{"id":511,"date":"2018-01-14T21:38:20","date_gmt":"2018-01-14T19:38:20","guid":{"rendered":"https:\/\/harps.lmta.lt\/en\/?page_id=511"},"modified":"2018-01-14T21:38:20","modified_gmt":"2018-01-14T19:38:20","slug":"changes-in-the-late-20th-and-early-21st-century-concert-kankles-repertoire-and-contemporary-performance-trends","status":"publish","type":"page","link":"https:\/\/harps.lmta.lt\/en\/artistic-doctorate\/completed-artistic-projects\/changes-in-the-late-20th-and-early-21st-century-concert-kankles-repertoire-and-contemporary-performance-trends\/","title":{"rendered":"Changes in the Late 20th and Early 21st Century Concert Kankl\u0117s Repertoire and Contemporary Performance Trends"},"content":{"rendered":"

Doctoral student: Aist\u0117 Bru\u017eait\u0117
\nSupervisors: Prof. Lina Naikelien\u0117, Prof. Habil. Dr. Daiva Vy\u010dinien\u0117
\nConsultants: Prof. R\u016bta Rikter\u0117, Assoc. Prof. Dr. Laima Budzinauskien\u0117
\nDepartment: Folk Instruments
\nDuration: 2016\u20132017
\n(artistic doctorate studies for art licentiates)<\/p>\n

Abstract<\/strong><\/p>\n

\"\"<\/a>

Aist\u0117 Bru\u017eait\u0117<\/p><\/div>\n

In the late 20th<\/sup>\u00a0century, the concert\u00a0kankl\u0117s<\/em>\u00a0repertoire substantially changed. As the\u00a0kankl\u0117s\u00a0<\/em>players\u2019 school was getting more professional, increasingly more composers became interested in that Lithuanian instrument and expressed inovative ideas, unusual for the\u00a0kankl\u0117s<\/em>\u00a0music performers and audiences, in their compositions. The present research paper chose to analyse the repertoire for the\u00a0kankl\u0117s<\/em>\u00a0and chamber ensembles (which included the concert\u00a0kankl\u0117s<\/em>), its characteristics, and the changes in it in the period from the late 20th<\/sup>\u00a0to early 21st\u00a0<\/sup>century; it examined original compositions for the\u00a0kankl\u0117s<\/em>\u00a0and conducted an in-depth study of the specificity of the instrument, technical possibilities of its performance, and the diversity of playing techniques. The most important and most striking solo compositions for the\u00a0kankl\u0117s<\/em>\u00a0were identified, and their authors were introduced. The classical and contemporary\u00a0kankl\u0117s\u00a0<\/em>repertoire, its changes, and the current composition trends were analysed separately. The paper presented a survey and its findings: during the survey, Lithuanian composers and musicologists were interviewed in order to identify their common insights into the concert\u00a0kankl\u0117s\u00a0<\/em>opportunities and to evaluate its situation in the contemporary context of professional music. The concert\u00a0kankl\u0117s\u00a0<\/em>playing techniques were comprehensively introduced and classified, and the traditional and nontraditional\u00a0kankl\u0117s<\/em>\u00a0playing techniques were systematised in a table which also offered their examples and notation symbols. A separate overview of playing the new electric\u00a0kankl\u0117s<\/em>\u00a0was included: the instrument has already attracted the attention of composers and got established in the context of contemporary professional music. The paper provided information about the instruments of foreign countries, related to the Lithuanian\u00a0kankl\u0117s<\/em>, and made attempts to establish certain links in the area of their performance. The latest trends in the compositions for concert\u00a0kankl\u0117s<\/em>\u00a0were analysed and related to the implementation of their performance by identifying certain nuances and difficulties that performers tended to face. Four contemporary compositions from the concert\u00a0kankl\u0117s<\/em>\u00a0repertoire were analysed (Piece G.r.<\/em>\u00a0by Egidija Medek\u0161ait\u0117,\u00a0Snowing in Magnolia Blossoms<\/em>\u00a0by Vytautas Germanavi\u010dius,\u00a0From Circe to Charybde<\/em>by Kira Maidenberg, and\u00a0Affected Woman<\/em>\u00a0by \u0160ar\u016bnas Nakas) that stood out due to innovative ideas and original playing techniques.<\/p>\n","protected":false},"excerpt":{"rendered":"

Doctoral student: Aist\u0117 Bru\u017eait\u0117 Supervisors: Prof. Lina Naikelien\u0117, Prof. Habil. Dr. Daiva Vy\u010dinien\u0117 Consultants: Prof. R\u016bta Rikter\u0117, Assoc. Prof. Dr. Laima Budzinauskien\u0117 Department: Folk Instruments Duration: 2016\u20132017 (artistic doctorate studies for art licentiates) Abstract In the late 20th\u00a0century, the concert\u00a0kankl\u0117s\u00a0repertoire substantially changed. As the\u00a0kankl\u0117s\u00a0players\u2019 school was getting more professional, increasingly more composers became interested in […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":29,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-doct-music-completed.php","meta":{"footnotes":""},"class_list":["post-511","page","type-page","status-publish","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\t\n\t\t