Muzikavimas suvalkietiškojo tipo kanklėmis Aukštaitijoje

Together with traditional kanklės in Lithuania there was played and so called modified kanklės, which has all three types of signs. Modified type of Suvalkija region kanklės was spread throughout the territory of Lithuania, even in Dzūkija, which for centuries has been found no such instrument as kanklės. In northern and north-western Aukštaitija on expeditions was recorded Suvalkija type of modified kanklės. The largest number of modified Suvalkija type of instruments that were widespread in Lithuania in the first half of the 20th century were produced by the Aukštaitija masters Stanislovas Rudys, Juozas Lašas and Jonas Liuima. Kanklės of this type are still popular today.Key words: kanklės, museums, showpieces, playing on kanklės

Vilniaus apylinkių etninis instrumentinis muzikavimas XX a.

In this article, based on the 2002 written material from the 14th ethnic instrumental expedition held in Vilnius district, collected data of 20th century’s folk musicians, their played music and used instruments is analyzed and summarized. There is the best this regions player with cymbals Piotr Kačianovskij remembered. The author conducted interviewing of 25 informants: 14 of them being bellow players (7 accordions, 5 folk accordions and 2 bajans), 4 fiddles and other instrument players (3 mandolins, 2 cymbals, 1 guitar and 1 balalaika). Two major types of instrumental ensembles used to exist in Vilnius district: string and mixed ensembles. In a researched region, ethnic instrumental music traditions were on the brink of extinction on the 2nd part of 20th century, and at the end of that century were barely encountered. The traditions of old folk music playing were not taken over, so this performing art is dwindling. But new traditions are forming.Key words: ethnic instrumental music-making, ethnic music, folk musicians, traditional ensembles, violin, folk accordion, ethnic and brought repertoire

Šiaurės rytų aukštaičių muzikavimas tradicinėmis kanklėmis (XIX a. antroji pusė – XX a.)

Five strings kanklės was spread in north-eastern Aukštaitija (Highlands) (Biržai, Rokiškis, Kupiškis district) area and in the traditional culture used until the middle of 20th century. As the presenters no longer possess this kind of instruments, it is possible to discuss them only on the complainants’ stories, museum exhibits, the inter-war period and the data of ethno instrumental expeditions. North-eastern Aukštaičiai (Highland) kanklės assigned to the first type. Its most archaic, skiff or coffin-shaped, sculpted or carved from a single piece of wood, painted black, has a 5, rarely – 4, 8, 9 strings. The main repertoire consisted of instrumental glees. It is believed that the north-eastern Aukštaičiai (Highland) kanklės purpose was ritual, magical, and then – meditation, i. e. that means that they played for themselves and for their families, kanklės instrument was a purely domestic musical instrument.Key words: traditional Kanklės, Kanklės players, house music, repertoire, traditional.DOI: http://dx.doi.org/10.15181/td.v10i0.103

Jaunimo etnokultūrinis ugdymas aukštųjų mokyklų muzikiniuose ansambliuose

This research analyzes the approach of Lithuanian, Latvian and Polish school youths to music performance in an ethnocultural ensemble as a means for the development of ethnic and cultural identity (national identity). The motives for choosing the nonformal music activities in an ethnocultural ensemble, the importance of ethnocultural education in young people’s lives and the problems of ethnocultural music education are analyzed. The higher schools experiences of ethnocultural non-formal music education of neighboring countries (Latvia and Poland), associated with Lithuania by cultural and historical links, are disclosed. Our research poses several questions. What is the concept of ethnic culture among young people in higher education schools in Lithuania, Latvia and Poland? What motives determine young people’s decisions to participate in ethnocultural musical ensembles of nonformal education? What value do they see in the participation in ethnocultural musical ensembles? Methods of collecting the research data included a qualitative study, which was conducted in Lithuania, Latvia and Poland in 2015-2016. A questionnaire survey using open-ended questions that were presented in the Lithuanian, English and Polish languages was employed to gather information. Participants of the study were students of higher education institutions, they provided written opinions. A qualitative content analysis was used in the processing of data.Straipsnyje analizuojamas Lietuvos ir šalių kaimynių (Latvijos ir Lenkijos), susietų su Lietuva kultūriniais ir istoriniais ryšiais, aukštųjų mokyklų jaunimo požiūris į muzikavimą etnokultūriniame ansamblyje kaip priemonę, padedančią ugdyti etninį ir kultūrinį tapatumą (tautinį identitetą). Atliktas empirinis tyrimas* atskleidžia muzikinės veiklos etnokultūriniame ansamblyje, kaip vienos iš neformaliojo švietimo formų, pasirinkimo motyvus, etnokultūrinio ugdymo svarbą ir asmeninę reikšmę jaunimo gyvenime

Some aspects of schoolchild’s and students’ ethnic identity development through ethnic instrumental music

Pastaruoju metu daug diskutuojama ir rašoma apie muzikinio, etninio bei kultūrinio ugdymo kokybės gerinimą. Tačiau ugdyti mokinių ir studentų susidomėjimą etnine muzika pedagogams ypač sunku. Vienas iš pagrindinių pedagogikos tikslų šiandien yra jaunimo etninės muzikinės kultūros ugdymas. Etninis menas – vienas pagrindinių svertų, lemiančių etninio identiteto formavimą globalizacijos iššūkių metu. Etninė muzika, daina, šokis atveria jaunimui vertybes, suteikia gyvenimo estetikos pagrindą. Todėl etninis instrumentinis muzikavimas turi būti puoselėjamas ir skatinamas. Straipsnyje atskleidžiamas požiūris į instrumentinį muzikavimą etniniais muzikos instrumentais kaip priemonę, padedančią ugdyti etninį ir kultūrinį tapatumą. Nagrinėjamos instrumentinio muzikavimo etniniais instrumentais problemos. Apibendrinami tyrimo rezultataiOne of the basic objectives of contemporary pedagogy is developing youth’s national musical culture. In the course of history, when the idea of Lithuanian independence used to become realistic and tangible, special attention was paid to identity issues. The efforts to sustain and to thoroughly foster our traditions, customs, language and ethnical music had the greatest impact on the development of Lithuanian people’s national awareness. The essential categories characterising the Lithuanian national identity have been and remained self-awareness, language, customs, folk art, and ethnical instruments. Playing instrumental music in ensembles using ethnical instruments has also greatly contributed to preserving of Lithuanian traditions and national identity, as a way of national awareness. Object of research: Some aspects of schoolchilds and students ethnic identity development through ethnic instrumental music. Aim of research: investigate of the meaning of teaching ethnic instrumental music in the process of developing the knowledge of the ethnical identity. Methods of research: questionnaire scientific methodological literature review, questionnaire and a summary of comparison. The traditions of playing instrumental music in ensembles are quite old and deep-rooted in Lithuania. Ethnical instruments (the kanklės, reed-pipes, pan flutes, etc.) have been always regarded as a symbol of national awareness. Therefore, continuity and dissemination of related traditions and their application in various aspects contributes, at least partially, to the possibility of preserving national values and developing national identity. Playing instruments in ensembles helps young people develop their musical listening skills and memory, get more matured spiritually, as well as form aesthetic feelings and artistic understanding of musicVytauto Didžiojo universitetasŠvietimo akademij

Playing the modified type of Suvalkija kanklės in Aukštaitija

In addition to the traditional kanklės in Lithuania there was played and so called modified kanklės, which has all three types of signs. Modified type of Suvalkija region kanklės was spread throughout the territory of Lithuania, even in Dzūkija, which for centuries has been found no such instrument as kanklės. In northern (in Panevėžys, Pasvalys, Utena, Anykščiai, Kupiškis, Rokiškis districts) and north-western (Radviliškis, Pakruojis districts) Aukštaitija on expeditions was recorded Suvalkija type of modified kanklės. The bodies of the modified Suvalkija type of instruments used in the traditional culture are also fastened together with glue. Occasionally an unusual double-body joining can be found. The bottom is largely flat. The wider end finishes with a huge or small horn, and the narrow end is rather rounded. The strings holders are metal and fixed in place from the top though other examples exist. Strings at the narrow end are fixed to a metal bar which is placed into supports. The typical number of one-fold strings is 14 to 16, and for two-fold it numbers 16. The body is decorated mostly with resonance hole carvings having an oval or flower shape of 5 to 7 petals, patterns from textiles with folk motives, oak leaves, symbol of Duke Gediminas, tulips, or various ornamental drill holes. The bottom of the kanklės has three legs for support. Kanklės is usually painted dark, bright brown or yellow, and can have beautiful ornamentation. The largest number of modified Suvalkija type of instruments that were widespread in Lithuania in the first half of the 20th century were produced by the Aukštaitija masters Stanislovas Rudys, Juozas Lašas and Jonas Liuima.Kanklės of this type are still popular today. The examples examined indicate that there was a big wave of kanklės modification in Lithuania between the second half of the 19th century and the first half of the 20th century, whereby the body and the number of strings became larger. The ornaments changed moderately, although the shape of the instrument was more or less preserved. The sound system of the modified kanklės as well as the instruments of the other regions depends on the construction of each instrument (D major, F major, G major tones). The Suvalkija type of modified kanklės with 10, 12, 20 to 24 one-fold, or 16, 17 to 24 two-fold string type can be used in a wide variety of situations because of its wide-ranging sound system. They are tuned diatonically, beginning with the second string. The first string („bass“) is tuned with the sixth string (dominant) at one octave or duodecima below it. In this case, the fifth string is the main one. While playing, the fingers of the left hand cover the strings that are not needed for accords and the strings are strummed with a pick held between the thumb and index fingers of the right hand away from oneself. One, two or three strings are then strummed in this way. While accompanying singing, the melody is mostly played in thirds and accords. The ornamentation of the melody and short sounds are generated by a strumming or plucking towards oneself or by the left hand fingers. Sometimes the first string („bass“) is plucked in the direction towards oneself. Having surveyed the archived and written sources, and the materials collected from ethnomusicological expeditions, we can state that kanklės players in Aukštaitija played in songs, church songs, dances, and improvisations had an important part in this repertoire. The tradition of the male kanklės player disappeared by the 20th century: one third of the kanklės players were women, who played the Suvalkija type of kanklės in Aukštaitija region

Lietuvių kanklių repertuaras

Straipsnyje glaustai, laikantis naujausios kanklių tipologijos ir tyrinėjimo sistemos, aprašyta kanklių gvildenimo istorija, jų tipologija, repertuaro bruožai. Publikacijoje nagrinėjama vakarų aukštaičių ir žemaičių, suvalkiečių bei šiaurės rytų aukštaičių autentiška kanklių muzika, iššifruota J. Čiurlionytės, A. Sabaliausko, V. Paltanavčiaus, V. Palubinskienės, A. Motuzo, N. Visockaitės-Lungienės, V. Alensko, D. Čičinskienės, O. Patronaitienės, T. Kann, V. Liutkutės, J. Kartenio ir J. Jurgos. Melodijos paimtos iš "Tautosakos darbų" III tomo, Lietuvių tautosakos rankraštyno, Etnomuzikos instituto, VDU Kretingos šv. Antano Religijos studijų instituto bei asmeninių archyvų. Tyrinėjant etninių ir bendraeuropinių tradicijų sąveiką lietuvių kankliavimo muzikos repertuare XIX a. II pusėje - XX a. I pusėje, pastebėta, jog kanklių ir armonikos muzika pagal žanrus ir muzikinės raiškos priemonių ypatybes turi daug ką bendra. Akivaizdu, kad armonikos repertuaras labai paveikė kanklių muziką. Kanklininkai išlaikė svarbiausius vakarų aukštaičių, žemaičių bei suvalkiečių dainų melodijų bruožus, o šiaurės rytų aukštaičių giedamosios sutartinės, kurios atliekamos skambinant kanklėmis, šiek tiek pakito ir įgavo savarankiškos instrumentinės muzikos pobūdį. Keturinių sutartinių faktūra labiausiai atitiko kankliavimo specifiką. Reikšminiai žodžiai: Lietuvių liaudies instrumentinė muzika; Kanklių muzika; Kanklių repertuaras; Lithuanian folk instrumental music; Kankles music; Kankles repertoireThe article, in observance of the newest typology and researching system, presents a brief description of the history of studying kanklės, their typology and traits of the repertoire. The publication examines the authentic music of Western Upper and Lower Lithuanians, Suvalkiečiai and Northeastern Upper Lithuanians, deciphered by J. Čiurlionytė, A. Sabaliauskas, V. Paltanavičius, V. Palubinskienė, A. Motuzas, N. Visockaitė-Lungienė, V. Alenskas, D. Čičinskienė, O. Patronaitienė, T. Kann, V. Liutkutė, J. Kartenis and J. Jurga. The melodies are taken from Volume III of "Tautosakos Darbai", the collection of manuscripts of Lithuanian folklore, the Institute of Ethnic Music, the St. Antanas Institute of Religious Studies of Vytautas Magnus University in Kretinga and personal archives. When studying the interaction of ethnic and pan-European traditions in Lithuanian musical repertoire in the second half of the 19th – the first half of the 20th century, it was noticed that the kanklės and squeezebox music has a lot in common in terms of the genres and the peculiarities of means of musical expression. It is obvious that the squeezebox repertoire greatly influenced the kanklės music. Kanklės players retained the most important traits of melodies of songs of Western Upper and Lower Lithuanians and Suvalkiečiai and the glees, sung by Northeastern Upper Lithuanians, performed accompanied by kanklės, to a certain extent changed and acquired a character of self-sufficient instrumental music. The structure of quadruple glees was most compliant with the specifics of kanklės playing

Ethnic instrumental music in the 20th century: Vilnius localities

Straipsnyje, remiantis 2002 m. XIV etnoinstrumentologinės ekspedicijos Vilniaus apylinkėse užrašyta medžiaga, nagrinėjamos ir apibendrinamos surinktos žinios apie XX a. liaudies muzikantus, jų grotą muziką bei muzikos instrumentus. Prisimenamas garsiausias šio krašto cimbolininkas Piotr Kačianovskij. Bendrauta su 25 pateikėjais, iš kurių 14 griežė dumpliniais (7 – akordeonais, 5 – armonikomis, 2 – bajanais), 4 – smuikais ir kitais instrumentais (3 – mandolinomis, 2 – cimbolais, 1 – gitara, 1 – balalaika). Vilniaus apylinkėse gyvavo du pagrindiniai ansamblių tipai: styginiai ansambliai ir mišrūs ansambliai. Tyrinėtame regione etninio instrumentinio muzikavimo tradicijos beveik nutrūko XX a. antrojoje pusėje, o praeito amžiaus pabaigoje vos ruseno. Senųjų muzikantų grojimo tradicijų niekas neperėmė, tad jų atlikimo menas baigia išnykti. Tačiau formuojasi naujos tradicijosThe data obtained from the informants indicate that making music, which was highly popular in the regions of Vilnius at the beginning of the 20th century, is a very old tradition. Numerous folk violinists, bellow instrument players and wind musicians had still remained in regions of Vilnius during the expedition. Two major types of ensembles that existed in the regions of Vilnius could be distinguished: string ensembles and mixed ensembles. The research results indicate that stringed instruments and string ensembles were the oldest in the regions of Vilnius. Ensembles consisted of three-five to people who played the following instruments: the violin, the guitar, the mandolin, the balalaika and the folk bass, or the bassetto (called “basetlė”). Mixed ensembles of numerous different compositions also used to exist in the region. They played melodic instruments (the violin), harmonic (the concertina or the bandoneon) and rhythmic ones (the folk bass and drums). After wind instruments gained popularity, pipes were also included in the composition of aforementioned mixed ensemblesVytauto Didžiojo universitetasŠvietimo akademij

Playing the modified type of Suvalkija kanklės in Aukštaitija

Straipsnyje, remiantis muziejų eksponatais, etnoinstrumentinių ekspedicijų bei rašytinių šaltinių duomenimis, nagrinėjamos modifikuotos suvalkietiškojo tipo kanklės, kaip savitas etninės kultūros reiškinys, nuo XX a. pirmosios pusės paplitęs Aukštaitijoje. Tyrimo, atlikto pasitelkus analitinį, lyginamąjį ir aprašomąjį metodus, išvados rodo, kad XX a., nykstant vyrų kankliavimo tradicijai, trečdalį kanklininkų sudarė moterys, kurios skambino suvalkietiškojo tipo instrumentais. Kanklės meistrų Stanislovo Rudžio, vėliau ir Juozo Lašo pastangomis buvo modifikuotos bei platintos visoje Lietuvoje. Daugiausia - Aukštaitijos regione. Muzikavimas suvalkietiškojo tipo kanklėmis iš esmės mažai kuo skiriasi nuo suvalkiečių kankliavimo, nes iš jų, šiek tiek modifikavus, ir buvo perimtasIn addition to the traditional kankles in Lithuania there was played and so called modified kankles, which has all three types of signs. Modified type of Suvalkija region kankles was spread throughout the territory of Lithuania, even in Dzūkija, which for centuries has been found no such instrument as kankles. In northern (in Panevėžys, Pasvalys, Utena, Anykščiai, Kupiškis, Rokiškis districts) and north-western (Radviliškis, Pakruojis districts) Aukstaitija on expeditions was recorded Suvalkija type of modified kankles. The bodies of the modified Suvalkija type of instruments used in the traditional culture are also fastened together with glue. Occasionally an unusual double-body joining can be found. The bottom is largely flat. The wider end finishes with a huge or small horn, and the narrow end is rather rounded. The strings holders are metal and fixed in place from the top though other examples exist. Strings at the narrow end are fixed to a metal bar which is placed into supports. The typical number of one-fold strings is 1,4 to 16, and for two-fold it numbers 16. The body is decorated mostly wiw resonance hole carvings having an oval or flower shape of 5 to 7 petals, patterns from textiles with folk motives, oak leaves, symbol of Duke Gediminas, tulips, or various ornamental drill holes. The bottom of the kanklės has tree legs for support. Kanklės is usually painted dark, bright, brown or yellow, and can have beautiful ornamentationVytauto Didžiojo universitetasŠvietimo akademij