Papers by Grazina Daunoraviciene
Lietuvos muzikos ir teatro akademija eBooks, 2013
Lietuvos muzikos ir teatro akademija eBooks, 2016
Oxford Music Online, 2001
Baltos lankos eBooks, 2000
Lietuvos muzikos ir teatro akademija eBooks, 2013
Menotyra, Jun 5, 2022
XX a. antrojoje pusėje Lietuvoje pasirodę vokiškojo Lied žanro kūrinių vertimai į lietuvių kalbą ... more XX a. antrojoje pusėje Lietuvoje pasirodę vokiškojo Lied žanro kūrinių vertimai į lietuvių kalbą su ryškiais vo kiškos ir lietuviškos sintaksės skirtumais iškėlė klausimus dėl visavertės kūrinių interpretacijos. Straipsnio tyrimo objektu tapo Lietuvos radijo ir televizijos (LRT) archyve rasta Richardo Strausso (1864-1949) įrašų medžiaga. Klausantis šių Lied lietuvių kalba, kyla nemažai klausimų apie dainų verbalinių tekstų vertimą sovietmečiu (1958-1977), po vertimo proceso pakitusias poetinio ir muzikinio teksto konstruktų sistemas kūriniuose bei kitakalbių Lied poveikį atlikimui. Tyrimui buvo pasitelkta ne tik muzikologija, bet ir vertimo studijos. Autorės apibendrino apie vertimo įtaką Lied kompozicijoms rašiusių tyrėjų (
Journal of Baltic Studies, Sep 1, 2008
... 'Algirdo Jono Ambrazo Opus magnum: Juozo Gruodio kompozitorių mokyklos genealogijos... more ... 'Algirdo Jono Ambrazo Opus magnum: Juozo Gruodio kompozitorių mokyklos genealogijos medis' Edited by: Ambrazas, A. (2007) View all references, pp. ... The trend of radical modernism, which might be called the first Lithuanian avant-garde (Bacevičius and Kačinskas). ...
Lithuanian Musicology, 2021
The article explores the ontic discourse of the historical “music genre” category in the context ... more The article explores the ontic discourse of the historical “music genre” category in the context of art music composition and theoretical epistemology of the late twentieth through the twenty-first century. The author’s intention to cover the most important theoretical interpretations
of the tradition of typology and taxonomy of art music has transformed into an authorial theoretical model of the music genotype, which is
exhibited in this research through the most important aspects. ! The principal position of the author is the methodological approach of the
General Systems Theory (GST) theoretical paradigm, which contributed to the substantiation of both the conception of the music genotype
(the author’s concept) itself and the state of the “chromatic” intersystemic change in the (macro)systems of music genotypes.
Key words: music genre, music genotype, General Systems Theory (GST), self-organization, system, (macro)system.
!e Music Genotype: Collapse versus a Hypothesis for the Formation of a New (Macro)system, 2022
!e article continues the discussion of the ontic discourse of the music genotype (music genre) wh... more !e article continues the discussion of the ontic discourse of the music genotype (music genre) which started in Volume XXII (2021) of the
present journal and approaches the consideration of the issues of the typology of twenty-%rst century music composition. !e aspiration to
cover both the concept of the phenomenon itself as a recursive self-organizing system and the ongoing “turning points” in the tradition of
typologization and taxonomy of art music is based on the methodological approach of the general systems theory (GST) and synergetics as
its branch. !e uni%ed conception of the ontic nature of the phenomenon and its functioning in contemporaneity enable the author to argue
the concept of change in the (macro) systems of genotypes of “chromatic” intersystemic music. !e author symbolizes the beginning of the
hypothetical change in the genotype (macro) systems by highlighting the innovative forms of art created by the Dada and Fluxus artists in
the 1950s through 1960s, which developed innovative art forms. !e article monitors the further development of new music genotypes in
the twenty-%rst century. From the point of view of typologies and taxonomies, the creation of professional music in the end of the twentieth
century underwent an enormous change. At the beginning of the twenty-%rst century, it entered a phase of passionate change, characteristic
of “seismic” situations of change of music genotypes (macro) systems. Re$ecting on the process of change in music genotypes (macro) systems,
the author proposes to test it with the activity of expression of three typological statuses (mono-genre, polygon, free genre [Libro-genre]).
From the author’s point of view, the coexistence of the old tradition mono-genre – poly-genre – free genre – new tradition mono-genre and
their mixes reveals the essence of the typological processes taking place in the art music today.
Keywords: music genre, music genotype, general systems theory (GST), a recursive self-organizing system, fractality, (macro)system, monogenre, polygenre, free genre (libro-genre).
Straipsnis analizuoja postmodernistinę muzikos žanro kategorijos būtį, slinktis, tendencijas ir t... more Straipsnis analizuoja postmodernistinę muzikos žanro kategorijos būtį, slinktis, tendencijas ir tapatybes. Svarstant išryškėja "post modernistinio posūkio" padariniai, kurie iškilo apmąstant institucionalizuotų meno teorijų kategorijas ir sąvokas, dekonstruojant jų teorijas. Teorinės ir koncepcinės tyrimo atramos grindžiamos postmodernistinės filosofijos, literatūrologijos ir muzikologijos teorijomis, pastarosios aptariamos muzikos žanro (genotipo) postmodernistinės raidos problematikos požiūriu. Naujai interpretuojama muzikos žanrų mini-ir mak rosistemos samprata, pabrėžiant jos rekursyvinės saviorganizuojančios sistemos pobūdį. Apmąstomas "laisvojo žanro" (librožanro) fenomenas ir prognozuojamos žanrinų statusų (senosios tradicijos monožanras-poližanras-laisvasis žanras ir naujosios tradicijos monožanras) situacijos makrosisteminės dinamikos požiūriu. Siūloma kūrinio žanro struktūros analizės schema-algoritmas ir aptariamos analitinės procedūros. Taikomi komparatyvistinis, analitinis, sistemologinis, modeliavimo, tarpdisciplininių prieigų tyrimo ir kiti metodai.
Musicological Annual
Against the background of the Lithuanian professional music modernisation over the late Soviet pe... more Against the background of the Lithuanian professional music modernisation over the late Soviet period through to the early 21st century, the study focuses on the theoretical-compositional system of dodecatonics by the most consistent Lithuanian modernist Osvaldas Balakauskas (b. 1937). Based on it, the conceptualisation of the composer’s creative process, the modern expression construing specificity, the socio-political and cultural context, and the aesthetic value will be revealed. By interpreting the process of modernisation from the viewpoint of parataxical comparativism, the relationship between the dodecatonics and other 20th century stheoretical-compositional systems as well as the theoretical tradition will be examined. The issues of individualisation of the 12-tone technique and the implementation of the principles of the Dodecatonics in Balakauskas’’ compositions will be discussed. The system is contextualised in the milieu of the inculcation of “formalistic” modernist doc...
Journal of Baltic Studies, 2008
Journal of Baltic Studies, 2008
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Papers by Grazina Daunoraviciene
of the tradition of typology and taxonomy of art music has transformed into an authorial theoretical model of the music genotype, which is
exhibited in this research through the most important aspects. ! The principal position of the author is the methodological approach of the
General Systems Theory (GST) theoretical paradigm, which contributed to the substantiation of both the conception of the music genotype
(the author’s concept) itself and the state of the “chromatic” intersystemic change in the (macro)systems of music genotypes.
Key words: music genre, music genotype, General Systems Theory (GST), self-organization, system, (macro)system.
present journal and approaches the consideration of the issues of the typology of twenty-%rst century music composition. !e aspiration to
cover both the concept of the phenomenon itself as a recursive self-organizing system and the ongoing “turning points” in the tradition of
typologization and taxonomy of art music is based on the methodological approach of the general systems theory (GST) and synergetics as
its branch. !e uni%ed conception of the ontic nature of the phenomenon and its functioning in contemporaneity enable the author to argue
the concept of change in the (macro) systems of genotypes of “chromatic” intersystemic music. !e author symbolizes the beginning of the
hypothetical change in the genotype (macro) systems by highlighting the innovative forms of art created by the Dada and Fluxus artists in
the 1950s through 1960s, which developed innovative art forms. !e article monitors the further development of new music genotypes in
the twenty-%rst century. From the point of view of typologies and taxonomies, the creation of professional music in the end of the twentieth
century underwent an enormous change. At the beginning of the twenty-%rst century, it entered a phase of passionate change, characteristic
of “seismic” situations of change of music genotypes (macro) systems. Re$ecting on the process of change in music genotypes (macro) systems,
the author proposes to test it with the activity of expression of three typological statuses (mono-genre, polygon, free genre [Libro-genre]).
From the author’s point of view, the coexistence of the old tradition mono-genre – poly-genre – free genre – new tradition mono-genre and
their mixes reveals the essence of the typological processes taking place in the art music today.
Keywords: music genre, music genotype, general systems theory (GST), a recursive self-organizing system, fractality, (macro)system, monogenre, polygenre, free genre (libro-genre).
of the tradition of typology and taxonomy of art music has transformed into an authorial theoretical model of the music genotype, which is
exhibited in this research through the most important aspects. ! The principal position of the author is the methodological approach of the
General Systems Theory (GST) theoretical paradigm, which contributed to the substantiation of both the conception of the music genotype
(the author’s concept) itself and the state of the “chromatic” intersystemic change in the (macro)systems of music genotypes.
Key words: music genre, music genotype, General Systems Theory (GST), self-organization, system, (macro)system.
present journal and approaches the consideration of the issues of the typology of twenty-%rst century music composition. !e aspiration to
cover both the concept of the phenomenon itself as a recursive self-organizing system and the ongoing “turning points” in the tradition of
typologization and taxonomy of art music is based on the methodological approach of the general systems theory (GST) and synergetics as
its branch. !e uni%ed conception of the ontic nature of the phenomenon and its functioning in contemporaneity enable the author to argue
the concept of change in the (macro) systems of genotypes of “chromatic” intersystemic music. !e author symbolizes the beginning of the
hypothetical change in the genotype (macro) systems by highlighting the innovative forms of art created by the Dada and Fluxus artists in
the 1950s through 1960s, which developed innovative art forms. !e article monitors the further development of new music genotypes in
the twenty-%rst century. From the point of view of typologies and taxonomies, the creation of professional music in the end of the twentieth
century underwent an enormous change. At the beginning of the twenty-%rst century, it entered a phase of passionate change, characteristic
of “seismic” situations of change of music genotypes (macro) systems. Re$ecting on the process of change in music genotypes (macro) systems,
the author proposes to test it with the activity of expression of three typological statuses (mono-genre, polygon, free genre [Libro-genre]).
From the author’s point of view, the coexistence of the old tradition mono-genre – poly-genre – free genre – new tradition mono-genre and
their mixes reveals the essence of the typological processes taking place in the art music today.
Keywords: music genre, music genotype, general systems theory (GST), a recursive self-organizing system, fractality, (macro)system, monogenre, polygenre, free genre (libro-genre).