The Fifth International Symposium on Traditional Polyphony ...
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The Fifth International Symposium on Traditional Polyphony ...

The Fifth International Symposium on Traditional Polyphony ... The Fifth International Symposium on Traditional Polyphony ...

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122 ala sokolova (Ilias Nagiev) mier Sesrulebuli simRerebi da sakravze dasakravebi 5 informacia Jiu-paSCsa da Jiu-kiaSCze r. unarokovam 1980 wels moipova adiReuri simReris gamoCenili mcodnis, sof. jejexablSi (Jejekhabl) mcxovrebi turkubi jarimokisagan (dab. 1927 w.) 6 aseTi replika gvxvdeba simReraSi SipkiS (Shypkish), romelsac asrulebs sirieli iusuf tuguzi (Yusuf Tuguz). r. b. unarokovas (R. B. Unarokova) Canaweri. adeReas saxelmwifo univeritetis adiReamcodneobis centris arqivi 7 2010 wels Tbilisis tradiciuli mravalxmianobis me-5 saerTaSoriso simpoziumSi monawileobisas mqonda bedniereba momesmina qarTuli mravalxmiani simRerebi ori solistis SesrulebiT. Cems kiTxva– ze saidan ician momRerlebma, Tu rogor unda Seasrulon momdevno strofi, Semsrulebelma mipasuxa: “me amas vgrZnob radgan qarTveli var!” Tumca unda aRiniSnos, rom solisti romelic estafetas ga– dascems meore solists, mianiSnebs mas Tavis odavi daqneviT 8 cneba `xangrZliv~ simReras Cven viyenebT maTi JReradobis realuri drois aRsaniSnad. adiReuri sim– Rerebi did meomrebze, did brZolebze, Selocvebi, saweso simRerebi da simRera-datirebebi SeiZle– boda gagrZelebuliyo xangrZlivi drois manZilze (naxevari saaTidan ramdenime saaTamde) 9 informacia mocemul terminze mogvawoda profesorma r. unarokovam 10 maRali VI safexuri 11 `agoni~ (Agon) berZnulad niSnavs Sejibrs Targmna irina fircxalavam

123 ALLA SOKOLOVA (RUSSIA, REPUBLIC OF ADYGHEA) THE MEANINGS AND CODES OF THE AMOEBEAN FORM OF SINGING IN THE ADYGHE TRADITIONAL CULTURE ong>Theong> paper is dedicated to researching in the specific form of the traditional Adyghe singing – alternate interchanging of soloists. Having discovered the traces of this form in different genres and having revealed the folk terminology associated with the issue under study, the author makes an attempt to reconstruct this disappearing phenomenon. ong>Theong> notion amoebean (from the Greek word amoibaios – alternate, in turn, following one another), denotes the phenomenon, widespread all over the world, it is alternate interchanging of two soloists or two choirs, each with the khorega – a directing singer. According to the competent opinion of A. Veselovski, in the primitive choir the first singer began and led the song, which was repeated and responded by the choir (Veselovski, 1989: 155-157). Scholars come across the evidence of amoebean singing in various cultures. I.I. Zemtsovsky notes, that amoebean-antiphonal singing is attested among the peoples of the Mediterranean basin, in the Pyrenees and Spain, in the Balkans, the Near East, Northern Caucasus, Transcacuasia, the Carpathian Mountains and Transcarpathia, with the Finno-Hungarians and other Turkish-speaking peoples, the same concerns Yakuts and Eskimoes, Mongols, Buriats, Jews of Bukhara, peoples of Tajikistan, native Americans, the Vietnamese and many others (Zemtsovski, 2006: 170). Quite a number of indications of the presence of this form can be found in the Iliad, the Karelian-Finnish runes, the poetry of the Scalds, the Lithuanian sutartines and the Abkhazian and Georgian songs and so on. According to I. Jordania, in Georgia not only labour and epic songs but even funeral dirges and drinking songs were performed alternately (e.g. in Khevsureti, before drinking wine, the host and the guest in alternation sang songs in which they praised each other with glasses in their hands). ong>Theong>re are various types of alternate singing: two people singing in turn (without accompaniment), soloist, with the common drone accompaniment (as in the case of east Georgian drinking songs), the soloist and the choir (it is the most widespread phenomenon in the world); or two choirs (Garaqanidze, 2009). I. Zemtsovski considers the dialogue one of the most characteristic features of man’s singing culture and communication in general. Also, In Jordania’s opinion, the appearance of the phenomenon of “question and response” in human evolution and the emergence of the human intellect are connected with the existence of the dialogue (Jordania, 2006). At the same time scholars assert that alternate singing can be observed among birds as well (Thorpe, 1960: 774-776). My work is targeted at finding the traces of the amoebean forms of singing in Adyghe culture and characterizing them from the viewpoint of culturology and ethnomusicology 1 . Here I proceed not so much from the history and theory of amoebean singing as from the modern and historic practice of Adyghe singing culture. Many a time I have come across the situation, when a song was performed by one or several soloist. Sometimes this situation emerged spontaneously, as for instance, in the summer of 2009, when an Adyghe family from Syria arrived in Maikop. Marshchan Jimuk, a12-year-old Adyghe boy from Syria was given a CD with the recordings of the ensemble zhyu 2 and from the disc the boy learned the song Tuguzhuko Kazbich,

122<br />

ala sokolova<br />

(Ilias Nagiev) mier Sesrulebuli simRerebi da sakravze dasakravebi<br />

5 informacia Jiu-paSCsa da Jiu-kiaSCze r. unarokovam 1980 wels moipova adiReuri simReris gamoCenili<br />

mcodnis, sof. jejexablSi (Jejekhabl) mcxovrebi turkubi jarimokisagan (dab. 1927 w.)<br />

6 aseTi replika gvxvdeba simReraSi SipkiS (Shypkish), romelsac asrulebs sirieli iusuf tuguzi (Yusuf<br />

Tuguz). r. b. unarokovas (R. B. Unarokova) Canaweri. adeReas saxelmwifo univeritetis adiReamcodneobis<br />

centris arqivi<br />

7 2010 wels Tbilisis tradiciuli mravalxmianobis me-5 saerTaSoriso simpoziumSi m<strong>on</strong>awileobisas<br />

mq<strong>on</strong>da bedniereba momesmina qarTuli mravalxmiani simRerebi ori solistis SesrulebiT. Cems kiTxva–<br />

ze saidan ician momRerlebma, Tu rogor unda Seasrul<strong>on</strong> momdevno strofi, Semsrulebelma mipasuxa:<br />

“me amas vgrZnob radgan qarTveli var!” Tumca unda aRiniSnos, rom solisti romelic estafetas ga–<br />

dascems meore solists, mianiSnebs mas Tavis odavi daqneviT<br />

8 cneba `xangrZliv~ simReras Cven viyenebT maTi JReradobis realuri drois aRsaniSnad. adiReuri sim–<br />

Rerebi did meomrebze, did brZolebze, Selocvebi, saweso simRerebi da simRera-datirebebi SeiZle–<br />

boda gagrZelebuliyo xangrZlivi drois manZilze (naxevari saaTidan ramdenime saaTamde)<br />

9 informacia mocemul terminze mogvawoda profesorma r. unarokovam<br />

10 maRali VI safexuri<br />

11 `ag<strong>on</strong>i~ (Ag<strong>on</strong>) berZnulad niSnavs Sejibrs<br />

Targmna irina fircxalavam

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