Muzikavimas suvalkietiškojo tipo kanklėmis Aukštaitijoje
| Author | Affiliation | |
|---|---|---|
LT |
| Date |
|---|
2013 |
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 perimtas.
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 kankles players in Aukstaitija played in songs, church songs, dances, and improvisations had an important part in this repertoire. The tradition of the male kankles player disappeared by the 20th century: one third of the kankles players were women, who played the Suvalkija type of kankles in Aukštaitija region.
In 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 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 Aukstaitija masters Stanislovas Rudys, Juozas Lasas and Jonas Liuima. Kankles of this type are still popular today. The examples examined indicate that there was a big wave of kankles 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 kankles 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 kankles 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.