Editing Polyphony (section)

==European polyphony==

===Historical context===
European polyphony rose out of [[melismatic]] ''[[organum]]'', the earliest harmonization of the chant. During the 12th century, composers such as [[Léonin]] and [[Pérotin]] developed the {{lang|la|organum}} that had been introduced centuries earlier, and also added a third and fourth voice to the now homophonic chant. In the 13th century, the chant-based tenor was becoming altered, fragmented, and hidden beneath secular tunes, obscuring the sacred texts as composers continued to develop polyphonic techniques. The lyrics of love poems might be sung above sacred texts in the form of a [[trope (music)|trope]], or the sacred text might be placed within a familiar secular melody. The oldest surviving piece of six-part music is the English [[rota (music)|rota]] ''[[Sumer is icumen in]]'' ({{circa|1240}}).<ref>[[Daniel Albright|Albright, Daniel]] (2004). ''Modernism and Music: An Anthology of Sources''. University of Chicago Press. {{ISBN|0-226-01267-0}}.</ref>

===Western Europe and Roman Catholicism===
European polyphony rose prior to, and during the period of the [[Western Schism]]. [[Avignon]], the seat of [[pope]]s and then [[antipope]]s, was a vigorous center of secular music-making, much of which influenced sacred polyphony.<ref>[[Hugo Riemann|Riemann, Hugo]]. History of music theory, books I and II: polyphonic theory to the sixteenth century, Book 2. Da Capo Press. June 1974.</ref>

The notion of secular and sacred music merging in the papal court also offended some medieval ears.  It gave church music more of a jocular performance quality supplanting the solemnity of 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 considered frivolous, impious, lascivious, and 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. After banishing polyphony from the Liturgy in 1322, [[Pope John XXII]] warned against the unbecoming elements of this musical innovation in his 1324 [[papal bull|bull]] ''[[Docta Sanctorum Patrum]]''.<ref>{{cite web |url=http://www.cengage.com/music/book_content/049557273X_wrightSimms/assets/ITOW/7273X_10b_ITOW_John_XXII.pdf |title= Translated from the original Latin of the bull ''Docta sanctorum patrum'' as given in ''Corpus iuris canonici, ed. a. 1582'' |year=1879 |author=Pope John XXII |author-link=Pope John XXII |volume=I |pages=1256–57}}</ref> In contrast [[Pope Clement VI]] indulged in it.

The oldest extant polyphonic setting of the [[Mass (liturgy)|mass]] attributable to one composer is [[Guillaume de Machaut]]'s [[Messe de Nostre Dame]], dated to 1364, during the pontificate of [[Pope Urban V]]. The [[Second Vatican Council]] said Gregorian chant should be the focus of liturgical services, without excluding other forms of sacred music, including polyphony.<ref>Vatican II, Constitution on the Liturgy, 112–18</ref>

====Notable works and artists====
*[[Tomás Luis de Victoria]]
*[[William Byrd]], ''[[Mass for Five Voices]]''
*[[Thomas Tallis]], ''[[Spem in alium]]''
*[[Orlandus Lassus]], Missa super Bella'Amfitrit'altera
*[[Guillaume de Machaut]], ''[[Messe de Nostre Dame]]''
*[[Geoffrey Chaucer]]<ref>See [[Jonathan Fruoco]]'s work on [[Geoffrey Chaucer|Chaucer]]'s polyphony: ''[https://www.degruyter.com/document/doi/10.1515/9781501514364/html Chaucer's Polyphony]'' and ''[https://www.routledge.com/Polyphony-and-the-Modern/Fruoco/p/book/9780367655150 Polyphony and the Modern]''.</ref>
*[[Jacob Obrecht]]
*[[Giovanni Pierluigi da Palestrina|Palestrina]], ''[[Missa Papae Marcelli]]''
*[[Josquin des Prez]], ''[[Missa Pange Lingua]]''
*[[Gregorio Allegri]], ''[[Miserere (Allegri)|Miserere]]''

===Protestant Britain and the United States===
English Protestant [[west gallery music]] included polyphonic multi-melodic harmony, including [[fuguing tune]]s, by the mid-18th century. This tradition passed with emigrants to North America, where it was proliferated in tunebooks, including [[shape-note]] books like ''[[The Southern Harmony]]'' and ''[[The Sacred Harp]]''. While this style of singing has largely disappeared from British and North American sacred music, it survived in the rural [[Southern United States]], until it again began to grow a following throughout the United States and even in places such as the United Kingdom, Germany, Poland, and Australia, among others.<ref>{{cite book |last1=Temperley |first1=Nicholas |last2=Manns |first2=Charles G. |author-link1=Nicholas Temperley |date=1983 |title=Fuging Tunes in the Eighteenth Century |location=Detroit, MI |publisher=Information Coordinators |isbn=0-89990-017-8}}</ref><ref>{{cite book |last=Cobb |first=Buell E. |date=1989 |title=The Sacred Harp: A Tradition and Its Music |location=Athens |publisher=University of Georgia Press |isbn=978-0-8203-2371-8}}</ref><ref>{{cite thesis |last=Lueck |first=Ellen |date=2017 |title= Sacred Harp Singing in Europe: Its Pathways, Spaces, and Meanings |url=https://doi.org/10.14418/wes01.3.69 |type=PhD |publisher=Wesleyan University|doi=10.14418/wes01.3.69 }}</ref><ref>{{cite book |last=Karlsberg |first=Jesse P. |date=2021 |editor-last1=Shenton |editor-first1=Andrew |editor-last2=Smolko |editor-first2=Joanna |title=Christian Sacred Music in the Americas |location=Lanham, MD |publisher=Rowman & Littlefield |pages=221–240 |chapter=The Folk Scholarship Roots and Geopolitical Boundaries of Sacred Harp’s Global Twenty-first Century |isbn=978-1-5381-4873-0}}</ref>

===Balkan region===<!--[[Iso-polyphony]] redirects directly here-->
[[File:A traditional male folk group from Skrapar.JPG|thumb|Albanian polyphonic folk group wearing [[qeleshe]] and [[fustanella]] in [[Skrapar]].]]

Polyphonic singing is traditional folk singing of this part of southern Europe. It is also called ''ancient'', ''archaic'' or ''old-style'' singing.<ref>{{cite web|url=http://www.mdw.ac.at/ive/emm/index.php?id=238|title=Startseite - Forschungszentrum für Europäische Mehrstimmigkeit|website=www.mdw.ac.at|access-date=14 November 2011|archive-date=9 January 2018|archive-url=https://web.archive.org/web/20180109121855/http://www.mdw.ac.at/ive/emm/index.php?id=238|url-status=dead}}</ref><ref>{{cite book|url=https://books.google.com/books?id=V9zpAAAAIAAJ|title=Music-cultures in contact: convergences and collisions|first1=Margaret J.|last1=Kartomi|first2=Stephen|last2=Blum|date=9 January 1994|publisher=Currency Press|isbn=9780868193656|via=Google Books}}</ref>

*[[Ison (music)|Byzantine chant]]
*[[Ojkanje singing]], in [[Croatia]], [[Serbia]] and [[Bosnia and Herzegovina]]
*[[Ganga (music)|Ganga singing]], in Croatia, [[Montenegro]] and [[Bosnia and Herzegovina]]
*[[Bosnian root music]] in the [[Podrinje]] region of [[Bosnia and Herzegovina]]
*[[Polyphonic song of Epirus|Epirote singing]], in northern [[Greece]] and southern Albania (see below)
*[[Albanian iso-polyphony|Iso-polyphony]], in southern Albania (see below)
*[[Gusle]] singing, in [[Serbia]], [[Montenegro]], Bosnia and Herzegovina, Croatia and Albania
*[[Izvika]] singing, in Serbia
* ''Dvuglas'' singing in [[Southern Bulgaria]]: woman choirs in [[Shopluk]] ([[Bistritsa Babi]]) and in [[Rhodope Mountains|Rhodopes]] ([[Nedelino]]), as well as men choirs in [[Bansko]], [[Pirin Macedonia]]<ref>Александър Заралиев, Двугласът в българския фолклор, [https://www.istorici.com/публикации/2013/03/08/двугласът-в-българския-фолклор/ Младежка историческа общност, 08.03.2013.]</ref>

Incipient polyphony (previously primitive polyphony) includes [[antiphony]] and [[call and response (music)|call and response]], [[drone (music)|drones]], and [[parallel interval]]s.

Balkan drone music is described as polyphonic due to Balkan musicians using a literal translation of the Greek {{Transliteration|grc|''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''.<ref name="Koço2015">{{cite book|last=Koço|first=Eno|title=A Journey of the Vocal Iso(n)|url=https://books.google.com/books?id=d5_zBgAAQBAJ|date=27 February 2015|publisher=Cambridge Scholars Publishing|isbn=978-1-4438-7578-3|page=xx}}  A free, unpublished version of this passage is available on [https://books.google.com/books?id=zoPI3exolloC&pg=PR22 Google Books].</ref>

The [[Polyphonic song of Epirus|polyphonic singing tradition of Epirus]] is a form of traditional folk polyphony practiced among [[Aromanians]], Albanians, Greeks, Bulgarians and [[ethnic Macedonians]] in southern Albania and northwestern Greece.<ref>Bart Plantenga. [https://books.google.com/books?hl=el&id=3BzBBq48O6AC&q=polyphonic ''Yodel-ay-ee-oooo'']. Routledge, 2004. {{ISBN|978-0-415-93990-4}}, p. 87 Albania: "Singers in Pogoni region perform a style of polyphony that is also practised by locals in Vlach and Slav communities [in Albania]."</ref><ref>Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman, 1997, {{ISBN|0-226-77972-6}}, p. 356, "Neither of the polyphonic textures characteristic of south Albanian singing is unique to Albanians. The style is shared with Greeks in the Northwestern district of Epirus (see Fakiou and Romanos 1984) while the Tosk style is common among Aromanian communities from the Kolonje region of Albania the so-called Farsherotii (see Lortat-Jacob and Bouet 1983) and among Slavs of the [[Kastoria]] region of Northern Greece (see N.Kaufamann 1959 ). Macedonians in the lower villages of the Prespa district also formerly sang this style "</ref> This type of folk vocal tradition is also found in [[North Macedonia]] and [[Bulgaria]].

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.

In [[Aromanian music]], polyphony is common, and polyphonic music follows a set of common rules.<ref>{{cite book|url=https://books.google.com/books?id=Iga91qAoeDYC|title=European Voices I: Multipart singing in the Balkans and the Mediterranean|chapter=Multipart singing among the Aromanians (Vlachs)|first=Thede|last=Kahl|editor-first1=Ardian|editor-last1=Ahmedaja|editor-first2=Gerlinde|editor-last2=Haid|publisher=[[Böhlau Verlag]]|pages=267–280|year=2008|isbn=9783205780908}}</ref>

The phenomenon of Albanian folk iso-polyphony ([[Albanian iso-polyphony]]) has been proclaimed by UNESCO a "[[Masterpiece of the Oral and Intangible Heritage of Humanity]]". The term ''iso'' refers to the drone, which accompanies the iso-polyphonic singing and is related to the ison of [[Byzantine Empire|Byzantine]] church music, where the drone group accompanies the song.<ref>European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, [[Gerlinde Haid]] p. 241 [https://books.google.com/books?id=Iga91qAoeDYC&dq=festivali+i+folklorit+gjirokaster+5+years&pg=PA241]</ref><ref>{{cite web|url=http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00155|title=Albanian Folk Iso-polyphony|publisher=UNESCO|access-date=31 December 2010}}</ref>

===Corsica===

The French island of [[Corsica]] has a unique style of music called {{ill|Paghjella|fr|Paghjella}} 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 much [[melisma]] and is sung in a nasal temperament. Additionally, many paghjella songs contain a [[picardy third]]. After paghjella's revival in the 1970s, it mutated. 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 four 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 a less structured meter.<ref>{{Cite web|url=http://www.corsica-isula.com/music.htm|title=Learn about Corsican traditional music, groups and recordings.|last=Keyser|first=William|website=www.corsica-isula.com|access-date=2018-04-18}}</ref><ref>{{Cite book|title=Polyphonic Voices: National Identity, World Music and the Recording of Traditional Music in Corsica|last=Bithell|first=Caroline|publisher=British Forum of Ethnomusicology|year=1996}}</ref>

===Sardinia===
[[Cantu a tenore]] is a traditional style of polyphonic singing in [[Sardinia]].