The Fifth International Symposium on Traditional Polyphony ...

New Tendencies in the Nineteenth-Century Georgian Chanting Tradition
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sacred music remain valuable specimens of Georgian sacred music. However, proceeding from the changes
introduced by the composer, this redaction is far from the religious canons and, accordingly, is never used in
divine service practice today.
<strong>The</strong> practice of editing Georgian ecclesiastic chants was founded at the junction of the nineteenth and
twentieth centuries. After an interval of about 80 years, it was revived in the 1990s, the process continuing
today. In the redactions of the 1990s (Erkvanidze, Shugliashvili) the traditional material is less prominent,
hence these editions can be called the author’s redactions. A new tendency has been noticed in recent years –
the compilers of the collections do their best to provide the academic aspect of the editions, clearly pointing
out all the changes introduced into the original. Undoubtedly it is a welcome tendency. Unfortunately, no
commonly accepted scholarly approach to the original sources has been designed so far. I do hope that this
problem will be solved in the near future.
<strong>The</strong> aesthetic views of twentieth-century Georgian society have greatly changed, and our “transformed
musical consciousness” makes different demands, but Georgian traditional chanting and singing still remain
one of the basic means of expressing the nation’s identity. Aesthetic values change, but the true nature of the
nation still find itself in these changes.
References
Araqishvili, Dimitri. (1954). Dasavlet sakartvelos khalkhur simgherata kilos tskoba (Mode Scales of West Georgian Folk Songs).
Tbilisi: Khelovneba (in Georgian)
Bakhtadze, Inga. (1986). Kartuli musikalur-estetikuri azris istoriidan (From the History of Georgian Musical-Aesthetic Thought).
Tbilisi (in Georgian)
Bezuglova, I.F. (1981). “K voprosu o proiavlenii kanona vdrevnerusskoj muzike” (“On the Problem of the Manifestation of the
Canon in the Old Russian Music Materials of the All Union Conference”). In: Proshloe i nastoshchee russkoj khorovoj kulturi (<strong>The</strong>
Past and the Present of Russian Choral Culturel). P. 73-74. Leningrad: Nauka (in Russian)
Bulbulashvili, Eldar. (2001). “Kartuli saeklesio sagaloblebi egzarkosobis periodshi” (“Georgian Ecclesiastical Chants in the
Exarchate Period”). Journ. Rtsmena and tsodna (Belief and Knowledge) (in Georgian)
Gabisonia, Tamaz. (2006). “Traditsiuli samgalobo gundebis shemadgenlobis shesakheb” (“On the Composition of the Traditional
Chanting Choirs”). Newspaper: Kartuli Galoba (Georgian Chant), 1:9 (in Georgian)
Gardner, I.A. (1998). Bogoslujebnoe penie russkoj pravoslavnoj tserkvi (Liturgical Chanting in the Russian Orthodox Church).
Vol. 2. Moscow: PCTBI (in Russian)
Tsurtsumia, Rusudan. (2005). Meotse saukunis musika, tvitmkopadoba da ghirebulebiti orientatsiebi (20 th Century Georgian
Music, Originality and Value Orientations). Tbilisi: Tbilisi State Conservatoire (in Georgian, summary in English)
Notated Collections
Arakchiev, Dimitri. (1905). “Gruzinskie pesnopenia na liturgiu sv. ioanna zlatoustogo v norodnoj garmonizatsii” (“Georgian
Chanting at the Liturgy of St John the Chrysostom in Folk Harmonization”). In: Works of MEK. Moscow (in Russian)