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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414 Svimon (Jiki) Jangulashvili 9. Complementary configuration of the texture In the hymn structure the inclination to the complemtary intoning and comlementary rhythmics is felt. ong>Theong> voices constituting the vertical also receive the impulse for this by the above-mentioned specific features of decorating the tune. ong>Theong> polyphonic texture is formed as a result of the “reaction” of the lower voices to the melodies or sub-melodies created by the decoration of the cantus. ong>Theong> intonational-rhythmic processes taking place in the tune are reflected in the movement of the middle voice and the bass part. In the decorated texture the interdependence of the voices is diversified and are assembled in a mobile way by different manners of voice combining (parallel, opposite, different-intonational…) both on the plain and transformed model-formulae. At the same time the dosage of different types of combination in the texture is always “unpredictable” and is determined either by the improvisation or the composing aesthetics of the Middle Ages. It is quite evident that these phenomena are indicated in different manners in the specimens of various chanting schools. By means of intoning, “active” intonations or separate sounds, the voices “knit”, “embroider” the orna– mented, draped, multi-relief musical texture. ong>Theong> texture seems to quiver, “twinkle”, “vibrate” by means of the independent sub-melodies, distinguished intonations and sounds present in the voices (ex. 12). 10. decoration-polyphony – an aesthetic category and a musical symbol of national identity As it is usually known in chanting the increasing of the degree of polyphony is ascending from the “voices to be learned” towards the decoration through the plain and true styles. It is not easy to say which is more distinctly revealed in the hymn texture – “devotion to the principle of parallelism” or permanent striving for avoiding this principle, immanent of the archetypical chanting model. In plain chants there are signs of decoration, in the decorated ones parallelism – this parameter of “the voices to be learned” or plain chants, is revealed fragmentarily (it may be assumed, that it is a “remnant”, something “left” from the most ancient forms of professional multipart church chanting). It is such dialectics that characterizes the textural mentality of Georgian chanting. In the texture of the decorated chant constantly renovating and multiform musical texture is present. In the melody the alternation of minor and major formulae (both with the intonations more or less close to the archetypical ones and “re-intonated” form) is accompanied by the polyphonic realization of these formulae in the texture. But, as a rule, the process of these formulae becoming polyphonic occurs in the structures with various degrees of polyphony built by different kinds of voice movements. In the flow of the musical texture polyphonic segments, constructed in different manners, replace one another. It is this changeable polyphonic structure that is the most characteristic parameter of Georgian ecclesiastic polyphony, in which the extreme limit (to the “left” towards the minimum), the least manifestation of the polyphony is the strict pareallelism of the existing voices and the heterophonic structure occurring in separate minor structures. It is clear that any aspect of the musical texture, any organized textural structure-segment is a result of a unique polyphonic activity, an original demonstration of a polyphonic ensemble. ong>Theong> striving for decoration, i.e. for creating a different intonational, poly-relief texture is immanent. It is manifested by the signs of decoration even in the plainest, simplest hymn. decoration in a hymn is the increasing of polyphony. Here the idea of musical beauty is realized in polyphony. In Georgian chanting the aesthetic category of the “beautiful” is manifested by the independence of voices in multipart singing and in the ensemble of their melodies – in the polyphony. ong>Theong> Georgian “homo-polyphonicus” (I. Zemtsovski) is always striving for creating something decorated,

Specific Features of the Polyphonic Musical Texture Transformation in Decorated Chanting 415 special, colourful, intense and topical in the process of polyphonic musicking. It is its original form of creating the musical-artistic aspect of the universe, the most significant feature of the historically formed national “polyphonic mentality” and the sound symbol of its national identity. In this musical stylistics marked by the exquisite simplicity and moderation of this diversified and decorated symbol, the dialectical nature of Georgian artistic-aesthetic mentality is revealed; in the same vivid manner it is manifested in the classic specimens of Georgian poetry, prose, architecture and fine arts. Refferences Khundadze, Razhden. (1911). Kartuli galoba. Liturghia. Ioane okropirisa, basilis didisa da grigol G\ghvtismetqvelisa (Georgian Chant. Liturgy of John Chrysostom, Basil the Great and Gregory Diologos). Preface (P. I-VI). Tbilisi: Estate kereselidze’s publishing Koridze, Pilimon. (1896). “Kartuli galobis mdgomareoba” (“Condition of Georgian Chant”). Journ. Mtsqemsi, No.9,10 Shughliashvili, Davit. (2001). “Kartuli galobis “uniosnuri” mravalkhmianoba. (“Unison Polyphony of Georgian Chant”). In: Sasuliero da saero musikis problemebi (Problems of sacred and Secular Music), P. 101-118. Tbilisi: Tbilisi State Conseravtoire Zhghenti, Ivane. (2005). Lectures on Harmony. Tbilisi: Tbilisi State Conservatoire Notated Collections Karbelashvili, Vasil. (1898). Kartl-kakhuri galoba, “karbelaant kiloti”, tsiskari, notebze gadaghebuli mghvdel vasil karbelashvilis mier. meore nawili (Kartli-Kakhetian Chant ”Karbelaant Mode”, Matins, Notated by Priest Vasil Karbelashvili. Part Two). Tpilisi: Publishing M. Sharadze and Co. Koridze, Pilimon. (1895). Georgian Chant: Liturgy of John Crysostom. Notated by Pilimon Koridze. Tbilisi: M. Sharadze’s publishing and typography Koridze, Pilimon. (1904). Easter Chants. Tpilisi: Kutateladze’s typography Koridze, Pilimon. (1914). festive Chants of Liturgy. Tpilisi: Estate Kereselidze’s publishing Manuscripts Sources Kereselidze, Ekvtime. Q672, 674, 692. National Centre of Manuscripts. Tbilisi Translated by Liana Gabechava

Specific Features of the Polyph<strong>on</strong>ic Musical Texture Transformati<strong>on</strong> in Decorated Chanting<br />

415<br />

special, colourful, intense and topical in the process of polyph<strong>on</strong>ic musicking. It is its original form of creating<br />

the musical-artistic aspect of the universe, the most significant feature of the historically formed nati<strong>on</strong>al<br />

“polyph<strong>on</strong>ic mentality” and the sound symbol of its nati<strong>on</strong>al identity. In this musical stylistics marked by<br />

the exquisite simplicity and moderati<strong>on</strong> of this diversified and decorated symbol, the dialectical nature of<br />

Georgian artistic-aesthetic mentality is revealed; in the same vivid manner it is manifested in the classic<br />

specimens of Georgian poetry, prose, architecture and fine arts.<br />

Refferences<br />

Khundadze, Razhden. (1911). Kartuli galoba. Liturghia. Ioane okropirisa, basilis didisa da grigol G\ghvtismetqvelisa (Georgian Chant.<br />

Liturgy of John Chrysostom, Basil the Great and Gregory Diologos). Preface (P. I-VI). Tbilisi: Estate kereselidze’s publishing<br />

Koridze, Pilim<strong>on</strong>. (1896). “Kartuli galobis mdgomareoba” (“C<strong>on</strong>diti<strong>on</strong> of Georgian Chant”). Journ. Mtsqemsi, No.9,10<br />

Shughliashvili, Davit. (2001). “Kartuli galobis “uniosnuri” mravalkhmianoba. (“Unis<strong>on</strong> Polyph<strong>on</strong>y of Georgian Chant”). In: Sasuliero da<br />

saero musikis problemebi (Problems of sacred and Secular Music), P. 101-118. Tbilisi: Tbilisi State C<strong>on</strong>seravtoire<br />

Zhghenti, Ivane. (2005). Lectures <strong>on</strong> Harm<strong>on</strong>y. Tbilisi: Tbilisi State C<strong>on</strong>servatoire<br />

Notated Collecti<strong>on</strong>s<br />

Karbelashvili, Vasil. (1898). Kartl-kakhuri galoba, “karbelaant kiloti”, tsiskari, notebze gadaghebuli mghvdel vasil karbelashvilis mier.<br />

meore nawili (Kartli-Kakhetian Chant ”Karbelaant Mode”, Matins, Notated by Priest Vasil Karbelashvili. Part Two). Tpilisi: Publishing<br />

M. Sharadze and Co.<br />

Koridze, Pilim<strong>on</strong>. (1895). Georgian Chant: Liturgy of John Crysostom. Notated by Pilim<strong>on</strong> Koridze. Tbilisi: M. Sharadze’s publishing<br />

and typography<br />

Koridze, Pilim<strong>on</strong>. (1904). Easter Chants. Tpilisi: Kutateladze’s typography<br />

Koridze, Pilim<strong>on</strong>. (1914). festive Chants of Liturgy. Tpilisi: Estate Kereselidze’s publishing<br />

Manuscripts Sources<br />

Kereselidze, Ekvtime. Q672, 674, 692. Nati<strong>on</strong>al Centre of Manuscripts. Tbilisi<br />

Translated by Liana Gabechava

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