Anhemitonika lietuvių liaudies dainų melodikoje

LTMonografijoje autorius pateikia bepustoninių dermės darinių (anhemitonikos) apraiškų vienbalsių lietuvių liaudies dainų melodikoje tyrimų rezultatus. Pateikiama išsami istorinė mokslinių tyrimų minėta tema apžvalga Rytų Europos, Vakarų pasaulio bei Lietuvos etnomuzikologų darbuose (XIX-XX a.), metodologinių šio darbo krypčių panorama, mokslinių sampratų įvairovės bei jų reikšmių aiškinimo visuma. Išdėstoma autoriaus pozicija įvairių šios srities etnomuzikologinių pozicijų atžvilgiu, pateikiama originali anhemitonikos ir pentatonikos, diatonikos, chromatikos, mažoro-minoro sistemos bei kitų dermės apraiškų santykio teorija. Istorinės ir teorinės medžiagos kontekste autorius pateikia novatorišką, teoriškai pagrįstą anhentitoninių darinių terminijos sistemą. Sudaryta anhemitoninių darinių klasifikacijos sistema, išsamiai apibūdinanti lietuvių liaudies dainų melodikoje žinomus bepustoninės sandaros derminius darinius bei jų melodines sekas. Knyga yra skirta etnomuzikologams, muzikologams, muzikos teoretikams bei istorikams Lietuvoje ir užsienyje, turintiems išsamius teorinius muzikos dermės bei melodikos raidos studijų pagrindus ir besidomintiems lietuvių bei kitų tautų tradicinių muzikinių kultūrų melodikos ypatybėmis. [Anotacija knygoje]Reikšminiai žodžiai: Lietuvių liaudies muzika; Liaudies dainos; Anhemitonika; Melodika; Pentatonika; Diatonika; Intonacija; Analizė; Tyrimai; Lthuanian folk music; Folk songs; Anhemitony; Melodic lines; Pentatony; Diatony; Intonation; Analysis; Research.

ENThe development of the science of ethnomusicology is inseparably connected with the research into the formation and development of the primary elements of the melodic lines of folk compositions. It goes back to the sources of the conception of historical development of musical folklore of all nations and is known within the framework of each local tradition. What are the primary forms of the melodic lines of folk songs? What is typical of the most ancient melodies of folk songs? What musical intonations, what interval sequences in them are most universal and most frequently found? In the search of answers to the above-presented questions, the essential problem comes to light: can one state and prove the existence of a single theory of the formation of early musical thinking of all the ethnic cultures of the world? Can one prove that cultures with different traditions boast the same laws of the origin and development of the folk music composition? The issue was topical for the studies of musical folklore of different countries in different periods of time, however, at present it seems to be the most problematic universal issue of the science of ethnomusicology. Therefore, the search for answers to the above-formulated questions at present constitutes the essential material of the research into the history of the genesis of folk melodies. Against that background, the research into the modes of folk song melodics and their typical melodic - intonation sequences becomes especially topical. In Lithuanian ethnomusicology, one can find a number of publications on the subject.Of special importance are remarks of J. Čiurlionytė in fundamental publications prepared by her, such as "Lithuanian Folk Melodics" (Tautosakos darbai 'Works of Folklore', vol. 5, Kaunas, 1938), "Lithuanian Folk Songs. Collected Works" (Vilnius, 1955), chapters on the subject in the monograph "Features of Melodic Lines of Lithuanian Folk Songs" (Vilnius, 1969). Besides, essential aspects of the problem were analysed in the monographs of G. Četkauskaitė "Melodies of Dzūkai" (Vilnius, 1981), "Typology of Melodies of Lithuanian Folk Songs" (Vilnius, 1998), and L. Burkšaitienė "Melodies of Aukštaičiai" (Vilnius, 1990). The works mentioned above reveal a variety of aspects of the melodic lines, the mode, and melodic - intonation sequences of Lithuanian folk songs; however, the results of a special and exhaustive analysis of the manifestation of anhemi- tonics (absence of semitones) have never been published. Anhemitony (Gr. an - a prefix of negation, Gr. hemitonion - semitone) is an anhemitonic mode, a multi-step system of musical sounds without semitones. The types of anhemitony, such as anhemitonic tritony, anhemitonic tetratony, anhemitonic pentatony (often groundlessly called "expanded", "full", "genuine" anhemitony). Anhemitony is based on the intervals of a major second, minor third, and perfect fourth. Three-step melodic slides are typical of it (e.g., the trichords f-es-c, f-d-c, g-f-c, g-d-c). Anhemitony manifests itself in the traditional music of the Chinese, Scots, Vietnamese, and other nations. It has been discovered in the melodic lines of a number of ancient European nations (e.g., Hungarians, Russians on the Volga, Tartars, Bashkirs, Mari) and other nations of the world.J. Čiurlionytė wrote in 1968: "In the research into the mode systems typical of Lithuanian folk melodic lines, one should pay attention to melodies made of a five-step sound line without semitones, called anhemitonic pentatony" (Čiurlionytė, 1969, p. 214). The author of the present monograph makes an attempt to answer the questions related to the issues of the genesis, regional origin and genre variety of semitone - devoid constructs, as well as to address other aspects of the problem. This defines the topicality of the research. The subject of the research can be defined as manifestations of semitone - devoid constructs and melodic - intonation sequences, as well as universal laws of their use in the melodic lines of Lithuanian folk songs. The method of the research is a holistic analytic approach to the subject in question with its stable and mobile components both on the historical (time-related) and the regional (geographic distribution) plane. The sources of the research are recordings of Lithuanian folk melodics in musical notation, both those published in the period of 1825 to the present and the ones stored in most famous manuscript archives of Lithuanian folklore materials. The objective of the research is identification of the features of Lithuanian anhemitony and their classification in different aspects. The essential tasks of the research are: a) identification of the meaning of anhemitony in the historical and regional development of the melodic lines of Lithuanian folk songs; b) presentation of a systemic innovative classification of semitone - devoid constructs as a prerequisite for comparative research into the manifestations of musical folklore; c) the compilation of the dictionary of Lithuanian scientific terms for the manifestations of anhemitony. [...]. [From the publication]