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Caurspēlējamā Cītara Latvijas Tradicionālajā Mūzikā

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Caurspēlējamā Cītara Latvijas Tradicionālajā Mūzikā Jāzepa Vītola Latvijas Mūzikas akadēmijas Akadēmiskās maģistra studiju programmas Mūzika Apakšnozares Etnomuzikoloģija maģistranta Ilmāra Pumpura maģistra darbs Caurspēlējamā cītara Latvijas tradicionālajā mūzikā Maģistra darba izstrādes vadītāja asoc.prof., Dr.art. Anda Beitāne Rīga, 2009 3 SATURS Ievads ................................................................................................................................................................. 5 1. Terminoloģija un izpētes objekts................................................................................................................... 8 2. Ieskats Eiropas cītaru vēsturē un to iespaids uz muzicēšanu Latvijā ......................................................... 14 3. Rakstītie avoti par cītarspēli Baltijā ............................................................................................................. 22 3.1. Ieskats latviešu tradicionālās mūzikas instrumentu pētniecības vēsturē ............................................ 22 3.2. Baltijas cītaru līdzšinējais izpētes stāvoklis .......................................................................................... 30 4. Instrumentu konstrukcija un tipi ................................................................................................................ 66 5. Spēles tradīcijas .......................................................................................................................................... 90 5.1. Caurspēlējamās cītaras spēles tehnikas ............................................................................................... 90 5.2. Vizuālo, audio, video un ekspedīciju materiālu apskats ....................................................................... 93 Nobeigums..................................................................................................................................................... 101 Izmantotā literatūra un citi avoti ................................................................................................................... 104 1. pielikums V. Košeļova cītaru klasifikācija .................................................................................................. 109 2. pielikums. Caurspēlējamo cītaru attēli ..................................................................................................... 111 3. pielikums Caurspēlējamo cītaru spēlmaņu attēli. ..................................................................................... 113 4. pielikums Igauņu jaunās kanneles spēlmaņu attēli. .................................................................................. 115 Latvieši Sibīrijā ............................................................................................................................................... 117 CD pielikuma saturs ....................................................................................................................................... 119 4 IEVADS Pat pavirši pārskatot literatūrā pieejamos materiālus par Latviešu tradicionālo instrumentālo mūziku un mūzikas instrumentiem, zīmīgi, ka tos parasti pārstāv pirmsindustriālajai zemnieku kultūrai raksturīgi skaņu rīki, kas no aktīva lietojuma sāk izzust jau 19.gadsimtā. Piemēram, varam aplūkot Gārlanda pasaules mūzikas enciklopēdijā (The Garland Encyclopedia of World Music) publicēto Valda Muktupāvela rakstu par latviešu instrumentālo mūziku. Šajā ļoti koncentrētajā – apmēram divas lappuses garajā tekstā – pa rindkopai atvēlēts raksturīgākajiem, ar kādām noteiktām tradicionālās kultūras norisēm funkcionāli saistītiem senākas cilmes instrumentiem – stabulēm, ragiem (taurēm), trīdeksnim, koklēm, kuras ir īpaši izceltas kā raksturīgākās un nozīmīgākās, dūdām (Latvijā kopš apmēram 1500. gada) un vijolei (kopš apmēram 1650. gada). Kokļu aprakstu pēc atzinuma, ka to spēle ap 1900. gadu jau sāk izzust, noslēdz teikums: Vienlaicīgi attīstās cītaru iespaidotas hibrīdformas, parasti ar septiņpadsmit līdz piecdesmit stīgām (Muktupāvels 2000:504). Vēl pāris teikumos jaunāku laiku muzicēšana pieminēta tradicionālās vijoļspēles aprakstā, kur piebilsts, ka pēc aptuveni 1850. gada vijolnieki sāk spēlēt ansamblī ar citiem instrumentiem – cītaru, akordeonu1, mandolīnu, ģitāru, cimboli, kontrabasu un sitamajiem instrumentiem. Visbiežāk ansamblis sastāv no vienas vai divām vijolēm, cītaras un bungām, vai vijoles, cītaras un akordeona (Muktupāvels 2000:504). Šis piemērs uzskatāmi rāda par dažādu laiku instrumentiem uzkrātās informācijas apjoma un pētnieku ieguldītā darba un interešu balansu. Paradoksāli, bet šobrīd ir apzināts, apkopots un publicēts visai daudz informācijas par senākajiem instrumentālās mūzikas slāņiem - arheoloģiskie atradumi, senāko rakstu avotu skopās ziņas un etnogrāfiskie priekšmeti, kamēr situācija 19. un 20.gs. mijā un vēl jaunākos laikos, kad tradicionāli tiek runāts par profesionālo instrumentu ienākšanu sadzīves mūzikā, šobrīd pat speciālistiem ir īsta terra incognita. Iemesls šādam stāvoklim ir ieilgusī 20. gadsimta sākuma mūzikas folkloristikai raksturīgā interese par iespējami senākām, moderno laiku nesamaitātām tradicionālās kultūras izpausmēm. Pacelta tautas gara 1 Tekstā netiek atšifrēts, bet šeit acīmredzot domāta plēšu harmonika. No tā varam secināt, ka pat tik solīdā izdevumā nevaram rēķināties ar vienotu nepārprotamu terminoloģiju attiecībā uz jaunāko laiku instrumentālās mūzikas parādībām. 5 mantas statusā šī, tolaik jau strauji sarūkošā, kultūras mantojuma daļa tikusi vākta, apkopota, pētīta, vienlaikus novēršoties no jaunākām parādībām, kā tautas garam svešām un mazvērtīgām. Folkloristikas krīze pagājušā gadsimta otrajā pusē lika pārskatīt tradicionālās kultūras pētnieku – folkloristu, etnogrāfu, muzikologu – intereses objektus un darba metodes, ieviešot tradīcijas jēdzienu. Šāda pieeja pavēra iespēju aprakstīt nevis atsevišķas norises, folkloras vienības, skaņu rīkus noteiktās to lietojuma laika un telpas robežās, bet universālu likumsakarīgu procesu izpausmes, kurās dažādu iekšēju un ārēju faktoru ietekmē veidojas katram aplūkojamam kultūras modelim raksturīgās tradicionālā un mainīgā attiecības; pētīt tradīcijas pārmantošanas nosacījumus un mainīgā asimilācijas mehānismus. Attiecībā uz mūzikas tradīcijām tas ļauj saprast, ka jārunā nevis par seno muzicēšanas un vokālo tradīciju izzušanu ap 19. – 20. gadsimtu miju, bet strauju tradīcijas transformāciju, kurā, neraugoties uz ārējām atšķirībām, pamatā tomēr var saglabāties ievērojama pārmantotās tradīcijas klātbūtne. Šī maģistra darba mērķis ir izpētīt un raksturot vienu no jaunāko laiku tradicionālās mūzikas instrumentiem – caurspēlējamo cītaru. Darba mērķa sasniegšanai ir izvirzīti šādi uzdevumi: . sniegt ieskatu Latvijas un Baltijas tradicionālo mūzikas instrumentu pētniecības vēsturē; . raksturot caurspēlējamo cītaru Latvijas un Eiropas cītaru kontekstā; . raksturot instrumentu konstrukciju un tipus; . aprakstīt instrumenta spēles tehnikas; . iepazīstināt ar caurspēlējamās cītaras dokumentācijas gaitu un stāvokli. Aplūkojamais instruments līdz šim literatūrā un arī speciālistu aprindās plašāk zināms ar nosaukumu cītarkokle, tomēr darba vajadzībām ir izraudzīts cits, tautas terminoloģijā aizgūts apzīmējums caurspēlējamā cītara, kurš tieši norāda uz instrumenta saistību ar cītaru grupas instrumentiem, vienlaicīgi nošķirot to no citiem ar norādi uz spēles veidu. Apzīmējuma cītarkokle lietošanu apgrūtina tas, ka tā jēdzieniskais saturs atsevišķu speciālistu lietojumā (tātad arī apskatāmajās publikācijās) ir atšķirīgs. 6 Darba struktūru nosaka iepriekš nosaukto uzdevumu izstrāde. Darba sākumā tiek doti nepieciešamie jēdzienu un terminu, kā arī darba izstrādē izmantoto teorētisko principu skaidrojumi. Tam seko plašs literatūras apskats – parādot tradicionālās mūzikas un instrumentu izpētes vēsturi un stāvokli kopumā; cītaru grupas instrumentu un tieši caurspēlējamās cītaras izpētes stāvokli (kas, neraugoties uz ievērojamām nepilnībām, ir daudz labāks, nekā vairumam citu jaunlaiku instrumentu); sniegts nepieciešamais ieskats Eiropas cītaru būves vēsturē, lai precīzi noteiktu to saistību ar Baltijas daudzstīgu instrumentiem. Turpinājumā seko pārskatītajā literatūrā un dažādos citos avotos, kā arī patstāvīgos pētījumos iegūtā informācijā balstīts detalizēts caurspēlējamās cītaras konstrukcijas un stīgojuma veidu apraksts. Darbu noslēdz instrumenta spēles tradīciju apskats – aprakstītas tā spēles tehnikas un caurspēlējamās cītaras vieta instrumentālās muzicēšanas tradīcijās – tās lietojuma funkcijas, dažādas muzicēšanas situācijas un spēles repertuārs; spēles prasmes pārmantošanas mehānismi un spēlmaņu pašvērtējums. Izmantoto materiālu daudzveidība nosaka atšķirīgu metožu izvēli dažādās darba daļās. Ja pirmajā daļā pamatā lietota teksta analīze, otrajā daļā izmantots plašs kvantitatīvo un kvalitatīvo metožu klāsts – no zināmo instrumentu uzskaites un pašu instrumentu aprakstiem līdz audiovizuālo materiālu aprakstiem un informantu aptaujām un intervijām. Darbam pievienotajos pielikumos apkopoti dažādi vizuālie materiāli, kas ilustrē un papildina izklāstīto materiālu, kā arī CD ar caurspēlējamās cītaras spēles paraugiem. Darbā aplūkotais instruments, kura lietojums un spēles prasme joprojām ir fiksējami pasīvā tradīcijā, ir īpaši interesants ar to, ka tajā uzskatāmi apvienojušies senākie kokļu spēles principi ar būtībā atšķirīgu aizgūtu instrumenta konstrukciju, daļēji arī jaunām lietojuma funkcijām, izveidojoties jaunam unikālam mūzikas instrumentam. Neraugoties uz salīdzinoši neseno ienākšanu muzicēšanas praksē,
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