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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90 marina qavTaraZe, ekaterine buCukuri la qarTl-kaxur sufrul da Sromis erTxmian simRerebSi~. krebulSi: xalxuri mravalxmianobis problemebi. gv. 181-193. Tbilisi: Tbilisis saxelmwifo konservatoria Бахтин, Михаил. (1986). Эстетика словесного творчества. Москвa: Искусство audiomagaliTebi audiomagaliTi 1. qveyana sul sizmaria (asrulebs bagrat bagrimovi, 1907w.) audiomagaliTi 2. dudukis melodia (asrulebs medudukeTa ansambli, solisti m. maisuraZe 1907- 1914ww. Canawerebidan) audiomagaliTi 3. gazafxuli (asrulebs anCisxatis taZris ansambli Zveli kiloebi)

91 MARINA KAVTARADZE, EKATERINE BUCHUKURI (GEORGIA) THE PROBLEM OF INTERRELATION BETWEEN POLYPHONY AND MONOPHONY ON THE EXAMPLE OF GEORGIAN URBAN MUSICAL FOLKLORE ong>Theong> way our nation’s spiritual life developed was such that over the centuries in various epochs it maintained close links and had many points of contact with both the eastern and western cultural worlds, whose musical archetypes stand out vividly in Georgian national culture. Quite often in the development of aesthetic, literary or musical thinking appear similar phenomena or models, semantic postulates or means of expression, which together with the canonicity, proceeding from the “aesthetic identity”, and other significant causes must have conditioned their mutual influence as well. ong>Theong> subject of this paper is Georgian urban musical culture in the context of interrelation between western and eastern archetypes and the historical environment. Any city, Tbilisi among them, is connected to a certain culture, but on the other hand, the city itself conditions the character of the culture. ong>Theong> city is a creative entity based on differences and diversified interests, but never on such a unity which is founded on the similarity and the collective coincidence of interests (the Soviet period provided such an experience). When analyzing the layers of Tbilisi culture three main layers, which form the urban culture, can be singled out: 1. ong>Theong> layer of modern, contemporary culture; 2. ong>Theong> layer of culture which has already been created; 3. ong>Theong> selective layer of culture. ong>Theong> latter means a constant process of selecting, accepting or rejecting something that is modern or is historically present; it connects the old and the new and conditions their co-existence by forming the urban context. Such an approach is especially interesting in our case, in relation with Tbilisi musical culture. Tbilisi culture is divided into several layers. ong>Theong>se layers are real and still living, Tbilisi is one of the so-called typical linear towns, where a new cultural layer never destroys the old one but establishes direct links with it. This is why Tbilisi has several cultural centres. Tbilisi culture is distinguished by its “polyphonic” character, which means not a mere co-existence of cultures and subcultures, but their diffusion and dialogue of course. On the one hand Tbilisi culture is a part of Georgian culture, but on the other hand it is a multicultural phenomenon, where many different cultures merge (Kavtaradze, 2010: 64-72). For instance a phenomenon of multicultural hybridism is the Ashug poetry and music of Tbilisi. From the viewpoint of the stylistic specificity and musical structure the urban folk music and poetry are concentrated around two poles – eastern and western. Accordingly, the specimens of urban musical art can be divided into two groups possessing polar stylistic-artistic elements. Of them, the eastern branch, is deeply rooted in Georgia’s historical part and by its character is related to the music of the peoples of eastern (middle eastern) countries. ong>Theong> western one has a comparatively short history; it took shape in the 1860s and 70s on the basis of Georgian aristocratic culture and the newly introduced European professional music. In this context, from the viewpoint of “the Tergdaleulis” (Georgians educated at Russian universities), the nineteenth century, to some extent, is a century of the opposition between “the Tfilis (Tbilisi)” culture i.e. the culture of “the commonality” and the Georgian, or the “elevated”, aristocratic cultures. It was also a century of dualism. It is this opposition that is expressed in Orbeliani’s poem “To the Poet” – “I do not like the ‘Mukhambazi’ style (‘Mukhambazi’ – a type of Oriental versification), the ‘Kinto’ (street vendor) style / and that of the city

90<br />

marina qavTaraZe, ekaterine buCukuri<br />

la qarTl-kaxur sufrul da Sromis erTxmian simRerebSi~. krebulSi: xalxuri mravalxmianobis<br />

problemebi. gv. 181-193. Tbilisi: Tbilisis saxelmwifo k<strong>on</strong>servatoria<br />

Бахтин, Михаил. (1986). Эстетика словесного творчества. Москвa: Искусство<br />

audiomagaliTebi<br />

audiomagaliTi 1. qveyana sul sizmaria (asrulebs bagrat bagrimovi, 1907w.)<br />

audiomagaliTi 2. dudukis melodia (asrulebs medudukeTa ansambli, solisti m. maisuraZe 1907-<br />

1914ww. Canawerebidan)<br />

audiomagaliTi 3. gazafxuli (asrulebs anCisxatis taZris ansambli Zveli kiloebi)

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