АВТОРСЬКІ КОМПЕТЕНЦІЇ УСНОЇ ТРАДИЦІЇ В ГРУЗИНСЬКІЙ ЕТНІЧНІЙ МУЗИЦІ

Abstract

Georgian ethnic music, as a multi-level notion in the forms of music, that in- cludes folk components has never been in the focus of Georgian musicology. Geor- gian musicians who are charmed with ethnic intonations have to adapt to the strict paradigm of traditional stylistic regulation. The cult of polyphonic folk tradition sets some filters which along with the axiological conclusions, considers measurement of folk tune only with the traditional authentic model. While folk heritage was often fetishized new initiatives were not encouraged by the formal structures of folklore and this initiated some type of “free regulations” in the space of “outside the folklore”. At the same time, today even such a stable phe- nomenon as Georgian traditional music creates somewhat amorphous picture which is triggered by choir performances, regulations of oral transmission and genre and style transformations. Taking this givens into account, opposites of author and interpreter, initiative and stability, national and foreign create diverse system of creative mecha- nisms in Georgian ethnic music. It is true that copyright meanings of creator, performer, soloist, leader, manager, accompaniment, arrangement and instrument setting in Georgian ethno musical space 127 create diverse facets in the levels of “authentic” and “academic” folklore, church songs or author’s songs, ethno pop, ethno jazz or ethno rock, modernized folklore or post folklore. The notion of status of the author in Georgian ethnic music is a concept that has large size and small content. In this report we will try to establish those trends which will help us to see author of Georgian ethnic music as a concept. We will also try to develop appropriate classifications. In the diverse world of non-academic music we think that it is interesting to discuss “folk professionalism”, group co-authorship, “pre music” regulations, acquir- ing experience, reckless or deliberate plagiarism, crossing stylistic framework, fusion, and motivations of verbal, plastic and visual accents. This aspects shape in a certain way the semantic field of the concept “author”. From this perspective we should also consider self and mutual definitions of authors and priorities of apprising. Particular attention will be paid to the copyright issues, which is quite often observed in today’s Georgian musical space, as a problem.