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.

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.

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?”

In the article, it is considered the importance of old codes of folk-tales, when they were somehow the programme of practical activities and the proof of behaviours, but later their active social role was lost and now they are saved in peoples mind as fables or as conventional signs.
As an ethnographical sources they help as to understand peoples social relationships and values.