Auklėjamoji etninės muzikos reikšmė būsimųjų mokytojų profesiniam pasirengimui

The article analyses the importance of ethnic culture in the development of the teacher's personality. The author presents the ideas of prominent Lithuanian educators – S. Šalkauskis, A Maceina, Vydūnas, etc. – on ethnic music. The role of the teacher of music in national education is pointed out. The article describes a survey which was completed in Klaipėda University and was aimed at clarifying the students' outlook towards ethnic music.Straipsnyje analizuojama etninės kultūros svarba mokytojo asmenybės raidai. Autorė pristato žymių Lietuvos pedagogų ir tautinės savimonės formuotojų – Šalkausio, Maceinos, Vydūno ir kt. – mintis apie etninę muziką. Pabrėžiamas muzikos mokytojo vaidmenį tautiniame auklėjime. Pristatomi tyrimo, kuriuo buvo siekiama nustatyti studentų požiūrį į muziką apskritai ir į etninę muziką bei įvertinti studentų žinių apie etninę muziką lygį, metodai ir rezultatai. Tyrime dalyvavo 520 Klaipėdos universiteto pedagogikos fakulteto studentų, iš jų – 410 pedagogikos-psichologijos ir 110 muzikos specializacijos. Mūsų vykdyto tyrimo rezultatų analizė parodė, kad būsimiesiems pedagogams būdingas intelektinis ir emocinis pasyvumas etninės muzikos ir visos etninės kultūros atžvilgiu. Norint pakeisti šią bendrą studentų - būsimų pedagogų nuostatą etninės muzikos atžvilgiu, mūsų nuomone, būtina plačiau ir giliau studijuoti etninę muziką ir visą etninę kultūrą, į studijų planus įtraukti etnokultūros, etninės muzikos pagrindų kursus ir tinkamai juos praktiškai taikyti darbui su vaikais

Gaivinamos etninės muzikos renginiai XXI a. pradžios Lietuvoje: svarbiausi aspektai ir tyrimo galimybės

Events where revived ethnic music is performed at the beginning of the 21st century are analysed in the article. These events are classified according to the context of performed music and their relation to other elements of music and/or culture; organizers, funding, venues, activities, participants, audience characteristic to different categories are discussed. The research is based on the data, gathered in 2008–2013 in observations and interviews with organizers, performers and audience, and in the analysis of published material.Key words: ethnic music, revival, events, classifications

„Kaimo“ dvasia etninės muzikos gaivinimo judėjime Lietuvoje XIX a. pabaigoje – XXI a. pradžioje: priežastys ir pasekmės

The process of revealing of ethnic music in Lithuania has begun and has been connected to national liberation movement of the end of the 19th c. At this time each form of revealing the ethnic music was supported. The way of integration to European culture at the time of independent Lithuania Republic was choose and this way was continued after the World War II, when the movement of folklore ensembles in 1969 has began. It is obvious that the folklore music as the most noticeable feature of the peasant culture and the “soul” of the “country” was revealing of all these more than one hundred year period. The results of the interview of the respondents made in the 2011–2013 show that these events continue ethnic traditions and reflects the needs of contemporary society at the same time.Key words: soul, culture, ethnic music, movement, tradition, country, city. DOI: http://dx.doi.org/10.15181/td.v10i0.103

Studentų – būsimųjų pedagogų požiūrio į etninę muziką kaitos ypatumai

The article deal with the change of students attitude to ethnic music during a decade (1992-2002). The main role in bringing ethnic culture back to schools is played by the teacher and this role makes great demands on the teacher's personality. Our long time observations proved that it is really important for students – prospective teachers to understand the significance of ethnic music for the development of the child and the child’s national self-consciousness. Analysis of the results of our experiment in 1992 and 2002 years brings us to the conclusion that an inadequate interest of students to ethnic music is determined by their scanty and episodic knowledge of national music, by their poor knowledge of the volume of folk songs. Comparative analysis disclosed, that although students seldom perform folk songs, their attitude towards ethnic music remains positive. Prospective teachers perceive the significance of teaching folk songs to children. That is why the majority of students chose folk songs, as a dominating element in their music lessons.Straipsnyje atskleidžiama studentų, būsimų pedagogų, požiūrio į etninę muziką kaita dešimties metų laikotarpiu (1992-2002 m.). Gretinamas studentų požiūris į įvairius muzikos žanrus, jų žinios apie liaudies muziką, pomėgis dainuoti ir žinomų liaudies dainų kiekis. Taip pat etnomuzikiniu aspektu apžvelgiamas studentų darbas pedagoginės praktikos metu

Etninės ir akademinės muzikos skirtumai ir sąsajos skudučiavimo kultūroje XX–XXI a.

The article analyzes the skudučiai playing culture changes in the XX–XXI centuries. The author explains the meaning of the changes to the skudučiai music alteration. Comparing the ethnical and academic music manifestations within the culture of playing the skudučiai the links and differences come to light in the context of the development of the skudučiai playing. The peculiarities of ethnical and academic music links are analyzed in the aspects of duration, range, musical pulsation, the number of performers, and the preparation of the musicians.Key words: skudučiai, playing skudučiai, skudučiai players, skudučiai playing culture, group of skudučiai players, ethnical music, academic music.DOI: http://dx.doi.org/10.15181/td.v10i0.103

Lietuvininkų šokis nūdienos kultūroje: sprendimo būdai

The article deals with the place of the Lietuvininkai (Lithuanian Prussian) ethnic choreography in today’s culture, discusses dances that were created based on the ethnics of Lithuania Minor and performed by folk and country dance groups. The article is aimed at determination and description of the trends and perspectives for the revival of the Lietuvininkai (Lithuanian Prussian) ethnic choreography.Key words: Lietuvininkai (Lithuanian Prussian) ethnic choreography, creation work, reconstruction. DOI: http://dx.doi.org/10.15181/td.v10i0.103

ETNINĖS MUZIKOS GAIVINIMO JUDĖJIMAS LIETUVOJE XX a. – XXI a. PRADŽIOJE: TRADICIJOS IR MODERNUMO SĄVEIKA

This process in Lithuania has begun and has been connected to national liberation movement of the end of the 19th c. The way of integration to European culture was choose and this way was continued after the World War II, when the movement of folklore ensembles in 1968 has began. The folklore music of the peasant culture was revealing of all these more than one hundred year period. The respondents of the interview made in the 2011–2013 are favorable to all current forms of revealing of ethnic music and the way of stylization and authorization of ethnic music, according to their opinion, are natural continuation and development of the traditions of ethnic music. KEY WORDS: ethnic music, folklore, movement, tradition, modernity

Moksleivių tautinės savimonės ugdymo etnine muzika kai kurie aspektai

The article is an analysis of the role that ethnic music has information of national self-awareness. It also analyses schoolchildren's unwillingness to learn ethnic music. The article is also a representation of the ways and forms in which schoolchildren acquire knowledge in ethnic music. It provides a comparison of the attitudes towards ethnic music between a teacher of music and that of first-graders, and an account on the meaning it has in educational personality development. The authors maintain that the way of implementing ethnic music via both formal and informal education is the most efficient. Analysis based on learners and teachers' answers indicates that research participants have gained their initial acquaintance with national songs and other forms of ethnic culture in their families, later at kindergartens and schools. Meanwile, their primary sources of information have been teachers of music. Research conducted includes surveying 189 schoolchildren and 52 teachers of music from different regions of Lithuania. Having compared the research results with those from earlier investigations, we might conclude that the teacher of music is, no doubt,the basic and most active presenter of ethnic music. He / she is mostly deploying Lithuanian ethnic music as an educational means. As a matter of fact, ethnic music does not appear to be an important implement for teachers of music in stimulating schoolchildren's national self-awarenessVytauto Didžiojo universitetasŠvietimo akademij

Pradinių klasių moksleivių intonacinio žodyno formavimas remiantis lietuvių etnine muzika

Straipsnyje nagrinėjamos pradinės mokyklos moksleivių muzikinio intonacinio žodyno formavimo galimybės, remiantis lietuvių etninės muzikos intonacijomis. Muzikos psichologijos, etnomuzikologijos ir Vakarų muzikos pedagogikos duomenys leidžia teigti, kad pradinių klasių moksleivių muzikinį žodyną formuoti tikslingiausia pasitelkiant anhemitininius derinius. Atsižvelgdamas į tai, kad lietuvių etninėje muzikoje pentatoniką grįstų pavyzdžių nėra daug, straipsnio autorius siūlo alternatyvų kelią, kurio esmė – sąryšinga anhemitoninių trichordų sistema, padedanti suvokti visus diatoninės dermės laipsnius.The article analyses primary school pupils’ abilities of musical intonation vocabulary formation, in accordance with the Lithuanian ethnic music intonations. Music psychology, ethnomusicology and Western music pedagogy data shows that the best way to form musical intonation vocabulary in pupils is by using anhemitonic combinations. Taking into account that Lithuanian ethnic music doesn’t have much examples based on pentatonic combinations, the author of the article offers an alternative principle that is based on a coherent system of anhemitonic trichords that helps to comprehend all levels of diatonic scale