Editing Polyphony (section)

==Caucasus region==

===Georgia===

Polyphony in the [[Georgia (country)|Republic of Georgia]] 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.<ref>{{Cite book|last=Curcumia, R. Jordania, Joseph, 1954-|url=http://worldcat.org/oclc/432991038|title=Echoes from Georgia : seventeen arguments on Georgian polyphony|date=2009|publisher=Nova Science Publishers|isbn=978-1-60876-477-8|oclc=432991038}}</ref> [[Music of Georgia (country)#Traditional vocal polyphony|Georgian polyphonic singing]] has been proclaimed by UNESCO an Intangible Cultural Heritage of Humanity. Popular singing has a highly valued place in Georgian culture. There are three types of polyphony in Georgia: complex polyphony, which is common in Svaneti; polyphonic dialogue over a bass background, prevalent in the Kakheti region in Eastern Georgia; and contrasted polyphony with three partially improvised sung parts, characteristic of western Georgia. The Chakrulo song, which is sung at ceremonies and festivals and belongs to the first category, is distinguished by its use of metaphor and its yodel, the krimanchuli and a "cockerel’s crow", performed by a male falsetto singer. Some of these songs are linked to the cult of the grapevine and many date back to the eighth century. The songs traditionally pervaded all areas of everyday life, ranging from work in the fields (the Naduri, which incorporates the sounds of physical effort into the music) to songs to curing of illnesses and to Christmas Carols (Alilo). Byzantine liturgical hymns also incorporated the Georgian polyphonic tradition to such an extent that they became a significant expression of it.<ref>{{cite web|url=http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00008|title=Georgian Polyphonic Singing|publisher=UNESCO}}</ref>

===Chechens and Ingushes===

Chechen and Ingush traditional music can be defined by their tradition of vocal polyphony. Chechen and Ingush polyphony is based on a drone and is mostly three-part, unlike most other north Caucasian traditions' two-part polyphony. The middle part carries the main melody accompanied by a double drone, holding the interval of a fifth around the melody. Intervals and chords are often dissonances (sevenths, seconds, fourths), and traditional Chechen and Ingush songs use sharper dissonances than other North Caucasian traditions. The specific cadence of a final, dissonant three-part chord, consisting of fourth and the second on top (c-f-g), is almost unique. (Only in western Georgia do a few songs finish on the same dissonant c-f-g chord.)<ref name=Jordania />{{rp|60–61}}