Kai kurie lietuvių literatūrinių dainų melodikos bruožai (XVIII a. pab. - XIX a.)

LTPublikacija skirta apžvelgti literatūrinių dainų muzikinę erdvę. Pirmajame poskyryje atveriamos jų atsiradimo ir sklaidos istorinės aplinkybės, kontroversiški dainų tekstų vertinimai, santykiai su folklorine poetine-muzikine tradicija. Pagal negausius šaltinius nusakoma dainiškoji anonimų kūrybos raiška, skolinių sąlytis su lenkiškąja (ir kitų tautų) muzikine kultūra. Antrajame poskyryje pateikiamos pirmųjų lietuvių kūrėjų-mėgėjų reikšmingesnės personalijos, papildant jas notografine medžiaga ir specialiais muzikologiniais pastebėjimais.

ENPolitical events and social-societal circumstances at the turn of the 19th century in most of ethnic Lithuania evoked national ambitions of the Lithuanian-speaking community and roused a Lithuanian linguistic-literary movement. This produced a wave of poetic output that shaped a "song pleiad" (a term coined by Vytautas Landsbergis) of secular repertoire. The songwriters of the time were anonymous amateurs - priests, literati, historians, educated peasants, participants of wars and uprisings. The first part of the article deals with amateur songs that emerged from the 1794 uprising led by Tadeusz Kościuszko, the poetry in song that was heard during the Napoleonic wars and the armed upheavals of 1831 and 1863. Brief analysis of extant musical examples is presented. The next section presents the works of educated intellectuals. There is a brief discussion ofthe works of Antanas Klementas (1756-1823), followed by a broader presentation of the legacy of priest and poet Antanas Strazdas (1760-1833), one of the most distinct personalities of early national poetic-musical culture in Lithuania. His songs “A Canticle of Orphans”, “It Has Dawned, It Has Dawned” and the renowned hymn “Let Us Fall on Our Knees” are presented with brief analytic remarks. The works of Teofilis Valiūnas (1789-1831), one of Lithuania’s progenitors of Romanticism, are also worth more extensive mention. His historical ballad “Birutė” is reviewed. Its poetic text had numerous composed and folk-generated melodic variants both in Lithuania and in Poland.A number of variants of the “Birutė” melodies are presented and characterised using comparative analysis. The history of national literary songs was enriched by the first professionals - philologist Simonas Stanevičius (1799-1848) and historian, folklorist, translator and advocate of Lithuanian prose Simonas Daukantas (1793-1864). Also mentioned are the works of authors and priests Ambraziejus Pabrėža (1771-1849), Klemensas Kairys (1835-1864), Silvestras Gimžauskas (1844-1897), and Kajetonas Aleknavičius (1804-1874). The latter became well-known upon publication of his book “Stories, Adventures, Weddings, and Hymns” in 1861. Many of the poems are the author’s versions of folk lore; the texts are sonorous, easily memorised. Within a short time they spread by word of mouth along with catchy, improvised melodies. Aleknavičius’ songs, especially those for children, are enjoyed to this day. The conclusions present the main approaches by which poetic and musical texts are combined in literary (original, devised) songs: Folk melodies are applied to new, semi-original verses; Authored verses are accompanied by improvised, amateur melodies; Borrowed, translated verses are paired with adapted, borrowed melodies or contaminated variants of one or several Lithuanian melodies; Conversely, well-known melodies are adapted to new author-generated or translated texts. The new literary songs that built upon authentic sung folklore are especially worthwhile. They are often imperfect, amateurish (dealing with daily life, moralising), yet these songs had a role in consolidating the nation and preparing the way for the early buds of national professional culture.