The Fifth International Symposium on Traditional Polyphony ...

<strong>The</strong> Dynamics of the Evolution of One Song (on the example of patara Saqvarelo – My Little Love)
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of the traditional thinking that has been taking shape for centuries? Is this a logical result of its evolution?
How is it influenced by the evolution of traditional music? 3) Can we notice in the structure of the songs
performed by the trio the passages, which afterwards will sound in the same manner as it occurs in the song
Patara Saqvarelo?
It is no mere chance that the tendency to the homophonic parts transforming into multipart is much
greater in the Gurian variants than in the Imeretian specimens. As we see the singers performing the trio part
reveal a sort of impatience and even during the homophonic part make polyphonic music. <strong>The</strong> stimulus to
changing into polyphony is prompted by the aesthetic principles. As it is usually known the complex character
of Gurian polyphony was conditioned by the musical mentality of homo-polyphonicuses of this province,
the specific features characteristic only of their perception of sounds, their sense of the so-called “folklore
style”, characterized by a high quality of the independence of the parts, an eternal aspiration to freedom and
creating a complex, mobile structure, which indicated a high degree of each participant’s self-expression in
the process of ensemble singing.
<strong>The</strong> musical analysis clearly showed that some specimens were quite close to one another, but in some
cases we deal with radically different variants. <strong>The</strong>ir evolution took different directions in the creative work of
different singers and in different provinces.
All the variants I have discussed have a common basic tune and structure, which proves that they are
of the same provenance.
First of all, I have determined the common archetypical musical texture of the specimens under
consideration and analyzed the normative parameters of the song, their dynamics and the reasons of their
changeability as best as I could.
Besides, in the process of research interesting questions arose as to the levelling of the border between the
gadadzakhili and trio parts, which opened further perspectives for future studies. <strong>The</strong> refrain mostly expressed
as unison bass between song phrases
Notes
1 <strong>The</strong> refrain mostly expressed as unison bass between song phrases
Notated Collections
Erkomaishvili, Anzor (compiler). (1972). Gruzinskie narodnie pesni (Georgian Folk Songs). Moscow: Musika (in Russian)
Shughliashvili, Davit, Erkvanidze, Malkhaz (editors). (2004). Let Us Study Georgian Folk Song. Gurian Songs. <strong>International</strong>
Centre of Georgian Folk Song. Tbilisi
Translated by Liana Gabechava