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In music making in company A, the protagonists have to follow the rules of interaction and create the cohesion of being together A. At the same time, they try to promote personal goals which depend on specific personal treasure troves of experience, which are continuously being modified also as a result of the ex-change between individuals. The perspective of the individuals in company A leads the emphasis of the investigations to the ways in which the acts of performance, interpretation and local discourse give shape to creative processes in multi-part music making and to the definition of the individual, collective and collaborative dimensions in this context. - - Focusing on the creators A rather than on the produced object A, the researchers included in this volume explore the diversity of the roles, powers, symbolism, meanings and values given to the polyphony of voices A in secular and religious traditions based on extensive fieldwork experience. The contributors to this volume also consider the UNESCOas Intangible Cultural Heritage List in this context, as well as the role of local, national and international awards. By understanding culture as a drug A, whose absorption is realised within interacting cells, culture appears as a cellular network and music as quite an efficient device for its functioning. - - -

Music --- Creation (Literary, artistic, etc.) --- Education, Musical --- Music education --- Musical education --- Musical instruction --- Creative ability in art --- Creative ability in literature --- Art --- Imagination --- Inspiration --- Literature --- Creative ability --- Originality --- Instruction and study. --- Study and teaching

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Although the fundamental meaning of basic terminology is well established for every scholarly discipline, many concepts are often questioned and redefined. In the case of ethnomusicology, this process is all too familiar, as researchers within the discipline focus on the most diverse of music cultures. The manifold worldviews of the resource persons, as holders and presenters (in both meanings of the word) of a tradition make the matter more complex. Such a situation has particular significance in the context of multipart singing because of the specific musical aesthetics and vocabularies established among singing groups. Additionally, it is accentuated by processes of change within every musical culture and those of ethnomusicology. Examining this question from the viewpoint of folk terminology means primarily considering specific and individual concepts of cultural listening, in the sense of 'paying attention', 'con-centrating' and 'focusing on'. These concepts are established on the one hand through the processes of music listening and music making and on the other hand through the local dis-course, in which singers and musicians as well as local communities are very much involved. The discourse as a communication category with which people communicate about the claim to validity of rules also plays an important role in processes of legitimating and power within the community. An essential part of the discourse is singing itself. The music therefore becomes the object and subject of research. Of particular relevance in this framework are questions of gender, applying to communities in which women practice multipart singing and others where they are mostly listeners, although contributing decisively in the discourse processes. A specific role become issues of brain research. In this context the functionality of an exact motor control system within the body for precise timing, sequencing and the spatial organisation of movements during musical performance become particularly important. Performing and listening to music are culturally conditioned, but they are at the same time natural human abilities. Therefore the study of underlying processes is crucial and promises to uncover fun-damental properties of the human brain. The different theoretical viewpoints in the first three chapters of the book are followed by ap-proaches of a "Lexicon of Local Terminology on Multipart Singing in Europe". These reflect the situation of a few but different communities and areas in Europe, helping to obtain additional insights into the topics in question.

Music --- Music, Dance, Drama & Film --- Printed Music, Vocal --- cultural listening --- local discourse --- multipart singing --- European multipart music --- local terminology --- musical phenomena --- Daina (Lithuania) --- Melody --- Music of Lithuania --- Polyphony

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Local multipart music practices are based on the intentionally distinct and coordinated participation of music makers in the performing act. Following the rules of interaction while promoting at the same time their personal goals, the protagonists share their own treasure trove of experiences and cultural affiliations and shape sounds and values. Such complex and dynamic processes are central to the investigations of instrumentation and instrumentalization of sound. DVD: http://e-book.fwf.ac.at/o:1078 Lokale Musikpraktiken beruhen auf Bestrebungen der Musikmacherinnen und Musikmacher zur kennzeichnenden und abgestimmten Teilnahme in Aufführungsabläufen. Die Protagonistinnen und Protagonisten teilen ihre Erfahrungsschätze und kulturelle Zugehörigkeiten und gestalten Klänge und Werte während sie die Regeln der Interaktion folgen und gleichzeitig ihre persönlichen Ziele übermitteln. Diese komplexen und dynamischen Prozesse sind wesentlich für die Untersuchungen der Instrumentation und Instrumentalisierung des Klanges. DVD: http://e-book.fwf.ac.at/o:1078

Folk music --- Instrumentation and orchestration. --- Music. --- Haid, Gerlinde. --- Multipart Music --- Instrumentation of Sound --- Instrumentalization of Sound --- Sound and Society --- Performance as Instrumentation --- Tradition --- Revival --- Mehrstimmige Musik --- Instrumentation des Klanges --- Instrumentalisierung des Klanges --- Klang und Gesellschaft --- Aufführung als Instrumentation --- Bagpipes --- Violin --- Weimar

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Although the fundamental meaning of basic terminology is well established for every scholarly discipline, many concepts are often questioned and redefined. In the case of ethnomusicology, this process is all too familiar, as researchers within the discipline focus on the most diverse of music cultures. The manifold worldviews of the resource persons, as holders and presenters (in both meanings of the word) of a tradition make the matter more complex. Such a situation has particular significance in the context of multipart singing because of the specific musical aesthetics and vocabularies established among singing groups. Additionally, it is accentuated by processes of change within every musical culture and those of ethnomusicology. Examining this question from the viewpoint of folk terminology means primarily considering specific and individual concepts of cultural listening, in the sense of 'paying attention', 'con-centrating' and 'focusing on'. These concepts are established on the one hand through the processes of music listening and music making and on the other hand through the local dis-course, in which singers and musicians as well as local communities are very much involved. The discourse as a communication category with which people communicate about the claim to validity of rules also plays an important role in processes of legitimating and power within the community. An essential part of the discourse is singing itself. The music therefore becomes the object and subject of research. Of particular relevance in this framework are questions of gender, applying to communities in which women practice multipart singing and others where they are mostly listeners, although contributing decisively in the discourse processes. A specific role become issues of brain research. In this context the functionality of an exact motor control system within the body for precise timing, sequencing and the spatial organisation of movements during musical performance become particularly important. Performing and listening to music are culturally conditioned, but they are at the same time natural human abilities. Therefore the study of underlying processes is crucial and promises to uncover fun-damental properties of the human brain. The different theoretical viewpoints in the first three chapters of the book are followed by ap-proaches of a "Lexicon of Local Terminology on Multipart Singing in Europe". These reflect the situation of a few but different communities and areas in Europe, helping to obtain additional insights into the topics in question.

Music --- Music, Dance, Drama & Film --- Printed Music, Vocal --- cultural listening --- local discourse --- multipart singing --- European multipart music --- local terminology --- musical phenomena --- Daina (Lithuania) --- Melody --- Music of Lithuania --- Polyphony