The Phenomenon of “Georgian Polyphony” in Axiological Aspect of Ethnic Music

Abstract

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 personal- professional and collective-folk skills in this stylistically diverse phenomenon. In the formation of Georgian musical style more attention should be paid to the norms of ethnic and religious musical stylistic influences. From this standpoint the role of religious chant is a significant factor in the increase the size of folk song melody.

In the paper significant place is given to the discussion of the basic concepts of Georgian traditional music in semiotic sense – from the angle of meaning, content and function; and to the assessment of the evaluations of this phenomenon by Georgian and Western figures. Finally discussed is the possibility to search the place of Georgian music on the multidimensional value scale of general ethnic music.