Etniškumo ir regioniškumo atspindžiai lietuvių kompozitorių muzikoje

LTVertinant tematikos aspektu, lietuvių kompozitorių muzikoje gan svarbią vietą užima prigimtinės kultūros paieškos ir vietoms teikiama reikšmė1. Kolektyvinės tapatybės bendrystė ir jos kultūrinių simbolių paradigma etniškumą ir regioniškumą kintančiame istorijos fone skleidžia įvairiai. Raiškiausia muzikos etniškumo ir regioniškumo ženklų pajauta yra susijusi su recepcijos, t. y. jos atlikimo, formomis, tačiau muzikos tekstas, jo vaizdinė ir grafinė sąranga popieriuje, gebant skaityti ir suvokti muzikos simbolių gramatiką, leidžia pažvelgti į etniškumo ir regioniškumo ypatybes per statiškesnę – natų pavyzdžių – prizmę. Autorinis muzikos tekstas yra prasminis kūrinio visumos paveikslas, kurio suvokimas apima garsinės kalbos žodyną, metaforų įvairovę, pavyzdžiui, vien tik melodijos apibūdinimo atveju: ji susideda iš visumos taisyklingai atliktų garsų ir frazių, bet kaskart ji gali būti atliekama vis kitaip. [Iš straipsnio, p. 37]

ENcomposer’s musical text is a semiotic illustration of the musical piece as a whole, the perception of which includes the proceeding side of the phonic lexicon. In the spaces of the exposition, the recorded notational symbols (manuscript or facsimile fragments) become part of time, the environment and the discourse of its relationship as an exhibit. The relationship of a composer’s piece or their entire body of work to the changeable environment, the processes of globalisation as well as the correlating and already disappearing or hidden segments of ethnicity and regional culture have become symbols of identity that have shaped the face of an epoch, generations, groups or specific individuals, revealing itself in the work of composers from the beginning or middle of the twentieth century with more or less apparent segments in Southern Lithuania (M. K. Čiurlionis: threnodies, hay making songs) and in the North-East (J. Gruodis: polyphonic chants). However, ethnicity is a multi-faceted and multi-dimensional phenomenon that constantly rebuilds and renews itself and is related to social context: individuality, represented by the example of a manuscript from the turn of the twentieth century, is now disappearing due to the technological notation systems of the twenty-first century, becoming a unified and anti-expositional form that is useful from the perspective of digitalisation but ruinous from the perspective of a unique exhibit. For the sake of historical continuity, unique compositional methods and, at the same time, illustrations of form, contemporary musical pieces of the twenty-first century should already be transferred for comprehensive signification as an important expositional element for the presentation and identification of ethnic and/ or regional characteristics.Special insights with regard to this question can be linked to renewed trends towards ostinato through the predominant tendencies of minimalism in Lithuanian professional music (B. Kutavičius, M. Urbaitis, V. Bartulis) and the constructively applied elements of musical language that lie within (R. Mažulis, R. Kabelis), but there are no such notational examples in the expositional spaces because we are much too close to the musical processes that have just occurred. By the beginning of the twentieth century, the dichotomy of the original musical piece was already splitting into ethnic and global atoms (the Lithuanian folk song or its intonational-melodic allusion and reflections of music from Europe or the New World). Symbols of regional culture (Dainava region, Aukštaitija) are clearly expressed at the beginning of the twentieth century as well: M. K. Čiurlionis’ harmonic ostinato and idiosyncratic statics juxtaposed with a surging melody; constant harmonic change, drive and massiveness as well as the variety of the polyphonic texture are all elements of Aukštaitija regionality (in the work of J. Gruodis). Even without the use of specific musical references in original music, and implementing only the musical fundamentals of rhythm, sound sequences and melody results in work that composers from older generations did not mind calling self-discovery: “Sometimes even I am surprised at how I could find so many Lithuanian threads back then” (M. Petrauskas). However, in the twenty-first century, the quest to find a link to ethnicity becomes an act that runs counter to the nature of the young composers and is difficult to identify without the author specifically revealing it. Thus the composer’s musical text (with ethnic and regional elements or without them) reflects a coherent link to their environment. [From the publication]