| Abstract [eng] |
The research object of the paper is Lithuanian melodies from recordings of the 1930s (vocal monodies, multipart songs known as sutartinės, and instrumental melodies for horns, kanklės, and skudučiai) as well as characteristics of interval relations in the scales specific for these melodies and structural models that could be adapted to music composition systems. This research paper is a proposed new classification model of the world's temperament systems, built on the conceptual differentiation of the two main tuning concepts (the first one is based on the natural harmonic series, and the second – is on the equal division of the octave). Based on the two tuning systems, derivative systems of different temperaments, interval division systems, and their application in compositional practice are examined. For that purpose, tempering models based on ratio and distance are distinguished, corresponding to the main fundamental systems. We should not rule out the premise that these two systems had a significant influence on the tradition of Lithuanian folk vocal and instrumental music, tuning, and interval structure. Therefore, the hypothesis has been raised that, by comparing the intervals of these two systems, it is possible to explain the tunings of Lithuanian traditional music. The broad historical context based on earlier scientific papers on Lithuanian music folklore is also presented, confirming the research's new direction and problematics. In a complex study of Lithuanian archival sound recordings, the interval relations of melodies were compared with the interval relations of the natural harmonic series and the 12-tone equal temperament system using Melodyne software. The characteristic scales to the natural harmonic series were determined, the general tendency of interval distances and the two most specific groups of distances were distinguished, the typical interval distance codes were concluded, and a common interval code was deduced for vocal and instrumental music as a typical interval structure of Lithuanian folk songs. The author describes how the results of the research were adapted to musical works through the use of different techniques of integration of archaic interval structures into the scales – harmonic transformations and/or reconstructions preserving or changing the original sound of intervallic structures. The works were intended to practically test and show how the generated interval structures functioned in specific examples of musical compositions and whether the factor of recognisability of the archaic structure could disappear altogether during the transformation process or turn into a new quality. |
