The Fifth International Symposium on Traditional Polyphony ...
The Fifth International Symposium on Traditional Polyphony ... The Fifth International Symposium on Traditional Polyphony ...
144 Natalia Zumbadze, Ketevan Matiashvili According to the musical parameters we divided the Adyghean songs into recitative, dancing, incantation and lullaby-type groups. According to their verbal text Hatkhi’s Son Mhamet and Goshaghagh 4 , included in the first group, are heroic-epic songs.
Caucasian Peoples’ Polyphony and Its Relation with Georgian Polyphony (According to the Audio Album –
- Page 94 and 95: 94 Marina Kavtaradze, Ekaterine Buc
- Page 96 and 97: 96 Marina Kavtaradze, Ekaterine Buc
- Page 98 and 99: 98 rie koCi akompanementiT, instrum
- Page 100 and 101: 100 cxr. 3 rie koCi 1) kanonuri uko
- Page 102 and 103: 102 rie koCi rasac mReroda wamyvani
- Page 104 and 105: 104 ON THE POLYPHONIC SINGING STYLE
- Page 106 and 107: 106 singing the same melody followi
- Page 108 and 109: 108 Rie Kôchi 3. Recent movements
- Page 110 and 111: 110 Rie Kôchi Kôchi, Rie. (ed.).
- Page 112 and 113: 112 rie koCi. danarTi Rie Kôchi. A
- Page 115 and 116: 115 ala sokolova (adiRe, ruseTi) ad
- Page 117 and 118: adiReas tradiciuli kulturis ameburi
- Page 119 and 120: adiReas tradiciuli kulturis ameburi
- Page 121 and 122: adiReas tradiciuli kulturis ameburi
- Page 123 and 124: 123 ALLA SOKOLOVA (RUSSIA, REPUBLIC
- Page 125 and 126: The Meanings and C
- Page 127 and 128: The Meanings and C
- Page 129 and 130: The Meanings and C
- Page 131 and 132: ala sokolova. danarTi Alla Sokolova
- Page 133 and 134: 133 natalia zumbaZe, qeTevan maTiaS
- Page 135 and 136: kavkasiel xalxTa mravalxmianoba da
- Page 137 and 138: kavkasiel xalxTa mravalxmianoba da
- Page 139 and 140: kavkasiel xalxTa mravalxmianoba da
- Page 141 and 142: kavkasiel xalxTa mravalxmianoba da
- Page 143: 143 NATALIA ZUMBADZE, KETEVAN MATIA
- Page 147 and 148: Caucasian Peoples’ Polyphony and
- Page 149 and 150: Caucasian Peoples’ Polyphony and
- Page 151 and 152: Caucasian Peoples’ Polyphony and
- Page 153 and 154: natalia zumbaZe, qeTevan maTiaSvili
- Page 155 and 156: 155 maia gelaSvili (saqarTvelo) pan
- Page 157 and 158: pankisis xeobis qistebis tradiciuli
- Page 159 and 160: ON THE STUDY OF THE TRADITIONAL MUS
- Page 161 and 162: On the Study of the Traditional Mus
- Page 163 and 164: 163 maka xarZiani (saqarTvelo) samx
- Page 165 and 166: samxmiani simRerebis gaerTxmianebis
- Page 167 and 168: samxmiani simRerebis gaerTxmianebis
- Page 169 and 170: On the Change of Three-Part Songs i
- Page 171 and 172: On the Change of Three-Part Songs i
- Page 173 and 174: 173 manana SilakaZe (saqarTvelo) qa
- Page 175 and 176: qarTuli da adiReuri instrumentuli m
- Page 177 and 178: 177 MANANA SHILAKADZE (GEORGIA) GEO
- Page 179 and 180: Georgian and Adyghe Music in the Co
- Page 181 and 182: manana SilakaZe. danarTi Manana Shi
- Page 183: Ktradiciuli polifoniis regionuli st
- Page 186 and 187: 186 Jana partlasi mizezis gamo. upi
- Page 188 and 189: 188 Jana partlasi naxevartoniani ki
- Page 190 and 191: 190 ŽANNA PÄRTLAS (ESTONIA) RETRA
- Page 192 and 193: 192 Žanna Pärtlas melodic lines c
Caucasian Peoples’ Polyph<strong>on</strong>y and Its Relati<strong>on</strong> with Georgian Polyph<strong>on</strong>y (According to the Audio Album –<br />
<str<strong>on</strong>g>The</str<strong>on</strong>g> Music of the Caucasian Peoples – from the Ph<strong>on</strong>ogram Archives of Tbilisi State C<strong>on</strong>servatoire)<br />
145<br />
VI) in the tune, sung by <strong>on</strong>e man, is very popular in Georgian singing culture as well. By this trait Hachtuqva<br />
reveals a closeness to the Georgian specimens of various genres (audio ex. 12, 13) 9 .<br />
Circassian-Georgian musical parallels are also observed in instrumental music. We have singled out the<br />
devoti<strong>on</strong>al-ritual dancing tune Udji 10 (performed <strong>on</strong> the accordi<strong>on</strong> and percussi<strong>on</strong> instruments, the tambourine<br />
and the pkhachich), which in spite of its different dynamics, by its initial tune is reminiscent of East Georgian<br />
(Kartlian) tunes, performed <strong>on</strong> the small accordi<strong>on</strong> (tsiko-tsiko) (audio ex. 14, 15). Analogous to them is a<br />
humorous tune performed <strong>on</strong> the accordi<strong>on</strong> and the drum, which was recorded in western Georgia in 1954<br />
(audio ex. 16).<br />
In the Karachai sound-recordings we have singled out three s<strong>on</strong>gs. <str<strong>on</strong>g>The</str<strong>on</strong>g> first <strong>on</strong>e Acheis dze Achemazi<br />
(Achemez, s<strong>on</strong> of Achei) is close to the Circassian s<strong>on</strong>gs of the same recitative type (Goshaghagh, Mhamet,<br />
S<strong>on</strong> of Hatkh), and to some extent resembles the Georgian dirges with the dr<strong>on</strong>e. <str<strong>on</strong>g>The</str<strong>on</strong>g> bass formula VII-V-II-I,<br />
is also like the Circassian <strong>on</strong>e (audio ex. 17). Our attenti<strong>on</strong> was attracted by the dr<strong>on</strong>e (though more developed<br />
in comparis<strong>on</strong> with the previous s<strong>on</strong>g) “acceptable for the Georgian logic” (VII-II-I-VII-VI-I), of the sec<strong>on</strong>d<br />
specimen – Tanjva (lit.: Suffering). <str<strong>on</strong>g>The</str<strong>on</strong>g> harm<strong>on</strong>ic interchanging of the degrees of the same functi<strong>on</strong>, removed<br />
from each other by the third (e.g. VII-II) is characteristic of the Georgian s<strong>on</strong>g as well, but a number of<br />
parameters in these two cultures present a different picture. <str<strong>on</strong>g>The</str<strong>on</strong>g> following s<strong>on</strong>g L<strong>on</strong>g Nights and Short Days is<br />
distinguished by the octave bass part, alien to our musical traditi<strong>on</strong> (by removing the upper sound of the octave<br />
this specimen might be closer to the Georgian <strong>on</strong>e).<br />
<str<strong>on</strong>g>The</str<strong>on</strong>g> Karachai instrumental tune Toi (wedding dancing tune) is also associated with the Georgian; it is<br />
performed <strong>on</strong> the accordi<strong>on</strong> and the percussi<strong>on</strong> instrument khars. Its last part reveals great resemblance to West<br />
Georgian dancing tunes, namely, the Rachian Oghro-choghro (audio ex. 18, 19).<br />
A number of characteristic features, such as the descending type of the tune (quite well-developed and<br />
disguised in the Circassian), singing with open sounds, raising the performed melody, the top voice singing<br />
solo, textless singing – interjecti<strong>on</strong>s and vowels in the bass part, glossolalias (ha, ri, rai, rira, rirai, rara,<br />
rarira, riraida, rirarada, rav, rauri, rasha, rashi, nanina, ninana), bring the Adyghe-Karachai singing closer<br />
to Georgian folk s<strong>on</strong>gs, instrumental tunes and their performing practice – in the Karachai (unlike Georgian,<br />
they are used in the upper voice, in the first stanza of the s<strong>on</strong>g; in such specimens the verbal text, which has<br />
a semantic meaning, begins from the following stanza. Glossolalias practically never occur in the soloist’s<br />
part am<strong>on</strong>g Adyghean s<strong>on</strong>gs).<br />
In the Abkhazian recordings we have chosen nine specimens. We have grouped two two-part devoti<strong>on</strong>alritual<br />
specimens with the incantati<strong>on</strong>-type s<strong>on</strong>gs: Bringing Back the Soul of the Drowned Man and a Hunting<br />
S<strong>on</strong>g (dad Iuana) 11 . Both of them are an appeal: <strong>on</strong>e to the deceased’s soul, so that is should come back home;<br />
the other to the deity of hunting for a successful hunt. <str<strong>on</strong>g>The</str<strong>on</strong>g> antiquity of these specimens is attested not <strong>on</strong>ly<br />
by their social functi<strong>on</strong> but their musical parameters as well. <str<strong>on</strong>g>The</str<strong>on</strong>g> first s<strong>on</strong>g with its descending, recitative<br />
melody of the fifth range, repeated in the ostinato manner and accompanied by the simple dr<strong>on</strong>e, resembles<br />
incantati<strong>on</strong>-type s<strong>on</strong>gs, also reminding us of the Kakhetian dirges with the bass part (audio ex. 20). <str<strong>on</strong>g>The</str<strong>on</strong>g><br />
traditi<strong>on</strong> of “Catching the Soul” (finding and bringing the soul back home) of the deceased (murdered or killed<br />
in an avalanche) is attested in the ethnography of the Svans and Rachians, too, but here they are performed<br />
with the accompaniment of a bowed instrument, the chuniri or the chianuri (Shilakadze, 1970: 63-64). Kakhi<br />
Rosebashvili recorded such instrumental piece for chuniri in Upper Svaneti (Rosebashvili, 1982: 24; ex. 4).<br />
<str<strong>on</strong>g>The</str<strong>on</strong>g> other, the Hurting S<strong>on</strong>g, resembles the Georgian by its bass part formula VI-VII-I. Here, too, the<br />
basic element is ostinato. It is formed by a multiple repetiti<strong>on</strong> of the musical nucleus – the recitative-type