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 ...

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176 manana SilakaZe gvxvdeba VII s.-dan VII s.-iT daTariRebul ZeglSi termini Zali simiani instrumentis mni– SvnelobiT (kekeliZe, 1912: 340-341), e.i. am dros sityvis mniSvneloba ukve daviwroebulia, zogadad sakravis aRmniSvneli is manamde iyo (SilakaZe, 1977: 188-191; 2007: 199-200). amgvarad, kavkasiis xalxTa instrumentul musikaSi (instrumentuli hangebi da simReris Tanx– leba) gamokveTilia „tradiciuli musikaluri azrovnebis“ formebi, maT Soris, mravalxmianobis tipi, akompanirebis saxeebi da sxva. instrumentuli Tanxleba qarTuli simebiani sakravis Tavdapirveli da ZiriTadi funqciaa. akompanirebis aRmniSvneli Zveli qarTuli terminebi Sebaneba, dabaneba nawarmoebia sityvidan bani (qarTuli musikaluri folkloris umTavresi niSnis mravalxmianobis arsebiTi kategoria). adiReuri musikaluri kulturis Taviseburebas warmoadgens Jiu – solistis an instrumentuli hangis vokaluri Tanxleba, agebuli asemantikur sityvebze. Jiu adiReuri musikaluri kulturis iden– tobis ganmsazRvreli movlenaa. Jiu niSnavs xmiT Tanxlebas, agreTve akompaniators, „dakvriT Tanmx– lebs“. Jiu tipologiurad Tavisi arsiT, bunebiT qarTuli Sebanebis identuria. instrumentuli Jiu adreuli formebi warmodgenilia adiReuri xemiani sakravis (SiWa-fSina) repertuarSi, kerZod, sakulto-saritualo Janris nimuSebSi. tipologiurad saintereso paralelia zogadad sakravis aRmniSvneli termini fSine da VII s.-dan qarTul werilobiT wyaroebSi arsebuli termini Zali. damowmebuli literatura SilakaZe, manana. (2007). tradiciuli samusiko sakravebi da qarTul-Crdilo-kavkasiuri eTnokulturuli urTierTobani. Tbilisi: kavkasiuri saxli Барагунов, В. Х., Кардангушев, З. П. (составители). (1980, 1981, 1986, 1990). Народные песни и инструментальные наигрыши адыгов. Т. 1, 2, 3, 4. Ред. Гиппиус, Е. В. Москва: Советский композитор Гутов, А. (1981). «Aдыгские сказания о нартах». krebulSi: Народные песни и инструмен-тальные наигрыши адыгов. T. II:5-16. Ред. Гиппиус, Е. В. Москва: Советский композитор Кекелидзе, Корнелий. (1912). Иерусалимский канонарь VII века (Грузинская версия). Тифлис Мацютин, Константин. (1953). «Адыгейские песни». Jurn. Советская музыка. №8 Налоев, Заур. (1980). «У истоков песенного искусства адыгов». krebulSi: Народные песни и инструментальные наигрыши адыгов. Т. 1:7-26. Ред. Гиппиус, Е. В. Москва: Советский композитор Соколова, Алла. (2004). Aдыгская гармоника в контекссте этнической музыкальной культуры. Майкоп: Качество Чич, Гисса. (1984). Героико-патриотические традиции в народно-песенном творчестве адыгов (на историко-этнографическом материале). Диссертация на соиск. учен. степ. канд. исторических наук. Майкоп Шейблер, Трувор (1955). «Кабардинский фольклор». Jurn. Советская музыка. №6:73-79 Шу, Ш.С. (1964). «Музыка и танцевальное искусств». krebulSi: Культура и быт колхозного крестьянства Адыгейской Aвтономной Oбласти. gv. 177-195. Москва-Ленинград

177 MANANA SHILAKADZE (GEORGIA) GEORGIAN AND ADIGHE MUSIC IN THE CONTEXT OF POLYPHONY (TYPOLOGICAL PARALLELS) In the forms of “traditional musical thinking” (I. Zemtsovsky), present in the instrumental music (instrumental tunes and song accompaniment), the type of polyphony, the forms of accompaniment, the mode-intonational features and others are most important. This paper will deal with corresponding forms of accompaniment in relation with polyphony that reflect the early stages of the development of instrumental culture. I should mark in advance, that the departing point is the traditional (and not modern, though even when constructed on the tradition) culture, whose lower chronological border can be reached by the ethnographic material and corresponds to the situation of about the end of the nineteenth century and the twentieth century. In Georgian music and that of North Caucasian peoples, the Adyghes among them, the leading role is played by singing. In comparison with vocal music the role of instrumental music in less important. In Georgian instrumental culture the much higher artistic-musical value of accompanying the song is more noticeable. Both in Georgian and Adyghe instrumental culture the central place is occupied by stringed instruments. In Georgia they are plucked and bow instruments, with the North Caucasian peoples – the Adyghes among them, they are bow instruments. ong>Theong> Adyghe is a common name of the language and culture of the linguistically and ethnically related aborigine population of the Northeast Caucasus – the Adyghes, Circassians and Kabardians. ong>Theong>y live in the Russian Federation in Adygea, Kabardino-Balkaria and Karachai-Circassia. ong>Theong>y call themselves “Adyghe”. Several ethnographic groups can be singled out: Bzhedughs, Abadzekh, Shaphsugh, Besleney and others, who speak the dialects of the Adyghe language. In the 60s of the nineteenth century the greater part of the population was resettled. Now they are considered to be dispersed ethnic groups, scattered in about 50 countries of the world. For a typological comparison I have taken the early forms of accompaniment, accordingly, the genres in which these forms are supposed to occur. ong>Theong> old Georgian terms shebaneba // dabaneba are derived from the word bani. According to Ivane Javakhishvili in the Georgian translation of the Old Testament (eleventh cent. – turn of the twelfth cent.) the term shebaneuli denoted the harmonious adjustment, combination of voices (Javakishvili, 1938: 302-303). ong>Theong> same scholar concludes “… originally bani, in fact, was not so much the name of a definite low-pitched voice as the name of accompaniment, voice adjustment (shebaneba) or combination of voices in general. It became the name of the low-pitched voice after the three-part singing-chanting had emerged” (Javakhishvili, 138: 305). In this connection he emphasized one important point – the interrelation between the terms bani and ebani, their sound and semantic similarity (Javakishvili, 1938: 315). Accompaniment is the primary and basic function of Georgian stringed instruments. Its origin is associated with the early stages of the evolution of the epic (heroic and historical verses) genre and their performing traditions, which have been preserved in the highland regions of eastern Georgia until recent times (Shilakadze, 2008). Georgian material revealed the forms of instrumental accompaniment corresponding to

176<br />

manana SilakaZe<br />

gvxvdeba VII s.-dan VII s.-iT daTariRebul ZeglSi termini Zali simiani instrumentis mni–<br />

SvnelobiT (kekeliZe, 1912: 340-341), e.i. am dros sityvis mniSvneloba ukve daviwroebulia,<br />

zogadad sakravis aRmniSvneli is manamde iyo (SilakaZe, 1977: 188-191; 2007: 199-200).<br />

amgvarad, kavkasiis xalxTa instrumentul musikaSi (instrumentuli hangebi da simReris Tanx–<br />

leba) gamokveTilia „tradiciuli musikaluri azrovnebis“ formebi, maT Soris, mravalxmianobis tipi,<br />

akompanirebis saxeebi da sxva.<br />

instrumentuli Tanxleba qarTuli simebiani sakravis Tavdapirveli da ZiriTadi funqciaa.<br />

akompanirebis aRmniSvneli Zveli qarTuli terminebi Sebaneba, dabaneba nawarmoebia sityvidan<br />

bani (qarTuli musikaluri folkloris umTavresi niSnis mravalxmianobis arsebiTi kategoria).<br />

adiReuri musikaluri kulturis Taviseburebas warmoadgens Jiu – solistis an instrumentuli<br />

hangis vokaluri Tanxleba, agebuli asemantikur sityvebze. Jiu adiReuri musikaluri kulturis iden–<br />

tobis ganmsazRvreli movlenaa. Jiu niSnavs xmiT Tanxlebas, agreTve akompaniators, „dakvriT Tanmx–<br />

lebs“.<br />

Jiu tipologiurad Tavisi arsiT, bunebiT qarTuli Sebanebis identuria. instrumentuli Jiu<br />

adreuli formebi warmodgenilia adiReuri xemiani sakravis (SiWa-fSina) repertuarSi, kerZod,<br />

sakulto-saritualo Janris nimuSebSi. tipologiurad saintereso paralelia zogadad sakravis<br />

aRmniSvneli termini fSine da VII s.-dan qarTul werilobiT wyaroebSi arsebuli termini Zali.<br />

damowmebuli literatura<br />

SilakaZe, manana. (2007). tradiciuli samusiko sakravebi da qarTul-Crdilo-kavkasiuri eTnokulturuli<br />

urTierTobani. Tbilisi: kavkasiuri saxli<br />

Барагунов, В. Х., Кардангушев, З. П. (составители). (1980, 1981, 1986, 1990). Народные песни и инструментальные наигрыши<br />

адыгов. Т. 1, 2, 3, 4. Ред. Гиппиус, Е. В. Москва: Советский композитор<br />

Гутов, А. (1981). «Aдыгские сказания о нартах». krebulSi: Народные песни и инструмен-тальные наигрыши адыгов. T.<br />

II:5-16. Ред. Гиппиус, Е. В. Москва: Советский композитор<br />

Кекелидзе, Корнелий. (1912). Иерусалимский канонарь VII века (Грузинская версия). Тифлис<br />

Мацютин, Константин. (1953). «Адыгейские песни». Jurn. Советская музыка. №8<br />

Налоев, Заур. (1980). «У истоков песенного искусства адыгов». krebulSi: Народные песни и инструментальные наигрыши<br />

адыгов. Т. 1:7-26. Ред. Гиппиус, Е. В. Москва: Советский композитор<br />

Соколова, Алла. (2004). Aдыгская гармоника в контекссте этнической музыкальной культуры. Майкоп: Качество<br />

Чич, Гисса. (1984). Героико-патриотические традиции в народно-песенном творчестве адыгов (на историко-этнографическом<br />

материале). Диссертация на соиск. учен. степ. канд. исторических наук. Майкоп<br />

Шейблер, Трувор (1955). «Кабардинский фольклор». Jurn. Советская музыка. №6:73-79<br />

Шу, Ш.С. (1964). «Музыка и танцевальное искусств». krebulSi: Культура и быт колхозного крестьянства Адыгейской<br />

Aвтономной Oбласти. gv. 177-195. Москва-Ленинград

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