Pučiamųjų instrumentų ansambliai tradicinėse žemaitiškose vestuvėse kaip šaunumo, garbingumo, turtingumo simbolis

LTXIX a. pabaigos–XX a. pirmos pusės įvairių Lietuvos regionų tradicinės vestuvės sulaukė didelio etnologų – etnografų, tautosakininkų, etnomuzikologų – dėmesio. Buvo fiksuojami, aprašomi, tyrinėjami taip pat ir žemaitiškų vestuvių papročiai bei apeigos, pabrėžiami muzikavimo savitumai. Tačiau atskiro tyrimo, nagrinėjančio iš akademinės muzikos į tradicinę gyvenseną įsiliejusių pučiamųjų instrumentų ansamblių vaidmenį Žemaitijos kaimo vestuvėse, iki šiol nebuvo. Taigi pasitelkus istoriografinį, analitinį-kritinį metodus straipsnyje siekiama atskleisti, kaip iš dvarų ir bažnyčių į tradicinį kaimo muzikavimą įsilieję variniai pučiamieji instrumentai keitė žemaitiškų vestuvių muzikavimą, prisiderino prie pažangesnio ūkininkavimo pereinančio patriachalinio kaimo papročių. Tyrimas leidžia kelti hipotezę, kad įspūdingas ir garsus muzikavimas pučiamųjų instrumentų ansambliais bei šaunamųjų ginklų salvės simbolizavo vyriškosios vestuvių pusės, t. y. jaunikio ir jo pulko, šaunumą ir puikumą. Ir XIX a. pabaigoje, ir XX a. pirmoje pusėje pasikeitus kai kuriems papročiams, dūdos vestuvėse išreiškė ir demonstravo taip pat ir jas keliančių šeimų arba vienos iš jų garbingumą ir turtingumą. Reikšminiai žodžiai: pučiamieji instrumentai (dūdos, triūbos), pučiamųjų instrumentų ansambliai / orkestrai, tradicinės vestuvės, Žemaitija, maršas, šaudymas. [Iš leidinio]

ENThe article examines changes in music-making at traditional Samogitian weddings in the second half of the nineteenth and first half of the twentieth centuries. It focuses on the incorporation of academic music-based brass ensembles into traditional music-making practices and their influence on wedding customs and rituals. In the second half of the nineteenth century, a wealthy class of farmers began to take shape, and some customs and rituals changed accordingly. The richer peasants, mostly literate, were proud of their position and accumulated wealth. While they preserved peasant traditions, at the same time they admired the culture of the upper class and tried to emulate it. According to famous Lithuanian ethnologist Angelė Vyšniauskaitė (1990), it is precisely the weddings of wealthy villagers from the second half of the nineteenth century to the beginning of the twentieth century that are considered a traditional model of wedding rituals as they reflect the spiritual culture of the pre-industrial Lithuanian countryside. Around 1870, brass instruments appeared at Samogitian peasant weddings. In the villages of that time, this was a very innovative phenomenon that came from the estates, which only the very rich could afford. The marches, polkas, waltzes, and other dances performed by four or five musicians were played at the most important moments of the week-long celebration, such as when greeting the guests, the bride’s arrival, or the procession to the church. The inclusion of the march in wedding customs can be traced back to the appearance of brass instruments since the origin of the march as a musical genre is undoubtedly linked to the repertoire of brass bands (military, manor estates). Sources describing Samogitian weddings often mention brass instruments alongside salvos and drumming.At certain times, ethnologists have interpreted these sounds as a noise made to ward off evil spirits that were harmful to humans. However, the research carried out suggests that firearms and their volleys, as well as the resounding trumpeting of the brass took on a different meaning in the period under study: it symbolized the prowess and excellence of the male sex, while brass trumpets indexed the wealth and honor of the family. During the interwar period, the sequence of the wedding customs along with the key moments and role of the musicians seems to coincide with the wedding customs of the previous period. However, there are also some marked differences. There is no mention of salvos or the use of firearms. At the most important moments of the wedding, loud noises are made with shrill trumpets, beating a drum, ringing jingle bells, or loud shouting. The role and status of the musicians also vary somewhat. As Lithuania’s economic situation improved in the interwar period, especially in the late 1920s and 1930s, every self-respecting farmer tried to invite brass musicians to weddings with the aim of showing the wedding guests respect. As in the older weddings, the brass band emphasized the special solemnity of the moment or demonstrated the greatest possible respect for the wedding participants. Keywords: brass instruments, brass ensembles/bands, traditional weddings, Samogitia, marches, salvos. [From the publication]