Livre - Do they sound like bells or like howling wolves?

Contents 1. PART ONE, p. 11 1.1 Acknowledgement, p. 11 1.2 Foreword to the English edition of this study, p. 12 1.3 Introduction, p. 14 1.3.1 Analytic methodology, p. 16 1.3.2 Abbreviations and translation of technical terms, p. 19 1.4 Prehistoric, general historical and ethnogenetic survey of the Balkans, and in particular of Bulgaria, p. 24 1.5 The Bulgarian folklore district, p. 29 1.5.1 The dissemination of polyphony in Bulgaria, p. 30 1.6 The Šops, the village of Bistritsa and legends of origin according to Otets (father) Dragomir, p. 34 1.7 Notes on field research, p. 37 1.7.1 A different aesthetic appreciation of sound characteristics and intervals according to the Women, p. 40 1.7.2 The function of the parts and their socio-cultural implications, p. 42 1.7.3 Learning processes and tradition, p. 47 1.7.4 The performers, p. 52 1.7.5 Songs and texts in the order they were recorded, p. 53 1.8 Structure, additive and phenomenological analysis of the recorded multi-part song material, p. 57 1.8.1 The functions and their aspects, p. 59 1.8.2 Structure, phonetic peculiarities, melodic line, part singing structure and socio-cultural Embedding, p. 61 1.8.3 Structuring the vocal parts and the definition of the term Interferential Diaphony (Schwebungsdiaphonie), p. 64 1.8.4 The interpretation of the sonagrams with particular reference to the special characteristics of the performance of these songs, p. 67 1.8.4.1 Voice production, p. 67 1.8.4.2 Vocal entry, initial signal tone and exclamations, p. 68 1.8.4.3 The vocal entry of the actual song, the quasi stationary spectrum and the vocal ending, p. 71 1.8.4.4 The sonagram of some practice sessions, p. 72 1.8.4.5 The “Okane”, p. 73 1.8.4.6 The micro-modulatory processes and the embellishments, p. 74 1.8.4.7 Micro-intervals, p. 75 1.8.5 Text and music, p. 77 1.8.5.1 Repetitive rhetorical figures, p. 77 1.8.5.1.1 Summary of the repetitive figures as extension, p. 84 1.8.5.1.2 The occurrence of the three repetitive rhetorical figures, p. 84 1.8.5.1.3 Refrain formation, p. 85 1.8.6 Antiphony as a style specific criterion, p. 88 1.8.6.1 The musical entry, p. 88 1.8.6.2 Overlapping, p. 89 1.8.7 Metro-rhythm and tempo, p. 89 2. PART TWO, p. 97 2.1 Transcription with the aid of sonography, p. 97 2.1.1 The problem at hand, p. 97 2.1.2 The transcription procedure and system of notation, p. 103 2.1.2.1 The fine transcription, p. 113 2.1.2.2 The coarse transcription, p. 117 2.1.3 The diacritical transcription signs and symbols, p. 118 2.1.3.1 Embellishment signs in the coarse and fine transcriptions, p. 119 2.2 Analytical differentiation, p. 119 2.2.1 Signs and symbols used, p. 120 2.2.2 Tables of analysis, p. 122 2.2.3 Postscriptum to the analytical differentiation, p. 196 3. PART THREE, p. 197 3.1 Synthesis, p. 197 3.1.1 Socio-cultural factors and pre-Christian, magico-religious symbolic ideas, p. 197 3.1.2 Psychoacoustic and audio-physiological phenomena, p. 197 3.1.3 Vocal entry, quasi stationary spectrum, tone ending, p. 198 3.1.4 Significance of mythological references in some texts, p. 198 3.1.5 The two different musical systems in Bistritsa, p. 200 3.1.6 The form types of songs, p. 204 3.1.7 Structure in the synopsis according to their criteria for differentiation and the order in which they appear in the analytical tables, p. 206 3.2 Reflections and conclusion, p. 213 3.2.1 Comments on the problem of Interferential Diaphony outside Bulgaria, p. 213 3.2.1.1 Jaap Kunst and his controversial article, p. 214 3.2.1.2 The phenomenon of Interferential Diaphony outside Bulgaria, p. 218 3.2.1.3 Song samples from areas outside of Bulgaria, p. 222 3.2.1.4 Questions, hypotheses, theories and suggestions from the past to the present, p. 224 3.2.1.4.1 Interferential Diaphony in medieval Lombardia, p. 228 3.2.1.5 The literature on Interferential Diaphony, p. 237 3.2.1.6 Final Remarks, p. 239 3.2.2 References, p. 240 4. APPENDIX 1, p. 255 4.1 Some lyrics of the songs from Bistritsa 4.2 Summary tables I-V, p. 261 4.3 Sonagrams and transcriptions of the Bulgarian material, p. 266 4.4 Sonagrams and transcriptions of samples outside Bulgaria, p. 345 APPENDIX 2, p. 356 4.5 Article 1: “The Two-Part Vocal Style on Baluan Island, Manus Province, Papua New Guinea”. Reprint from Ethnomusicology XXV/3, 1981: 433-466, p. 356 4.6 Article 2: “Jaap Kunst Revisited. Multipart Singing in Three East Florinese Villages Fifty Years Later: A Preliminary Investigation”. Reprint from The World of Music XXXI/2, 1989: 3-48, p. 370 4.7 Some Prelusive Remarks, p. 416 4.8 Content of the CD, p. 417