"Mokykla" kaip tradicija ir inspiracija: apie lietuvių pianistų kultūrines tapatybes

LTPagrindinis straipsnio objektas - mokykla kaip kultūrinės menininko tapatybės židinys, muzikų priklausymas juos supančios aplinkos nulemtai meninei tradicijai. Gvildenama mokyklos samprata ir jos įtaka muzikams XX-XXI a. sandūroje, siekiama kritiškai reflektuoti pačią „mokyklos“ idėją. Konstatuojama, jog visose meno srityse tradicijos perimamumas, mokyklos kaip institucijos ir kaip idėjos įtaka, jos funkcija kūrėjų veikloje ilgainiui kito, o dabarties kultūrinės globalizacijos ir visuotinių meno bei kultūros standartų sąlygomis pati mokyklos sąvoka apskritai yra problemiška. Atsižvelgiant į esamą tyrimų būklę ir svarstytinų šios srities klausimų poreikį, straipsnyje keliami šie uždaviniai: apibrėžti mokyklos sampratą; panagrinėti muzikos mokymo raidą ir jo standartizavimo reikšmę muzikos atlikimui; pasigilinti į tautinės ir / ar kultūrinės tapatybės, tradicijos perimamumo svarbą šių dienų kultūroje; aptarti lietuvių fortepijoninio atlikimo mokyklos istorinius posūkius ir būdingus semantinius bruožus. Naudojantis kultūrologiniu ir istoriografiniu tyrimų metodais, taip pat remiantis keturių lietuvių pianistų pavyzdžiais, mėginama apibrėžti, kas yra lietuvių fortepijono atlikimo meno mokykla, kokias galima apčiuopti jos ištakas ir ypatumus. [Iš leidinio]Reikšminiai žodžiai: Fortepijono atlikimo menas; Globalizacija; Kultūrinės tapatybės; Lietuvos pianistai; Muzikos mokymas; Nacionalinė mokykla; Tradicija; Cultural identities; Curtural identites; Globalisation; Globalization; Lithuanian pianists; Music teaching; Music training; National school; Piano perfomance art; Piano performing art; Tradition.

ENIn every field, the notion and influence of the 'school', or tradition, have changed over the course of time. Can one still trace any reasonable distinctions between individual, or even collective, styles in the current context of increasing standardisation and the general globalisation of culture, where national and cultural diversities tend to interrelate and overlap? Nowadays, talking about national schools in the art of musical performance is a risky endeavour. As compared with the times when the only means of absorbing someone else's knowledge, or getting acquainted with a certain tradition, was live interaction, currently, the favourable conditions for taking over various ways and styles of playing music are provided by all kinds of multiplied information. It is to be noted, however, that even in the context of the general trend towards the uniformity of style, the term 'school', especially in case of old, prominent traditions, such as the Russian, the French, the German, or the Italian, is still widely used. Performers that in one way or another are able to situate themselves in a distinct professional genealogy eagerly emphasise the importance of this aspect in their artistic practice. Moreover, if earlier we could talk about the 'school' as a unifying factor in the art of performance, now, facing cultural globalisation, the concept of school becomes not only a unifying factor, but also the one that helps preserve a specific cultural identity of a certain nation or community.Thus, investigating performance practices of peripheral traditions as opposed to the established cultures can perhaps help in answering the question whether and how it is possible for musicians to absorb many different influences from the great neighbouring cultures and yet to retain some intrinsic qualities of their own musical identity. Lithuania's geographical situation has influenced constant political changes and dependence of the country from the West or East. Being a kind of cultural periphery and having only the strong tradition of folk music practice, Lithuania has eventually started to absorb 'imported' European classical music, its currents of interpretation and pedagogy. Without having its own traditions, the Lithuanian piano school lias become very open to any influences. In the attempt of finding the inherent characteristics and semantic features that make a musical performance distinctly 'Lithuanian', the author of the article discusses the existence, roots and deviations of the 'Lithuanian' piano playing tradition. [From the publication]