COUNTERPOINT OF IMITATION AND OSTINATO IN POLYPHONIC FORM (AT THE EXAMPLE OF GEORGIAN MUSIC)
Musical compositions are based on the definite intellective principles. They can be composed by activating one or several principles both in a homogenous and a diverse compositional environment. Among musical and intellective categories, which have established through centuries, there are principles of imitation and ostinato. Both have gone through historical development, intersecting with each other. Those principles have been used in various epochs and styles, on local and large scales.
Two important forms and genres of professional European music – fugal and ostinato variation forms – are based on the abovementioned principles that serve as form building factors. Through integration of those principles on the level of polyphonic form a hybrid composition - a fugue-ostinato was formed. In the process of interaction of the basic parameters of those principles various variants are created by combination of texture and composition. Furthermore, there are so called mutual concessions.
The paper is concentrated on the examples of a compositional hybrid formed in the European art music – fugue-ostinato (fugato-ostinato, fugetta-ostinato, canon-fugetta-ostinato), and its analogues in works by Georgian composers. The contrapuntal appearance of imitation and ostinato principles in form of a polyphonic form is a less widespread phenomenon. At the same time, it is a result of the interaction between fugal and variation forms on the way of their evolution.