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Jurgita Nagrockytė DAMBRELIO RAIDA LIETUVOS MUZIKINIUOSE

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Jurgita Nagrockytė DAMBRELIO RAIDA LIETUVOS MUZIKINIUOSE VYTAUTO DIDŽIOJO UNIVERSITETAS HUMANITARINIŲ MOKSLŲ FAKULTETAS ETNOLOGIJOS IR FOLKLORISTIKOS KATEDRA Jurgita Nagrockytė DAMBRELIO RAIDA LIETUVOS MUZIKINIUOSE ANSAMBLIUOSE Magistro baigiamasis darbas Etninės kultūros studijų programa, valstybinis kodas 62407H101 Etnologijos studijų kryptis Vadovas prof. habil. dr. Romualdas Apanavičius ___________ ___________ (Moksl. laipsnis, vardas, pavardė) (Parašas) (Data) Apginta doc. dr. Jonas Vaičenonis ___________ ____________ (Fakulteto dekanas) (Parašas) (Data) Kaunas, 2010 1. TURINYS 1. TURINYS ....................................................................................................................................... 1 2. SANTRAUKA................................................................................................................................ 2 3. SUMMARY.................................................................................................................................... 3 4. ĮVADAS ......................................................................................................................................... 4 5. DAMBRELIO ISTORIJA, ATSIRADIMO PRIELAIDOS LIETUVOJE..................................... 7 5.1 Dambrelio raida pasaulyje ....................................................................................................... 7 5.2 Dambrelio istorinė raida .......................................................................................................... 9 5.3 Dambrelio istoriniai atradimai Europoje ir Jungtinėje karalystėje .......................................... 9 5.4 Dambrelio naudojimas įvairiose muzikinėse kompozicijose................................................. 12 5.5 Dambrelio raida Lietuvoje..................................................................................................... 12 6. DVIDEŠIMTIES ĮVAIRIŲ PASAULIO ŠALIŲ TIRIAMŲ DAMBRELIŲ FIZINĖS SAVYBĖS ...................................................................................................................................................... 14 7. GARSO SPEKTRAI IR JŲ YPATUMAI .................................................................................... 22 8. DAMBRELIŲ GARSO SPEKTRŲ PALYGINIMAS................................................................. 43 9. KOMPAKTINĖS PLOKŠTELĖS “LIETAUS LAŠAI” DAMBRELIŲ MUZIKA ................... 48 9.1 Kompaktinė plokštelė „Lietaus lašai“. repertuaro nagrinėjimas ........................................... 49 9.1 Kompaktinė plokštelė „Lietaus lašai“ repertuaro skirstymas ................................................ 52 10. DAMBRELIAI LIETUVOS MUZIKINIUOSE ANSAMBLIUOSE ........................................ 54 10.1 Lietuvių folkloro grupė ATALYJA ....................................................................................... 55 10.2 Post folkloro grupė SPANXTI.............................................................................................. 57 10.3 Folkloro, eksperimentinės, elektroninės muzikos projektas DONIS ir folk roko grupė GYVATA ............................................................................................................................................ 58 10.4 Folk roko grupė ŽALVARINIS ir folkloro muzikos projektas MARGA MUZIKA .............. 60 10.5 Elektroninės ir folkloro muzikos projektas AITVARAS (buvęs KOLEKTYVAS)................. 61 10.6 Folkloro kolektyvas RATILIO ............................................................................................. 63 10.7 Anketų analizė ..................................................................................................................... 64 11. DOMĖJIMASIS DAMBRELIU ................................................................................................. 66 12. DAMBRELIS ŠIUOLAIKINĖJE LIETUVIŲ MUZIKINĖJE IR ETNINĖJE KULTŪROJE .. 71 13. IŠVADOS.................................................................................................................................... 72 14. LITERATŪRA IR ŠALTINIAI .................................................................................................. 73 1 2. SANTRAUKA Magistriniame darbe „Dambrelio raida Lietuvos muzikiniuose ansambliuose“ apžvelgiama, analizuojama ir aprašoma istorinė medžiaga apie dambrelio atsiradimo prielaidas, jų paplitimą pasaulyje ir Lietuvoje. Smulkiau nagrinėta medžiaga susijusi su dambrelių fundamentinių dažnių spektrais, jų akustinėmis savybėmis bei garsinėmis galimybėmis grojant atskirų rūšių dambreliais. Taip pat plačiai apžvelgta ir aprašyta medžiaga susijusi su dambrelio naudojimu šiuolaikinėje įvairių atmainų folkloro muzikoje, tradicinėje folkloro muzikoje, bei dambrelio naudojimas atskirais atvejais pavienių asmenų. Darbe pasirinktinai aprašomi ir nagrinėjami dvidešimties skirtingų pasaulio šalių dambreliai (Priedas Nr 3, dambrelių garsų įrašai). Analizuojamos jų fizinės savybės, fundamentiniai dažniai, nagrinėjamos akustinės ir garsinės galimybės. Atliktos dambrelių spektrogramos, pateikti jų aprašymai, susisteminta medžiaga apie skirtingas fizines savybes, bei jų įtaka dambrelio skambesiui. Plačiai darbe nagrinėjama dambrelio muzikos įtaka Lietuvos muzikinei kultūrai, instrumento naudojimas bei paplitimas įvairiuose lygmenyse. Atliktas pirmosios Lietuvoje išleistos dambrelių muzikos kompaktinės plokštelės Lietaus lašai (Priedas Nr. 2) dambrelių kompozicijų tyrimas, išnagrinėtas repertuaras. Darbe atliktos dvi apklausos (Priedas Nr. 1, VDU ER2047), pirmojoje apklausiami pavieniai asmenys, kurie pateikia atsakymus apie dambrelio raida Lietuvoje, jo paplitimą jų žinomose erdvėse. Antroji apklausa atlikta tyrinėjant dambrelio naudojimą muzikiniuose ansambliuose, tiek folkloriniuose tiek kituose. Apklausti kolektyvai: Atalyja, Žalvarinis, Aitvaras, Marga Muzika, Ratilio, Gyvata, Donis, išnagrinėti jų kūriniai bei muzikinės kompozicijos (Priedas Nr. 4), kur naudojama dambrelio muzika. Darbe pateikiama plati ir įvairi medžiaga apie dambrelį, jo istoriją, muzikines bei akustines galimybes, jo panaudojimą įvairiuose muzikiniuose ansambliuose Lietuvoje, jo naudojimą pavienių asmenų, bei reikšmę Lietuvos etninei muzikai. 2 3. SUMMARY Master’s thesis The Development of Jew’s Harp in Lithuanian Music Ensembles overviews, analyses and describes historical data on the background of Jew’s harp emergence, and its use both worldwide and in Lithuania. The data related to fundamental frequency spectra and acoustic characteristics of the Jew’s harp as well as sonic possibilities when playing different types of this instrument are analysed in greater detail. The material related to the use of Jew’s harp in various subgenres of contemporary and traditional folk music as well as its use by individual persons in certain cases are also broadly overviewed and described in the paper. The paper describes and analyses Jew’s harps of twenty arbitrarily selected countries worldwide. The analysis of their physical characteristics, fundamental frequencies, acoustic and sonic potential is provided. The researcher has conducted spectrograms of the Jew’s harps, provided their descriptions, structured all data on the differences in their physical characteristics and discussed the impact of these characteristics on the sound of the instrument. The paper presents the analysis of the impact of the music of Jew’s harp on the musical culture of Lithuania, the use of the instrument and its spread in a variety of levels. For the paper, the researcher has conducted a research of the compositions of Jew’s harps in Lietaus lašai, the first CD of this music released in Lithuania, and analysed the repertoire of this CD. The paper contains two surveys (Annex No. 1, VDU ER2047). The first survey has been conducted with individual people and focuses on the development of the Jew’s harp in Lithuania as well as the use of this instrument in the areas they know. The second survey has been conducted for the study of the use of Jew’s harp in both folk and other music ensembles. Such bands as Atalyja, Žalvarinis, Aitvaras, Marga Muzika, Ratilio, Gyvata and Donis participated in the survey. Their works and music compositions where the Jew’s harp is used have been analysed for the paper. The thesis also contains a great amount of diverse material on the Jew’s harp, its history, musical and acoustic potential, its use in a variety of music ensembles in Lithuania and by individual persons, as well as significance to the Lithuanian ethnic music. 3 4. ĮVADAS Pastaruosius keletą metų ypatingai bandoma atgaivinti etno kultūros šaknis, puoselėti mūsų praeities istorijos tradicijas, jungti jas su šiuolaikine kultūra, ir taip pritraukti modernią vartotojišką visuomenę į etno kultūros puoselėjimą. Vykstant įvairaus pobūdžio projektams, renginiams, kurių pagrindinė idėja yra pristatyti Lietuvos etno kultūrine plotmę, supažindinti Lietuvos gyventojus, o ypatingai jaunąją kartą su senolių tradicijomis pamažu atgimsta įvairiausi senieji menai, folklorinės muzikos plėtojimas ir kita panaši veikla. Dalyvaudami įvairiose veiklose sutinkame ir susipažystame su begale senovinių instrumentų, jų muzika ir galimybėmis. Šiame darbe aprašysiu viena unikaliausių ir mažiausių pasaulyje instrumentų, apie kurį teko sužinoti tik prieš keletą metų, tai dambrelis. Pastarąjį dešimtmetį mūsų šalyje vis dažniau šis instrumentas yra naudojamas įvairių folkloro ir šiuolaikinės muzikos kolektyvų. Didelis susidomėjimas dambreliu pastebimas įvairių netradicinio folkloro renginių metu, atsiranda vis daugiau žmonių besidominančių šiuo instrumentu Lietuvoje. Dambrelis
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