Mikrotoninių intervalinių santykių identifikacija lietuvių tradicinėje vokalinėje ir instrumentinėje muzikoje

LTStraipsnyje nagrinėjama lietuvių liaudies melodijose nustatytų intervalinių santykių dermių ypatumai, remiantis nauju lietuvių liaudies dainų ir jų instrumentinių versijų archyviniu garso įrašų tyrimu. Tyrimo metu, lyginant dviejų temperacinių sistemų – natūraliojo garsaeilio ir lygios garsų temperacijos (12-TET) – intervalų atstumus ir įvertinant galimą nuokrypio paklaidą, išskirti būdingieji / dažnai pasikartojantys mikrointervalai, mikrointervaliniai dermės laipsniai, taip pat garsai, atitinkantys harmonikas ir harmonikų mikrotonus, įeinančius į natūraliojo garsaeilio 31 harmonikos eilę. Tyrimas parodė, kad senuosiuose lietuvių liaudies muzikos pavyzdžiuose mikrotoniniai ir nemikrotoniniai tam tikrų dermės laipsnių modeliai yra artimi natūraliojo garsaeilio intervaliniams santykiams (3: 2, 4: 3, 5: 4, 9: 8, 11: 8, 13: 8, 21: 16, 25: 16, 29: 16, 31: 16). Remiantis dainų garsaeilių struktūrų palyginimų rezultatais nustatytos būdingos intervalinės atstumų tendencijos dainose, išvestos vokalinių ir instrumentinių garsaeilių atstumų formulės ir susisteminti bendri visų dainų garsaeilių atstumų kodai. Taip pat atliktas tyrimas nustatant garsaeilių pasikartojančių / populiariausių garsų ir intervalų skaičių, išskirti stabiliausi, dažniausiai pasikartojantys intervalai, išvestas bendras vokalinės ir instrumentinės muzikos intervalinis kodas. Šie skirtingi tyrimų etapai atskleidė mikrotonalių struktūrų paplitimą ir naudojimą vokalinės muzikos sutartinių, ypač monodijų, atlikimo tradicijoje ir identifikavo tonų panašumus muzikos instrumentų dermėse lyginant su natūraliuoju garsaeiliu, ir tie panašumai naujai performuoja tradicinių dermių intervalinių struktūrų suvokimo, atlikimo praktikos ir rezultatų pritaikymo kūryboje kontekstus. [Iš leidinio]

ENSince the nineteenth century in the works of Lithuanian, Prussian, and other scholars, the area of intervallic relationships, especially the distances between tones in Lithuanian folk melodies, was not considered very important. Many transcriptions of Lithuanian melodies were made at the turn of the twentieth century, during which time ethnomusicologists and researchers relied on the notational system of the 12-tone chromatic scale and tunings of church organs. The main source for this research was archival sound recordings from the period between the 1930s and 1940s, which preserved the ancient tunings, unequal pitch distances, and microtonality in the vocal and instrumental tradition and may possibly change and redefine the structure of the scale in comparison with 12-TET (12-tone equal temperament) and its intervallic relationships. About 150 examples of sutartinės and monodies and their instrumental versions were used to determine each tone distance in the scale using the Melodyne-5 computer software, which detects sound deviations even in polyphonic music audio samples. In identifying the intervals in the scale, a distance limit for detecting microtones was set from 20 to 80 cents and up to 10–25 cents for overtones compared to the natural harmonic series. Using Melodyne, I analyzed each vocal and instrumental song and its collected data, including the scale of the song, the scale degrees, detected interval distances from the reference tone, and the interval ratio, as well as interval deviations to compare to 12-TET and natural harmonic series, tone distances, and deviations in the scale, and identified microtones and harmonics. The sonic code of each song was abstracted aurally from the scale generated by Melodyne and adopted as the original tones of the melody.Both the most common and less frequently used overtones were identified in polyphonic sutartinės, monodies, and instrumental music that vocal music songs have (Nos. 3, 5, 11, 9, 21), the most common produced overtones and two microtonal overtones (Nos. 11, 21), and for instrumental music the most common overtones (Nos. 3, 5, 9, 11), whereas microtonal tone is one (No. 11). The summary data of the overtones indicates that vocal music songs have exactly seven produced overtones to compare with the natural harmonic series, and for instrumental music are four. It could be assumed that the number of overtones with exact pitch or slight deviations are common in vocal and instrumental music. Thus, performers of the Lithuanian folk music tradition partially reproduced the tuning and interval relations of the natural harmonic series. On the other hand, the constant use of microtones in Lithuanian vocal monodies was clearly spotted. In comparison with the interval distances between the tones in the scale, I have divided all songs into 3, 4, 5, or 7 chord structures, according to the number of tones from 3 to 7 in the scales. I selected three main intervallic distances detected in the ensemble of horns and tunable musical instruments, based on which all examples were compared. The dominant interval distances in Lithuanian folk melodies corresponds to the penthachordic structures of the horn ensembles: the interval distance code of the second group is recognized in 22 sutartinės, monodies, and horn and panpipe ensembles, and the distance code of the first A subgroup is recognized in the 16 sutartinės, monodies, and horn ensembles. In the other subgroups, the number of samples is lower at 3, 4 and 6. From the results of the interval distances in the scale, the general interval distance for all vocal and instrumental music can be determined.The formula of the second group is ¾ + 1+1, and of the first group ¾ + 1 + ½. From a different angle, I identified recurring or popular tones used in performance of the songs. Thus, in the sutartinės examples, the popular or recurring tones are C–F# sharp, then second-degree microtones and second-degree tempered tones, and then the intervals are the fourth, fifth and sixth. In monodies, the popular or recurring tones are C–F and Bb. And in all songs: C – F#, F, Bb. So from these examples we can derive a formula for recurring tones: C–F–F#, which correspond to the intervals fourth, tritone, and fifth. This research revealed that microtonal intervals detected certain degrees in the scale are partly close to the interval ratios of the natural harmonic series (11:8, 13:8, 21:16, 25:16, 29:16, 31:16). Therefore, it can be assumed that the tradition of performing Lithuanian folk music partially reproduced the sound and tuning of a natural harmonic series. [From the publication]