Music of Georgia (country)

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perfect fourths is mostly present in Eastern Georgia, but scales based on perfect fifths are spread wider, both in eastern and particularly western Georgia, as well as in Georgian Christian chants. In East Georgian table songs the scale system is based on a combination of the systems of fourth and fifth diatonic scales. In such songs the principle of the fourth diatonic scale is working above the pedal drone, and the system of the fifth diatonic is working under the pedal drone. Because of the peculiarity of the scale system based on perfect fifths, there is often an augmented octave in Georgian songs and church-songs. As in many traditional musical systems, tuning of Georgian scales is not based on the

1020:. In some regions Christian chants have clear elements of pre-Christian traditions as well. Scholars usually distinguish two styles of Georgian church-singing: eastern Georgian and western Georgian. Both styles are based on similar principles, particularly the "simple mood" of singing, but in some western Georgian church-singing styles (particularly in so-called "Shemokmedi school") the polyphonic mastery and the use of sharp dissonances reaches its climax. The study of church-singing was strictly forbidden in the Soviet Union, but after the fall of the Soviet Union this became one of the most actively researched spheres of Georgian musicology. 983:, served as a court musician of the King Erekle the Second, and was composing songs in Georgian, Armenian, and Azeri languages. The popularity of this style of music was particularly great by the end of the 19th century, when mostly agricultural Georgians were not attracted to the big cities, and businessmen from other countries (particularly Armenians) became the majority of the city population. At the same time, the polyphonic nature of Georgian music influenced monophonic melodies of the Armenian, Turkish and Iranian origin, and they became polyphonic (usually three-part with the original melody in the middle part). 1122: 434: 979:

cosmopolitan city with many languages and many musical styles mixed together. Out of different styles the Middle Eastern monophony with augmented seconds, sensual melodies and instrumental accompaniment were particularly popular. There are not very early historical sources about Georgian urban music, but at least Georgian kings of the 17th and 18th centuries had Middle-Eastern style professional musicians serving at their courts. One of them, the great Armenian musician

2525: 3070: 2535: 50: 918: 600: 516:, Chkhikvadze, Maisuradze) distinguish musical dialects differently, for example, some do not distinguish Gudamakari and Lechkhumi as separate dialects, and some consider Kartli and Kakheti to be separate dialects. Two more regions, Saingilo (in the territory of Azerbaijan) and Lazeti (in the territory of Turkey) are sometimes also included in the characteristics of Georgian traditional music. 1173:(man) of a dead person would sit down in open air by the bonfire and play a sad melody. In his song (sang in a low voice) he would remember the life of the deceased person and the lives of ancestors of the family. Most of the songs performed on Chianuri are connected with sad occasions. There is an expression in Svaneti that "Chuniri is for sorrow". However, it can be used at parties as well. 1118:, known also as chianuri, plus a variety of drums and percussive instruments. Georgian musical instruments are traditionally overshadowed by the rich vocal traditions of Georgia, and subsequently received much less attention from Georgian (and Western) scholars. Dimitri Arakishvili and particularly Manana Shilakadze contributed to the study of musical instrument in Georgia 548:

on the background of pedal drone), and contrapuntal polyphony in Achara, Imereti, Samegrelo, and particularly in Guria (three and four part polyphony with highly individualized melodic lines in each part and the use of several polyphonic techniques). Western Georgian contrapuntal polyphony features the local variety of the

1184:. Mostly the Abkharza is used as an accompaniment instrument. There are performed one, two or three part songs and national heroic poems on it. Abkharza is cut out of a whole wood piece and has a shape of a boat. Its overall length is 480mm. its upper board is glued back to the main part. On the end it has two tuners. 766:

melodic part damaged the improvisatory nature of Georgian folk music. Also, singing and dancing, usually closely interconnected in rural life, were separated on a concert stage. From the 1950s and the 1960s new type of ensembles (Shvidkatsa, Gordela) brought back the tradition of smaller ensembles and improvisation.

1165:(flute). Both men and women played it. Accompaniment of solo songs, national heroic poems and dance melodies were performed on it in Svaneti. Chuniri and Changi are often played together in an ensemble when performing polyphonic songs. More than one Chianuri at a time is not used. Chianuri is kept in a warm place. 880:, who were able to record and study traditional songs from Georgian war prisoners during the first World War. Siegfried Nadel published a monograph about Georgian music, where he proposed that Georgian polyphony possibly contributed to the emergence of European professional polyphony (this idea was developed by 422:. Situated on the border of Europe and Asia, Georgia is also the home of a variety of urban singing styles with a mixture of native polyphony, Middle Eastern monophony and late European harmonic languages. Georgian performers are well represented in the world's leading opera troupes and concert stages. 1156:

and is thought to have spread in the other regions of Georgia from there. Chuniri has different names in different regions: in Khevsureti, Tusheti (Eastern mountainous parts) its name is Chuniri, and in Racha, Guria (western parts of Georgia) "Chianuri". Chuniri is used for accompaniment. It is often

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period (1921–1991), folk music was highly praised, and revered folk musicians were awarded with governmental prizes and were given salaries. At the same time some genres were forbidden (particularly Christian church-songs), and the tendency to create huge regional choirs with big groups singing each

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The instrument's side strings i.e. first and third strings are tuned in fourth, but the middle (second) string is tuned in third with the lowest string and second with the top string. It was a tradition to play Chuniri late in the evening the day before a funeral. For instance, one of the relatives

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are widely distributed in all Georgian regional styles. Apart from these common techniques, there are also other, more complex forms of polyphony: pedal drone polyphony in Eastern Georgia, particularly in Kartli and Kakheti table songs (two highly embellished melodic lines develop rhythmically free

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became the capital of Georgia in the fifth century, and was known as the cultural center of Caucasus. Tbilisi was on the important routes connecting the East with the West, as well as the North with the South. This strategic position was attracting various ethnic groups, and Tbilisi early became a

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published an influential work on the history of Georgian music, which is still considered as the most comprehensive work on historical sources on Georgian music. Otar Chijavadze, Valerian Magradze, Kakhi Rosebashvili, Mindia Jordania, Kukuri Chokhonelidze were the first Georgian scholars that were

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Singing is mostly a community activity in Georgia, and during big celebrations (for example, weddings) all the community is expected to participate in singing. Traditionally, top melodic parts are performed by individual singers, but the bass can have dozens or even hundreds of singers. There are

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Because of the strong influence of Western European music, present-day performers of Georgian folk music often employ Western tuning, bringing the seconds, fourths, sixths, and sevenths, and sometimes the thirds as well, closer to the standard equally tempered scale. This process started from the

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There are different, sometimes conflicting views on the nature of Georgian scales. The most prevalent is the view expressed by Vladimer Gogotishvili, who suggested distinguishing diatonic scales based on a system of perfect fourths and those based on a system of perfect fifths. A system based on

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The Western Georgian group of musical dialects consists of the central region of western Georgia, Imereti; three mountainous regions, Svaneti, Racha and Lechkhumi; and three Black Sea coastal regions, Samegrelo, Guria, and Achara. Georgian regional styles of music are sometimes also grouped into

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The Eastern Georgian group of musical dialects consists of the two biggest regions of Georgia, Kartli and Kakheti (Garakanidze united them as "Kartli-Kakheti"); several smaller north-east Georgian mountain regions, Khevsureti, Pshavi, Tusheti, Khevi, Mtiuleti, Gudamakari; and a southern Georgian

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Often, especially in rainy days it was warmed in the sun or near fireplace before using, in order to emit more harmonious sounds. This fact is acknowledged in all regions where the fiddlestick instruments were spread. That is done generally because dampness and wind make a certain effect on the

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By the mid-1980s, the first ensembles of Georgian music consisting of non-Georgian performers had started to appear outside of Georgia (first in USA and Canada, later in other European countries). This process became particularly active after the dissolution of the Soviet Union, when the

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are considered the most influential figures of study of Georgian folk music. Arakishvili published several standard books and articles on Georgian singing traditions, musical instruments, scales, and is widely considered as "founding father" of Georgian ethnomusicology.

701:, where songs and toasts to God, peace, motherland, long life, love, friendship and other topics are proposed. Traditional feast songs include "Zamtari" ("Winter"), which is about the transient nature of life and is sung to commemorate ancestors, and a great number of " 757:

was paramount in recovering these recordings and re-issuing them on a series of CDs. Despite the poor technical quality of the old recordings, they often serve as the model of high mastery of the performance of Georgian traditional songs for contemporary ensembles.

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Professional music in Georgia existed at least from the 7-8th centuries, when Georgian composers started translating Greek orthodox Christian chants, adding harmonies to the monophonic melodies, and also were creating original chants. It is widely accepted, that

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The 1861 article by Jambakur-Orbeliani and the 1864 article by Machabeli are considered as the first published works where some aspect of Georgian folk music were discussed. Earlier works (like the 18th century "Dictionary of Georgian Language" by

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Georgian vocal polyphony was maintained for millennia by village singers, mostly local farmers. From the end of the 19th century to the beginning of the 20th century a great number of gramophone recordings of Georgian village singers were made.

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in Georgian church-singing came from the folk tradition. Georgian church-music has many parallels with Georgian traditional music, although some elements of folk musical style were never used in church-singing (for example, the very long

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instrument's resonant body and the leather that covers it. In Svaneti and Racha people even could make a weather forecast according to the sound produced by Chianuri. Weak and unclear sounds were the signs of a rainy weather.

892:. After the fall of the Soviet Union a number of Western Scholars started working on Georgian folk music, mostly on different aspects the traditional polyphony. Among them are Carl Linich, Stuart Gelzer, Susanne Ziegler, 862:

Grigol Chkhikvadze and Shalva Aslanishvili, born during the last years of the 19th century, received professional education in Russia and became important figures of the study of Georgian traditional music. The historian

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Apart from Georgian scholars, non-Georgian musicians and scholars also contributed to the study of Georgian traditional music. Among them were German and Austrian scholars Adolf Dirr, Robert Lach, Georg Schunemann, and

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educated in Georgia and contributed to the study of different aspect of Georgian folk music. From the end of the 20th century a new generation of Georgian ethnomusicologists appeared, among them Edisher Garakanidze,

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disappeared and travel to the Western countries became possible for Georgians. Today it is a common practice for Georgian ensembles and traditional singers to visit Western countries for performances and workshops.

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was established (director Rusudan Tsurtsumia). The tradition of biannual conferences and symposia started in Georgia in the 1980s. These symposia are drawing leading experts of traditional polyphony to Georgia.

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In Problems of folk polyphony. Materials of the International Conference dedicated to the 80th anniversary of the V. Sarajishvili Tbilisi State conservatory. Editor in Chief Rusudan Tsurtsumia, pp. 171-180

685:) have tried to re-introduce the original non-tempered traditional tuning system. In some regions (most notably in Svaneti) some traditional singers still sing in the old, non-tempered tuning system. 450: 694:

also songs (usually more complex) that require a very small number of performers. Out of them the tradition of "trio" (three singers only) is very popular in western Georgia, particularly in Guria.

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as "musical dialects". According to Edisher Garaqanidze, there are sixteen regional styles in Georgia. These sixteen regions are traditionally grouped into two, eastern and western Georgian groups.

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in 1850 had a profound influence on Georgian urban societies and soon a new style songs became very popular. The new European style of Georgian urban music consists of two genres: (1) a cappella

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12-tone tuning system. The fifth is usually perfect, but the second, third and fourth are different from Classical intervals, producing a slightly compressed (compared to most European music)

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The so-called "new Georgian professional musical school" started in the second half of the 19th century. It was based on European classical musical language and classical musical forms (

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From the second part of the 19th century a new popular musical style came to Georgia. This was European classical music, based on parallel thirds and triadic harmonies. Opening of the

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polyphony, although in the most southern regions (Meskheti and Lazeti) only historical sources provide the information about the presence of vocal polyphony before the 20th century.

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A wide variety of musical instruments are known from Georgia. Among the most popular instruments are: wind instruments such as the soinari, known in Samegrelo as larchemi (Georgian

705:" songs. As many traditional activities greatly changed their nature (for example, working processes), the traditional feast became the harbor for many different genres of music. 2617: 1401:

In: Rusudan Tsurtsumua and Joseph Jordania (editors), Echoes from Georgia: Seventeen Arguments on Georgian Polyphony (collection of essays). New York: Nova Science, pp.147-156

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In: Rusudan Tsurtsumua and Joseph Jordania (editors), Echoes from Georgia: Seventeen Arguments on Georgian Polyphony (collection of essays). New York: Nova Science, pp.177-194

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In: Rusudan Tsurtsumua and Joseph Jordania (editors), Echoes from Georgia: Seventeen Arguments on Georgian Polyphony (collection of essays). New York: Nova Science, pp.125-134

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Listen to streaming Georgian music of different genres, read bios, lyrics, download scores for free, learn descriptions of folk songs, some facts from Georgian music history.

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In: Rusudan Tsurtsumua and Joseph Jordania (editors), Echoes from Georgia: Seventeen Arguments on Georgian Polyphony (collection of essays). New York: Nova Science, pp.35-56

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In: Rusudan Tsurtsumua and Joseph Jordania (editors), Echoes from Georgia: Seventeen Arguments on Georgian Polyphony (collection of essays). New York: Nova Science, pg 19-34

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Contemporary Georgian stage choirs are generally male, though some female groups also exist; mixed-gender choirs are rare, but also exist. (An example of the latter is the

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and Nikolai Klenovsky also contributed to the early study of Georgian folk music. Russian scholar Steshenko-Kuftina contributed a highly revered monograph on Georgian

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very first professional choir, organized in Georgia in 1886 (so called "Agniahsvili choro"). From the 1980s some ensembles (most notably the Georgian ensembles "

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In: The Garland Encyclopedia of World Music. Vol. 8, Europe. Edited by Timothy Rice, James Porter and Chris Goertzen, pp. 826-849. New York: Garland Publishing

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In: The Garland Encyclopedia of World Music. Vol. 8, Europe. Edited by Timothy Rice, James Porter and Chris Goertzen. New York: Garland Publishing. Pg 835-6

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harmonies (seconds, fourths, sevenths, ninths). Because of the wide use of the specific chord consisting of the fourth and a second on top of the fourth (

2131: 1056: 2101: 2680: 774: 1417: 567:), the founder of Georgian ethnomusicology, Dimitri Arakishvili called this chord the "Georgian Triad". Georgian music is also known for colorful 1324:

Dimitri Arakishvili. 1908. West Georgian folk songs. Moscow Commission of Music and Ethnography. 2. Moscow: G. Lissner and D. Sobko. (In Russian)

1043:) merged European musical language with the elements of Georgian traditional harmony and polyphony. Among the composers of the later period were 718: 3303: 777:

were particularly active in presenting rich polyphony of various regions of Georgia to western audiences. Georgian Voices performed alongside

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In the 21st century Georgia has become one of the international centers of the study of the phenomenon of traditional polyphony. In 2003 the

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in the 1970s. This line of fusion of Georgian folk polyphony with other genres became popular in the 1990s, and the Stuttgart-based ensemble

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featured a mixture of traditional polyphony with jazz and other popular musical genres, becoming arguably the most popular ensemble of the

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In: Materials of the First International Symposium on Traditional Polyphony, edited by Rusudan Tsurtsumia and Joseph Jordania. pp.312-323

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in three vocal parts, and (2) solo (or three-part) singing with the accompaniment of musical instrument (usually a guitar, or a piano).

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Broughton, Simon. "A Feast of Songs". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.),

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Since the 1970s, Georgian folk music has been introduced to a wider audience in different countries around the world. The ensembles

3110: 3038: 1768: 829: 714: 801: 3532: 3374: 3166: 2439: 2164: 721:, funerary ritual songs, wedding songs, love songs, dance songs, lullabies, traveling songs. Many archaic songs are connected to 713:, for example is a specific solo work song found in eastern Georgia only. The extremely complex three and four part working song 583: 3562: 3349: 3160: 3048: 2982: 2673: 1727: 1213: 494:

bass with two soloists singing the top two parts. Perhaps the best-known example of music in Kakhetian style is the patriotic "

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is a two-string musical instrument which is played by a bow. It is thought to have spread through Georgia from the region of

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Archil Mshvelidze. 1970. Georgian Folk Urban Song (Collection of songs with the large introductory essay). Tbilisi: Muzfond

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spacecraft in 1977. Known performers from the north-eastern region Khevsureti are the singers Dato Kenchiashvili and

312: 256: 943: 3339: 3281: 1903: 1561:. 1940. 1940. Kaukasische parallelen zur europaisch mittelalterlichen Mehrstimmigkeit. Acta Musicologica, 12:52-61 3584: 3497: 3298: 3271: 3217: 2992: 2879: 2869: 2597: 2459: 1833: 744:, in the most isolated region of Georgia, Upper Svaneti, mixed performance of folk songs were a common practice. 1591:

Zurab Chavchavadze. 1986. Georgian hymnography of the 12th century. PhD. Tbilisi: Academy of Sciences of Georgia

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in Georgia (beginning of the 4th century AD). All regional styles of Georgian music have traditions of vocal

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Edisher Garakanidze. 1991. Musical dialects of Georgian traditional music. PhD, Tbilisi Theatrical Institute

872:, Nato Zumbadze, Nino Tsitsishvili, Tamaz Gabisonia, Nino Makharadze, David Shugliashvili, Maka Khardziani. 3680: 3405: 3379: 3327: 3266: 2967: 2701: 661:. Likewise, between the fifth and the octave come two evenly spaced notes, producing a slightly compressed 377: 202: 1549:

Siegfried Nadel book. 1933. Georgischer Gesange (Georgian Singing). Berlin: Lautabt, Leipzig: Harrassowitz

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The folk music of Georgia consists of at least fifteen regional styles, known in Georgian musicology and

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On Authentic and Plagal Typesof Monotonic (non-octave) Scales in Georgian Traditional vocal polyphony.

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Georgian folk music is predominantly vocal and is widely known for its rich traditions of vocal

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Georgia has rich and still vibrant traditional music, primarily known for arguably the earliest

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Manana Shilakadze. 1970. Georgian Folk Instruments and Instrumental Music. Tbilisi: Metsniereba

841: 740:.) At the same time, in village ensembles mixed participation is more common, and according to 2899: 2409: 2374: 2329: 2083: 2045: 3308: 2802: 2299: 2294: 2189: 2025: 1347: 1121: 1044: 353: 270: 226: 1432: 8: 3482: 3459: 3120: 2962: 2936: 2859: 2812: 2716: 2612: 2479: 2419: 2394: 2309: 2289: 2239: 2209: 2199: 1995: 1955: 1935: 1915: 1818: 1579: 1558: 1413:

On Some Characteristics of Mode-Intonational Scales in Kartli-Kakhetian Long Table Songs.

1379:. EU-Eastern Partnership Culture & Creativity Programme. October 2017. pp. 82–88 1374:"UNESCO Culture for development indicators for Georgia (Analytical and Technical Report)" 1282: 1036: 1032: 896:, Polo Vallejo, John A. Graham, Lauren Ninoshvili, Caroline Bithell, and Andrea Kuzmich. 881: 864: 855: 851: 754: 741: 513: 3507: 3002: 2987: 2916: 2884: 2874: 2837: 2807: 2797: 2505: 2384: 2379: 2259: 2111: 1930: 1060: 568: 505: 387: 261: 92: 3577: 3572: 3468: 3437: 3069: 2911: 2852: 2827: 2756: 2689: 2637: 2534: 2449: 2399: 2354: 2334: 2324: 2224: 2116: 2063: 2010: 2005: 1980: 1838: 1673:

International Research Center for Traditional Polyphony of Tbilisi State Conservatory

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Moscow Commission of Music and Ethnography. Vol. 1, Moscow: K. Menshov. (In Russian)

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in its original form. This instrument is considered to be a national instrument of

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Urban music must have started as soon as the first cities appeared in Georgia.

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Mzia Iashvili. 1977. On the problem of Georgian polyphony. Tbilisi: Khelovneba

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Short review of development of Georgian (Kartlian and Kakhetian) folk songs.

1031:, etc.). The greatest representatives of this school of Georgian composers ( 3642: 3475: 3427: 1710:

BBC Radio 3 Audio (60 minutes): Polyphonic drinking songs and choral music.

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Ensemble Shin performing a version of traditional round dance from Svaneti

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Soviet postage stamp depicting traditional musical instruments of Georgia.

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became a popular representative of this generation of Georgian musicians.

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Georgian folk songs are often centered around banquet-like feasts called

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Criteria for Determining the Types of Polyphony of Georgian Folk Songs.

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GeorgianChant.org: Resource for the Study of Georgian Liturgical Music

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BBC Radio 3 Audio (60 minutes): Svaneti polyphony and Guria yodeling.

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Both east and west Georgian polyphony is based on wide use of sharp

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Representative List of the Intangible Cultural Heritage of Humanity

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is characteristic of western Georgia. There are a great number of

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Georgian polyphonic singing was among the first on the list of

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Masterpieces of the Oral and Intangible Heritage of Humanity

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GeorgianChant.org: Resource for the Study of Georgian Chant

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in 2001. Georgian polyphonic singing was relisted on the

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KuzinTheCaucasus: A survey of the music of the Caucasus

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World Music, Vol. 1: Africa, Europe and the Middle East

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International Research Centre for Traditional Polyphony

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International Research Centre for Traditional Polyphony

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Need to clarify the relationship to Pythagorean tuning.

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Only the mountain inhabitants of Georgia preserve the

848:) discussed Georgian church singing traditions only. 1077: 3714: 1529:Orera singing "Krimanchuli", recording from 1968 1278: 1276: 1649:, pp 347–350. Rough Guides Ltd, Penguin Books. 1300:On the problem of Polyphony in Meskhetian Songs 1114:(three stringed fretted long neck lute), bowed 834: 512:mountain and plain groups. Different scholars ( 18:This article is about the music of the country 609:needs attention from an expert in Music theory 519: 2674: 2565: 2158: 1769: 1273: 395: 781:, and the Rustavi Choir was featured on the 1287:The views and theories of Georgian authors. 589: 2681: 2667: 2572: 2558: 2165: 2151: 1776: 1762: 1725:Audio clips: Traditional music of Georgia. 1660:"Ancient Music Accompanies Ancient Wine," 490:in eastern Georgia usually feature a long 402: 388: 962:Learn how and when to remove this message 1131: 1120: 1012:of eastern Georgian table songs, or the 884:for several decades). Russian musicians 830:Performers of Georgian traditional music 747: 1475:My Trip to Svaneti and Svan Folk Songs. 1350:[Intangible Cultural Heritage] 1348:"არამატერიალური კულტურული მემკვიდრეობა" 1098:), string instruments like the changi ( 584:Intangible Cultural Heritage of Georgia 3715: 1214:Georgia in the Eurovision Song Contest 624:may be able to help recruit an expert. 2662: 2553: 2146: 1757: 997: 498:", which was chosen to accompany the 2688: 1128:, a Georgian traditional instrument. 1074:enjoys an international reputation. 911: 709:are widespread in all regions. The 593: 2579: 1783: 1270:See, for example, Gadakanidze, 1991 1140: 1106:(four stringed unfretted long neck 486:region, Meskheti. Table songs from 13: 2973:Georgian Soviet Socialist Republic 432: 14: 3734: 2823:Unification of the Georgian realm 2172: 1688: 1444:Dimitri Arakishvili. 2010 (1950) 688: 582:in 2008. It was inscribed on the 3068: 2942:Absorption by the Russian Empire 2533: 2524: 2523: 916: 598: 469:Problems playing this file? See 448: 48: 1632: 1627:On polyphony of Georgian Hymns. 1619: 1603: 1594: 1585: 1573: 1564: 1552: 1543: 1532: 1521: 1510: 1498: 1480: 1467: 1451: 1438: 1426: 1404: 1391: 1078:Traditional musical instruments 458:A sample from Georgian Voices' 2958:Democratic Republic of Georgia 2491:British Indian Ocean Territory 1728:Musée d'ethnographie de Genève 1366: 1340: 1327: 1318: 1305: 1292: 1264: 1255: 907: 1: 1730:. Accessed November 25, 2010. 1411:Vladimer Gogotishvili. 2003. 1397:Vladimer Gogotishvili. 2010. 1249: 681:", and the American ensemble 425: 24:Music of Georgia (U.S. state) 3218:Russian-occupied territories 3049:Timeline of Georgian history 835:Study of Georgian folk music 530:introduction of Christianity 7: 1718:Accessed November 25, 2010. 1712:Accessed November 25, 2010. 1625:David Shugliashvili. 2000. 1517:The Big Lebowski Soundtrack 1477:Newspaper Iveria, issue 175 1473:Zakaria Paliashvili. 1903. 1333:Dimitri Arakishvili. 1905. 1187: 1157:played in an ensemble with 942:the claims made and adding 657:, and a slightly stretched 611:. The specific problem is: 520:Traditional vocal polyphony 10: 3739: 3723:Music of Georgia (country) 2777:Christianization of Iberia 1695:www.soundcloud.com/xalxuri 1229:Tbilisi State Conservatory 17: 3674: 3605: 3548: 3413: 3404: 3335: 3326: 3252: 3243: 3216: 3176: 3086: 3077: 3066: 3011: 2950: 2932:Kingdom of Kartli-Kakheti 2905:Principality of Mingrelia 2785: 2709: 2700: 2588: 2519: 2478: 2438: 2180: 2092: 2054: 1791: 1744:Georgian Music Collection 1298:Valerian Magradze. 2010. 571:and unusual key changes. 539:Vocal polyphony based on 80:Ancient Kartvelian people 3186:Administrative divisions 2927:Shah Abbas I's invasions 2890:Principality of Abkhazia 2833:First Kingdom of Kakheti 2240:East Timor (Timor-Leste) 1700:www.facebook.com/xalxuri 886:Mikhail Ippolitov-Ivanov 622:WikiProject Music theory 590:Scales and tuning system 308:Georgian Orthodox Church 2895:Principality of Svaneti 2818:Kingdom of the Iberians 2722:Shulaveri–Shomu culture 2501:Cocos (Keeling) Islands 1739:www.GeorgiaCaucasus.com 1662:From the Cradle of Wine 1311:Tamaz Gabisonia. 2010. 1070:Georgia-born violinist 1053:Aleksandre Machavariani 2793:Principality of Iberia 1834:Bosnia and Herzegovina 1137: 1129: 842:Sulkhan-Saba Orbeliani 543:formulas and rhythmic 437: 2937:1795 Persian Invasion 2900:Principality of Guria 1507:at Georgian-music.com 1435:about Georgian tuning 1135: 1124: 844:, and "Kalmasoba" by 748:Performance practices 436: 3533:World Heritage Sites 3116:Environmental issues 2415:United Arab Emirates 1045:Andria Balanchivadze 1016:of Western Georgian 2983:Independent Georgia 2813:Kingdom of Abkhazia 2727:Kura–Araxes culture 2717:Prehistoric Georgia 2442:limited recognition 2055:States with limited 1679:-sponsored project. 1580:Ivane Javakhishvili 1283:Ivane Javakhishvili 1041:Niko Sulkhanishvili 1037:Dimitri Arakishvili 1033:Zakaria Paliashvili 865:Ivane Javakhishvili 856:Zakaria Paliashvili 852:Dimitri Arakishvili 755:Anzor Erkomaishvili 742:Zakaria Paliashvili 732:ensemble, based in 460:Adila da Ali-phasha 444:Adila da Ali-phasha 32:Part of a series on 3375:Telecommunications 3003:Russo-Georgian War 2917:Kingdom of Kakheti 2885:Kingdom of Imereti 2880:Turkmen incursions 2875:Samtskhe atabegate 2838:Kingdom of Georgia 2808:Emirate of Tbilisi 2798:Bagrationi dynasty 2598:Republic of Adygea 1492:2011-05-11 at the 1420:2011-10-07 at the 1138: 1130: 1061:Otar Taktakishvili 998:Professional music 927:possibly contains 586:registry in 2011. 506:Teona Qumsiashvili 438: 378:History of Georgia 3710: 3709: 3670: 3669: 3563:Ethnic minorities 3492: 3485: 3478: 3471: 3400: 3399: 3322: 3321: 3304:Political parties 3267:Foreign relations 3239: 3238: 3064: 3063: 2968:Red Army invasion 2912:Kingdom of Kartli 2870:Timur's invasions 2853:Battle of Didgori 2828:Kingdom of Hereti 2757:Kingdom of Iberia 2656: 2655: 2547: 2546: 2484:other territories 2140: 2139: 1057:Shalva Mshvelidze 1049:George Balanchine 972: 971: 964: 929:original research 644:Western classical 639: 638: 453: 418:tradition of the 412: 411: 354:St George's Cross 3730: 3690: 3683: 3488: 3481: 3474: 3467: 3411: 3410: 3333: 3332: 3250: 3249: 3191:Cities and towns 3126:Greater Caucasus 3084: 3083: 3072: 3034:Military history 3019:Names of Georgia 2865:Mongol invasions 2737:Colchian culture 2732:Trialeti culture 2707: 2706: 2683: 2676: 2669: 2660: 2659: 2574: 2567: 2560: 2551: 2550: 2537: 2527: 2526: 2496:Christmas Island 2182:Sovereign states 2167: 2160: 2153: 2144: 2143: 2093:Dependencies and 1792:Sovereign states 1785:Music of Europe 1778: 1771: 1764: 1755: 1754: 1723: 1639: 1636: 1630: 1623: 1617: 1607: 1601: 1598: 1592: 1589: 1583: 1577: 1571: 1568: 1562: 1559:Marius Schneider 1556: 1550: 1547: 1541: 1536: 1530: 1525: 1519: 1514: 1508: 1502: 1496: 1484: 1478: 1471: 1465: 1455: 1449: 1442: 1436: 1433:Kavkasia website 1430: 1424: 1408: 1402: 1395: 1389: 1388: 1386: 1384: 1378: 1370: 1364: 1363: 1361: 1359: 1353: 1344: 1338: 1331: 1325: 1322: 1316: 1309: 1303: 1296: 1290: 1280: 1271: 1268: 1262: 1259: 1234:Rustavi Ensemble 1141:Chuniri-chianuri 1072:Lisa Batiashvili 967: 960: 956: 953: 947: 944:inline citations 920: 919: 912: 882:Marius Schneider 846:Ioane Bagrationi 807: 804: 792:The Big Lebowski 665:and a stretched 647:equally tempered 634: 631: 625: 602: 601: 594: 455: 454: 435: 404: 397: 390: 52: 43: 29: 28: 3738: 3737: 3733: 3732: 3731: 3729: 3728: 3727: 3713: 3712: 3711: 3706: 3693: 3686: 3679: 3666: 3601: 3544: 3518:Public holidays 3396: 3360:Lari (currency) 3318: 3289:Law enforcement 3235: 3212: 3172: 3151:Protected areas 3136:Lesser Caucasus 3073: 3060: 3007: 2998:Rose Revolution 2993:War in Abkhazia 2978:April 9 tragedy 2946: 2922:Safavid Georgia 2781: 2772:Sasanian Iberia 2696: 2687: 2657: 2652: 2584: 2578: 2548: 2543: 2515: 2483: 2474: 2455:Northern Cyprus 2441: 2434: 2176: 2171: 2141: 2136: 2094: 2088: 2074:Northern Cyprus 2056: 2050: 1966:North Macedonia 1787: 1782: 1721: 1691: 1642: 1637: 1633: 1624: 1620: 1610:Joseph Jordania 1608: 1604: 1599: 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