Prano Tamošaičio indėlis į lietuvių tautinės tapatybės formavimą

LTTyrimo objektas – birbynininko Prano Tamošaičio (1931-2007) koncertinė veikla. Tikslas: užpildyti mokslo leidinių apie profesionaliosios liaudies muzikos raidą spragas; analizuojant ją pasitelkus birbynininko Prano Tamošaičio asmenybę, jo straipsnius, kūrybinę veiklą dokumentuojančią archyvinę medžiagą (rankraščius, garso ir vaizdo įrašus), taip pat recenzijas Lietuvos ir užsienio spaudoje; apibrėžti moksliniu požiūriu kol kas menkai, ar veikiau visai nereflektuotą muzikinio reiškinio, įvardijamo kaip profesionalioji liaudies muzika, įtaką formuojant tautinio identiteto formas sovietmečiu. Metodai: analitinis, tarpdisciplininis. Straipsnis parengtas pagal medžiagą monografijai: Tamošaitytė, D, Vyžintas, A. Pranas Tamošaitis: gyvenimas ir veikla. Vilnius:Lietuvos muzikos ir teatro akademija, 2011.

ENResearch study is dedicated to Professor Pranas Tamošaitis (1931-2007), a famous Lithuanian birbynė player, composer, conductor and honourable artist of the Republic of Lithuania. In it, the activities of Pranas Tamošaitis from the inter-disciplinary point of view are revealed. The chapter "The landmarks of understanding the meaning of national identity in music and society" discusses Tamošaitis’ role in propagating professional folk music in the world. Pranas Tamošaitis created his own type of canonical stylized folk music, played with modified instruments, and was an adept of the evolution of the ethnographic elements in the contemporary musical culture, proceeding on the path built by Jonas Švedas. To him the main point of concern was national identity based on these forms of folk culture. During concert tours he entered into relations with Lithuanian emigrants and successfully propagated national folk art abroad. "The problem of nationality and identity in the Lithuanian music of the Soviet time" is a chapter where the author tries to reconstruct the Soviet heritage from the perspective of critical reflection on conflicting ideologies. The renaissance of folk music movements vs. modernism, the authenticity of the lasting tradition and reflection on Soviet ideology are the main problems examined and put to question.The author states that in the postmodern time of pluralism, the elitist and neglecting attitude of the narrow group of modernists towards modified folk music and national identity as such must be corrected in the wider cultural context. Also, the studies of professional folk music of the period must be freed from ideology and seen in a proper way: its unique task to survive and protect the national self-esteem should be recognized.