Books by Ruta Staneviciute
Garsinės utopijos: lietuvių muzikos modernėjimo impulsai ir kontekstai, 2023
Garsinės utopijos: lietuvių muzikos modernėjimo impulsai ir kontekstai
Knyga apie tarptautinio ... more Garsinės utopijos: lietuvių muzikos modernėjimo impulsai ir kontekstai
Knyga apie tarptautinio avangardo figūrų ir sąjūdžių postūmius kompozitorių kūrybai ir jos sklaidai Lietuvoje ir emigracijoje apima bemaž šimtmečio lietuvių muzikos panoramą – nuo XX a. tarpukario ligi pirmųjų XXI a. dešimtmečių. Muzikologai Vita Gruodytė, Donatas Katkus, Rima Povilionienė, Rūta Stanevičiūtė nagrinėja poveikio zonas ir atsaką, kurio sulaukė skirtingais istoriniais laikotarpiais į nacionalinės muzikos diskursą įsiveržę avangardiniai gestai ir praktikos. Lietuvos muzikos ir teatro akademija, 2023.
Sonic Utopias: Trajectories and Contexts in Lithuanian Music Modernization
The book on the inf... more Sonic Utopias: Trajectories and Contexts in Lithuanian Music Modernization
The book on the influence of international avant-garde figures and movements on the work of composers and its dissemination in Lithuania and in Lithuanian emigration covers a panorama of almost a century of Lithuanian music - from the interwar period of the 20th century to the first decades of the 21st century. Musicologists Vita Gruodytė, Donatas Katkus, Rima Povilionienė, Rūta Stanevičiūtė examine the zones of influence and the response to avant-garde gestures and practices that invaded the discourse of the national music in different historical periods. Published by the Lithuanian Academy of Music and Theatre, 2023.
Music and Change in the Eastern Baltics before and after 1989 , 2022
Edited by Rūta Stanevičiūtė & Małgorzata Janicka-Słysz, this volume provides a transnational stud... more Edited by Rūta Stanevičiūtė & Małgorzata Janicka-Słysz, this volume provides a transnational study of the impact of musical cultures in the Eastern Baltics at the end of the Cold War and in the early post-Communist period. Throughout the book, the authors explore and conceptualize transnational musical collaboration and the diffusion of information, people, and ideas focusing on musical activity which shaped the moral and artistic outlook of several generations.
Microtonal Music in Central and Eastern Europe: Historical Outlines and Current Practices. Edited by Leon Stefanija, Rūta Stanevičiūtė. Ljubljana University Press, 2020
This collection of studies focuses on the development of microtonal music in Eastern and Central ... more This collection of studies focuses on the development of microtonal music in Eastern and Central Europe from World War I to the present. The authors examine how diverse concepts of microtonality have given way to new composition theories and practices. These scholars hold the view that even between WWI and WWII, microtonal music and its theoretical reflection was the outstanding contribution of Eastern and East-Central European composers to the contemporary discourse of avant-garde music. That provoked radical changes in the composition and performance practice of new music and affected several generations, sustaining and transforming early avant-garde insights. Throughout the book, our contributors explore the interactions of Central/Eastern European and Western music and musicians as creative forces that illuminated cross-cultural exchange. Taken together, the collection presents new research as well as some testimonies on a rich and varied theories and practices of microtonal music in Czechia, Slovenia, Croatia, Serbia, Russia, Lithuania, Latvia, and Austria.
Of Essence and Context: Between Music and Philosophy, 2019
The chapters in this volume, by music scholars and philosophers, examine the ideas of the essence... more The chapters in this volume, by music scholars and philosophers, examine the ideas of the essence and context as they apply to music. In philosophy, the notion of essence has seen a renaissance in the last twenty years, while in many disciplines of the humanities, the notion is still viewed with suspicion. A common worry with thinking of music in terms of essence is about the plurality of music.
The disciplines of musicology and philosophy have recently been reaching out to each other in an attempt to overcome the specific interests and intellectual styles of the respective disciplines. The Vilnius conference in 2016, from which the chapters in this volume derive, proceeded in the same spirit. The conference, Essence and Context: A Conference Between Music and Philosophy took place in the Lithuanian Academy of Music and Theatre (Vilnius), from the 31st August to 3rd September 2016.
The revised and extended keynote lectures and papers selected for the inclusion in this volume are structured into four sections, each containing chapters ranging from theory to practice in various music cultures. The book reflects a diversity of issues and approaches addressing music concepts and practices negotiating between essentialist and contextualist traditions.
The Nylon Curtain, 2018
The monograph "The Nylon Curtain: Cold War, International Exchanges and Lithuanian Music" by musi... more The monograph "The Nylon Curtain: Cold War, International Exchanges and Lithuanian Music" by musicologists Rūta Stanevičiūtė, Danutė Petrauskaitė, and Vita Gruodytė and the accompanying collection of the foreign correspondence of Lithuanian musicians focuses on three geopolitical perspectives: communication and collaboration of Lithuanian musicians and Lithuanian émigrés to the USA as well as the relations and exchange visits of Lithuanian musicians with peers in Western and Eastern Europe, with particular attention paid to France and Poland as the axiological centers important for those processes. It was those geopolitically colored axes of cultural ties that formed the structure of the two-volume publication—a collective monograph and a collection of letters—which attempted to combine the perspectives of the official exchanges and non-formal networking.
The Nylon Curtain: Cold War, International Exchanges and Lithuanian Music (vol. 1); The Nylon Curtain. Foreign Correspondence of Lithuanian Musicians 1945–1990 (vol. 2), 2018
The Nylon Curtain: Cold War, International Exchanges and Lithuanian Music (vol. 1); The Nylon Curtain. Foreign Correspondence of Lithuanian Musicians 1945–1990 (vol. 2), 2018
The monograph "The Nylon Curtain: Cold War, International Exchanges and Lithuanian Music" by musi... more The monograph "The Nylon Curtain: Cold War, International Exchanges and Lithuanian Music" by musicologists Rūta Stanevičiūtė, Danutė Petrauskaitė, and Vita Gruodytė and the accompanying collection of the foreign correspondence of Lithuanian musicians focuses on three geopolitical perspectives: communication and collaboration of Lithuanian musicians and Lithuanian émigrés to the USA as well as the relations and exchange visits of Lithuanian musicians with peers in Western and Eastern Europe, with particular attention paid to France and Poland as the axiological centers important for those processes. It was those geopolitically colored axes of cultural ties that formed the structure of the two-volume publication—a collective monograph and a collection of letters—which attempted to combine the perspectives of the official exchanges and non-formal networking.
Nailono uždanga. Šaltasis karas, tarptautiniai mainai ir lietuvių muzika (1 tomas); Nailono uždanga. Lietuvių muzikų užsienio korespondencija 1945-1990 (2 tomas), 2018
Lietuvos muzikinės kultūros tarptautinio atvirumo ir uždarumo Šaltojo karo metais klausimai kelia... more Lietuvos muzikinės kultūros tarptautinio atvirumo ir uždarumo Šaltojo karo metais klausimai keliais pasirinktais aspektais nagrinėjami kolektyvinėje monografijoje „Nailono uždanga. Šaltasis karas, tarptautiniai mainai ir lietuvių muzika“ pasitelkiant platų ideologinių poslinkių, politinių įvykių, ekonominių sanklodų ir kultūrinių procesų kontekstą. Muzikologių Rūtos Stanevičiūtės, Danutės Petrauskaitės ir Vitos Gruodytės knygoje susitelkta į kelias geopolitines perspektyvas: Lietuvos muzikų ir JAV lietuvių emigrantų bendravimą bei bendradarbiavimą; lietuvių muzikų ryšius ir mainus su Vakarų ir Rytų Europa, išskiriant Prancūziją ir Lenkiją kaip šiems procesams svarbius aksiologinius centrus. Būtent tokios geopolitiškai nuspalvintos kultūrinės sąsajos suformavo leidinio struktūrą: kolektyvinėje monografijoje siekta derinti oficialiųjų mainų ir neformaliosios tinklaveikos perspektyvas. Monografiją papildo laiškų knyga „Lietuvių muzikų užsienio korespondencija 1945–1990“, kurioje skelbiama virš 520 epistolinių tekstų, atspindinčių Šaltojo karo lietuvių ir užsienio muzikų bei institucijų korespondencijos tematiką ir pobūdį. Iš milžiniško, sistemiškiau neinventorizuoto, kelių žemynų atminties institucijose ir privačiose kolekcijose saugomų šaltinių telkinio siekta atrinkti reprezentatyvius pavyzdžius, atskleidžiančius lietuvių muzikų tarptautinio susirašinėjimo chronologinę aprėptį, laiškų paskatas ir tikslus, būdingąjį respondentų ratą, tarptautinių ryšių geografiją, kultūrinių ir politinių įvykių bei procesų poveikį korespondencijai ir šio reiškinio kultūrinę reikšmę.
English summary of the book "Modernumo lygtys. Tarptautinė šiuolaikinės muzikos draugija ir muzik... more English summary of the book "Modernumo lygtys. Tarptautinė šiuolaikinės muzikos draugija ir muzikinio modernizmo sklaida Lietuvoje" (VDA, 2015). The subject of the present book is the activity of the Lithuanian Section of the ISCM, its pre-history (1936–1939) and reception, as well as the history of the Vilnius Chapter of the Polish Section of the ISCM (later renamed the Polish Society for Contemporary Music) which is seen as integral part of the modernisation of Lithuanian and international musical culture. With the aim of including the modern music movements in Kaunas and Vilnius in the international context, this book presents a critical review of ISCM strategies and a history of festivals in the interwar and early Cold War periods. In the said context not only the artistic, but also the political contexts of the Society activity are important. The Lithuanian Section of the International Society for Contemporary Music which functioned for only a short 4-year period (1936–1939) can be attributed to typical organisations of small countries stimulated by an international movement of modern music. For decades, the fact of Lithuanian composers’ participation in the International Society for Contemporary Music (ISCM) in the period from 1936 to 1939 kept providing an influential story that consolidated the self-awareness of the involvement of modern Lithuanian music in the European music modernisation processes. As early as 1940, Soviet occupation terminated the activities of the said organisation, as well as of numerous other artistic and cultural societies of independent Lithuania. After WW2, active members of the chapter, such as the composers Jeronimas Kačinskas, Vytautas Bacevičius, Vladas Jakubėnas, and others ended in emigration to the USA.
Monografijoje nagrinėjamas Lietuvos kompozitorių įsitraukimas į Europos
modernios muzikos sąjūdž... more Monografijoje nagrinėjamas Lietuvos kompozitorių įsitraukimas į Europos
modernios muzikos sąjūdžius ir dalyvavimas Tarptautinės šiuolaikinės
muzikos draugijoje. TŠMD Lietuvos sekcijos ankstyvoji veikla (1936–1939), jos
priešistorė ir recepcija Šaltojo karo metais tiriama tarptautinių muzikinio
modernėjimo procesų ir sociokultūrinių lūžių aplinkoje atskleidžiant politinių,
kultūrinių, tautinių ir muzikinių tapatybių sąveiką ir prieštaras. Kauno ir Vilniaus
naujosios muzikos scenų formavimasis siejamas su nacionaliniais veiksniais
(moderni kultūrinė savikūra, kartų kaita) ir tarptautiniais postūmiais
(kova už modernios muzikos institucionalizavimą, intensyvėjantis tarptautinis
muzikų bendradarbiavimas kaip politinių ir kultūrinių priešpriešų įveika).
Focusing on the region of the Baltic countries and other neighbouring countries in Central and Ea... more Focusing on the region of the Baltic countries and other neighbouring countries in Central and Eastern Europe, this collection continues the discussion concerning the sociocultural crossings and borders within the musical practices and discourses from early modernity up to the present day. The publication comprises of texts that have been prepared on the basis of reports delivered at the international conference “Sociocultural crossings and borders: musical microhistories.” (Vilnius, 2013) They represent the cultural diversity of European musicological traditions, the interdisciplinary character of present-day musicology, as well as the methodologies and theories within musicology, ethnomusicology, and music theory.
Papers by Ruta Staneviciute
Polski Rocznik Muzykologyczny, tom XIX, 2021
The project of modernisation, which emerged as the central idea in the course of 20th-century Lit... more The project of modernisation, which emerged as the central idea in the course of 20th-century Lithuanian music, predetermined many creative orientations and discoveries by Lithuanian composers of various generations, as well as critical reflection on their works. At the root of Lithuanian projections of musical modernism lies a central concern with questions of national identity, affected by crucial historical changes and political processes. In this paper, I explore issues of relationship between construction of national identity and the modernity, focusing in particular on public discussions concerning national and modern elements in music, which appeared in the musical press of the 1930s and became emblematic of subsequent Lithuanian music history. Among the most active participants of the debates were young composers and musicians who had set up the Society of Progressive Musicians in 1932 and the ISCM Lithuanian Section in 1936: Vytautas Bacevičius, Jeronimas Kačinskas, and Vladas Jakubėnas. Their opinions marked a significant turning point in the national music discourse, updating and expanding the understanding and use of the concepts of modern and national music in Lithuania. The interwar polemical observations, insights and statements were effectively elaborated in later reception and served as basis for a reinterpretation and revision of the Lithuanian music modernisation discourse.
Microtonal Music in Central and Eastern Europe: Historical Outlines and Current Practices. Edited by Leon Stefanija, Rūta Stanevičiūtė. Ljubljana University Press, 2020
In this chapter the author discusses the effort of Lithuanian composer Jeronimas Kačinskas (1907–... more In this chapter the author discusses the effort of Lithuanian composer Jeronimas Kačinskas (1907–2005), a pupil of Hába and an outstanding follower of the Czech composer’s microtonal school, to institutionalize microtonality. During his study years, Kačinskas became one of the most prominent adherents of the Hába “school” and continued to consistently deploy the quarter-tone system in his works throughout the 1930s. Having returned to Lithuania in 1931, he seized the opportunity to establish a class on quarter-tone music at the Klaipėda Music School and promulgated ideas of microtonal music in his writings. To effectuate the dissemination of quarter-tone music in Lithuania he co-founded, in 1932, the Society of Progressive Musicians with a group of like-minded composers.
However, the abrupt change in political and artistic climate in the middle of the twentieth century precluded the realization of Kačinskas’s ambitions to the extent he would have imagined. Relying on the newly discovered autographs of his microtonal works (for example, Concerto for trumpet and symphony orchestra, 1930–1; Trio No. 1 for trumpet, viola and piano, 1933) and scarcely researched archival documents, this chapter argues the originality of Kačinskas’s microtonal compositions and examines their international spread in the context of the Hába school.
New Sound, 2019
Poland and Lithuania at the end of the Cold War serve as a case study for the theorization of mus... more Poland and Lithuania at the end of the Cold War serve as a case study for the theorization of music and politics. In this article, a little-studied field of two neighbouring countries’ cultures has been chosen: oppositional musical networking, that in addition resulted in politically and socially engaged collaboration between Polish and Lithuanian musicians since late 1970s.
Basing on the concept of a transformative contact (Padraic Kenney 2004), the author reflects on the factors which predetermined the intercommunication of informal communities in mentioned countries in the years of ideological and political constraints and the ways in which such relationships contributed to the cultural and political transformation of societies. Through the interactions of the milieus of the Polish and Lithuanian contemporary music, the participation of the norms and representations of one culture in the field of the other culture is discussed. The author shows that the paradoxical constraints on the informal relations between Lithuanian and Polish musicians were strongly affected by the political relations between the USSR and the Polish People's Republic, especially in the wake of the intensification of political resistance to the imposed Communist regime in Poland.
Muzikologija / Musicology, 2019
The article explores the Baltic musicological conferences as a non-hierarchical network and its r... more The article explores the Baltic musicological conferences as a non-hierarchical network and its role and meaning in the changing political and cultural contexts. Starting from 1967, when the first conference took place, the annual meetings of the Baltic musicologists soon became a transnational space for the professional exchange and crosscultural discussion. Based on the results and the impact of cooperation between musicologists of neighbouring countries, the Soviet formation of the national history writing and the development of the Baltic musicological comparativism is discussed, given the political and cultural factors of these changes. The theoretical foundations and cultural aspirations of the concept of national music historiography by Vytautas Landsbergis is highlighted as representative example of the national self-confidence in Lithuanian musicology during the Soviet period.
TheMA, 2018
In the Lithuanian music of the 20th century, one can clearly notice a caesura drawn by sociopolit... more In the Lithuanian music of the 20th century, one can clearly notice a caesura drawn by sociopolitical events which split the national culture in two parts both in terms of time and space. In the 40s, most of the pre-war modernist composers appeared in exile. Graduates of the Paris, Berlin, and Prague Schools and founders of the ISCM Lithuanian Section who mainly settled down in the USA tried to adapt to the different musical and sociocultural reality which strongly affected the change in their creative orientations. Due to the broken relations with European centres of modern music, the conservative cultural environment of Lithuanian emigrants and subsequent unsuccessful attempts to participate in the influential American music scene resulted in cultural isolation that significantly influenced the post-war music development, among others, that of composer and pianist Vytautas Bacevičius (1905–1970), the most prominent figure in Lithuanian emigration. An offspring of a mixed Lithuanian-Polish family and a representative of the Paris School moved to New York in 1940 and lived there as a refugee almost till the end of his life (he was granted citizenship as late as in 1967). Like many other European emigrant composers, being brought up in the cult of elitist art, he perceived egalitarianism of the American art as a personal menace. Since late 1950s, Bacevičius abandoned the strategies to adapt to American cultural environment and turned towards a unique conception of cosmic music, thus rethinking his early experiences of atonal music during the era of second avant-garde inspirations. The opus magnum of his late creative period – Graphique for symphony orchestra (1964) – is an emblematic composition devised as the first opus of the never-completed series of nine symphonic compositions entitled Sahasrara Chakra. The article focuses on the discovery of the conceptual and sonic analogies of the late cosmic music developed by Bacevičius in the pursuits of the 20th-century musica mundana, obviously associated with Olivier Messiaen and Edgard Varèse, the figures venerated by the Lithuanian composer. In addition, Bacevičius’ late cosmic music is discussed as a cultural strategy of escapism symptomatic of European emigrant composers of the same generation settled in USA.
The article focuses on two war compositions written in two geocultural spaces representing ideolo... more The article focuses on two war compositions written in two geocultural spaces representing ideological confrontations, viz. Sinfonia della Guerra (1940) by Vytautas Bacevičius, composed in Buenos Aires, and the oratorio Don't Touch the Blue Globe (1969) by Eduardas Balsys, composed in Lithuania. The two compositions that appeared under very different socio-political circumstances differ not merely in the changes of the conception of musical modernism and its practice, but also by their position with respect to the history of WW2 and its later reception (e.g. the time of composing of those works and the cultural experience and memories of the war). After a discussion of the musical stylistics and the sociopolitical subtexts of the compositions of Bacevičius and Balsys, the article highlighted the controversies in the national and international reception of the two compositions in the period of the Cold War and after 1990. Selective analysis of Lithuanian war compositions proves that the processes in question are affected by a broader range of intramusical and extramusical factors.
This article aims to give a broader understanding of Lithuanian music’s contribution into the for... more This article aims to give a broader understanding of Lithuanian music’s contribution into the formation and transformation of historical and cultural images of and narratives about European identities after the end of the Cold War. Based on a new post-historical approach to the description of history and culture ‘in many different voices’, it is intended to explore post-communist musical imagination in Lithuania and its international reception through analysis of assembled case studies and musical criticism. In addition, it is aimed to discuss how individual artistic expressions of belonging to or exclusion from the European past and present were included or rejected into artistic discourses and cultural exchange on both sides of the ‘Velvet Curtain’, a metaphor for the post-communist state, that is, an invisible yet palpable divide, which separated “Old Europe” and “New “Europe” in the period of eastern enlargement of the European Union at the turn of the 21st century.
Musicology Today. The Journal of University of Warsaw. Volume 14, Issue 1 (Dec. 2017), pp. 76-90.... more Musicology Today. The Journal of University of Warsaw. Volume 14, Issue 1 (Dec. 2017), pp. 76-90.
This article aims to offer a broader understanding of the Lithuanian reception of the Warsaw Autumn festival in relation to the modernisation of national music in Lithuania since late 1950s–early 1960s. Based on a micro-historical and comparative approach to the network of individuals and events, it is intended to explore the shifts of reception through analysis of musical criticism, composers’ work and discourse, and artistic exchange between Lithuanian and Polis new music scenes. The author discusses the cultural and political factors which affected the changing role of the Warsaw Autumn festival and its impact on the modernisation processes in Lithuanian music. In addition, the asymmetries of mutual understanding and interests between Polish and Lithuanian musical cultures have been highlighted both during the Cold War and the post-communist transformation periods.
This article focuses on the specific features of ideological control and censorship in Lithuania’... more This article focuses on the specific features of ideological control and censorship in Lithuania’s musical culture of the late Soviet period. There is a prevalent view in post-Soviet cultural studies that after 1960 the influence of political authorities on the Soviet Lithuanian musical culture was insignificant and ideological restrictions were of little consequence. Such attitude is supported by the musicians who opposed the official Soviet cultural doctrine, while the documentation of repressive authorities that is accessible to researchers contains few documents associated with the sphere of music. Within this context, the wave of ideological tensions and music censorship phenomena that arose in Soviet Lithuania in the 1980s (prior to Perestroika) shall be regarded as a sociocultural dissonance that requires further exhaustive analysis. The author discusses current theoretical approaches to relationships between music and politics through analysis of four cases that illustrate ideological and administrative regulations of the time: the denunciation of music critics organised by the Central Committee of the Lithuanian Communist Party (1980); the ideological critique of Feliksas Bajoras’s opera Dievo avinėlis (The Lamb of God, 1981–1982) during an official audition and the ensuing ban on its production (1983);the disapproval expressed at the party meeting of the Lithuanian Composers’ Union concerning the promotion of modern mainstream composers in the media (1984); and public condemnation of four young Lithuanian composers for being interviewed by a Polish magazine, which took place at the Rector’s Office of the Lithuanian State Conservatory (1984).
Published in: Sociocultural Crossings and Borders: Musical Microhistories. Eds. Rima Povilionienė, Rūta Stanevičiūtė-Kelmickienė. Vilnius: VDA, 2015, pp. 231–250.
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Books by Ruta Staneviciute
Knyga apie tarptautinio avangardo figūrų ir sąjūdžių postūmius kompozitorių kūrybai ir jos sklaidai Lietuvoje ir emigracijoje apima bemaž šimtmečio lietuvių muzikos panoramą – nuo XX a. tarpukario ligi pirmųjų XXI a. dešimtmečių. Muzikologai Vita Gruodytė, Donatas Katkus, Rima Povilionienė, Rūta Stanevičiūtė nagrinėja poveikio zonas ir atsaką, kurio sulaukė skirtingais istoriniais laikotarpiais į nacionalinės muzikos diskursą įsiveržę avangardiniai gestai ir praktikos. Lietuvos muzikos ir teatro akademija, 2023.
The book on the influence of international avant-garde figures and movements on the work of composers and its dissemination in Lithuania and in Lithuanian emigration covers a panorama of almost a century of Lithuanian music - from the interwar period of the 20th century to the first decades of the 21st century. Musicologists Vita Gruodytė, Donatas Katkus, Rima Povilionienė, Rūta Stanevičiūtė examine the zones of influence and the response to avant-garde gestures and practices that invaded the discourse of the national music in different historical periods. Published by the Lithuanian Academy of Music and Theatre, 2023.
The disciplines of musicology and philosophy have recently been reaching out to each other in an attempt to overcome the specific interests and intellectual styles of the respective disciplines. The Vilnius conference in 2016, from which the chapters in this volume derive, proceeded in the same spirit. The conference, Essence and Context: A Conference Between Music and Philosophy took place in the Lithuanian Academy of Music and Theatre (Vilnius), from the 31st August to 3rd September 2016.
The revised and extended keynote lectures and papers selected for the inclusion in this volume are structured into four sections, each containing chapters ranging from theory to practice in various music cultures. The book reflects a diversity of issues and approaches addressing music concepts and practices negotiating between essentialist and contextualist traditions.
The Nylon Curtain: Cold War, International Exchanges and Lithuanian Music (vol. 1); The Nylon Curtain. Foreign Correspondence of Lithuanian Musicians 1945–1990 (vol. 2), 2018
modernios muzikos sąjūdžius ir dalyvavimas Tarptautinės šiuolaikinės
muzikos draugijoje. TŠMD Lietuvos sekcijos ankstyvoji veikla (1936–1939), jos
priešistorė ir recepcija Šaltojo karo metais tiriama tarptautinių muzikinio
modernėjimo procesų ir sociokultūrinių lūžių aplinkoje atskleidžiant politinių,
kultūrinių, tautinių ir muzikinių tapatybių sąveiką ir prieštaras. Kauno ir Vilniaus
naujosios muzikos scenų formavimasis siejamas su nacionaliniais veiksniais
(moderni kultūrinė savikūra, kartų kaita) ir tarptautiniais postūmiais
(kova už modernios muzikos institucionalizavimą, intensyvėjantis tarptautinis
muzikų bendradarbiavimas kaip politinių ir kultūrinių priešpriešų įveika).
Papers by Ruta Staneviciute
However, the abrupt change in political and artistic climate in the middle of the twentieth century precluded the realization of Kačinskas’s ambitions to the extent he would have imagined. Relying on the newly discovered autographs of his microtonal works (for example, Concerto for trumpet and symphony orchestra, 1930–1; Trio No. 1 for trumpet, viola and piano, 1933) and scarcely researched archival documents, this chapter argues the originality of Kačinskas’s microtonal compositions and examines their international spread in the context of the Hába school.
Basing on the concept of a transformative contact (Padraic Kenney 2004), the author reflects on the factors which predetermined the intercommunication of informal communities in mentioned countries in the years of ideological and political constraints and the ways in which such relationships contributed to the cultural and political transformation of societies. Through the interactions of the milieus of the Polish and Lithuanian contemporary music, the participation of the norms and representations of one culture in the field of the other culture is discussed. The author shows that the paradoxical constraints on the informal relations between Lithuanian and Polish musicians were strongly affected by the political relations between the USSR and the Polish People's Republic, especially in the wake of the intensification of political resistance to the imposed Communist regime in Poland.
This article aims to offer a broader understanding of the Lithuanian reception of the Warsaw Autumn festival in relation to the modernisation of national music in Lithuania since late 1950s–early 1960s. Based on a micro-historical and comparative approach to the network of individuals and events, it is intended to explore the shifts of reception through analysis of musical criticism, composers’ work and discourse, and artistic exchange between Lithuanian and Polis new music scenes. The author discusses the cultural and political factors which affected the changing role of the Warsaw Autumn festival and its impact on the modernisation processes in Lithuanian music. In addition, the asymmetries of mutual understanding and interests between Polish and Lithuanian musical cultures have been highlighted both during the Cold War and the post-communist transformation periods.
Published in: Sociocultural Crossings and Borders: Musical Microhistories. Eds. Rima Povilionienė, Rūta Stanevičiūtė-Kelmickienė. Vilnius: VDA, 2015, pp. 231–250.
Knyga apie tarptautinio avangardo figūrų ir sąjūdžių postūmius kompozitorių kūrybai ir jos sklaidai Lietuvoje ir emigracijoje apima bemaž šimtmečio lietuvių muzikos panoramą – nuo XX a. tarpukario ligi pirmųjų XXI a. dešimtmečių. Muzikologai Vita Gruodytė, Donatas Katkus, Rima Povilionienė, Rūta Stanevičiūtė nagrinėja poveikio zonas ir atsaką, kurio sulaukė skirtingais istoriniais laikotarpiais į nacionalinės muzikos diskursą įsiveržę avangardiniai gestai ir praktikos. Lietuvos muzikos ir teatro akademija, 2023.
The book on the influence of international avant-garde figures and movements on the work of composers and its dissemination in Lithuania and in Lithuanian emigration covers a panorama of almost a century of Lithuanian music - from the interwar period of the 20th century to the first decades of the 21st century. Musicologists Vita Gruodytė, Donatas Katkus, Rima Povilionienė, Rūta Stanevičiūtė examine the zones of influence and the response to avant-garde gestures and practices that invaded the discourse of the national music in different historical periods. Published by the Lithuanian Academy of Music and Theatre, 2023.
The disciplines of musicology and philosophy have recently been reaching out to each other in an attempt to overcome the specific interests and intellectual styles of the respective disciplines. The Vilnius conference in 2016, from which the chapters in this volume derive, proceeded in the same spirit. The conference, Essence and Context: A Conference Between Music and Philosophy took place in the Lithuanian Academy of Music and Theatre (Vilnius), from the 31st August to 3rd September 2016.
The revised and extended keynote lectures and papers selected for the inclusion in this volume are structured into four sections, each containing chapters ranging from theory to practice in various music cultures. The book reflects a diversity of issues and approaches addressing music concepts and practices negotiating between essentialist and contextualist traditions.
The Nylon Curtain: Cold War, International Exchanges and Lithuanian Music (vol. 1); The Nylon Curtain. Foreign Correspondence of Lithuanian Musicians 1945–1990 (vol. 2), 2018
modernios muzikos sąjūdžius ir dalyvavimas Tarptautinės šiuolaikinės
muzikos draugijoje. TŠMD Lietuvos sekcijos ankstyvoji veikla (1936–1939), jos
priešistorė ir recepcija Šaltojo karo metais tiriama tarptautinių muzikinio
modernėjimo procesų ir sociokultūrinių lūžių aplinkoje atskleidžiant politinių,
kultūrinių, tautinių ir muzikinių tapatybių sąveiką ir prieštaras. Kauno ir Vilniaus
naujosios muzikos scenų formavimasis siejamas su nacionaliniais veiksniais
(moderni kultūrinė savikūra, kartų kaita) ir tarptautiniais postūmiais
(kova už modernios muzikos institucionalizavimą, intensyvėjantis tarptautinis
muzikų bendradarbiavimas kaip politinių ir kultūrinių priešpriešų įveika).
However, the abrupt change in political and artistic climate in the middle of the twentieth century precluded the realization of Kačinskas’s ambitions to the extent he would have imagined. Relying on the newly discovered autographs of his microtonal works (for example, Concerto for trumpet and symphony orchestra, 1930–1; Trio No. 1 for trumpet, viola and piano, 1933) and scarcely researched archival documents, this chapter argues the originality of Kačinskas’s microtonal compositions and examines their international spread in the context of the Hába school.
Basing on the concept of a transformative contact (Padraic Kenney 2004), the author reflects on the factors which predetermined the intercommunication of informal communities in mentioned countries in the years of ideological and political constraints and the ways in which such relationships contributed to the cultural and political transformation of societies. Through the interactions of the milieus of the Polish and Lithuanian contemporary music, the participation of the norms and representations of one culture in the field of the other culture is discussed. The author shows that the paradoxical constraints on the informal relations between Lithuanian and Polish musicians were strongly affected by the political relations between the USSR and the Polish People's Republic, especially in the wake of the intensification of political resistance to the imposed Communist regime in Poland.
This article aims to offer a broader understanding of the Lithuanian reception of the Warsaw Autumn festival in relation to the modernisation of national music in Lithuania since late 1950s–early 1960s. Based on a micro-historical and comparative approach to the network of individuals and events, it is intended to explore the shifts of reception through analysis of musical criticism, composers’ work and discourse, and artistic exchange between Lithuanian and Polis new music scenes. The author discusses the cultural and political factors which affected the changing role of the Warsaw Autumn festival and its impact on the modernisation processes in Lithuanian music. In addition, the asymmetries of mutual understanding and interests between Polish and Lithuanian musical cultures have been highlighted both during the Cold War and the post-communist transformation periods.
Published in: Sociocultural Crossings and Borders: Musical Microhistories. Eds. Rima Povilionienė, Rūta Stanevičiūtė-Kelmickienė. Vilnius: VDA, 2015, pp. 231–250.