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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474 nino naneiSvili gadaxrebi aRiniSneba. Cven mier ganxilul gelaTis skolis gamSvenebuli kilos nimuSebSi, swored es sami saxis gamSveneba gvxvdeba. qristes brwyinvale aRdgomis ZlispirebSi gamoikveTa gamSvenebis mTeli rigi stereo– tipuli struqturuli erTeulebisa (sagaloblis kilodan gadaxrebiT), saidanac irkveva, rom msgavsi tipis gamSvenebebi damaxasiaTebelia ara mxolod troparis, aramed Zlispiris JanrisaTvisac. amdenad, gamSvenebaTa cvalebadi bunebisa da improvizaciulobis miuxedavad, maTi stereotipuli formulebis Camoyalibeba Cveuli movlena yofila sxvadasxva Janris qarTul saeklesio sagaloblebSi. SeniSvnebi 1 ,,cnobilia, rom XII-XIII saukuneebSi ruseTSi arsebobda virtuozul-melizmatikuri stilis e.w. konda– kuri galoba, romlis dasafiqsireblad kondakebSi iyenebdnen specialur orxazian kondakarul notacias. rusuli kondakarebis pirvelwyaros warmoadgens bizantiuri fsaltikoni _ melizmatikurvirtuozuli himnebis krebuli. e.i. bizantiaSi kidev ufro adreuli saukuneebidan gavrcelebuli iyo galobis virtuozul-melizmatikuri stili imdenad, rom Seqmnili iyo misi specialuri krebulebic. am periodSi (daaxloebiT X-XI ss)~ (oniani, 2009: 3) 2 rogorc d. SuRliaSvili aRniSnavs qarTuli galobis skolaTa nairsaxeobas safuZvlad gamSvenebis wesebis individualoba udevs. cxadia, es exeba rogorc pirveli, kanonikuri xmis, ise xmaTaSewyobis saxeebs (SuRliaSvili, 2006: 11) 3 gamSvenebuli kilos troprebis muxli modelebisa Tu saqcevi formulebis iprovizaciuli varian– tebis stereotipulobis Sesaxeb aRniSnulia m. suxiaSvilis disertaciaSi (suxiaSvili, 2006: 83) damowmebuli literatura oniani, ekaterine. (2009). qarTuli galobis mravalxmianobis sakiTxisaTvis. xelnaweri. piradi arqivi suxiaSvili, magda. (2006). galobis kanonikis ZiriTadi aspeqtebi Zvel qarTul sasuliero musikaSi. disertacia musikologiis doqtoris akademiuri xarisxis mosapoveblad. Tbilisis saxelmwifo konservatoria qoriZe, filimon. (1904). aRdgomis sagalobelni, partitura 4. tfilisi: mswraflmbeWdavi ar. quTaTe– laZisa SuRliaSvili, daviT. (2006). qarTuli saeklesio galoba, Semoqmedis skola, artem erqomaiSvilis Cana– werebis mixedviT. Tbilisi xelnaweri wyaroebi kereseliZe, eqvTime. sanoto xelnaweri, xelnawerTa erovnuli centri, fondi Q692; wigni #25:62-132

ORNAMENTED STRUCTURAL FORMULAS IN THE EASTER HEIRMOSES 475 NINO NANEISHVILI (GEORGIA) Apart from Ioane Petritsi’s famous “Ganmarteba” (Interpretation) there is no direct answer to the question of the existence of polyphony in Georgian chanting (Oniani, 2009: 1). Besides that, in E. Oniani’s opinion the question is answered to some extent by the pure musical content of the chanting per se (Oniani, 2009: 1). On having been introduced into the Georgian church for the first time, Byzantine monophonic chanting could not have maintained its original texture for a long time, because, otherwise, in the course of its evolution, Georgian chanting would have acquired the features characteristic of monophony. In Georgian chanting, especially in the top voice, which includes the canonical tune, there are usually no ornaments. It seems to be incompatible 1 with polyphonic texture 2 . As we know Georgia maintained close links with Byzantium and presumably, all the phenomena present in Byzantine chanting must have occurred in Georgian chanting as well. Despite this, the melismatics of this type, characteristic of Byzantine sacred music, is quite alien to Georgian chanting. Collections like the Byzantine psalticon have never been used in Georgian chanting practice either (no information has been obtained so far about them). ong>Theong> only type of chanting that may be closest to such chants is Georgian decorated (improvised, “flourished” style of chanting), but even here, the horizontal development of voices in the polyphonic musical texture is still limited. This fact gives us grounds to suppose that as early as the tenth-eleventh centuries Georgian chanting was already polyphonic. ong>Theong> specific character of decoration in Georgian multipart chanting is revealed in the following way: the least ornamentation occurs in the top voice, which represents the canonical tune, but the middle voice is comparatively free and in most cases it is the middle voice that uses ornamentation (Oniani, 2009: 2). This conjecture cannot be applied to the material under consideration. In the specimens presented here, I discuss the ornamentation formulas of the top voice (canonical tune) which are mainly the specimens where “the voice deviates from the mode”. When analyzing the Easter hymns included in Philimon Koridze’s collection and in the manuscript collection of Euthymius the Confessor I have singled out certain stereotypical specimens (with variations) of ornamentation 3 . It is noteworthy that within the limits of the heirmas-troparion of the paschal canon common melodic formulas can be distinguished not only in the plain mode of the tune, but in the ornamentation elements which also reveal stereotypical elements 4 . ong>Theong> plain mode melody is characterized by the movements on narrow intervals, nearest sounds and a tight range (the broadest interval is an octave). In the ornamented variants of the tune the flow of the musical idea is quite free. ong>Theong> range of melodic development is wider, reaching the interval thirteenth in some places. In the analyzed material, in every case of ornamentation the melodic pattern of the top voice, tkma is downward oriented (falling direction). In the troparion Thy Resurrection the range of the melody in plain (undecorated) mode (here and subsequently I mean the top voice, the so-called tkma) is the interval sixth, and that of the ornamented (decorated) mode is the ninth.

474<br />

nino naneiSvili<br />

gadaxrebi aRiniSneba.<br />

Cven mier ganxilul gelaTis skolis gamSvenebuli kilos nimuSebSi, swored es sami<br />

saxis gamSveneba gvxvdeba.<br />

qristes brwyinvale aRdgomis ZlispirebSi gamoikveTa gamSvenebis mTeli rigi stereo–<br />

tipuli struqturuli erTeulebisa (sagaloblis kilodan gadaxrebiT), saidanac irkveva,<br />

rom msgavsi tipis gamSvenebebi damaxasiaTebelia ara mxolod troparis, aramed Zlispiris<br />

JanrisaTvisac. amdenad, gamSvenebaTa cvalebadi bunebisa da improvizaciulobis miuxedavad,<br />

maTi stereotipuli formulebis Camoyalibeba Cveuli movlena yofila sxvadasxva Janris<br />

qarTul saeklesio sagaloblebSi.<br />

SeniSvnebi<br />

1 ,,cnobilia, rom XII-XIII saukuneebSi ruseTSi arsebobda virtuozul-melizmatikuri stilis e.w. k<strong>on</strong>da–<br />

kuri galoba, romlis dasafiqsireblad k<strong>on</strong>dakebSi iyenebdnen specialur orxazian k<strong>on</strong>dakarul<br />

notacias. rusuli k<strong>on</strong>dakarebis pirvelwyaros warmoadgens bizantiuri fsaltik<strong>on</strong>i _ melizmatikurvirtuozuli<br />

himnebis krebuli. e.i. bizantiaSi kidev ufro adreuli saukuneebidan gavrcelebuli iyo<br />

galobis virtuozul-melizmatikuri stili imdenad, rom Seqmnili iyo misi specialuri krebulebic.<br />

am periodSi (daaxloebiT X-XI ss)~<br />

(<strong>on</strong>iani, 2009: 3)<br />

2 rogorc d. SuRliaSvili aRniSnavs qarTuli galobis skolaTa nairsaxeobas safuZvlad gamSvenebis<br />

wesebis individualoba udevs. cxadia, es exeba rogorc pirveli, kan<strong>on</strong>ikuri xmis, ise xmaTaSewyobis<br />

saxeebs (SuRliaSvili, 2006: 11)<br />

3 gamSvenebuli kilos troprebis muxli modelebisa Tu saqcevi formulebis iprovizaciuli varian–<br />

tebis stereotipulobis Sesaxeb aRniSnulia m. suxiaSvilis disertaciaSi (suxiaSvili, 2006: 83)<br />

damowmebuli literatura<br />

<strong>on</strong>iani, ekaterine. (2009). qarTuli galobis mravalxmianobis sakiTxisaTvis. xelnaweri. piradi arqivi<br />

suxiaSvili, magda. (2006). galobis kan<strong>on</strong>ikis ZiriTadi aspeqtebi Zvel qarTul sasuliero musikaSi.<br />

disertacia musikologiis doqtoris akademiuri xarisxis mosapoveblad. Tbilisis saxelmwifo<br />

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

qoriZe, filim<strong>on</strong>. (1904). aRdgomis sagalobelni, partitura 4. tfilisi: mswraflmbeWdavi ar. quTaTe–<br />

laZisa<br />

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

werebis mixedviT. Tbilisi<br />

xelnaweri wyaroebi<br />

kereseliZe, eqvTime. sanoto xelnaweri, xelnawerTa erovnuli centri, f<strong>on</strong>di Q692; wigni #25:62-132

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