Savaiminės lietuvių dainų kūrybos metmenys

LTReikšminiai žodžiai: Savaiminė dainų kūryba; Savaiminės kūrybos dainų ritmika; Naivioji literatūra; Naivioji dailė; Tautosaka; Spontaneous songwriting; Rhythm of spontaneous songs; Naive literature; Naive art; Folklore.

ENThe article deals with development tendencies of the spontaneous composition of Lithuanian folksongs. It is based on certain theoretical methodological approaches. First, tradition is considered to be a continuous and never-ending process, comprising knowledge of the meaning of actions and their motives. This knowledge is spontaneous rather than consciously selected and developed; it is increasingly closely related with individual, who is deeply rooted in the peasant culture, wherever and whoever this individual might be today, as well as with his / her surroundings, various expressions of his / her cultural activities and inner structures, like thinking, believing, and perception. Therefore classical folksong of the peasant culture is also regarded as a living and developing, rather than finished and severed phenomenon, which has merged into the very whirl of the nowadays culture by way of its inner development and acquired various forms. Second, in her search of the spontaneous development of the folksong culture, the author resigns any evaluative attitude, which used to be indispensable while discussing the folksongs belonging to the classical layer, and looks for arguments to support the continuation of the folkloric way of thinking in the nowadays forms of the songs. The contemporary continuation of the folksong composition is assumed to be possible to track down in the so-called spontaneous, or naive, folksong composition. It comprises compositions by amateur bards, spreading in half or almost oral (verbal) way (but not exclusively). Everything that happens to these compositions, once they get entrenched in the cultural environment, is also very important to our research. Our aim is presenting theoretical outline of the Lithuanian spontaneous folksong composition, as an integral phenomenon of the nowadays culture, and attempting to discern the contribution of the "mode of speech" that is called folkloric, in it.It is very important to note that this composition, based on the traditional folksong culture of the pre-modern society, is thriving today in the post-traditional globalized cultural environment, accumulating and making good use of the whole arsenal of resources and means provided by the culturally globalized surroundings, and thus merging into the stream of the popular culture, yet at the same time keeping continuous ties directly connecting it to the past and preserving its naturally naive and inherently folkloric character. Establishing the social role of such spontaneous folksong composers is a difficult task, as well as locating the cultural spot where such compositions typically thrive. The range of individual self-consciousness, cultural affiliations and education of these composers is rather broad: from persons having only primary education, sometimes - even barely literate and unused to taking notes in order to remember things, to peasant offspring with higher education in technical, natural sciences or even in humanities; from farmers, workers, or farmhands to teachers, cultural workers, or journalists. Today spontaneous folksongs may be created by elderly pensioners as well as by high school undergraduates. Still, it seems that majority of these composers are middle aged or elderly women, mostly teachers, and male musicians of the folk music bands. The essential peculiarity of the spontaneous folksong composition, which must be clearly perceived and firmly acknowledged in order to take any step further, is its cultural hybridism. It becomes increasingly prominent today, along with appearance of new forms of cultural hybridization and mixed values, noted by many famous cultural theoreticians.Still, even in such terms it is hardly possible not to recognize the unquenchable, inextinguishable lyricism of the spontaneous folksong compositions, which has doubtless been adopted from the older folksong world, as well as the obvious large "dose" of the romantic world-view. The hybridism of these compositions is primarily determined by the widening cultural "sphere" resulting from the general tendencies of globalization, which has also caused the folksong breaking free from the village surroundings as well as from any other definite cultural slot in general, and its spread across the widest cultural ocean. Besides, the folksong compositions are turned into hybrids by changes affecting the relationship between individual and his / her dwelling place, which result in hitherto seemingly alien cultural elements being incorporated into the language of folksong compositions. Moreover, this hybrid can be asserted to be the result of the merging urban and peasant, commercial and spontaneous non-commercial (distributed and spontaneously spreading), mass and individual or collective, consumer and creative planes, and finally - of the local and the intercultural (or that of the global village, according to McLuhan) identity. The rapid development of the communication technologies has executed yet another important shift in the spontaneous folksong composition: i. e. it is now standing not only on the crossroads of written and oral cultures, but also on that of the media as well. [...]. [Extract, p. 509-511]