Chanting in the Context of Georgian Christian Culture
Manana Andriadze
Georgian sacred music is one of the most ancient and significant parts of Christian culture. The history of Georgian church chanting takes its origin in the depths of centuries and is directly connected with the introduction and dissemination of Christianity in Georgia. Georgian chanting is three-part, being three-part is its nature, the only form of its existence. The unity of the three voices is such a well organized supreme level that in the treatise (Commentaries on Proclus Diadochus’ and Platonist Philosophy) by Ioane Petritsi, an 11th century Georgian philosopher, used it as an example to explain one of the basic dogmas of Christianity – the consubstantiality of the Holy Trinity.
The article reviews the history of the Georgian church chanting, the issues related to the original music terminology, existed in the oldest Georgian chant collections (9–10th centuries) are discussed, the paper also deals with the historical stages of Georgian music manuscripts.
On the Interrelation of Byzantine and Georgian Hymnography: Tao-Klarjeti, Mount Athos and the Black Mountain Monastic-Hymnographic School
Magda Sukhiashvili, Eka Dughashvili
The emergence and historical development of old Georgian hymnography occurred in parallel with the Byzantine counterpart and implied creation of both translated and original works. Comparison of the Georgian translated hymnography with the Greek original revealed that at different stages of its development the local tradition demonstrates certain differences with respect to the translation method or musical consistent patterns.
The present paper deals with only some aspects related to juxtaposition of Georgian translated hymnography with the Greek original, namely, with questions linked to the assignment of echoi and the translation method, which were of equal relevance at various stages of historical development of Georgian chanting culture; however, solutions employed manifest different creative approaches of hymnographers and master composers (xelovantmtavari).
Concerning Polyphony in Georgian Chanting
David Shugliashvili
The characteristics of Georgian national music in terms of musical thinking and language manifest first and foremost in the form of its signature polyphony. Three-voice singing is the primary form of polyphony in Georgian folk music, and a codified standard for Georgian church music since its foundations. Various traditions of chanting schools surviving to this day show us the developmental stages of polyphony, which are the subject of our study.
Georgian Neumatic System in the Context of Orthodox Chant Tradition
Ekaterine Oniani
The Georgian neumatic notation represents one of the oldest phenomena in the musical paleography. The first neumatic examples are dated back at the latest of the 10th century, bearing absolutely original notation system: the neumes are placed above and below of the verbal text, not on each syllable but with intervals. The graphic signs above and below the text-line represent the variations displaced mirror-like.
This paper is focused on general principles of the Georgian neumatic system, and on possible comparisons between this system and the Byzantine ekphonetic signs. The author also includes considerations about the sign Theta in Byzantine and Russian Church cultures, and its peculiarities in Georgian sources.
Traditional Georgian chant dates back many centuries. It has been the subject of keen interest of scientists or practitioners/performers due to its antiquity, variety, highly developed polyphony, unique harmony, modal peculiarities, and artistic values. This masterpiece of Christian art, together with Georgian folksong are acknowledged by UNESCO as an intangible cultural heritage of the world.
According to historical data, Georgian chant reached the highest level of development in the 9th – 10th centuries. This treasure that survived difficult times and was passed down through oral tradition was on the verge of disappearance in the 19th century. Since 1801, two hundred years of domination of Georgia by the Russian Empire has affected the Georgian church singing: canonical three-part hymns were replaced by Russian polyphonic chant. The tradition was preserved only in some churches and monasteries.
The greater part of the printed editions of Georgian chant collections represent an old legacy of Georgian chants: plain and ornamented, modal and multi-part (three-parts), these were written down in stave notation at the turn of the 19th and 20th centuries. They present the specimens of Gelati monastic school (western Georgia), and the so-called Karbelashvilis’ mode, which must have taken its origin at Gareja Mravalmta (Eastern Georgia) spiritual centers.
Replies
Cher Dominique
Le premier article est sur les neumes ekphonétiques et sur la notation théta dans les Iadgari (les tropologia complètes qui sont les plus anciennes).
Un grand Merci !!!!
Oliver Gerlach a dit :
Yesterday, I reported to Costin Moisil that the link to the contribution "Concerning Polyphony in Georgian Chanting" by David Shugliashvili is missing. He immediately replied they will fix soon all these problems with a new layout of "Musicology Today" which is also provided with the facility to download each article in pdf format.
Meanwhile, for those who would like to read David's article, I uploaded it in this discussion and I corrected the other links.
The whole journal and its web presence has been carefully reworked and each contribution, also from past issues, can be downloaded now as pdf.