Музыкальные аспекты движения этнической музыки в Литве в 70-х годах XX века - начале XXI века

LTReikšminiai žodžiai: Daugiabalsumas; Dermė; Etninė muzika; Etninės muzikos gaivinimas XX a.; Etnokultūrinis judėjimas; Intonacija; Intonavimas; Liaudies muzika; Lietuvių etninė muzika; Stilistika; Stilius, dermės; Temperamentas; Vienbalsumas; Ethnic music; Ethno-cultural movement; Folk music; Intonation; Monophony; Polyphony; Styles; Stylistics; Temperament; The revival of ethnic music in the 20th century; Tune; Tunes; Uanian ethnic music.

ENThe problems related to the reflection of the musical features of the revived ethnic music at the 7th decade of the 20th century ñ the beginning of the 21st century have been analysed on the basis of 264 archival records from the period 1935-1984 and 1111 contemporary sound records from the period 1994-2012 (Diagram 1), as well as on the monitoring of more than 10 various events of the revival of Lithuanian ethnic music in the period 2011-2014: concerts, festivals, workshops, seminars, presentations of the issues and anthologies of the ethnic music. For the more thorough research, 247 samples of the records of 1994-2012 from the folklore collectivesí repertoire have been selected and compared to the archival records as well as to the peculiarities of the folklore ensemblesí performance monitored in the years 2011-2014. Rendering of the musical features ñ the styles and the modes - of ethnic music is the main objective of this study. The analysis of the selected samples of records showed that the repertoire of the folklore collectives in Lithuania in the years 1994-2012 consisted of examples of regional ethnic music, which was performed in authentic forms. However, the analysis of the records testified to the fact that vocal music prevailed over the instrumental ethnic music. The main part of the repertoire consists of the songs ñ 75% and the instrumental music includes 25% of the entire repertoire. Regarding the other genres, ethnic music is insufficient. The prevailing style of the ethnic music repertoire is polyphony - about 68% of the records and monody makes up only about 32% of the repertoire. The so-called parallel songs of the polyphonic style are the most frequent - 57%, and the monodic songs take the second place - 43% of all songs. There are 4 samples of revived sutartinÎs ñ kind of vocal contrapunctual polyphony, as well as 2 romances and 6 examples of instrumental contrapunctual polyphony.The analysis of the selected records has showed that the main features of the ethnic music styles in the folklore ensembles repertoire are being preserved. About 57 % of parallel and more than 80% of monody songs correspond to these styles of the traditional ethnic music. Even more than 90 % of the samples of the vocal and instrumental polyphony correspond to this traditional style. However, the correspondence of the modes of the revived folklore music to the modes of the traditional music is less successful because there appear very serious problems concerning the natural intonation of melodies. The main part of the records of folklore music are performed on temperation, which is a characteristic feature of academic music. For this reason, only about 30% of the modes of polyphony and about 40% of the modes of monody correspond to the modes of traditional ethnic music. Monitoring the various events of the ethnic music reviving show that folklore and folk art collectives convey the features of ethnic music styles responsibly, but the features of modes are performed more successfully, as it is obvious in the records of folklore music from the years 1994-2012. [From the publication]