Nuo tradicinės polifonijos iki polifoninės tradicijos : lietuvių muzikos kaita XX-XXI a.

LTŠioje etnomuzikologinėje knygoje siekiama atskleisti šiuolai¬kinės liaudies muzikos tradicijos tąsos sudėtingumą. Joje apžvel¬giama lietuvių muzikos kaita nuo XX a. pradžios, kai Lietuvos kaimuose tebegyvavo iš kartos į kartą perduodamos polifoninės giesmės sutartinės (jų užrašymo laiką ir reiškia pirmasis knygos pavadinimo sandas „nuo tradicinės polifonijos“), iki XXI a. pra¬džios, kai tos sutartinės tapo nebe paveldimos, o išmokstamos, kai jas ėmė puoselėti miestiečių bendruomenė, jos rado savo vietą greta daugybės kitų urbanistinėje aplinkoje gyvuojančių muzikos stilių (tokį laiką žymi antrasis knygos pavadinimo sandas „iki poli¬foninės tradicijos“). Tyrimas pradedamas svarstymais, kokias nau¬jas dainavimo ir muzikavimo įamžinimo galimybes suteikė garso įrašymo technologija, kaip ji paveikė tradicijos tąsą, ir baigiamas žvilgsniu į šiuolaikinį miestą, kuriame muzika kuriama, jos klauso¬masi ir mokomasi, pasitelkiant įvairias medijas, kuriame senosios giesmės virsta „elektroninėmis sutartinėmis“.Reikšminiai žodžiai: Etnomuzikologija; Liaudies muzika; Miesto muzika; Tradicijos; Ethnomusicology; Folk Music; Urban Music; Traditions.

ENThis ethnomusicological book explores the evolution of Lithuanian music from the beginning of the 20th century when polyphonic songs sutartinės were still sung in the villages of Lithuania and were passed on down the generations, to the early 21st century when sutartinės were nurtured by urban communities where they were learned rather than passed down. The study is concluded by taking a look at the modern city, in which music is learned created, and listened to by using various media, and where the old polyphonic songs become ‘electronic sutartinės’. It is this transition of sutartinės into the cities and their coexistence with many other musical styles in the urban environment that lead to the title Nuo tradicinės polifonijos iki polifoninės tradicijos (From Traditional Polyphony to the Polyphonic Tradition). Research for the book was carried out by participating in the folklore movement of Vilnius, by taking part in various events and carefully observing them. The author not only analysed the ways the tradition has been cherished by the members of the folklore movement, but also how the composers and performers of other musical styles invoke Lithuania’s musical heritage. Having scrutinized the musical scene, the author attempts to make connections between the changes that traditional music underwent in earlier times and the historical shifts she has witnessed in her own lifetime. She also emphasises the elements that could point to the nature of traditional music as it would be heard a few decades later. The monograph is made up of eleven chapters that introduce the Reader to the evolution of Lithuanian music from the early 20th century to the early 21st century: 1. The phonograph and the ethnomusicological discoveries of the early 20th century 2. The living tradition of the early 20th century and M.K. Čiurlionis’ vision of national music.3. The urban folklore movement. First generation urban residents searching for new identity 4. The continuing of folk singing tradition 5. How did the Lithuanian polyphonic songs sutartinės survive? 6. The creativity of the bards. Those who lived in the past and myself 7. Nostalgic memories of the 1960s: construction, music and television 8. Music of the rebellious youth: patriotic rock and hip-hop 9. How was the style and aesthetic of Baltic music created? 10. Do Lithuanian composers value their native culture? 11. Shifts in traditional culture. Folk music in the city of the 21st century. In the first chapter, the author describes the ethnomusicological expeditions of the first half of the 20th century. It was a period of ethnomusicological discovery when taking a phonograph to a remote village one could record a style of singing or playing music little known to scholars. [...] The second chapter focuses on Mikalojus Konstantinas Čiurlionis, the pioneer of professional music in Lithuania, and on his attitudes towards folk music. [...] The following chapters are connected by the common topic of renewed studies into Lithuanian local lore after the Second World War and the folklore movement that evolved in the 1960s. The third chapter discusses the expeditions organized by the Lithuanian Ethnographic Society (Lietuvos kraštotyros draugija) and the folklore ensembles that started appearing in around 1968. [...] The fourth chapter uses the example of the famous singer of folk songs Veronika Povilionienė to illustrate the continued tradition of folk music in an urban environment. [...] The fifth chapter raises the question of how the polyphonic songs sutartinės survived. In the mid-20th century, this distinctive musical genre came under threat: the number of singers greatly decreased and there remained only few families that still passed the ancient polyphony down from generation to generation. [...].The sixth, seventh and eighth chapters describe the seventh decade of the 20th century, which was especially polyphonic. At that time, classical music experienced a surge of avant-garde ideas, popular music was shaken by rock, and the genre of sung poetry emerged. [...] The sixth chapter looks at the bard movement, which emerged in the 1960s on the streets of Vilnius. [...] The seventh chapter is dedicated to popular music from the 1960s to the 1980. The author looks into the common themes of pop songs and tries to define the reasons for their lasting popularity. The eighth chapter is about rock music - a strong alternative to Soviet pop music. Around 1965, the streets of Vilnius saw a stark change in lifestyle, fashion, and style of communication; the hippy subculture reached Lithuania and the first rock bands started forming. The ninth chapter looks at the evolution of Lithuanian folklore in the recent decades. After the re-establishment of the country’s independence the ideological censorship ceased, individuals regained the freedom to openly discuss their worldviews and to create their own cultural environment. [...] The tenth chapter explores the works of contemporary classical music composers alongside folk music. [...] The final, eleventh, chapter is a summary of the whole monograph: it overviews the most prominent shifts in Lithuanian culture and Lithuanian music that resulted in the formation of the polyphonic tradition in a twenty-first-century urban centre. [...] The folk music that is now performed in cities originates in the regions of Lithuania but there is no real need today to maintain close ties with performers from rural areas to keep it alive. The urban environment has been providing a fertile ground for the development of this type of music and has served as a refreshing source of inspiration for its performers. [...]. [From the publication]