DOCSLIB.ORG

Curicullum Vitae

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Curicullum Vitae Curicullum vitae Name, Surname Tamaz Gabisonia Department, Discipline, Academic Status Associate Professor, ethnomusicologist. Position Co-leader of the ethnomusicological research group About Biography Tamaz Gabisonia graduated from Vano Sarajishvili Tbilisi State Conservatoire in 1986 as musicologist, in 2009 he was awarded a PhD in Musicology. In 1995-2011 he was a lecturer and scientific worker at Tbilisi State Conservatoire. At various times he taught at Tbilisi Institute of Culture, Giorgi Mtatsmindeli High School of Chant and Batumi Conservatoire. Since 2011 he has worked at Ilia State University. Scientific interests / research interests Georgian folk music and church chant, traditional music of the world peoples, music and religion, semiotics. Publications Featured publications Criteria for Determining the Types of Polyphony of Georgian Folk Songs. In: Echoes from Georgia: Seventeen Arguments on Georgian Polyphony. Focus on Civilizations and Cultures – 1 Music. 2009. Editors: Rusudan Tsurtsumia, Joseph Jordania. Reviewers: Simha Arom (France), Polo Vallejo (Spain) Nova Science Publishers. Inc. New York. Terminological priorities of Georgian traditional polyphony. In: European Voices II (Cultural Listening and Local Discourse in Multipart Singing Traditions in Eupore).Ardian ahmedaja (ed). Pp 207-219. Bohlau Verlag Wien-Koln-Weimar. 2011 Dialectics of a Second in Ethnic Music. Statics and Dialectics, proceedings of the 5th International Symposium on Traditional Polyphony, International Research Centre for Traditional Polyphony of Tbilisi State Conservatoire, 2013 The known examples of personal influence on Georgian musical tradition. - Third Symposium of the ICTM Study Group for Multipart Music 12-16 september 2013 Budapest. 2015; Semiotic Dimensions of Drone in Ethnic Music, proceedings of the 6th International Symposium on Traditional Polyphony, International Research Centre for Traditional Polyphony of Tbilisi State Conservatoire, 2015 Metaphores in Music. Parallels of Rhetorical Figures in Georgian Traditional Music. 5th Scientific Conference in Semiotics, The World in Metaphores and the World of Metaphores. Semiotics XIV. Tbilisi, 2014 Encyclopedic Dictionary of Georgian Music, editor-consultant in folklore and chant, author of articles (folk music, folklore Georgian musical, Georgian musical dialects, etc). Author-compilers and editors: Rusudan Kutateladze and Mzia Japaridze, Tbilisi, 2015 Books Georgian Folk Music – a text-book for the students of Performance Faculty of Tbilisi State Conservatoire –compiler together with Tamar Meskhi, Tbilisi, 2005. Articles in magazines “Georgian Folk Choral Music”, “ICB – International Choral Bulletin”, Volume XXV, N 4-4th Quarter, (managing Editor Jutta Tagger), Louvigny, France, 2006 Критерии „аутентичности“ в грузинском народном музыкальном исполнительстве, Musicology, a peer-reviewed journal of the Institute of Musicology of Serbian Academy of Sciences and Arts #17 (2014). articles in “Musika” journal Articles in newspapers articles in newspapers (“Rezonansi”, “Shvidi dghe”,” Akhali shvidi dghe”, “Akhali kartuli gazeti”, “Droni”, etc) An extensive list of publications Compositional Principles and Types of Georgian Folk Polyphony, in Issues of Georgian Polyphony collection of scientific works of V. Sarajishvili Tbilisi State Conservatoire, Tbilisi, 1988; Synthetic and Transitional Forms of Georgian Folk Polyphony, in Issues of Musicology collection of scientific works of V. Sarajishvili Tbilisi State Conservatoire, Tbilisi, 1993-94; 2 Functional Initiative in Georgian Folk Song, in Issues of Musicology, collection of scientific works of V. Sarajishvili Tbilisi State Conservatoire, Tbilisi, 1997; Typological Classification of Georgian Folk (vocal) polyphony, in Issues of Musicology, collection of scientific works dedicated to the 80th anniversary of Tbilisi State Conservatoire, Tbilisi, 2000; Some Aspects in the Interrelation of Georgian Church Chant and Georgian Folk Song; in problems of polyphony of sacred and secular music; proceedings of the scientific conference dedicated to the 2000th anniversary of Christianity and 3000th anniversary of Statehood of Georgia, Tbilisi 2001; About the Brochure “So They Sang in Georgia”; contemporary problems of Georgian Church Chant; Centre of Church Chant of the Georgian Patriarchy, Tbilisi 2002; Vasil Makharadze (1908-1981) – Masters of Georgian Folk song, Guria, vol.III (co-author with Nino Chalisuri); The International Centre for Georgian Folk Song. Tbilisi 2004; Melodic Models of Georgian Divine Liturgy – http://gesj.internet- academy.org.ge/ge/list_aut_artic_ge.php?b_sec=muz&list_aut=1203, 2005 Hypotheses on the formation of Georgian Polyphony, in proceedings of the 2nd International Symposium on Traditional Polyphony, eds Rusudan Tsurtsumia and Joseph Jordania International Research Centre for Traditional Polyphony, Tbilisi, 2005; The Notion “Polyphony” on the Example of Georgian Folk Music – in proceedings of the 3rd International Symposium on Traditional Polyphony, eds Rusudan Tsurtsumia and Joseph Jordania International Research Centre for Traditional Polyphony, Tbilisi, 2007; The Polyphony of Gurian Song, paper for the Conference dedicated to Dimitri Araqishvili, published in Khelovneba journal, Tbilisi, 2008; Forms of Georgian Traditional Polyphony, Dissertation work for the academic degree Doctor of Musicology, 2009 http://polyphony.ge/uploads/tamaz_gabisonia__disertation.pdf; Forms of Georgian Folk Instrumental Polyphony, in proceedings of the 4th International Symposium on Traditional Polyphony, eds Rusudan Tsurtsumia and Joseph Jordania International Research Centre for Traditional Polyphony, Tbilisi, 2009; Terms for Georgian Traditional and Medieval Professional Polyphonic Singing in Alphabetical Order, together with Joseph Jordania http://www.mdw.ac.at/ive/emm/index.php?id=149; Jordania, Joseph; Gabisonia Tamaz. Georgia: traditional vocal polyphony and folk terminology. In: European Voices II (Cultural Listening and Local Discourse in Multipart Singing Traditions in Europe).A rdian ahmedaja (ed). pp. 335-375. Bohlau Verlag Wien-Koln-Weimar. 201; Beginner in Georgian Folk Polyphony, in proceedings of the 5th International Symposium on Traditional Polyphony, eds Rusudan Tsurtsumia and Joseph Jordania International Research Centre for Traditional Polyphony, Tbilisi, 2011; pp. 196-211 Problems of Mode in Georgian Traditional Music and Veshapidze-Tsereteli’s Mode, 9th International Conference-Festival, Batumi, 2014; Vocal Parallelism in Georgian Traditional Music, scientific conference dedicated to Manana andriadze, Tbilisi State Conservatoire, Tbilisi, 2015; Author in Georgian Ethnic Music, Performance Problems in Folk and Church Music, papers. 10th International Conference-Festival, Batumi, 2015; Semiotic Aspects of Georgian Urban Folk Music, 5th Conference in Semiotics, Urban semiotics, Semiotics XV. Tbilisi, 2015; 3 Courses Current Courses Introduction to Ethnomusicology Music, religion, ritual Traditional music of the peoples of the world Georgian church music Music from different points of view Iliauni student folk choir Course Catalog Introduction to Ethnomusicology (Bachelor course) Music, religion, ritual (Bachelor course) Traditional music of the peoples of the world (Bachelor course) Georgian church music (Bachelor course) Music from different points of view (Bachelor course) Iliauni student folk choir (Bachelor course) Performing features of georgian folk songs (Bachelor course) Music in the context interdisciplinary researches (Doctoral course) Georgian folk musical art (Bachelor course) Ethnomusicology (Bachelor course) Notation of folk music (Bachelor course) Video-lectures https://www.youtube.com/watch?v=lVBLh9_-2bA https://www.youtube.com/watch?v=y6BHXSSiG-c Contact Information 4 E-mail ____ __ [email protected] [email protected] Telephone No. 593 181 000; 234 30 14 Address and Room ISU Room E229, Cholokashvili 3/5 Avenue, Tbilisi 0162, Georgia 5 .
Load more

Recommended publications
  • Toward a New Comparative Musicology
    Analytical Approaches To World Music 2.2 (2013) 148-197 Toward a New Comparative Musicology Patrick E. Savage1 and Steven Brown2 1Department of Musicology, Tokyo University of the Arts 2Department of Psychology, Neuroscience & Behaviour, McMaster University We propose a return to the forgotten agenda of comparative musicology, one that is updated with the paradigms of modern evolutionary theory and scientific methodology. Ever since the field of comparative musicology became redefined as ethnomusicology in the mid-20th century, its original research agenda has been all but abandoned by musicologists, not least the overarching goal of cross-cultural musical comparison. We outline here five major themes that underlie the re-establishment of comparative musicology: (1) classification, (2) cultural evolution, (3) human history, (4) universals, and (5) biological evolution. Throughout the article, we clarify key ideological, methodological and terminological objections that have been levied against musical comparison. Ultimately, we argue for an inclusive, constructive, and multidisciplinary field that analyzes the world’s musical diversity, from the broadest of generalities to the most culture-specific particulars, with the aim of synthesizing the full range of theoretical perspectives and research methodologies available. Keywords: music, comparative musicology, ethnomusicology, classification, cultural evolution, human history, universals, biological evolution This is a single-spaced version of the article. The official version with page numbers 148-197 can be viewed at http://aawmjournal.com/articles/2013b/Savage_Brown_AAWM_Vol_2_2.pdf. omparative musicology is the academic comparative musicology and its modern-day discipline devoted to the comparative study successor, ethnomusicology, is too complex to of music. It looks at music (broadly defined) review here.
    [Show full text]
  • 4 Issue: 2 December 2020 Masthead
    Trabzon University e-ISSN: 2618-5652 State Conservatory Vol: 4 Issue: 2 December 2020 Masthead Musicologist: International Journal of Music Studies Volume 4 Issue 2 December 2020 Musicologist is a biannually, peer-reviewed, open access, online periodical published in English by Trabzon University State Conservatory, in Trabzon, Turkey. e-ISSN: 2618-5652 Owner on behalf of Trabzon University State Conservatory Merve Eken KÜÇÜKAKSOY (Director) Editor-In-Chief Abdullah AKAT (İstanbul University – Turkey) Deputy Editor Merve Eken KÜÇÜKAKSOY (Trabzon University – Turkey) Technical Editor Emrah ERGENE (Trabzon University – Turkey) Language Editor Marina KAGANOVA (Colombia University – USA) Editorial Assistant Uğur ASLAN (Trabzon University – Turkey) Contacts Address: Trabzon Üniversitesi Devlet Konservatuvarı Müdürlüğü, Fatih Kampüsü, Söğütlü 61335 Akçaabat/Trabzon, Turkey Web: www.musicologistjournal.com Email: [email protected] All rights reserved. The authors are responsible for all visual elements, including tables, figures, graphics and pictures. They are also responsible for any scholarly citations. Trabzon University does not assume any legal responsibility for the use of any of these materials. ©2017-2020 Trabzon University State Conservatory Editorial Board Alper Maral Ankara Music and Fine Arts University – Turkey Caroline Bithell The University of Manchester – UK Ekaterine Diasamidze Tbilisi State University – Georgia Elif Damla Yavuz Mimar Sinan Fine Arts University – Turkey Erol Köymen The University of Chicago – USA
    [Show full text]
  • Study Guide Funeral Chants Georgian Caucasus &
    Study Guide Funeral Chants from the Georgian Caucasus & The FEAST-DAY OF TAMAR AND LASHARI BY HUGO ZEMP Table of contents Introduction 3 Shooting and editing strategies 3 Ethnographic Resources 4 Resources on Georgian traditional music 4 FUNERAL CHANTS FROM THE GEORGIAN CAUCUSUS (21 MIN) The Filmmaking Process 6 Editing 7 Reactions after screening 7 Resources on Svan ethnography 8 Resources on Svan vocal polyphony 8 Notes on the short films on YouTube 12 THE FEAST-DAY OF TAMAR AND LASHARi (70 mIN) Filmmaking, first cut and translation 13 Reaction in Tbilisi after viewing a first rough tcu 14 Final editing 14 Resources on the ‘paganism’ of northeast 14 Georgian mountain peoples Resources on the songs of northeast 15 Georgian mountain peoples Bibliography, discography 17 __________________________________ __________________________________ _______ 2 INTRODUCTION A change in the research themes or geographical orientations More than twenty years before our decision to go to Georgia, I of an anthropologist or an ethnomusicologist is often the result had bought a book by the Georgian-French anthropologist and of a piece of luck and/or an encounter. At the Fourth Interna- linguist Georges Charachidzé (1968) on the religious system tional Visual Anthropology Film Festival in Pärnu (Estonia) of the eastern Georgian mountains. Having then other priori- in 1990, where I presented my filmThe Song of Harmonics, ties in mind, I had never read the 700 pages-thick book. But the city mayor offered a round of drinks at the beginning before we left, and although I did not intend to go the eastern of the festival. While most participants from Northern and mountains, I cast an eye trough its index, and since there were Eastern Europe were having beers or hard liquor, a group of many references to Svaneti where I wished to go, I put the two men and two women drank wine, as I did.
    [Show full text]
  • A New Interdisciplinary Approach to the Study of the Origins of Traditional Polyphony
    Joseph Jordania A New Interdisciplinary Approach to the Study... DOI: 10.2298/MUZ1518077J UDK: 784.087.62/.67 A New Interdisciplinary Approach to the Study of the Origins of Traditional Polyphony Joseph Jordania1 Melbourne Conservatorium of Music, University of Melbourne Abstract The article discusses a new model of the origins of choral singing in the context of human evolutionary history. Hominid interaction with predators is seen as a crucial force in the evolution of human morphology and behaviour. Group singing and dancing, with body painting and the use of masks, are perceived as critical elements of the strategy to deter predators and to put hominids into an altered state of consciousness. In this state, humans do not feel fear and pain and are ready to sacrifice their lives for the common goal. This psychological condition is still important to many human group activities, particularly in religion and the military. The mosaic distribution of polyphonic traditions is discussed in the context of the origins of language and articulated speech. Keywords Origins of Polyphony; Dissonance in Traditional Polyphony; Comparative, Cross- disciplinary and Multidisciplinary Approaches in Ethnomusicology; Origin of Speech; Human Evolution Introduction: The Problem of the Origins of Polyphony at the Turn of the Millennium The origin of polyphony is one of the biggest problems in musicology. The ability of human groups to sing in complexly organised musical texture has captivated the attention of musicians and cultural historians for centuries. Apart from the scholarly importance, this phenomenon has also acquired a wider ideological dimension. Polyphony was considered a hallmark of European high musical culture.
    [Show full text]
  • Music and State of Mind: Towards an Evolutionary Model of Gender
    2011 © Nino Tsitsishvili, Context 35/36 (2010/2011): 39–57. Music and State of Mind: Towards an Evolutionary Model of Gender Nino Tsitsishvili A considerable portion of the general population, at least in the western world, would endorse the principle of gender equality. According to this opinion, men and women have an equal, innate potential for political action, leadership, invention, and creativity in the arts and sciences. A similar attitude is shared by scholars of the humanities, including ethnomusicologists. Differences between the sexes, and specifically men’s greater share in the fields of science and artistic creativity, are controversial matters. Some believe that differences in performance between the sexes are the result of social conditioning and the patriarchal social order prevalent in most known societies; others, mostly led by evolutionary psychologists, offer an explanation based on the process of human evolution and sexual selection.1 The topic, one would agree, inevitably leads to a politically and scientifically charged polemic. Despite the breaking down of rigid demarcations between men’s and women’s roles in the public and creative realms, and the acceptance and legitimacy of women’s entrance into public professional domains and leadership roles, many recent studies in the fields of feminism, social science, anthropology and musicology openly confirm the persistence of gender inequality.2 Notwithstanding societal changes in the western world, ‘musical genius’ is still primarily 1 For a broad review of the literature and theories of evolutionary psychology, see David C. Geary, Male, Female: The Evolution of Human Sex Differences, 2nd ed. (Washington, DC: American Psychological Association, 2010).
    [Show full text]
  • Biuleteni Eng Saboloo
    The ##88 V. Sarajishvili Tbilisi State From the editors Conservatoire The news World recognition of a International Georgian Ethnomusicologist One Georgian folk Research Ensemble. Ensemble “Jvaruli” Center for Foreign Performers of Georgian Folk Song. Ensemble “Maspindzeli” Traditional from Britain Foreigners on Georgian Folk Polyphony Music. Interview with Polo Vallejo Polyphony of other B U L L E T I N countries. Zhanna Partlas. Multi-part singing in Estonia The Centers of Georgian Science and Culture. Ivane Javakhishvili Institute of History and Ethnology Beneficents of Georgian Folk Song. Levan Abashidze Folk Song in everyday life. eorgian Round Dances The History of one song. Dala Kojas khelghvazhale Tbilisi. June, 2010 1 Editors: Rusudan Tsurtsumia Maka Khardziani Translator: Maia kachkachishvili Computer services: Maka Khardziani ISSN (online) 1512-2883 eISSN 2346-7614 The V. Sarajishvili Tbilisi State Conservatoire, 8/10, Griboedov Str., Tbilisi, 0108 Georgia Tel. (+995 32) 299-89-53 Fax (+995 32) 298-71-87 Email: [email protected] [email protected] www.polyphony.ge 2 Introduction This is volume 1 of the online Bulletin of the Swiss Agency for Development and the International Research Center for Cooperation. Ttraditional Polyphony. It is the heir of Another noteworthy event was the the Center’s printed Bulletin and is completion of the project “Echoes from the enumerated as #1 (8). Past” with the assistance of the Vienna Two years have passed since the Center’s Phonogrammarchiv of Austrian Academy of last bulletin #7 was published. The Bulletin Sciences. 16 CDs of the unique examples was established in 2004 as part of UNESCO recorded on wax cylinders in 1923-1952 in project “Safeguarding and Promotion of various parts of Georgia were released in Georgian Traditional Polyphony” and aimed 2007-2009.
    [Show full text]
  • Tradiciuli Mravalxmianobis Meeqvse Saertasoriso Simpoziumi
    tradiciuli mravalxmianobis meeqvse saerTaSoriso m o x s e n b i simpoziumi 24-28 seqtemberi 2012 Tbilisi, saqarTvelo 24-28 seqtemberi 2012 Tbilisi, THE SIXTH INTERNATIONAL SYMPOSIUM P R O C E D I N G S P ON TRADITIONAL POLYPHONY 24-28 SEPTEMBER 2012 TBILISI, GEORGIA 24-28 SEPTEMBER 2012 saqarTvelos kulturisa da ZeglTa dacvis saministro Tbilisis saxelmwifo konservatoria MINISTRY OF CULTURE AND MONUMENT PROTECTION OF GEORGIA TBILISI STATE CONSERVATOIRE uak (UDC) 784.4 (479.22) (063) -753 t redaqtorebi rusudan wurwumia ioseb Jordania EDITED BY RUSUDAN TSURTSUMIA JOSEPH JORDANIA gamocemaze muSaobdnen: nino razmaZe maia kaWkaWiSvili maka xarZiani THIS PUBLICATION WAS PREPARED BY: NINO RAZMADZE MAIA KACHKACHISHVILI MAKA KHARDZIANI © Tbilisis vano sarajiSvilis saxelobis saxelmwifo konservatoriis tradiciuli mravalxmianobis kvlevis saerTaSoriso centri, 2014 © International Research Center for Traditional Polyphony of Tbilisi Vano Sarajishvili State Conservatoire, 2014 ISBN 978-9941-9308-9-8 garekanis mxatvari nika sebiskveraZe Cover Design by NIKA SEBISKVERADZE kompiuteruli uzrunvelyofa nino razmaZe Computer Service by NINO RAZMADZE Modality of Medieval Georgian and European Music 487 SPEAKER: POLO VALLEJO Polo Vallejo greeted the participants and briefly told them the history of organizing a Round Table session on the suggested problem. After his first acquaintance with Georgian polyphony in 2006, he started its research together with his elder colleague and teacher Simha Arom. There is no need to present Prof. Arom to the audience, he has been the participant of almost all symposia on traditional polyphony since 2002 and he is already known here as world-renowned ethnomusicologist, inventor of the original method for recording polyphony and researcher of the instrumental polyphony of Aka Pygmies and other peoples, laureate of the prestigious Fumio Koizumi Prize for Ethnomusicology.
    [Show full text]
  • Svan Funeral Dirges (Zär): Musicological Analysis
    Trabzon University State Conservatory © 2017-2020 Volume 4 Issue 2 December 2020 Research Article Musicologist 2020. 4 (2): 168-197 DOI: 10.33906/musicologist.782185 NANA MZHAVANADZE Universität Potsdam, Germany [email protected] orcid.org/0000-0001-5726-1656 FRANK SCHERBAUM Universität Potsdam, Germany [email protected] orcid.org/0000-0002-5050-7331 Svan Funeral Dirges (Zär): Musicological Analysis ABSTRACT This paper is a companion paper to Scherbaum & Mzhavanadze (2020). KEYWORDS Jointly, the papers describe the results of an interdisciplinary study on three-voiced Svan funeral dirges, known as zär in Svan and zari in Traditional Georgian Georgian. In the present paper, to which we refer as paper 2, we focus Vocal Music on the (structural) musicological aspects of zär. Bluntly speaking, we Ethnomusicology want to obtain a basic understanding of ‘how zärs work’. Based on the results of the acoustical analysis of a new collection of field recordings Ritual Funeral Music from eleven different performances described in paper 1, where we developed a phenomenological description of the general building blocks, here we try to derive a simple model for the syntaxes of zär. The complexity of the musical structure of the zär shows a very clear connection to the history of the Svans’ settlement along the Enguri River, which is obviously systematically reflected in the Svans’ music. Finally, we see the most interesting aspects of our entire study in the implications it has for the discourse on the historical dynamics of Georgian polyphony. Thus, the results of our study challenge the generally accepted view of the development of Georgian traditional music from monophony to polyphony.
    [Show full text]
  • Universals in the World's Musics
    POM0010.1177/0305735611425896Brown and JordaniaPsychology of Music 4258962011 Article Psychology of Music 41(2) 229 –248 Universals in the world’s musics © The Author(s) 2011 Reprints and permission: sagepub. co.uk/journalsPermissions.nav DOI: 10.1177/0305735611425896 pom.sagepub.com Steven Brown Department of Psychology, Neuroscience & Behaviour, McMaster University, Canada Joseph Jordania Faculty of Music, University of Melbourne, Australia Abstract Many decades of skepticism have prevented the field of musicology from embracing the importance of musical universals. When universals have been discussed, it has generally been in the form of meta-critiques about the concept of universals, rather than in positive proposals about actual universals. We present here a typology of four categories of musical universals and a listing of 70 putative universals in musics cross-culturally. These universals span a wide variety of features, including pitch, rhythm, melodic structure, form, vocal style, expressive devices, instruments, performance contexts, contents, and behaviors. Keywords classification, comparative, cross-cultural, music, universals The cross-cultural approach to the world’s musics emerged in the late 19th century as a branch of psychoacoustics and Gestalt psychology, and was referred to as comparative musicology. In 1905, one of the founders of this movement, Erich von Hornbostel, wrote: Comparison is the principal means by which the quest for knowledge is pursued. Comparison makes possible the analysis and the exact description of an individual phenomenon by comparing it with other phenomena and by emphasizing its distinctive qualities. But comparison also characterizes indi- vidual phenomena as special cases in which the similarities are defined and formulated as ‘laws’.
    [Show full text]
  • Singing and Humming at the Beginnings of Human Evolutionary History”
    Jordania, Joseph (2009). “Times to Fight and Times to Relax: Singing and Humming at the Beginnings of Human Evolutionary History”. Kadmos, 1, pp. 272-277. Times to Fight and Times to Relax: Singing and Humming at the Beginnings of Human Evolutionary History ABSTRACT The article discusses the function of music in human evolution and suggests that music initially had a binary form of expression, serving several important adaptive functions of physical survival. These two main forms of expressions were: (1) Loud and rhythmically-precise organized singing, coupled with threatening body movements, loud drumming and stone throwing. This form was a key factor for (a) defending hominids from predators, (b) providing them with protein-rich food via aggressive scavenging, and (c) strengthening bonds between the group members; (2) Soft and gentle humming, which was a key factor to allow hominids (1) to maintain contact within group, (2) to watch out for predators, and (3) to relax. JORDANIA, Joseph (2009) 1 Jordania, Joseph (2009). “Times to Fight and Times to Relax: Singing and Humming at the Beginnings of Human Evolutionary History”. Kadmos, 1, pp. 272-277. After the long period of neglect, the scholarly body of works on the evolutionary origins of music is experiencing a rapid and fruitful growth. This process started with the appearance of the collection of articles “The Origins of Music” (Wallin, Merker, Brown 2000) and many publications followed. This article reviews the main existing hypotheses on the evolutionary origins of music, put forward
    [Show full text]
  • Copy of 9 Biuleteni Eng Bolo
    The ###9#999 V. Sarajishvili Tbilisi State From the Editor The 5th International Symposium Conservatoire on Traditional Polyphony The news International Foreign Performers of Georgian Song. Georgian Folk Song in Australia Research One Georgian Folk Ensemble. Women’s folk ensemble Nanina Center for Foreigners on Georgian Folk Music. Jeremy Foutz. Initial Perceptions Traditional Polyphony of Other Countries Lithuanian Sultipart Songs Polyphony Sutartinės Centers of Georgian Culture and Art. The State Museum of B U L L E T I N Georgian Folk Song and Instruments Beneficents of Georgian Folk Song. Karlo Urushadze Georgian Ethnomusicologists. Vladimer Maghradze In Manana Shilakadze’s Memory The Folk Music of the Peoples Residing in Georgia. On the Study of Apkhazian and Osetian folk music Old Press Pages. Music Captivates Hearts of the Many Tbilisi. December, 2010 History of One Song: Shavlego 1 Editor: Maka Khardziani Translator: Maia Kachkachishvili Computer services: Tamaz Gabisonia Levan Veshapidze © International Research Center for Traditional Polyphony of the V. Sarajishvili Tbilisi State Conservatoire, 2010. eISSN 2346-7614 The V. Sarajishvili Tbilisi State Conservatoire, 8/10, Griboedov Str., Tbilisi, 0108 Georgia Tel. (+995 32) 299-89-53 Fax (+995 32) 298-71-87 Email: [email protected] [email protected] www.polyphony.ge 2 From The Editor Ossetians, Armenians, Ajerbaijani and Jewish peoples and others; the state of their scholarly study and many other interesting issues. Volume 9 of the Bulletin of the International Maka Khardziani Research Center for Traditional Polyphony familiarizes the readers with the significant events that took place in the second half of 2010, with Georgian and foreign performers of Georgian polyphony, renowned beneficents of our culture, etc.
    [Show full text]
  • The Gurian Trio Song: Memory, Media, and Improvisation in A
    Wesleyan ♦ University THE GURIAN TRIO SONG: MEMORY, MEDIA, AND IMPROVISATION IN A GEORGIAN FOLK GENRE By Brian R. Fairley Faculty Advisor: Eric Charry A Dissertation submitted to the Faculty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts Middletown, Connecticut May 2017 TABLE OF CONTENTS LIST OF ILLUSTRATIONS .................................................................................................... iii ACCOMPANYING CD TRACK LIST .................................................................................... v NOTE ON TRANSLITERATION OF GEORGIAN ..................................................... vi ACKNOWLEDGMENTS .................................................................................... vii ABSTRACT ....................................................................................................... xiv INTRODUCTION ................................................................................................ 1 Scenes from a Film .................................................................................... 1 Background to Fieldwork ........................................................................... 7 Chapter Overview .................................................................................... 13 CHAPTER ONE Guria and its Place in Georgian Music Scholarship ........................................ 18 Geography and History of Guria ............................................................... 18 Early Writing on Georgian Music ............................................................
    [Show full text]