Lithuania's integration into the world music culture in 1990-2000

Straipsnyje nagrinėjama Lietuvos integracija į pasaulio muzikos kultūrą 1990-2000 metais. Tyrimo objektas yra Lietuvos atlikėjų, kompozitorių bei muzikinių organizacijų dalyvavimas muzikinės kultūros vystyme. Tai ne tik muzikiniai, bet ir istoriniai bei socialiniai faktai, kuriuos galima atskleisti tiek laike - nustatant dalyvavimo kaitą, procesualumą, tiek erdvėje - nustatant geografinę sklaidą. Kartu straipsnyje siekiama atskleisti XX a. paskutiniojo dešimtmečio santykį su istoriniu kontekstu - tarpukario bei sovietmečio patirtimi. Staipsnis perengtas to paties pavadinimo bakalauro darbo, apginto VU Istorijos fakulteto Istorijos teorijos ir kultūros istorijos katedroje 2001 m., pagrindu.The article aims at discussing the process of Lithuania’s integration into the world music culture after restoring the independence in 1990. The revealing of relation with the historical background - the experience of interwar (1918-1940) and soviet (1940-1990) periods - is of significance. After the quantitative and qualitative analysis of the facts of participation of Lithuania’s composers, performers and music organisations in world music life in the period 1990-2000, the following conclusions could be drawn: The process of integration is directly connected with the political situation. The periods of statehood mark the international activity of Lithuanian musicians under the status of state representation. The interwar period could be considered as the outset of the process. The main trends of integration were formed at the time. However, it was politically cut in 1940. Though the official state representation in the soviet period was not possible, the individual international activity was carried out and the experience gained. It was utilised and became of great significance after 1990. The dynamics of dispersion of Lithuanian music culture in the world in 1990-2000 reveals the individual activity as well as that of state. As a result, the striking quantitative rise of interpreters’ concerts abroad and performances of composers’ works in 1992 could have been influenced by the final international recognition of Lithuania as a state. The geography of the dispersion is in close connection with the countries’ tradition of international relations. In both cases of performers’ touring abroad and composers’ creative works performances, Germany is completely dominant. One could notice the continuation of some traditions formed already in the interwar period: pianists, choirs and singers won the majority of the international competitions in 1990-2000 as the very first laureates. Lithuanians also represented the piano and vocal cultures. They were on the head of the rest to represent the country abroad in 1918-1940. In 1990-2000, Lithuania joined the main international music organisations, though the role of state cultural policy is still lacking consistency. Lithuania still does not own a national section of International Music Council (UNESCO) - the organisation regarded as one of those most important worldwide