I have been treated like family by his wife, Rusudan (Kuka) Maminashvili, and daughter-in-law Lela Ghlonti. Tristan's grandsons, Ila and Levan Sikharulidze, intellectually curious and mature beyond their years, helped me greatly as translators and informal research partners. I met Anzor Erkomaishvili in 2016, having admired his work for years, and he kindly agreed to an interview, despite his busy schedule. I am grateful, too, for his gift of audio and video recordings of the Rustavi ensemble and of his grandfather Artem. Lali Seturidze, Anzor's wife and a noted journalist, invited me on her radio program "Chakrulo," a humbling show of support and a choice I hope she did not regret, given my still-improving Georgian-language ability. All my interlocutors-singers and scholars of Gurian music-demonstrated the proverbial truth of Georgian hospitality and openness, and I am thankful that they could share their thoughts so freely. I am well aware, in this thesis, of standing on the shoulders of many Georgian scholars, who have worked tirelessly to understand, preserve, and promote their cultural heritage. For this stage of work, I am especially indebted to my friend David Shugliashvili, who, as Head of the Scores and Recordings Department at the National Parliamentary Library of Georgia, helped me access many works of scholarship and transcription which are out of print or hard to find. Levan Veshapidze, in addition to sitting for an interview, gave me the invaluable gift of a DVD full of audio files of Gurian recordings, which have been consulted in this thesis. I thank Malkhaz Erkvanidze for allowing me to attend his recording session in Chokhatauri with the Amaghleba ensemble. At the International Research Center for Traditional Polyphony, Rusudan Tsurtsumia and Nino Razmadze, offered ix invaluable assistance, particularly with names and contact information for singers and ensembles in Guria. My thanks go, as well, to Revaz and Sopo Kotrikadze at the State Museum of Georgian Folk Music and Musical Instruments, Mikheil Gabaidze at AjaraTV, and Ilia Jgharkava at Studio Mravaljamieri. I have been fortunate to get to know many fine singers of Georgian traditional music, both on tours to the United States and in Tbilisi. Space would not permit a full listing, but I would like to single out, for their assistance and companionship in my 2016 fieldwork: Zaal Tsereteli, David Zatiashvili and the Anchiskhati Church Choir;