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2 Vano Sarajishvili Tbilisi State Conservatoire 2005. This bulletin is published semi-annually in Georgian and English Editors: Rusudan Tsurtsumia, Tamaz Gabisonia Translator: Maia Kachkachishvili Design: Nika Sebiskveradze, Giorgi Kokilashvili Computer services: Tamaz Gabisonia Valeri Jugheli Printed by: Chokhi © International Research Center for Traditional Polyphony of Tbilisi V. Sarajishvili State Conservatoire, 2005. ISSN 1512 - 2883 3 Echoes from the Past Dr. Prof. Rusudan Tsurtsumia, Director of the IRCTP Ethnomusicologists are well aware of the dis- cussion between the followers of two different scientific viewpoints, which continued through- out the 20th century. According to one, ethno- musicology is a science, which is based on per- sonal experience obtained in field expeditions; according to the other, ethnomusicology, as a sci- ence, emerged thanks to sound recordings. Most scholars agree that ethnomusicology or comparative musicology, as it was called from implies creation of an information database i.e. the 1880s until the 1950s, deals with both “live documentation of the music of oral traditions. music of oral tradition” and folk music (accord- Being a participant of UNESCO Experts Meeting ing to Bruno Nettl, this is found not only in on Inventorying Intangible Cultural Heritage Europe and America, but in Africa and Asia too). (17-19 February, 2006, Paris), I was convinced When researching this kind of music, ethnomusi- that the only way for safeguarding and transmis- cologists give priority to the experience of their sion of this tradition is its teaching. Hence, mate- personal expeditions. This enables them to con- rialization and replication are necessary today for sider the impressions which they obtained when the preservation of oral tradition. listening to the audio material performed in its It is not surprising that the interest of both natural environment, as well as the context of practicing performers and scholars to folk song performance or ritual-magic function - in short recordings has significantly grown. Ronda L. the social, ethnological and culturological con- Sewals writes about the factors which create the- text of the audio example. oretical barriers for ethnomusicologists in the use It must be admitted that two technical innova- of archival recordings (Ronda L. Sewald, Sound tions turned to be significant factors for the Recordings and Ethnomusicology: Theoretical development of comparative musicology in the Barriers to the Use of Archival Collections, in: 1880s – Edison’s gramophone and Ellis’s nota- Resound, A Quarterly of the Archives of tion of cents for musical intervals. The former Traditional Music, Vol. 24, #1,2). Scholars can gave the possibility for repeating the perform- consider these barriers and use both methodolo- ance, the latter – to compare various musical tun- gies, i.e. the synthesis of already existing record- ings. ings and personal field experiences. The current The first phonogram-archives of Vienna situation in Georgia provides a wonderful possi- (1899), Paris (1900), Berlin (1900) and Moscow bility for this; here we can still find a number of (1901) gave an incentive to the comparative true “homo-polyphonicuses” (Zemtsovsky) and, study of the oral musical traditions of various at the same time, have at hand audio recordings peoples. of Georgian polyphony, the earliest of which was For the preservation of the world’s musical made exactly a century ago - in 1907. diversities UNESCO adopted the “Convention The Third International Symposium on for the Safeguarding of the Intangible Cultural Traditional Polyphony confirmed the increased Heritage”. The adoption was preceded by much interest in the collections of audio recordings. work. I would like to make a mention of special The following presentations on this topic were projects, thanks to which the inventorying of tra- presented: Dieter Christensen (USA) - “Sound ditional culture, including musical folklore, start- Archives, Technology, Research, State”; Susanne ed in many countries of the world. This also Ziegler (Germany) – “Polyphony in Historical 4 Sound Recordings of the Berlin Phonogramm- Archiv”; Gerda Lechleitner & Nona Lomidze (Austria) – “Georgian and Bukharian Jews in Vienna”; Franz Lechleitner (Austria) – “The Georgian Wax Cylinder Collections - Recording Technology and Recommendations for Restoration”; Rusudan Tsurtsumia (Georgia) – “Georgian Wax Cylinder Collection”. The readers of our Bulletin already know, that the International Research Center for Traditional Polyphony of Tbilisi State Conservatoire has car- ried out two projects on phonograph wax cylin- der collections. One project involved the trans- mission of the material from wax cylinders onto digital media, which was realized together with Vienna Phonogrammarchiv and with the person- also suggest the introduction to the “Catalogue of al help of Dr. Franz Lechleitner; the other Wax Cylinder Collections in Georgia” for the involved the publication of the catalogue of Catalogue was published in small quantities. Georgian wax cylinder collections, as part of the Those who would like to familiarize themselves Program for the Preservation of Cultural Heritage with it can do so at the following places: Georgian of the Georgian Ministry of Culture, Monuments State Museum of Theatre, Film, Music and Protection and Sport. In addition to this 4 CDs Choreography; Ivane Javakhishvili Institute of with the audio material have been published; History and Ethnology; Central Archive of Film- publication of the remaining examples has also Photo-Phono Documents of the State Department been planned. of Archives and Records Management of This volume of Bulletin includes the paper by Georgia; State Museum of Art and Culture of Dr. Susanne Ziegler, which she presented at the Achara Autonomous Republic; Simon Janashia Third International Symposium. The paper will Georgian National Museum and Vano Sarajishvili also be published in the book of proceedings for Tbilisi State Conservatoire. the Symposium, but we think that wider group of Rusudan Tsurtsumia our readers would also be interested in it. Here we INTRODUCTION Rusudan Tsurtsumia From the beginning of the 20th century up Georgia (1909-1913), and Georg Schunemann until the early 1950s, when it ceased to be used, and Robert Lach recorded from Georgian war Edison’s phonograph rendered prisoners in 1915-1918. A similar collection is a significant service to researchers in the preserved at St. Petersburg Institute of Russian world of sound. Indeed, it was thanks to Literature (Pushkin House), magnetic copies of gramophone and phonograph recordings that which are at the State Department of Archives Georgian polyphony became known outside and Records Management of Georgia. Georgia and the rest of the world got to hear In the 1970s Vladimer Babilua, a renowned Georgian polyphony for the first time. We song-master and head of the then Georgian know that the Berlin and Vienna archives State Archive Audio Department, copied this include collections of wax cylinders and valuable material. This archival stock includes gramophone records of Georgian music record- examples recorded in Guria by Nikolai ed by Adolf Dirr during his expeditions in Derzhavin (1910), in Dusheti and Batumi by 5 Tbilisi State Conservatoire approached the Vienna Phonogrammarchiv for help. This well- known institution immediately responded to the request and Mr. Franz Lechleitner was invited to Tbilisi for preliminary investiga- tions. Support from the Georgian Ministry of Culture, Monuments Protection and Sport enabled us to invite Mr. Lechleitner for a longer period of time. In November 2005 he transferred the content of wax cylinder collec- tions onto digital media with a special appara- tus that he has devised to play cylinders. By this time the International Research Center for Traditional Polyphony had gathered all avail- Josef Shilinger (1927) and Evgeni Gippius able wax cylinder collections in Georgia – 528 (1930 and 1935). When recording Gurian cylinders in total. It is not improbable that songs, Gippius used a new technique for those there are more cylinders in some private col- times, which he developed himself for this lections. The process of transfer turned out to purpose – each voice part being recorded sep- be fairly arduous. The poor quality of the orig- arately. inal material complicated the issue. This, in its In the aforementioned Audio Department turn, affected the sound quality of the trans- can also be found magnetic copies of expedi- ferred examples. tion recordings made by Shalva Aslanishvili Thus the project “Echoes from the Past” (Racha, 1928), Ioseb Megrelidze (Guria, 1932) came into existence through the efforts of and Grigol Chkhikvadze (Guria, 1933, and Tbilisi State Conservatoire with the support of Pasanauri, 1934). There are few examples of the Georgian Ministry of Culture, Monuments studies conducted by native ethnomusicolo- Protection and Sport and the Vienna gists into the history of the collection of Phonogrammarchiv. Available data suggests recordings that Dimitri Arakishvili was the first Georgian of Georgian folk music. Until recently we musician to use a phonograph in 1901. Over a were better aware of the collections outside period of fifteen years he transcribed recorded Georgia, than those in our country. material and published it in the publications of At the Georgian Folk Music Department of the Musical-Ethnographic Commission of Tbilisi State Conservatoire one could find bro- Moscow University. After
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  • The Development of the Flute As a Solo Instrument from the Medieval to the Baroque Era

    The Development of the Flute As a Solo Instrument from the Medieval to the Baroque Era

    Musical Offerings Volume 2 Number 1 Spring 2011 Article 2 5-1-2011 The Development of the Flute as a Solo Instrument from the Medieval to the Baroque Era Anna J. Reisenweaver Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Musicology Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Reisenweaver, Anna J. (2011) "The Development of the Flute as a Solo Instrument from the Medieval to the Baroque Era," Musical Offerings: Vol. 2 : No. 1 , Article 2. DOI: 10.15385/jmo.2011.2.1.2 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol2/iss1/2 The Development of the Flute as a Solo Instrument from the Medieval to the Baroque Era Document Type Article Abstract As one of the oldest instruments known to mankind, the flute is present in some form in nearly every culture and ethnic group in the world. However, in Western music in particular, the flute has taken its place as an important part of musical culture, both as a solo and an ensemble instrument. The flute has also undergone its most significant technological developments in Western musical culture, moving from the bone keyless flutes of the Prehistoric era to the gold and silver instruments known to performers today.
  • An Exploration of Physiological Responses to the Native American Flute

    An Exploration of Physiological Responses to the Native American Flute

    An Exploration of Physiological Responses to the Native American Flute Eric B. Miller† and Clinton F. Goss‡ †Montclair State University, Montclair, New Jersey; Email: [email protected] ‡Westport, Connecticut; Email: [email protected] ARTICLE INFORMATION ABSTRACT Presented at ISQRMM, Athens, This pilot study explored physiological responses to playing and listening to the GA: July 26, 2013 Native American flute. Autonomic, electroencephalographic (EEG), and heart Revised: January 24, 2014 rate variability (HRV) metrics were recorded while participants (N = 15) played flutes and listened to several styles of music. Flute playing was accompanied by This work is licensed under the an 84% increase in HRV (p < .001). EEG theta (4–8 Hz) activity increased while Creative Commons Attribution- playing flutes (p = .007) and alpha (8–12 Hz) increased while playing lower- Noncommercial 3.0 license. pitched flutes (p = .009). Increase in alpha from baseline to the flute playing This work has not been peer conditions strongly correlated with experience playing Native American flutes (r reviewed. = +.700). Wide-band beta (12–25 Hz) decreased from the silence conditions when listening to solo Native American flute music (p = .013). The findings of increased HRV, increasing slow-wave rhythms, and decreased beta support the hypothesis that Native American flutes, particularly those with lower pitches, may have a role in music therapy contexts. We conclude that the Native Keywords: music therapy, American flute may merit a more prominent role in music therapy and that a Native American flute, heart rate variability (HRV), study of the effects of flute playing on clinical conditions, such as post-traumatic EEG, alpha stress disorder (PTSD), asthma, chronic obstructive pulmonary disease (COPD), hypertension, anxiety, and major depressive disorder, is warranted.