Lithuanian music after 1990: from the post-Soviet condition to the regime of presentism
EN[...] Based on such an approach, I identify four historical regimes or modes of time in Lithuanian music culture before and after 1990 – post-Soviet, post colonial, post-national, and presentist – as dominant chronologies of transition. These are selective conditions of temporal experience that can be identified over a period of three decades, and I find them convenient for discussing the changing reflection of time in Lithuanian musical practices. The historical regimes in question are contrasting, and throughout this chapter I point to artistic practices exemplifying these regimes, which are characterized by a sharply felt need to capture the musical and non-musical present. As the theme is broad, I use the concept of transtextuality to reveal relationships between composers’ use of foreign musical material as a contextual reference indicative of agency. [...]. [Extract, p. 154-155]
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