Движение фольклорной музыки как средство утверждения национального и культурного идентитета литовцев: конец XIX-го – начало XXI-го вв
ENRevival of folklore music in Lithuania began within the process of the national liberation movement at the end of the 19th c. and was as one of the most fundamental means of consolidating the national and cultural identity of the Lithuanians. At the time of the prohibition of the Lithuanian press published in Latin letters by the Russian Tsarist power, which lasted from 1864 to 1904, the Lithuanian evenings were held as a noticeable form of revealing the ethnic traditions with the performance of folklore music in them. Folklore music was included in the repertoire of choirs and was performed in the Lithuanian Folk Song Festivals, which were held since 1924. The ethnic musical instruments in the inter-war period were adapted for performing not only for Lithuanian ethnic but also for European folk music as well as easy pieces created by the performers. Accordingly the construction of these instruments was developed. This process has continued after World War II and as the result the concert instruments were produced and the repertoire created by the composers reflecting the main features of the folklore music was formed. Modern way of the revival of the folklore music is connected to the activity of the Lithuanian state ensemble of folk songs and dances in 1941, which became the leader of this branch of the movement of folklore music in the post-war period. The opposite way of revival of authentic traditional folklore began in 1968 and accordingly amateur folklore ensembles, the repertoire of which mainly consisted of folklore music, have been founded in Lithuania. The research in this sphere makes it obvious that folklore music as the most noticeable feature of the peasant culture was manifested over more than one hundred year period. This process has been connected to the point of view proclaimed by the leaders of the national liberation movement at the end of the 19th c.According to it the peasant layer of the Lithuanian society speaking Lithuanian had to be constitutive representatives of the modern Lithuanian nation. The other layers of the society which were speaking mostly Polish were not included in the meaning of the modern Lithuanian nation, and for this reason neither second official language, as was the case in Finland from the 1919, nor the cultural heritage of these layers of society was popularized. This point of view was fortified in the inter-war period and became noticeable in the state official policy of Lithuanian Republic of the 1990s. The peasant culture of the 19th - the beginning of the 20th cc. is generally the ideal model of revealing folk music in this movement at that time. Comparison with similar movements of folklore music in Europe has shown that like in Lithuania at the time from the end of the 18th - beginning of the 19th cc. peasant culture was manifested as one of the fundamental features of the movement of the national self-awareness of the European nations in the 19th c. In the 20th c. these movements of folklore music in European countries began including as well the heritage of other layers of the society and adopting the means of the professional academic music. After World War II the creative point of view in revealing and performing folklore music was developed and cooperation with the main directions of jazz, rock and pop music started. Accordingly it is proposed that the movement of folklore music at the end of the 19th - the beginning of the 21st cc. in Lithuania could be appreciated as the relic of the point of view of the national liberation movements not only of the Lithuanians but also of similar movements of the so-called ìyoung, non-historicalî nations, whose national self-awareness was also formed mainly on the basis of the peasant culture of the 19th - the beginning of the 20th cc.
