Transmitting the South-Eastern Lithuanian traditional fiddling to the new generations

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Lithuanian academy of music and theatre in Vilnius

Department of Ethnomusicology

Transmitting the South-Eastern Lithuanian traditional fiddling to the new generations

Kirdiene G., Dr of Human.

(Ethnology), Ass. Professor

Annotation

The purpose of this represented scientific article is to reveal trends in continuity and innovations of the South-Eastern Lithuania (Dzukija) region traditional fiddling transmission process, from the 1990s up to nowadays.

Qualitative research methods, such as interviews with the traditional fiddlers were used both of older and younger generations and direct observation at various local and national folk fiddling or other instrumental music making events in wide socio-cultural context.

The scientific novelty here is a fact, that contemporary traditional Dzukija fiddle music transmission process to the new generations is investigated for the first time.

The main conclusions of this signified scientifically investigative article. Some olden ways to develop traditional fiddler and transmit fiddling mastership to the new generations are maintained in Dzukija up to nowadays, especially playing by ear in families and kinships, and further in local bands. However, from the end of the 20^th century up to now, a lot of changes and innovations caused by new socio-cultural contexts have occurred. There are quite a few possibilities to upgrade traditional fiddle playing skills and perform during higher education in towns of Lithuania. Some young traditional Dzukija fiddlers after graduation of their higher education studies return to their hometowns and actively work in the field of traditional music making, lead bands and / or teach. Despite remote communication means and online performance opportunities, emigration abroad significantly limits Dzukija fiddler's possibilities actively participate in musical life of their native region and thus could be indicated as one of the agencies reducing efforts to continue and revive fiddling tradition in this region.

The key words: South-Eastern Lithuania (Dzukija), new generations, developing of traditional fiddler, fiddling transmission process, sociocultural context.

Анотація

Передача традиційної гри на скрипці Південно-Східної Литви молодшому поколінню

Кірдєнє Ґ., д. гуманіт. н. (етнологія), доцент кафедри етномузикології Академії музики і театру Литви, м. Вільнюс

Метою статті є виявлення найбільш виразних тенденцій спадкоємності та відповідних системно-усталених інновацій у новочасних процесах передачі мистецтва традиційної гри на скрипці у Південно-Східній Литві.

Щонайбільш задіяні методи наукового дослідження, такі як інтерв'ю з традиційними музикантами-скрипалями, були використані як для старшого покоління музикантів, так і для молодшої генерації виконавців-скрипалів, а також було задіяне безпосереднє спостереження за різними місцевими та національними фольклорними або іншими інструментальними музичними заходами, що проводились зазвичай у широкому сьогочасному соціокультурному контексті.

Науковою новизною презентованої дослідницької статті є той факт, що вперше емпірично вивчається сучасне традиційне південно-східнолитовське (дзукське) коло розвитку виконавця-скрипаля, яке максимально уможливлює процес передачі мистецької традиції новим поколінням музикантів- виконавців.

Висновки. Деякі найбільш давні способи розвитку традиційної гри, інструментального музикування та передачі виконавської майстерності гри на скрипці новим поколінням музикантів зберігаються у Дзукії до наших днів, особливо у родинах і культурно-мистецьких, музичних спільнотах, а також у своєрідних за інструментальним складом чисельних місцевих оркестрах. Проте, від кінця ХХ століття до сьогодні, відбулося надзвичайно багато змін, інструментально характерних модифікацій, а також певних конструктивно-системних інновацій, викликаних насамперед вагомими новочасними соціокультурними та соціально-економічними контекстами.

Ключові слова: Південно-Східна Литва (Дзукія), нові покоління, розвиток та освіта скрипаля, процес трансмісії скрипкового музикування, соціокультурний контекст.

Statement of the problem

What trends in continuity and innovations of the traditional fiddling transmission process can be defined at present in South-East Lithuanian (Dzukija) region?

The relevance of this study is the insights into the phenomenon under consideration, which help to accurately identify its characteristics, interrelations of developing or education steps and various activities, as well as typology of individual cases.

Literature review. From 1935 onwards, Dzukija fiddling has been quite thoroughly documented, with more than a hundred fiddlers and performance of over eighty of them recorded. From the 1930s onwards, plenty of ethnographical and ethnomusicological works, related to Dzukija traditional fiddling, as well as more than ten collections containing sound and / or video recordings and notations or transcriptions have been published by Vincas Kreve-Mickevicius [17]; Jadvyga Ciurlionyte [2, 308-309], Rimantas Gucas [6], Gaila Kirdiene [9; 10; 11; 12; 13; 14; 15; 16], Arvydas Kirda [8], Arunas Lunys [18; 19; 20], Auste Nakiene [21], Ruta Zarskiene [25], Mindaugas Urbaitis [22], Evaldas Vycinas [23; 24].

The purpose of the article to reveal and characterise trends in continuity and innovations of traditional fiddling transmission process in South-East Lithuania (Dzukija) from the 1990s up to nowadays, in the postindustrial and (post) globalisation era.

The object of study there is the contemporary traditional Dzukija fiddler developing circle or chain which enables transmission process of traditional fiddling and its mastership to the contemporary children and youth.

The subjects of investigation are chosen cases of new-generation traditional fiddlers in Dzukija.

Presenting main material

Various forms of informal education and other fiddling activities in communities, for instance - a studio led by a folk fiddler or summer music making courses play an important role. There are quite a few possibilities to upgrade traditional fiddle playing skills and perform during higher education in towns of Lithuania. Some young traditional Dzukija fiddlers after graduation of their higher education studies return to their hometowns and actively work in the field of traditional music making, lead bands and/or teach. Despite remote communication and online performance opportunities, emigration abroad significantly limits Dzukija traditional fiddlers' possibilities actively participate in musical life of their native region and thus could be indicated as one of the agencies reducing efforts to continue and revive fiddling tradition in this region.

Traditional fiddling is an outstanding part of South-Eastern Lithuanian (Dzukija) culture. As late as the 1930s in Dzukija, the fiddle was usually played solo even at weddings, both at the bride's and groom's parties. When the parties came together, fiddlers would form a duet. Often, they were accompanied by a small frame drum or, sometimes, a stringed bass or a dulcimer. Button harmonicas or accordions became popular in the 1920s- 1930s and later in this region, which is the latest in Lithuania. However, in the second half of the 20^th century, these instruments began to dominate other regions as well [1, 78; 10, 102, 128, 130-131; 13, 161; 14, 84; 25, 35].

From the 1980s, researchers in the fieldworks usually ask traditional musicians and fiddlers how they were taught to play and record their narratives expressing authentic experiences. I did so too, while participating with my colleagues at fieldworks held in Dzukija since 1990. For twenty years I have also actively participated in various traditional music making events in Dzukija as a performing fiddler or teacher and member of jury. These activities were a great opportunity for me to observe performance by the Dzukija traditional fiddlers, both of older and younger generations, as well as interview them.

Previous Investigations

In the 1960s, in every village of Dzukija still could be found a fiddler, and somewhere even up to five fiddlers [6]. However, in the end of the 20^th century, due to historical and socio-cultural factors, sovietisation and later globalisation, folk fiddling began to change and vanish. Nowadays, only a few older generation folk fiddlers, born in the 1930s and later are known in Dzukija. In the last few decades, not only the ethnomusicologists and folklorists, but also local communities themselves, began to take care of the preservation and fostering of the fiddling tradition as well as transmission characteristically featured fiddle playing skills to children and youth. In 2021, Dzukija Fiddling / Playing Bowed String Instruments Tradition was included into the UNESCO National Inventory of Intangible Heritage of Lithuania.

In my monograph on Lithuanian folk fiddling [10], I noticed that vast majority of Dzukija fiddlers played by ear. In the middle of the 20^th century, only a few of them, who had attended a gymnasium or an organist's course were able to read music. Throughout all of Lithuania, children used to start playing folk fiddle mainly in the age from ten to twelve years old. Most Dzukija folk fiddlers were self-taught, however, traditional musical environment, abundance of other young fiddlers in the neighbourhood and an inspirational example and advice of older fiddlers were determinant in awakening beginners' desire to start playing and, later, to fo rm their strong self-motivation. From the very beginning fiddlers attempted to `collect' a heard melody, often a traditional Dzukija song or dance (a polka or waltz), on a self-made stick, board or hollowed out fiddle during pasturage or past the works. Some folk fiddlers also had a teacher from local community, but usually just for some weeks [10, 102-103].

From the olden times in some southern Dzukija families, children were taught to play the fiddle by their father, uncle, or grandfather at an early age, even from the age of three or four years. Only a musically gifted child would be encouraged to play the fiddle. In Dzukija, as well as other regions of Lithuania, a son would accompany his father playing a second (in Dzukija called Lith. antrinimas) or a third, bass part (Lith. bosijimas or bosinimas) on fiddle [26, 29-33]. According to Dzukija fiddlers, second part is already `a melody' on its' own, and the third part has evolved in the first half of the 20^th century, from the predominating open strings to double stops with rhythmic variations and melodic embellishments [10, 265]. Such a family fiddlers' duet would usually perform at weddings which characteristically lasted a week; thus, it was a great practice and a school for a young musician [10, 102-103]. In kinship of an outstanding virtuoso player and a skilful blacksmith and woodworker Jonas Ragazinskas (1924-2001) from Sangruda rural Marijampole district, the great-grandfather, grandfather, and father (1853-1951) played fiddle and other instruments. Grandfather taught his son to play fiddle, the little child seated on top of a table. The latter taught his both sons to play fiddle, starting with a scale. At the age of seven, Jonas started playing on a small homemade fiddle and being eleven he was already able to play very well. His sons, like other young musicians in the second half of the 20^th century, preferred to play the piano accordion instead of the fiddle. However, he taught them the melodies that had been inherited from generation to generation in the family [16].

Dzukija fiddling style is distinguished by archaic traits, such as close ties with ritual wedding songs, variety of modes and drones. On the other hand, it is very virtuosic: the melodies are richly ornamented, long sequences of sixteenth notes and other rhythmical patterns are typical, the tempi are faster than in other regions of Lithuania. Moreover, distinct peculiarities as well as changes during the time are noticeable in the fiddle music of the subregions of Dzukija [12; 16].

The ethnomusicologist Toma Grasyte-Jegeleviciene devoted a whole chapter of her dissertation to the development of a younger-generation Lithuanian traditional musician [5, 32-50].

She noticed that in earlier scientific works, music making mainly of older folk musicians was usually researched. According to her, musicians of older and younger generations both agreed on the key qualities of a person willing become a musician. Those are as follows: a musical gift, good musical hearing; a desire to play music and the continuous, persistent training of playing skills. In both traditional and contemporary cultures, a child's intrinsic (or self-) motivation to play a traditional instrument is often fostered by the presence of an older musician recognised as an authority in the family or local community.

Following Magnus Gustafsson's model of developing a traditional musician in a Swedish countryside musicians' family [7, 37-45], Grasyte- Jegeleviciene established a similar Lithuanian model. It encompasses ten main steps, starting from an opportunity to hold the desired musical instrument in hands and secretly trying to play it for himself until father starts to teach him, and finishing with independent music making at open community customs, particularly weddings and finally, creating an own repertoire. She has analysed the development of two younger-generation Dzukija folk fiddlers in her works [3; 4; 5, 32-43].

Developing a Contemporary Traditional Dzukija Fiddler

My investigation has enabled me to determine a contemporary traditional Dzukija fiddler developing circle or chain, encompassing four interrelated steps or links, which in correlation with various forms of traditional fiddling activities in broad socio-cultural contexts, enables transmission process of Dzukija fiddling.

It could start from a beginner's learning and music making in own family and kinship and / or within a band, a studio and possibly a music school of local communities, then proceed to taking part at native region fiddling courses and / or participation in bands and studying a traditional fiddling as an optional music study subject during higher education studies in towns of Lithuania, and, in some cases, end with returning of the young fiddler to his or her hometown (see Figure 1).

Musicians' families and kinships have remained relevant for transmitting the traditional fiddling repertoire and skills, mastership to the new generations in Dzukija. Interestingly, all steps of the traditional musician's / fiddler's development model still can be traced, though with some changes and innovations [5, 49-50]. A case of Linas Savulionis (b. 1987 in Druskininkai) would be a striking example of this. He grew up in folk musicians' kinship. His great-grandfather Bronius Savulionis (19011983, Geniai village, Merkine rural district) was a famous fiddle maker and fiddler.

Figure 1: Steps / links of the contemporary traditional Dzukija fiddler developing circle / chain

artistic violinist south-eastern lithuania

At first, at weddings he would perform solo, but after the WWII, continued to play in a band with his son Sigitas Savulionis (b. in 1932 in Geniai village) who played a button harmonica. Sigitas' son Virginijus (b. in 1963 in Geniai, living in Druskininkai) is a self-taught accordionist, and his sons Donatas (b. in 1986) and Linas have graduated from piano and violin specialties at Druskininkai music school. As Linas recalls from his family's narrative, `I must have inherited my great-grandfather's genes: as my hearing and sense of rhythm were better than of my is brother, I was accepted to learn violin at Druskininkai music school at a five-year age'. He still remembers how much he was impressed by the mahogany colour of the violin and loved the smell of rosin. At first, as usual for academic fiddling, he was taught to play only the open strings. He liked it very much, but when it came to left hand finger movements, it seemed exceedingly difficult for him. And this is a big difference from the traditional Lithuanian way, when a beginner starts `collecting' melodies right away, or even accompanies a leading player in double-stops. However, at the age of seven, Linas was already able to perform together with his father welcoming marches at his uncle's wedding by ear. All relatives were extremely excited about the little fiddler, treated him with fruits and even rewarded him with fifty of Lithuanian litas. Family's musical traditions and acquired skills in playing by ear encouraged Linas and his brother to continue performances at weddings from the age of seventeen. They prefer Lithuanian stylized folk and pop music, but sometimes also play traditional marches, polkas, waltzes, acoustically (live) or on a synthesiser. They usually search for their favourite songs and other music online. Though Linas still could enlarge his traditional fiddle music repertoire, this is a typical trend of formatting the repertoire of younger-generation traditional Lithuanian musicians: it consists of several stylistic blocks, usually those of traditional, stylized / arranged, and pop music [5, 151].

From 2006 on, Linas studied in Vilnius, at first a music teacher specialty at Vilnius College, then BA in ethnomusicology at Lithuanian Academy of Music and Theatre. Traditional fiddling is available at the academy as one of optional music study subjects, though only for one year. Ethnomusicologist and traditional music performer Evaldas Vycinas taught Linas to perform by ear dance music from different regions of Lithuania. During his studies, Linas was also involved as a musician in students' stylized folk-dance ensembles.

After graduation, he returned to his hometown and is since working as a leader of some non-typical stylized instrumental bands for which he composes music himself.

He also works as a music teacher for pre-school children. In 2022 he began to participate more actively in the traditional Dzukija fiddling events, and successfully participated solo at the competition Play, Fiddles in Lazdijai.

In the last decades, more and more girls and young women get involved into the traditional fiddling in Dzukija. In 2009, during the fieldwork in ethnic Lithuanian / Dzukija lands of Seinai and Punskas (Sejny and Punsk) in Poland we visited the family of a folk fiddler Kazimieras Jakubauskas (b. in 1930). He lived in a beautiful house in his native Zagariai village, Seinai rural district, together with the family of his daughter, whose husband Petras Cernelis (b. in 1965) played a button harmonica. Kazimieras played only by ear, he `didn't know any musical notes. The family enjoyed making music at home together with the daughter Violeta Cernelyte (b. in 1988) who plays fiddle (see Figure 2), and the younger son, who plays accordion. As Violeta recalls, at the beginning she just liked watching her grandfather playing and listening to various music recordings. Violeta was raring to hold a fiddle and showed great eagerness, therefore grandfather taught her to play: at nine years old she started playing melodies by ear and used to practice long hours, starting from the morning half a day, `as soon as just woke up'. Her first learned piece was a three-part Polka Lietuvaite (`A Lithuanian Girl'). Grandfather did not show her any fingering, but at first, Violeta used only three, not four, fingers, like her grandfather did. In Lithuanian folk fiddling traditions such a fingering might be considered as an adopted way for beginners [11, 10] (for corresponding Ukrainian traditions see [26, 30]).

Figure 2. Kazimieras Jakubauskas and his grand-daughter Violeta Cernelyte playing fiddles at home in Zagariai village, Seinai rural-district (Poland); photo by Dainius Jucius in 2009

When Violeta got more skilled, she joined the stylized folk-like music band Salcmis of The Lithuanian House in Seinai, in which her grandfather was already taking part. Continuing tradition, she performed the second part to accompany her grandfather for quite a long time. Two years later she joined a music school in Suvalkai where she was taught written music. However, she has kept the ability to play by ear as well as the traditional fiddle and bow holding until now [3, 53]. Violeta also used to sing with the local ensemble which mainly performed songs of her grandfather's uncle Jonas Jakubauskas (b. in 1908 in Zagariai), one of the most famous Dzukija folk singers.

After graduation, Violeta returned to her home region and works as a financier in Seinai town. Already for over twenty years she performs in the band Salcinis. From available video recordings posted on the internet, it is obvious that she is now the only fiddler left in her band and performs the first part . Repertoire of the band comprises dance and march music arranged in Lithuania as well as local songs arrangements, for instance Isdykeliy polka (`Naughty Polka') based on a local shepherd's song written down and arranged by an older accordionists of the band Gediminas Nevulis.

From 2005 onwards, traditional fiddling seminars, summer courses and various other trainings have been held by local culture centres in cooperation with Lithuanian National Culture Centre and ethnomusicologists, fiddlers from Vilnius in various parts of Dzukija: in Birstonas (2005-2008), Lazdijai (since 2009), Daugai music school (in 2012), Varena (in 2014), Alytus (in 2019), Veisiejai music school (in 2022), Marcinkonys (since 2022). At children music / art schools in Dzukija, traditional Dzukija fiddling is not taught yet, but from 2012 onwards, the efforts of ethnomusicologists including myself have been made to encourage academic violin teachers to integrate traditional fiddling compositions into their curricula.

I have taught traditional fiddling to many talented and motivated students during all these activities in Dzukija, for instance, four skilled young Dzukija fiddlers at Birstonas Traditional Music Making Summer Course in 2006 and later years (see Figure 3).

Figure 3. Fiddlers taught by Kirdiene at Birstonas Traditional Music Making Summer Course in 2006

They all attended musical schools by then. Two boys (brothers) later became professional performers, a viola and a double bass player. Now they are working in a symphony orchestra in Vilnius, however sometimes they still perform within their family band in native town of Kaisiadorys, where their father works as a music and folklore teacher. Two girls are from very musical families from Birstonas area. Afterwards they both studied in Vilnius and actively participated in student folklore ensembles of universities.

One of them studied jazz violin and after graduating her bachelor's degree in Vilnius, continued her studies in the Netherlands and obtained her master's degree there. Currently, both these young fiddlers live and work abroad.

There are some more well-known young traditional Dzukija fiddlers, who have emigrated abroad, for instance, Violeta Naruseviciute from Varena town. True, during her return visits she always performs with the traditional band of Varena Culture Centre lead by her sister and has also not once successfully participated as soloist or within the band at the competition Play, Fiddles in Lazdijai. Thus, some of the young traditional fiddlers, even after becoming professional musicians, still perform Dzukija fiddle music with their family bands.

However, the emigration is a relevant factor reducing young generation Dzukija fiddlers' possibilities to participate live at various events in their native region as well as to raise and educate their many children there.

In 2022 at Marcinkonys Traditional Music Making Summer Course, I taught children and teenagers to play ancient Dzukija drone music recorded in neighbouring districts of Merkine and Vieciunai.

Though such a traditional music making course in Lithuania usually last only three and half days, they are of high intensity, so the participants manage to learn a lot. My methodical approach consists of listening together with the students to the authentic recordings, providing them with transcriptions or notations, playing for them and practicing together with them including singing the dance or march music verses, showing the choreography, and explaining more difficult parts of a piece as well as discussing about musicians' playing styles.

Younger participants usually have their own teacher who helps them. Moreover, students enthusiastically practice independently in smaller groups until late in the night. Usually there are also dance evenings held. I often play along with the students during public performances, but my support is not always necessary (see video recordings online).

Figure 4. Albinas Bartnykas and Romas Mazetis at The Traditional Fiddling Competition Play, Fiddles in Lazdijai, 2016

There have been attempts to encourage young musicians to learn traditional fiddling directly with an authentic folk fiddler. Since 2009, in the Lazdijai culture centre a traditional fiddling studio for children and young people is run by a local traditional fiddler Romas Mazetis (b. in 1952).

In his turn, he has performed together with the long-aged folk fiddler Albinas Bartnykas (1927-2021, Lazdijai) and has led the traditional band Dziedukai (`Gradfathers') for many years. Over ten of the young fiddlers have studied with Mazetis; thus, it was also possible to form the band of Anukuciai (`Grandchildren'). Brief traditional fiddling workshops are also held during the national competition Play, Fiddles organized by the Lazdijai Culture Centre (see video recordings of the years 2013-2020 accessible online).

Figure 5. Romas Mazetis with his students at the competition Play, Fiddles in Lazdijai, 2016

Still, it remains extremely important to strengthen self-motivation and musical-cultural identity of the young Dzukija traditional fiddlers as well as increase the social visibility and recognition, prestige of traditional fiddling in this region and the whole Lithuania. In this regard, various other forms of traditional fiddling activities, including virtual ones, are highly welcome: not only performances at concerts, festivals, or dancing parties, but also such as a specialized exhibition about wedding musicians at local museum, a competition of the story tellers about traditional fiddling or theoretical presentations and discussions of the Dzukija fiddle music features at local conferences.

Conclusions

1. As my research revealed, some olden ways to develop traditional fiddler and transmit fiddling skills and master ship to the new generations are maintained in Dzukija up to nowadays, especially playing by ear in families and kinships, and further in local bands. However, from the end of the 20^th century up to now, a lot of changes and innovations caused by new socio-cultural contexts have occurred in the post-industrial and (post-) globalisation era.

2. Mass media, together with widely used modern technologies, keeping in mind rapidly changing pop music fashions and prevailing consumer society attitudes [cf. 5, 26], are relevant agencies in formation of the new-generation children's and young person's musical-cultural perception, values, and musical-cultural identity. Thus, various forms of informal education and other fiddling activities in communities, for instance - a local band and / or a studio led by a folk fiddler or summer music making courses as well as other activities, held in accordance with the Lithuanian Culture Policy to foster and promote intangible heritage traditions play an important role.

3. There are quite a few possibilities to upgrade traditional fiddle playing skills and perform during higher education in towns of Lithuania. Some young traditional Dzukija fiddlers after graduation of their higher education studies return to their hometowns and actively work in the field of traditional music making, lead bands and / or teach.

4. Despite remote communication means and online performance opportunities, emigration abroad significantly limits Dzukija fiddler's possibilities actively participate in musical life of their native region and thus could be indicated as one of the agencies reducing efforts to continue and revive fiddling tradition in this region.

References

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14. Kirdiene, Gaila (2012). The Drone Styles o f Lithuanian Folk Fiddle Music. Roots & Routes. Fiddle and Dance Studies from around the North Atlantic, 4. Edited by Ian Russell and Chris Goertzen. The Alphinstone Institute University of Aberdeen, 2012, 72-96.

15. Kirdiene, Gaila (2015a; compiler and editor). Lietuvip liaudies smuiko muzikos antologija / Gyvoji tradicija [Antology of Lithuanian Folk Fiddle Music / Living Tradition] [DVD]. Vilnius: Lietuvos liaudies kulturos centras [in Lithuanian].

16. Kirdiene, Gaila (2015b). Jonas Ragazinskas: liaudies muzikanto biografija [Jonas Ragazinskas. Biography of a Folk Musician]. Liaudies kultura [Folk Culture], 5, 5367 [in Lithuanian].

17. Kreve-Mickevicius, Vincas (1930). Dzukp vestuves [Dzukija Region Weddings]. Musp tautosaka [Our Folklore], 2. Kaunas, 1930, 17-93 [in Lithuanian].

18. Lunys, Arunas (2001). Dzukijos muzikantai / Lietuvip liaudies instrumentine muzika [Dzukija Region Folk Musicians / Lithuanian Folk Instrumental Music] (MC). Vilnius: Vilniaus plokstelip studija [in Lithuanian].

19. Lunys, Arunas (2015a). Varenos krasto muzikantai [Varena Region Folk Musicians] (CD). Vilnius: LLKC, Varenos rajono savivaldybes kulturos centras [in Lithuanian].

20. Lunys, Arunas (2015b). Dniskininku krasto muzikantai [Druskininkai Region Folk Musicians] (CD). Vilnius: LLKC, Dniskininku kulturos centras [in Lithuanian].

21. Nakiene Auste, Zarskiene Ruta (compilers and editors) (2005). Dzukijos dainos ir instrumentine muzika. 1935-1941 metu fonografo jrasai [Songs and Instrumental Music from Dzukija. Phonograph Records of 1935-1941]. Vilnius: Lietuviu literaturos ir tautosakos institutas [in Lithuanian].

22. Urbaitis, Mindaugas (1989). Gerveciu apylinkes muzikantai [Folk Musicians from Gerveciai Region]. Gerveciai. Vilnius: Mintis, p. 379- 382, 399-400 [in Lithuanian].

23. Vycinas, Evaldas (1998, compiler). Smuikas. Lietuviu tradicine muzika, [Fiddle. Lithuanian Traditional Music], 1 (CD). Vilnius: Vilniaus ploksteliu studija, Tautos namu santara [in Lithuanian].

24. Vycinas, Evaldas (2002). Lietuvip smuikas [Lithuanian Fiddle]. Liaudies kuryba [Folk Creation], 5. Vilnius: Lietuvos liaudies kulturos centras, 286-314 [in Lithuanian].

25. Zarskiene, Ruta (2010). Dzukijos instrumentinis muzikavimas: Veisiejp-Lazdijp krasto tyrimai [Instrumental Music Playing Traditions: Investigation from Veisiejai- Lazdijai Areas]. Liaudies kultura [Folk Culture], 1 (130). Vilnius: Lietuvos liaudies kulturos centras, p. 34-42 [in Lithuanian].

26. Ярмола, Вікторія (2014). Скрипкова традиція Рівненсько-Волинського Полісся. Монографія. Львів: Сполом, 234 + 1 CD-ROM [in Ukrainian].

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