Kanklės lietuvių etninėje kultūroje : monografija

LTVienas iš etninio tapatumo simbolių, jungiančių tradicinę ir šiuolaikinę kultūrą, yra lietuvių kanklės. Tai - baltų, Baltijos finų ir šiaurės vakarų rusų muzikos instrumentas, naudotas geografinėse zonose, bemaž sutampančiose su "ankstyvojo neolito Narvos kultūros (IV tūkst. pr. Kr.) paplitimu". Kanklės, kankliavimas bei jų muzika buvo perduodama iš kartos j kartą, todėl pakankamai autentišku pavidalu mūsų dienas pasiekė iš seniausių laikų. Faktai byloja, kad iki XX a. I pus. Šiaurės Rytų Aukštaitijoje kanklės buvo kaip dvasinės kontempliacijos priemonė. Likusioje Aukštaitijos dalyje, Žemaitijoje bei Suvalkijoje kanklių ir kanklių muzikos paskirtis buvo kitokia: instrumentas naudotas skambinti visur ir įvairiomis progomis, t. y. vestuvėse, laidotuvėse, bažnyčiose, derliaus šventėse, gegužinėse ir kt. Monografijoje nagrinėjami lietuvių kanklių tipai ir jų raida, tradicinis kankliavimas ir kanklininkų asmenybės, kanklių paskirtis kintančioje kultūroje, atliekama kanklių muzikos repertuaro lyginamoji analizė. Laikotarpis apima XIX a. II pus. - XXI a. pr. Pirmojoje leidinio dalyje, siekiant kuo didesnio autentiškumo, kanklių piešiniai įdėti tokie, kokius nupiešė patys pateikėjai. Monografija skiriama aukštųjų mokyklų (muzikos, ankstyvojo ir pradinio muzikinio ugdymo programų) dėstytojams ir studentams, muzikos mokyklų (etninės kultūros, folkloro, kankliavimo pamokų) ir bendrojo lavinimo mokyklų (muzikos, etnografijos, tikybos pamokų) mokytojams ir mokiniams, etnologams, etnoinstrumentologams, etnomuzikologams bei visiems, besidomintiems Lietuvos etnine kultūra. [Iš leidinio]Reikšminiai žodžiai: Kanklės; Instrumentinė muzika; Lietuvių etninė kultūra; Muzikinis folkloras; Kanklės; Instrumental music; Lithuanian ethnic culture; Musical folklore.

ENThe Lithuanian instrument kanklės is one of the symbols of ethnic identity which connects traditional and contemporary cukures. Kanklės and the playing of the kanklės and their music, handed down from generation to generation, have reached modern times in sufficiently authentic. [...] The research aim is to systematically research the development of Lithuanian traditional, modified and zither-type kanklės, changes of the ways of playing kanklės, their repertoire, kanklės players and kanklės playing as an original phenomena of the ethnic culture. [...] The analyzed material of written sources and the data from the published research about kanklės shows that modified kanklės were played in Lithuania which, had features of all traditional types. A large number of instruments that were named kanklės seem more like rather zithers. The modified Suvalkiečiai kanklės were widespread in all Lithuania during the interwar period, even in Dzūkija where no kanklės could be found earlier The second and the third type of modified kanklės were found in Aukštaitija and Žemaitija, and the third type of modified kanklės in Suvalkija and Dzukija. Kanklės having a zither-type shape were found in Aukštaitija and Žemaitija. The spread and survival of the ethnic kanklės were supported by tradition. Modification of the traditional kanklės was influenced by common European culture and the diflferences of Christian faiths in the areas where kanklės were used. The tradition of playing kanklės, which is the most archaic Lithuanian instrument, started to become extinct between the second half of the 19th century and first half of the 20th century when other types of musical instruments used for entertainment started to become more widespread. That same can be said about the modified kanklės which fell out of usage in traditional culture in the middle of the 20th century.The main difference between the regions where traditional kanklės are played is the sound system, which depends on the accordance of the kanklės. The northeastern Aukštaičiai tuned the kanklės based on the sounds of the two-fold or four-fold sutartinės songs, while Western Aukštaičiai, Žemaičiai and Suvalkiečiai on the sounds of the homophonic songs, dances, and games. The scale of the kanklės sound system depends on the construction of the instrument, the body of the kanklės, length of the strings, thickness of the strings, and the tension present. The kanklės players' repertoire between the 18th century and the first half of the 20th century consists of ancient Lithuanian and more common national dances played by a single kanklės player or in groups with other instruments. Kanklės players in northeastern Aukštaitija played along with sung sutartinės. In Aukštaitija, Žemaitija and Suvalkija songs, church songs, love songs, dances and improvisations were prevalent. Together with the changes in instruments, there were also changes in the repertoire. Their changes were caused not only by t h e instruments but by dance fashions and the geographic situation of the ethnographic regions as well. In Lithuania, as in most European countries, the dance music was most frequently played with instruments in the 20th century. In the first half of the 20th century, when fiddles and folk-style accordeons took root no place remained anymore for kanklės in the dance sphere. Kanklės players played for themselves or when asked by others. Tlie symbolic meaning of kanklės gradually dissapeared and only the aesthetic function has remained. Since the second half of the 20th century, kanklės music has been performed on the stage or listened to from records, meaning almost every time it is only being listened to.The kanklės player-artist played a very important role in the development of the kanklės playing tradition. The type of repertoire, style, a nd ways of playing depended on him. Playing by ear formed a particular enrichment of the repertoire and helped to reveal the artistic individuality of the musician. The kanklės player was estimated and evaluated as a person having extraordinary musical and even magic skills and abilities in his surrounding environment. The community respected kanklės players, but at the same time dissociated them from society and even feared them a bit. After changes in the traditional way of life and the collapse of the traditional cultural structure the status and image of the kanklės player changed beyond recognition between the second half of the 19th century and 20th century. Because the kanklės became an instrument for only aesthetic means, it is understandable that the image of the artist changed from the „kanklės playermeditator" to the „kanklės player-music performer". Together with the changed culture situation, the earlier symbolic and mythic aspects of the role of the kanklės player disappeared. The tradition of the male kanklės player disappeared by the 20th century: one third of the kanklės players were women, who played the Suvalkiečiai type of kanklės in all regions of Lithuania. Tlie conclusions support the arguments that have been raised that the changes of the types of kanklės, kanklės playing, repertoire and the image of kanklės player and their traditions since the second half of the 19th century until today were caused by the changes in the civilization, and various historical, political, ethnocultural, ethnomusical, economical events and other factors. [From the publication]