Kai oktavoje skamba daugiau kaip dvylika garsų. XX a. 7–9 deš. Lietuvos kompozitorių muzikos fragmentai

LTStraipsnyje aptariama mikrotonalumo problematika XX a. muzikos istoriniame ir bendrų muzikos modernėjimo tendencijų kontekste, komentuojami ir palyginami Julios Werntz, Georgo Friedricho Haaso, Gražinos Daunoravičienės, Rimos Povilionienės, Ryčio Mažulio ir Lidios Ader pasiūlyti modeliai, kaip analizuoti mikrotonines kompozicijas. Aptarus Jeronimo Kačinsko progresyvias pastangas įtvirtinti muzikos komponavimo ketvirtatoniais kryptį, straipsnyje analizuojami ir sisteminami mikrotonalumo elementų panaudojimo atvejai lietuvių kompozitorių darbuose mažai nagrinėtu laikotarpiu iki Nepriklausomybės atkūrimo (XX a. 7–9 deš.). Pagal Lietuvos kompozitorių kūriniuose įtvirtintas mikrotoninio komponavimo strategijas išskiriami tokie ketvirtatonių panaudojimo būdai kaip sklandaus perėjimo ir ornamentacijos raiška, unisono „išplėtimo“ strategijos, glissando modeliavimo ketvirtatoniais atvejai, ketvirtatoniai kaip integrali melodijos formavimo priemonė, 24-TET garsaeilio principai. [Iš leidinio]Reikšminiai žodžiai: Mikrotonalumas; Ketvirtatoniai; Jeronimas Kačinskas; Lietuvių muzikos modernėjimas XX a. 7–9 deš.; Vytautas Barkauskas; Jurgis Juozapaitis; Antanas Rekašius; Feliksas Bajoras; Šarūnas Nakas; Mindaugas Urbaitis; Microtonality; Quarter-tone; Jeronimas Kačinskas; Lithuanian music modernization in the 60s-80s.; Vytautas Barkauskas; Jurgis Juozapaitis; Antanas Rekašius; Feliksas Bajoras; Šarūnas Nakas; Mindaugas Urbaitis.

ENIn the history of music, the twentieth century has emerged as a time of dramatic change in general as well as changes specifically in the established norms of music. As early as in the first decades of the century, composers and music researchers began to delve into new means of musical expression, to study the structure of sound, and to look for original possibilities of composition. Openly questioning the authority figures of previous periods, contradicting and denying the stability of the major-minor system, they boldly experimented with the interval relations of musical sounds, modifying the established system of evenly tempered tuning and the concept of music itself. As a consequence of such experiments, the phenomenon of microtonality emerged in the early twentieth century, which led to a revision and expansion of the canonized phenomenon of Western music sound. The article discusses the problems of microtonality in the historical context of twentieth-century music and general tendencies of music modernization as well as comments on and compares analytical models to evaluate microtonal music compositions, provided by Julia Werntz, Georg Friedrich Haas, Gražina Daunoravičienė, Rima Povilionienė, Rytis Mažulis, and Lidia Ader.After discussing Jeronimas Kačinskas’s contribution to the process of modernization of Lithuanian music—the composer’s progressive efforts to establish the direction of music composition in interwar Lithuania—the article analyzes and systematizes the use of microtonality elements in Lithuanian composers’ works in the pre-independence period (the 1960s–1980s). The political and cultural context of that time is gradually being explored. Researching the works of Lithuanian composers (Vytautas Barkauskas, Jurgis Juozapaitis, Antanas Rekašius, Feliksas Bajoras, Mindaugas Urbaitis, Šarūnas Nakas, and Snieguolė Dikčiūtė) according to the microtonal composition strategies established in them, quarter-tone as a means of smooth transition and ornamentation, unison “expansion” strategies, cases of glissando modeling in quarter-tones, quarter-tone as an integral means of melody formation, and 24-TET sound principles are considered. [From the publication]