Etniškumo ir regioniškumo atspindžiai Lietuvių kompozitorių muzikoje

Abstract

A composer's musical text is a semiotic illustration of the musical piece as a whole, the perception of which includes the proceeding side of the phonic lexicon. In the spaces of the exposition, the recorded notational symbols (manuscript or facsimile fragments) become part of time, the environment and the discourse of its relationship as an exhibit. The relationship of a composer's piece or their entire body of work to the changeable environment, the processes of globalisation as well as the correlating and already disappearing or hidden segments of ethnicity and regional culture have become symbols of identity that have shaped the face of an epoch, generations, groups or specific individuals, revealing itself in the work of composers from the beginning or middle of the twentieth century with more or less apparent segments in Southern Lithuania (M. K. Čiurlionis: threnodies, hay making songs) and in the North-East (J. Gruodis: polyphonic chants). However, ethnicity is a multi-faceted and multi-dimensional phenomenon that constantly rebuilds and renews itself and is related to social context: individuality, represented by the example of a manuscript from the turn of the twentieth century, is now disappearing due to the technological notation systems of the twenty-first century, becoming a unified and anti-expositional form that is useful from the perspective of digitalisation but ruinous from the perspective of a unique exhibit. For the sake of historical continuity, unique compositional methods and, at the same time, illustrations of form, contemporary musical pieces of the twenty-first century should already be transferred for comprehensive signification as an important expositional element for the presentation and identification of ethnic and/ or regional characteristics.[...]