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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408 svimon (jiqi) jangulaSvili lSi _ polifoniurobaSi vlindeba. qarTveli `homo-polifonikusi~ (i. zemcovski) mudmivad `iRwvis~, raTa raime `gamSvenebuli~, gansakuTrebuli, feradovani, mZafri da aqtualuri Seqmnas mravalxmiani muzicirebis procesSi. es aris samyaros mxatvrul-musikaluri suraTis Seqmnis miseuli forma, istoriulad Camoyalibebuli erovnuli `polifoniuri azrovnebis~ yvelaze mniSvnelovani Tavisebureba da misi erovnuli identobis bgeradi simbolo. am mravalsaxovani da `morTuli~ simbolos daxvewili sisadaviTa da zomierebiT aRbeWdil musikalur stilistikaSi Tavs iCens qarTuli mxatvrulesTetikuri azrovnebis dialeqtikuri buneba, aseve mkafiod gamovlenili qarTuli poeziis, prozis, arqiteqturisa Tu saxviTi xelovnebis klasikur nimuSebSi. damowmebuli literatura JRenti, ivane. (2005). leqciebi harmoniaSi. Tbilisi: Tbilisis saxelmwifo konservatoria qoriZe, filimon. (1896). ,,qarTuli galobis mdgomareoba~. Jurn. mwyemsi, #9, 10 SuRliaSvili, daviT. (2001). ,,qarTuli galobis `unisonuri~ mravalxmianoba~. krebulSi: sasuliero da saero musikis problemebi. gv. 101-118. Tbilisi: Tbilisis saxelmwifo konservatoria xundaZe, raJden. (1911). qarTuli galoba, liturRia. ioane oqropirisa, basili didisa da grigor RvTis– metyvelisa. partitura. notebze gadaRebuli mRvdlis raJden T. xundaZis mier. winasityvaoba (gv. I-VI). tfilisi: gamocema estate solomanis-Zis kereseliZisa xelnaweri wyaroebi kereseliZe, eqvTime. Q-672, 674, 692. xelnawerTa erovnuli centri. Tbilisi sanoto krebulebi karbelaSvili, vasil. (1898). qarTl-kaxuri galoba, `karbelaanT kiloTi~, ciskari, notebze gadaRebuli mRvdel vasil karbelaSvilis mier. meore nawili. tfilisi: stamba m. SaraZisa da amxanagobisa qoriZe, filimon. (1895). qarTuli galoba: liturgia ioanne oqropirisa. gadaRebuli filimon i. qori– Zis mier. tfilisi: m. SaraZis gamocema da stamba qoriZe, filimon. (1904). aRdgomis sagalobelni. tfilisi: mswraflmbeWdavi ar. quTaTelaZisa qoriZe, filimon. (1914). sadResaswaulo sagalobelni wirvisa. tfilisi: gamocema estate solomanis- Zis kereseliZisa

SPECIFIC FEATURES OF THE POLYPHONIC MUSICAL TEXTURE TRANSFORMATION IN DECORATED CHANTING 409 SVIMON (JIKI) JANGULASHVILI (GEORGIA) Chanting polyphony and its texture is a unique and original element of the old Georgian musical language. ong>Theong> phenomenon of Georgian chanting is created by the polyphonic texture characterized by the diversity of configuration and mobility in combination with other musical language elements and their interrelation. Of the most general immanent regularities of Georgian chanting (three-part singing – with the traditional melody (cantus firmus) in the top voice, modal harmony; the modal system founded on operating with formulae-modes; the form “bound” by melodic formulae; domination of the variation-improvisational prin– ciple; original and at the same time related musical-language styles of different chanting schools); I will dwell on the phenomenon of the plain and complex decorated/flourishing styles. 1. Plain and true chanting ong>Theong> melodic-intonational and polyphonic-textural aspects of the plain specimens of the Karbelashvilis, Gelati and Shemokmedi traditions manifest great resemblance with one another. In the chant, alongside with the increase of decoration, the resemblance is reduced and the stylistic individuality of this or that school is revealed more distinctly. In plain chanting simplicity is characteristic of all the elements of the musical language. ong>Theong> specificity of this polyphonic style is smooth melodiousness, a low degree of intonational-rhythmic intensity in all the three parts included in the vertical. It is in the plain chanting that the axis, the skeleton of the archetypical tunes is observed. Apart from that the vivid simplicity of the melodic expression, transparent texture, plain and archaic harmony make the impression that this style is initial and old (ex. 1). This feeling of its being initial is not accidental – a plain chant (being a variant of some invariant) is the “original”, a three-part model (with the meaning of cantus firmus) of decorated hymns, the basis of increasing polyphony, which is prepared and meant for a) showing the traditional tune; b) the first step of teaching; c) decorating, or for creative polyphonic-improvisatorial interpretation. ong>Theong> transitional stage from the plain to the decorated style is the true mode style. Here the melodic individuality of the voices and their intonational-rhythmic intensity and polyphony of the texture are increased; the harmony is more diversified. It may be said that the greater part of West Georgian chants and also Kartlian-Kakhetian hymns, decorated in the same manner, bear the signs of the stylistic, aesthetic and textural configuration of the true mode. 2. Decoration-flourishing On the basis of the analysis of notated chanting material and according to the information provided by the nineteenth-century musicians (Kereselidze, Q – 674: 189; Khunadze, 1911: V-VI; Koridze: 1896) it is evident that on the one hand decoration or flourishing is an intonational-structural transformation of the traditional archetypical tune and on the other – a different transfiguration, an intensive process of the polyphonization of

408<br />

svim<strong>on</strong> (jiqi) jangulaSvili<br />

lSi _ polif<strong>on</strong>iurobaSi vlindeba. qarTveli `homo-polif<strong>on</strong>ikusi~ (i. zemcovski) mudmivad<br />

`iRwvis~, raTa raime `gamSvenebuli~, gansakuTrebuli, feradovani, mZafri da aqtualuri<br />

Seqmnas mravalxmiani muzicirebis procesSi. es aris samyaros mxatvrul-musikaluri<br />

suraTis Seqmnis miseuli forma, istoriulad Camoyalibebuli erovnuli `polif<strong>on</strong>iuri<br />

azrovnebis~ yvelaze mniSvnelovani Tavisebureba da misi erovnuli identobis bgeradi<br />

simbolo. am mravalsaxovani da `morTuli~ simbolos daxvewili sisadaviTa da zomierebiT<br />

aRbeWdil musikalur stilistikaSi Tavs iCens qarTuli mxatvrulesTetikuri azrovnebis<br />

dialeqtikuri buneba, aseve mkafiod gamovlenili qarTuli poeziis, prozis, arqiteqturisa<br />

Tu saxviTi xelovnebis klasikur nimuSebSi.<br />

damowmebuli literatura<br />

JRenti, ivane. (2005). leqciebi harm<strong>on</strong>iaSi. Tbilisi: Tbilisis saxelmwifo k<strong>on</strong>servatoria<br />

qoriZe, filim<strong>on</strong>. (1896). ,,qarTuli galobis mdgomareoba~. Jurn. mwyemsi, #9, 10<br />

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

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

xundaZe, raJden. (1911). qarTuli galoba, liturRia. ioane oqropirisa, basili didisa da grigor RvTis–<br />

metyvelisa. partitura. notebze gadaRebuli mRvdlis raJden T. xundaZis mier. winasityvaoba (gv. I-VI).<br />

tfilisi: gamocema estate solomanis-Zis kereseliZisa<br />

xelnaweri wyaroebi<br />

kereseliZe, eqvTime. Q-672, 674, 692. xelnawerTa erovnuli centri. Tbilisi<br />

sanoto krebulebi<br />

karbelaSvili, vasil. (1898). qarTl-kaxuri galoba, `karbelaanT kiloTi~, ciskari, notebze gadaRebuli<br />

mRvdel vasil karbelaSvilis mier. meore nawili. tfilisi: stamba m. SaraZisa da amxanagobisa<br />

qoriZe, filim<strong>on</strong>. (1895). qarTuli galoba: liturgia ioanne oqropirisa. gadaRebuli filim<strong>on</strong> i. qori–<br />

Zis mier. tfilisi: m. SaraZis gamocema da stamba<br />

qoriZe, filim<strong>on</strong>. (1904). aRdgomis sagalobelni. tfilisi: mswraflmbeWdavi ar. quTaTelaZisa<br />

qoriZe, filim<strong>on</strong>. (1914). sadResaswaulo sagalobelni wirvisa. tfilisi: gamocema estate solomanis-<br />

Zis kereseliZisa

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