TY  - JOUR
T1  - Georgian Songwriter's Folk Song of Soviet Epoch as a Victim of “Authenticism”
AU  - Gabısonıa, Tamaz
PY  - 2019
DA  - December
DO  - 10.33906/musicologist.649797
JF  - Musicologist
JO  - Musicologist
PB  - Trabzon University
WT  - DergiPark
SN  - 2618-5652
SP  - 192
EP  - 203
VL  - 3
IS  - 2
LA  - en
AB  - Mass character and class reference of Sovietart quite easily echoed collective and national priorities of Georgian folksong. In addition, the authority of renowned singers and organizers of choirswas an important factor for preserving the originality in Georgian colonialcultural life, even before the establishment of Soviet Power. From the secondhalf of the 19th century these popular leaders – choir masters – created theirown versions of folk songs, as well as composed new songs, most of which,despite clear stylistic individualism, are considered ‘true folklore’ by thelovers of authentic folklore today. However, the songs composed by well-knownchoirmasters in the second half of the 20th century, are demonstrativelyrejected by the folklore elite, including official structures, for being‘nonfolklore’ and ‘low quality’. But, stable popularity of these songs incities and villages, provides very strong evidence of their artistic andstylistic relevance. Thus, the policy of ‘ignoring’ could beattributed to the maximalist understanding of ‘authentic’ performance offolklore accompanying the national-independent movement in the 1980s, whichintroduced an important cultural phenomenon of ‘revolutionary’ protest inGeorgian ethno-musical space. A similar tendency echoes the parallel realitiesof post-Soviet countries and today’s fashionable ‘taboo’ of ‘all things Soviet’,regardless of the verbal thematic of the examples. In the inertia of these vicissitudes, currentlythe practice of creating a song with ethnic coloring is dissociated from‘authentic’ folk author-performers. But when it comes to the skill level andtraditional style, this suggests mostly inadequate results in a banished, butfree space. The article discusses the boundaries andaccessories of the concept of “folk song”, its accordance with Georgiantraditional musical style, and the problems related to this topic. Alsopresented is the classification scheme of Georgian musical styles based on contemporarydata.
KW  - Georgian folk songs
KW  - Autenticity
KW  - Author song
KW  - Ethnomusicology
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UR  - https://doi.org/10.33906/musicologist.649797
L1  - https://dergipark.org.tr/en/download/article-file/919380
ER  -