Proceedings of scientific Works by marina kavtaradze
ტრადიციული მრავალხმიანობის პირველი საერთაშორისო სიმპოზიუმი, მოხსენებების კრებული, 2003
The First International Symposium on Traditional Polyphony, Proceedings, 2003
MUSICOLOGICAL RESEARCH. Proceedings of Scientific Works, 2012
Necessity of the fundamental study of variety music is determined
by many factors. There is tradi... more Necessity of the fundamental study of variety music is determined
by many factors. There is traditional nihilistic attitude to it in professional
musicological circles, whilst neither the history or genesis of variety music,
sociological or axeological aspects of mass music phenomenon, or the art
of composers of thiw field is studied. There is no unified terminology,
when no other branch of the 20th century Georgian music is not as popular
as variety music.
It must also be said, that the necessity of elucidation of the notions mass,
„academic“ and „light“ music is chained with the problem of variety music.
Among the problems actual for Georgian variety music is also
ascertainment of the relation between chamber-vocal genres – song and
romance in relation with variety song – where is the border between them
drawn?
The article is an attempt to understand the essence of only one aspect
of this complicated problem „light“, mass, variety music.
Music of the 20th century composers is marked out by the use of
verbal languages with different m... more Music of the 20th century composers is marked out by the use of
verbal languages with different meanings as follows: 1) traditional, substantive
implication; 2) secondary semantics, as a mean for enriching in terms of
intonation; 3) implication of “symbol”, “sign”; 4) phonic-coloristic semantics;
At the same time, composers use not only one, but several languages in the
same composition, which gives rise to multilingualism.
There is a number of compositions created in different languages,
including foreign languages in early 15th -17th, as well as in the 20th -21st
centuries. This fact indicates that music created with text in foreign
language is interesting in terms of special scientific research. For a composer
the role of natural (native) and foreign language in establishing substantivesemantic
and intonational structure of musical composition is a new
perspective from the standpoint of studying the relationship between music
and word and is less worked out in musicology. We have a rich musical
material of different epochs for discussing this topic, however it becomes
especially urgent in postmodernism epoch, characterized by lingual
pluralism.
In the light of the set issue – “linguistic polyphony” showing different
aspects of multilingualism in creative works of the 20th century composers,
including Georgian composers shows specifically how the above-mentioned
prominent artistic ideas of the 20th century are realized in them.
Semdgeneli _ marina qavTaraZe redaqtorebi _ gulbaT toraZe, marina qavTaraZe. recenzenti _ nana Sa... more Semdgeneli _ marina qavTaraZe redaqtorebi _ gulbaT toraZe, marina qavTaraZe. recenzenti _ nana SariqaZe © saqarTvelos kompozitorTa kavSiri S.p.s. musikaluri fondim isamarTi: saqarTvelo, 0112 Tbilisi, aRmaSeneblis gamziri #123
George Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation, 2014
PIROSMANI AND MUSIC
There are artists, whose work, together with their personality and ... more PIROSMANI AND MUSIC
There are artists, whose work, together with their personality and related artistic image, influence a later generation and serve as inspiration for creating a range of artworks. Niko Pi-rosmanashvili is such a phenomenon. A number of music compositions belonging to different genres are related to his name (S. Nasidze’s Symphony No5, N. Svanidze’s Chamber Oratorio, A. Matchavariani’s Ballet, A. Chimakadze’s Music for a Play, etc.).A discourse presented in this paper reveals different aspects of Pirosmani’s relation to mu-sic: I – What was the "melosphere" surrounding him like; II – How was Pirosmani’s artistic image reflected in music.
Vol. 11 No. 1 (2021): International Journal of Arts and Media Researches : Art and Modernity, 2021
Overall displacement into virtual space due to a pandemic leads to the destruction of old models... more Overall displacement into virtual space due to a pandemic leads to the destruction of old models and when the battle in an undeclared war with Corona virus ends the world will no longer be the same as before. Corona virus tested and painfully affected the stability of all spheres of the country, including music industry. The fi eld of education could not escape it either, and entire educational system, especially, art, was thrown into the whirlpool of experiments. The pandemic has shown the world that all are equal before the virus, regardless of origin or nationality. The problem of globalization, in its traditional sense, has also lost relevance. In the time of total distancing, music brings people closer than ever. Music is also a form of self-expression for people locked in homes during quarantine, music also helps in relationships. This is confirmed by the abundance of home video footages uploaded on the Internet, whether it is Italy, America, China or Georgiaю
What have we lost and gained in the process and what has Corona taught us?
The challenges of Covid-19 have already become the basis for many changes, and not only in negative context, but also in terms of introducing new directions, creative processes, teaching methodology, and many other innovations. New forms of musical creation have emerged:
1. New genres of academic music created with new technologies, especially for the musicians transferred to the virtual space; 2. New folk examples dedicated to the Corona virus; 3. New forms of performance for large collectives, adapted for the performance in virtual, online space; 4. Concert without listeners; 5. Online competitions and festivals; 6. Free access to opera performances and concerts for Internet viewers.
The paper is an attempt to analyze the ongoing processes in today’s musical life, focusing on the processes that occur during an epidemic. The study aims to identify the novelties originated under current crisis and regard these events as an ‘opportunity in the prism of crisis’. The paper presents the new music examples and forms of music-making, originated in existing reality.
GESJ: Musicology and Cultural Science 2020|No.1(21), 2020
The contemporaries of dramatist Avksenti Tsagareli (1857-1902) probably never imagined how popula... more The contemporaries of dramatist Avksenti Tsagareli (1857-1902) probably never imagined how popular his play "Khanuma" (1882) would be in the 20 th century and most importantly, how many times it would be changed on the stage and screennames of the personages, development of the story and music. Interpretation of the play like a mirror reflected the culture and history of the 20 th century Georgia and not only Georgia. Basing on the comparative method the paper discusses musical interpretations of Avksenti Tsagareli's "Khanuma" during a century in the context of their creation time and its five lives:
NATIONAL ANTHEM AS A GENRE OF POLITICAL DISCOURSE AND ITS SEMIOTICS, 2023
The paper focuses on the peculiarities of national anthem as a genre of political discourse, whic... more The paper focuses on the peculiarities of national anthem as a genre of political discourse, which creates a semiotic
field of political language using metaphors, affects the listener’s emotions by music and consciousness - by words,
and identifies it with nation and state.
INTERNATIONAL JOURNAL OF ARTS AND MEDIA RESEARCHES • Vol. 11 No. 1 (2021):, 2021
Overall displacement into virtual space due to a pandemic leads to the destruction of old models ... more Overall displacement into virtual space due to a pandemic leads to the destruction of old models and when the battle in an undeclared war with Corona virus ends the world will no longer be the same as before. Corona virus tested and painfully affected the stability of all spheres of the country, including music industry. The fi eld of education could not escape it either, and entire educational system, especially, art, was thrown into the whirlpool of experiments. The pandemic has shown the world that all are equal before the virus, regardless of origin or nationality. The problem of globalization, in its traditional sense, has also lost relevance. In the time of total distancing, music brings people closer than ever. Music is also a form of self-expression for people locked in homes during quarantine, music also helps in relationships. This is confirmed by the abundance of home video footages uploaded on the Internet, whether it is Italy, America, China or Georgia. What have we lost and gained in the process and what has Corona taught us?
The challenges of Covid-19 have already become the basis for many changes, and not only in negative context, but also in terms of introducing new directions, creative processes, teaching methodology, and many other innovations.
New forms of musical creation have emerged:
1. New genres of academic music created with new
technologies, especially for the musicians transferred to the virtual space; 2. New folk examples dedicated to the Corona virus; 3. New forms of performance for large collectives, adapted for the performance in virtual, online space; 4. Concert without listeners;
5. Online competitions and festivals; 6. Free access to opera performances and concerts for Internet viewers.
The paper is an attempt to analyze the ongoing processes in today’s musical life,
focusing on the processes that occur during an epidemic. The study aims to identify the novelties originated under current crisis and regard these events as an ‘opportunity in the prism of crisis’. The paper presents the new music examples and forms
of music-making, originated in existing reality.
GESJ: Musicology and Cultural Science No.1(2) [2006.06.30] GESJ: Musicology and Cultural Science, 2006
The paper considers the peculiarities of modern Georgian music, which are provoked by the estheti... more The paper considers the peculiarities of modern Georgian music, which are provoked by the esthetics of postmodernism. Georgian postmodernism greatly differs from the western one, where it is a result of long dialectical development. In Georgian music it found a rather vast and fruitful soil. Its reflexes are found in the creative works of many composers (inter- textuality, double coding, eclectic nature, esthetics of ,,principium ludi”, application of genre model of ,,pastiche” and others).
Proceeding from the forms and dynamics of expression of these signs, three various generation composers were considered. These are the peaces by Giya Kancheli, Ioseph Bardanashvili and Zurab Nadareishvili, the adequate interpretation of the essence and significance of which is available only in the context of postmodernistic culture.
GESJ: Musicology and Cultural Science 2012 | No.1(8), 2012
Music of XX century composers is marked out by use of verbal languages with different meanings as... more Music of XX century composers is marked out by use of verbal languages with different meanings as follows: 1) traditional, substantive implication; 2) secondary semantics, as with a mean for enriching in terms of intonation; 3) implication of “symbol”, “sign”; 4) phonic-coloristic semantics; At the same time, composers use not only one, but several languages in the same composition, which gives rise to multilingualism.
There are a number of compositions created in different languages, including foreign languages in early XIV-XVII, as well as in XX-XXI centuries. In the light of the set issue – “linguistic polyphony” showing different aspects of multilingualism in creative works of XX century composers, including Georgian composers (Gia Kancheli, Iosef Bardanashvili, Zurab Nadareishvili) will enable us to see specifically how the above-mentioned prominent artistic ideas of XX century are realized in them.
INTERPRETATION OF FACTS AND EVENTS IN THE HISTORY OF MUSIC (FROM THE HISTORY OF TBILISI CONSERVATOIRE), 2018
INTERPRETATION OF FACTS AND EVENTS IN THE HISTORY OF MUSIC (FROM THE HISTORY OF TBILISI CONSERVAT... more INTERPRETATION OF FACTS AND EVENTS IN THE HISTORY OF MUSIC (FROM THE HISTORY OF TBILISI CONSERVATOIRE)
The paper aims to discuss the existence of two conservatoires during the First Democratic Republic of Georgia in Tbilisi and tries to find out cause and effect relationship between events and things. The present study is an attempt to see and interpret history of the second conservatoire in a new light, which was based on national interests.
GESJ: Musicology and Cultural Science 2019|No.2(20), 2019
Georgia is a country of wine, where vine was referred to as the "Tree of Life.” Vine cult was a p... more Georgia is a country of wine, where vine was referred to as the "Tree of Life.” Vine cult was a part of the Georgians’ everyday life, which is clearly observed in folklore, mythology, architecture, ornamental art, music. The synthesis of art branches always contributes to the emergence of some new, third artistic phenomenon, approximated to the source, dictated by the conscious or subconscious impulses coming from it. The paper discusses iconographic aspect of "wine and music" on the example of two, epochally
distant from each other phenomena: 1) Niko Pirosmani's 19th -century painting depicting the scenes of feast; main vector of the research is: the music of Tbilisi in the artist’s time, the “melosphere” in which Pirosmani lived and “wine” as a constituent of his compositions (signboards, group compositions, still lives). 2) Second part of the article deals with the creation of a brand with a new concept by the Georgian Wine and Spirits Company (GWS) in the 21st century, whose labels are made in an original way –performance of particular musical compositions creates the drawings intended for various types of wine "Vismino" (“Listen”) and reflected on the label.
MUSIC IN THE CONTEXT OF TOTALITARIAN CULTURE (ON THE EXAMPLE OF GEORGIAN MUSIC OF THE 30S OF THE XX CENTURY), 2020
The article attempts to show the formation process of the political language in Soviet culture ba... more The article attempts to show the formation process of the political language in Soviet culture basing
on the ideological discourse and to reveal the key factors of particular historical epoch, which
played crucial role in the formation of musical culture, as a constituent of the totalitarian system.
The Soviet Government ensured the development of culture in which artists had to act only within
the boundaries of the forms and ideas permitted by the existing locked system. Art, as a representer
of Culture became an indicator of the anomalies generated by totalitarianism. The afore-mentioned
processes are discussed on the example of Georgian musical culture of the 1930s.
Religion und neue georgische klassische Musik im totalitären Staat, 2012
Religion and new Georgian classical music in a totalitarian state
The paper, based on a report... more Religion and new Georgian classical music in a totalitarian state
The paper, based on a report at the World Congress (2004), for the first time touches upon the attitude of Georgian academic music to religion in the 20th century.. Our age is characterized by the rebirth of religious consciousness, of spirituality in the various branches of art, including music. Religiosity as a quality of the human spirit belongs on the one hand to the spiritual and on the other hand to the moral sphere of man. Therefore, when discussing the religiosity of new Georgian music, I have in mind not only its genres and genres, but spirituality in general, which reflects eternal moral and ethical approaches. This is traditionally associated with religiosity and also appears in secular music.
Under the atheistic pressure of the Soviet Union, religion was a taboo. While 'spirituality' - reflecting the bright, the sublime, the eternal categories - was equated with forms and genres, traditional musical and cultural values emerged in the bosom of the general Christian and Georgian Orthodox Church. On the other hand, the secular consciousness of 20th century Georgian music expressed a traditional-religious experience that differed from the purely cultic-church one. This consciousness was characterized by an emotional perception of the religious experience, which arose in the core of personal ideas and in traditional terms went beyond the boundaries of religious aesthetics.
From the perspective of the 21st century, a relative periodization can be observed with regard to the relationship to religion in Georgian compositional work of the last century, which generally coincides with the processes taking place in the post-Soviet republics.
L’Europe et le Caucase., 2012
The subject of this article is the problem of national identity of Georgian music in the multicul... more The subject of this article is the problem of national identity of Georgian music in the multicultural environment on the example of urban music, more specifically on the example of Tbilisi music. My aim is to show: a) what Georgian urban musical culture represents, more specifically on the example of Tbilisi music, b) what were its specific characteristic features and how the sense of identity of the society was formed in the multicultural space of the city. It is known that in music there are several systems of musical thought. From the typological point of view, two global systems are recognized, one of which is based on polyphony, the second on monody; symbolically, the first identifies with European musical culture, the other with Asian musical cultures (Middle East, India, China, etc.). From this point of view, the Caucasus is important as a meeting place of typologically different musical cultures, of diverse universes. Among them, Georgian culture holds a special place, in which the archetypes of Western and Eastern musical thought are clearly revealed. Identity is the psychic ability of man to express in a concentrated way what he identifies with – nationality, tradition, language, culture, religion, profession, different social or political strata of society. Among them, the concepts of “national tradition”, “collective memory” are most often associated with the concept of identity. Throughout the centuries, polyphonic singing and hymns represented for Georgians “the symbolic culture” determining their identity.1 While monody, deeply rooted in Georgian musical life, presented itself as “the culture of consumption”. From this point of view, the urban song, more specifically, the so-called “songs of old Tbilisi”, is a special phenomenon as a result of the historical and cultural thinking of different eras and the dialogue of cultures, which played a significant role in the development of the new Georgian professional music. Tbilisi as a multicultural city Tbilisi is an eclectic city, to which a synthesis of cultures and a weak line of demarcation between the traditional and the contemporary give a special individualism, which, in turn, is conditioned by the multiculturalism of the city. The ethnic diversity of the population of Tbilisi, multiconfessionalism and internationalism have always created the charm and attractiveness of the city. The culture of Tbilisi, on the border between Europe and Asia, is distinguished by its “polyphonic” character, which means not a simple coexistence of cultures and subcultures, but their diffusion and dialogue between them.
GESJ: Musicology and Cultural Science. , 2021
Georgia gained and restored its independence twice in the past century (1918/1921 and from 1991 t... more Georgia gained and restored its independence twice in the past century (1918/1921 and from 1991 to this day). Over the century the two-way path from independence to independence was difficult and heterogeneous with intertwined causal connections in socio-political and cultural spheres. Freedom is like a litmus test, which reveals and catalyzes certain processes. The golden age of new Georgian music-the first republic of independent Georgia in 1918-1921-was preceded by a long period that prepared this rise in musical culture. At one glance, similar processes preceded musical culture of the second independence. First of all this was the path of reforms in different directions, including the sphere of education, music professionalization. Main reason for the not-so-insignificant success of the reforms was the consolidation of the political and public spectrum, active public participation in the process and a well-thought transformation of the inherited ugly system. In this context the paper discusses: what challenges did the musical culture of the Democratic Republic face? What was the path like it took before gaining independence? What were the features of the idea of Georgian nationalism? How did these two stages of Europeanization/globalization take place in the country, whose musical culture was based on a different type of professionalism before the 19th century? What does independence mean in music?
Cultural Dialogue in Georgian Art of 20th Century, 2017
Music by Gia Kancheli in the aspect of cultural dialogue
Gia Kancheli’s composer’s style is disti... more Music by Gia Kancheli in the aspect of cultural dialogue
Gia Kancheli’s composer’s style is distinguished for its outstanding individuality, which on its turn has valuable solid worldview landmarks. The author always strived to form his own author’s style, “through his own understanding of musical time and musical space”.
At the same time, Kancheli is often reproached for his “eclecticism”, as his music is inter-textual and multi-layer “telling us” about the dialogue of cultures of different epochs.
Kancheli’s thematic invention is extremely simple, with clearly seen trendy idioms from different epochs and different cult, folklore and modern pop music, including his own plots from cinema and theatre music. In addition, he only outlines their contours. This is the how the thematic kaleidoscope is created in his works incorporating the whole of the European culture space starting from the medieval centuries through present.
The topic of the report is initiated by the fact that Gia Kancheli’s musical esthetics echoes with post-modernism philosophy, which, first of all, means the pluralism of languages and views. We must understand the composer’s text as a system of signs carrying mental information. Consequently, imaging the text as a system of signs is important, as signs allow us to grasp the deep sense of Kancheli’s music.
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Proceedings of scientific Works by marina kavtaradze
by many factors. There is traditional nihilistic attitude to it in professional
musicological circles, whilst neither the history or genesis of variety music,
sociological or axeological aspects of mass music phenomenon, or the art
of composers of thiw field is studied. There is no unified terminology,
when no other branch of the 20th century Georgian music is not as popular
as variety music.
It must also be said, that the necessity of elucidation of the notions mass,
„academic“ and „light“ music is chained with the problem of variety music.
Among the problems actual for Georgian variety music is also
ascertainment of the relation between chamber-vocal genres – song and
romance in relation with variety song – where is the border between them
drawn?
The article is an attempt to understand the essence of only one aspect
of this complicated problem „light“, mass, variety music.
verbal languages with different meanings as follows: 1) traditional, substantive
implication; 2) secondary semantics, as a mean for enriching in terms of
intonation; 3) implication of “symbol”, “sign”; 4) phonic-coloristic semantics;
At the same time, composers use not only one, but several languages in the
same composition, which gives rise to multilingualism.
There is a number of compositions created in different languages,
including foreign languages in early 15th -17th, as well as in the 20th -21st
centuries. This fact indicates that music created with text in foreign
language is interesting in terms of special scientific research. For a composer
the role of natural (native) and foreign language in establishing substantivesemantic
and intonational structure of musical composition is a new
perspective from the standpoint of studying the relationship between music
and word and is less worked out in musicology. We have a rich musical
material of different epochs for discussing this topic, however it becomes
especially urgent in postmodernism epoch, characterized by lingual
pluralism.
In the light of the set issue – “linguistic polyphony” showing different
aspects of multilingualism in creative works of the 20th century composers,
including Georgian composers shows specifically how the above-mentioned
prominent artistic ideas of the 20th century are realized in them.
There are artists, whose work, together with their personality and related artistic image, influence a later generation and serve as inspiration for creating a range of artworks. Niko Pi-rosmanashvili is such a phenomenon. A number of music compositions belonging to different genres are related to his name (S. Nasidze’s Symphony No5, N. Svanidze’s Chamber Oratorio, A. Matchavariani’s Ballet, A. Chimakadze’s Music for a Play, etc.).A discourse presented in this paper reveals different aspects of Pirosmani’s relation to mu-sic: I – What was the "melosphere" surrounding him like; II – How was Pirosmani’s artistic image reflected in music.
What have we lost and gained in the process and what has Corona taught us?
The challenges of Covid-19 have already become the basis for many changes, and not only in negative context, but also in terms of introducing new directions, creative processes, teaching methodology, and many other innovations. New forms of musical creation have emerged:
1. New genres of academic music created with new technologies, especially for the musicians transferred to the virtual space; 2. New folk examples dedicated to the Corona virus; 3. New forms of performance for large collectives, adapted for the performance in virtual, online space; 4. Concert without listeners; 5. Online competitions and festivals; 6. Free access to opera performances and concerts for Internet viewers.
The paper is an attempt to analyze the ongoing processes in today’s musical life, focusing on the processes that occur during an epidemic. The study aims to identify the novelties originated under current crisis and regard these events as an ‘opportunity in the prism of crisis’. The paper presents the new music examples and forms of music-making, originated in existing reality.
field of political language using metaphors, affects the listener’s emotions by music and consciousness - by words,
and identifies it with nation and state.
The challenges of Covid-19 have already become the basis for many changes, and not only in negative context, but also in terms of introducing new directions, creative processes, teaching methodology, and many other innovations.
New forms of musical creation have emerged:
1. New genres of academic music created with new
technologies, especially for the musicians transferred to the virtual space; 2. New folk examples dedicated to the Corona virus; 3. New forms of performance for large collectives, adapted for the performance in virtual, online space; 4. Concert without listeners;
5. Online competitions and festivals; 6. Free access to opera performances and concerts for Internet viewers.
The paper is an attempt to analyze the ongoing processes in today’s musical life,
focusing on the processes that occur during an epidemic. The study aims to identify the novelties originated under current crisis and regard these events as an ‘opportunity in the prism of crisis’. The paper presents the new music examples and forms
of music-making, originated in existing reality.
Proceeding from the forms and dynamics of expression of these signs, three various generation composers were considered. These are the peaces by Giya Kancheli, Ioseph Bardanashvili and Zurab Nadareishvili, the adequate interpretation of the essence and significance of which is available only in the context of postmodernistic culture.
There are a number of compositions created in different languages, including foreign languages in early XIV-XVII, as well as in XX-XXI centuries. In the light of the set issue – “linguistic polyphony” showing different aspects of multilingualism in creative works of XX century composers, including Georgian composers (Gia Kancheli, Iosef Bardanashvili, Zurab Nadareishvili) will enable us to see specifically how the above-mentioned prominent artistic ideas of XX century are realized in them.
The paper aims to discuss the existence of two conservatoires during the First Democratic Republic of Georgia in Tbilisi and tries to find out cause and effect relationship between events and things. The present study is an attempt to see and interpret history of the second conservatoire in a new light, which was based on national interests.
distant from each other phenomena: 1) Niko Pirosmani's 19th -century painting depicting the scenes of feast; main vector of the research is: the music of Tbilisi in the artist’s time, the “melosphere” in which Pirosmani lived and “wine” as a constituent of his compositions (signboards, group compositions, still lives). 2) Second part of the article deals with the creation of a brand with a new concept by the Georgian Wine and Spirits Company (GWS) in the 21st century, whose labels are made in an original way –performance of particular musical compositions creates the drawings intended for various types of wine "Vismino" (“Listen”) and reflected on the label.
on the ideological discourse and to reveal the key factors of particular historical epoch, which
played crucial role in the formation of musical culture, as a constituent of the totalitarian system.
The Soviet Government ensured the development of culture in which artists had to act only within
the boundaries of the forms and ideas permitted by the existing locked system. Art, as a representer
of Culture became an indicator of the anomalies generated by totalitarianism. The afore-mentioned
processes are discussed on the example of Georgian musical culture of the 1930s.
The paper, based on a report at the World Congress (2004), for the first time touches upon the attitude of Georgian academic music to religion in the 20th century.. Our age is characterized by the rebirth of religious consciousness, of spirituality in the various branches of art, including music. Religiosity as a quality of the human spirit belongs on the one hand to the spiritual and on the other hand to the moral sphere of man. Therefore, when discussing the religiosity of new Georgian music, I have in mind not only its genres and genres, but spirituality in general, which reflects eternal moral and ethical approaches. This is traditionally associated with religiosity and also appears in secular music.
Under the atheistic pressure of the Soviet Union, religion was a taboo. While 'spirituality' - reflecting the bright, the sublime, the eternal categories - was equated with forms and genres, traditional musical and cultural values emerged in the bosom of the general Christian and Georgian Orthodox Church. On the other hand, the secular consciousness of 20th century Georgian music expressed a traditional-religious experience that differed from the purely cultic-church one. This consciousness was characterized by an emotional perception of the religious experience, which arose in the core of personal ideas and in traditional terms went beyond the boundaries of religious aesthetics.
From the perspective of the 21st century, a relative periodization can be observed with regard to the relationship to religion in Georgian compositional work of the last century, which generally coincides with the processes taking place in the post-Soviet republics.
Gia Kancheli’s composer’s style is distinguished for its outstanding individuality, which on its turn has valuable solid worldview landmarks. The author always strived to form his own author’s style, “through his own understanding of musical time and musical space”.
At the same time, Kancheli is often reproached for his “eclecticism”, as his music is inter-textual and multi-layer “telling us” about the dialogue of cultures of different epochs.
Kancheli’s thematic invention is extremely simple, with clearly seen trendy idioms from different epochs and different cult, folklore and modern pop music, including his own plots from cinema and theatre music. In addition, he only outlines their contours. This is the how the thematic kaleidoscope is created in his works incorporating the whole of the European culture space starting from the medieval centuries through present.
The topic of the report is initiated by the fact that Gia Kancheli’s musical esthetics echoes with post-modernism philosophy, which, first of all, means the pluralism of languages and views. We must understand the composer’s text as a system of signs carrying mental information. Consequently, imaging the text as a system of signs is important, as signs allow us to grasp the deep sense of Kancheli’s music.
by many factors. There is traditional nihilistic attitude to it in professional
musicological circles, whilst neither the history or genesis of variety music,
sociological or axeological aspects of mass music phenomenon, or the art
of composers of thiw field is studied. There is no unified terminology,
when no other branch of the 20th century Georgian music is not as popular
as variety music.
It must also be said, that the necessity of elucidation of the notions mass,
„academic“ and „light“ music is chained with the problem of variety music.
Among the problems actual for Georgian variety music is also
ascertainment of the relation between chamber-vocal genres – song and
romance in relation with variety song – where is the border between them
drawn?
The article is an attempt to understand the essence of only one aspect
of this complicated problem „light“, mass, variety music.
verbal languages with different meanings as follows: 1) traditional, substantive
implication; 2) secondary semantics, as a mean for enriching in terms of
intonation; 3) implication of “symbol”, “sign”; 4) phonic-coloristic semantics;
At the same time, composers use not only one, but several languages in the
same composition, which gives rise to multilingualism.
There is a number of compositions created in different languages,
including foreign languages in early 15th -17th, as well as in the 20th -21st
centuries. This fact indicates that music created with text in foreign
language is interesting in terms of special scientific research. For a composer
the role of natural (native) and foreign language in establishing substantivesemantic
and intonational structure of musical composition is a new
perspective from the standpoint of studying the relationship between music
and word and is less worked out in musicology. We have a rich musical
material of different epochs for discussing this topic, however it becomes
especially urgent in postmodernism epoch, characterized by lingual
pluralism.
In the light of the set issue – “linguistic polyphony” showing different
aspects of multilingualism in creative works of the 20th century composers,
including Georgian composers shows specifically how the above-mentioned
prominent artistic ideas of the 20th century are realized in them.
There are artists, whose work, together with their personality and related artistic image, influence a later generation and serve as inspiration for creating a range of artworks. Niko Pi-rosmanashvili is such a phenomenon. A number of music compositions belonging to different genres are related to his name (S. Nasidze’s Symphony No5, N. Svanidze’s Chamber Oratorio, A. Matchavariani’s Ballet, A. Chimakadze’s Music for a Play, etc.).A discourse presented in this paper reveals different aspects of Pirosmani’s relation to mu-sic: I – What was the "melosphere" surrounding him like; II – How was Pirosmani’s artistic image reflected in music.
What have we lost and gained in the process and what has Corona taught us?
The challenges of Covid-19 have already become the basis for many changes, and not only in negative context, but also in terms of introducing new directions, creative processes, teaching methodology, and many other innovations. New forms of musical creation have emerged:
1. New genres of academic music created with new technologies, especially for the musicians transferred to the virtual space; 2. New folk examples dedicated to the Corona virus; 3. New forms of performance for large collectives, adapted for the performance in virtual, online space; 4. Concert without listeners; 5. Online competitions and festivals; 6. Free access to opera performances and concerts for Internet viewers.
The paper is an attempt to analyze the ongoing processes in today’s musical life, focusing on the processes that occur during an epidemic. The study aims to identify the novelties originated under current crisis and regard these events as an ‘opportunity in the prism of crisis’. The paper presents the new music examples and forms of music-making, originated in existing reality.
field of political language using metaphors, affects the listener’s emotions by music and consciousness - by words,
and identifies it with nation and state.
The challenges of Covid-19 have already become the basis for many changes, and not only in negative context, but also in terms of introducing new directions, creative processes, teaching methodology, and many other innovations.
New forms of musical creation have emerged:
1. New genres of academic music created with new
technologies, especially for the musicians transferred to the virtual space; 2. New folk examples dedicated to the Corona virus; 3. New forms of performance for large collectives, adapted for the performance in virtual, online space; 4. Concert without listeners;
5. Online competitions and festivals; 6. Free access to opera performances and concerts for Internet viewers.
The paper is an attempt to analyze the ongoing processes in today’s musical life,
focusing on the processes that occur during an epidemic. The study aims to identify the novelties originated under current crisis and regard these events as an ‘opportunity in the prism of crisis’. The paper presents the new music examples and forms
of music-making, originated in existing reality.
Proceeding from the forms and dynamics of expression of these signs, three various generation composers were considered. These are the peaces by Giya Kancheli, Ioseph Bardanashvili and Zurab Nadareishvili, the adequate interpretation of the essence and significance of which is available only in the context of postmodernistic culture.
There are a number of compositions created in different languages, including foreign languages in early XIV-XVII, as well as in XX-XXI centuries. In the light of the set issue – “linguistic polyphony” showing different aspects of multilingualism in creative works of XX century composers, including Georgian composers (Gia Kancheli, Iosef Bardanashvili, Zurab Nadareishvili) will enable us to see specifically how the above-mentioned prominent artistic ideas of XX century are realized in them.
The paper aims to discuss the existence of two conservatoires during the First Democratic Republic of Georgia in Tbilisi and tries to find out cause and effect relationship between events and things. The present study is an attempt to see and interpret history of the second conservatoire in a new light, which was based on national interests.
distant from each other phenomena: 1) Niko Pirosmani's 19th -century painting depicting the scenes of feast; main vector of the research is: the music of Tbilisi in the artist’s time, the “melosphere” in which Pirosmani lived and “wine” as a constituent of his compositions (signboards, group compositions, still lives). 2) Second part of the article deals with the creation of a brand with a new concept by the Georgian Wine and Spirits Company (GWS) in the 21st century, whose labels are made in an original way –performance of particular musical compositions creates the drawings intended for various types of wine "Vismino" (“Listen”) and reflected on the label.
on the ideological discourse and to reveal the key factors of particular historical epoch, which
played crucial role in the formation of musical culture, as a constituent of the totalitarian system.
The Soviet Government ensured the development of culture in which artists had to act only within
the boundaries of the forms and ideas permitted by the existing locked system. Art, as a representer
of Culture became an indicator of the anomalies generated by totalitarianism. The afore-mentioned
processes are discussed on the example of Georgian musical culture of the 1930s.
The paper, based on a report at the World Congress (2004), for the first time touches upon the attitude of Georgian academic music to religion in the 20th century.. Our age is characterized by the rebirth of religious consciousness, of spirituality in the various branches of art, including music. Religiosity as a quality of the human spirit belongs on the one hand to the spiritual and on the other hand to the moral sphere of man. Therefore, when discussing the religiosity of new Georgian music, I have in mind not only its genres and genres, but spirituality in general, which reflects eternal moral and ethical approaches. This is traditionally associated with religiosity and also appears in secular music.
Under the atheistic pressure of the Soviet Union, religion was a taboo. While 'spirituality' - reflecting the bright, the sublime, the eternal categories - was equated with forms and genres, traditional musical and cultural values emerged in the bosom of the general Christian and Georgian Orthodox Church. On the other hand, the secular consciousness of 20th century Georgian music expressed a traditional-religious experience that differed from the purely cultic-church one. This consciousness was characterized by an emotional perception of the religious experience, which arose in the core of personal ideas and in traditional terms went beyond the boundaries of religious aesthetics.
From the perspective of the 21st century, a relative periodization can be observed with regard to the relationship to religion in Georgian compositional work of the last century, which generally coincides with the processes taking place in the post-Soviet republics.
Gia Kancheli’s composer’s style is distinguished for its outstanding individuality, which on its turn has valuable solid worldview landmarks. The author always strived to form his own author’s style, “through his own understanding of musical time and musical space”.
At the same time, Kancheli is often reproached for his “eclecticism”, as his music is inter-textual and multi-layer “telling us” about the dialogue of cultures of different epochs.
Kancheli’s thematic invention is extremely simple, with clearly seen trendy idioms from different epochs and different cult, folklore and modern pop music, including his own plots from cinema and theatre music. In addition, he only outlines their contours. This is the how the thematic kaleidoscope is created in his works incorporating the whole of the European culture space starting from the medieval centuries through present.
The topic of the report is initiated by the fact that Gia Kancheli’s musical esthetics echoes with post-modernism philosophy, which, first of all, means the pluralism of languages and views. We must understand the composer’s text as a system of signs carrying mental information. Consequently, imaging the text as a system of signs is important, as signs allow us to grasp the deep sense of Kancheli’s music.
who equally belongs to Israeli and Georgian musical culture.
From the national style standpoint, Bardanashvili’s style is a firstborn
of two cultures – Georgian and Jewish, and equally develops
traditions of these cultures within his own creative style. During his
first period of creative work, he establishes the attributes of national
Jewish culture on the foundation of Georgia’s cultural traditions. Whilst,
in Israel’s multi-cultural environment Bardanashvili naturally brings in
his creativity, which is characterized by different national traditions,
and synthesis of European, Asian and other valuable possessions.
Joseph Bardanashvili is one of the composers, where a postmodern
intertextuality and opposition –`Own-Another’s~ – in his creative
work transformed not into inter-style (among them national styles),
but at the level of relationships between historical types of culture -
characteristic to XXI century.
It is true that it was Israel to open its ways to Bardanashvili to
world recognition, however, Georgia remains as a second homeland
to the composer always emerging a feeling of nostalgia. “I don’t want
to be considered as a past composer. I hope to remain in Georgian
music” – these words belong to the composer, who continues
the 26-century-old tradition of relationships between Georgian-Jewish
cultures with his creations.
postmodern music for which unlike avant-garde music, is characteristic
mixing of old and new forms and categorically refuses the hermetic
sealing of creative process.
The goal of the article is to reveal stylistic traits conditioned by the
esthetics of post- modernism in modern Georgian music. Examples
are brought from the musical pieces of Gia Kancheli, Joseph Bardanashvili,
Zurab Nadareishvili and others.
The new semiotic essence of post- modern musical text with double
codes demanded from the authors ready-made materials of semantic
meaning, which accounts on its simultaneous perception on
different levels. In the article the problems like inter text, new eclectics,
double coding, play on styles and genres, pastiche etc are discussed.
problems and cataclysms; this is why, at various times, different mythological characters and plots dominate in artistic interpretation, which is allowed by the polysemy and variance of myth.
The story about Medea and the character of the princess of Colchis’,
distinguished by the power of psychological influence, has been the source
of inspiration for many artistic works. Starting from Euripides’ interpretation
and Ovidius’ Medeae Medea Forem (I will be Medea), up to Seneca’s
remark Medea fiam (I will become Medea) and Medea nunc sum (Medea
from now on) with which the future vision of this character has been programmed over the centuries.
For artists Medea is one of the most attractive and mysterious characters
in old Greek mythology and dramaturgy for her dual nature (half-goddess
and human).
The article attempts to outline how, over the time, the interest to Medea’s
character changes in music in the wake of literature and what the aplitude of its modifications is in the operatic genre. If the 17th-18th century operas
mainly emphasized Medea’s infernal-demonic features, main constituents
of external scenic intrigue, romantic interpretation of the idea of unattainable
happiness in love is emphasized in the 19th century. Psychologization
of Medea’s character, reinforcement of her personal initial, feminist motives
are observed in the 20th century operas. Paradigmatic changes of mythological plots are determined by the fact that literary versions and arrangements gained significance in the 20th century. This was also the case with Medea’s myth, which led to the fact that its perception became more “voluminous”.
The article discusses key issues related to the topic on the example of
the operas created in the 20th century and newest time by Darius Milhaud,
Aribert Reimann, Pascal Dusapin, John Fisher, Alexi Marchavariani.