Skapiškėnų instrumentinio muzikavimo tradicija

LTStraipsnio tikslas - atskleisti Skapiškio valsčiaus instrumentinio muzikavimo tradicijų savitumus ir pokyčius bei juos lėmusius veiksnius XX a. pradžios-pir- mosios pusės ir vidurio-XX a. pabaigos laikotarpiais. Atkreipiamas dėmesys ir į šio krašto instrumentinio muzikavimo tradicijų sąveiką su profesionaliu ar pusiau profesionaliu muzikavimu ir jų gaivinimą. Tam tikslui, išanalizavus archyvinę medžiagą ir apibendrinus ankstesnius tyrimus bei palyginus su gretimais kraštais, mėginta nustatyti pagrindinius Skapiškio valsčiaus muzikinio instrumentarijaus, ansamblių sudėties, repertuaro, kūrinių struktūros bruožus ir tradicines sąvokas, naratyvus bei nuostatas ir vertinimus įvairiais tradicinio muzikavimo klausimais. Taip pat rūpėjo apibrėžti ryškiausius Skapiškio valsčiaus instrumentinio muzikavimo židinius, jų sąsajas su gretimais kraštais. Taikyti kokybinių tyrimų giluminio interviu, eminis, istorinis ir tipologinis lyginamasis metodai. [Iš straipsnio, p. 732]Reikšminiai žodžiai: Skapiškis; Liaudies muzika; Instrumentinė muzika; Muzikantai; Skapiškis; Folk music; Instrumental music; Musicians.

ENSeventy-seven folk musicians and some professional or semi-professional musicians, born from 1896 to 1995, have been documented in Skapiškis rural district. The older generation usually played fiddle or clarinet, while younger generations usually preferred bellows instruments; among them concertinas and bandoneons were most favourite. One can define three strongest traditional music making centres in Skapiškis rural-district: the north-western part of the area bordering with Pandėlys rural district; Skapiškis village and its surroundings as well as the south-western part of the area, bordering with Kupiškis rural district. In the first half of the 20th century, Skapiškio rural-district was notable for very strong music making traditions linked to semi-professional and professional performance of organists and brass orchestras. There was very active brass band of Skapiškis riflemen masterfully led by Juozas Semaška. Majority of bandsmen were local, derived from villages. With their village bands they often performed on various occasions. The impact of the orchestral music making traditions could have been one of most relevant reasons, that archaic polyphonic music making in Skapiškis area waned earlier than in neighbouring villages; the polyphonic form of singing called sutartinės and old wind instruments had not been fixed in due time. However, during the interwar period, playing skudučiai (single-tone whistles played in groups of four to seven persons) still existed not only in the northern part of the area, but also south of Skapiškis. Playing skudučiai and other older and/or later music instruments was also prompted in the school of Skapiškis. Up to date, local people have preserved some terminology inherited from the archaic polyphonic playing traditions.Musicians of Skapiškis area in small or larger capellas used to play old music instruments during youth events and calendar festivals or sometimes christening celebrations until the 1960s, and during the after-wedding parties even until the 1970s-1980s. It was violin that waned first, while the clarinet persisted longer, and as for the concertina and bandoneon, they stayed the longest. The study performed allows concluding that there has been an original traditional repertoire formed in Skapiškis area, where rather numerous polkas and waltzes based on song melodies have been documented. In the north-western part of the area, folk musicians used to play not only old rural pieces, but also compositions learned from the brass orchestra and its musicians, some of them consisting of three of four parts and played in multi-signature keys. They were able to define clearly structure and musical peculiarities of their music. [From the publication]