The Tradition of Polyphonic Singing of the Adyghes
Article Sidebar
Main Article Content
Abstract
The material for this longstanding research was provided by the rich folk song legacy of the Adyghes, which
covers the various stages of development of ethnic musical genres, from archaic genres of mythological content
to the heroic-historical and lyrical songs of the late 19th century. The originality of the performance of most of the
genres examined in the context of multilevel connections of the soloist and the chorus contains mutually directed
vectors between the musical information itself, the genre, the epochs, the performers and the audiences. All of
this is projected onto the musical form of collective singing, which becomes a basic model of the relationships of
the correlates of the song texture. Therefore the main accent of the phenomenon of Adyghe polyphonic musical
thinking is expressed in dialogueness in the broadest meaning of this concept. The alternating textures of solo and
ensemble singing in the Adyghe songs contain two types of localizations – the vertical and the horizontal. The first
one determines the concrete type of polyphony – heterophonic, stretto, bourdon or the contrasting (polyphonized).
The second one discloses the compositional forms of interaction in their dispersion, where the functional and
dramaturgical exponents of each stratum of the single texture are differentiated.
Keywords: the music of the Adyghes, polyphony, flexible bourdon, creativity of ethnofares, djeguakue in song
writing.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Ashkhotov B. G. Kavkazskiy fol'klornyy areal: ontologicheskiy diskurs [Caucasian Folk Music Areal: An Ontological Discourse]. Vostok i Zapad etnicheskaya identichnost' i traditsionnoe muzykal'noe nasledie kak dialog tsivilizatsii i kul'tur: mat. mezhdunar. nauch. kongressa [East and West: Ethnic Identity and the Traditional Musical Legacy as a Dialogue of Civilizations and Cultures: Materials of the International Scholarly Congress]. Astrakhan, 2008, pp. 52–57.
3. Ashkhotov B. G. Nemerknushchie tsennosti traditsionnoy kul'tury [Unfading Values of Traditional Culture]. PAX SONORIS. Issue 8. Astrakhan, 2014, pp. 181–187.
4. Ashkhotov B. G. O nekotorykh printsipakh formostanovleniya adygskikh istoriko-geroicheskikh pesen [About Certain Principles of Form Establishment of the Adyghe Historical and Heroic Songs]. Gumanitarnye i sotsial'no-ekonomicheskie nauki [Humanitarian and Social-Economic Sciences]. 2012, No. 3 (64), pp. 67–73.
5. Ashkhotov B. G. O transformatsii traditsionnoy kul'tury v XXI veke [On the Transformation of Traditional Culture in the 21st Century]. Kontsept [Concept] 2016. Volume 15, pp. 1026–1030.
6. Bell J. Dnevnik prebyvaniya v Cherkesii v techenie 1837, 1838, 1839 gg. [Diary of my Sojourn in Circassia during 1837, 1838 and 1839]. Adygi, balkartsy i karachaevtsy v izvestiyakh evropeyskikh avtorov XIII– XIX vv. [The Adyghes, Balkars and Karachayans in the Reports by European Authors from the 13th to the 19th Centuries]. Edited by V. K. Gardanov. Nalchik, 1974, pp. 329–352.
7. Vishnevskaya L. A. Cherty evraziyskogo dialoga v traditsionnoy pevcheskoy kul'ture cherkesov i karachaevtsev [Some Features of the Eurasian Dialogue in the Traditional Singing Culture of the Circassians and Karachayans]. Vostok i Zapad: etnicheskaya identichnost' i traditsionnoe muzykal'noe nasledie kak dialog tsivilizatsii i kul'tur: mat. mezhdunar. nauch. kongressa [East and West: Ethnic Identity and the Traditional Musical legacy as a Dialogue of Civilizations and Cultures: Materials of the International Scholarly Congress]. Astrakhan, 2008, pp. 47–52.
8. Dubrovin N. F. Cherkesy (adyge) [The Circassians (The Adyghes)]. Issue 1. Krasnodar, 1927. 147 p.
9. Matsiyevskiy I. V. Adygskoe narodnoe mnogogolosie (ob issledovanii B. G. Ashkhotova) [The Adyghe Folk Polyphony (about Beslan Ashhotov’s Research)]. Matsievskiy I. V. V prostranstve muzyki [In the Space of Music]. Volume 2. St. Petersburg, 2013, pp. 103–108.
10. Shabalin D. S. Kul'tovo-proiznositel'nye istoki adygskogo pesennogo fol'klora (magiya slova v adygskom pesennom fol'klore) [The Ceremonial-Enunciative Origins of the Adyghe Folk Songs (the Magic of Words in Adyghe Folk Songs)]. Vestnik Krasnodarskogo gos. Universiteta kul’tury i iskusstv [Bulletin of the Krasnodar State University of Culture and Arts]. 2005, No. 1 (8), pp. 36–42.
11. Gabisonia Tamaz. 2010. Criteria for Determining the Types of Polyphony of Georgian Folk Songs. Echoes from Georgia: Seventeen Arguments on Georgian Polyphony (collection of essays). Rusudan Tsurtsumua and Joseph Jordania (editors). New York: Nova Science, 2000, pp. 177–194.
12. Jordania Ioseph M. Who Asked the First Question? Origins of Human Choral polyphony, Intelligence, Language and Speech. Tbilisi State University, International Research for Traditional Polyphony. Tbilisi, 2006, рр. 134–142.
13. Magradze Valerian. On the Problem of Polyphony in Meskhetian Songs. Echoes from Georgia: Seventeen Arguments on Georgian Polyphony (collection of essays). Rusudan Tsurtsumua and Joseph Jordania (editors). New York: Nova Science, 2000, рр. 125–134.
14. Sokolova A. Zhu – Vocal Part of Adyghe Traditional Instrumental polyphony. The Fourth International Symposium on Traditional Polyphony. Ed. by Rusudan Tzurtzumia, Joseph Jordania. Tbilisi, 2010, рр. 267–291.
15. Sokolova A. The Caucasian-Scottish Relations throught the Prism of the Fiddle and Dance Music. North Atlantic Fiddle Convention Connecting Cultures. Aberdeen 26–30 July, 2006. P. 46.
16. Sokolova A. Music as Madicine: The Adyghs’ Case. Music and Altered States. Consciousness, Transcendence, Therapy and Addiction. London, 2005, рр. 74–82.