Today's singing tradition of Lithuanian polyphonic songs sutartines: relations of western and eastern cultures
Lithuanian multipart songs sutartines inscribed in 2010 on the representative list of the intangible cultural heritage of humanity. Determination of features of vocal and instrumental polyphony, second accords, complementary rhythms and syncopation.
| Рубрика | Музыка |
| Вид | статья |
| Язык | английский |
| Дата добавления | 29.03.2020 |
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Musicologist Jurate Landsbergyte noted that Lithuania, like no other country in the geopolitical space of Europe, is related to the East through very deep ties that lead to the subconscious level of the nation's mentality (Landsbergyte, 2011). It is no coincidence that orientalism has been conceived by many Lithuanian composers as a search for one' own cultural identity - a philosophical projection, enabling to understand one's place in the world. In her words, it is “an allembracing sacred space, a prerequisite of transcendence in music.” For this particular reason orientalism in Lithuanian music is not so much a matter of stylistic choice, but rather a “general trend that runs through the whole field of new music.” The orientalistic trend acquires its most elaborate form in Lithuanian minimalism that takes its source in the individual styles of Bro- nius Kutavicius, Mindaugas Urbaitis and Giedrius Kuprevicius. It is in their music that orientalism “matures as a structure and programmatically `wins over', that is, becomes established in the form of Meditation genre” (Landsbergyte, 2011, 536).
Moreover, the orientalistic notions of eternity, cosmos and universality enabled the Lithuanian composers to reach for a universal level. This even gave rise to the new category in Lithuanian music, nonLithuanian ethnicity (a term coined by Inga Jankauskiene and applied in reference to certain works by Kutavicius (Jankauskiene, 2001, 227)), which defined the unfolding of one's spiritual freedom, one's openness to the world. Such works by Kutavicius include his String Quartet No. 3 Anno cum tettigonia (A Year with the Grasshopper) (1980), oratorio The Magic Circle of Sanskrit (1990), based on the poetry of Sigitas Geda and imbued with the spirit of orientalism and `Lithuania as part of the world,' and some other pieces that had a truly seminal and seismic effect in the Lithuanian music of the time. In Landsbergyte's opinion, it also defined the ultimate goal of new Lithuanian music: “to expand, to obliterate the limits of the system, to make the structures absolute, extending towards infinity of the universe.” In her words, “it was the great nostalgia of Lithuania - to join the ranks of world's oldest nations in the cosmic rhythm of creation” (Landsbergyte, 2011, 538).
The above-mentioned examples clearly illustrate that the notion of the East in Lithuania is far from being solely geographical. To quote once more philosopher Salkauskis, in search for the Eastern world it would be a misleading path to follow purely geographical guidelines: “the most important thing here is the distinctiveness of cultural and spiritual structure” (Salkauskis, 1991, 153-154).
However, let us return to the sutartines. It should be borne in mind that in folk vernacular these sutart- ines are not called songs, but giesme `hymns' In the Lithuanian language, the word for hymn (giesme) is used to describe birdsong, the singing of sutartines, and sacred music performed in church; in a sense - paying respect to all three of these expressions.. They were also referred to as hymns by the early collectors, in deference to the classification used by the rural singers, but also with the intent of stressing their distinction from more modern, through-composed songs (istisines dainos). Early 20th century collectors included Father Adolfas Sabaliauskas, and Finnish folklorist, Professor Aukusti Robert Niemi. As noted by Father Sabaliauskas, “There is a type of Lithuanian songs that are called hymns. These are not, as some may think, spiritual (or religious) hymns, but secular hymns. And as the old singers say, they are not sung, but chanted. And they never confuse the two: they will never call a song a hymn or a hymn a song. That's how marked the difference is” (Sabaliauskas, 1912, 7). The polyphony of sutartines, an archaic cultural auditory phenomenon, is based on a cyclical conception of time [Fig. 2]. Their sounding is endless, like a closed circle or a wheel.
The fact that the people have referred to the sutartines as apskritos `round ones' is no mere random occurrence. The ringing of the music itself seems to run in an endless circle. This has also probably had influence on the way the performers arrange the unfolding of the song in a circular fashion (Raciunaite-Vyciniene, 2002, 86) [Fig. 3].
Figure 2 Graphic view of the sutartine “Rimo Rimo Tuto” created by the author, drawn by Algirdas Kuzma
Figure 3 Sutartines' singers group Trys Keturiose (Jurgita Treinytи, photographer, 2006)
There are no major pauses for breath, no culminations, introductions or final cadences. This allows both the singers and the listeners to immerse themselves into a uniform state of mind and to experience the hypnotic effect. The cyclical form of the instrumental sutartines was
Nowadays many singers and listeners perceive sutartines not only as polyphonic singing in groups, which requires a special concord, an “accord”, but also as a certain collective meditation. The question is what determines such conception of sutartines. On the one hand, the singers' predilection for a meditative mood can be attributed to the structure of sutartines - a constant recurrence of short musical and textual motifs [Ex. 2. Trys keturiose linelius sejam.avi]. The music of sutartines in general is not seen as the combination of individual voice parts but as a certain pulsatile sounding space of infinite time (Raciunaite-Vycmiene, 2010) [Ex. 3. Saduto tuto.avi]
In this sense, sutartines are very close to minimal music whose first developers (Steve Reich and Philip Glass) were greatly influenced by their acquaintance with the laws of composition of ancient Eastern traditional music as well as with religious-philosophical teachings. Some compo-sers and musicologists (Edwin Geist and others) of the middle of the twentieth century had already observed the relationship of the music of sutartines with the East.
Sutartines, according to Geist, typically contain short, primitive musical segments that are repeated and have strong common characteristics with the music of Africa (especially Arabic music) and Asian song types. The same kind of rotating structures can be found in the Balkans and in Asia Minor. In the opinion of Geist, this is related to ritual and magic in archaic cultures; the stereotypical repetition of rhythmic and monadic structures provided hypnotic powers (Geist, 1940, 57). The performance of sutartines is similar to that of Asian music in which emotions are restrained and you “enter” into a certain state and remain in it for a prolonged time [Fig. 4]. In Western musical culture the individual artist, the brilliant musician, interpreter or virtuoso is highly esteemed. In Eastern culture there is an emphasis on being in a community. The individual must forget the self and to put forth effort for the good of the collective or the nation.noted in the second half of the 20th century by Russian musicologist Abram Yusfin (Mc$hh, 1968; 1986). By Much as in sutartines - the individual singer means almost nothing in the here and now. A sutartine is born only when all of the singers are in agreement.
Figure 4 Trys Keturiose during the sutartines' performance in Tokyo, Japan (Gabija Zukauskiene, photographer, 2010)
Eastern traditional pedagogical practices also apply. One of the main principles is oral transmission of the tradition. Of course, some modern Lithuanians find this to be an impossible task - they often ask for written notation and texts. However, my firm belief, based on my own teaching practice, is that this “Eastern” oral teaching method can help today's young people unearth the treasures of sutartines. The teacher in contemporary sutartine singing schools, camps and seminars must become a guru - not merely the formal transmitter of disconnected melodies and texts. He must become a spiritual teacher, one who reveals the inner power of the sutartine spirit. In Eastern traditions (like Japan or India), the teacher attains a godly status in the life of his students9. Interestingly, in several sutartine--learning camps I have heard students say, “How lucky we are - it's like God himself has arrived!” Of course, this evoked a smile and the glorification seemed unnecessary. However, this may be nothing exceptional if we employ the same type of oral transmission that is encountered in the East. The reception of, the accurate imitation of the sung melody is naturally related to the main principle of the sutartines - canon. As in Eastern culture, the teaching is more intuitive rather than verbalized or theorized.
On the other hand, the present-day conception of sutartines may be influenced by the change in mentality of contemporary Lithuanian people, by the newly acquired knowledge about Eastern spiritual practices and so forth10.
Anyhow, an increasing interest of younger generations in Eastern culture and religion has a profound impact on the present-day conception of sutartines as well on their various interpretations, both singing them in a capella and combining their singing with other musical styles or instruments (Indian bansuri flute, tabla), and the like. For example Lyla, a unique project of the famous Lithuanian folk music singer Veronika Povil- ioniene and the performers of Indian classical music merges archaic Lithuanian folk songs and instrumental improvisations performed in the Hindustani tradition. In their music these two apparently different cultures enrich each other and converge, revealing their distant, but common, Indo-European origins. In 2004 Lyla released the widely acclaimed album Bitinelio raga (Bee Raga) The sutartine “Ka bice”, performed by Lyla and Veronika Povilioniene, https://www.pakartot.lt/album/ bitinelioraga (accessed Januar 27, 2017)..
The group Atalyja (“The rain is coming”) positioned itself as a Lithuanian folk-rock music band presents an exciting combination of folk, rock and funk, with some features of Indian classical music (the group was awarded as the ethnoband of the year at the alternative music awards "A.LT"-2008). Well-known Lithuanian musicians and ethnomusicolo-gists are among the members of the band. Some songs are coloured with oriental shades of North Indian instruments: the bansuri as well as tabla The sutartine “Gervele” [“The Crane”], performed by folk rock band Atalyja (from CD “Mocia” (2004)), https://www.youtube.com/watch?v=YBnBeF-lY90; accessed Januar 25, 2017)..
Concluding remarks
Some present-day examples of the sutartines revival should be regarded as part of the mass culture, in which the reverence towards the East occurs as an attempt of people with Western identity to compensate, at least on a mental level, for the values and meanings that they lack in their immediate environment.
On the other hand, experimental crossover mixtures of the sutartines with any kind of Eastern musics can be understood as an acceptable method for young people to `open up to the world,' to shape their own `Lithuania-as-part-of-the-world.' This may offer a very fruitful perspective for the spread of the sutartines tradition and promotion of the national culture at large. To align our argument with the thoughts of philosopher and art researcher Antanas Andrijauskas, the national culture that eschews “the longing for the world's culture” has no future. The greater the ability of culture to naturally integrate the values of other cultures, the more profound impulses it receives for its growth (Andrijauskas, 1991, 253). Such peaceful dialogue of cultures may nonetheless lead to the problem of cultural transfer: that is, how to transfer meanings of `foreign' cultures into one's native culture without damaging its authenticity. But one thing remains certain: it is through the natural integration of other cultures' and civilizations' va lues that we achieve a better understanding and appreciation of the specificity, spiritual riches and possibilities for self-realization that lie within our own culture.
One of the latest examples of such dialogue of cultures is the musical performance “A Merriadge of Sutartines and Flamenco” (Flamenko ir sutartini^ jung- tuves)13. Sutartines and flamenco14 are enormously contrasting forms of expression of ethnic traditions and to a rational mind they do not fit, however, quite the opposite is true. Due to their unique differences they actually complement each other by exposing the hidden links, the beauty and richness of both cultures. [Fig. 5]
“Mugam and sutartines: dialogue” (Mugamas ir sutartines: dialogai) another original project bringing together different cultures (symbolically representing the West and East). It was the first and the only, unique project in Lithuania connecting Azerbaijani and Lithuanian folk music15 [Fig. 6]. This project unites not just two ethnic cultures and also completely different music styles: polyphony and monody, rock, fusion, free jazz, electro music
Figure 5 Singer and author of the performance “A Merriadge of Sutartines and Flamenco” Brigita Bublyte with flamenco musician Javier Gomez (guitar, Spain) (Dmitrijus Matvejevas, photographer, 2014)
Figure 6. Mugam musicians (Elshan Mansurov, Malik Mansurov and Ehtyram Huseynov) with sutartines' singers group Trys Keturiose during the concert in Vilnius (Vytautas Daraskevicius, photographer, 2015)
I hope that the understanding Eastern culture helps singers and musicians envisage modern possibilities of “western” meditation in sutartines. However, another possibility, which cannot be excluded, is that the spirit of the East rather than the West lies in the very nature of sutartines.
The spirituality of contemporary sutartines performance practice manifests itself as an inner experience of holiness, as the harmonization of self, and as a communal feeling - as musical and universal coherence, a developing relationship with the listener, joy emanating from the result, as enlightenment.
References
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20. Salkauskis, Stasys. 1991. Pedagoginiai rastai `Pedagogical writings'. Karciauskiene, M., and Paulauskas, R., comp. Kaunas: Sviesa, 1991.
21. Schmalstieg, William R. (1982). “The Lithuanian Language - Past and Present.” Lituanus 28/1:4-100.
22. Slaviьnas, Zenonas, ed. 1958-1959. Sutartines: Daugiabalses Lietuviq Liaudies Dainos `Sutartines: Polyphonic Lithuanian Folk Songs'. Edition 1-3. Vilnius: Valstybine grozines literatures leidykla.
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24. Yusfin, Abram [Юсфин, Абрам]. 1968. “Политональность в литовской народной музыке `Polytonality in the Lithuanian folk music'.” In StudiaMusicologica. Vol. X, nr. 1-4. Budapest: Akademiai Kiado. 323-337.
25. Yusfin, Abram [Юсфин, Абрам]. (1986). “О целостности композиции в остинатных формах народной музыки (тезисы к проблеме) `On the wholeness of composition in ostinatic forms of folk music (theses to the problem)]Bottom of Form. ' In Проблемы традиционной инструментальной музыки народов СССР `Problems of traditional instrumental music of the peoples of the USSR '. Ленинград: ЛГИТМиК. 157-170.
26. Velius, Norbertas. (1977). Mitines lietuviq sakmiq butybйs `Mythological beings of Lithuanian legends' Vilnius: Mintis.
27. Sound and video examples:
28. Ex. 1. Du dobileli trys ratileli. Sung by sutartines' singers group Trys Keturiose (from CD “Sutartines” 1, nr. 18, Vilnius: Boma Record, 2003), https://www.pakartot.lt/album/sutartines-2-cd/du-dobileliu-trys-ratileliu2 (accessed Januar 18, 2017)
29. Ex. 2. Trys keturiose linelius sejam. A fragment from audiovisual project “Lino Laikas” [Linen Times], performed by Trys Keturiose in Kaunas (filmed by Leonas Glinskis, 2009)
30. Ex. 3. Saduto tuto. Sung by sutartines' singers group Trys Keturiose in sutartines' festival “Sese Sodq Sodina”' [Sis Plants the Orchard] in Ramuciai, Kaunas district (filmed by Virginijus Kasinskas, 2014).
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