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Polyphony
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This article is about the musical texture. For other uses, see Polyphony (disambiguation).
A bar from J.S. Bach's "Fugue No.17 in A flat", BWV 862, from Das Wohltemperierte Clavier (Part I), a famous example of contrapuntal polyphony. Play (help·info)
In music, polyphony is one type of musical texture, where a texture is, generally speaking, the way that melodic, rhythmic, and harmonic aspects of a musical composition are combined to shape the overall sound and quality of the work. In particular, polyphony consists of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, which is called homophony.
Within the context of the Western musical tradition, the term polyphony is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the species terminology of counterpoint,[clarification needed] polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another.[1] In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint",[2] with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to "successive composition", where voices were written in an order with each new voice fitting into the whole so far constructed, which was previously assumed.
The term polyphony is also sometimes used more broadly, to describe any musical texture that is not monophonic. Such a perspective considers homophony as a sub-type of polyphony.[3]
Contents
[hide]
1 Origins
2 European polyphony
2.1 Historical context
2.2 Western Europe and Roman Catholicism
2.2.1 Notable works and artists
2.3 Protestant Britain and the United States
2.4 Balkan region
3 Caucasus region
3.1 Georgia
3.2 Chechens and Ingushes
4 See also
5 References
6 External links
Origins[edit]
Traditional (non-professional) polyphony has a wide, if uneven, distribution among the peoples of the world.[citation needed] Most polyphonic regions of the world are in sub-Saharan Africa, Europe and Oceania. It is believed that the origins of polyphony in traditional music vastly predate the emergence of polyphony in European professional music. Currently there are two contradictory approaches to the problem of the origins of vocal polyphony: the Cultural Model, and the Evolutionary Model.[4] According to the Cultural Model, the origins of polyphony are connected to the development of human musical culture; polyphony came as the natural development of the primordial monophonic singing; therefore polyphonic traditions are bound to gradually replace monophonic traditions.[5] According to the Evolutionary Model, the origins of polyphonic singing are much deeper, and are connected to the earlier stages of human evolution; polyphony was an important part of a defence system of the hominids, and traditions of polyphony are gradually disappearing all over the world.[6]:198–210
Although the exact origins of polyphony in the Western church traditions are unknown, the treatises Musica enchiriadis and Scolica enchiriadis, both dating from c. 900, are usually considered the oldest extant written examples of polyphony. These treatises provided examples of two-voice note-against-note embellishments of chants using parallel octaves, fifths, and fourths. Rather than being fixed works, they indicated ways of improvising polyphony during performance. The Winchester Troper, from c. 1000, is the oldest extant example of notated polyphony for chant performance, although the notation does not indicate precise pitch levels or durations.[7]
European polyphony[edit]
Historical context[edit]
European polyphony rose out of melismatic organum, the earliest harmonization of the chant. Twelfth-century composers, such as Léonin and Pérotin developed the organum that was introduced centuries earlier, and also added a third and fourth voice to the now homophonic chant. In the thirteenth century, the chant-based tenor was becoming altered, fragmented, and hidden beneath secular tunes, obscuring the sacred texts as composers continued to play with this new invention called polyphony. The lyrics of love poems might be sung above sacred texts in the form of a 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 Sumer is icumen in (c. 1240).[8]
These musical innovations appeared in a greater context of societal change. After the first millennium, European monks decided to start translating the works of Greek philosophers into the vernacular. Western Europeans were aware of Plato, Socrates, and Hippocrates during the Middle Ages. However they had largely lost touch with the content of their surviving works because the use of Greek as a living language was restricted to the lands of the Eastern Roman Empire (Byzantium). Once these ancient works started being translated thus becoming accessible, the philosophies had a great impact on the mind of Western Europe. This sparked a number of innovations in medicine, science, art, and music.
Western Europe and Roman Catholicism[edit]
European polyphony rose prior to, and during the period of the Western Schism. Avignon, the seat of the antipopes, was a vigorous center of secular music-making, much of which influenced sacred polyphony.[9]
It was not merely polyphony that offended the medieval ears, but the notion of secular music merging with the sacred and making its way into the papal court. It gave church music more of a jocular performance quality removing the solemn 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 not only considered frivolous, impious, and lascivious, but 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. Dissonant clashes of notes give a creepy feeling that was labeled as evil, fueling their argument against polyphony as being the devil’s music. After banishing polyphony from the Liturgy in 1322, Pope John XXII spoke in his 1324 bull Docta Sanctorum Patrum warning against the unbecoming elements of this musical innovation.[10] Pope Clement VI, however, indulged in it.
The oldest extant polyphonic setting of the mass attributable to one composer is Guillaume de Machaut's Messe de Nostre Dame, dated to 1364, during the pontificate of Pope Urban V.
More recently, the Second Vatican Council (1962–1965) stated: "Gregorian chant, other things being equal, should be given pride of place in liturgical services. But other kinds of sacred music, especially polyphony, are by no means excluded.... Religious singing by the people is to be skillfully fostered, so that in devotions and sacred exercises, as also during liturgical services, the voices of the faithful may ring out”.[11]
Notable works and artists[edit]
Tomás Luis de Victoria
William Byrd, Mass for Five Voices
Thomas Tallis
Orlandus Lassus, Missa super Bella'Amfitrit'altera
Guillaume de Machaut, Messe de Nostre Dame
Jacob Obrecht
Palestrina, Missa Papae Marcelli
Josquin des Prez, Missa Pange Lingua
Gregorio Allegri, Miserere
Protestant Britain and the United States[edit]
English Protestant west gallery music included polyphonic multi-melodic harmony, including fuguing tunes, 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 Ireland, the United Kingdom, Poland, Australia and New Zealand, among others.[citation needed]
Balkan region[edit]
Albanian polyphonic folk group wearing qeleshe and fustanella in Skrapar.
Polyphonic singing in the Balkans is traditional folk singing of this part of southern Europe. It is also called ancient, archaic or old-style singing.[12][13]
Byzantine chant
Ojkanje singing, in Croatia
Ganga singing, in Croatia, Montenegro and Bosnia and Herzegovina
Epirote singing, in northern Greece and southern Albania (see below)
Iso-polyphony in southern Albania (see below)
Gusle singing, in Serbia, Montenegro, Bosnia and Herzegovina, Croatia and Albania
Izvika singing, in Serbia
Woman choirs of Shopi (Bistritsa Babi) and Pirin, in Bulgaria
Incipient polyphony (previously primitive polyphony) includes antiphony and call and response, drones, and parallel intervals.
Balkan drone music is described as polyphonic due to Balkan musicians using a literal translation of the Greek 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.[14]
The polyphonic singing tradition of Epirus is a form of traditional folk polyphony practiced among Aromanians, Albanians, Greeks, and Macedonian Slavs in southern Albania and northwestern Greece.[15][16] This type of folk vocal tradition is also found in the Republic of 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.
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 church music, where the drone group accompanies the song.[17][18]
Caucasus region[edit]
Georgia[edit]
Polyphony in the 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. Georgian polyphonic singing has been proclaimed by UNESCO an Intangible Cultural Heritage of Humanity.[19] Polyphony plays a crucial role in Abkhazian traditional music. Polyphony is present in all genres where the social environment provides more than one singer to support the melodic line. The ethnomusicologist Izaly Zemtsovsky reported witnessing an example of such an incident, in which an Abkhazian dozing at a bus stop started singing a drone to support a singer unknown to him.[6]:8 Abkhazian two and three-part polyphony is based on a drone (sometimes a double drone). Two part drone songs are considered by Abkhazian and Georgian scholars the most important indigenous style of Abkhazian polyphony. Two-part drone songs are dominating in Gudauta district, the core region of ethnic Abkhazians. Millennia of cultural, social and economic interactions between Abkhazians and Georgians on this territory resulted in reciprocal influences, and in particular, creation of a new, so-called “Georgian style” of three-part singing in Abkhazia, unknown among Adighis. This style is based on two leading melodic lines (performed by soloists - akhkizkhuo) singing together with the drone or ostinato base (argizra). Indigenous Abkhazian style of three-part polyphony uses double drones (in fourths, fifths, or octaves) and one leading melodic line at one time. Abkhazians use a very specific cadence: tetrachordal downward movement, ending on the interval of a fourth.[6]:55
Chechens and Ingushes[edit]
Both Chechen and Ingush traditional music could be very much defined by their tradition of vocal polyphony. As in other North Caucasian musical cultures, Chechen and Ingush polyphony is based on a drone. Unlike most of the other North Caucasian polyphonic traditions (where two-part polyphony is the leading type), Chechen and Ingush polyphony is mostly three-part. Middle part, the carrier of the main melody of songs, is accompanied by the double drone, holding the interval of the fifth “around” the main melody. Intervals and chords, used in Chechen and Ingush polyphony, are often dissonances (sevenths, seconds, fourths). This is quite usual in all North Caucasian traditions of polyphony as well, but in Chechen and Ingush traditional songs more sharp dissonances are used. In particular, a specific cadence, where the final chord is a dissonant three-part chord, consisting of fourth and the second on top (c-f-g), is quite unique for North Caucasia. Only on the other side of Caucasian mountains, in western Georgia, there are only few songs that finish on the same dissonant chord (c-f-g).[6]:60–61
See also[edit]
Micropolyphony
Polyphonic Era
References[edit]
Jump up ^ Hendrik van der Werf (1997). "Early Western polyphony", Companion to Medieval & Renaissance Music. Oxford University Press. ISBN 0-19-816540-4.
Jump up ^ Margaret Bent (1999). "The Grammar of Early Music: Preconditions for Analysis", Tonal Structures of Early Music. New York: Garland Publishing. ISBN 0-8153-2388-3.
Jump up ^ DeVoto, Mark (2015). "Polyphony". Encyclopædia Britannica Online. Retrieved 2015-12-01.
Jump up ^ Jordania, Joseph (2011). Why do People Sing? Music in Human Evolution. Logos. pp. 60–70. ISBN 978-9941-401-86-2.
Jump up ^ Bruno Nettl. Polyphony in North American Indian music. Musical Quarterly, 1961, 47:354–62
^ Jump up to: a b c d Joseph Jordania (2006). Who Asked the First Question? The Origins of Human Choral Singing, Intelligence, Language and Speech (PDF). Tbilisi: Logos. ISBN 99940-31-81-3.
Jump up ^ Riemann, Hugo. History of music theory, books I and II: polyphonic theory to the sixteenth century, Book 1. Da Capo Press. June 1974.
Jump up ^ Albright, Daniel (2004). Modernism and Music: An Anthology of Sources. University of Chicago Press. ISBN 0-226-01267-0.
Jump up ^ Riemann, Hugo. History of music theory, books I and II: polyphonic theory to the sixteenth century, Book 2. Da Capo Press. June 1974.
Jump up ^ Pope John XXII (1879). "Translated from the original Latin of the bull Docta sanctorum patrum as given in Corpus iuris canonici, ed. a. 1582" (PDF). pp. 1256–57.
Jump up ^ Vatican II, Constitution on the Liturgy, 112–18
Jump up ^ Selected Discography on Multipart Singing in Serbia & Montenegro
Jump up ^ Music-cultures in contact: convergences and collisions
Jump up ^ Koço, Eno (27 February 2015). A Journey of the Vocal Iso(n). Cambridge Scholars Publishing. p. xx. ISBN 978-1-4438-7578-3. A free, unpublished version of this passage is available on Google Books.
Jump up ^ Bart Plantenga. 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].
Jump up ^ 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 "
Jump up ^ European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid p. 241 [1]
Jump up ^ "Albanian Folk Iso-polyphony". UNESCO. Retrieved 31 December 2010.
Jump up ^ "Georgian Polyphonic Singing". UNESCO.
External links[edit]
Wikimedia Commons has media related to Polyphony.
Thirteenth-Century Polyphony
Tuning and Intonation in Fifteenth and Sixteenth Century Polyphony
World Routes in Albania – Iso-Polyphony in Southern Albania on BBC Radio 3
World Routes in Georgia – Ancient polyphony from the Caucasus region on BBC Radio 3
Aka Pygmy Polyphony African Pygmy music, with photos and soundscapes
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Umami
From Wikipedia, the free encyclopedia
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Tomatoes are rich in umami components.
Soy sauce is also rich in umami components.
Umami (/uˈmɑːmi/, from Japanese: うま味) or savory taste, is one of the five basic tastes (together with sweetness, sourness, bitterness, and saltiness).[1][2] It has been described as savory, and characteristic of broths and cooked meats.[3][4]
People taste umami through taste receptors that typically respond to glutamate, which is widely present in meat broths and fermented products and commonly added to some foods in the form of monosodium glutamate (MSG).[5] Since umami has its own receptors rather than arising out of a combination of the traditionally recognized taste receptors, scientists now consider umami to be a distinct taste.[2][6]
Contents
1 Etymology
2 Background
3 Discovery
4 Properties
5 Foods rich in umami components
6 Taste receptors
7 Consumers and safety
8 See also
9 References
10 Further reading
11 External links
Etymology[edit]
A loanword from the Japanese (うま味), umami can be translated as "pleasant savory taste".[7] This neologism was coined in 1908 by Japanese chemist Kikunae Ikeda from a nominalization of umai (うまい) "delicious". The compound 旨味 (with mi (味) "taste") is used for a more general sense of a food as delicious.[8][9][10]
Background[edit]
Scientists have debated whether umami was a basic taste since Kikunae Ikeda first proposed its existence in 1908.[11][12] In 1985, the term umami was recognized as the scientific term to describe the taste of glutamates and nucleotides at the first Umami International Symposium in Hawaii.[13] Umami represents the taste of the amino acid L-glutamate and 5’-ribonucleotides such as guanosine monophosphate (GMP) and inosine monophosphate (IMP).[14] It can be described as a pleasant "brothy" or "meaty" taste with a long-lasting, mouthwatering and coating sensation over the tongue.
The sensation of umami is due to the detection of the carboxylate anion of glutamate in specialized receptor cells present on the human and other animal tongues.[15] Some 52 peptides may be responsible for detecting umami taste.[16] Its effect is to balance taste and round out the overall flavor of a dish. Umami enhances the palatability of a wide variety of foods.[17] Glutamate in acid form (glutamic acid) imparts little umami taste, whereas the salts of glutamic acid, known as glutamates, give the characteristic umami taste due to their ionized state. GMP and IMP amplify the taste intensity of glutamate.[18] Adding salt to the free acids also enhances the umami taste.[19]
Monosodium L-aspartate has an umami taste about four times less intense than MSG whereas ibotenic acid and tricholomic acid (likely as their salts or with salt) are claimed to be many times more intense.[19]
Discovery[edit]
Kikunae Ikeda
Glutamate has a long history in cooking.[20] Fermented fish sauces (garum), which are rich in glutamate, were used widely in ancient Rome,[21] fermented barley sauces (murri) rich in glutamate were used in medieval Byzantine and Arab cuisine,[22] and fermented fish sauces and soy sauces have histories going back to the 3rd century in China. In the late-1800s, chef Auguste Escoffier, who opened restaurants in Paris and London, created meals that combined umami with salty, sour, sweet and bitter tastes.[6] He did not know the chemical source of this unique quality, however.
Umami was first scientifically identified in 1908 by Kikunae Ikeda,[23][24] a professor of the Tokyo Imperial University. He found that glutamate was responsible for the palatability of the broth from kombu seaweed. He noticed that the taste of kombu dashi was distinct from sweet, sour, bitter, and salty and named it umami.[12]
Professor Shintaro Kodama, a disciple of Ikeda, discovered in 1913 that dried bonito flakes contained another umami substance.[25] This was the ribonucleotide IMP. In 1957, Akira Kuninaka realized that the ribonucleotide GMP present in shiitake mushrooms also conferred the umami taste.[26] One of Kuninaka's most important discoveries was the synergistic effect between ribonucleotides and glutamate. When foods rich in glutamate are combined with ingredients that have ribonucleotides, the resulting taste intensity is higher than would be expected from merely adding the intensity of the individual ingredients.
This synergy of umami may explain various classical foodpairings: Japanese make dashi with kombu seaweed and dried bonito flakes; the Chinese add Chinese leek and Chinese cabbage to chicken soup, as do Scots in the similar Scottish dish of cock-a-leekie soup; and Italians combine Parmesan cheese on tomato sauce with mushrooms.
Properties[edit]
Umami has a mild but lasting aftertaste associated with salivation and a sensation of furriness on the tongue, stimulating the throat, the roof and the back of the mouth.[27][28] By itself, umami is not palatable, but it makes a great variety of foods pleasant, especially in the presence of a matching aroma.[29] Like other basic tastes, umami is pleasant only within a relatively narrow concentration range.[27]
The optimum umami taste depends also on the amount of salt, and at the same time, low-salt foods can maintain a satisfactory taste with the appropriate amount of umami.[30] One study showed that ratings of pleasantness, taste intensity, and ideal saltiness of low-salt soups were greater when the soup contained umami, whereas low-salt soups without umami were less pleasant.[31] Another study demonstrated that using fish sauce as a source of umami could reduce the need for salt by 10–25% to flavor such foods as chicken broth, tomato sauce or coconut curry while maintaining overall taste intensity.[32][33]
Some population groups, such as the elderly, may benefit from umami taste because their taste and smell sensitivity is impaired by age and medication. The loss of taste and smell can contribute to poor nutrition, increasing their risk of disease.[34] Some evidence exists to show umami not only stimulates appetite, but also may contribute to satiety.[35]
Foods rich in umami components[edit]
Many foods that may be consumed daily are naturally rich in umami components.[3] Glutamate in the form of inosinate comes primarily from meats whereas guanylate comes primarily from vegetables. Mushrooms, especially dried shiitake, are sources of umami flavor from guanylate. Smoked, or fermented fish are high in inosinate, and shellfish in adenylate.[36]:11, 52, 110[37]
Generally, umami taste is common to foods that contain high levels of L-glutamate, IMP and GMP, most notably in fish, shellfish, cured meats, mushrooms, vegetables (e.g., ripe tomatoes, Chinese cabbage, spinach, celery, etc.) or green tea, and fermented and aged products involving bacterial or yeast cultures, such as cheeses, shrimp pastes, fish sauce, soy sauce, nutritional yeast, and yeast extracts such as Vegemite and Marmite.[3][38]
Many humans' first encounter with umami components is breast milk.[39] It contains roughly the same amount of umami as broths.
There are some distinctions among stocks from different countries. In dashi, L-glutamate comes from sea kombu (Laminaria japonica) and inosinate from dried bonito flakes (katsuobushi) or dried sardines (niboshi).
Taste receptors[edit]
Most taste buds on the tongue and other regions of the mouth can detect umami taste, irrespective of their location. The tongue map in which different tastes are distributed in different regions of the tongue is a common misconception. Biochemical studies have identified the taste receptors responsible for the sense of umami as modified forms of mGluR4, mGluR1 and taste receptor type 1 (T1R1 + T1R3), all of which have been found in all regions of the tongue bearing taste buds.[40][41][42] A 2009 review corroborated the acceptance of these receptors, stating, "Recent molecular biological studies have now identified strong candidates for umami receptors, including the heterodimer T1R1/T1R3, and truncated type 1 and 4 metabotropic glutamate receptors missing most of the N-terminal extracellular domain (taste-mGluR4 and truncated-mGluR1) and brain-mGluR4."[15]
Receptors mGluR1 and mGluR4 are specific to glutamate whereas T1R1 + T1R3 are responsible for the synergism already described by Akira Kuninaka in 1957. However, the specific role of each type of receptor in taste bud cells remains unclear. They are G protein-coupled receptors (GPCRs) with similar signaling molecules that include G proteins beta-gamma, PLCB2 and PI3-mediated release of calcium (Ca2+) from intracellular stores.[43] Calcium activates the selective cation channel transient receptor potential melastatin 5 (TRPM5) that leads to membrane depolarization and the consequent release of ATP and secretion of neurotransmitters including serotonin.[44][45][46][47]
Cells responding to umami taste stimuli do not possess typical synapses, but ATP conveys taste signals to gustatory nerves and in turn to the brain that interprets and identifies the taste quality via the gut-brain axis.[2][48][49]
Consumers and safety[edit]
Umami has become popular as a flavor with food manufacturers trying to improve the taste of low sodium offerings.[50] Chefs create "umami bombs", which are dishes made of several umami ingredients like fish sauce.[3][6] Umami may account for the long-term formulation and popularity of ketchup.[51] The United States Food and Drug Administration has designated the umami enhancer monosodium glutamate (MSG) as a safe ingredient. While some people identify themselves as sensitive to MSG, a study commissioned by the FDA was only able to identify transient, mild symptoms in a few of the subjects, and only when the MSG was consumed in unrealistically large quantitities.[52]
See also[edit]
Food portal
Neuroscience portal
Glutamate flavoring
Ajinomoto
Tien Chu Ve-Tsin
Disodium glutamate
Monopotassium glutamate
Disodium inosinate
Inosinic acid
Adenosine monophosphate
References[edit]
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Further reading[edit]
Teranishi R, Wick EL, Hornstein I. "Flavor Chemistry: Thirty Years of Progress". In Yamaguchi S, Ninomiya K. Umami and Food Palatability. ISBN 0-306-46199-4.
Barbot, Pascal; Matsuhisa, Nobu; Mikuni, Kiyomi; Blumenthal, Heston (2009). Dashi and Umami: The Heart of Japanese Cuisine. London: Eat-Japan / Cross Media.
External links[edit]
Umami Information Center, Tokyo, 2016
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values: Category:Use dmy dates from November 2017

values: Category:Articles containing Japanese-language text

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Umami
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values:
/w/index.php?title=Umami&action=edit
Edit this page [ctrl-alt-e]
e

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

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/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: أومامي – Arabic

values:
https://bar.wikipedia.org/wiki/Umami
Umami – Bavarian
bar
bar
interlanguage-link-target

values:
interlanguage-link interwiki-bar
display: none;

values:
https://ca.wikipedia.org/wiki/Umami
Umami – Catalan
ca
ca
interlanguage-link-target

values:
interlanguage-link interwiki-ca
display: none;

values:
https://cs.wikipedia.org/wiki/Umami
Umami – Czech
cs
cs
interlanguage-link-target

values:
interlanguage-link interwiki-cs
display: none;

values:
https://da.wikipedia.org/wiki/Umami
Umami – Danish
da
da
interlanguage-link-target

values:
interlanguage-link interwiki-da
display: none;

values:
https://de.wikipedia.org/wiki/Umami
Umami – German
de
de
interlanguage-link-target

values:
interlanguage-link interwiki-de
display: none;

values: Ουμάμι – Greek

values:
interlanguage-link interwiki-el
display: none;

values:
https://es.wikipedia.org/wiki/Umami
Umami – Spanish
es
es
interlanguage-link-target

values:
https://eo.wikipedia.org/wiki/Umamo
Umamo – Esperanto
eo
eo
interlanguage-link-target

values:
interlanguage-link interwiki-eo
display: none;

values:
https://eu.wikipedia.org/wiki/Umami
Umami – Basque
eu
eu
interlanguage-link-target

values:
interlanguage-link interwiki-eu
display: none;

values: اومامی – Persian

values:
interlanguage-link interwiki-fa
display: none;

values:
https://fr.wikipedia.org/wiki/Umami
Umami – French
fr
fr
interlanguage-link-target

values:
interlanguage-link interwiki-gl
display: none;

values:
interlanguage-link interwiki-ko
display: none;

values:
interlanguage-link interwiki-hy
display: none;

values:
https://id.wikipedia.org/wiki/Gurih
Gurih – Indonesian
id
id
interlanguage-link-target

values:
https://is.wikipedia.org/wiki/Umami
Umami – Icelandic
is
is
interlanguage-link-target

values:
interlanguage-link interwiki-is
display: none;

values:
https://it.wikipedia.org/wiki/Umami
Umami – Italian
it
it
interlanguage-link-target

values:
interlanguage-link interwiki-it
display: none;

values:
https://jv.wikipedia.org/wiki/Gurih
Gurih – Javanese
jv
jv
interlanguage-link-target

values:
interlanguage-link interwiki-jv
display: none;

values:
https://lv.wikipedia.org/wiki/Umami
Umami – Latvian
lv
lv
interlanguage-link-target

values:
interlanguage-link interwiki-lv
display: none;

values:
https://lt.wikipedia.org/wiki/Umami
Umami – Lithuanian
lt
lt
interlanguage-link-target

values:
interlanguage-link interwiki-lt
display: none;

values:
https://li.wikipedia.org/wiki/Umami
Umami – Limburgish
li
li
interlanguage-link-target

values:
interlanguage-link interwiki-li
display: none;

values:
https://hu.wikipedia.org/wiki/Umami
Umami – Hungarian
hu
hu
interlanguage-link-target

values:
interlanguage-link interwiki-hu
display: none;

values:
interlanguage-link interwiki-ml
display: none;

values:
https://ms.wikipedia.org/wiki/Umami
Umami – Malay
ms
ms
interlanguage-link-target

values:
https://nl.wikipedia.org/wiki/Umami
Umami – Dutch
nl
nl
interlanguage-link-target

values:
interlanguage-link interwiki-nl
display: none;

values:
https://no.wikipedia.org/wiki/Umami
Umami – Norwegian
no
no
interlanguage-link-target

values:
interlanguage-link interwiki-no
display: none;

values:
https://oc.wikipedia.org/wiki/Umami
Umami – Occitan
oc
oc
interlanguage-link-target

values:
interlanguage-link interwiki-oc
display: none;

values:
https://pl.wikipedia.org/wiki/Umami
Umami – Polish
pl
pl
interlanguage-link-target

values:
interlanguage-link interwiki-pl
display: none;

values:
https://pt.wikipedia.org/wiki/Umami
Umami – Portuguese
pt
pt
interlanguage-link-target

values:
https://ro.wikipedia.org/wiki/Umami
Umami – Romanian
ro
ro
interlanguage-link-target

values:
interlanguage-link interwiki-ro
display: none;

values:
https://sco.wikipedia.org/wiki/Umami
Umami – Scots
sco
sco
interlanguage-link-target

values:
interlanguage-link interwiki-sco
display: none;

values:
https://sk.wikipedia.org/wiki/Umami
Umami – Slovak
sk
sk
interlanguage-link-target

values:
interlanguage-link interwiki-sk
display: none;

values:
interlanguage-link interwiki-sl
display: none;

values:
https://sr.wikipedia.org/wiki/Umami
Umami – Serbian
sr
sr
interlanguage-link-target

values:
interlanguage-link interwiki-sr
display: none;

values:
https://sh.wikipedia.org/wiki/Umami
Umami – Serbo-Croatian
sh
sh
interlanguage-link-target

values:
interlanguage-link interwiki-sh
display: none;

values:
https://fi.wikipedia.org/wiki/Umami
Umami – Finnish
fi
fi
interlanguage-link-target

values:
interlanguage-link interwiki-fi
display: none;

values:
https://sv.wikipedia.org/wiki/Umami
Umami – Swedish
sv
sv
interlanguage-link-target

values:
interlanguage-link interwiki-sv
display: none;

values: உமாமி – Tamil

values:
interlanguage-link interwiki-ta
display: none;

values: อุมะมิ – Thai

values:
interlanguage-link interwiki-th
display: none;

values:
https://tr.wikipedia.org/wiki/Umami
Umami – Turkish
tr
tr
interlanguage-link-target

values:
interlanguage-link interwiki-tr
display: none;

values:
interlanguage-link interwiki-uk
display: none;

values:
https://vi.wikipedia.org/wiki/Umami
Umami – Vietnamese
vi
vi
interlanguage-link-target

values:
interlanguage-link interwiki-vi
display: none;

values:
https://war.wikipedia.org/wiki/Umami
Umami – Waray
war
war
interlanguage-link-target

values:
interlanguage-link interwiki-war
display: none;

values:
interlanguage-link interwiki-wuu
display: none;

values:
interlanguage-link interwiki-zh-yue
display: none;

values: All languages (initial selection from common choices by you and others)

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Umami rootpage-Umami skin-vector action-view