Šiaurės rytų Europos tautų signalinių lentų signalai ir jų sandara

LTStraipsnyje, remiantis įvairių autorių paskelbtais darbais bei ekspedicijose surinktais duomenimis, komparatyvistiniu metodu nagrinėjamas šiaurės rytų Europos tautų (lietuvių, latvių, estų, karelų, suomių, vepsų, komių, mordvių, rusų bei baltarusių) signalinių lentų repertuaras. Išskirsčius minėtų instrumentų grupę pagal būdingiausius konstruktyvius bruožus į keturis tipus, apžvelgiamas kiekvieno tipo signalų pobūdis. Nagrinėjamų instrumentų signalai skirstomi į ritminius ir neritminius (garsinius). Ritmoskaidos metodu atskleidžiant ritminių signalų sandarą bei skambinimo ypatumus, atsiskleidžia signalinės liaudies muzikos ritmodaros dėsningumai, būdingi ne tik signalinei etnomuzikai. [Iš leidinio]Reikšminiai žodžiai: Liaudies muzikos instrumentai; Mušamieji instrumentai; Signaliniai instrumentai; Signalinės lentos; Signalai; Ritmas; Šiaurės rytų Europa; Tautos; Folk music instruments; Percussion instruments; Signal instruments; Signal boards; Signals; Rhythm; Lithuania; Northeast Europe; Nations.

ENThe main features of signal boards are as follows: the rectangular wooden slabs of various size which are vibrated with one or more sticks. In this region we can find four types of the signal boards: 1. Fixed signal boards. 2. Signal board, which is carried by a human. 3. Signal board, which is hung on a human. 4. Signal board, which is hung for cattle. Nations of Northeast Europe used such sound instruments untill the middle of the XX c. when the wooden instruments were changed by iron ones. However, signal boards are known in a huge territory of Northeast Europe, we can find different types of this instrument in different areas (pict. 5). Having reviewed the repertory of signal boards, we distinguish two kinds of signals: nonrhythmic structures such as noise and sound signals and signals of rhythmic structure. There are two different frequencies to signal boards: more rhythmic strokes (the frequent beating) and less rhythmic strokes (the rare beating) at the same period of time. Unifying all written beatings, we will mark - for the first way of beatings (mentioned above), and the second. All signals of rhythmic structure are formed from rhythmic formulas. We can pick out four formulas (e.g. 27), which are used to compose various rhythmic combination. Due to the formulas and their combinations all motives of rhythmic structure signals have been formed. The main feature of rhythmic motive is one or two strokes with longer rhythmic value (usually accentuated) after the sequence of many shorter rhythmic value strokes (e.g. 28-29). The strike (or strokes) which has longer rhythmic value always shows the end of rhythmic motive. Most rhythmic motives are very similar to each other but they are usually differentiated (e.g. 30) by the final accent. The end of rhythmic motives is constant. But the other part of the motive varies by the repetition of the rhythmic formula eeee.Having observed the regularity of all rhythmic motives we distinguish four rhythmic types close to each other (e.g. 31). One or more rhythmic motives can form a rhythmic phrase. The most evident feature for separation of rhythmic phrase is the succession of three strokes at the end of the phrase (e.g. 32). One, two, three or more strokes with longer rhythmic value are very characteristic to the beginning and end of signals (e.g. 33). The signals of rhythmic structure were beaten on fixed boards in onomatopoetic words. We can divide all those words into two groups: written onomatopoetic signals (e.g. 36-37) and written signals with semantic words (e.g. 38-39). Signal boards is one of the oldest sound instruments and in their use we can notice the relic of past cultures. The origin of rhythm is related to the origin of humankind. A man was changing - rhythm was changing with him as well. There are two structures of sound processes: rhythm and noise. If a man can understand the sound structures existing in time period, he calls them rhythm, if not, they are called noise. Rhythm as human natural physiological expression always dominated in human life and behaviour and it has changed together with human evolution. The signals of signal boards reveal relics of primitive music. [From the publication]