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