| Abstract [eng] |
The dissertation addresses the phenomenon of traditional musician in contemporary Lithuanian culture during the period from 1990 to 2016. Nine musicians were chosen as the principal informants (born during 1948–1971 in Dzūkija, Punskas area (Poland), and Aukštaitija, Žemaitija regions). Although most musicians play not only acoustic, but also electronic instruments, they prefer live performances without any use of phonograms. Principal methods of research include qualitative research, biographical, phenomenological, musical analysis and typological comparison. Conclusions: the majority of researched contemporary Lithuanian traditional musicians have learned to perform following the traditional model, however, strong influence of institutional education and technologies can also be traced. They select their instrumentarium and repertoire according to specifics of their performances at community and human life cycle feasts and rituals, dance evenings or stage appearances. Their repertoire is wide, poly-stylistic and continually updated. In contrast to their predecessors, these musicians bring individuality to the fore in their musical creativity. Local and regional images of instrumental solo and ensemble sounding are retained, along with dividing into the voices and melodic embellishments, however, obvious tempo, rhythm and form innovations and poly-stylistic tendencies can be observed. Although the differences between various discussed contemporary musicians’ categories gradually decrease in Lithuania, the traditional musicians are still distinguished for their knowledge, appreciation and promotion of their native land music making traditions, along with inborn sense of performing style. The relationship between the local community and the musician has changed: community increasingly values the universal qualities and communication-managerial skills of traditional musician and the latter brings the communal needs closer to the tradition. |
