Muzikos kūrinių rituališkumas

LTŠiuo straipsniu norima atkreipti dėmesį į gana savitą muzikos kūrinių kategoriją - rituališkas kompozicijas. Jų, beje, nereikėtų painioti su ritualinio žanro (pvz., gedulingos muzikos) kūriniais, apie kuriuos šiame straipsnyje nekalbama. Pagrindinis šio straipsnio tikslas - pateikti rituališkų muzikos kūrinių apibūdinimą ir jį, logiškai pagrindžiant, įteisinti. Iki šiol pasaulio muzikologų darbuose šiai problemai nebuvo skiriamas pakankamas ar specialus dėmesys (kad apie rituališkus kūrinius būtų kalbama kompleksiškai), nors vienu ar kitu požiūriu (pvz., apie neoprimityvizmo, naujojo paprastumo ir pan.) dažnai netiesiogiai tai buvo gvildenta. Tačiau muzikos kūrinio rituališkumas pasireiškia ne vienu kokiu nors aspektu, bet kaip suma ar sistema priemonių. Muzikos kūrinių rituališkumas, pavyzdžiui, novatoriškumas ar liaudiškumas, gali apimti įvairius šių kompozicijų lygmenis: formą, sandarą (melodiką ir ritmiką), išraiškos priemones ir pan. [Iš straipsnio, p. 258]

ENThe paper introduces a model of the methodological system intended for the analysis of ritual compositions. The need for establishing such a model was natural: ritual compositions have not been investigated on a complex basis up to now. Moreover, despite the uniqueness of rituality as a phenomenon, rituality was regarded in one specific aspect only. In fact, it is a very broad area for interdisciplinary and comparative researches. The present model was developed on the basis of the works of anthropologists and anthropology sociologists (A. van Gennepo, V. Turner, E. R. Leach, W. G. Doty, etc.), structuralists, representatives of structural and stylistic semantics (C. Levi-Strauss, A. J. Greimas, P. Ricoeur), experts in semiotics and music semiotics (J. M. Lotman, J. J. Nattiez, E. Tarasti), and musicologists (M. Zenck, G. Neumann, T. Fichte, V. Landsbergis). The main purpose of this article is to determine and legalize the concept of rituality in music. Ritual composition is the composition where rituality manifests itself: in a specific sociological environment, mythicality of the composition, its metaphysical and cosmological orientation, communicativeness of ritual works, specific close-to-rituals structure, form and schemes, processuality of ritual compositions, sometimes in their barbarian style, music expression measures characteristic to ritual works.This paper examines the concept of rituality and the relations between a myth and a ritual. The author studies the form of a ritual, its structure and schemes, distinguishes binary oppositions and deliberates the paradigmatic and the sintagmatic text levels. Much attention is given to the transformational systems of different levels (anthropological and narrative). Besides, the causes of rituality, vitality and popularity are being considered. Rituality in music is expressed by stressing its aforementioned levels (sociological and psychological orientation of ritual compositions, the form of ritual works, etc.). Finally, by applying the model for the analysis of ritual compositions the article examines five oratorios of composer B. Kutavičius: "Panteistinė oratorija", 1970 (Pantheistic Oratory), "Paskutinės pagonių apeigos", 1978 (Last Rituals of the Pagans), "Iš jotvingių akmens", 1983 (Out of the Stone of Yotvings), "Pasaulio medis", 1986 (The World Tree), and "Magiškas sanskrito ratas", 1990 (The Magic Circle of Sanskrit). The chapter on Kutavičius' oratorios is illustrated by the speculations of Kutavičius himself, Lithuanian musicologists, and specialists in literature on these compositions and B. Kutavičius' music in general. [From the publication]