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Publication-2016-Ars-Et-Praxis-IV.Pdf ARS et PRAXIS 2016 IV ISSN 2351-4744 REDAKCInė KOLEGIJA | EDITORIAL BOARD Vyriausiasis redaktorius | Editor-in-Chief Jonas Vytautas Bruveris (Lietuvos muzikos ir teatro akademija) Vyr. redaktoriaus pavaduotoja | Vice-Editor Laima Budzinauskienė (Lietuvos muzikos ir teatro akademija) Tel.: +370 611 70854 El. paštas: [email protected] Nariai | Members Giedrė Jankevičiūtė (Lietuvos kultūros tyrimų institutas) Gustaw Juzala (Lenkijos mokslų akademijos Krokuvos skyrius, Archeologijos ir etnologijos institutas) Naglis Kardelis (Vilniaus universitetas) Jānis Kudiņš (Latvijos Jazepo Vytuolio muzikos akademija) Ramunė Marcinkevičiūtė (Lietuvos muzikos ir teatro akademija) Valdis Muktupāvels (Latvijos universitetas) Anneli Saro (Tartu universitetas, Kultūros tyrimų ir menotyros institutas, Estija) Bronė Stundžienė (Lietuvių literatūros ir tautosakos institutas) Stephen Wilmer (Dublino universitetas, Trinity koledžas, Airija) Sudarytoja Laima Budzinauskienė Redaktorė Aušra Gapsevičienė © Lietuvos muzikos ir teatro akademija, 2016 © Straipsnių autoriai: Irena Alperytė, Linas Balandis, Laima Budzinauskienė, Gražina Daunoravičienė, Vytautas Giedraitis, Paulė Gudinaitė, Eglė Juciūtė, Danutė Kalavinskaitė, Mantautas Katinas, Ivan Kuzminskyi, Rita Mačiliūnaitė-Dočkuvienė, Rasa Murauskaitė, Lina Navickaitė-Martinelli, Vygintas Orlovas, Helmutas Šabasevičius, Virginija Unguraitytė-Levickienė, Audra Versekėnaitė, Rūta Vosyliūtė, 2016 Turinys Contents 5 Pratarmė 8 Foreword ARS 11 Ivan KuZMINSKYI. On the influence of theC atholic musical culture of Lviv and Vilnius on partes polyphony at the end of the 16th and during the 17th centuries | Lvovo ir Vilniaus katalikų muzikinės kultūros įtaka partesinės polifonijos plėtrai XVI a. pabaigoje – XVII amžiuje 33 Rūta VOSYLIŪtė, Gražina DAUNORAVičiEnė. Baroko epochos arijos da capo idėja ir jos auto- rystės klausimas | The idea of Baroque aria da capo and the question of its authorship 56 Virginija UNGURAITYtė-LEVICKIEnė, Audra VERSEKĖNAITĖ. M. K. čiurlionio variaci- jų Besacas redagavimo praktika | Editing practice in variations Besacas by M.K. čiurlionis 72 Rita MAčiLIŪNAItė-DOčkUVIEnė. Verbalika kaip muzikos komponavimo priemonė post- draminiame teatre | Verbal tools as music composition methods in post-dramatic theatre 87 Linas BALANDIS, Danutė KALAVINSKAItė. Choras Katalikų Bažnyčioje: samprata, repertuaras, atlikimo pobūdis | The Choir of the Catholic Church: its concept, repertoire and nature of performance 102 Vytautas GIEDRAITIS. Prancūzų klarneto mokykla: estetika, stilius, repertuaras | The French clari- net school: aesthetics, style and repertoire PRAXIS 119 Paulė GUDINAItė. Muzikos interpretacija kaip kultūrinio vertimo strategija: B. Britteno vokalinis ciklas „Septyni Michelangelo sonetai“ tenorui ir fortepijonui op. 22 | Music’s interpretation as a cultural translation strategy: B. Britten’s vocal cycle Seven Sonnets of Michelangelo for tenor and piano op. 22 134 Eglė JUCIŪtė, Laima BUDZINAUSKIEnė. Vibrato lietuvių kompozitorių kūriniuose fleitai solo: kūrėjo ir atlikėjo dialogas | Vibrato in works for flute solo by Lithuanian composers: the dialogue between the composer and the performer 151 Vygintas ORLOVAS. Meninio tyrimo aspektai garsovaizdžio studijose: lyginamoji atvejų analizė | Aspects of artistic research within sound-image studies: a comparative analysis of case studies 160 Irena ALPERYTė. Symptoms of cost disease in Lithuanian state theatre | „Kaštų ligos“ simptomai Lietuvos valstybiniuose teatruose 177 Mantautas KATINAS. Pianistų Leopoldo Godowsky’io, Vlado Perlemuterio ir Sulamitos Aronovsky kelias iš Lietuvos: istorinės multitradiciškumo prielaidos | Leopold Godowsky, Vlado Perlemuter and Sulamita Aronovsky in Lithuania and in the world: preconditions of a historical multi-traditionalism ŠALTINIAI 189 Helmutas ŠaBASEVičiUS. „Viskas praėjo kaip sapne“. Baleto solistės Marijos Juozapaitytės-Kel- bauskienės laiškai baleto pedagogei, choreografei, dailininkei Olgai Dubeneckienei-Kalpokienei | “All passed by as in a dream”. The letters of ballet soloist Marija Juozapaitytė-Kelbauskienė to ballet educator, choreographer and artist Olga Dubeneckienė-Kalpokienė InTERVIU 209 Lina NAVICKAItė-MaRTINELLI. Atlikimo baras muzikologijos lauke. Interviu su pianistu ir muzikologu Johnu Rinku 227 Rasa MURAUSKAItė. Neaprėpiami muzikologijos horizontai. Pokalbis su amerikiečių muzikologu Richardu Taruskinu PRIEDAI 239 Kronika. 2016 242 Apie autorius 247 About the authors 253 Atmena autoriams 256 Guide for authors Pratarmė Ars et praxis žurnalo ketvirtas tomas apima keturiolika publikacijų, iš kurių dvi – anglų kalba. Jau tampa tradicija, kad žurnalo centre yra Lietuvos muzikos ir teatro akademijoje (LMTA) vykusių konferencijų (šį kartą 2016 m. balandžio 27–28 d. 40-osios metinės kon- ferencijos) pranešimų pagrindu parengti mokslo straipsniai ir meno doktorantų darbai. Žurnalo Ars dalį, kurią sudaro šeši mokslo straipsniai, atveria Ukrainos P. čaikovs- kio nacionalinės muzikos akademijos muzikologo Ivano Kuzminsky’io publikacija „On influence of the catholic musical culture of Lviv and Vilnius on partes polyphony at the end of XVI and during XVII centuries“. Straipsnio objektas yra aktualus Lietuvos muzikos istorijai ir jos tyrimams: autorius atskleidžia XVI a. pabaigos – XVII a. katalikų muzikinės kultūros sąsajas tarp Lvovo ir Vilniaus, jų įtaką komponuojant daugiabal- ses kompozicijas. Šis darbas skatina Lietuvos muzikologus giliau pažvelgti į Lietuvos muzikos istoriją, plėsti nagrinėjamų objektų istorinį lauką. Kiti penki Ars dalies straips- niai – LMTA meno doktorantų ir jų projektų tiriamosios dalies vadovų publikacijos. Rūtos Vosyliūtės ir prof. dr. (hp) Gražinos Daunoravičienės straipsnyje „Baroko epochos arijos da capo idėja ir jos autorystės klausimas“ pasitelkiant istorinį ir komparatyvistinį tyrimo metodus gvildenamos baroko arijos da capo formalaus kanono – jos reprizišku- mo ir pasikartojimo idėjos (mimesis) – realizavimo filosofinės bei muzikinės prielaidos. Virginija Unguraitytė-Levickienė ir doc. dr. Audra Versekėnaitė tęsia M. K. čiurlionio kompozicijų redagavimo tyrimus; šį kartą bendraautorės aptaria Besacas variacijų reda- gavimo praktiką, analizuoja pasirinktos kompozicijos redakcijas fortepijonui, lygina jų skirtumus su autografu ir siūlo šio kūrinio urteksto rengimo rekomendacijas atlikėjams. Ritos Mačiliūnaitės-Dočkuvienės straipsnyje „Verbalika kaip muzikos komponavimo priemonė postdraminiame teatre“ analizuojamas naujas požiūris į tekstą teatro erdvėje. Pasak autorės, verbalika neapsiriboja tik teksto ir informacijos pateikimo ar perteiki- mo funkcija: ignoruojama taisyklė, kad tekstas kuria prasmę ir turi būti suprantamas. Straipsnyje išskiriami ir analizuojami trys muzikiniai verbalinių priemonių kompona- vimo būdai, pateikiami postdramiškumu pasižyminčių kūrinių pavyzdžiai. Lino Balan- džio ir doc. dr. Danutės Kalavinskaitės publikacijos tikslas – remiantis Bažnyčios doku- mentais atskleisti, kaip Katalikų Bažnyčios liturgijoje įvairiais istoriniais laikotarpiais (I–XX a. pradžioje) kito choro samprata ir vaidmuo. Bendraautorių straipsnyje „Choras ARS et PRAXIS 2016 IV 5 Katalikų Bažnyčioje: samprata, repertuaras, atlikimo pobūdis“ analizuojami Bažnyčios dokumentai, apibūdinama choro samprata (sudėtis, profesionalumo lygmuo), aptaria- mos repertuaro ypatybės, atlikimo pobūdis, chorvedžių veikla ir atsakomybė. Vytauto Giedraičio publikacija „Prancūzų klarneto mokykla: estetika, stilius, repertuaras“ yra skirta svarbiausiems instrumento pedagogikos principams ir interpretacijos kultūrai. Iš- skirtinis dėmesys darbe tenka daugiau nei dviejų šimtų metų tradicijas puoselėjančiai Paryžiaus konservatorijai, kurioje susiformavo savitos pedagogikos, grojimo technikos, klarneto konstrukcijos tobulinimo, garso estetikos ir repertuaro plėtros tradicijos. Žurnalo Praxis dalį sudaro penki mokslo straipsniai. Meno doktorantė Paulė Gudi- naitė straipsnyje „Muzikos interpretacija kaip kultūrinio vertimo strategija: B. Britteno vokalinis ciklas „Septyni Michelangelo sonetai“ tenorui ir fortepijonui op. 22“ pateikia vieno reprezentatyviausių kamerinės vokalinės muzikos kūrinių, parašytų literatūrinio soneto poetiniu pagrindu, analizę dviem aspektais: kompoziciniu ir interpretaciniu. Au- torė, remdamasi intersemiotinio vertimo ir ekfrazės teorijomis, siekia semantiniu as- pektu atskleisti kompozitoriaus taikytas kultūrinio vertimo strategijas ir apibendrintai aptarti ciklo atlikimų interpretacijas iš muzikinės stilistikos perteikimo strategijų po- zicijos. Publikacija „Vibrato lietuvių kompozitorių kūriniuose fleitai solo: kūrėjo ir atli- kėjo dialogas“ – Eglės Juciūtės ir doc. dr. Laimos Budzinauskienės darbas apie vibrato techniką, panaudojimą ir užrašymą keturiuose lietuvių kompozitorių kūriniuose fleitai solo. Publikacijos tikslas – remiantis pasirinktais kūriniais aptarti kūrėjo ir atlikėjo ben- dradarbiavimą kūrybos ir vibrato užrašymo bei atlikimo procese. Meno kūrinių tyri- muose, gvildenant garso ir vaizdo ryšius, atsiskleidžiantys aspektai apžvelgiami Vyginto Orlovo straipsnyje „Meninio tyrimo aspektai garsovaizdžio studijose: lyginamoji atvejų analizė“. Doc. dr. Irena Alperytė skaitytojams pateiktame darbe „Symptoms of Cost Di- sease in Lithuanian State Theatre“ kelia hipotezę, kad esama Lietuvos valstybinė teatro valdymo sistema nepadeda teatrams greta meninių aukštumų siekti finansinės sėkmės. Pasak I. Alperytės, Lietuvos scenos menų organizacijų teisinis pagrindas nesikeičia nuo Nepriklausomybės pradžios, tad akivaizdu, kad įstatymų paketą reikia tobulinti,
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