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A bar from 's ' No.17 in A flat', BWV 862, from (Part I), a famous example of. Polyphony is a type of musical consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, or a texture with one dominant melodic voice accompanied by,.Within the context of the Western musical tradition, the term polyphony is usually used to refer to of the late. Forms such as, which might be called polyphonic, are usually described instead as. Also, as opposed to the species terminology of counterpointpolyphony was generally either 'pitch-against-pitch' / 'point-against-point' or 'sustained-pitch' in one part with of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls 'dyadic counterpoint', with each part being written generally against one other part, with all parts modified if needed in the end.

This point-against-point conception is opposed to 'successive composition', where voices were written in an order with each new voice fitting into the whole so far constructed, which was previously assumed.The term polyphony is also sometimes used more broadly, to describe any musical texture that is not monophonic. Such a perspective considers homophony as a sub-type of polyphony.

Contents.Origins Traditional (non-professional) polyphony has a wide, if uneven, distribution among the peoples of the world. Most polyphonic regions of the world are in, Europe and Oceania.

It is believed that the origins of polyphony in traditional music vastly predate the emergence of polyphony in European professional music. Currently there are two contradictory approaches to the problem of the origins of vocal polyphony: the Cultural Model, and the Evolutionary Model. According to the Cultural Model, the origins of polyphony are connected to the development of human musical culture; polyphony came as the natural development of the primordial monophonic singing; therefore polyphonic traditions are bound to gradually replace monophonic traditions. According to the Evolutionary Model, the origins of polyphonic singing are much deeper, and are connected to the earlier stages of human evolution; polyphony was an important part of a defence system of the hominids, and traditions of polyphony are gradually disappearing all over the world.: 198–210Although the exact origins of polyphony in the Western church traditions are unknown, the treatises and, both dating from c.

900, are usually considered the oldest extant written examples of polyphony. These treatises provided examples of two-voice note-against-note embellishments of chants using parallel octaves, fifths, and fourths. Rather than being fixed works, they indicated ways of improvising polyphony during performance.

1000, is the oldest extant example of notated polyphony for chant performance, although the notation does not indicate precise pitch levels or durations. European polyphony Historical context European polyphony rose out of, the earliest harmonization of the chant. Twelfth-century composers, such as and developed the organum that was introduced centuries earlier, and also added a third and fourth voice to the now homophonic chant. In the thirteenth century, the chant-based tenor was becoming altered, fragmented, and hidden beneath secular tunes, obscuring the sacred texts as composers continued to play with this new invention called polyphony. The lyrics of love poems might be sung above sacred texts in the form of a, or the sacred text might be placed within a familiar secular melody.

The oldest surviving piece of six-part music is the English (c. 1240).These musical innovations appeared in a greater context of societal change. After the first millennium, European monks decided to start translating the works of Greek philosophers into the vernacular.

Western Europeans were aware of, and during the Middle Ages. However they had largely lost touch with the content of their surviving works because the use of as a living language was restricted to the lands of the Eastern Roman Empire. Once these ancient works started being translated thus becoming accessible, the philosophies had a great impact on the mind of Western. This sparked a number of innovations in medicine, science, art, and music.Western Europe and Roman Catholicism Part of onMusic ofthe era.European polyphony rose prior to, and during the period of the., the seat of the, was a vigorous center of secular music-making, much of which influenced sacred polyphony.It was not merely polyphony that offended the medieval ears, but the notion of secular music merging with the sacred and making its way into the papal court.

It gave church music more of a jocular performance quality removing the solemn worship they were accustomed to. The use of and attitude toward polyphony varied widely in the Avignon court from the beginning to the end of its religious importance in the fourteenth century. Harmony was not only considered frivolous, impious, and lascivious, but an obstruction to the audibility of the words. Instruments, as well as certain modes, were actually forbidden in the church because of their association with secular music and pagan rites. Dissonant clashes of notes give a creepy feeling that was labeled as evil, fueling their argument against polyphony as being the devil's music. After banishing polyphony from the Liturgy in 1322, spoke in his 1324 warning against the unbecoming elements of this musical innovation., however, indulged in it.The oldest extant polyphonic setting of the attributable to one composer is 's, dated to 1364, during the pontificate of.More recently, the (1962–1965) stated: 'Gregorian chant, other things being equal, should be given pride of place in liturgical services. But other kinds of sacred music, especially polyphony, are by no means excluded.

Religious singing by the people is to be skillfully fostered, so that in devotions and sacred exercises, as also during liturgical services, the voices of the faithful may ring out”. Notable works and artists.,., Missa super Bella'Amfitrit'altera.,.,.,.,Protestant Britain and the United States English Protestant included polyphonic multi-melodic harmony, including, by the mid-18th century.

This tradition passed with emigrants to North America, where it was proliferated in tunebooks, including books like. While this style of singing has largely disappeared from British and North American sacred music, it survived in the rural, until it again began to grow a following throughout the United States and even in places such as Ireland, the United Kingdom, Poland, Australia and New Zealand, among others. Balkan region. Albanian polyphonic folk group wearing and in.Polyphonic singing in the Balkans is traditional folk singing of this part of southern Europe. It is also called ancient, archaic or old-style singing., in, and., in Croatia, and., in northern and southern Albania (see below).

Iso-polyphony in southern Albania (see below). singing, in, Bosnia and Herzegovina, Croatia and Albania. singing, in Serbia. Woman choirs of and, inIncipient polyphony (previously primitive polyphony) includes and, and.Balkan drone music is described as polyphonic due to Balkan musicians using a literal translation of the Greek polyphōnos ('many voices'). In terms of Western classical music, it is not strictly polyphonic, due to the drone parts having no melodic role, and can better be described as multipart.The is a form of traditional folk polyphony practiced among, Albanians, Greeks, and Macedonian Slavs in southern Albania and northwestern Greece. This type of folk vocal tradition is also found in and.Albanian polyphonic singing can be divided into two major stylistic groups as performed by the Tosks and Labs of southern Albania. The drone is performed in two ways: among the Tosks, it is always continuous and sung on the syllable ‘e’, using staggered breathing; while among the Labs, the drone is sometimes sung as a rhythmic tone, performed to the text of the song.

It can be differentiated between two-, three- and four-voice polyphony.The phenomenon of Albanian folk iso-polyphony has been proclaimed by UNESCO a '. The term iso refers to the drone, which accompanies the iso-polyphonic singing and is related to the ison of church music, where the drone group accompanies the song. Corsica The French island has a unique style of music called that is known for its polyphony. Traditionally, Paghjella contains a staggered entrance and continues with the three singers carrying independent melodies. This music tends to contain lots of and is sung in a nasally temperament. Additionally, many paghjella songs contain a. After paghjella's revival in the 1970s, it experienced some changes.

In the 1980s it had moved away from some of its more traditional features as it became much more heavily produced and tailored towards western tastes. There were now 4 singers, significantly less melisma, it was much more structured, and it exemplified more homophony. To the people of Corsica, the polyphony of paghjella represented freedom; it had been a source of cultural pride in Corsica and many felt that this movement away from the polyphonic style meant a movement away from paghjella's cultural ties.

This resulted in a transition in the 1990s. Paghjella again had a strong polyphonic style and had a less structured meter. Sardinia is a traditional style of polyphonic singing in.Caucasus region Georgia Polyphony in the is arguably the oldest polyphony in the Christian world. Georgian polyphony is traditionally sung in three parts with strong dissonances, parallel fifths, and a unique tuning system based on perfect fifths. Has been proclaimed by UNESCO an Intangible Cultural Heritage of Humanity.

Polyphony plays a crucial role in Abkhazian traditional music. Polyphony is present in all genres where the social environment provides more than one singer tosupport the melodic line.

The ethnomusicologist reported witnessing an example of such an incident, in which an Abkhazian dozing at a bus stop started singing a drone to support a singer unknown to him.: 8 Abkhazian two and three-part polyphony is based on a drone (sometimes a double drone). Two part drone songs are considered by Abkhazian and Georgian scholars the most important indigenous style of Abkhazian polyphony. Two-part drone songs are dominating in Gudauta district, the core region of ethnic Abkhazians.

Millennia of cultural, social and economic interactions between Abkhazians and Georgians on this territory resulted in reciprocal influences, and in particular, creation of a new, so-called “Georgian style” of three-part singing in Abkhazia, unknown among Adyghes. This style is based on two leading melodic lines (performed by soloists - akhkizkhuo) singing together with the drone or ostinato base (argizra). Indigenous Abkhazian style of three-part polyphony uses double drones (in fourths, fifths, or octaves) and one leading melodic line at one time. Abkhazians use a very specific cadence: downward movement, ending on the interval of a fourth.: 55 Chechens and Ingushes Both Chechen and Ingush traditional music could be very much defined by theirtradition of vocal polyphony. As in other North Caucasian musical cultures, Chechen andIngush polyphony is based on a drone. Unlike most of the other North Caucasianpolyphonic traditions (where two-part polyphony is the leading type), Chechen and Ingush polyphony is mostly three-part. Middle part, the carrier of the main melody ofsongs, is accompanied by the double drone, holding the interval of the fifth “around” themain melody.

Intervals and chords, used in Chechen and Ingush polyphony, are oftendissonances (sevenths, seconds, fourths). This is quite usual in all North Caucasiantraditions of polyphony as well, but in Chechen and Ingush traditional songs more sharpdissonances are used. In particular, a specific cadence, where the final chord is adissonant three-part chord, consisting of fourth and the second on top (c-f-g), is quiteunique for North Caucasia. Only on the other side of Caucasian mountains, in westernGeorgia, there are only few songs that finish on the same dissonant chord (c-f-g).: 60–61 Oceania Parts of maintain rich polyphonic traditions.Melanesia The peoples of including the, and use vocal polyphony, as do the people of.

Many of these styles are -based or feature close, secondal harmonies dissonant to western ears. And the are host to instrumental polyphony, in the form of bamboo ensembles. Polynesia Early European encounters with were surprised to find polyphonic singing there, which was likely drone-based and, like Melanesian polyphony. However, Polynesian traditions became strongly influenced by Western choral church music, which brought into Polynesian musical practice. Africa See AlsoNumerous host polyphonic singing, typically moving in.

East Africa While the traditionally sing with drone polyphony, other East African groups use more elaborate techniques. The, for example, sing with as many as six parts, and the use counterpoint. Central Africa The music of (e.g. That of the ) is typically and contrapuntal, featuring. Other Central African peoples tend to sing with parallel lines rather than counterpoint.

Southern Africa The singing of the, like that of the pygmies, features melodic repetition, yodeling, and counterpoint. The singing of neighboring, like the, is more typically parallel. Iso coated v2 280 e citie. West Africa The peoples of tropical traditionally use parallel harmonies rather than counterpoint. See also.References.