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 ... The Fifth International Symposium on Traditional Polyphony ...

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380 ekaterine oniani galobis mravalxmianma bunebam ramdenadme ,,daicva~ mTqmelis partiaSi ganTavsebuli kanoni– kuri hangi linearuli gaSla-ganviTarebisagan da SeunarCuna pirvelsaxe. amitom dasaSvebad migvaCnia, rom zogadqristianuli sagaloblis hangis konservacia moxda swored qarTul mravalxmian galobaSi da misi Seswavla SeiZleba aranakleb mniSvnelovani aRmoCndes sxva adgilobrivi saeklesio galobis arqauli kanonikuri Zirebis SeswavlisaTvis. SeniSvnebi 1 qarTuli galobis ,,unisonurobasTan~ dakavSirebiT ix. d. SuRliaSvili 2001, s.-go. ,,Cveni saeklesio galoba~. gaz. iveria, 1900, #197 2 cnobilia, rom grigoriseuli qoralis gamravalxmovanebis procesic zustad aseTi mimarTulebiTY warimarTa. qarTuli da Suasaukuneebis evropuli polifoniuri musikis msgavsebaze ix. SuRliaSvili, 2001 damowmebuli literatura aruTinovi-jinWaraZe, devil. (2010). polifoniis Teoria da istoria. Tbilisi: Tbilisis saxelmwifo konservatoria batoniSvili ioane. (1991). xumarswavla. tomi 2. Tbilisi: merani gabisonia, Tamaz. (2009). qarTuli tradiciuli mravalsmianobis formebi. disertacia musikologiis doqtoris akademiuri xarisxis mosapoveblad. Tbilisi. Tbilisis saxelmwifo konservatoria leonti mroveli. (1987). ,,cxovreba mefeTa~. krebulSi: qarTuli mwerloba, wigni 1:49-115. redaqtori: siraZe, rezo. Tbilisi: nakaduli suxiaSvili, magda (Semdgeneli). (2002). qarTuli saeklesio galoba. Tbilisi: saqarTvelos sapatriarqo. saeklesio galobis centri qoriZe, filimon. (1895). qarTuli galoba. liturgia ioane oqropirisa, mRvdlisa da mRvdelmTavri– saTvis. partitura #1. tfilisi: m. SaraZe da amx SuRliaSvili, daviT. (2001). ,,qarTuli galobis ,,unisonuri~ mravalxmianoba~. krebulSi: sasuliero da saero musikis mravalxmianobis problemebi. gv. 101-118. Tbilisi: Tbilisis saxelmwifo konservatoria SuRliaSvili, daviT (Semdgeneli). (2006). qarTuli saeklesio galoba. Semoqmedis skola. artem erqoma– iSvilis Canawerebis mixedviT. Tbilisi javaxiSvili, ivane. (1990). qarTuli musikis istoriis ZiriTadi sakiTxebi. Tbilisi: xelovneba Гарднер, Иван. (1998). Богослужебное пение Русской Православной церкви. История. Том 2. Москва: Московская духовная академия xelnaweri wyaroebi xelnawerebi Q-673, 674, 830. xelnawerTa erovnuli centri. Tbilisi, saqarTvelo

ON THE POLYPHONY OF GEORGIAN CHANT 381 EKATERINE ONIANI (GEORGIA) Opinions concerning the emergence of Georgian ecclesiastical chanting are focused on one conjecture, namely: “In the past Georgians chanted according to Greek tunes” (Prince Ioane, 1991: 524), i.e. the rules of the Christian divine service and the chanting practice associated with the former were introduced into Georgia from Byzantium: “and King Mirian dispatched his envoys to Greece, to Constantine, King of Greeks… and asked him to send priests to baptize Georgians… and the whole nation received baptism all over Georgia”, writes Leonti Mroveli in his Mepeta Tskhovreba (Mroveli, 1987: 93-98). Since then Christianity became the religion determining the identity of Georgians and the Georgian nation never ceased singing hymns to the Creator. ong>Theong> hymns sung by the worthy ancestors, imbued with the grace of the Holy Spirit, with the help and mercy of God became popular throughout the churches of Christ and were passed down from generation to generation. Nobody was allowed to deliberately change the hymns approved by the ecclesiastic canons. Chanters were well aware of the significance of the canonical melody, and they believed that the violation of the true mode (as the canonical tune was called) was equal to losing the chant. ong>Theong> chanting tradition, introduced from Byzantium into Georgia together with the divine service practice, found a highly developed musical culture in Georgia, so during the next stage of development of Georgian chanting the tradition continued toward the fusing of Byzantine melody with the national musical mentality. It was on the basis of the national musical mentality that Georgian chanting acquired polyphony in such a way that the canonical roots of chanting were not lost. At first glance the polyphonic nature of Georgian chanting is a version of the Byzantine source. As we know early Byzantine chanting was monophonic, as chanting in unison was considered by the holy fathers to express the unity of the faith of participants and was raised to the rank of a symbol of exulting God “with one mouth and one heart”. How can this basic essence of the Christian faith can be realized in multipart chanting? First of all by the polyphonic form chosen for chanting. Georgian folk songs are distinguished for a great diversity of polyphonic forms and in fact, there was a vast choice of them for turning Byzantine monody into polyphony. ong>Theong> first step of teaching “the voices to be learned”, where the most ancient layer of Georgian chanting is represented (Shugliashvili, 2001: 104), indicates the Georgian people’s preference for re-arranging the chants according to the national pattern at its earlier stage. It is no mere chance that this stage chanting tradition is characterized by parallelism. Parallel voice-leading, one of the manifestations of the heterophonic texture, is an intermediate aspect of the monodic and different melodic texture (Arutunov-Jincharadze, 2010: 15), and as scholars suggest, of all the compositional principles of polyphony it is closest to homophony (Gabisonia, 2009: 82) 1 . ong>Theong> interval ratio of the voices is as follows: mtkmeli (top voice), who is the keeper, performer of the canonical tune which the chanters take the greatest care of, “modzakhili” (middle, second voice), follows it a fifth lower, the bass part – an octave lower from the canonical melody 2 . Even in the plain mode or “in the canonically acknowledged, accepted and approved” chanting chordal-unit polyphony with frequent parallelisms of fifths and octaves prevails 3. We think that the nation of polyphonic mentality found the following way out – being aware that homophony is a symbol of the unity of faith and an accepted form of expressing this unity, of all the forms of polyphony they chose the parallel voice leading, which, in principle, does not change the essence of monody. ong>Theong> basic canonical tune was not lost: just the

380<br />

ekaterine <strong>on</strong>iani<br />

galobis mravalxmianma bunebam ramdenadme ,,daicva~ mTqmelis partiaSi ganTavsebuli kan<strong>on</strong>i–<br />

kuri hangi linearuli gaSla-ganviTarebisagan da SeunarCuna pirvelsaxe. amitom dasaSvebad<br />

migvaCnia, rom zogadqristianuli sagaloblis hangis k<strong>on</strong>servacia moxda swored qarTul<br />

mravalxmian galobaSi da misi Seswavla SeiZleba aranakleb mniSvnelovani aRmoCndes sxva<br />

adgilobrivi saeklesio galobis arqauli kan<strong>on</strong>ikuri Zirebis SeswavlisaTvis.<br />

SeniSvnebi<br />

1 qarTuli galobis ,,unis<strong>on</strong>urobasTan~ dakavSirebiT ix. d. SuRliaSvili 2001, s.-go. ,,Cveni saeklesio<br />

galoba~. gaz. iveria, 1900, #197<br />

2 cnobilia, rom grigoriseuli qoralis gamravalxmovanebis procesic zustad aseTi mimarTulebiTY<br />

warimarTa. qarTuli da Suasaukuneebis evropuli polif<strong>on</strong>iuri musikis msgavsebaze ix. SuRliaSvili, 2001<br />

damowmebuli literatura<br />

aruTinovi-jinWaraZe, devil. (2010). polif<strong>on</strong>iis Teoria da istoria. Tbilisi: Tbilisis saxelmwifo<br />

k<strong>on</strong>servatoria<br />

bat<strong>on</strong>iSvili ioane. (1991). xumarswavla. tomi 2. Tbilisi: merani<br />

gabis<strong>on</strong>ia, Tamaz. (2009). qarTuli tradiciuli mravalsmianobis formebi. disertacia musikologiis<br />

doqtoris akademiuri xarisxis mosapoveblad. Tbilisi. Tbilisis saxelmwifo k<strong>on</strong>servatoria<br />

le<strong>on</strong>ti mroveli. (1987). ,,cxovreba mefeTa~. krebulSi: qarTuli mwerloba, wigni 1:49-115. redaqtori:<br />

siraZe, rezo. Tbilisi: nakaduli<br />

suxiaSvili, magda (Semdgeneli). (2002). qarTuli saeklesio galoba. Tbilisi: saqarTvelos sapatriarqo.<br />

saeklesio galobis centri<br />

qoriZe, filim<strong>on</strong>. (1895). qarTuli galoba. liturgia ioane oqropirisa, mRvdlisa da mRvdelmTavri–<br />

saTvis. partitura #1. tfilisi: m. SaraZe da amx<br />

SuRliaSvili, daviT. (2001). ,,qarTuli galobis ,,unis<strong>on</strong>uri~ mravalxmianoba~. krebulSi: sasuliero da<br />

saero musikis mravalxmianobis problemebi. gv. 101-118. Tbilisi: Tbilisis saxelmwifo k<strong>on</strong>servatoria<br />

SuRliaSvili, daviT (Semdgeneli). (2006). qarTuli saeklesio galoba. Semoqmedis skola. artem erqoma–<br />

iSvilis Canawerebis mixedviT. Tbilisi<br />

javaxiSvili, ivane. (1990). qarTuli musikis istoriis ZiriTadi sakiTxebi. Tbilisi: xelovneba<br />

Гарднер, Иван. (1998). Богослужебное пение Русской Православной церкви. История. Том 2. Москва: Московская духовная<br />

академия<br />

xelnaweri wyaroebi<br />

xelnawerebi Q-673, 674, 830. xelnawerTa erovnuli centri. Tbilisi, saqarTvelo

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