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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362 Anna Piotrowska Nettl, Bruno. (1974). “Thoughts on Improvisation: A Comparative Approach” In: ong>Theong> Musical Quarterly. Vol. 60, 1:1-19 Pincherle, Marc. (1949). “Virtuosity”. In: ong>Theong> Musical Quarterly. Vol. 35, 2:226-243 Racy, Ali Jihad. (2000). “ong>Theong> Many Faces of Improvisation: ong>Theong> Arab Taqasim as a Musical Symbol”. In: Ethnomusicology. Vol. 44, 2:302-320 Randal, Don Michael. (1992). “ong>Theong> Canons in the Musicological Toolbox”. In: Disciplining Music. Musicology and its Canons. Chicago: University of Chicago Press Tcherenkov, Lev, Laederich, Stephane. (2004). “Culture: Tales, Stories and Music”. In: ong>Theong> Roma. Otherwise Known as Gypsies, Gitanos, Γύφτοι, Tsiganes, Ţigani, Cingene, Zigeuner, Bohémiens, Tavellers, Fahrende, etc. Basel: Schwabe Wallaschek, Richard. (1970). Primitive Music. An Inquiry Into the Origin and Development of Music, Songs, Instruments, Dances, and Pantomimes of Savage Races. (a reprint of the first publishing by London: Longmans, Green, and Co. in 1893). New York: da Capo Press

erTi simReris ganviTarebis dinamika (patara sayvarelos magaliTze) 363 nino razmaZe (saqarTvelo) mudmivi cvalebadoba, rogorc zepiri tradiciis musikis arsebobis aucilebeli piro– ba, eTnomusikologiuri kvlevis erT-erTi arsebiTi aspeqtia. am TvalsazrisiT did inte– ress iwvevs qarTuli tradiciuli musika, romlis arsebobis garemo gasul saukuneSi mniSv– nelovnad Seicvala. XIX-XX saukuneebis mijnaze qarTuli sofeli feodaluri sazogadoebisaTvis damaxasi– aTebeli cxovrebis wesiT cxovrobda da qarTveli ,,homo-polifonikusebis~ (i. zemcovski), ro– gorc tradiciuli musikaluri azrovnebis matareblebis arsebobis garemo TiTqmis iseTi–ve iyo, rogoric ramdenime saukunis win. sofelSi mcxovrebi adamianebi erTmaneTTan dakavSi– rebulni iyvnen rogorc naTesauri, yofiTi, ise socialuri, religiuri, ideologiuri da a.S. faqtorebiT. es qmnida im bunebriv garemos, romelSic qarTuli mravalxmianoba Taobidan Taobas gadaecemoda tradiciuli gziT, roca axalgazrdebi repertuars, saSemsruleblo manerasa da Sesrulebis formebs iTviseben Zaldautaneblad, ufrosebis mibaZviT. rogorc cnobilia, XX saukuneSi amave soflis mosaxleobas arseboba uxdeboda metad cvalebad socialur-politikur viTarebaSi, rac mkafiod aisaxeboda yofasa da folklo– ruli musikis arsebobis formaTa saxecvalebadobaSi. Cven gvqvs unikaluri SesaZlebloba warmovadginoT qarTuli mravalxmiani azrovnebis dinamika XX saukunis tradiciul SemsruleblobaSi. vaCvenoT, Tu rogor Seicvala tradi– ciuli musikis Senaxvis individualuri Tu ansambluri saSemsruleblo formebi, romelTa mravalferovneba da simdidre yovelTvis gamoarCevda qarTul musikalur folklors. warmodgenil moxsenebaSi yuradRebas gavamaxvileb erT satrfialo Tematikis simReraze _ patara sayvarelo. xelT gvaqvs XX saukunis sxvadasxva periodSi Cawerili ocamde nimuSi _ rogorc avTentikuri, ise meoreuli ansamblebis SesrulebiT. maTi analizis safuZvelze ganvixilav misi variantuli ganviTarebis SesaZleblobebs, formis, melodikis, harmoniis, xmaTa raodenobisa da maTi koordinaciis Taviseburebebs, agreTve, am parametrebis mudmivad ucvlel da cvalebad elementebs. simRera patara sayvarelo gavrcelebulia guriasa da imereTSi. igi msgavsia iseTi tipis simRerebisa, romlebic gavrcelebulia mezobel kuTxeebSi da rTulia romelime maTgans miakuTvno. pirvel rigSi, Sevecade Cem mier ganxiluli nimuSebis saerTo arqetipuli musikaluri qsovili damedgina da is melodiur-harmoniuli safuZveli warmomedgina, razec SemdgomSi agebulia misi mravalferovani variantebi (mag. 1). warmovadgen simReris normatiul parametrebs, maTi saxecvlis dinamikasa da SeZlebis– dagvarad, am cvalebadobis ganmapirobebel faqtorebs. 1. Sesrulebis forma: rogorc wesi, patara sayvarelos msgavsi formis gadaZaxiliani simRerebi (me rusTveli,

362<br />

Anna Piotrowska<br />

Nettl, Bruno. (1974). “Thoughts <strong>on</strong> Improvisati<strong>on</strong>: A Comparative Approach” In: <str<strong>on</strong>g>The</str<strong>on</strong>g> Musical Quarterly. Vol. 60, 1:1-19<br />

Pincherle, Marc. (1949). “Virtuosity”. In: <str<strong>on</strong>g>The</str<strong>on</strong>g> Musical Quarterly. Vol. 35, 2:226-243<br />

Racy, Ali Jihad. (2000). “<str<strong>on</strong>g>The</str<strong>on</strong>g> Many Faces of Improvisati<strong>on</strong>: <str<strong>on</strong>g>The</str<strong>on</strong>g> Arab Taqasim as a Musical Symbol”. In: Ethnomusicology.<br />

Vol. 44, 2:302-320<br />

Randal, D<strong>on</strong> Michael. (1992). “<str<strong>on</strong>g>The</str<strong>on</strong>g> Can<strong>on</strong>s in the Musicological Toolbox”. In: Disciplining Music. Musicology and its Can<strong>on</strong>s.<br />

Chicago: University of Chicago Press<br />

Tcherenkov, Lev, Laederich, Stephane. (2004). “Culture: Tales, Stories and Music”. In: <str<strong>on</strong>g>The</str<strong>on</strong>g> Roma. Otherwise Known as Gypsies,<br />

Gitanos, Γύφτοι, Tsiganes, Ţigani, Cingene, Zigeuner, Bohémiens, Tavellers, Fahrende, etc. Basel: Schwabe<br />

Wallaschek, Richard. (1970). Primitive Music. An Inquiry Into the Origin and Development of Music, S<strong>on</strong>gs, Instruments, Dances,<br />

and Pantomimes of Savage Races. (a reprint of the first publishing by L<strong>on</strong>d<strong>on</strong>: L<strong>on</strong>gmans, Green, and Co. in 1893). New York:<br />

da Capo Press

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