Georgian Folk
With a population of 4.3 million, Georgia is situated in between Europe and Asia. The main languages spoken are Georgian and Russian, and the religion of the majority is Christianity (Georgia country profile, 2019).
Georgian folk music is believed to have begun centuries ago, possibly even for a millennium or more. Heavily influenced by religion, Georgian music reflects the dissemination of Christianity (Tbilisi State Conservatoire, n.d.). Polyphony has been very present in traditional folk music since the beginning. Most Georgian music is split into 3 parts, and is normally sung unaccompanied by instruments. The folk music is commonly split into 15-16 regional styles, or also known as ‘musical dialects’ by musicologists (Music and Dance, Cultural Heritage of Humanity!, n.d.). These are generally separated into the eastern and western regions of Georgia. In the Western region of Georgia, polyphonic music styles are completely independent with each part having their own melody, rhythm, or lyrics.
In the eastern part of Georgia, specifically The Kingdom of Kartli-Kakheti, the music is usually non metric, with upper sections over a pedal drone bass, often melismatic ornamentation, and polyphony. In addition, homophony is commonly found in Georgian liturgical music, and is now revived in Georgian churches (About Georgian Folk Music, n.d.). Both extracts originate from The Kingdom of Kartli-Kakheti, the eastern part of Georgia.
Extract 1 - Shen Khar Venakhi
Dynamics:
Stays constant at mezzo piano
Tempo:
Stays constant at largo, rubato
Tonality / Harmony:
Major diatonic scale with consonant harmonies (4:23)
Pitch:
– Conjunct rising and falling melodic movement (2:52 - 3:24)
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– Imbalanced phrases (phrase 1 0:32-0:57; phrase 2 0:57 to 1:26)
– Melodic ostinato in phrases (0:50 & 1:46) (2:00 & 3:00)
– Bass would sing the drone and the other 2 parts would have interweaving melodies (3:24 - 3:50)
– Baritone melodically ascends the major scale (2:00)
– New chords are introduced (4:23) and melodic variation of motif
– Canon descending the major scale, tenor first, then bass, then baritone (4:28)
Rhythm:
No recurring rhythmic activity
Meter:
Flexible non - metric
Texture:
Starts as chordal. Homophonic with increased polyphony at 0:11, but with chordal influences when all parts are in melodic unison.
Timbre:
Male 3 part choral group - tenor, baritone, bass
Structure:
[Strophic] A (0:00 - 0.58), A1 - texture and harmonies become richer (0.59 - 1:54), A2 (1:55 - 2:52), A3 (2:52 - 3:54), A4 (3:55 - 4:21), Coda (4:21 - end)
Extract 2 - Tsintskaro
Dynamics:
Generally at mezzo forte, decrescendo when soloist is about to begin
Tempo:
Stays constant at largo, rubato
Tonality / Harmony:
Major diatonic scale with consonant harmonies
Pitch:
– Chords moving in parallel motion (0:25 - 0:29)
– Rising and falling conjunct melodic sequences moving in unison (3:08 - 3:30)
– Melismatic ornamentation on solo melody line (0:02 - 0:14, 0:57 - 1:11)
– Bass sings the drone whilst tenor and baritone takes the melody (2:12 - 2:35)
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– Melodic ostinati of motif (start - 0:16) (0:57 - 1:11) (1:53 - 2:10)
Rhythm:
Flexible, no fixed metre
Texture:
Starts as monophonic with solo tenor male soloist. Changes to chordal when choir comes in (0:18). Heterophonic moments with baritone’s melodic embellishments (0:50 - 0:57) (1:27 - 1:36). Changes to monophonic with tenor male solo (0:57 - 1:12) (1:53 - 2:13) (2:50 - 3:07).
Timbre:
3 part male choir - tenor, baritone, bass
Structure:
[Strophic] A, consisting of 2 contrasting themes (0:00 - 0:58), A1 (0:59 - 1:53), A2 (1:54 - 2:50), A3 (2:50 - end)
Comparing extract 1 vs 2
Difference:
Unique to Shen Khar Venakhi
– Constant dynamics
– Canon moments
– Texture starts as chordal
(Underlined above)
Similarities
– Rising and falling conjunct melodic sequences moving in unison
– Bass sings the droneÂ
– 3 part choir group
– Major diatonic scale with consonant harmonies
– Stays constant at largo, rubato
– Unison moments
– Tenor soloist
– Melodic ostinato
– Non-metric
– Stropic structure
Item Subtitle
Unique to Tsintskaro
– Variation in tempo
– Texture starts as monophonic; Heterophonic momentsÂ
– Melismatic ornamentation
Summary of Georgian Folk
Georgian music is slightly more varied from each other, though they are still very similar. The pieces are both very slow at largo, and have 3 parts that include the bass singing the drone. The texture varies between the two extracts however both extracts have rising and falling conjunct melodic sequences moving in unison. Each extract showed common features of Georgian music of either polyphony or heterophony respectively.