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12потреба студенпв у новш, щкавш та захоплюючiй емоцiйнiй шформацп, до тзнання культури народу, вiдчуття задоволення вiд здатностi читати художш твори англiйською мовою.
Розробка принцитв вiдбору англомовних автентичних текстiв е необхiдною умовою створення науково обгрунтовано! системи навчання читання тому, що саме рацiональний вiдбiр автентичних текспв-зразюв зумовлюе успiшнiсть навчання.
Перспективи подальших дослiджень ми вбачаемо у створенш комплексу вправ для формування шшомовно! читацько! компетентностi у майбутнiх учителiв англшсько! мови.
Л1ТЕРАТУРА
1. Гальперин И.Р. Информативность единиц языка. - М.: Высш.шк., 1974. - 175 с.
2. Смелякова Л.П. К вопросу об отборе художественных текстов в обучении иностранным языкам в языковом вузе // Текст и его категориальные признаки: Сб. науч. тр./ К.: КГПИИЯ, 1989. - С. 121-127.
3. Смелякова Л.П. Художественный текст в обучении иностранным языкам в языковом вузе / теория и практика отбора/: Монография. СПб.: Образование, 1992. - 142 с.
4. Методика навчання шоземних мов i культур : теорiя i практика: тдручник для студ. класичних, педагопчних i лшгвютичних ушверстепв / О. Б. Бмч, Н. Ф. Бориско, Г. Е. Борецька та ш. / за загальн. ред. С. Ю. Ншолаево!. - К. : Ленвгг, 2013. - 590 c.
5. Обучение иностранному языку как специальности (немецкий язык): Учеб. пособие / М.К.Бородулина, Л.А.Карлин, А.С.Лурье, Н.М.Минина. - М.: Высш. школа, 1982. - 255 с.
6. Програма з англшсько! мови для ушверситеив / шститупв (п'ятирiчний курс навчання): Проект / Колектив авт.: С.Ю.Ншолаева, М.1.Соловей (керiвники), Ю.В.Головач та ш. - Вшниця: Нова Книга, 2001. - 245 с.
7. The Common European Framework of Reference for Languages: Learning, Teaching, Assessment. Режим доступу: www. coe.int/t/dg4/linguistic/ source/framework_en.pdf
ANNOTATION OF A MUSICAL PIECE AS A CODE
Bruzaite Zita Vytautas Magnus University
Abstract. Annotations of musical pieces are one of the most significant keys unlocking doors to music comprehension, presupposing structural, poetical, social, existential aspects. Having replaced dominated conventions of centuries, epistolary and diary-alike texts had been used as the primary reference sources and explanatory discourses, ideas of composers transfer into the shape of "mandatory order": annotations of CDs, festivals and other contexts eventually became and are still in the process of becoming an integrated axis of academic articles. An annotation produced before a musical piece, in a process of writing it or whether it appeared after the last decorative touches on the score, due to the input of a literary component the author's music becomes a wider discourse of the sound map that reflects different sound systems and their signs, portrays causative links to the birth of a musical piece, the addressee, etc. The annotations of four Lithuanian composers Kairaityte, Vasiliauskaite, Remesa, Navakas devoted to neo-romantic esthetics were chosen to be considered in this paper. The parallels between the tradition of genre and librogenre in the view of annotation is revealed as a communicative code and dichotomous state.
Keywords: anottations, neo-romantic, coherence, librogenre, dichotomous, semantic.
Every more prominent creative group, generally considered to be historically and culturally unique or outstanding, is accompanied by a parallel and slightly more vague backdrop. The vitality and spread of an idea (how, with whom, where, in what context), the artist's introversion or extroversion, environmental and circumstantial factors (marketing, publicity) and, on our part, an inert mode of thinking drawn countless times along the same narratives can become a determining factor for less publicised artistic results. The rampant nature of inert thinking typically multiplies an already suggested attitude of thinking to further developments and variations, finally becoming axiomatic and at the same time impersonal.
The landscape of Lithuanian music has brought to the fore a generation7 of four neoromantic composers Mindaugas Urbaitis, Algirdas Martinaitis, Onute Narbutaite and Vidmantas Bartulis. Certain characteristics of the neoromanticist and, simultaneously, postmodernist platform8 are drawn based upon their work, including such characteristics as intimacy, reading, faith, attachment to one's own performers, tonality, simplicity, artistic recreation and many more poetic as well as polymorphic traits.
An important feature of the prominence and longevity of a piece of art, the artist or a new phenomenon lies in the way the piece of art is perceived. A successfully delivered message creates preconditions for theoretical insight, later develops into the phenomenon of a social field and, finally, becomes part of history. The perception of a musical piece in the landscape of contemporary music is often aided by statements formulated by the author himself or individuals from their environment (musicologists, performers) that characterise the idea of the musical piece from a structural and conceptual perspective as well as from other vantage points.
Today a musical annotation has become one of the most important keys to understanding of a newly created musical event. Annotations may present insignificant (at first glance) or very accurately formulated narratives and insights that reveal the fundamental processes of music itself, the context that surrounds the author, his worldview and any humanitarian, social and ideological phenomena or touches thereof, and finally they become a reflection of a certain code. The contents of musical annotations are not always the same: laconic, general or comprehensive, broad in scope and may reveal certain existential and structural moments, emergence of which in some cases is preambolic, in other - finite and conclusive (much like the titles of Claude Debussy's preludes for the piano written down in the spirit of post scriptum, after an ellipsis). Annotations and any other minute primary sources of artists' works of any period could be identified by the following keywords: idea/material = mind/body. Here, I0 is the unwritten idea of the annotation, M1 represents the written idea of the annotation (the material), M - the written structure of a musical work, and B - the structure and finality of the played musical piece.
An annotation is very important in musical creation. It is where music begins and ends, not as an allusion to the imagined world of sound but as a contextualised narrative of the text. (It is not a coincidence that the worldview of composers in this generation is reflected by an annotation and poetic, diary-like backdrop perpetuated around it, becoming visible and/or intuited insights of essay writing), a communicative9 semiotic code that links the author to the performer or listener, but "... the perceiver [may be] invited to contribute and not consume"10. This means that there is always the possibility of choice: to use the insights the author presents in the text or to reject them directly moving on to a specific musical object of sound.
For the purposes of exploring an annotation as a semiotic code, less studied Lithuanian composers, born from the 50s, were selected because overviews of their works lack both general and in-depth presentation of the material. This group of composers includes Dalia Kairaityte, Arunas Navakas, Alvidas Remesa and Kristina Vasiliauskaite. The composers represent the Eduardas Balsys school of composition, characterised by proclivity for certain regularities of a compositional structure and an ascetic way of thinking that intertwines with their personal introversion. The annotations they have written for their works (as primary sources of perception) are, in most cases, aphoristic in their nature, however, they do clearly establish an entirety of values and action demonstrating semiotic accuracy or vagueness and the qualities of repetitiveness. In the context of modern music, their works are seen considerably rarely because of several reasons: coherence of their musical language, loyalty to a tradition and the second importance of the composing system. Therefore, these annotations of their works are defined as aphorismatic, though clearly outlining the integrity of values and actions, signifying accuracy or uncertainty of meaning but at the same time having the features of duplication.
Two tendencies can be observed in the works of the four selected composers: Kairaityte and Navakas represent saecularis musical content, whereas Remesa and Vasiliauskaite reflect sacralis themes. Even though both groups offer the examples of works that intertwine elements of the two, the said classification reflects their predominant creative intentions. The annotations of instrumental rather than vocal musical pieces were chosen in order to avoid the illustrativeness that lies in the texts of vocal pieces. The existential backdrop behind the composers is often determined by the attitudes of
7 Neoromanticism style of arts of the 19th -200th century. N.Adomonyte, V.Kubilius,V.Landsbergis // Encyclopedia of Soviet Lithuania, vol. 3, 1987, p.202-203.
8 Metmenys 65/1993. Kuryba ir analize. Alisanka E. Postmodernizmo zenklai Lietuvoje, p.154.
9 Eco U. 1976, Theory of Semiotics, Bloomington: Indiana University Press, p. 4...
10 Barthes R. From Work to Text. In: Barthes, R. 1977,. Image-Music-Text. London: Fontana, p. 155-164,.
indecision and contradiction, joining together opposite phenomena of life: changeability, faith and freedom11, as expressed by repetition of certain words and the continuum of a whole.
As a significant attribute of logical thinking, the annotated works of Kairaityte and Remesa emphasise references to structural and compositional methods: "...I use serialism (fragment from D.Kairaityte's annotation of Monochromatic Sonata, 1998), "...the series is composed of five pieces arranged according to the principle of contrast and united by a single spiritual idea" 12 This type of annotation, i.e. reiterating the chosen musical components or structure at textual level is an especially frequent example and often explains/reveals the dynamic of postmodernist librogenre13, i.e. undefined or transformed genre. These two piece are a great illustration of the footprint of the genre's tradition in Monochromatic Sonata (contrast, cyclical structure) and an innovative horizon in Five Sacramentals, 1998 (which does not have and has never had any links to any type of musical genre).
In the latter case, Remesa joins structural features with tangible symbols14 of religious service by clearly naming each object "...old rosaries, medallions, yellowing pictures of saints..." but leaving the meanings of sacramental actions to the "spiritual idea", the emotional act of prayer and the obligation of reception. In his annotation of Stigmas (1989), a series of piano miniatures, the composer once again presents relevant references that most clearly refer to the stigmatisation of St. Francis of Assisi and the reprisal of the repeated word "contemplations": "... These five miniatures are a contemplation on the five wounds that magically appeared on Christ's body on the sacred hill of La Verna" (A.Remesa). In the annotation of another musical piece, The Seven Words of Christ, 1992, (Fig. 1), Remesa indicates the process of creating Christ's vision, which is coherently tied to the ad libitum long sound of the first note (one note = one God): "...the inner monologue for a performer, which inspires the soloist to play what is between the lines and simultaneously maintains their rapt attention to what is written in the notes themselves. It is very important to listen to the Seven Words of Christ here: "Father, forgive them, for they know not what they do..." 15. Finally, the codes of the text invite one to discover/recreate the semantic figures of the Seven Words of Christ's vision, consistently directing their meanings towards the path of ad libitum (i.e. freedom of choice). Other directions (religioso, spirituale) are used to curb any superfluous demonstrations of instrumental technique or spirited emotional vocabulary and to direct a conscious coming together with the sound content of the piece: "Revealing the idea behind the pieces requires being in a special spiritual state that can be strengthened by reading religious texts and studying the paintings of the great masters" (A. Remesa about Stigmas, his series of piano miniatures).
Fig. 1. Alvidas Remesa. "The Seven Words of Christ" (1992) for clarinet (Excerpt. Facsimile from Music Information Centre Lithuania)
Kierkegaard. S. 1997, The Sickness Unto Death. (translation from Danish by J. Adomènienè). Vilnius: Aidai, p. 40.
12 A. Remesas' quote from the annotation of suite for piano Five Sacramentals. The quotes hereinafter are from the composer's works annotations in printed materials (leaflets, booklets from festivals, concert brochures and an ele ctronic mail).
13 Daunoraviciené G. Postmodernist Existence of the Art Categories: The Processes, Environments and Trajectories of Musical Genre, 2013, vol. 14, p.88.
14 The Apostolic Constitution on the Liturgy of the Second Vatican Council (Issued December 4, 1963) Sacrosanctum Concilium, Chapter III "The other sacraments and the sacramentals" [60], 04-12-1964.
15 The Gospel According to Luke [Luke 23, 34].
The solemnly expressed traits of the sounding object, introduced by the text, explain Kairaityte's idea: "The names of pieces composed by contemporary composers are very philosophical". And if the composer chooses to begin explaining the essence and meaning of his work with words, then we are almost guaranteed to have an introduction into a philosophical treatise. However, I have never encountered a philosophical work that called itself a concert or a symphony." Segments of poetic language (texts of her own vocal compositions) and an abundant archive of personal poems once again reinforces the tendency towards poetry in the work of the neoromantics: "Even a single word can stimulate many creative impulses, rouse the imagination and dictate specific technical decisions. Which is why, in my creative work, the word becomes a part of the "mandatory" zone of experiences before the piece itself is born" (D. Kairaityte).
A systematic assessment of the vocabulary and semiotics of Kairaityte's annotations reveal a frequent articulation of the word 'light' as a reflection of existential ontology and impressionist imagery. The word is used both in her annotations and the titles of her works (Post tenebras lux -Light after dark (2009), A Bright Vision in Ly, etc.). This coherent16 reflection of the text in music is contoured in tonal and melancholic lines, with light touches of irony and predictions of existential extinction17: A Bright Vision in Ly for the flute, alto, harpsichord and mouth organ in G (2008): "This is a small chamber piece for four 'personalities'. Composed and written in notes, as opposed to dashes and numbers. When writing this piece I felt more light than myself. It is only natural that many will want to ask "so what is this 'in Ly'?" I can say that this is the fifth, invisible 'personality' of this piece, a 'personality' that exists in the magnetic field of what is written in notation. This is the context of A Bright Vision in Ly or a small secret that hides the circumstances of its birth. This is a secret that is only known to the author, but is not at all necessary for the listener because a detailed explanation of everything does not improve the musical piece, but only narrows the limits of the imagination. The piece is performed by a trio, but there is a fourth 'personality' here too - the mouth organ, whose role is no less significant than that of the harpsichord, alto or flute. I write the word 'personality' in quotation marks because this is not theatre, but the instruments have their own roles within the piece and speak to each other with the sounds of music. There is no conflict in this small musical play, this is more probably a warm correspondence of four kindred souls, tinted by minimalist tones of watercolour. The presence of man in this world without aggression or conflict, without hypocrisy or lies should be the greatest aspiration. Unfortunately... this is only possible in art (D. Kairaityte).
The vocabulary of Arunas Navakas' annotations is more concise. He also indicates parts, styles and means: "An interpretation of M. K. Ciurlionis' prelude in F major, with a filling of farcical and gentle lounge and cinema sounds," with the occasional moralization: "...If the climate continues to change, we will have to take a closer look at their fantasies," (fragments from A.Navakas' annotations of Inter Media, 2012 and "Le canzoni degli insetti" (Songs of the Insects, 2010)). The composer accepts music as a continuous event with no stages, influences, discoveries, expressions, and as productive revelations of existential thinking and learning: "It is important that the artist touch others instead of simply expressing himself...", "Lately, it is Words that have been teaching us... Perhaps God stationed the mysteries of the world in a forest of words, and when you see their meanings, life becomes clearer... " (A. Navakas). Here we can feel (in the annotations) and hear (in the music itself) the interactions of coherency, with which the author melds the limits of perception for high art and popular art. "I do not classify music into 'light' and 'heavy' music" (A. Navakas). In this sense, the composer freely interprets the philosophical self-image of his hero Frank Zappa18, a self-image that contains nihilistic attitudes and the motions of rejecting the "important (significant) and unimportant" styles of personality cults ("he's original, he should be studied?").
A unique case and, at the same time, the most problematic annotational expression is related to the work of Vasiliauskaite because only a few of the ideas come from the composer herself. This fact was a result of the composer's choice to work with exceptionally vocal religious/liturgical music, with her texts simply reflecting the postulates of theological thought. Thus it may well be the case that only predominantly secondary sources will remain to explain her musical work. However, in several of her annotations, Vasiliauskaite reiterates the key words of "spiritual meditation", "God's creation" and "sanctity", the dichotomous meanings of which fall into the categories of both musica sacra and musica profana: ,,...In Silent Night... (2014) is not a sacral piece of music. Perhaps it is religious only
16 Remeikyte V. The Formals Means Of Cohesion in The Works of Lithuanian and Foreign Linguists. Kalbotyra, 2002, t. 51 (1)
17 Karvelyte K. Dissolution of the Speaking Subject in Philosophy of M.Foucault. Problemos, 2011 Nr.79.
18 Frank Zappa's Quates: http://www.zappa-analysis.com/quotes.html
in spirit, in the search for respite in nature, in silence... But this means connecting with God, his creation. Even though I did not compose this piece as a religious piece, it certainly has a lot of spirituality about it." In another annotation by Vasiliauskaite, one can find similar aspects of presentation: an abundance of superlatives, ellipses - as meaningful silences characteristic of the work of the neoromantics (especially prominent in the annotations by Vidmantas Bartulis), dichotomous sacral symbols such as "spirit" and "God" in the context of secular (instrumental) music, and emoticons, i.e. smiles that have come from the platform of communication technology, which are becoming ever more entrenched in musical texts: "Reflections of nature... (2015) This is an attempt to use the sounds of music to portray the beauty and charm of all four seasons (how good it is that we have them all :-)! The first part reflects the clarity of spring, the freshness of reawakening nature. The second part reflects the joy of a sun-filled summer, the third - the nostalgic moods of autumn, and the fourth - the mischief of winter... It is only in the embrace of nature that I can recover my spiritual peace and balance, feel the fullness of life, beauty, love, joy and the breathing of eternity... - for these are all the priceless gifts of God!!! By using the sounds of music I attempted to share these spiritual gifts with the listeners. I hope that they too might hear the indescribable air of goodness, the breath of nature, the closeness of the merciful God - all of this I have tried to portray not only in Reflections of Nature, but also in my other work" (excerpts from K. Vasiliauskaite's annotations, original text unedited).
Such observations lend Vasiliauskaite's work a certain compositional positivity and lead to the use of certain means of musical expression: clarity of structure, diatonic scales, a romantically emotional melodic landscape and a lack of more prominent differences between her sacral and secular music.
If, in the case of Kairaityte and Remesa, the annotation serves as a pretext for the process of musical composition, then Vasiliauskaite's and Navakas' annotations emerge as a summarising gesture at the end of the creative process.
An overview of the individual and general features would enable the preliminary mapping of the semantic codes of the annotations written by Kairaityte, Navakas, Remesa and Vasiliauskaite. In this map, all four composers would have an individual symbol, paired generalities and finally terms of localisation that are reduced to the extent that they unify all of the composers, which are predominant in a local space, in sources with a certain purpose (material for concerts, printed booklet material). All of this can be place in a generalised semiotic formula (a)) and a paraphrased Greimas square (b)):
a) Vasiliauskaite —Sacral meditation (sanctity) — (Not) Speaking—Localisation Remesa —Sacral empathy (thinking) -(Not) Speaking—Localisation Kairaityte —Impression (flickering) — Speaking —Localisation Navakas —Expression (touch) — Speaking —Localisation
b) Function = F (Separation),Composition S1, Annotation S2, Non-Composition, NonAnnotation S-2, S-1, Entirety = V
Replacing the epistolary and diary-keeping traditions that had dominated in past centuries as primary reference and explanatory sources, the idea of a composer's musical piece transformed into the form of the "mandatory order", i.e. the annotation of compact discs, festivals and other contexts, finally becoming and continuing to develop as the integral axis of academic articles and the author's "written existence"19. Thus textual annotation has become an important tool for perceiving a piece of music, allowing the listener to look into the creative process through the projections of the writer. With annotation, either created before the piece itself, during the course of the creative process or after the final decorative touches to the score, the composer's work becomes a deeper discourse on the musical map reflecting sound systems and their signs, the causal relationships behind how the piece was born, a specific addressee and certain assumptions about its structural, poetic, social and existential aspects.
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2. Derrida J. Of Grammatology (Baltimore & London: Johns Hopkins University Press, 1998, corrected edition, trans. Gayatri Chakravorty Spivak), 360 p.
3. Fitch, W Tecumseh. 2006. The biology and evolution of music: A comparative perspective. Cognition, 100: 173-215.
4. Subacius P. Tekstologija: teorijos ir praktikos gaires, „Aidai, 2001, p. 591.
19 Derrida J. Of Grammatology. Vilnius: Baltos lankos, 2006, p. 29.
