UNDERSTANDING OF “SELF-IDENTITY” IDEA IN LITHUANIAN MUSIC AROUND THE LAST DECADES: FROM SELF-EXOTISATION TO SELF-UNIVERSALIZATION
The aim of the article is to research and identify the system characteristics and the main components of national music in the 20th century. The musical thought intended to be interpreted as a phylogenetical phenomenon and language-like structure helps us to understand how the concept of identity can be perceive at all. E. Brainigan‘s eight hierarchically organised levels of film narration (1992) are used as a pattern to phylogenetical approach to national identity idea in music. The basic relations between internal focalization/identification and historical author/audience will play a complex role in constructing a more nuanced understanding of identity idea of Lithuanian music around the last decades.
The Lithuanian musical phylogenetic identity is analysed drawing on three sands characteristic of its ethnic conception. The first sand is the connection of the national identity idea and the ethnic function of language. The second sand is represented by the modern recomposed forms of the archaic Lithuanian folklore through the mixing with jazz, techno-music, rock beats, electronic and other music. The third sand is linked with the rethinking of national cultural values in social events as cross-cultural fusions. A pluralist picture of music characterized by individual identifications of composers as well.