Baltiškasis fenomenas vargonų garsovaizdžiuose

LTVienas iš tyrimo objektų yra archetipo Savastis dramaturgija naujojoje lietuvių, latvių ir estų vargonų muzikoje, kuri stebima kaip išsiskleidžianti procesų drama. Šios dramaturgijos struktūroje susiduriama su tamsa, šauksmu iš gelmių, keliu, lūžiu, nušvitimu - teosofine universumo prisikėlimų grandies paradigma. Archetipų tyrimas darytas 2011-2014 m., vėliau į jį įtraukta platesnė baltiškosios tapatybės kategorija, glaudžiai susijusi su archetipo Savastis samprata. Šios paradigmos esmė ir gyvybingumas Baltijos kraštų vargonų muzikoje ypatingai iškyla ir atsiskleidžia XX a. II pusėje, pokario ir okupacijos patirčių kontekste. Vienas po kito atsiranda ją patvirtinantys kūriniai - šio tyrimo objektas ir jo pirmoji prielaida. Istorinis lūžis tampa muzikinės dramaturgijos „ašimi" ir tapatybinės rezistencijos iššūkiu. Tyrimas apima apie 30 naujosios lietuvių, latvių ir estų vargonų muzikos (XX a. II pusės - XXI a. pradžios) kūrinių, patvirtinančių Savasties archetipo dramaturgijos vargonų kūryboje koncepciją. Tai Broniaus Kutavičiaus, Giedriaus Kuprevičiaus, Teisučio Makačino, Gracijaus Sakalausko, Vidmanto Bartulio, Algirdo Martinaičio, Onutės Narbutaitės, jono Tamulionio, Juliaus Gaidelio, Longino Apkalno, Peterio Vaško, Aivaro Kalėjo, Imanto Zemzario, Arvo Pärto, Tomo Siitano, Edgaro Arro, Mykolo Natalevičiaus ir kt. kūriniai. Savasties archetipo raida ir jos etapai atitinka šių kūrinių formas, jų atsiradimo laiką, estetinę ir etinę meno psichologinę motyvaciją. Šią tezę iš dalies sutvirtina ir patys kūrinių autoriai, atskleidžiantys tyrėjai savo idėjas bei jų šaltinius. [Iš Įvado]

EN[...] The practice of music performance and the uniqueness of organ instrument has synchronised into a single expression. So it actualised its conceptual epicentre and boundaries even further: from archetypal dramaturgy and Baltic minimalism to processual dramaturgy and the "scenography" of transcendence. Space and imagery, a vision in music, which is being shaped like a consequence of the acoustic perspective of the drama of archetypes, perform a decisive role in these dramaturgies. Thus, it can be claimed that archetypes are transformed into visions of memory. Also, it is evident that a specific prerogative of the organ instrument exists in this process because only the organ can express this form of the hum of the wholeness, necessary to mobilise and spread the Balticism. The idea of transformation of Balticism in organ soundscapes is presented in a monograph in several stages. In the beginning, there are presented political, geopolitical, historical preconditions for the concept of Balticism to emerge. This process leads to the central impulse of identity inspiration and its "tool" - the archetype. Archetypes and their strategy become the main factors of the idea of the Baltic phenomenon gradually unfolding in the monograph. There is a difference between the archetype of Selfhood and the field of the formation of the Baltic identity. It can be similar to the process of dramaturgy and its scenography. The involvement of signs and symbols in this process is crucial. In this way, a feature of restorative dramaturgy is formed, which later will be explicitly revealed in creativity analysis. These essential postulates of the Balticism idea compile the content of Chapter I in the monograph.Meanwhile, Chapter II is designated to the archetype phenomenon and its place in the history of culture and nowadays, highlighting its essence and source in Carl Gustav Jung's (1875-1961) philosophy of psychoanalysis. This crucial turning point of this work leads from the modernism of organ works to the dramaturgy of archetypes through the Jungian theory of archetypes. The motif of psychological deepness here becomes the "score guide", allowing to immerse in the archaeology o f historical memory, so indispensable for the psychotherapy of understanding and establishing the place of the Baltic countries in the world. Specifically, the archetype becomes an essential mediator of the resurrection and the memory of national identity, and its particular visual "materiality" allows the interdisciplinary connection between history, myth, ethno-culture and its elements - sound and image, gesture and movement (dance) in a peculiar modern trance of archaics. This is how the musical dimension of the archetype, its parameters of expression in processual dramaturgy, aesthetic theories, semiotics and the discourse of structuralism are sought. The archetype also appears to be a very spacious phenomenon, filled with interdisciplinary meanings but also hardly tangible regarding the musical analysis. Different musicologists interpret the archetype based on entirely different conceptions, elaborate its different functions and meanings in the development of the musical form, therefore the most objective view here is the approach of ethnomusicology, which focuses on the folklore aspects. However, there is a return to the Jungian theory of archetypes as the original rationale for the idea and its holistic aspect.The sign of the archetype semantics in music development is executed by insights of the phenomenon of the depth of the elements, associated with the psychological deepness and the depth of the earth and the sea, the dimension of low acoustic overtones and the "time travel" of the archaeology of memory. These depth projections and their images become a primary basis for the restoration of the wholeness of the world in the arche. Etymologically, it, the archetype, relates to the architecture of the cathedral, archaeology and archaics. Archetype sets into motion the tangibility of these deep layers and transforms them into memory-based gestures with visual features. Consequently, the movement of the archetype - the agitation - the becoming - the primary impulse of the processual dramaturgy for the audiovisual projection appears here. It is born with a spoken word, reminding that with the cognition that "in the beginning was the Word" and naming of the archetype starts a dramaturgical process, which represents the enigma of the resurrection. The chapter "The Archetype and its Musical Dimension" aims to discern, justify and name the assumptions and forms of expression of this process. In its essence, the archetype undoubtedly opens up perhaps like the most crucial factor of musical dramaturgy in Baltic minimalism and its influenced organ music examples. [...]. [From the publication]