The Fifth International Symposium on Traditional Polyphony ...

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158 maia gelaSvili damowmebuli literatura albuTaSvili, maTe. (1990). pankiseli qistebis eTnografia. giorgi javaxiSvilis piradi arqivi, Telavi aslaniSvili, Salva. (1959). ,,qarTvel kompozitorTa harmoniis safuZvlebi~. wignSi: qarTuli musikaluri kultura. Tbilisi: Заря Востока maisuraZe, nino. (1983). qarTuli xalxuri musikis genezisis, Camoyalibebisa da ganviTarebis problemebi. sadisertacio naSromi istoriis mecnierebaTa doqtoris xarisxis mosapoveblad (specialobebi: eTno– logia, musikismcodneoba). saqarTvelos samecniero akademiis iv. javaxiSvilis saxelobis istoriis, arqeologiisa da eTnografiis instituti maisuraZe, nino. (1989). qarTuli xalxuri musika da misi istoriul-eTnografiuli aspeqtebi. Tbilisi: mecniereba makalaTia, sergi. (1984). xevsureTi. Tbilisi: nakaduli margoSvili, leila. (1985). pankiseli qistebis wes-Cveulebebi da Tanamedroveoba. Tbilisi: mecniereba mroveli, leonti. (1955). qarTlis cxovreba. redaqtori: yauxCiSvili, s. Tbilisi: saxelgami xangoSvili, meqa. (2000). vainaxTa sagmiro eposi. Tbilisi xangoSvili, xaso. (2005). qistebi. Tbilisi yazbegi, aleqsandre. (1986). elguja. qarTuli proza, wigni XI. Tbilisi: sabWoTa saqarTvelo Речменский, Николай. (1965). Музыкальная культура Чечено-Ингушской АССР. Москва: Музыка audiomagaliTebi audiomagaliTi 1. dedamTilis datireba. audioalbomi: nanina. qalTa folkloruli ansambli. (2008). biliki 08. Tbilisi videomagaliTebi videomagaliTi 1. nazmi matylis CeCvis dros. boris margvelaSvilis piradi arqivi, pankisis 1987 wlis eqspediciis masalebi videomagaliTi 2. ziqari. mamakacebis samgloviaro rituali. boris margvelaSvilis piradi arqivi, pankisis 1987 wlis eqspediciis masalebi
ON THE STUDY OF THE TRADITIONAL MUSIC OF THE KISTS (CHECHENS AND INGUSHES) FROM THE PANKISI GORGE OF GEORGIA 159 MAIA GELASHVILI (GEORGIA) Kists is the Georgian traditional name of the Vainakh people (Chechen and Ingush people) living in Georgia and in neighbouring Northern Caucasus. Vainakhs are an ancient people of the Caucasus. In old Georgian sources they are mentioned as Chachans/Chechens (Chechens refer to themselves as Nokhchi), Durdzuks or Dzurdsuks, and Ingushetians (they refer to themselves as Ghalgha,), who were known in Georgia as Ghlighvs Georgian highlanders are called both Chechens and Ingushetians Kists (Mroveli, 1955: 12). <strong>The</strong> resettlement of Kists in the territory of Georgia, in the Pankisi Gorge (today’s Akhmeta district) began in the seventeenth century and continued until the 1860s. <strong>The</strong> Vainakhs’ migration to Georgia has a longer history however. <strong>The</strong> first King of Georgia Parnavaz (3 rd century BC) married a Dzurdzuk woman, his son Saurmag defeated the rebellious Eristavis (Dukes) with the help of the united army of Dzurdzuks and Ossetians; subsequently he brought his relatives on his mother’s side to Georgia from Dzurdzuketi and settled them there… “Saurmag took them away from the Caucasus and brought and settled them in Didoeti and Svaneti, as far as Egrisi” (Mroveli, 1955: 9). <strong>The</strong> compact settlement of the Kists in the Pankisi Gorge began in the latter half of the eighteenth century. <strong>The</strong> resettled Kists managed to retain their native language and traditions. At the same time they got acquainted with Georgian culture and learned the Georgian language as well. <strong>The</strong>y speak the jargon stemming from the fusion of the Kistian dialect and the Georgian language (Margoshvili, 1985: 29). On the basis of the synthesis of these two cultures a bilingual ethnic entity of Kists came into being in the Pankisi Gorge. Many interesting ethnic works have been published about the culture and everyday life of Kists by M. Margoshvili, M. Albutashvili, Kh. Khangoshvili, Kh. Mamisimedashvili and others (to list all of them would take too much space). Many specimens of oral folklore material have also been collected. As to the Kistian musical folklore, it has not yet been studied on a serious basis. <strong>The</strong> Chechen-Ingush folk music both genetically and by its historical-cultural relations has been linked with Georgian folk music since prehistoric times. Chechen-Ingush folk music has been studied by N. Rechmensky. In his work the author’s attention is focused on the characteristic features of Chechen-Ingush songs (scales, chords)… <strong>The</strong> question of kinship between the Chechen and Georgian songs was dealt with by Georgian scholar Shalva Aslanishvili. He proposed a similarity between Geogian and Chechen-Ingush melodies, movements of the bass part, chords and specific cadences (e.g., the fourth cadence, Georgian [Aeolian] cadence). He also defined the similar nature and conditions of the origin of the non-third chord (fourth-fifth-chord), as well as the sequential motion in the homophonic songs of the North Caucasian people and in Georgian-Tushetian songs. Aslanishvili explained these similarities by the ancient kinship between the Georgian and Chechen music. <strong>The</strong> relationship between Georgian and North Caucasian musical languages (including Chechen-Ingush), in relation to the issues of the ethnic history and ethnogenesis were studied by Nino Maisuradze. On the basis of the comparative analysis of the Georgian, Abkhazian, Adyghe, Ossetian, Chechen-Ingush and par-tially of the Daghestanian musical languages, she determined both the genetic and historical-cultural links between them; she presented Georgian and North Caucasian musical traditions as a family of the Iberian-Caucasian musical languages, thus confirming the existence of a former common Caucasian musical culture. Understandably, after the settling of Kists in Georgia, their acceptance of Ge-orgian culture and fusion with it, Kistian music came closer to the music of both highland and lowland Georgian in its melodies, chordal and harmonic structure. In the ninth-tenth centuries, mostly through the influence of Georgians, Chris-tianity spread among the Vainakhs; it is testified to by the presence of Christian churches in the territory of Chechen-Ingushetia.
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m o x s e n e b e b i 4-8 oqtomberi
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s a r C e v i redaqtorebisagan ....
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franc foedermairi (avstria) megruli
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Davit Shughliashvili (Georgia) “W
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edaqtorebisagan winamdebare krebulS
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edaqtorebisagan koleqcias. moxseneb
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From The Editors G
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aziuri tradiciuli polifonia ASIAN T
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18 ioseb Jordania anobis arsebuli t
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20 ioseb Jordania mkvlevarebis yura
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22 ioseb Jordania xmianobasTan da T
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24 TRADITIONAL POLYPHONY IN ASIA: P
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26 Joseph Jordania scholar Schehera
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28 Joseph Jordania 2. Asian polypho
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30 Joseph Jordania gestion not only
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32 virtualuri heterofonia: kompozic
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34 munir nuretin bekeni (aSS) migvi
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36 MÜNIR NURETTIN BEKEN (USA) VIRT
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38 Münir Nurettin Beken This becam
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40 munir nuretin bekeni. danarTi M
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42 nino ciciSvili (avstralia, saqar
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44 nino ciciSvili (2) reCitaciuli b
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46 nino ciciSvili upirveles yovlisa
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48 nino ciciSvili kulturis arsebobi
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50 NINO TSITSISHVILI (AUSTRALIA, GE
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52 Nino Tsitsishvili Factor 3: scal
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54 Nino Tsitsishvili A historical i
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56 Nino Tsitsishvili References Ale
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58 kunZul balis gamelanis musikis p
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60 maikl tenzeri saciis xangrZliobi
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62 maikl tenzeri arsebobas, Sreebs
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64 Michael Tenzer repeats cyclicall
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66 Michael Tenzer pulsations serves
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68 maikl tenzeri. danarTi Michael T
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70 magaliTi 4. bgeris simaRlis, dro
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72 iu-siu lu Tsou (Tsou) 6 733 seis
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74 iu-siu lu sawyis etapze taivanel
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76 iu-siu lu 4 paralelur kvartebsa
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78 Yu-Hsiu Lu in Taiwanese aborigin
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80 Yu-Hsiu Lu earliest tribes in th
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82 iu-siu lu. danarTi Yu-Hsiu Lu. A
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84 marina qavTaraZe, ekaterine buCu
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92 Marina Kavtaradze, Ekaterine Buc
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98 rie koCi akompanementiT, instrum
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100 cxr. 3 rie koCi 1) kanonuri uko
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102 rie koCi rasac mReroda wamyvani
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104 ON THE POLYPHONIC SINGING STYLE
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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 123 and 124: 123 ALLA SOKOLOVA (RUSSIA, REPUBLIC
Page 125 and 126: 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 143 and 144: 143 NATALIA ZUMBADZE, KETEVAN MATIA
Page 145 and 146: Caucasian Peoples’ Polyphony and
Page 153 and 154: natalia zumbaZe, qeTevan maTiaSvili
Page 155 and 156: 155 maia gelaSvili (saqarTvelo) pan
Page 157: pankisis xeobis qistebis tradiciuli
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
Page 194 and 195: 194 Jana partlasi. danarTi Žanna P
Page 196 and 197: 196 damwyebi xma qarTul mravalxmian
Page 198 and 199: 198 Tamaz gabisonia g) mxolod simRe
Page 200 and 201: 200 Tamaz gabisonia sovs, damwyebis
Page 202 and 203: 202 Tamaz Gabisonia of these songs
Page 204 and 205: 204 Tamaz Gabisonia mazhogh). So do
Page 206 and 207: 206 Tamaz gabisonia. danarTi Tamaz
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208 Tamaz gabisonia. danarTi Tamaz
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210 Tamaz gabisonia. danarTi Tamaz
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212 gerald florian mesneri mosaxldn
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214 gerald florian mesneri lebi da
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216 GERALD FLORIAN MESSNER (AUSTRAL
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218 Gerald Florian Messner gives us
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220 Gerald Florian Messner Audio Ex
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222 daviT SuRliaSvili rac Seexeba a
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224 daviT SuRliaSvili tradicia, rom
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226 daviT SuRliaSvili damowmebuli l
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228 Davit Shughliashvili characteri
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230 Davit Shughliashvili the bell),
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232 daviT SuRliaSvili. danarTi Davi
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234 daviT SuRliaSvili. danarTi Davi
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236 elena iovanoviCi (serbeTi) hibr
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238 elena iovanoviCi rebiT, sakvlev
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240 elena iovanoviCi lis `damuqeba~
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242 JELENA JOVANOVIĆ (SERBIA) HYBR
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244 Jelena Jovanović (Dević, 1979
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246 Jelena Jovanović of the new st
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248 Jelena Jovanović Scope of Ethn
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250 elena iovanoviCi. danarTi Jelen
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252 elena iovanoviCi. danarTi Jelen
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254 liTSi aris SemTxveviTi modulaci
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256 simha aromi, polo valeho mimdev
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258 92 simha aromi, polo valeho ara
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260 axla ganvixiloT G kilos sxvadas
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262 simha aromi, polo valeho gadaxr
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264 simha aromi, polo valeho Semdeg
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266 OUTLINE OF A SYNTAX OF CHORDS I
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268 Simha Arom, Polo Vallejo 51 Mag
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270 Simha Arom, Polo Vallejo Betwee
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272 Simha Arom, Polo Vallejo 5 II I
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274 Simha Arom, Polo Vallejo 88 Ere
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276 Simha Arom, Polo Vallejo Let us
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278 andrea kuzmiCi (kanada) qarTuli
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280 andrea kuzmiCi musikologia da T
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282 andrea kuzmiCi da profesiuls 3
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284 ANDREA KUZMICH (CANADA) THE TRA
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286 Andrea Kuzmich traditional musi
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288 Andrea Kuzmich the ability to l
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290 daiva raCiunaite-viCiniene (lit
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292 daiva raCiunaite-viCiniene Sin
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294 daiva raCiunaite-viCiniene litv
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296 daiva raCiunaite-viCiniene / su
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298 daiva raCiunaite-viCiniene nebi
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300 daiva raCiunaite-viCiniene buli
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302 daiva raCiunaite-viCiniene wreS
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304 (Stasys Paliulis) mier 1932 wel
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306 LITHUANIAN AND AINU VOCAL POLYP
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308 Daiva Račiūnaitė -Vyčinien
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318 10 C. Forlivesi assumes that mu
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322 daiva raCiunaite-viCiniene. dan
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Page 334 and 335:
334 mixail lobanovi eTnografiisadmi
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336 mixail lobanovi yoveli maTgani
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338 vielebTan, aramed Crdilo-evropu
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340 Mikhail Lobanov Konz mäthil Gr
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342 Mikhail Lobanov due to the lowe
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344 Mikhail Lobanov Kravchinskaia,
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346 mixail lobanovi. danrTi Mikhail
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348 mixail lobanovi. danrTi Mikhail
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350 ana piotrovska ungreTSi boSa mu
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352 ana piotrovska tradicia grZelde
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354 ana piotrovska iseT istoriul mi
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356 THE NOTION OF SO CALLED GYPSY M
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358 Anna Piotrowska be claimed that
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360 Anna Piotrowska Consequently im
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362 Anna Piotrowska Nettl, Bruno. (
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364 nino razmaZe indi mindi da sxv.
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366 nino razmaZe qme. (2) Sesrulebi
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368 THE DYNAMICS OF THE EVOLUTION O
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370 Nino Razmadze was always perfor
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372 nino razmaZe. danarTi Nino Razm
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374 magaliTi 4. oTxxmianoba patara
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377 ekaterine oniani (saqarTvelo) q
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qarTuli galobis mravalxmianobis sak
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ON THE POLYPHONY OF GEORGIAN CHANT
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On the Polyphony of Georgian Chant
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ekaterine oniani. danarTi Ekaterine
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387 jeremi fauci (aSS) siZvele da t
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siZvele da tradiciuloba qarTul trad
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Ancientness and Traditionality in G
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401 svimon (jiqi) jangulaSvili (saq
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mravalxmiani musikaluri qsovilis tr
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SPECIFIC FEATURES OF THE POLYPHONIC
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Specific Features of the Polyphonic
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svimon (jiqi) jangulaSvili. danarTi
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ivliane nikolaZe: qarTul ZlispirTa
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Ivliane Nikoladze: The</str
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jon a. gremi. danarTi John A. Graha
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M 447 ekaterine diasamiZe (saqarTve
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mravalxmianobis formebi rusul saekl
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mravalxmianobis formebi rusul saekl
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Polyphonic Forms in 17th century Ru
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Polyphonic Forms in 17th century Ru
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ekaterine diasamiZe. danarTi Ekater
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459 baia JuJunaZe (saqarTvelo) XIX
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XIX saukunis qarTuli samgaloblo tra
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XIX saukunis qarTuli samgaloblo tra
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New Tendencies in the Nineteenth-Ce
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New Tendencies in the Nineteenth-Ce
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aia JuJunaZe. danarTi Baia Zhuzhuna
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aia JuJunaZe. danarTi Baia Zhuzhuna
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gamSvenebaTa struqturuli formulebi
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ORNAMENTED STRUCTURAL FORMULAS IN T
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Ornamented Structural Formulas in t
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nino naneiSvili. danarTi Nino Nanei
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nino naneiSvili. danarTi Nino Nanei
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485 gerda lexlaitneri (avstria) non
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zogierTi mosazreba mravalxmiani mus
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Some Considerations on the Interpre
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gerda lexlaitneri, nona lomiZe. dan
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gerda lexlaitneri, nona lomiZe. dan
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503 franc foedermairi (avstria) meg
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megruli simReris sami Sedevri, Cawe
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Three Masterpieces of Megrelian Son
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franc foedermairi. danarTi Franz F
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517 morimoto masako, honda manabu,
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qarTuli tradiciuli mravalxmianobis
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521 MORIMOTO MASAKO, HONDA MANABU,
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Study on the Sound Structure of Geo
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morimoto masako, honda manabu, niSi
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527 kavai norie, morimoto masako, h
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kavai norie, morimoto masako, honda
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kaxuri simRerebis gaSifvris sakiTxe
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CHALLENGES IN MUSICAL TRANSCRIPTION
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nona lomiZe. danarTi Nona Lomidze.
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555 leila maruaSvili (saqarTvelo) q
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qarTuli xalxuri polifoniis tradicie
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Refraction of Georgian Folk Polypho
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leila maruaSvili. danarTi Leila Mar
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leila maruaSvili. danarTi Leila Mar
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ioseb Jordania, xelovnebaTmcodneobi
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polo valeho, eTnomusikologiis doqto
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578 simpoziumis organizatorebi mxar
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