{"id":449,"date":"2017-12-13T23:28:29","date_gmt":"2017-12-13T21:28:29","guid":{"rendered":"https:\/\/harps.lmta.lt\/en\/?p=449"},"modified":"2017-12-13T23:28:29","modified_gmt":"2017-12-13T21:28:29","slug":"defense-of-the-artistic-research-project-changes-in-the-late-20th-and-early-21st-century-concert-kankles-repertoire-and-contemporary-performance-trends","status":"publish","type":"post","link":"https:\/\/harps.lmta.lt\/en\/defense-of-the-artistic-research-project-changes-in-the-late-20th-and-early-21st-century-concert-kankles-repertoire-and-contemporary-performance-trends\/","title":{"rendered":"Defense of the artistic research project “Changes in the Late 20th and Early 21st Century Concert Kankl\u0117s Repertoire and Contemporary Performance Trends”"},"content":{"rendered":"

On December 14\u201315, 2017, the defense of\u00a0Aist\u0117 Bru\u017eait\u0117\u2019<\/b>s\u00a0<\/b>artistic doctorate project\u00a0\u201cChanges in the Late 20th and Early 21st Century Concert Kankl\u0117s Repertoire and Contemporary Performance Trends<\/b><\/strong>\u201d\u00a0<\/b><\/strong>will take place at the Organum Concert Hall and the Lithuanian Academy of Music and Theatre. Artistic supervisor of the project \u2013 Prof. Lina Naikelien\u0117, consultant \u2013 Prof. R\u016bta Rikter\u0117, research supervisor\u00a0\u2013 Prof. Habil. Dr. Daiva Vy\u010dinien\u0117, research consultant\u00a0\u2013 Assoc. Prof. Dr. Laima Budzinauskien\u0117. Copies\u00a0of the research paper and its summary are available at the library of the Lithuanian Academy of Music and Theatre\u00a0(Gedimino pr. 42).<\/p>\n

 <\/p>\n

Defense of the creative part of the artistic doctorate project
\nDecember\u00a014, 2017, 6\u00a0p.m.<\/strong><\/p>\n

ORGANUM CONCERT HALL<\/strong>\u00a0<\/strong>(J. Basanavi\u010diaus str. 26, Vilnius)<\/p>\n

CONCERT PROGRAM “THE CONCERT KANKL\u0116S. TODAY’S MUSIC”<\/p>\n

Part 1
\nVaida Striaupait\u0117-Beinarien\u0117<\/strong>\u00a0(1977)\u00a0\u2013\u00a0Vandens atspind\u017eiai<\/em>\u00a0(2017, piano\/kankl\u0117s, transcription for amplified kankl\u0117s solo by Aist\u0117 Bru\u017eait\u0117, premiere)
\nMatti Kontio<\/strong>\u00a0(1984)\u00a0\u2013\u00a0Mit\u00e4 soivat kirkonkellot?<\/em>\u00a0(2002, kantele, transcription for kankl\u0117s solo)
\nValerij Kikta<\/strong>\u00a0(1941)\u00a0\u2013\u00a0\u201c\u0423\u043c\u0438\u0440\u0430\u044e\u0449\u0438\u0439 \u041a\u0435\u043d\u0442\u0430\u0432\u0440\u201d \u0438\u0437\u00a0\u0414\u0438\u043f\u0442\u0438\u0445\u0430 \u043f\u043e \u0441\u043a\u0443\u043b\u044c\u043f\u0442\u0443\u0440\u0430\u043c \u0411\u0443\u0440\u0434\u0435\u043b\u044f<\/em>\u00a0(1972, harp, transcription for kankl\u0117s solo);
\n\u201c\u041f\u0440\u0438\u0437\u0440\u0430\u0447\u043d\u0430\u044f \u043a\u043e\u043b\u0435\u0441\u043d\u0438\u0446\u0430 \u041a\u0443\u0445\u0443\u043b\u0438\u043d\u0430\u201c \u0438\u0437 \u0441\u044e\u0438\u0442\u044b\u00a0\u0418\u0437 \u041e\u0441\u0441\u0438\u0430\u043d\u0430<\/em>\u00a0(1968, harp, transcription for kankl\u0117s solo)
\nKira Maidenberg<\/strong>\u00a0(1985)\u00a0\u2013 From Circe to Charybde<\/em>\u00a0\/\u00a0\u041e\u0442 \u0426\u0438\u0440\u0446\u0435\u0438 \u043a \u0425\u0430\u0440\u0438\u0431\u0434\u0435<\/em>\u00a0(2010, kankl\u0117s solo)
\nKristine Ojala<\/strong>\u00a0(1973)\u00a0\u2013\u00a04 sp\u0113les<\/em>\u00a0(2000, kokles, transcription for kankl\u0117s solo)<\/p>\n

Part 2
\nLukrecija Petkut\u0117<\/strong>\u00a0(1988) \u2013\u00a0Religare<\/em>\u00a0(2010, violin, kankl\u0117s, basoon and double-bass, premiere)
\nAlbertas Navickas<\/strong>\u00a0(1986)\u00a0\u2013\u00a0a\u0161 ilgai stov\u0117siu ant kranto, o tu vis plauksi upe<\/em>\u00a0(2010, violin, amplified kankl\u0117s, basoon and double-bass, premiere)
\nAlexander Ryndin<\/strong>\u00a0(1962)\u00a0\u2013\u00a0Magister verba<\/em>\u00a0(2017, violin, kankl\u0117s and cello, premiere)
\n\u0160ar\u016bnas Nakas<\/strong>\u00a0(1962)\u00a0\u2013\u00a0Affected Woman<\/em>\u00a0(2017, set of kankl\u0117s and wind instruments, premiere)<\/p>\n

Performers:\u00a0Aist\u0117 Bru\u017eait\u0117<\/strong>\u00a0(kankl\u0117s, amplified kankl\u0117s, authentic kankl\u0117s),\u00a0Ingrida Rupait\u0117-Petrikien\u0117<\/strong>\u00a0(violin),\u00a0Tomas Raman\u010di\u016bnas<\/strong>\u00a0(cello),\u00a0Donatas Bagurskas\u00a0<\/strong>(double-bass),\u00a0Darius Stoskeli\u016bnas<\/strong>\u00a0(basoon), Lithuanian Military Wind\u00a0Orchestra<\/strong>\u00a0(leader and conductor\u00a0Egidijus Ali\u0161auskas<\/strong>)<\/p>\n

 <\/p>\n

Defense of the artistic research paper<\/b>
\nDecember 15, 2017,\u00a09.30 a.m.
\nLMTA JUOZAS KAROSAS HALL\u00a0<\/strong>(Gedimino pr. 42, Vilnius)<\/p>\n

CHAIR OF THE DEFENSE BOARD OF ARTISTIC RESEARCH PROJECT \u2013 Prof. Vytautas Tetenskas (Klaip\u0117da University Academy of Arts, Music, Birbyn\u0117);<\/p>\n

BOARD MEMBERS: Prof. Vaclovas Augustinas (Lithuanian Academy of Music and Theatre, Music, Composition), Prof. Wilfried Scharf (Anton Bruckner Private University for Music, Dance and Drama, Music, Zither),\u00a0Prof. Dr.\u00a0R\u016bta Stanevi\u010di\u016bt\u0117-Kelmickien\u0117 (LMTA, Humanities, Art Research, Musicology),\u00a0Prof. Dr. Audron\u0117 \u017di\u016braityt\u0117 (LMTA, Humanities, Art Research, Musicology).<\/p>\n

 <\/p>\n

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

In the late 20th<\/sup> century, the concert kankl\u0117s<\/em> repertoire substantially changed. As the kankl\u0117s <\/em>players’ school was getting more professional, increasingly more composers became interested in that Lithuanian instrument and expressed inovative ideas, unusual for the kankl\u0117s<\/em> music performers and audiences, in their compositions. The present research paper chose to analyse the repertoire for the kankl\u0117s<\/em> and chamber ensembles (which included the concert kankl\u0117s<\/em>), its characteristics, and the changes in it in the period from the late 20th<\/sup> to early 21st <\/sup>century; it examined original compositions for the kankl\u0117s<\/em> and 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 kankl\u0117s<\/em> were identified, and their authors were introduced. The classical and contemporary kankl\u0117s <\/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 kankl\u0117s <\/em>opportunities and to evaluate its situation in the contemporary context of professional music. The concert kankl\u0117s <\/em>playing techniques were comprehensively introduced and classified, and the traditional and nontraditional kankl\u0117s<\/em> playing techniques were systematised in a table which also offered their examples and notation symbols. A separate overview of playing the new electric kankl\u0117s<\/em> was 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 kankl\u0117s<\/em>, and made attempts to establish certain links in the area of their performance. The latest trends in the compositions for concert kankl\u0117s<\/em> were 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 kankl\u0117s<\/em> repertoire were analysed (Piece G.r.<\/em> by Egidija Medek\u0161ait\u0117, Snowing in Magnolia Blossoms<\/em> by Vytautas Germanavi\u010dius, From Circe to Charybde<\/em> by Kira Maidenberg, and Affected Woman<\/em> by \u0160ar\u016bnas Nakas) that stood out due to innovative ideas and original playing techniques.<\/p>\n","protected":false},"excerpt":{"rendered":"

On December 14\u201315, 2017, the defense of\u00a0Aist\u0117 Bru\u017eait\u0117\u2019s\u00a0artistic doctorate project\u00a0\u201cChanges in the Late 20th and Early 21st Century Concert Kankl\u0117s Repertoire and Contemporary Performance Trends\u201d\u00a0will take place at the Organum Concert Hall and the Lithuanian Academy of Music and Theatre. Artistic supervisor of the project \u2013 Prof. Lina Naikelien\u0117, consultant \u2013 Prof. R\u016bta Rikter\u0117, research […]<\/p>\n","protected":false},"author":2,"featured_media":450,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-449","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\t