musical device. Music of Polynesia, i: Tahiti, Society Islands,]VCVlCG-5271 (1994) I. Western. II. Non-Western. Music of Polynesia, ii: Tuamoto Austral Islands,]VCVlCG-5274 (1994) I. Western Territorial Survey of Oceanic Music: Music of the Southern Marquesas Islands, coli. J.F. Moulin, recordings deposited in the 1. Multiplicity of parts. 2. Several parts of equal importance. 3. Equal Archive of Maori and Pacific Music, University of Auckland development of individual parts. 4. Subordinate importance of

Verizon Wireless Exhibit 1043-0012 Polyphony, §I, 3: Western: Equal development of individual parts 75

harmony. 5. Simultaneous use of several structures. 6. Ideals of modern-language equivalents have also been used in the polyphony. 7. Relationship to counterpoint. sense of 'consisting of several parts of equal importance'. Kircher undoubtedly had polyphonic writing in this sense ~cs 1 1. MULTIPLICITY OF PARTS. In connection with the technique of composition, the Latin terms polyphon(ic)us in mind when he challenged the belief that polyphony and polyphonia, and their modern derivatives, were first cannot move the emotions (i, 5 61). He also used the term used to refer to 'music in multiple parts'. An author 'homophonous' in its modern sense in speaking of 'voces :··[homophones] sive aequali processu ... progredientes', 12033 named 'Johannes' contrasted cantus simplex for one part with polyphonia for more than one (Summa musice, m which 'semibrevium syncopae' and 'fugae' are avoided 1993) ?c1200, wrongly attributed to Johannes de Muris· (i, 314 ). However, he never contrasted polyphony and J22 GerbertS, iii, 239a). He described polyphony as dy~ homophony. Not until Bellermann (1862), to whom 'in aphonia, triphonia or tetraphonia, according to the many parts' (vielstimmig) was 'the real and natural numbers of parts, and distinguished between basilica meaning' of 'polyphonus', were both the 'homophonic' ctions (sustained-note organum) and organica (discant). Poly and the 'polyphonic' style characterized by the rhythmic phonia is mentioned in an anonymous treatise, probably relationship of the parts to each other (p.292). In this of the mid-14th century (B-Br 10162-6), not so much as Bellermann did not follow Kircher, considering that the an all-embracing term for dyaphonia, triphonia and 'more modern' usage dated from not long before 1800. tetraphonia, but rather as the alternative to dyaphonia. However, the contrast is clear in Marpurg, who in turn The treatise distinguishes between music for one voice followed the tradition of Printz. Printz himself had used the terms monodicus and J,Pan and music for more than one voice, describing the former as monophonia, the latter as dyaphonia seu poliphonia polyodicus, applying the former to music with only one (f.48). Dyaphonia and poliphonia differ both in the main voice (the principal part) and the latter to counter number of parts ('unio duarum' or 'plurium vocum') and point consisting of several parts of equal importance in the setting. Dyaphonia (the Guidonian organum and (Phrynis, iii, 1696, pp.97, 131). He seems to have been by A. the extempore discant of the late 13th century, based one of the first to draw a terminological distinction between monody and polyphony (in the sense used here), lL. largely on parallel 5ths and octaves; see DIAPHONIA) is regarded as an essentially homorhythmic setting(' duarum although he did not use those terms. His distinction was Pan vocum simul in eadem tempore vel quasi eadem prola adopted, sometimes word for word, by Nichelmann (Die tarum unio' [the bringing together of two voice parts Mel odie, 175 5), although the latter saw 'polyody' as performed simultaneously or more or less simultane determined by harmony (quoted in Marpurg, Historisch kritische Beytrage zur Aufnahme der Musik, ii, 1754-8, s by ously]; 'finaliter tamen ad unum aliquid revertuntur et dyaphoniam causant' [but finally they return to a certain p.264); a century later polyphony was defined by the unity and form a dyaphonia]), despite the use of hocket secondary importance in it of harmony (see §4 below). More specifically, Nichelmann, like Marpurg, had in by and other devices. Poliphonia, on the other hand, can have great rhythmic diversity in its parts- although only mind the contrast between melodies devised together with ER II, parts 'cum discretione mensurabilis' [with mensuration], their harmonies, and those devised regardless of harmonic llii), not liturgical parts 'sine discretione, puta organica' considerations. Marpurg, however- and this must have N III, been a deciding factor in future linguistic usage-preferred I III!, [without mensuration, that is to say in accordance with II, 5) organum] (f.54). These two treatises may appear to the terms 'polyphonic' and 'homophonic' (polyphonisch represent historically isolated instances, but from at least and homophonisch) to 'polyodic' and 'monodic' (polyod lter- the time of Luscinius's Musurgia seu praxis musicae isch and monodisch), which he associated with the 886 (1536), in which instruction in the notation and compo chorody and monody of classical antiquity (Kritische arne sition of music for several voices is given under the Einleitung, 1759, p.234 ). the heading 'De concentus polyphoni ratione', there has been The next occurrences of 'polyphony' are in Koch orne a continous tradition for the concept, extending through (1782-93, iii, index, 1802, 'Polyphonische Schreibart', also Johann Heinrich Alsted (Scientiarum omnium encyclo 'Sty! Schreibart' and 'Hauptstimme'); in the last-named paedia, 1649) and Kircher to the present day. Where entry Koch referred to the linguistic usage of certain 'polyphony' is used more specifically for composition unnamed music theorists (possibly Marpurg), implying involving several parts of equal importance (see §2, that this was not yet generally accepted, as it obviously rant below) - that is, in most languages except English and was after Koch. Since Koch, however, reference works •art, French-the older terminology survives almost exclusively have differed in the precise definitions that they offer and era! in its more general sense, as in SchillingE, Mendel and in the ideals of polyphony that they propound. Reissmann (1877/R) and Kurth (Grundlagen des linearen ttly. 3. EQUAL DEVELOPMENT OF INDIVIDUAL PARTS. Since ·in Kontrapunkts, Berne, 1917, p .59, n .1). In English and Koch's Musikalisches Lexikon ( 18 02/R), full development French, however, the older, non-specific usage is the ical of the separate parts - the investing of several parts with primary one (see, e.g., Nett!). tive the character of a main voice and the raising of Since the early 17th century the terms 'polyphonic' and on accompanying voices to the status of counter-voices-has 'polyphony' have also been used in a narrower sense to and been regarded as a defining feature of polyphony. Even denote musical composition for more than four parts (see tru authors who otherwise distinguish between polyphony Alsted, Eng. trans., 1664, pp.70, 89), Kircher (i, 322), ous and homophony primarily on the grounds of the compo Hauser (Musikalisches Lexikon, 1828,2/1833, 'Vielstim sitional function of harmony (see §4) consider this a valid mig, polyphonisch') and Bellermann (p.291). criterion in defining 'the most genuine polyphonic com 2. SEVERAL PARTS OF EQUAL IMPORTANCE. Perhaps as position' or 'true polyphony' (e.g. Adler, p.53). The early as Kircher (1650), and certainly since Marpurg definition of polyphony by the melodic structural value jual (Kritische Einleitung in die Geschichte und Lehrsatze der of the parts allowed writers concerned with the differen : of a/ten und neuen Musik, 1759), polyphonicus and its tiation of styles to distinguish among different kinds of

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Verizon Wireless Exhibit 1043-0013 76 Polyphony, §I, 3: Western: Equal development of individual parts polyphony. Mersmann, for instance, defined polyphony and homophony represent two extremes, separated by as either 'constructive', 'contingent on sound' or 'linear' intermediate stages. Bellermann (p.292), for instance, (also 'absolute'), depending on the relative importance of objected to the terms 'polyphonic' and 'homophonic' rhythmic, harmonic or melodic forces; he admitted 'linear because 'in every song for more than one voice the parts polyphony' only before and after the epoch of major and are to be developed melodically, and therefore indepen minor tonality (Die Tonsprache der neuen Musik, 1928, dently, and because of the different rhythmic movement p.36). Harburger distinguished polyphony from homoph of individual parts there will be an enormous number of ony by citing the 'refined polyphony of Mozart's and pieces in which the separate parts appear too independent Haydn's melodies' at one extreme, and fromheterophony for the style to be reckoned homophonic, or even, by citing the polyphony of late Beethoven and the later polyphonic'. Consequently, some writers, such as Koch, developments of 'linear counterpoint' at the other (Form favoured a tripartite division of compositional styles: of und Ausdrucksmittel in der Musik, 1926, p.130). Koch's three 'processes' of composition the first two In addition to Koch's definition ofthis technical feature represent 'homophonic' procedures and the third 'poly of polyphony (i.e. that 'several parts can claim the phonic' procedure (1782-93, ii, 82-3; cf Marx, Anleitung character of a main part'), his observation that 'the zum Vortrag Beethovenscher Klavierwerke, 1863, feelings of several people are expressed' also deserves 5/1912, pp.97-8). emphasis. This is not simply a description of the way 4. SUBORDIKATE IMPORTANCE OF HARMONY. Since the music is experienced in general. Even genres such as the middle of the 19th century, with the gradual rediscovery fugue were felt by Forkel, Sulzer and Koch to carry a of medieval and Renaissance music for several voices, heightened expression of feeling (it was only in the course polyphonic music has been defined as such by the of the 19th century that they came to be pronounced in subordinate importance in it of harmony. The term general 'objective', that is, emotionally neutral). Koch's 'polyphonic' has also been used by some musicologists to remark applies more specifically to the kinds of music he designate a historical period (though less convincingly so cited as examples of polyphony: operatic ensembles, as polyphony has increasingly come to supplant harmony duets, trios and quartets. Gathy (Musikalisches Conver in contemporary music). One of the earliest of these sationslexikon, 1835, 2/1840) mentioned among other references occurs in Helmholtz, who distinguished be examples the finale of Act 1 of Spontini's Olimpie and the tween 'three main phases of development' in music (Die finale of Act 4 of Salieri's Axur ('polyphonic composi tion'). Kiister, who several times claimed that polyphony Lehre von den Tonempfindungen, 1863, 6/1913, p.396; cf. AmbrosGM, iii, 121): could express 'dramatic liveliness' (Populare Vortrage, iv: Das Ideal des Tonkunstler, 1877, p.88), cited the chorus (1) the homophonic (one-part) music of antiquity, with which is linked 'Fuggiamo, corriamo' from Mozart's Idomeneo (Populare the music now being produced by the peoples of Oriental and Asiatic ii: 1872, p.189). lands; (2) the polyphonic music of the Middle Ages - in many parts, Vortrage, Die hoheren Tonformen, but still without reference to the independent musical significance of However, the understanding of polyphony as the simul the simultaneous sounds -extending from the lOth to the 17th century taneous expression of different feelings was diminishing; when it passes over into (3) harmonic or modern music, characterized Koch's definition was significantly weakened by the words by the independent significance accorded to harmony as such. Its 'as it were' in Schilling, who described polyphony as the origins lie in the 16th century. type of writing 'in which ... as it were, the feelings of Many authors take the function of harmony as a several persons are expressed simultaneously' and later criterion so seriously that they describe even Bach's organ abandoned the definition altogether. Typical of the polyphony as secondary and illusory (Spitta, Johann tendency to find polyphony 'objective' is A.B. Marx's Sebastian Bach, i, 1873-80, 3/1921, p.101), or consider article on J.S. Bach in the second edition of Schilling's its harmonies the product of the part-writing (Adler, encyclopedia, which emphasized the distant, grave objec p.266), although Riemann thought that the true nature of tive and universal nature of polyphonic music, opposing polyphony was revealed only within the harmonic frame it to the greater subjectivity of homophony. Marx work of major/minor tonality (Grosse Kompositionslehre, regarded Bach's polyphony as his ideal (see §6, below), i, 1902, pp.175-6). Later authors, on the other hand, and he viewed polyphony as part ofthe 'strict' style. Koch regarded Bach's polyphony as a transition between (or a (1802, 'Sty!, Schreibart') described it as including both unification of) polyphony and functional harmony (A. monothematic and imitative elements (and thus being Berg, 1930), quoted in W. Reich, GesprachemitKompon particularly suitable for sacred music); he also character isten, 1964, pp.234-5, and L. Balet and E. Gerhard ized it by the 'grave progress' of the melody and the strict [Rehling], Die Verburgerlichung der deutschen Kunst: handling of dissonance. However, if polyphony cannot Literatur und Musik im 18. Jahrhundert, 1936, p.342). be consigned to the 'strict' style (MCL, 'Sty!'), that is due Others saw the practice of continuo serving as a historical not least to the contribution of the Viennese Classicists link between polyphony and homophony (E. Pepping, and 19th-century composers to the individual develop Der polyphone Satz, i, 1943, p.10). ment of polyphonic parts and their use of contrapuntal Schoenberg (Harmonielehre, 1911,3/1922, p.466) even techniques. (The distinction between 'strict' counterpoint credited the polyphonic style of writing with the ability to and 'free' polyphony in the writings of Riemann and legitimize new harmonies. Conversely, new and more Knorr also took account of this; see §7, below.) Mendel particularly dissonant harmonies were described by others and Reissmann went so far as to prefer a distinction as 'polyphonic' (e.g. E. Stein, 'Schonbergs Klang', Arnold drawn on the grounds of musical forces - e.g. between Schonbergzum 60. Geburtstag, 1934,p.27;T.W.Adorno, vocal, keyboard and orchestra polyphony - to one Philosophie der neuen Musik, 1949, 4/1972, pp.55-6). between a strict and a free style, even within polyphony. As harmony assumed this new position within polyphony, In using the term 'polyphony' to classify musical however, a precise balance between the parts was compositions, writers have been aware that polyphony demanded, what Boulez called a 'mutual responsibility of

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Verizon Wireless Exhibit 1043-0014 Polyphony, §I, 7: Western: Relationship to counterpoint 77 the notes' ('Contrepoint', FasquelleE). Schoenberg himself Non-serial and post-serial music, on the other hand, did not approve of establishing the principles of part adheres to an essentially traditional concept of polyphony, writing or harmony as absolutes, however, and ascribed although one that embraces new stylistic possibilities. to harmony in polyphonic composition the function of Among them is Ligeti's 'micro-polyphony', the 'technique 'controlling taste' (Das Komponieren mit selbstandigen of the close, dense amalgamation of instrumental and Stimmen, 1911; ed. R. Stephan, 248). vocal parts' that he used particularly in the late 1950s. The systematic musicology of the early 20th century That it was still conceived within the framework of radicalized the principles of harmony and polyphony, traditional polyphony is evident from its gradual trans seeing pure 'harmony' as created by the parallel movement formation into a 'more transparent, more clear-cut, thin of parts at a constant interval, and pure 'polyphony' as and more brittle polyphony', closer to the ideal of created by the melodic differences between the parts (as compositional part-writing (introduction to Ligeti's San in the drone, ostinato and heterophony); medieval discant Francisco Polyphony, 1973-4, in Musik und Bildung, vii and the kinds of polyphony that succeeded it were (1975), 500). regarded as 'harmonic-polyphonic forms' (C.H. Horn 6. IDEALS OF POLYPHONY. The different emphases of bostel, 'Uber Mehrstimmigkeit in der aussereuropaischen meaning conveyed by the term 'polyphony' reflect differ Musik', IMusSCRIII: Vienna 1909, p.208). Similarly, ent concepts of the polyphonic ideal. Marx, who valued though staying closer to Helmholtz, Stumpf (Die Anfange Bach's polyphony above all, measured even the poly der Musik, 1911, pp.99-100) distinguished strictly be phonic writing of the late Beethoven by that standard. tween 'polyphony' as 'the simultaneous performance of Harmony, he considered, while only a contingent factor several different melodies, coming together only now and in Bach, was the very foundation and point of departure then in consonant intervals or in unison' and 'harmonic in Beethoven (and the reason why his polyphony remained music' as 'finding aesthetic pleasure or the opposite in the rooted in homophony); the parts which came together in simultaneous sounding of several different notes and the Bach were striving for freedom in Beethoven and the succession of such tonal complexes'. double counterpoint which was a guiding principle and purpose in Bach was only a means to Beethoven, and was 5. SIMULTANEOUS USE OF SEVERAL STRUCTURES. For thus less perfect ('Beethoven', Schilling£, i, 518). In line Webern, the individual voice parts are less important as with this ideal of polyphony, Brahms denied the poly an element of polyphony than the sequence of notes phonic character of the 'sound-surfaces' in Richard contained in them. Although that sequence serves as an Strauss's F minor Symphony: 'One may weave together 'original form' or 'basic set' ( Grundgestalt cf. Adorno) in several triadic themes but that is still not polyphony' the composition process, is subjected to familiar proce (quoted in 'Polyphonie', H.J. Moser, Musik-Lexikon, dures and is arbitrarily endowed with a rhythm, Webern suppl. 1963). Mahler, on the other hand, strove for the still described the style as 'polyphony' (p.37), even though greatest possible differentiation of parts, referring to the the notes sometimes sound together in chords. W ebern's random sounds of a forest festival - noises from swings own serial forms, however, are clearly reminiscent of and merry-go-rounds, shooting-galleries and puppet the part-writing, even of canon, which has given rise to the atres, a military band and a male-voice choir - as the expression 'serial polyphony', a usage criticized by archetype of his polyphony. (That Mahler emphasized Eggebrecht because 'polyphony' no longer refers to the need to observe strict compositional organization in genuine parts: 'Polyphonie', RiemannL12). According to these sound-pictures sets him apart from Ives, who Boulez (Penser Ia musique aujourd'hui, 1964, p.153), on preferred the disorganized chance factor in such phenom the other hand, the compositional parts are not done ena.) Mahler distinguished polyphony from 'something away with, but are freshly defined as 'constellations of merely written in many parts' or 'disguised homophony': events obeying a certain number of common criteria; 'Do you hear that? That is polyphony and that is where I have got it distribution of families of evolving structures in a mobile from ... Exactly like that, coming from quite different sides, this is and discontinuous time dimension, with variable density how the themes must be completely distinct in their rhythmic and and using non-homogeneous timbre; these constellations melodic character (anything else is merely something written in many are mutually dependent in a very special way as far as parts, disguised homophony); it requires that the artist should organize it and unify it into a congruous and harmonious whole'. (N. Bauer pitches and durations are concerned'. Correspondingly, Lechner,Erinnerungenan Gustav Mahler, 1923, p.147) when referring to his own technique of composition Boulez also spoke of polyphony in addition to monody Busoni, for whom only melody was capable of a real (music in one part), homophony ('density-transformation function and harmony existed only as the aural result of of monody': 'the structure unfolds its objects horizontally, polyphony, wanted polyphony to obey any impulse, to be the vertical density of the object being variable', p.135) nonthematic (and emancipated from fugue) and indeed and heterophony ('the superposition upon a primary atonal (Von der Einheit der Musik, 1922, pp.207, 211, structure of a modified aspect of the same structure'). He 278) -an ideal that he approached most closely in his Berceuse elegiaque op.42 (1909) and in the second defined polyphony as a combination of structures of Sonatina for piano (1912), and to which Schoenberg's which one is answerable to the other. The 'forms of free atonality largely corresponded. To Webern, finally, syntactical organization' that he mentioned may also be combined to make a 'polyphony of polyphonies', a polyphony was the manner of writing in which melodic relationships between the parts could be made to form a 'heterophony of heterophonies', a 'heterophony of po musical synthesis (p.28). lyphonies' and so on (p.133). Likewise, transitions may be effected between them; in other words, 'a monody may 7. RELATIONSHIP TO COUNTERPOINT. The relationship in fact represent a "reduced" poyphony, just as a between the terms 'polyphony' and 'counterpoint' de polyphony will in actual fact be the distribution of pends less on definitions than on traditional musical "dispersion" of a monody' (pp.138-9). classifications. Indeed, the two terms have been clearly PAGE 15

Verizon Wireless Exhibit 1043-0015 78 Polyphony, §I, 7: Western: Relationship to counterpoint differentiated only occasionally, as by the anonymous 'multi-phonic', 'multi-sonance' and 'diaphony'. This is author of Harmonie oder Kontrapunkt (MMg, iv, 1872), partly due to a pervasive feeling among early scholars who took counterpoint to mean the older method of who looked at non-Western music within an evolutionary composing in several parts and polyphony the newer framework (in which learned European contrapuntal and method (although in discussing each method he spoke of harmonic traditions stood at the apex and 'polyphonic' both homophonic and polyphonic composition). More had acquired a rather specialized meaning) that orally commonly, 'polyphony' has been used as a synonym for transmitted folk and 'primitive' traditions could not 'counterpoint': 'Polyphonism ... composition in parts; possibly share the same terminology. Some ethnomusicol contrapuntal composition.... - Polyphonist ... a master ogists have nevertheless used 'polyphony' to cover all of the art of polyphony; a contrapuntist' (Dr. Webster's kinds of multi-part singing. William P. Maim proposed Complete Dictionary of the English Language, ed. C. A. that it serve as an umbrella term embracing homophony, Goodrich and N. Porter, 1864). However, 'counterpoint' heterophony and 'disphony'. He coined the last term to is often used specifically for the actual process of forming denote music 'in which the different parts have different additional parts (or the theory of doing so), while pitches and are relatively independent rhythmically', in 'polyphony' refers to a composition constructed in parts other words, music that is neither heterophonic nor e.g. Schucht, 'Wie und warumstudiren wir Contrapunct?', monophonic and which in the past may often have been NZM, xi vi ( 1880), 382b ). Consequently, stylistic changes called polyphonic (Maim, 1972, p.249). His use of are ascribed to polyphony rather than to counterpoint. 'disphony', however, has not been taken up by other According to Riemann, for instance, polyphonic compo ethnomusicologists. sition is taught as free composition, in contrast to strict counterpoint (Stephan, 241). Knorr, too, in his Lehrbuch Although German ethnomusicologists - for instance, der Fugenkomposition (1910), called for 'mastery of free Erich von Hornbostel and his successor at the Berlin modern polyphony' (p.vi); he used the fugue from Phonogramm-Archiv, Marius Schneider - found multi Brahms's Variations and Fugue on a Theme by Handel as part styles of considerable interest, they used the label a model (p.137). Kaminski distinguished in a positively Mehrstimmigkeit in preference to Polyphonie. Schneider's polemical way between polyphony and counterpoint (as Geschichte der Mehrstimmigkeit (1934-5), though de the traditional theory of the process of forming additional pendent on the limited research of the day, was the first parts ('Uber polyphone Musik', Musica, i (1947), 82). attempt at a comprehensive survey of multi-part practices. However, Anselm Hughes and Eric BJorn ('Polyphony', Simha Arom, who attempted to classify 'African polyph Grove3-5) and Viret ('Polyphonie', HoneggerD) used onies' (see §4 below), is rigorous in his definition of 'counterpoint' only to describe the teaching of composi polyphony and maintains that 'aU multi-part music is not tion, while 'polyphony' denoted a style of writing. In the necessarily polyphonic'. Among non-polyphonic multi Harvard Dictionary of Music (1944 ), Ape! recommended part procedures he lists heterophony, overlapping, drone the use of 'polyphony' for medieval music, in opposition based music, parallelism and homophony. For him, true to monophony, and 'counterpoint' for personal styles, polyphony is a procedure which must be 'multi-part, employed in teaching, apparently assuming that 'polyph simultaneous, hetero-rhythmic and non-parallel' (19 91, ony' has a wider sense than 'counterpoint' (i.e. involving pp.34, 3 8 ). Other ethnomusicologists continue to use the a multiplicity of parts, see § 1, above) and that medieval term polyphony at the most general level and concern multiplicity of parts is not yet counterpoint as written by themselves more with indigenous labels and concepts Palestrina and Bach. However, in view ofthe re-emergence when discussing a particular multi-part musical style in of polyphony in the 20th century, both in a historicizing detail. context and as determined by chromaticism, new harmo Continuing scholarly interest in multi-part music has nies continue to be created and indeed justified, by part been evident in periodic conferences focussing on the writing (see §4, above). Here polyphony becomes theme (e.g. International Folk Music Council meetings in objectively opposed to counterpoint, which of its very 1963 and 1967, and the Colloque de Royaumont in nature is bound by the rules of harmony (Eggebrecht, 1990). The high status accorded by scholars to such RiemannL12). musical practices has undoubtedly been one factor in the If, despite differences in usage, the terms 'counterpoint' revival of a number of older multi-part styles (see Goffre, and 'polyphony' are practically synonymous, they none 19 90). Furthermore, in European folk revivals, especially theless signify two different styles of writing in Adorno's view: 'counterpoint' denotes a composition in which parts since 1960, monophonic singing styles have increasingly been abandoned in favour of multi-part singing based on are graduated according to rank, 'polyphony' is a melodic arrangement of parts of equal importance ('Die Funktion European triadic harmony and drone techniques; exam des Kontrapunkts in der neuen Musik', Nervenpunkte ples are the multi-part harmonized renderings by folk der neuen Musik, 1969, pp.69, 73). groups of monophonic English and Scottish ballads and lyric songs. There is a long history to this process, See a/so COUNTERPOINT; D!APHONIA; HETEROPHONY; ORGANUM. however: for example, in the rural and popular music of ILNon-VVestern Latin America the widespread practice of singing and 1. General. 2. The Mediterranean: (i) General (ii) Structure (iii) Vocal playing in parallel 3rds can be viewed as a Hispanic styles and the singers' interaction (iv) Contemporary trends. 3. Russia introduction sometimes blending with pre-Hispanic multi and west-central Asia. 4. Africa. part pentatonic traditions. Similarly, throughout the 1. GENERAL. Multi-part music is encountered in many Pacific Islands traditional habits of choral singing (which regions of the world. However, ethnomusicologists have frequently incorporates drone polyphony, heterophony frequently felt uneasy about using the term 'polyphony' and overlapping responses) are now found to be inextri for all its various manifestations, adopting instead such cably blended with choral styles derived from hymns terms as 'polivocal', 'polyphonic parallelism', 'plurivocal', introduced by European missionaries and later influenced

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Verizon Wireless Exhibit 1043-0016 Polyphony, §II, 2(iii): The Mediterranean: Vocal styles & the singers' interaction 79

is by European and American popular music styles (see be either horizontal or vertical or both. Some forms us MELANESIA, MICRONESIA and PoLYNESIA). include drone parts (simple or double, straight or try Scholars are increasingly interested in socio-cultural alternating, continuous or rhythmic), ostinatos or parallel nd aspects of multi-part singing. Uri Sharvit, for instance, in movement between voices; some have a chordal basis; tic' his discussion of new 'plurivocal' processes in present-day others are more complex, combining a varietyofstructural illy Jewish musical culture, suggests that a lack of individual principles. Responsorial forms are also found (e.g. in 10t musical initiative 'reflects an uncohesive community' and parts of the Balkans and Italy). Where there is a strong ol that the 'process which creates the sound of parallel5ths connection with dance, the songs have a clearly discernible all and seconds, is not only an aesthetic value ... but is also rhythm. Others are non-mensural and the voices rhyth sed a socio-cultural tool with which a community educates its mically non-aligned; often described as 'long' or 'drawn ny, members to contribute to the society and thus strengthen out', some feature sustained notes that produce 'ringing' to its own cohesiveness' (1995, p.13). Africanists have made harmonic effects, alternating with dense melismatic activ ent similar observations. ity. Some forms suggest older modal systems, the voices , in The sections that follow focus on a small number of interacting without any concern for concordance in the nor regions which together exemplify many of the different Western European scholastic sense; in many parts of een musical and social processes giving rise to multi-part Bulgaria and former Yugoslavia, the preferred interval is of vocal music. (Multi-part layering of instrumental music is the major or minor 2nd. More recently developed styles her so widespread that it is not discussed in this article.) reflect the influence of 'Western' harmonic functions with Further references to multi-part vocal styles rna y be found the 3rd and 5th as the most common intervals. While

ICe, in the articles on individual countries. most song types retain the same tonal centre throughout, others include characteristic modulations (see SARDINIA). din 2. THE MEDITERRANEAN. Jti Despite the heterogeneity in terms of musical structure, (i) General. Polyphonic singing styles have been pre bel many features relating to the organization of the voices served in the oral traditions of many parts of the wider are common to different areas of the Mediterranean. The ~r's Mediterranean area, including Albania, northern Epirus de lead part is often sung by a solo voice which begins alone (Greece), Bulgaria, Macedonia, Serbia, Croatia, Bosnia and is sometimes the only voice to sing the whole text, rst Hercegovina, Italy, Sicily, Sardinia, Corsica and Portugal. while the accompanying voices use the vowel sounds of es. They are typically, though not exclusively, found among Jh the text or patterns of unrelated vocables. The text itself agro-pastoral communities organized on a strong collec can also be deformed to the point of incomprehensibility of tive basis, in mountainous regions where indigenous to the outside listener, both by the manner of its intonation lOt populations have habitually found refuge in the face of and by the way in which it is adapted to the musical 'ti invasion and whose inaccessibility has allowed for the phrase with word breaks or the omission, repetition or le preservation of numerous archaisms. In general, the addition of syllables characteristic of some styles (Sugar ue aesthetic values governing folk polyphonic systems are man, 1989; Petrovic, 1991; Ricci, 1993; Salini, 1996). rt, very different from those associated with the Western art Other recurring features include staggered entries, slight ·1, tradition. Within localized stylistic areas, musical forms anticipations and suspensions, non-tempered intervals l1e often remain relatively stable and serve for a wide variety and subtle modal inflections, rhythmic elasticity and an rn of genres such as laments, love songs, wedding songs, element of improvisation. ts harvest songs, dance songs, satires and historical songs. (iii) Vocal styles and the singers' interaction. Each Ill Stanzas may also be improvised. In many places, poly individual voice has its own strictly defined role; local phonic singing has also been preserved in the churches. A terminology often provides a graphic description of how lS range of styles is involved, and questions concerning the each part is conceived (see ALBANIA and BuLGARIA). te exact provenance of these repertories, which tend to be Many styles feature a tense or vibrant voice-production n more complex structurally than related profane material, associated with singing outdoors, while each vocal line n while often sharing similar stylistic characteristics, remain has its own distinctive timbre; the resulting 'polyphony of h unanswered. timbres' (Lortat-Jacob, 19 93) is oftenpopularlycompared .e In some cultures, polyphonic singing is almost exclu with environmental sounds. Timbre can be specifically sively the prerogative of either men (e.g. Sardinia and selected in order to produce a characteristic clash of y Corsica) or women (e.g. Bulgaria). In others (e.g. southern overtones and fundamentals (as in the Balkans) or the y Albania and areas of former Yugoslavia), both men and phenomenon of an additional 'virtual' voice, as described tl women sing polyphony, but clear gender distinctions are by Lortat-Jacob (1993), in Sardinia. Often associated drawn and mixed groups remain the exception (Sugar with timbral quality is pitch mobility: Rice noted that in man, 1989; Petrovic, 1995). Polyphonic singing in the the case of Bulgarian singing 'pitch is manipulated subtly church tradition is usually male-dominated. Threatened along a continuum to achieve a particular harmonic by recent liturgical reform, oral repertories have often effect' (1980). Many styles also feature a pronounced been best preserved in connection with Holy Week rituals. vibrato or 'trembling' and the incorporation of shouts, (ii) Structure. A wide diversity exists both between and yips, yodels, slides, glottal stops or a sobbing effect which within different cultural areas. Partsinging in the Balkans contributes to both rhythm and resonance. Staggered is predominantly diaphonic. Corsican paghjella singing breathing can be employed to maintain continuity of involves three voices (see CORSICA, ex.2) and Sardinian sound. tenore four (see SARDINIA). Songs in two, three or four Typically, the songs are performed for the benefit of parts are found in southern Albania, the lower parts often the singers themselves as much as for an audience. A sense being sung in chorus by several singers (see ALBANIA). of complicity is vital and it is common for the same group More rarely, the melody passes from one voice to another of singers to perform together for many years. For men in in the course of the song. The underlying conception can particular, polyphonic singing combined with alcohol

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Verizon Wireless Exhibit 1043-0017 80 Polyphony, §II, 2(iii): The Mediterranean: Vocal styles & the singers' interaction consumption induces a transcendent state of heightened consist of not more than 16-18 people. Instrumental spiritual harmony (Sugarman, 1989; Petrovic, 1995). polyphony is more widely distributed throughout Eurasia; Intense concentration and close physical contact between the following discussion, however, focusses on vocal the performers are crucial for their successful interaction, polyphony of the oral tradition. in particular with respect to both timing and the ultimate The first examples of sung polyphony in this region fusion of the individual voices; hence the horseshoe were recorded at the end of the 19th century, although formation commonly adopted. The hand is often used to isolated cases were known much earlier (e.g. in the 18th cup the ear or is held with the fingers touching the ear and century anthology of Russian folksongs by L'vov and the palm turned towards the mouth (Rihtman, 1952; Pratsch), and a few examples were published by Mily Lortat-Jacob, 1993; Ricci, 1993). Balakirev in 1866. In 1878 the first collection of Georgian (iv) Contemporary trends. In many areas, polyphonic partsinging (edited by Mily Machavariani) appeared, and practices have inevitably declined as a result of increasing the following year Yuly Melgunov transcribed and modernization, urbanization and changing fashions. published a collection of Russian popular songs in which Where such singing was the prerogative of small select he pointed out that Russian folksinging was essentially groups of men (e.g. in Corsica), continuity was severely polyphonic. In 1891 Angel Bukureshtliyev documented compromised by losses suffered in the two world wars. the existence of Bulgarian polyphony. Other polyphonic Elsewhere (e.g. in Portugal), marked regional differentia cultures of Europe did not reach the scholarly world until tion in terms of economic development and mechanization the 1920s, 30s or even later; for instance, the first of agriculture also had an effect on polyphonic singing examples of Albanian sung polyphony were published in practices. the 1950s and 60s (see §2, above). While early studies in 'folk' polyphony were concerned Melgunov (1846-93) described the fundamental char predominantly with the analysis of musical structure and acteristics of Russian folk polyphony, such as the the description of style, more recent research has drawn dependence of all voices on one tune, the use of unison to attention to contexts and social function (Sugarman, mark the end of sections, the equal aesthetic value of all 19 8 8 ), psycho-physical factors and. the singers' interaction the voices, and certain principles of part-writing distinct (Lortat-Jacob, 1990, 1993), ernie conceptualization and from those of classical European harmony (see Melgunov, symbolism (Rice, 1980), and responses to social and 1979). He introduced the terms 'zapev' for the solo political change and the manner in which polyphonic introduction sung by the 'zapevala' (intoner) and 'pod genres have sometimes assumed an emblematic role in golosok' (literally, 'undervoicelet') for subsidiary voices. issues of national identity (Petrovic, 1995; Bithell, 1996, Despite the essential work on partsinging in Russian 1997). Romer (1983) and Macchiarella (1994) have villages by Nikolay Palchikov ( 18 88) and Nikolay Lopatin investigated formal and stylistic relations between oral and Vasily Prokunin (1889), many scholars continued to and written traditions in sacred music with reference to doubt its existence. Definitive proof was provided by Corsica, Sardinia and Sicily. Yevgeniya Lineva (1853-1919), who in 1904 published The increased valorization of polyphony in the late her seminal work, The Peasant Songs of Great Russia, 20th century, as reflected in the number of international transcribed from phonograms (see Taruskin, 1996, conferences and festivals devoted to polyphonic singing, pp.723-32). has been charted by Goffre (1990). In Corsica and In 1937 Yevgeny Gippius and Zinaida Eval'd pointed elsewhere this has led to reconstructions of semi-forgotten out that the functional differentiation of voices in north polyphonic repertories and, following the trend-setting Russian choirs was reflected in folk terminology. In 1979 phenomenon of the Mystere des voix bulgares recordings, Anna Rudneva, Svetlana Pushkina, B. Shchurovand other the generation of new compositions based on traditional Russian musicologists used multi-channel recording to styles, accompanied by a shift from the domain of popular capture exactly what each voice was singing. As a result, expression to that of artistic product. Folk polyphonic the concept of Russian polyphony as based on one main practices have also attracted renewed attention for the voice accompanied by subsidiary voices was revised; most light they might throw on questions of performance Russian ethnomusicologists no longer speak of podgo practice in former times. loski, preferring instead to refer to the wide range of 3. RussiA AND WEST-CENTRAL AsiA. With the exception polyphonic textures that reflect variations in musical of parts of Siberia and central Asia, partsinging is thinking and local traditions. In Estonia the most ubiquitous in Russia, Belarus' (especially in the Poles'ye significant multi-channel recordings of Setu partsinging region) and Ukraine, including the multi-ethnic Volga (the Orthodox ethnic group in southeastern Estonia, on River basin (especially Mordoviya and Komi, as well as the Russian border) were made by Yaan Sarv in 1980. the republics of Udmurtiya and Mari, and among the so The similarity between Setu and Mordoviyan partsinging called Tatar-Kryashen), in all three Baltic countries rna y reflect the extended contact between the two peoples (Latvia, Lithuania and Estonia), and in the northern, in the remote past. Villis Bendorfs has hypothesized a central and western sections of the Caucasus (Georgia, kinship between Baltic, Balkan and Caucasian multi-part Osetiya, Abkhaziya, Adygey and western Dagestan), as singing based on the drone principle (Zhordaniya, 1988). well as in the Carpathian Mountains and throughout the Five main types of Russian vocal polyphony have been Balkans. identified. The first is monodic, that is, the singing is There are two types of singing ensemble in the region. almost in unison (sometimes described as 'wide unison'; One involves groups that are 'closed' in terms of Eval'd called this 'unison-heterophonic'). The second is membership; the same people sing together for years. The truly heterophonic and is widespread from the Smolensk second, associated with collective activities such as line region in the west to the White Sea in the north: its many dances, harvesting and indoor working parties, is 'open' local and structural variations include parallel octaves (in to all who know the tradition, though in practice groups the Ural Mountains) and other forms of multi-registered

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Verizon Wireless Exhibit 1043-0018 Polyphony, §II, 4: Africa 81 singing. These types can be distinguished by the intentions are sung simultaneously at such rituals as weddings, of the performers: in the first, the intention is monophonic spring-summer circles or women's cemetery laments but produces a heterophonic result; in the second, the (Folkways 40462). A rare wedding canon has been intention is polyphonic and creates a heterophonic recorded in the Bel' gorod region of southern Russia. In structure. the old Russian settlements of the Urals, the middle Volga The third type of Russian polyphony consists of a and Sibir', another type of partsinging involves two voices melody and a drone sung to a text. It is especially typical moving mainly in parallel 3rds. This style, which resem of the Bryansk region in the west and the Voronezh region bles Western European homophony, is also characteristic in the south. At cadences, the drone merges into a unison of urban songs and peasant songs in the so-called late or octave with the melody. The drone may be above or traditional style. below the melody, or it may frame it both above and The Mordoviyan (or Mordviniyan) tradition of multi below (a frame of droning 5ths is characteristic of the part singing is one of the most remarkable among the Bel' go rod region). Along the River Oka and in some areas Finno-Ugric peoples. There are three main types: hetero around Bryansk is found the so-called fake drone, which phonic, three-part polyphony, and a two-part texture (in is not sung by a single voice but emerges from the which the upper voice, or vtora, often duplicates the bass combination of several voices. Drone polyphony (espe melody at the interval of a 3rd) akin to the style of Russian cially with a two-part drone) is also popular in the and Ukrainian group singing in the late 19th century and Balkans, Latvia and Belarus'. the early 20th. Three-part polyphony is most characteris The fourth- and the mostwidespreadand characteristic tic of Mordoviyan folksong; it consists of a lower voice -type of Russian polyphony is that in which two voices (alu vaygyal), upper voice (vyari vaygyal) and middle are differentiated in range, register, timbre and melody. voice (mora vaygyal; literally, 'voice of a song'). Both The lower, leading voice is sung by a chorus, sometimes lower and upper voices function as drones, while the heterophonically, and is called the 'bass' (bas) or 'thick' middle voice is a kind of cantus firmus. The upper voice (tolstiy) voice, whether sung by men or women. The correlates to the middle voice at the interval of a 5th. higher voice consists of an anhemitonic tune without text. Although all three parts are intrinsically heterophonic, Among the Cossacks in the South, it is sung by a solo they are functionally homogeneous within the polyphonic singer known as a golosnik or diskant; in the north it is texture. This complex form has become more or less clear sung by a chorus to the same melody as the bass and one only since the development of recordings made with octave above it. In central Russia, among non-Slavic multiple microphones. Finno-Ugric peoples such as the Mordoviyans, Udmurt 4. AFRICA. Sub-Saharan Africa provides such a rich and Komi-Permyak, the bass voice is commonly accom variety of multi-part singing styles that it was regarded by panied by an improvised descant (podvodka), as docu some comparative musicologists almost as a laboratory mented by Margarita Yengovatova (1989). The most for the study of how polyphony may have evolved. Three elaborate examples of this type of sung polyphony are factors may be seen to play an important part in such found among the Old Believers (semeyskiye) in Siberia, diversity. First there is the essentially participatory nature around Lake Baykal and the Buryat city of Ulan-Ude of African music-making. Second, the ubiquitous use of (Zemtsovsky, 1972; Dorofeyev, 1989; Shchurov, 19 98). call and response demands two or more voic:e parts by its The many folk expressions relating to this type of very nature, and overlapping of parts frequently gives rise polyphony show that Russian villagers recognize the to polyphony. Third, the use of cyclical forms, some as texture of partsinging as polyphonic. brief as a few seconds, provides repetitive frameworks The fifth type of polyphony involves three functionally which encourage variation making. Rycroft's study of the distinct voices. It is found in central and southern Russia multi-part organization of Nguni vocal music (1967) in the regions around Bel'gorod, Voronezh and Ryazan', adopted a circular model based on its cyclical form to and among the Don Cossacks and Mordviniyans. Most demonstrate how overlapping, non-simultaneous entry of of the singers perform a texted bass part. The second voices and choral ostinatos could all contribute to the voice (golosnik) is an upper drone, sometimes without polyphonic texture of Zulu, Xhosa and Swazi songs. He text. The third or 'thin' voice (tonkiy golos) is performed also pointed out how such singing can be linked to the by at least two women in heterophony with the bass; their innately polyphonic nature of musical bows (both gourd voice production is characteristically tense. Dmitry Pok and mouth-bows), the strings of which produce a drone rovsky (1980) discovered four functional parts within this bass (which can be varied during play), each drone pitch general type among the Cossacks: a relatively stable bas; supporting simultaneously its own set o:f harmonics, a decorative and relatively independent diskant; an which are selectively emphasized as required. unnamed and previously unrecognized part that somehow Much partsinging among Bantu peoples is homophonic, coordinates the other parts; and another voice called using mostly parallel motion. This parallelism follows tenor in close contact with the third part. mainly from the need to preserve tonal structures inherent In general, the more complicated the polyphonic in Bantu and other languages. Kubik ( 19 94) demonstrated structure, the fewer the singers involved. It has also that an underlying principle of 'skipping' (of notes in the become clear that these complicated traditions require a scale) leads to partsinging in 3rds among peoples using kind of specialization and that there are certain master heptatonic systems (exceptions occur south of latitude singers capable of creating complex forms while leading 14-15'S), and in 4ths (with occasional3rds) in pentatonic these polyphonic performances. areas. In the case of the former he suggested that a scale In the 1920s Gippius recorded duets and trios in the temperament is adopted to avoid producing minor 3rds. Russian north sung by men and having independent However, Kubik pointed out instances where parallelism voices, but this style seems to have disappeared. Yet is present only in theory, and cited singing in eastern another kind of polyphony occurs when different songs Angola, where a relatively loose combination of voices,

PAGE 19

Verizon Wireless Exhibit 1043-0019 82 Polyphony, §II, 4: Africa fluctuating between triads, bichords and more or less W.P. Maim: 'On theMeaningandlnvention of the Term J. F dense accumulations of notes, leads to a rich texture. "Disphony'",EthM, xvi (1972), 247-9 T. Rice: 'Aspects of Bulgarian Musical Thought', YIPMC, xii (1980), u. Brandel also remarked that in Africa different polyphonic 43-66 features rarely occur in isolation butmayoftenintermingle L. Aubert, ed.: Cahiers de musiques traditionelles VI: Polyphonies T.l within one piece and may appear in any vocal and (Geneva, 1993) [complete issue] instrumental combination (HDM2, p.19). U. Sharvit: 'Jewish Musical Culture: Past and Present', World of ' Simha Arom concerned himself mostly with polyphony Music, xxxvii/l (1995), 3-17 ]. s Voices ofthe World: an Anthology of Vocal Expression, I produced by melodic instruments in his major work on CNRS/Musee de !'Homme CMX 3741010-12 (1996) [third CD ( African polyphony and polyrhythm (1985), but he and devoted to polyphony] J. s colleagues have analysed the similarly complex vocal THE MEDITERRANEAN a Le, polyphony of pygmy and Bushman peoples. For example, V. Stain: Hypothese sur l'origine bulgare de Ia diaphonie (Sofia, I.D Furniss (1990) identified four different principal melodic 1925) } M. Schneider: Geschichte der Mehrstimmigkeit: historische und parts in the singing of certain songs of Aka pygmies: n motangole, the part that carries the text; ngue wa Lembo, phiinomenologische Studien (Berlin, 1934-5, 211969) A.< C. Rihtman: 'Les formes polyphoniquesdans Ia musique populaire de 'the mother of the song'; osese, 'underneath'; and diyei, 0 Bosnie et d'Herzegovine',JIFMC, iv (1952), 30-35 'yodel'. Even when performing alone a singer will draw B. I V. Zganec: 'Folklore Elements in the Yugoslav Orthodox and Roman p readily from more than one of these four parts during a Catholic Liturgical Chant',JIFMC, viii (1956), 19-22 ( D. and E. Stockmann: 'Die vokale Bordun-Mehrstimmigkeit in performance. Furniss and Olivier, comparing the superfi I.N Siidalbanien', Ethnomusicologie III [and IV]: Wegimont IV [recte cially similar polyphonic sounds of pygmy and Bushman e V] 1958 and 1960, 85-135 peoples (1997, p.25), confirmed the findings of England I.l\1 P. Collaer: 'Polyphonies de tradition populaire en Europe (1967), who showed that tbe different melodic strands of n mediterraneenne',AcM, xxxii (1960), 51-66 D. ( Bushman polyphony result from the application of R.D. Katsarova-Kukudova: 'Phenomenes polyphoniques dans Ia (1 musique populaire bulgare', SMH, iii (1962), 161--72 variation techniques to a single melody. These techniques A.F A. Elschekova: 'Der mehrstimmige Volksgesang in der Slowakei', include rhythmic displacement, imitation and melodic d ]IFMC, XV (1963), 49-53 transposition up or down at the 4th or 5th. Thus Bushman (: R. Petrovic: 'Two Styles of Vocal Music in the Zlatibor Region of A.F polyphony is conceptualized as monophonic, Aka music West Serbia',JIFMC, xv (1963), 45-8 as polyphonic. Yodelled parts, common in both Bushman d D. Stockmann: 'Zur Vokalmusik der siidalbanischen <;:amen', 4 ]IFMC, XV (1963), 38-44 and pygmy singing (as well as in that of some related A.F peoples), are also heard as ostinatos among the rich E. Emsheimer: 'Some Remarks on European Folk Polyphony', S; mosaic of parts which make up the edho (polyphonic) ]IFMC, xvi (1964), 43-6 A. C songs of the Dorze people of southwestern Ethiopia S. Peristeris: 'Chansons polyphoniques de l'E pire du Nord', ]IFM C, xvi (1964), 51-3 v B.L (Lortat-Jacob, 1994). D. Stockmann, W. Fiedler and E. Stockmann: Albanische q• Recent developments in many parts of Africa include Volksmusik, i: Gesiinge des r;;amen (Berlin, 1965) (1 C. Rihtman: 'Mehrstimmigkeit in der VolksmusikJugoslaviens', the composition of polyphonic religious works by West I.M JIFMC, xviii ( 1966), 23-8 ern-schooled musicians (for examples, see Kishila 1 ~ N. Kaufman: Balgarskata mnogoglasnanarodna pesen [Part-singing w'Itunga, 1987) and the frequent use of multipart singing A.R in Bulgarian folk music] (Sofiya, 1968) in popular genres such as Nigerian juju. S. Baud-Bovy: 'Chansons d'Epire du Nord et duPont', YIFMC, iii c I.M (1971), 120-27 BIBLIOGRAPHY sc F. Quilici: 'Polyphoniesvocales traditionnelles en Corse', RdM, !vii WESTERN Poli) (1971), 3-10 RiemannL12 (H.H. Eggebrecht); SchillingE A.P• R. Leydi, ed.: I canti popolari italiani (Milan, 1973) A. Kircher: Musurgia universalis sive ars magna cons ani et dissoni 6( I. Markoff: 'Two-part Singing from the Razlog District of (Rome, 1650/R) N.A Southwestern Bulgaria', YIFMC, vii (1976), 134-44 H. C. Koch: Versuch einer Anleitungzur Komposition (Leipzig and (P A. Petrovic: Ganga: a Form of Traditional Rural Singing in Rudolstadt, 1 782-9 3) M.l Yugoslavia (diss., U. of Belfast, 1977) H.C. Koch: Musikalisches Lexikon (Frankfurt, 1802/R, rev. as 1~ T.F. Rice: Polyphony in Bulgarian Folk Music (diss., U. of 3/1865) C.B Washington, 1977) H. Bellermann: Der Kontrapunkt (Berlin, 1862) th R. De Simone: Canti e tradizioni popolari in Campania (Rome, H. Mendel and A. Reissmann, eds.: Musikalisches Converstions- E> 1979) Lexikon, viii (Berlin, 1877, 3/1891/R) C. B: G.F. Messner: Die Schwebungsdiaphonie in Bistrica: G. Adler: DerStil in der Musik (Leipzig, 1911, 211929) T1 Untersuchungen der mehrstimmigen Liedformen eines S. Gunther: Mod erne Polyphonie (Berlin, 1930) 15 H.J. Moser: Musiklexikon (Berlin, 1932-5, 411955; suppl. 1963) mittelwestbulgarischenDorfes (Tutzing, 1980) D.s, T. Rice: 'Aspects of Bulgarian Musical Thought', YIF MC, xii ( 1980), A. Webern:Der Weg zur neuen Musik (Vienna, 1933; Eng. trans., B.L< 43-66 1965) Sa S. Fuller: 'Early Polyphony', NOHM, ii (1954, 211990 as The Early B. Kruta: Aperqus de Ia polyphonie albanaise et rapports de genese Middle Ages to 1300), 485-556 (Tirana, 19 81) B. Nett!: 'Notes on the Concept and Classification of Polyphony', M. Agamennone and S. Facci: 'La trascrizione delle durate nella Festschrift Friedrich Blume, ed. A.A. Abert and W. Pfannkuch polivocalita popolare a due parti in Italia', Culturemusicali, ill (Kassel, 1963), 247-51 (1982), 87-103 A. Schaeffner: 'Variations sur deux mots: Polyphonie, heterophonie', J. Chailley: 'La messe polyphonique du village de Rusio', RdM, lxviii (1982), 164-78 RBM, XX (1966), 43-64 H. W. Zimmermann: 'Uber homo gene, heterogene und M. Romer: Schriftliche und miindliche Traditionen geistlicher polystilistische Polyphonie', Musik und Kirche, xli (1971), 218-28 Gesiinge aufKorsika (Wiesbaden, 1983) R. Stephan: 'Schiinbergs Entwurfiiber "DasKomponierenmit J. Ranita de Nazare: Prolegomenes a l'ethnosociologie de lamusique y, selbstiindigenStimmen'", AMw, xxix (1972), 239-56 (Paris, 19 84) I.I.Z W. Frobenius: 'Polyphon, polyodisch' (1980), HMT P. Arcangeli and P. Sassu: 'Esempi di polivocalita nel repertorio fol liturgico di tradizione orale in Italia', Musica e liturgia nella NON-WESTERN POLYPHONY: GENERAL cultura mediterranea: Venice 1985, 39-64 M. Schneider: Geschichte der Mehrstimmigkeit: historische und S. Facci: 'Quindici esempi di polifonia tradizionale',l'orme e phiinomenologischeStudien, i: Der Naturvolker (Berlin, 1934, comportamenti della musica folklorica italiana, ed. G. Giuriati 211969) (Milan, 1985), 45-93

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Verizon Wireless Exhibit 1043-0020 Polyphony: Bibliography 83

]. Ranita de Nazare: Momentos vocais do Baixo Alentejo: A. V. Rudneva, B. Shchurov and S.I. Pushkinm: Russkiye narodni"ye cancioneiro de tradiciio oral (J~isbon, 1986) pesni v mnogomikrofonnoy zapisi [Russian folksongs in multi :o), I. Macchiarella: 'La polivocalita in Sicilia', Quaderni: ente autonomo microphone recording] (Moscow, 1979) Teatro Massimo, ii/1 (1987), 66-79 G.F. Messner: Die Schwebungsdiaphoniein Bistrica: T. Rice: 'UnderstandingThree-PartSinging in Bulgaria: the Interplay Untersuchungender mehrstimmigen Liedformen eines of Theory and Experience', Selected Reports in Ethnomusicology, mittelwestbulgarischenDorfes (Tutzing, 1980) vii (1988), 43-58 D. V. Pokrovsky: 'Fol'klor i muzlkal'noye vospriyatiye' [Folklore and J. Sugarman: 'Making Muabet: the Social Basis of Singing among musical perception], Vospriyatiye muzi"ki, ed. V. Maksimov Prespa Albanian Men', Selected Reports in Ethnomusicology, vii (Moscow, 1980), 244-56 D (1988), 1-42 N. Boyarkin:Mordovskoyenarodnoye mu:;:;i"kal'noye iskusstvo [The ]. Sugarman: 'The Nightingale and the Partridge: Singing and Gender art of Mordviniyan folk music] (Saransk, 1983) among Prespa Albanians',EthM,xxxiii (1989), 191-215 ]. Jordania [Zhordaniya]: 'Georgian Folk-Singing: its Sources, Le chant rtiligieux corse: Corte 19 90 Emergence and Modern Development', International Social I. De Gaudio: Glialbanesi di Calabria: canti bivocali delle comunita Science Journal,xxxvi/3 (1984 ), 537-49 Arbiireshii (provincia di Cosenza), Albatros VPA 8501 (1990) [disc J. J ordania [Zhordaniya ], ed.: Voprosi" narodno go mnogogolosiya notes] [The problems offolk partsinging] (Tbilisi, 1988) A. Goffre: 'Neopolyphonies, pourquoi?', Polyphonies de tradition N .I. Dorofeyev: Russkiye narodniye pesni Zabaykal' ya: semeyskiy rede orale: Royaumont 1990, 85-99 raspev [Russian folksongs from around Lake Baikal: the Old B. Lortat-Jacob: 'Sa voir les chanter, pouvoir en parler: chants de Ia Believer's partsingingstyle] (Moscow, 1989) man Passion en Sardaigne', Cahiers de musiques traditionnelles, iii M.A. Yengovatova: 'Dvukhgolosiye s podvodkoy v kul'ture russkoy (1990), 5-22 liricheskoy pesni' [Two-part singing with pod vodka in the culture I. Macchiarella: 'I canti della settimana santa in Sicilia', L'indagine of Russian lyric songs], Pesennoye mnogogolosiye narodov Rossii etnomusicologica, ed. G. Garofalo (Palermo, 1990), 109-26 I. Macchiarella: 'La polivocalita di tradizione orale in Italia', Canti e (Moscow, 1989),23-7 musiche popolari, ed. R. Leydi (Milan, 1990), 144-50 I.M. Zhordiniya: Gruzinskoye traditsionnoye mnogogolosie v D. Cantella: La paghjella corsa eIa polivocalita dell'Italia insulare mezhdunarodnom kontekste mnogogolosni"kh kul'tur(Tbilisi, (thesis, U. of Bologna, 1990-91) 1989) A. Petrovic: 'Les techniques du chant villageois dans les Alpes Polyphonies de tradition orale: Royaumont 19 90 dinariques (Yougoslavie)', Cahiers de musiques traditionnelles ,iv Les polyphonies populaires russes: Royau mont 19 91 (1991), 103-15 Zh. Pyartlas: Geterofonnoye mnogolosiye russkoy narodnoy pesni: A. Ricci:' A chissi lochi un c'haju cantatu an cora: canti polivocali opredeleniye fenomena, zakonomernosti obrazovaniya i della provincia di Cosenza', Quaderni calabresi, no.73 (1991), stroyeniya [Heterophonic partsinging in Russian folk music: a 42-54 definition of the phenomenon, the regularities of formation and A. Ricci: 'Polivocalita tradizionale di Torano Castelloe Sartano', the structure] (St Petersburg, 1992) Studimusicali, xx (1991),3-38 L. Aubert, ed.: Cahiers de musiques traditionnelles VI: Polyphonies A. Caufriez: 'Les poly phonies du nord du Portugal', SEEM a (Geneva, 1993) [complete issue] Valencia: encontresses del Mediterrani (Valencia, 1992), 61-75 N. Boyar kin: Fenomen traditsionnogo instrumental'no go B. Lortat-Jacob: 'En accord, poly phonies de Sardaigne: quatre voix mnogogolosiya: na materiale mordovskoy muzi"ki [The qui n'en font qu'une', Cahiers de musiques traditionnelles, vi phenomenon of traditional instrumental polyphony in (1993), 69-86 Mordoviyan music] (St Petersburg, 1995) I. Macchiarella: I canti della settimanasanta in Sicilia (Palermo, Voices of the World: an Anthology o fV ocal Expression, 1993) CNRS/Musee de !'Homme CMX 374 1010-12 (1996) [3rd CD A. Ricci: 'Quelques aspects du chant polyphonique traditionnel en devoted to polyphony] Calabre', Cahiers de musiques traditionnelles, vi (19 9 3 ), 87-98 A. Rakhayev: Narodno-pesennoye iskusstvo Balkarii i Karachaya I. Macchiarella: II falsobordone fra tradizione orale e tradizione [The folksong art of Balkariya and Karachay] (St Petersburg, scritta (Lucca, 19 94) 1996) Polifonie: procedimenti, tassonomie e forme: Venice 1995 R. Taruskin: Stravinsky and the Russian Traditions (Oxford, 1996) A. Petrovic: 'Perceptions of ganga', World of Music, xxxvii/2 (1995), V .M. Shchurov: Stilevi"ye osnovi" russkoy narodnoy muzi"ki [The 60-71 stylistic basis of Russian folk music] (Moscow, 1998) N. Acquaviva and others: Polyphonies corses: !'argue et Ia voix 0. Velichkina: Playing Panpipes in Southern Russia: History, (Paris, 1996) Ethnography and Performance Practices (diss., Ohio State U ., M. Agamennone, ed.: Polifonia:una riflessione a piu voci (Venice, 1998) 1996) C. Bithell: 'Polyphonic Voices: Nationa!Identity, World Music and AFRICA the Recording of Traditonal Music in Corsica', British Journal of HDM2 (R. Brandel) Ethnomusicology, v (1996), 39-66 R. Brandel: 'Polyphony in African Music', The Commonwealth of C. Bithell: Issues of Identity and Transformation in the Revival of Music, inHonorofCurtSachs, ed. G. Reese and R. Brandel (New Traditional Song in 20th Century Corsica (diss., U. of Wales, York, 1965),26-44 1997) N. England: 'Bushman Counterpoint',JIFMC, xix (1967), 58-66 D. Salini: Musiques traditionnellesde Corse (Ajaccio, 1996) D. Rycroft: 'Nguni Vocal Polyphony',JIFMC,xix(1967), 88-103 ), B. Lortat-Jacob: Chants de Passion: au coeur d'une confrerie de S. Arom: Polyphonies et polyrythmies instrumentales d'Afrique Sardaigne (Paris, 1998) Centrale (Paris, 1985; Eng. trans., 1991) RUSSJA AND WE5T-CEN1RAL ASJA Kishila w'Itunga: 'La premiere messe polyphonique de]. Kiwele', Les Ye. Lineva: The Peasant Songs of Great Russia (St Petersburg, nouvelles rationalites africaines, ii/8 (19 87 ), 7 38-57 1905-12) Aka Pygmy Music/Musique des Pygmees Aka, coli. S. Arom, M. Schneider: Geschichteder Mehrstimmigkeit: historischeund Auvidis/Unesco Paris CD D 8020 (1989) phiinomenologischeStudien (Berlin, 1934-5, 2/1969) S. Furniss: 'Rigueur et Iiberti" Ia polyphonie vocale des Pygmees E. Emsheimer: 'Some Remarks on European Folk Polyphony', Aka', Polyphonies de tradition orale: Royaumont 1990, 101-31 ]!FMC, xvi ( 1964 ), 43-6 G. Kubik: 'Homophonic Multi-Part Singing in the Bantu Musical G. Waldmann: 'Mehrstimmiges Singen im slawischen Bauernlied', Cultures of East and Central Africa', Theory of African Music, i Volksmusik Sudosteuropas: Graz 1964,98-108 (Wilhelmshaven, 1994 ), 171-209 I.I. Zemtsovsky: Obraztsi"narodnogo mnogogolosiya [Examples of B. Lortat-Jacob, ed.: 'Ethiopia',Polyphony of the Dorze CD CNR folk polyphony] (Leningrad and Moscow, 1972) 274646 (1994) [disc notes] Der Bordun in d er europiiischen V olksmusik: St Pol ten 1973 S. Furniss and E. Olivier: 'Systematique musical pygmee et R. Brandl: 'Dber das Phanomen Bordun (drone): Versuch einer Bochiman: deux conceptions africaines du contrepoint', Musurgia: Beschreibung von Funktion und Systematik',Studien zur Musik analyse et pratique musicales,iv/3 (1997), 9-30 Siidost-Europas, ed. K. Reinhard (Berlin, 1976), 90-121 WOLF FROBENIUS (!),PETER R. COOKE (II, 1, 4), CAROLINE Yu.N. Melgunov: Russkiye pesni, i (Moscow, 1979) BITHELL (II, 2), IZALY ZEMTSOVSKY (II, 3)

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Verizon Wireless Exhibit 1043-0021 THE NEW GROVE Dictionary of Music and Musicians

SECOND EDITION

Edited by Stanley Sadie

Executive Editor John Tyrrell

VOLUME 25

Taiwan to Twelve Apostles

~ GROVE

PAGE 22

First Edition of A Dictionary of Music and Musicians, planned and edited by SIR GEORGE GROVE, DCL, in four volumes, with an Appendix edited by J .A Fuller Maitland, and an index by Mrs Edmond Wodehouse, 1878, 1880, 1883, 1889 Reprinted 1890, 1900

Second Edition, edited by ].A FULLER MAITLAND, in five volumes, 1904-10

Third Edition, edited by H.C. CoLLES, in five volumes, 1927

Fourth Edition, edited by H.C. COLLES, in five volumes, with Supplementary Volume, 1940

Fifth Edition, edited by ERIC BLOM, in nine volumes, 1954; with Supplementary Volume 1961 Reprinted 1961, 1973, 1975

American Supplement, edited by WALDO SELDEN PRATT, in one volume, 1920 Reprinted with new material, 1928; many later reprints

The New Grove Dictionary of Music and Musicians™ second edition edited by STANLEY SADIE/ executive editor jOHN TYRRELL, published in twenty-nine volumes in the year 2001

This edition is distributed within the United Kingdom and Europe by Macmillan Publishers Limited London, and within the United States and Canada by Grove's Dictionaries Inc., New York

British LibraryCataloguingin Publication Data Library of Congress Cataloging in Publication Data The New Grove dictionary of music and musicians.- 2nd ed. The new Grove dictionary of music and musicians I edited by 1. Music- Dictionaries 2. Musicians -Dictionaries Stanley Sadie; executive editor, John Tyrrell. -2nd ed. I. Sadie, Stanley, 1930- p. em. ISBN 0-333-60800-3 Includes bibliographical references and index. ISBN 1-56159-239-0 (cloth: alk.paper) 1. Music-Encyclopedias. 2. Music-Bio-bibliography. I. Sadie, Stanley. II. Tyrrell, John. MLlOO .N48 2000 780' .3-dc21 00-0055156

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Verizon Wireless Exhibit 1043-0023 Teyber: (2) Elisabeth Teyber 323

E.E. Lowinsky: 'A Treatise on Text Underlay by a German Disciple (e.g. most solo song with piano accompaniment), and ofFranciscode Salinas', Festschrift Heinrich Besseler, ed. E. Klemm(Leipzig, 1961), 231-51 polyphonic (or contrapuntal) treatment, in which several E.E. Lowinsky, ed.: The Medici Codex of1518 (Chicago, 1968), i, parts move independently or in imitation of one another 90-107 (e.g. fugue, canon). Between these two extremes is a free D. Harran: 'New Light on the Question of Text Underlay Prior to part style (Ger. Freistimmigkeit), characteristic of much ources, Zarlino' ,AcM, xlv (1973), 24-56 19th-century writing for the piano, in which the number tain or D. Harran: 'Vicentino and his Rules of Text Underlay', MQ, lix (1973), 620-32 of parts can vary within a single phrase. The spacing of ivered, L.L. Perkins: 'Toward a Rational Approach to Text Placement in the chords may also be considered an aspect of texture; so 1, then Secular Music of Dufay's Time', Dufay Conference: Brooklyn, may the 'thickness' of a sonority as determined by the nay be NY, 1974,102-14 number of parts, the amount of doubling at the unison or -lay by H.M. Brown: 'Words and Music in Early 16th-Century Chansons: octave, the 'lightness' or 'heaviness' of the performing pplica Text Underlay in Florence, Biblioteca del Conservatorio, MS forces involved and the arrangement of instrumental lines Basevi 2442',Formen und Probleme der tJberlieferung taterial mehrstimmiger Musik im Zeitalter ]osquins Desprez: Wolfenbuttel in an orchestral work. Although textural control has been ~rality, 1976,97-141 a major consideration for composers since the Middle D. Harrim: 'In Pursuit of Origins: the Earliest Writing on Text Ages, with the advent of twelve-note composition and Underlay (cl440)', AcM, 1 (1978), 217-40 serialism in the 20th century and the consequent break L.L. Perkins and H. Garey, eds.: The Mellon Chansonnier (New down of the tonal system in Western art music, texture Haven,CT, 1979), i, 137-48 M. Bent: 'Text Setting in Sacred Music of the Early 15th Century: became an even more important feature of composition. Evidence and Implications', M usik und Text in der This tendency can be seen particularly in works of Mehrstimmigkeit des 14. und 15. ]ahrhunderts: Wolfenbuttel We bern, in works (especially aleatory music) of Ives and 1980,291-326 Cowell and of Varese, and in the distinctive textures of Harran: 'On the Question ofWord-ToneRelations in Early Crumb and Ligeti. Music', ibid., 269-89 Tirro: 'La stesura del testa nei manoscritti di Giovanni Spataro', The word does not have an exact equivalent in any . RIM, XV (1980), 31-70 other language; the etymologically related Italian 'testura' Brown, ed.: A Florentine Chansonnier from the Time of and 'tessitura' refer to the register of a single part, usually Lorenzo the Magnificent, i (Chicago, 1983 ), 168-80 vocal. Only the German SATZ, which in certain contexts Jonsson and L. Treitler: 'Medieval Music and Language: a denotes contrapuntal organization (Dezimensatz- coun Reconsideration of the Relationship', Music and Language (New York, 1983), 1-23 terpoint round the interval of a lOth) or part-writing style Harriin: Word-Tone Relations in Musical Thought: from (Kantilenensatz- in the style of 14th- and 15th-century to the Seventeenth Century, MSD, xi (1986) [incl. song with a melodic upper voice and more 'accompani bibliography] mental' lower voices), approaches the meaning oftexture. . Edwards: 'Text Underlay in Marguerite of Austria's Chanson Album Brussels 228', Muziek aan het hofvan Margaretha van BIBUOGRAPHY •Oostu,.> of performance such as articulation and orchestra early in 1788, was probably no relation. level. In discussions of texture a distinction is made between homophony, in which all the (2) Elisabeth Teyber (b Vienna, hap. 16 Sept 1744; d rhythmically dependent on one another or there Vienna, 9 May 1816). Soprano, daughter of (1) Matthiius distinction between the melodic part and the Teyber. After study with Hasse and Tesi she made her parts carrying the harmonic progression career mainly in Italy, following a series of Vienna

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Verizon Wireless Exhibit 1043-0024