Ankstyvasis lietuvių muzikos avangardo sąjūdis: kultūriniai impulsai ir tarptautinis kontekstas

EN[...] In the analysis of the early avant-garde of Lithuanian music, in the chapter Early avant-garde movement in Lithuania music: cultural impulses and international context, Rūta Stanevičiūtė highlights the theoretical context relevant to contemporary music research: selective aspects of the historiography of music modernization, the interaction between artistic ideologies and creative strategies, and the geography and sociology of avantgarde and modernism. She revises the self-image of the 20th century music and the teleological narrative of history that had the strongest influence on research, or the "techno-essentialist" paradigm of new music as opposed to the comparative model of cultural parataxis. The twentieth century self-awareness of music culture and its theoretical and historical interpretations were characterized by the search for the initial event as a radical turning point. The dominating idea of the simultaneous overcoming and actualization of the tradition typical of the 20th century art was predetermined by the premise about the arbitrary relationship between art and its epoch and the desire to clearly draw the boundaries of the artistic present and past. The techno-essentialist approach was based on a more general notion of the previous century music as specific technological resources (music languages and styles), considering them to be prior to their cultural consumption. Therefore, the discourse of modernization here is reduced to the considerations of artistic trends, stylistic tendencies, compositional techniques, or historical periods with clear chronological boundaries. [...].