G. Bagashvili. - The Aestetic Polystageness of Georgian Musical Folklore.. - Tbilisi: TSU. - 2004. - 20 p. - In Georgian and English.
On early stages of musical thinking the magic world view was of primary importance to determine a utilitarian, functionally subordinate character of music. The example of the one-voice pagan worship song "Dideba" clearly reflects the aesthetic – expressive normative character of its music.
The existence of a pagan worship song in the people's active musical memory is the result of the viability of the cult itself. The preservation of early artistic forms testifies to the fact that the primary model of the cult worship song optimally corresponded to the inner structure of the cult.
The Georgians of this time feel the style well and so exactly, thoughtfully and laconically (without applying the linguistic units, getting rid of which would have been better for the perfection of the artistic image) choos the musical-expressive means, their proper organization, subordination to the aesthetic aims. He finds the desirable psychological-emotional mood, optimal and artistically valuable intonation complexes for accumulating significant experience. After passing a number of stages of musical-artistic development of thinking, the primary, traditional artistic image of the song appeared to be aesthetically acceptable for the inner structure of the cult and due to it there was no necessity for finding the new expressive forms.
G. Bagashvili. - For Methodologycal Studies of Folklore Aestetic Research.. - Tbilisi: TSU. - 2004. - 44 p. - In Georgian and English.
Folklore is a specific kind of art. A piece of folklore belongs to the sphere of "artistic', i.e. to the sphere of the "realized aesthetic". It is formed by means of turning the aesthetic idea into a system of the conventional signs of folklore art.
Therefore during aesthetic study of folklore it is necessary to apply the method of structural analysis of folklore's artistic material and forms of expression. . But due to the fact that the latter does not consider the "subject" factor, the application of the structural analysis while aesthetic study of a piece of folklore is necessary, but not sufficient. It should be filled up by the semiotic-functional method, which studies the idea and the meaning in the whole, which has been revealed by the structural analysis, it studies the function of separate elements of a piece of art in the process of the embodiment of the aesthetic idea.
Only the application of historical-sociological method makes it possible to state the artistic historical regulations of folklore, which is traditional by its essence.
Consequently we consider the optimal method of folklore's aesthetic study the method of semiotic-functional analysis, bound up with the principles of historism.
G. Bagashvili. - The Aestetic Polystageness of Georgian Musical Folklore.. - Tbilisi: TSU. - 2004. - 25 p. - In Georgian and English.
The aesthetic polystageness is a more or less characteristic property of every nation's folklore. It is especially clearly revealed in Georgian musical folklore.
The coexistence and "co-creation" of the folklore samples, created within different historical and social epochs, which bear basic differences by the degree of complex musical language and expressive principles, testify to the capacity of Georgian people's profound aesthetic perception and the aesthetic polystageness of Georgian musical folklore.
Unlike professional art, in folklore the limits of the worldly aesthetic cognition and working over are widened. The aesthetic subject-object relationship itself is very specific in folklore. The subject, that is the creator of folklore culture, the consumer and constant interpreter manage to preserve the aesthetic models of chronologically separate historical epochs. It does not interchange them but it broadens the limits of its own aesthetic cognition, so the folklore pieces of various aesthetic nature coexist without any problem by the principle of constant creation.