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Articles by John A Graham

Georgian Chant Anthology, Vol. VI, 2019

Tbilisis vano sarajiSvilis saxelobis saxelmwifo konservatoriis tradiciuli mravalxmianobis kvlevis... more Tbilisis vano sarajiSvilis saxelobis saxelmwifo konservatoriis tradiciuli mravalxmianobis kvlevis saerTaSoriso centri, 2012 International Research Center for Traditional Polyphony of Tbilisi Vano Sarajishvili Tbilisi State Conservatoire, 2012 © © ISBN 978-9941-9197-9-4 garekanis mxatvari nika sebiskveraZe Cover Design by NIKA SEBISKVERADZE kompiuteruli uzrunvelyofa laSa yuraSvili, nino razmaZe Computer Service by LASHA KURASHVILI, NINO RAZMADZE

In the late nineteenth century, the oral tradition of medieval Georgian church chant began to dis... more In the late nineteenth century, the oral tradition of medieval Georgian church chant began to disappear. Fortunately, a group of people including Maxime Sharadze attempted to preserve chant through a process of transcription and publication. For many centuries, specialized master chanters called 'sruligalobeli' had learned and taught the three-voiced, polyphonic hymns of the Orthodox liturgy, but this tradition declined in the nineteenth century due to large-scale cultural changes and church reforms resulting from the annexation of Georgia into the Tsarist-Russian Empire. Faced with the possibility of completely losing the chant tradition, western trained musicians sought out the last living master chanters, transcribed their hymns into five-line notation, and began publishing the transcriptions. The importance of this preservation movement and especially the role of Maxime Sharadze are not reflected in the current literature. Therefore, through a study of primary sources, this paper illustrates the biography and work of Maxime Sharadze and the Cabinet Press Brotherhood, which he founded in 1882, in the context of the chant preservation movement.

Lectures by John A Graham

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Papers by John A Graham

A biographical letter published in the Tbilisi Conservatory bulletin (Dec. 2017).

Georgian Chant Anthology, Vol. VI, 2019

Tbilisis vano sarajiSvilis saxelobis saxelmwifo konservatoriis tradiciuli mravalxmianobis kvlevis... more Tbilisis vano sarajiSvilis saxelobis saxelmwifo konservatoriis tradiciuli mravalxmianobis kvlevis saerTaSoriso centri, 2012 International Research Center for Traditional Polyphony of Tbilisi Vano Sarajishvili Tbilisi State Conservatoire, 2012 © © ISBN 978-9941-9197-9-4 garekanis mxatvari nika sebiskveraZe Cover Design by NIKA SEBISKVERADZE kompiuteruli uzrunvelyofa laSa yuraSvili, nino razmaZe Computer Service by LASHA KURASHVILI, NINO RAZMADZE

In the late nineteenth century, the oral tradition of medieval Georgian church chant began to dis... more In the late nineteenth century, the oral tradition of medieval Georgian church chant began to disappear. Fortunately, a group of people including Maxime Sharadze attempted to preserve chant through a process of transcription and publication. For many centuries, specialized master chanters called 'sruligalobeli' had learned and taught the three-voiced, polyphonic hymns of the Orthodox liturgy, but this tradition declined in the nineteenth century due to large-scale cultural changes and church reforms resulting from the annexation of Georgia into the Tsarist-Russian Empire. Faced with the possibility of completely losing the chant tradition, western trained musicians sought out the last living master chanters, transcribed their hymns into five-line notation, and began publishing the transcriptions. The importance of this preservation movement and especially the role of Maxime Sharadze are not reflected in the current literature. Therefore, through a study of primary sources, this paper illustrates the biography and work of Maxime Sharadze and the Cabinet Press Brotherhood, which he founded in 1882, in the context of the chant preservation movement.

A biographical letter published in the Tbilisi Conservatory bulletin (Dec. 2017).