Ožys ir jo garsinė aplinka

LTStraipsnio objektas - ožys tautosakoje, mitologijoje, papročiuose ir jo garsinė aplinka. Tikslas - remiantis lietuvių ir kitų tautų duomenimis atskleisti ožio sąsajas su muzika (plačiąja prasme), jų kilmę ir prasmes. Parodyti, kad lietuvių „oželio dainos“, dažnai laikomos nereikšmingomis, slepia ne tik gilius mitinius vaizdinius, bet ir archajiškus garso išgavimo būdus, tipologiškai giminingus Arkties tautų intonacinės-akustinės kultūros reliktams. Išvados: ožys lietuvių tradicijoje laikytinas itin senu „veikėju“, iki šių laikų išsaugojusiu ryšius su mitologija, apeigomis ir mums ypač rūpima garsine aplinka. Pastaroji iki šiol nebuvo nuosekliai tyrinėta. Metodai: aprašomasis, lyginamasis, istorinis tipologinis, struktūrinis semiotinis. Pasitelkiamos ir hermeneutinės interpretacijos prieigos. [Iš leidinio]

ENThe subject of the article is the goat in folklore, mythology, customs and its sound environment. The goal is to reveal the links of the goat with music (in the broad sense), their origin and meanings based on data from Lithuania and other nations. To show that Lithuanian "goat songs”, often considered irrelevant, hide not only deep mythical images, but also archaic ways of making sounds, typologically related to the relics of the intonation-acoustic culture of the Arctic nations. The conclusions are as follows: the goat is considered to be an extremely old “player” in Lithuanian tradition, having preserved to this day relations with mythology and rituals, and the sound environment that we are particularly interested in. The latter has not been studied consistently so far.The second part of the article discusses the relationship between the horn of the goat, a part of its body and a musical instrument, with the Dionysic world. It is noted that in Latvian and Lithuanian folklore, the sound of a goat horn, as “the voice of the goat”, is not related to the concept of beauty and harmony. By its ear-splitting sound and aesthetic attitudes, the Dionysic Greek wind musical instrument, the aulos, is close to the goat horn. The Greeks attribute the invention of the aulos to the goddess Athena. According to myth, Athena made the double-aulos from the bones of a deer. It is likely that there is a connection between the motif of this Greek myth and the Lithuanian song group, attributed to the international motif of “singing bones”. The hero of these songs, the goat, has his legs beaten, and the broken bones are made into various musical instruments, including a flute.The third part of the article focuses on the functions and meanings of the transformed voice, various ways of changing voices related to the ceremonial environment of their use. The following definitions are used to describe the voice-changing phenomenon: “voice mask” (Curt Sachs), “acoustic mask” (Įana Kryžanovskaja) and so on. Attention is drawn to the special way of extracting the sound of the “goat song” chorus. In most cases, these are paramusical sounds, often produced by continuous alternation of inhalation and exhalation. Similar archaic musical articulation can be found among the so-called Paleoasian and related peoples. Yuri Sheikin, a Siberian folklore expert, suggests the term “paleosonoric system” to describe archaic musical phenomena. It has a special significance for voice timbre, which wilfully seeks to “distance” itself from the human voice. The choruses of Lithuanian “goat songs” with their specially produced timbres, also find themselves outside the sound of ordinary music (and even language), in line with the norms of archaic paleosonoric culture. This makes it possible to identify the origins of these refrains, and perhaps the “goat songs” themselves, which date back to ancient times. [From the publication]