Darmštato vaizdiniai lietuvių muzikos modernėjimo diskurse

EN[...] In the chapter Darmstadt images in the discourse of Lithuanian music modernization, Rūta Stanevičiūtė examines the politization of music language and compositional techniques through the early reception of the main trends of the Second Viennese School avant-garde (dodecaphony and serialism) as well as the institution that symbolized its power, Darmstadt International Summer Courses for New music. In the Cold War years, the avant-garde movements of music were heavily politicized on both sides of the ideological and political confrontation, which led to an ideologized treatment of individual compositional techniques and musical trends. Therefore, the opposition of tonality vs. atonality, or dodecaphony, formed in the so-called Western bloc in the early postwar years, which was equated with conformism vs. dissidentism (or, by the definition of that time, opposition to the totalitarian regime), influenced the 20th century understanding and interpretation of musical phenomena on both sides of the Iron Curtain. After the Second World War, the development of dodecaphony - and simultaneously of the musical avant-garde - was for several decades identified with the environment of Darmstadt's Summer Courses for New Music. The specificity of the assimilation of dodecaphony as a lingua franca at the time was predetermined by the fact that the national tradition did not have close direct contacts with the heirs of the Second Viennese School. Therefore, the controversies in the identification with the symbolic worlds of the Schönberg and Darmstadt Schools and intricate narratives of the main trend assimilation are supplemented by paradoxical connections with other configurations of modern music, which is more specifically revealed through the cases of Darius Lapinskas and Osvaldas Balakauskas. [...].