The Fifth International Symposium on Traditional Polyphony ...

A Comparative and Interdisciplinary Study of East Georgian Polyphonic Song
Styles in the Context of Middle Eastern and Central Asian Monophonic Music
b) solo singers singing simultaneously against the background of a choir:
Upper solo
Lower solo
<strong>The</strong> choir
Antiphonal performance by two solo singers against the choir creates frequent two-part sections where
only one of the two singers sings against the choir, thus creating two-part harmonic combinations. By
developing their melodic parts separately, the solo singers demonstrate preference toward solo (monodic)
performance rather than toward singing together in three-part vertical-harmonic texture. Solo work songs
from Kartli-Kakheti are Orovela (a group of songs consisting of Gutnuri, kalouri, kevruli) and Urmuli. Only
Gutnuri in very rare occasions can be sung in two parts: one part leading solo melody and the rest of the
working group singing a drone (Mamaladze, 1962: 14). According to Factor 1 the table songs can be related
to the solo work songs, because according to this factor the Kartli-Kakhetian table songs are polyphonic
structures which seem to contain the elements of solo singing.
Unlike “long” table songs, the other song genres (harvest songs, ritual, round-dance, and topical songs) in
Kartli-Kakheti are based exclusively on the principle of group performance and polyphonic structures so that
solo performance and monody (factors 1 and 2) are absent as elements of style. Song styles from West Georgia
are also based on group performance and polyphonic structures; solo performance and monody occur only in
the cases when the song’s function requires it to be performed in solitude, such as some laments or lullabies.
Factor 2: melodic-structural role of song parts
In “long” table songs (like Chakrulo, Zamtari, or Long Kakhetian Mravalzhamier) two solo singers
alternate against the drone, or merge in a three-part texture. Such alternation of the two solo singers creates
frequent two-part sections where only one solo singer sings against the group drone. This creates a strong
component of solo singing within this polyphonic style. <strong>The</strong> choir in the table songs has a function of a
harmonic background, not articulating the text but singing to the vowels. So, despite the fact that there are three
parts, the aesthetic of solo singing is prominent.
Unlike “long” table songs, the other song genres (harvest songs, ritual, round-dance) in Kartli-Kakheti are
based on a different type of polyphony. Alternating solo parts occur in east Georgian songs, but not in West
Georgian songs. In west Georgian songs, there are several types of polyphony: 1) ostinato 2) rhythmic drone,
3) chordal unit polyphony. All these three types are also found in east Georgian songs. 4) Linear-contrastive
type is found in the most elaborate Gurian songs. However, East Georgian table songs contain the element
of solo singing which is absent from all the other polyphonic song genres. This, in my opinion, is the most
significant difference between the table songs of east Georgia and the songs of West Georgia as well as from
the other song genres of Kartli-Kakheti. <strong>The</strong> aesthetic of solo singing in “long songs” is also intensified by
the type of melody which is highly melismatic (not to be mixed with the ornamentation in chants for example
– it is based on a different type of vocal production). This style of singing requires and results in a different
style of polyphony.
Unlike “long” table songs where the two highly ornamented parts develop and take turns against the drone bass,
polyphony in all the other song styles of East and West Georgia comprises functionally and melodically more-or-less
equal parts, including the bass part which can be as agile and melodically active as the upper melodic parts.
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