Research

Journal Amirani. 2000. Volume 2

The rhythmical structure of Georgian charms

Author(s): Mzia Suladze

Studies of complex rhythmical-melodical structures show, that they are based on the principal of parallelism. This poetic model is widely spread all over the world, beginning with the Jewish poetry and church music antiphons and ending with refined Greek, Italian and English poems. Parallelism is the principal mean of the poetic technique in the Chinese poetry too. We meet the same architectonic model in the Egyptian manuscripts and in the oral practice (literature/ of different people.



Journal Amirani. 2004. Volume 10

Georgian Folk Music and the Ethnogenesis of Georgians

Author(s): Nino Maisuradze

Georgian and north Caucasian musical data - the similarity of intonational and harmonic elements on the earliest stage of musical mentality, the forms of polyphony, typological similarity in the process of further development, the common Caucasian musical and intonational character - point to the existence of the ancient common musical culture on the territory of the Caucasus the creators of which were the local ancient inhabitants of the area. Musical material obviously shows the main, leading role of Kartvelian tribes in formation and further development of the mentioned culture, which had been mainly developing in the limits of the Caucasian musical, intonational and harmonic mentality.



Journal Amirani. 2006. Volume 14

The Abrek in Chechen Folklore

Author(s): Rebecca Gould

In his formative monograph on abrechestvo, Yuri Botiakov argues that the abrek exists on the threshold dividing death from life. He counter poses this view with Russian and Soviet ethnography’s traditional reading of abrechestvo, which has typically seen it simply as an exalted form of robbery. Botiakov asks his readers, “Is it correct to see ‘professional robbery’ as the main idea, which united abreks in all the various incarnations of this social institution?”



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