Minimalizmo įtaka pominimalistinio laikotarpio lietuvių muzikai

LTŠiame straipsnyje apžvelgiami keleto vidurinės ir jaunosios kartos lietuvių kompozitorių ( J. Janulytės, R. M ažulio, E. Medekšaitės, R. Motiekaičio, R. Kabelio) darbai, turintys sąsajų su minimalizmo estetika. Norima atskleisti, kaip autoriai plėtoja atskirus minimalizmo muzikos bruožus, kokių jungčių esama su kitomis stilistikomis. Išryškinami konstruktyvūs idėjų įgyvendinimo būdai, parodomas atskirų komponavimo principų perimamumas. [Iš leidinio]Reikšminiai žodžiai: Minimalizmas; Pominimalistinė muzika; Superminimalizmas; Asketizmas; Tolydumas; Simetrija; Konstruktyvumas; Komplementari ritmika; Statiškumas; Minimalism; Post-minimalistic music; Superminimalism; Ascetism; Continuity; Symmetry; Constructivism; Complementary rhythmics; Statics.

ENThe present study is a review of works of several Lithuanian composers of the middle and younger generation (J. Janulytė, R. Mažulis, E. Medekšaitė, R. Motiekaitis, R. Kabelis), which have links with the aesthetics of minimalism. The aim of the study was to reveal how the composers develop separate features of minimalist music and what their ties with other stylistics are. Constructive ways of implementing ideas are emphasised, and the continuity of separate composition principles is demonstrated. All investigated compositions are characterised by a concrete idea, the discipline of thought, the use of very definite limited material and a complete "exhaustion" of its potential possibilities, although often everything happens in the zone of silent music and requires close attention on the part of the audience. It seems that the composers who rethink conventional canons try to play with old stereotypes. The study of sound becomes the composers' favourable occupation. The visually tangible form lends a very definite direction to the process of listening. Most of the works investigated can be linked with the reaction to the importance of sound which has been lost. The emphasis on static tonality or, on the contrary, on the dazzling slide through the "rainbows" of related accords demonstrates the level of composing techniques, which has grown considerably. Post-minimalists usually do not employ the arpeggio of accords typical of minimalists. Sometimes attempts are made to complicate the linearity adored in many compositions with denser accords. Works by many post-minimalists contain a perfectly formed crystal of thought, as though drawn in time, whose sound expression can be often converted into a graphic figure which usually is not simple. Often, it contains a "counteraction" of various sizes. In the post-minimalist period, many links with the previous prevailing trend can be traced.The phenomena that appeared in the post-minimalist period under the influence of minimalism often employ different sound parameters. [From the publication]