Music of Georgia: Difference between revisions

Line 1:

Georgian folk music is well known for its traditional vocal polyphony. There is no clear consensus on the structure of the underlying scale or tuning system, except that it is heptatonic and close to equalized. It is sometimes claimed that their scales are based on equal divisions of the fifth, but this is hard to verify.

Georgian folk music is well known for its traditional vocal polyphony. There is no clear consensus on the structure of the underlying scale or tuning system, except that it is [[equiheptatonic|heptatonic and close to equalized]]. It is sometimes claimed that their scales are based on equal divisions of the fifth, but this is hard to verify.

From a corpus analysis of field recordings by Scherbaum et al.<ref>Scherbaum, F., Mzhavanadze, N., Rosenzweig, S., & Müller, M. (2022). Tuning Systems of Traditional Georgian Singing Determined From a New Corpus of Field Recordings. Musicologist 2022. 6 (2): 142-168. DOI: 10.33906/musicologist.1068947</ref>, the following conclusions can be made:

@@ Line 1: / Line 1: @@
 {{Wikipedia| Music of Georgia (country) }}
-Georgian folk music is well known for its traditional vocal polyphony. There is no clear consensus on the structure of the underlying scale or tuning system, except that it is heptatonic and close to equalized. It is sometimes claimed that their scales are based on equal divisions of the fifth, but this is hard to verify.
+Georgian folk music is well known for its traditional vocal polyphony. There is no clear consensus on the structure of the underlying scale or tuning system, except that it is [[equiheptatonic|heptatonic and close to equalized]]. It is sometimes claimed that their scales are based on equal divisions of the fifth, but this is hard to verify.
 From a corpus analysis of field recordings by Scherbaum et al.<ref>Scherbaum, F., Mzhavanadze, N., Rosenzweig, S., & Müller, M. (2022). Tuning Systems of Traditional Georgian Singing Determined From a New Corpus of  Field Recordings. Musicologist 2022. 6 (2): 142-168. DOI: 10.33906/musicologist.1068947</ref>, the following conclusions can be made: