Some ideological manifestations in Lithuanian modernist music

Straipsnio tema yra tautinės ir integracinės lietuvių modernizmo ypatybės bei galimybė keisti tikrovės suvokimą, plėsti mąstymo ribas. Tyrinėjama, kaip tai atsispindi kūrybos formose idėjinių apsisprendimų prasme, todėl pažvelgiama tik į kai kurių, autorės nuomone, su muzikos idėjine misija susijusių autorių kūrybą. Straipsnio tikslas - iškelti dar nematomus visuotinos kultūros raidos „mažuosius" procesus ir parodyti kartais lemiamą jų poveikį, nes tai aktualu Lietuvai tampant šiuolaikiškai pažangaus integruoto pasaulio dalimi.With modernism’s emergence in the 1920s, there was considerable debate in Lithuania about the value, distinctive-ness and prospects of Lithuanian music within the global context. Here the views of two Lithuanian modernist composers, Vladas Jakubėnas (1904-1976) and Vytautas Bacevičius (1905-1970), clashed: the first one brought to the fore the lag and lyricism of the periphery and contrasted the "rustic" national identity to the clamour of cosmopolitan cities, while the other placed more emphasis on dramatic tension; he viewed nationalism as spirituality and highlighted the universal nature of creation. Temporal tension would later become one of the most characteristic features of Lithuanian modernism. The universality of modernism reveals itself in Bacevičius’ works created in exile as a connection of Lithuanianism with the world and with the music of cosmic spirit. Meanwhile in Lithuania, under the shell of the compulsory soviet ideology, the images of the universal global structure which was gradually reproduced by modernism were forming. In Osvaldas Balakauskas (*1937) works they crystallize into an atonal system of harmonic scales. Bronius Kutavičius’ (*1932) modernism allows to have a look at the beginnings, restoring the temporal process and ringing the bells of historicism. The role of the time as the pulse in a musical form assumes a totally different character: the time becomes a "clock", an object, mythology and the carrier of a new history. In contact with totalitarianism, art becomes the tension of destruction; this was later developed in avant-garde musical forms. The power of destruction and the negative meaning of the "field beyond time" are declared in the works of the conceptual avant-gardist Šarūnas Nakas (*1962), who overtly shoots sermons in his texts thus strangely realising the idea of the "national mission". Lithuanian modernism of the late 20th century is characterized by the following features: "national mission" -openness towards the world, concern with history; dialectic balance of temporal cycles; "the psychology of insecurity" - the creative drive behind negative experience, energy from tension, and threat of destabilization, as well as the positivism of mysticism, vision and structures of the universe against the fatalistic abyss of time