Tamaz Gabisonia - Academia.edu (original) (raw)
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Papers by Tamaz Gabisonia
Trabzon University State Conservatory, in Trabzon, Turkey., Dec 1, 2019
Relevance of the study. Musical folklore and church chanting being the most transparent system in... more Relevance of the study. Musical folklore and church chanting being the most transparent system in the field of music, in the Georgian ethnic environment uses rather diverse symbols of human communication with another world. Studies have not yet reached any significant results in Georgian musicology, in this regard.Main objective of the study. The paper aims to provide interpretation of the communication between the language of Georgian traditional music and modalities of Christianity, paganism and general aesthetic of the other world.Methodology. By using the semiotic method, in this article we focus on abstraction-definition, syntactics and pragmatics of individual components of the musical language. With regard to semantic meaning, we mainly refer to hypothetical considerations. We use the comparative method for matching parallel phenomena in music and the emic-etical understanding of the universe, songs and church hymns.How the study was done. The research has identified the chan...
Abstract: The information on the development of Georgian traditional music dates to the 19th and ... more Abstract: The information on the development of Georgian traditional music dates to the 19th and 20th centuries. We can only presume how the activity of Davit Aghmashenebeli, Giorgi Mtatsmindeli, Sayatnova, Catholic missionaries and others could have influenced Georgian traditional music before that time. However, when studying the texts of Georgian traditional music we notice some fragments, pointing to the “mutation” of personal origin. The transformation of the Georgian folk song or church hymn texts, more precisely the transformation of performance norms is observed in the first half of the Soviet epoch; this is related to the presentation of mass character of folk art and its “packing” for stage performances. Moreover, the variants of distinct personal interferences into the texts of Georgian traditional music can be presented as follows: 1. Composed songs in traditional manner (e.g. by Varlam Simonishvili) 2. Composed songs in non-traditional manner (by Giorgi Iobishvili) 3. “...
In summer 2013, Ilia State University organized its first ethnomusicological expedition involvin... more In summer 2013, Ilia State University organized its first ethnomusicological expedition involving fieldwork and data collection. On July 28-29, the staff of the university music centre recorded up to 200 samples of traditional intonement from 50 ethnophores in 12 residential centres of Dedoplistskaro region: Khrnabuji, Cheti, Zemo Machkhaani, Arboshiki, Mirzaani, Ozaani, Zemo Kedi, Arkhiloskalo, Kvemo Kedi, Samtatskaro, Tavtskaro and Dedoplistskaro itself.
Georgian traditional music is the focus of foreign musicologists’ and amateur musicians’ clear in... more Georgian traditional music is the focus of foreign musicologists’ and amateur musicians’ clear interest. Which of its peculiarities attract such interest? Developed musical language or exotic character? This issue will lead us to the discussion what priorities we choose and what our mood is when listening to ethnic music. It is interesting to know what patterns of “ethnic sound ideal” developed by musical expressions indicate distinctive phenomenon in musical relativism. In this regard “Georgian polyphony”, as the stylistic phenomenon of Georgian traditional music is distinguished as a clear three-part structure, diverse composition principles and highly organized forms of vocal polyphony, as well as ambivalent stylistic look of the song-chant musical language. In relation to Georgian song-chant we often hear the notion “folk genius’, but it is necessary to clarify the share of personalprofessional and collective-folk skills in this stylistically diverse phenomenon. In the formation...
Mass character and class reference of Soviet art quite easily echoed collective and national prio... more Mass character and class reference of Soviet art quite easily echoed collective and national priorities of Georgian folk song. In addition, the authority of renowned singers and organizers of choirs was an important factor for preserving the originality in Georgian colonial cultural life, even before the establishment of Soviet Power. From the second half of the 19th century these popular leaders – choir masters – created their own versions of folk songs, as well as composed new songs, most of which, despite clear stylistic individualism, are considered ‘true folklore’ by the lovers of authentic folklore today. However, the songs composed by well-known choirmasters in the second half of the 20th century, are demonstratively rejected by the folklore elite, including official structures, for being ‘nonfolklore’ and ‘low quality’. But, stable popularity of these songs in cities and villages, provides very strong evidence of their artistic and stylistic relevance. Thus, the policy of ‘...
Musicologist, Dec 31, 2019
Mass character and class reference of Soviet art quite easily echoed collective and national prio... more Mass character and class reference of Soviet art quite easily echoed collective and national priorities of Georgian folk song. In addition, the authority of renowned singers and organizers of choirs was an important factor for preserving the originality in Georgian colonial cultural life, even before the establishment of Soviet Power. From the second half of the 19 th century these popular leaderschoir masters-created their own versions of folk songs, as well as composed new songs, most of which, despite clear stylistic individualism, are considered 'true folklore' by the lovers of authentic folklore today. However, the songs composed by well-known choirmasters in the second half of the 20 th century, are demonstratively rejected by the folklore elite, including official structures, for being 'nonfolklore' and 'low quality'. But, stable popularity of these songs in cities and villages, provides very strong evidence of their artistic and stylistic relevance. Thus, the policy of 'ignoring' could be attributed to the maximalist understanding of 'authentic' performance of folklore accompanying the national-independent movement in the 1980s, which introduced an important cultural phenomenon of 'revolutionary' protest in Georgian ethno-musical space. A similar tendency echoes the parallel realities of post-Soviet countries and today's fashionable 'taboo' of 'all things Soviet', regardless of the verbal thematic of the examples. In the inertia of these vicissitudes, currently the practice of creating a song with ethnic coloring is dissociated from 'authentic' folk author-performers. But when it comes to the skill level and traditional style, this suggests mostly inadequate results in a banished, but free space. The article discusses the boundaries and accessories of the concept of "folk song", its accordance with Georgian traditional musical style, and the problems related to this topic. Also presented is the classification scheme of Georgian musical styles based on contemporary data.
Scientific herald of Tchaikovsky National Music Academy of Ukraine
Muzikologija, 2014
Для сообщества любителей грузинской традиционной музыки "аутентичное" -одно из самых актуальных п... more Для сообщества любителей грузинской традиционной музыки "аутентичное" -одно из самых актуальных понятий на сегодняшний день. Оно представляет собой главный аргумент "настоящего фольклора" (хотя не для всех, особенно практиков). При восприятии аутентичности самыми релевантными каналами являются традиционно-стилевой язык и традиционные условия. Эти факторы заметны в следующих направлениях: а) исполнитель; б) мотивация (функция); в) репертуар; г) проявление. В грузинской народной музыке особенно проблематична, с такой точки зрения, идентификация современных течений, содержащих фольклорные мотивы. В Грузии вырисовывается понимание "аутентичности" как исполнение с традиционной артикуляцией традиционного сельского репертуара. Хотя целесообразно добавить сюда и критерий традиционных, обычных условий.
Ethnomusic
Тамаз Габісоніа, етномузиколог, кандидат мистецтвознавства, доцент факуль тету мистецтв і наук Де... more Тамаз Габісоніа, етномузиколог, кандидат мистецтвознавства, доцент факуль тету мистецтв і наук Державного університету Іллі (Тбілісі, Грузія), tamazgabisonia@gmail.com, +995 593 181 000.
Trabzon University State Conservatory, in Trabzon, Turkey., Dec 1, 2019
Relevance of the study. Musical folklore and church chanting being the most transparent system in... more Relevance of the study. Musical folklore and church chanting being the most transparent system in the field of music, in the Georgian ethnic environment uses rather diverse symbols of human communication with another world. Studies have not yet reached any significant results in Georgian musicology, in this regard.Main objective of the study. The paper aims to provide interpretation of the communication between the language of Georgian traditional music and modalities of Christianity, paganism and general aesthetic of the other world.Methodology. By using the semiotic method, in this article we focus on abstraction-definition, syntactics and pragmatics of individual components of the musical language. With regard to semantic meaning, we mainly refer to hypothetical considerations. We use the comparative method for matching parallel phenomena in music and the emic-etical understanding of the universe, songs and church hymns.How the study was done. The research has identified the chan...
Abstract: The information on the development of Georgian traditional music dates to the 19th and ... more Abstract: The information on the development of Georgian traditional music dates to the 19th and 20th centuries. We can only presume how the activity of Davit Aghmashenebeli, Giorgi Mtatsmindeli, Sayatnova, Catholic missionaries and others could have influenced Georgian traditional music before that time. However, when studying the texts of Georgian traditional music we notice some fragments, pointing to the “mutation” of personal origin. The transformation of the Georgian folk song or church hymn texts, more precisely the transformation of performance norms is observed in the first half of the Soviet epoch; this is related to the presentation of mass character of folk art and its “packing” for stage performances. Moreover, the variants of distinct personal interferences into the texts of Georgian traditional music can be presented as follows: 1. Composed songs in traditional manner (e.g. by Varlam Simonishvili) 2. Composed songs in non-traditional manner (by Giorgi Iobishvili) 3. “...
In summer 2013, Ilia State University organized its first ethnomusicological expedition involvin... more In summer 2013, Ilia State University organized its first ethnomusicological expedition involving fieldwork and data collection. On July 28-29, the staff of the university music centre recorded up to 200 samples of traditional intonement from 50 ethnophores in 12 residential centres of Dedoplistskaro region: Khrnabuji, Cheti, Zemo Machkhaani, Arboshiki, Mirzaani, Ozaani, Zemo Kedi, Arkhiloskalo, Kvemo Kedi, Samtatskaro, Tavtskaro and Dedoplistskaro itself.
Georgian traditional music is the focus of foreign musicologists’ and amateur musicians’ clear in... more Georgian traditional music is the focus of foreign musicologists’ and amateur musicians’ clear interest. Which of its peculiarities attract such interest? Developed musical language or exotic character? This issue will lead us to the discussion what priorities we choose and what our mood is when listening to ethnic music. It is interesting to know what patterns of “ethnic sound ideal” developed by musical expressions indicate distinctive phenomenon in musical relativism. In this regard “Georgian polyphony”, as the stylistic phenomenon of Georgian traditional music is distinguished as a clear three-part structure, diverse composition principles and highly organized forms of vocal polyphony, as well as ambivalent stylistic look of the song-chant musical language. In relation to Georgian song-chant we often hear the notion “folk genius’, but it is necessary to clarify the share of personalprofessional and collective-folk skills in this stylistically diverse phenomenon. In the formation...
Mass character and class reference of Soviet art quite easily echoed collective and national prio... more Mass character and class reference of Soviet art quite easily echoed collective and national priorities of Georgian folk song. In addition, the authority of renowned singers and organizers of choirs was an important factor for preserving the originality in Georgian colonial cultural life, even before the establishment of Soviet Power. From the second half of the 19th century these popular leaders – choir masters – created their own versions of folk songs, as well as composed new songs, most of which, despite clear stylistic individualism, are considered ‘true folklore’ by the lovers of authentic folklore today. However, the songs composed by well-known choirmasters in the second half of the 20th century, are demonstratively rejected by the folklore elite, including official structures, for being ‘nonfolklore’ and ‘low quality’. But, stable popularity of these songs in cities and villages, provides very strong evidence of their artistic and stylistic relevance. Thus, the policy of ‘...
Musicologist, Dec 31, 2019
Mass character and class reference of Soviet art quite easily echoed collective and national prio... more Mass character and class reference of Soviet art quite easily echoed collective and national priorities of Georgian folk song. In addition, the authority of renowned singers and organizers of choirs was an important factor for preserving the originality in Georgian colonial cultural life, even before the establishment of Soviet Power. From the second half of the 19 th century these popular leaderschoir masters-created their own versions of folk songs, as well as composed new songs, most of which, despite clear stylistic individualism, are considered 'true folklore' by the lovers of authentic folklore today. However, the songs composed by well-known choirmasters in the second half of the 20 th century, are demonstratively rejected by the folklore elite, including official structures, for being 'nonfolklore' and 'low quality'. But, stable popularity of these songs in cities and villages, provides very strong evidence of their artistic and stylistic relevance. Thus, the policy of 'ignoring' could be attributed to the maximalist understanding of 'authentic' performance of folklore accompanying the national-independent movement in the 1980s, which introduced an important cultural phenomenon of 'revolutionary' protest in Georgian ethno-musical space. A similar tendency echoes the parallel realities of post-Soviet countries and today's fashionable 'taboo' of 'all things Soviet', regardless of the verbal thematic of the examples. In the inertia of these vicissitudes, currently the practice of creating a song with ethnic coloring is dissociated from 'authentic' folk author-performers. But when it comes to the skill level and traditional style, this suggests mostly inadequate results in a banished, but free space. The article discusses the boundaries and accessories of the concept of "folk song", its accordance with Georgian traditional musical style, and the problems related to this topic. Also presented is the classification scheme of Georgian musical styles based on contemporary data.
Scientific herald of Tchaikovsky National Music Academy of Ukraine
Muzikologija, 2014
Для сообщества любителей грузинской традиционной музыки "аутентичное" -одно из самых актуальных п... more Для сообщества любителей грузинской традиционной музыки "аутентичное" -одно из самых актуальных понятий на сегодняшний день. Оно представляет собой главный аргумент "настоящего фольклора" (хотя не для всех, особенно практиков). При восприятии аутентичности самыми релевантными каналами являются традиционно-стилевой язык и традиционные условия. Эти факторы заметны в следующих направлениях: а) исполнитель; б) мотивация (функция); в) репертуар; г) проявление. В грузинской народной музыке особенно проблематична, с такой точки зрения, идентификация современных течений, содержащих фольклорные мотивы. В Грузии вырисовывается понимание "аутентичности" как исполнение с традиционной артикуляцией традиционного сельского репертуара. Хотя целесообразно добавить сюда и критерий традиционных, обычных условий.
Ethnomusic
Тамаз Габісоніа, етномузиколог, кандидат мистецтвознавства, доцент факуль тету мистецтв і наук Де... more Тамаз Габісоніа, етномузиколог, кандидат мистецтвознавства, доцент факуль тету мистецтв і наук Державного університету Іллі (Тбілісі, Грузія), tamazgabisonia@gmail.com, +995 593 181 000.