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The Fifth International Symposium on Traditional Polyphony ...

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<str<strong>on</strong>g>The</str<strong>on</strong>g> Problem of Interrelati<strong>on</strong> Between Polyph<strong>on</strong>y and M<strong>on</strong>oph<strong>on</strong>y <strong>on</strong> the<br />

Example of Georgian Urban Musical Folklore<br />

in a single artistic space. On the example of Tbilisi urban folklore the eastern and western comp<strong>on</strong>ents, their<br />

archetypes not <strong>on</strong>ly integrate in a single cultural whole in different forms, but also create a system, whose<br />

every layer is based <strong>on</strong> the balance between the opposite parts. <str<strong>on</strong>g>The</str<strong>on</strong>g>refore the typology of Georgian urban<br />

musical culture may be viewed as a phenomen<strong>on</strong> observed from the angle of the dialogue of Eurasian cultures.<br />

To c<strong>on</strong>firm our c<strong>on</strong>siderati<strong>on</strong> here is the Bakhtin’s quote: “Each culture lives in relati<strong>on</strong> with other cultures<br />

and great events are born within such dialogue between cultures. During these encounters the dialogues do<br />

not merge or mix up, but enrich each other” (Bakhtin, 1984: 354). Thus <strong>on</strong>e culture influences another, under<br />

suitable circumstances and in case of the approximati<strong>on</strong> of cultural codes comm<strong>on</strong> mentality is formed.<br />

Kipling’s well-known c<strong>on</strong>siderati<strong>on</strong> that West is West and East is East and they will never c<strong>on</strong>flow is<br />

incorrect, because they have c<strong>on</strong>flown in Georgia, in Tbilisi.<br />

References<br />

Bakhtin, Mikhail. (1986). Estetika slovesnogo tvorchestva (<str<strong>on</strong>g>The</str<strong>on</strong>g> Aesthetics of Verbal Creativity). (1986). Moscow: Iskus–<br />

stvo<br />

Buchukuri, Ekaterine. (2001). “Georgian Music in the C<strong>on</strong>text of the Relati<strong>on</strong>s with Oriental M<strong>on</strong>odic Cultures”. In: <str<strong>on</strong>g>The</str<strong>on</strong>g>orie<br />

und Geschichte der M<strong>on</strong>odie. Editor: Maria Pischlogger. P. 81-87. Vienna: University of Musicology<br />

Buchukuri, Ekaterine. (2006). “Akhlo aghmosavletis kveqnebis musikis tipologiuri nishnebi” (“<str<strong>on</strong>g>The</str<strong>on</strong>g> Typological Traits of the<br />

Music of the Near East Countries”). Journ. <str<strong>on</strong>g>The</str<strong>on</strong>g>atrmtsodneobiti da Kinomtsodneobiti Dziebani, 9 (28):241-246 (in Georgian)<br />

Buchukuri, Ekaterine. (2006). “Ashughuri khelovneba da dzveli tbilisis simgherebi (stiluri analizis tsda)” [“<str<strong>on</strong>g>The</str<strong>on</strong>g> Ashugh Art<br />

and S<strong>on</strong>gs of Old Tbilisi (an Attempt of Stylistic Analysis)”]. Georgian electr<strong>on</strong>ic scientific journ. Musicology and Culturology,<br />

1:63-80 (in Georgian) http://gesj.internet-academy.org.ge<br />

Grishashvili, Ioseb. (1963). Dzveli tbilisis literaturuli bohema. Saiatnova (<str<strong>on</strong>g>The</str<strong>on</strong>g> Literary Bohemia of Old Tbilisi. SaiatNova).<br />

Collecti<strong>on</strong> of works. Vol. 3. Tbilisi: Sabchota sakartvelo (in Georgian)<br />

Meskhi, Tamar. (1989). “Kartuli kalakuri sasimghero shemokmedeba” (“Georgian Urban Singing Art”). Journ. Sabchota Khe–<br />

lovneba, 5:117-125 (in Georgian)<br />

Mshvelidze, Archil. (1970). Kartuli khalkhuri kalakuri simgherebi (Georgian Urban Folk S<strong>on</strong>gs). Tbilisi: Ssr kavshiris musi–<br />

kaluri p<strong>on</strong>dis sakartvelos gankopileba (in Georgian and Russian)<br />

Kavtaradze, Marina. (2003). “Traditsiul musikalur kulturata urtiertoba da transpormatsia tipologiurad utskho kulturul gare–<br />

moshi” (“<str<strong>on</strong>g>The</str<strong>on</strong>g> Interrelati<strong>on</strong> between Traditi<strong>on</strong>al Musical Cultures and the Transformati<strong>on</strong> in the Typologically Alien Cultural<br />

Envir<strong>on</strong>ment”). In: Proceedings of the IV <str<strong>on</strong>g>Internati<strong>on</strong>al</str<strong>on</strong>g> <str<strong>on</strong>g>Symposium</str<strong>on</strong>g> <strong>on</strong> Traditi<strong>on</strong>al Polyph<strong>on</strong>y. P. 508-519. Editors: Tsurtsumia,<br />

Rusudan and Jordania, Joseph. Tbilisi: <str<strong>on</strong>g>Internati<strong>on</strong>al</str<strong>on</strong>g> Research Center for Traditi<strong>on</strong>al Polyph<strong>on</strong>y of Tbilisi State C<strong>on</strong>servatoire<br />

Kavtaradze, Marina. (2010). “Musika tbilisshi da tbilisi musikashi” (“Music in Tbilisi and Tbilisi in Music”). Journ. Literatura<br />

da Khelovneba, 4 (52):64-72 (in Georgian)<br />

Shaqulashvili, Giorgi. (1987). Dzveli tbilisis poeziis istoriidan (From the History of Old Tbilisi Poetry). Tbilisi: Metsniereba (in<br />

Georgian)<br />

Tsitsishvili, Nino. (2000). “Mravalkhmianobisa da ertkhmianobis urtiertmimartebis sistemuri shestsavla kartl-kakhur suprul<br />

da shromis ertkhmian simgherebshi” (“Systemc Study of Interrelati<strong>on</strong> Between Multi-Part and Single-Part Singing in Kartli-<br />

95

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