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who asked the first question? - International Research Center For ...

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200‣ Nonsense syllables of ancient origins (actually, any nonsense-syllables) arevirtually completely absent in Khevsureti songs;‣ Poetry in Khevsureti is extremely developed, with no signs of <strong>the</strong> ancient nonrhythmicforms of poetry. Khevsurs are in fact considered to be <strong>the</strong> best poetsamong Georgians.In contrast, Svanetian traditional music shows <strong>the</strong> archaic character by all <strong>the</strong>sefactors: (1) <strong>the</strong>re is a strong syncretic integrity of singing and dancing, (2) round dancesare extremely widely distributed, (3) antiphon forms of singing are almost <strong>the</strong> only formof singing; (4) ancient nonsense-syllables are very widely used (sometimes showingpromising parallels with <strong>the</strong> dead ancient languages of <strong>the</strong> Mesopotamia) and (5) <strong>the</strong>re isno modern rhythmic poetry in Svaneti. We should also add here that, unlike Svanetians,<strong>who</strong> still speak <strong>the</strong>ir language, Khevsurs speak <strong>the</strong> Georgian language, although <strong>the</strong>character of geographic names from Khevsureti suggests that populations of this regionspoke North Caucasian languages. Also unlike Svanetians, <strong>who</strong> still live in <strong>the</strong>ir familytowers built in <strong>the</strong> 8 th -12 th centuries, according to Georgian historical sources, <strong>the</strong>Khevsurs must have come to <strong>the</strong> mountainous area of <strong>the</strong>ir contemporary residenceduring 17 th -18 th centuries. Therefore, if we look at <strong>the</strong> musical traditions of <strong>the</strong> Khevsursfrom <strong>the</strong> point of view of <strong>the</strong> “secondary archaic” it becomes possible to view <strong>the</strong> simplecharacter of Khevsureti two-part singing not as <strong>the</strong> actual “beginnings of Georgianpolyphony”, but as <strong>the</strong> result of <strong>the</strong> loss of more complex forms of polyphony.Khevsureti is not <strong>the</strong> only region in Georgia where we have <strong>the</strong> case of <strong>the</strong>gradual disappearance of more advanced forms of traditional polyphony. Meskheti insou<strong>the</strong>rn Georgia is ano<strong>the</strong>r case. Here <strong>the</strong> last examples of traditional polyphony wererecorded in <strong>the</strong> 1960s by Valerian Magradze from <strong>the</strong> only two surviving old singers(Magradze, 1986). By 1982, when I conducted a fieldwork in Meskheti, onlymonophonic versions of polyphonic songs were found. Saingilo is still ano<strong>the</strong>r regionwith a Georgian population (in <strong>the</strong> territory of Azerbaijan) where <strong>the</strong> tradition ofpolyphonic singing is absent, although during my fieldwork in this region in 1987 Imanaged to record <strong>the</strong> detailed description of <strong>the</strong> polyphonic singing tradition that wasstill around in <strong>the</strong> 1950s (Jordania, 1988b).Are <strong>the</strong>se cases of losing <strong>the</strong> traditions of vocal polyphony unique to Georgia?This is <strong>the</strong> crucial <strong>question</strong> we are going to discuss in <strong>the</strong> next case, dedicated not to anyparticular tradition of vocal polyphony, but to <strong>the</strong> general historical dynamics of <strong>the</strong>appearance/disappearance of vocal polyphony.Case Study #2Historical Dynamics:Appearance or Disappearance?Just a week after his 26 th birthday, while resting in a forest, Charles Darwinexperienced a major earthquake that struck Chile on 20 th February of 1835. Walking afew days after <strong>the</strong> earthquake on <strong>the</strong> beach, Charles noticed that some mollusks thatalways live on <strong>the</strong> rocks under <strong>the</strong> water, were now on <strong>the</strong> rocks well above <strong>the</strong> water

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