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Traditional (non-professional) polyphony has a wide, if uneven, distribution among the peoples of the world. [4] Most polyphonic regions of the world are in sub-Saharan Africa, Europe and Oceania. It is believed that the origins of polyphony in traditional music vastly predate the emergence of polyphony in European professional music.
Jordania, J. (1988) Origins of Polyphony and the Problem of Geneses of Articulated Speech In J. Jordania (Ed.) Proceedings of the conference Problems of Traditional Polyphony. Pg. 21–24. Tbilisi State University Press (In Russian with English summary) Jordania, Joseph (1988). "Folk Polyphony, Ethnogenesis and Race Genesis".
The Polyphonic era is a term used since the mid-19th century to designate an historical period in Western classical music in which harmony in music is subordinate to polyphony. [1] It generally refers to the period from the 13th to the 16th century. [ 2 ]
Several schools of polyphony flourished in the period after 1100: the St. Martial school of organum, the music of which was often characterized by a swiftly moving part over a single sustained line; the Notre Dame school of polyphony, which included the composers Léonin and Pérotin, and which produced the first music for more than two parts ...
The polyphony page states: "Although the exact origins of polyphony in the Western church traditions are unknown, the treatises Musica enchiriadis and Scolica enchiriadis, both dating from c. 900, are usually considered the oldest extant written examples of polyphony." Which is more than 200 years prior.
The Plainsong and Medieval Music Society was founded in 1888 to promote the performance and study of liturgical chant and medieval polyphony. [ 2 ] Interest in plainsong picked up in 1950s Britain, particularly in the left-wing religious and musical groups associated with Gustav Holst and the writer George B. Chambers .
Polyphony in literature is the consequence of a dialogic sense of truth in combination with the special authorial position that makes possible the realization of that sense on the page. [3] The dialogic sense of truth, as it manifests in Dostoevsky, is a radically different way of understanding the world to that of the monologic.
Concise History of Western Music (2nd ed.). New York: W. W. Norton & Company. ISBN 0-393-97775-7. Johnson, Julian (2002). Who Needs Classical Music?: Cultural Choice and Musical Value. Oxford: Oxford University Press. Kramer, Lawrence (2007). Why Classical Music Still Matters. Simpson Book in the Humanities. Berkeley: University of California ...