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The lead is given by the secunda, the ornamentation is provided by the terza, the highest of the trio - and then there is the bassu.Many different types of song use the style, both sacred and profane.The origins of Corsican polyphony are much disputed and since until recently they have been undocumented, no clear evidence exists of its source.Though I'm no musician, I sense it as inheriting a bit of everything Mediterranean from the north, south, east and west. Traditional Corsican polyphony, following its revival in the 1970s, is now a central part of the expression of Corsican culture.Women sang, but generally solo, for example the voceru sung exclusively by women at the deathbed.Nanne were also generally, but not exclusively, sung by women.Sacred polyphony is frequently sung by groups in concert performances.You are unlikely to hear a traditional concert without a dies irae, miserere or a kyrie.

Jean-Claude Acquaviva of A Filetta has written one, as yet to be used.Other pages: Home Page |FAQs| Corsican Websites | Travel to Corsica | Corsica's Climate & Weather | Public Life in Corsica | Corsican Tastes & Scents | Corsican Language | Mystique of Corsica | Corsica's Mountains and Coast | Business in Corsica | British & American Connections with Corsica | Newsletters | A significant, though not the only aspect of Corsican traditional music is polyphony (many voices): unaccompanied (a capella) singing by small groups of three to eight or nine people.It is closely associated with the island's identity and its rebirth coincided with the resurgence (riaquistu) of national political ambition in the seventies.The lamentu is also used, naturally enough, in Holy Week.Polyphony is much used in the Christan mass and there are many traditional polyphonic mass chants.

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