The article was published in Journal of Musicological Research 26: 241-280, 2007.

Abstract: The study of the relationship between music and ideology in recent decades has revealed multiple expressions of national sentiment and helped us to understand those political-historical contexts in which the aesthetics of musical style are interpreted in close relation to the dominant ideologies of nation.

This article addresses the ways in which monoethnic nationalism and pro-Western orientation have influenced aesthetic perceptions of musical styles in Georgia. It examines how the state’s and elite’s cultural discourses and policies during the pre-communist, communist and post-communist periods, by supporting selected rural polyphonic singing styles of ethnic Georgians to become the symbol of national identity, have attenuated the status of the duduki ensembles and related urban musical styles derived from the Middle Eastern maqam/dәstgah modal systems and the art of wandering ashugh/aşik minstrels and the reasons for such choices.

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