The Corsica polyphonic song, is a single expression in the Mediterranean basin. It draws its sources in the life of the every day, in the religious events, family and social. As in all society modern, of the transformations occurred, plunging in the lapse of memory certain songs which accompanied these daily gestures. Evolution of the ways of life, with fact of disappearing these lullabies which the moms sang with their children, the “Nanni”. The young Corsicans, forgot the “Serinati today” (serenades) that their large fathers and back large fathers addressed to their liked well. Other songs do not resound any more in the Corsican mountains and villages, like the “Tribbiere” of the harvesters, the “Voceri”, funeral lamentations sung by the women (the whining ones), who marked the romantic travellers of the last century.
Despite everything, even if these songs disappeared, essence with survived, and the Corsicans still sing. The songs which resound today, exceed the borders of the island. Insular singers relate to the international scenes, some of the forms of most antiquated of the Corsica polyphony. It is by reinvesting with force this mode of expression, that the young people knew to give again with the song, the major place which was his in the village community, which nourished during whole generations, its major sensitivity and its secret dreams.
The “Paghjella”, polyphonic song, combine three registers of voice harmoniously: With segunda, which attacks, the tone gives and carries the principal melody; U bassu, which follows it, accompanies it and supports it. Finally A terza, highest placed which enriched and adorns the song. Even if one finds elsewhere forms relationships, which is significant in the Corsica “Paghjella”, in addition to his melody characteristics, it is its formidable vitality and its profane character. It is around the Seventies, after having survived a long period of disinterest, that the “Paghjella” was rediscovery by the headlight group “Laid U populu Corsu” (the Corsica people sing). This inheritance is reinvested by the young people, the women themselves speak on behalf of a song which of origin was exclusively male. The “Paghjella” is interpreted by accompanied soloists, like Antoine Ciosi, Petru Guelfucci, or Ghjuvan Paulu Poletti. Other more packed formations, collect a strong notoriety as the group I Muvrini, A Filetta, Voce di Corsica (voices of the Corsicans), and well of others still.
Chjami E rispondi
Cham' E rispondi, is another form of very original song. This improvised poetic tournament, requires interpreters, an exceptional virtuosity. These songs are very appreciated of the public.
With regard to the hymns, all the elements of the life were rates/rhythms by the religious calendar, which with licence to develop expressions “of Versi” (way of singing the melody), being typical of them to them. One finds in the repertory of the brotherhoods of the island, of the sung whole ceremonies. The crowned polyphonic song, is organized around the three basic votes and is interpreted by the men.
The Corsica polyphonic song is not as much thinks it, a folk song. It is a means of expression living, a strong link which connects in time, all its interpreters with a chain of memories. To vibrate with its power of evocation, with its emotion, it is to feel to beat the unmemorable heart of Corsica.
Greeting 
Hirings Corsican
The Corsica polyphonic song, is a single expression in the Mediterranean basin. It draws its sources in the life of the every day, in the religious events, family and social. As in all society modern, of the transformations occurred, plunging in the lapse of memory certain songs which accompanied these daily gestures. Evolution of the ways of life, with fact of disappearing these lullabies which the moms sang with their children, the “Nanni”. The young Corsicans, forgot the “Serinati today” (serenades) that their large fathers and back large fathers addressed to their liked well. Other songs do not resound any more in the Corsican mountains and villages, like the “Tribbiere” of the harvesters, the “Voceri”, funeral lamentations sung by the women (the whining ones), who marked the romantic travellers of the last century.
The “Paghjella”, polyphonic song, combine three registers of voice harmoniously: With segunda, which attacks, the tone gives and carries the principal melody; U bassu, which follows it, accompanies it and supports it. Finally A terza, highest placed which enriched and adorns the song. Even if one finds elsewhere forms relationships, which is significant in the Corsica “Paghjella”, in addition to his melody characteristics, it is its formidable vitality and its profane character. It is around the Seventies, after having survived a long period of disinterest, that the “Paghjella” was rediscovery by the headlight group “Laid U populu Corsu” (the Corsica people sing). This inheritance is reinvested by the young people, the women themselves speak on behalf of a song which of origin was exclusively male. The “Paghjella” is interpreted by accompanied soloists, like Antoine Ciosi, Petru Guelfucci, or Ghjuvan Paulu Poletti. Other more packed formations, collect a strong notoriety as the group I Muvrini, A Filetta, Voce di Corsica (voices of the Corsicans), and well of others still.
