Liaudies instrumentų sklaidos formos

Anotacija. Straipsnyje apžvelgiami pirmiejiXX a. pradžios liaudies instrumentų ansamblių pasirodymai viešosiosešventėse. Apibūdinama dainų švenčių reikšmė liaudies instrumentų sklaidai1950–1990 m. Plačiau aprašoma ir analizuojama po 1990-ųjų metų vykstantis švenčių,festivalių, konkursų organizavimas bei šių renginių įtaka liaudies instrumentųraidai bei sklaidai. Pagrindiniai žodžiai: liaudies instrumentų ansambliai, šventės, festivaliai,konkursai, sklaida

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

Skudučiavimo kultūra: etninės tradicijos ir jų kaita XX–XXI a. pradžioje

Ethnic culture is a constantly evolving and recurrent phenomenon which keeps changing due to historic, economic and social processes. Being a composite part of ethnic culture, ethnic music is also suscepti-ble to inevitable processes of change. A lot of Lithuanian ethnic musical instruments have undergone var-ious changes. Pan flutes, the pipes made from any grass, as well as pan piped dissonant polyphonic music have experienced a multi-dimensional evolution within a reasonably short period of time – slightly more than one hundred years. New ways of playing music have appeared, and the repertoire for pan flutes has faced a divide be-tween ethnic and academic music performed by this type of instru-ment. The elements of ethnic culture played a major role in preserving and developing ethnic culture, national awareness and identity. The present research focuses on a very specific area of culture, namely, ethnic culture and ethnic music, the culture of pan piping in particular. Pan piping culture is an ongoing phenomenon of national culture comprised of such elements as the instrument, music, tradition of play-ing music and existential context of these elements in time and space. The object of this research is forms and functions of pan piping culture (such elements as the instrument, music being played by this instrument and traditions of playing music in particular) in the 20th and 21st century. The objective of the thesis is to determine the phases and peculiari-ties of pan piping culture development predetermined by national ide-ology of the 20th and 21st century and to examine the most prominent features of pan piping culture and its education

Traditional and professional composer's repertoire to the skudučiai

Straipsnyje nagrinėjamas skudučių repertuaras nuo X X a. pradžioje užrašytų tradicinių kūrinėlių iki šiuolaikinių kompozitorių kūrinių skudučių ansambliams. Repertuaras analizuojamas, atsižvelgiant į intervalikos, ritmikos, atlikimo manieros bendrumus bei skirtumus. Apžvelgiama skudučiavimo formos, repertuaro atlikimo specifika. Reikšminiai žodžiai: Lietuvių liaudies instrumentas; Repertuaras; Skudučiai; Skudučių ansambliai; Tradicinis ir autorinis repertuaras; Composer's woks for skudučiai; Esnembles of Skudučiai; Lithuanian folk instrument; Repertuar; Skuduciai; Skudučiai; Traditional repertoireThe article attempts to characterize skudučiai (a woodvvind Lithuanian folk instrument) repertoire from the traditional compositions for the instrument recorded in the early 20th C to the contemporary composers' works for skudučiai. The repertoire is analyzed with the common features and différences in the interval system, rhythmics, and the manner of performance taken into account. The forms of skudučiai playing and the specificity of the repertoire performance are reviewed

On the question of types and groups of kanklės

The article deals with suggestions of dividing traditional kanklės into types and groups by various scientists. The author presents the division itself and similarities of the division, analyses the criteria of the division, tries to find out inexactitudes of the division of kanklės and also gives her own suggestions

"Skudučiai" ensembles in festivals

Savo pirmine prigimtimi skudučiai labai tinkami instrumentai lauko amfiteatrui. Masiniuose pasirodymuose skudutininkai dalyvauja nuo pat XX a. pradžios. 1935-1939 m. Lietuvoje buvo išplatinta per 300 skudučių komplektų, veikė apie 500-600 skudutininkų būrelių. Skudučių ansambliai dažniausiai būdavo steigiami mokyklose. Repertuaro skudučiams pradininku tapo pats J. Švedas, sukūręs apie 30 kūrinių skudučių ansambliams. Skudutininkų dalyvavimas įvairiose Lietuvos šventėse nėra tolygus, todėl aptariant jų pasirodymus ir šių ansamblių populiarumą, galima išskirti du laikotarpius: skudutininkų ansambliai 1950-1990 metų Dainų šventėse ir skudutininkų ansamblių pasirodymai 1990-2010 m. dainų šventėse. 1950-1990 m. Lietuvos dainų šventėse ir kitose šventėse dalyvavo gana gausus būrys skudutininkų. Tai lėmė XX a. 3-iajame dešimtmetyje suformuotų masinio skudučiavimo tradicijų tąsa, kūrinių skudučiams komponavimas bei leidyba ir anuo metu į mokyklines programas įtrauktas privalomas skudučiavimas. 1990-2010 m. skudutininkai Lietuvos dainų šventėse nedalyvavo arba dalyvavo tik su liaudies instrumentų orkestrais. Neskudučiuotas atskiras, šiems instrumentams skirtas repertuaras. Šiuo metu skudutininkai pasirodo tik atskirų regionų šventėse. Straipsnyje analizuojami skudutininkų ansamblių pasirodymai Lietuvos dainų šventėje ir kitose šventėse 1950-2010 m. laikotarpiu; pristatomas šių švenčių metu atliktas repertuaras, apžvelgiama skudutininkų ansamblių populiarumo kaita.This article discusses Lithuanian folk instrument skudučiai and the participation of skudučiai ensembles in festivals. First public performances of skudučiai music in the beginning of the 20t h century are overviewed. Special attention is given for skudučiai ensembles participation at Song Festivals. Started participating in 1950 at Song Festivals skudučiai had various levels of the attention for their music here. Investigations of skudučiai ensembles participation at Song Festivals show us two periods to be noted (years 1950-1990 and 1990-2010). During the first period (years 1950-1990) there were a lot of skudučiai players. They used to perform wide self-sustained repertoire at the Song Festivals (8 pieces in 1950). This kind of popularity was inflicted by having skudučiai playing lessons at secondary schools, special attention of composers to this instrument, and publishing of actual skudučiai repertoire. Since the year 1990 skudučiai players appear at Song Festivals just as a part of folk orchestra. New technologies overcome the instrument despite the advantages and special quality of it, therefore this was the reason for decreasing numbers of skudučiai players and their ensembles in Lithuania. Having an idea to revive skudučiai playing traditions the initiative and support for formation of new skudučiai music ensembles was introduced. The skudučiai is presented to the public as exceptionally unique instrument at the forthcoming Song Festivals, popularizing and explaining the meaning of the instrument in the media information sites

Links and differences of ethnical and academic music in the skudučiai playing culture of the 20th – 21st centuries

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

Contribution of the composer J. Žilevičius to collecting and classifying folk music instruments

Outstanding musician and teacher Juozas Žilevičius (1891-1985) collected and accumulated cultural relicts, musical material and folklore. In 1924 having arrived in Klaipeda Juozas Žilevičius involved students in collecting of material on musicology in music school established by St. Šimkus. To coordinate this work J. Žilevičius established folklore circle. In 1926 Juozas Žilevičius starts keeping registration book of musical instruments, where records were being made from 1928. The purpose of this article is to highlight the most significant achievements of Juozas Žilevičius in collecting and classifying Lithuanian folk instruments

Skudučiavimo kultūra: etninės tradicijos ir jų kaita XX–XXI a. pradžioje

Ethnic culture is a constantly evolving and recurrent phenomenon which keeps changing due to historic, economic and social processes. Being a composite part of ethnic culture, ethnic music is also suscepti-ble to inevitable processes of change. A lot of Lithuanian ethnic musical instruments have undergone var-ious changes. Pan flutes, the pipes made from any grass, as well as pan piped dissonant polyphonic music have experienced a multi-dimensional evolution within a reasonably short period of time – slightly more than one hundred years. New ways of playing music have appeared, and the repertoire for pan flutes has faced a divide be-tween ethnic and academic music performed by this type of instru-ment. The elements of ethnic culture played a major role in preserving and developing ethnic culture, national awareness and identity. The present research focuses on a very specific area of culture, namely, ethnic culture and ethnic music, the culture of pan piping in particular. Pan piping culture is an ongoing phenomenon of national culture comprised of such elements as the instrument, music, tradition of play-ing music and existential context of these elements in time and space. The object of this research is forms and functions of pan piping culture (such elements as the instrument, music being played by this instrument and traditions of playing music in particular) in the 20th and 21st century. The objective of the thesis is to determine the phases and peculiari-ties of pan piping culture development predetermined by national ide-ology of the 20th and 21st century and to examine the most prominent features of pan piping culture and its education

Forms of folk instruments spread

Straipsnyje apžvelgiami pirmieji XX a. pradžios liaudies instrumentų ansamblių pasirodymai viešosiose šventėse. Apibūdinama dainų švenčių reikšmė liaudies instrumentų sklaidai 1950-1990 m. Plačiau aprašoma ir analizuojama po 1990-ųjų metų vykstantis švenčių, festivalių, konkursų organizavimas bei šių renginių įtaka liaudies instrumentų raidai bei sklaidai.At the beginning of the article first performances of folk instrument ensembles in public festivals are discussed. Also the quantity and art expression of folk instruments that have taken part in festivals between 1950 and 1990 is described. Extensively discussed forms of folk instruments spread after 1990. The festivals and contests at that time heavily improved popularity of folk ins- 47 truments. Folk instruments take part not only in National Song Festivals, but in regional and local town festivals too. The categories for festivals-contests are marked in the article: local – at schools, regional, national and international. The festivals-contests are actively organized in the country, but does not have systematic coordination. Thou cultural events discussed in the article are of a big importance to the spread of folk instruments, but the age of participants tells that the popularity of folk instruments stays in children’s groups and the adult section only contains teachers and leaders of the collectives. To get better significance of the events for the spread of folk instruments – the suggestion is to do extensive field investigation and have a joint coordination