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Monday November 23rd, 2020

INFORMATION REGARDING STUDIES AT LMTA DURING THE QUARANTINE PERIOD

Quarantine is extended until 17 December.
(update 2020-11-25)


Considering the situation developed due to the spread of coronavirus, quarantine was again announced throughout the territory of the Republic of Lithuania from 7 to 29 November 2020. Following the requirements of the Government of the Republic of Lithuania, studies and work at the Lithuanian Academy of Music and Theater during this period are organized remotely and in a mixed way.

Teaching of all study subjects, except for the specialty subject, is organized remotely. For more detailed information, please contact the deans and heads of departments.

Individual self-study of students can be carried out in the premises of LMTA, in compliance with all the specified security requirements.

Where possible, the administrative staff of all the LMTA units will work remotely and can be accessed during LMTA office hours by email addresses indicated on the website. 

USEFUL CONTACTS

International Relations Office
Head – Rima Rimšaitė: rima.rimsaite@lmta.lt, +370 5 212 4967
Programme and Projects Coordinators: andrius.dabrovolskas@lmta.lt, kristina.valentoniene@lmta.lt, +370 5 261 0131

Faculty of Music
Dean – Prof. Deividas Staponkus: deividas.staponkus@lmta.lt, +370 680 26585
Administrators: rasa.dzimidaite@lmta.lt, asta.vaitkeviciute@lmta.lt, +370 5 262 8537

Faculty of Theatre and Film
Dean – Elona Bajorinienė: elona.bajoriniene@lmta.lt, +370 612 20240
Administrator of the Faculty – Kristina Kazilionienė: kristina.kazilionienė@lmta.lt +370 611 55165
Coordinator of Film and Television Department – Miglė Levickienė: migle.levickiene@lmta.lt +370 684 20276

Klaipėda Faculty
Dean – Prof. Vytautas Tetenskas: vytautas.tetenskas@lmta.lt +370 694 83 523
Administrator – Jolanta Brazdeikytė: jolanta.brazdeikyte@lmta.lt +370 648 20604

Postgraduate Studies’ Office
Head – Daiva Buivydienė: daiva.buivydiene@lmta.lt, +370 687 94630

Study Information Officestudijos@lmta.lt, +370 698 04783

Library
Head – Daiva Mateikienė: daiva.mateikiene@lmta.lt, +370 683 51953

Students Unionlmtasa@lmta.lt +370 611 23009

Secretariat of the Rector’s Council: +370 5 261 2691, mob. +370 696 98411.

CONTACTS FOR ADVICE ON REMOTE STUDIES

Psychologyst – Nijolė Goštautaitė-Midttun: nijole.gostautaite@lmta.lt

LMTA Chaplain Fr. Dovydas Grigaliūnas: +370 680 80078

The actual information concerning the spread of coronavirus and quarantine is continuously updated on the website of the Ministry of Health of The Republic of Lithuania, the website of the Government of the Republic of Lithuania, the website Study in LT.

2020-11-06

Friday November 20th, 2020

Virtual „Bel Canto“ intensive courses for singers

Virtual „Bel Canto“ intensive courses for singers from Nordplus NordOpera network institutions – the Lithuanian Academy of Music and Theatre, Jazeps Vitols Latvian Academy of Music, Estonian Academy of Music and Theatre, and Academy of Music and Drama of the Gothenburg University – are being held on 25th-27th of November of 2020.

Professor at the Luigi Cherubini Conservatoire (Firenze, Italy) Leoardo De Lisi will give a lecture on bel canto on November 25th and masterclasses for singers from participating Academies on November 25th-27th.

Leonardo De Lisi is world famous singer (tenor). „In 2009 EMI included the recording of one virtuoso aria by Vivaldi performed by De Lisi in a CD coffret “100 Best tenor voices” among opera stars such as Pavarotti, Corelli, Florez, Merrit, Gedda, Domingo, and others.  More about Leonardo De Lisi on the website of the Bel Canto Institute https://www.belcantoinst.org/biographies/leonardo-de-lisi/

2020 11 25

Tuesday November 17th, 2020

Call for papers: international conference “Typologies of Music Signification: Retrospective and Perspective”

The Lithuanian Academy of Music and Theatre and the Musicologists’ Section of the Lithuanian Composers’ Union are happy to invite to the international conference “Typologies of Music Signification: Retrospective and Perspective” that will take place at the Lithuanian Academy of Music and Theatre, Vilnius, on October 21–23, 2021.

Musical signification, as any other issue related to the meaning in music, has been constantly an object of interest for musicologists, composers, semioticians and philosophers, often in an attempt to classify and categorise it. Looking back at the history of such classifications and foreseeing the need to rethink them, the theme of this conference is dedicated to the theoretical and practical discourses of the interrelations between musical signification and a variety of typologies.

It may be considered that written texts in musicology have emerged from the attempts to categorise abstract phenomena and further practices of their systematisation. Aristoxenus distinguished three basic gènē in his Elementa harmonica. Boethius, in De musica, differentiated the types of musica instrumentalis. The likes of Johannes de Groche, Johann Mattheson, and Johann Nikolaus Forkel named not only new types of music, but also fundamental categories of music, such as genre and style, among others. The path to discovering many of the musical phenomena has been based on the process of categorising and systematising the outcomes of music signification.

Typologies of signification have been acknowledged as research methods and as part of theoretical epistemology of music since the dawn of theoretical musicology and, as such, they have retained a significant place in the research of musicologists, ethnomusicologists, popular music scholars and musical semioticians of the late 20th to early 21st centuries – from Philip Tagg, Simon Frith, Franco Fabbri or Fabian Holt to Heinrich Besseler, Carl Dahlhaus, Helga de la Motte-Haber, Mieczyslaw Tomaszewski and others. Typologisation of significations, as a method for gaining knowledge, is of interest to the current research as well.

This conference seeks at renewing the approach to the concepts, terms and categories employed in the process of music signification, as well as attempts to conceptualise the practices of classification of musical phenomena. We welcome scholars to tackle these tasks from a variety of perspectives: to discuss them as problems of research philosophy, raise the questions of criteria, present individual approaches, analyse historical or current cases and present the perspectives of systematisation.

This interdisciplinary event welcomes researchers from different fields of research. Affiliated scholars, doctoral students and independent researchers are welcome to submit their abstracts.

The conference will take place in a hybrid form (both live and online). Official languages of the conference: English, German.

Keynote speakers 
Wolfgang Marx (University College Dublin) 
Kęstas Kirtiklis (Vilnius University) 
Gražina Daunoravičienė (Lithuanian Academy of Music and Theatre)

Programming Committee 
Paulo C. Chagas (University of California, Riverside), Gražina Daunoravičienė (Lithuanian Academy of Music and Theatre), Joan Grimalt (Escola Superior de Musica de Catalunya ESMUC), Margarita Katunian (Moscow Tchaikovsky State Conservatory), Helmut Loos (Leipzig University), Lina Navickaitė-Martinelli (Lithuanian Academy of Music and Theatre), Rima Povilionienė (Lithuanian Academy of Music and Theatre), Daiva Vyčinienė (Lithuanian Academy of Music and Theatre)

Organising Committee 
Gražina Daunoravičienė (chair), Ingrida Jasonienė, Mantautas Krukauskas, Agnė Mažulienė, Mykolas Natalevičius, Lina Navickaitė-Martinelli (vice-chair), Rima Rimšaitė, Judita Žukienė

Abstract submission 
The proposals for the conference will be peer-reviewed anonymously. Please send your abstract both in anonymised and unanonymised forms.

We invite proposals for individual papers (20 minutes, followed by 10 minutes of questions and discussion) on topics including, but not limited to:

  • Typologisation as a problem of social sciences and sociomusicology;
  • Typologisation from the philosophical perspective;
  • Musical genres, types and phenomena as object of semiotic research;
  • Signification as a premise for categorising musical phenomena;
  • Relations of signification and typologisation processes;
  • Historical cases of music typologies and their analysis;
  • Cases of authorial systematisation, their creativity and innovation;
  • Music typologies versus music taxonomies;
  • Signification and typologisation as the basis of music epistemology;
  • Criteria for typologisation as a problem of research methodology;
  • Analysis of case-studies in musical systematisation and taxonomies.

Proposals must be sent by April 1, 2021 to typologiesofsignification@gmail.com in Word (doc or docx) format and should include the following: 

  • Name, academic degree, affiliation and contact email address;
  • Title of the presentation;
  • Abstract (300 words maximum, clearly present the research question/aim, research background, methodology, results and conclusions, 5 keywords).
  • Photo close-up in TIFF or JPG format (from 300 to 600 dpi);
  • Curriculum vitae (100 words maximum).

Registration fee 
The conference registration fee for active participants – 50 EUR, online participants – 30 EUR, student fee – 20 EUR. Passive attendance free of charge. Further information will be sent after the acceptance of proposals. Participants pay their own travel and accommodation expenses.

Proceedings 
Selected revised papers will be published in a special issue of the peer-reviewed scientific journal Lithuanian Musicology (indexed in SCOPUS, RILM, EBSCO, MLA International Bibliography, ERIH+).

Important dates 
Submission deadline: April 1, 2021 
Notification of acceptance: May 15, 2021 
Conference: October 21–23, 2021


2020-11-16

Friday September 4th, 2020

Baltic Musicological Conference 2020

On 10–12 September 2020, the Department of Music History at the Lithuanian Academy of Music and Theatre, the Lithuanian-Polish research project “Music of Change: Expression of Liberation in Polish and Lithuanian Music Before and After 1989” and the Musicological Section of the Lithuanian Composers’ Union organize the Baltic Musicological Conference 2020 “MUSIC AND CHANGE BEFORE AND AFTER 1990”.  

CONFERENCE PROGRAMME

CONFERENCE BOOK OF ABSTRACTS

There is a possibility to attend the event virtually via ZOOM and Youtube.

 
 
Also sessions from the Room 1 will be streamed on Youtube channel. Links for each day: 

 

The employment of music as a form of cultural opposition and transformative power is a multifunctional process that implies an extension of the thematic and disciplinary borders to the complex relations of the music’s cultural, socio-economic, and political contexts. However, such approach requires to provide a space for deep engagements in music and its various worlds overcoming a simplified understanding of musical practices as a reflection of social structures and political processes. As Jacques Attali writes on the relationship between music and societal structures, music “makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things; it is not only the image of things, but the transcending of the everyday, the herald of the future” (Attali 1985).

Baltic Singing Revolution – “revolution by singing and smiling” (Heinz Valk 1988) – is a widely known example of the public expressive cultural practice which had a stimulating effect on cultural imagination and political change. Remembering the year 1990, so important but not limited to national histories of Lithuania, Latvia and Estonia, the Baltic musicological conference 2020 aims to acquire new knowledge and a deeper understanding of the ways in which the musical expression of liberation and musicians’ networks contributed to political and cultural change before and after the end of the Cold War. In what ways the musical practices contributed to formation, negotiation and transformation of sociocultural identities and changing collectivities? What has been the relationship between the processes of cultural and political change before and after 1990? What were prominent ideas, landmark cultural texts and influential individuals who have had a formative and transformative power in these processes? To address these issues, as well as any other questions and topics related to the 20th–21st-century music and change in the widest sense, we invite the proposals for the Baltic musicological conference 2020, to be held at the Lithuanian Academy of Music and Theatre in Vilnius 10–12 September 2020. The conference will include international guest speakers Kevin C. Karnes (Emory University), Olga Manulkina (St Petersburg State University), Gintautas Mažeikis (Vytautas Magnus University) and Peter J. Schmelz (Arizona State University).

Academic committee

Małgorzata Janicka-Słysz (Academy of Music in Kraków), Kevin C. Karnes (Emory University), Olga Manulkina (St Petersburg State University), Lina Navickaitė-Martinelli (Lithuanian Composers’ Union), Rima Povilionienė (Lithuanian Academy of Music and Theatre), Peter J. Schmelz (Arizona State University), Iwona Sowińska-Fruhtrunk (Academy of Music in Kraków), Rūta Stanevičiūtė (Lithuanian Academy of Music and Theatre).

Local organizing committee

Ingrida Jasonienė, Lina Navickaitė-Martinelli, Rima Povilionienė (vice-chair), Rima Rimšaitė, Rūta Stanevičiūtė (chair), Judita Žukienė.

2020 09 03

Friday August 7th, 2020

International New Theatre Week

August 18–22 of 2020, the Lithuanian Academy of Music and Theatre (LMTA) presents the international theatre project that will feature five premieres of young artists graduating this year: Uršulė Bartoševičiūtė, Naubertas Jasinskas, Lina Židonytė, Augustas Gornatkevičius and Antanas Obcarskas.

 

Uršulė Bartoševičiūtė, Naubertas Jasinskas, Lina Židonytė, Augustas Gornatkevičius (© D. Matvejev), Antanas Obcarskas (© D. Matvejev)


Tuesday, 18 August 2020 at 6 PM 
Wednesday, 19 August 2020 at 6 PM 
State Youth Theater Stage 99 (Arklių st. 5) 
THE PHANTOM OF NORMALITY 
Based on Saara Turunen’s play of the same title

“I have just one wish in life. And that is that I could be ordinary, just a normal person. And that my family would be ordinary too, just a normal family. That we wouldn’t stand out from the crowd, that we’d be ordinary, really, just normal.”

Saara Turunen’s play The Phantom of Normality (2016) explores the everyday life of typical Finnish families. It presents a gloomy take on family traditions, relationships, communication habits, secret desires, small and clichéd interpersonal issues and conflicts. In the center of the play are frigidity and short-sightedness toward one another.

Director Antanas Obcarskas: “Saara Tununen text quietly and disheartenedly buries the normal family and the last sincere person, while in the performance we find ourselves in the near future and bury the last family of bees. Human families are long gone from the surface of the earth. But could anything more normal than bees exist in nature? I cannot think of anything more ordinary. Unfortunately, I hardly resemble them, as the general political correctness prevents me from doing as little as stinging. The bees, despite being a perfectly independent, yet fragile organism, are going extinct. Family is a strong word but is as a concept becoming an increasingly rare occurrence in my environment. In the future presented in our performance, families are completely extinct and all is left of them is a bitter set of memories, recorded by the author of the play… I must ask: In the future, will one mock our rushed and resolute dissociation from each other? Why do we feel the urgency to return to our home and lock the door to be with only ourselves?”

Director: Antanas Obcarskas 
Set Designer: Oscar Dempsey 
Costume designer: Juozas Valenta 
Cast: Ella Lymi, Carlos Orjuela, Jasir Osman, Nicklas Pohjola, Milla Tissari 
Lighting designer: Teemu Nurmelin 
Technical assistant in Lithuania: Dominykas Grinius 
Tutors: directors Kristian Smeds and Yana Ross 
Producers: Lithuanian Academy of Music and Theatre, State Youth Theatre 
Partners: Theatre Academy of Uniarts Helsinki, Nordic Drama Corner, Caffeine 
Supporters: Ministry of Culture of the Republic of Lithuania, NordPlus 
Special thanks to Vilnius Fencing Club coach Rimas Kalnutis

Duration: 1 hour 20 min. 
Performed in Finnish with Lithuanian subtitles. 
Smoke effects will be used during the performance.

* * *

Wednesday, 19 August 2020 at 8 PM 
Thursday, 20 April 2020 at 10 PM 
Bar Kablys + Club Concert Hall (Kauno st. 5) 
REQUIEM FOR A WOMAN 
Based on Orange Peel by Maja Pelević (N-16)

The European Gender Equality Index data by European Institute for Gender Equality announced on 15 October, 2019 indicate that since 2005 the Gender Equality Index in Lithuania has not increased but rather decreased by 0.3 points, and since 2015, the score decreased by 1.3, thus making Lithuania the only country in the EU where the field of gender equality has seen no progress.

The performance is based on the play by Maja Pelević that wasn‘t previously staged in Lithuania. It demonstrates the fragmented female journey, her transformation for a girl to a woman, from a woman to a mother, from a mother to a victim, etc. The main character is surrounded by archetypical, stereotypical and absurd people who live in a patriarchal world that is put in motion and sustained not only by men but also women who out of momentum, convenience or safety still believe in woman’s position as the weaker sex, as her position of being just a woman.

With the faltering of patriarchal model of the world, active women break out into all fields, but this process is still not meaningful enough to be represented in the statistics, and the feminist discourse is often rejected as an integral part of our natural reality. The performance suggests forgiveness to the woman and proposes rethinking the guilt that we put on her – for tasting the forbidden fruit, for condemning us all to suffer on earth as a consequence to her action, for being too active, too masculine, too strong, having cellulite, talking too loud or perhaps not wanting to bear children.

Director: Uršulė Bartoševičiūtė 
Set Designer: Elžbieta Kvašytė 
Composers: Marija Paškevičiūtė and Mindaugas Urbaitis 
Costume designer: Liucija Kvašytė 
Lighting designer: Vilius Vilutis 
Assistant lighting designer: Valdas Latonas  
Cast: Urður Bergsdóttir, Kristrún Kolbrúnardóttir, Björk Guðmundsdóttir and Fannar Arnarsson 
Tutors: director Yana Ross, actress Halldóra Geirharðsdóttir, lecturer Snæbjörg Sigurgeirsdóttir 
Technical assistant in Iceland: Egill Ingibersson 
Technical assistant in Lithuania: Dominykas Grinius 
Producers: Lithuanian Academy of Music and Theatre, State Youth Theatre 
Partner: Iceland University of the Arts, Caffeine 
Supporters: Ministry of Culture of the Republic of Lithuania, Vilnius City Municipality, NordPlus

Duration: 1 hour 30 min. 
Performed in English. 
The audience will be moving around the space, there will be no seats. Smoke effects, loud music, foul language and nudity will be used during the performance.

* * *

Wednesday, 19 August 2020 at 10 PM 
Thursday, 20 April 2020 at 8 PM 
Musical Theatre Club Legendos (Kalvarijų st. 85) 
CALAMARI UNION 2. MEGASTAR 
Inspired by Aki Kaurismäki’s film Calamari Union

The performance is inspired by the movie Calamari Union created by the famous Finnish film director Aki Kaurismäki. It presents an absurd journey in the streets of Helsinki. A few men named Frank decide to travel from their residential area Kallio to the other end of the city, residential are Eira. These working class men, sympathizing with the beatnik movement, move from the industrial Kallio to the luxurious Eira in groups, hoping to find paradise there. The majority of Franks die during their travel through the city and only two Franks reach the desired coast. However, upon reaching Eira, they discover that the area is polluted and crowded with houses – they are too late.

Calamari Union 2. Megastar is to some extent the second part of the movie and the version of such journey today. In the performance, these characters’ children are trying to come back, as, according to their dads, life is more colorful and fulfilling there. The children of working class men grew up in a liberal, increasingly progressive world but now they feel unhappy for living conditions are too reliable; They seek for entertainment, dirt and adventures. The journey however takes an unexpected turn when it turns out that the ship sails not only through space but also through time. Eira, at the end of Kaurismäki’s film, does not meet the Franks’ expectations. Nowadays, we call it gentrification – cities and its parts change appearance and people who created an authentic vibe of the place are urged out of their home by those more solvent, more influential members of society. The performance offers to consider opportunities of the gentrification of ideas. Would we find what we expected if we came back to wherever we wanted to?

Director: Augustas Gornatkevičius 
Cast: Ola Blick, Roderick Kabanga, Eeva Kaihola, Eeva Mäkinen, Tuuli Paju 
Set and Costume designer: Simona Davlidovičiūtė 
Composer: Jokūbas Tulaba 
Lighting designer: Julius Kuršis 
Lighting assistant: Augtumas Danielius Harner 
Dramatist: Anni Ihlberg 
Video projection author: Laurynas Valkiūnas 
Technical assistant in Lithuania: Dominykas Grinius 
Tutors: directors Kristian Smeds and Yana Ross 
Producers: Lithuanian Academy of Music and Theatre, State Youth Theatre 
Partners: Theatre Academy of Uniarts Helsinki, Caffeine 
Supporters: Ministry of Culture of the Republic of Lithuania, NordPlus, Supernormal

Duration: 1 hour 20 min. 
Performed in English. 
Smoke effects will be used during the performance.

* * *

Thursday, 20 August 2020 at 6 PM 
Friday, 21 April 2020 at 8 PM 
LMTA Balcony Theatre (Gedimino av. 42)

JACKIE 
Inspired by Elfriede Jelinek’s play of the same title

How often do you think about death? The death of your neighbors, relatives or bypassers? What about your own death? Do you give thought to what does life look in the afterlife? What will you meet there? How will you look?

This performance is an attempt to create an illusion of life after death. It is based on the play “Jackie” by the Austrian novelist and dramaturg Elfriede Jelinek which tells a story of a woman who was observed by the public: her gestures, mannerisms and actions were widely discussed and commented in the media, her image formed fashion and culture trends as well as the so-called good taste. The play uses biographical facts to reveal the woman’s inner feelings, experiences and their consequences when she was put under a magnifying glass and people knew and engaged in the stories of her husband’s adventures with other women, her miscarriage, the traps setup by her husband‘s family, etc.

Society’s pressure caused Jackie stress, fear and anxiety. It crammed her into a role that she tried to fulfill in the fear of tainting her husband’s well-crafted image and status as well as hoping to uphold the portrait of the youngest First Lady – Jacqueline Kennedy.

Despite the fact that the dramaturgy of the performance unveils the story of a well-renowned woman, we are interested in what do we take from it? How important is one‘s status or position on this Earth, how important is our work and health that we sell or just give away. What is left after us?

This performance does not reflect reality. We strived to create a fiction and an illusion. The artistic team based their creative research on various comments, personal experiences, inspirations, metaphors, imagination and fantasy.

Director: Lina Židonytė 
Cast: Alex Anton, Tuulia Eloranta, Denisa Snyder 
Set and costume designers: Larisa Jasinskaja, Marina Jasinskaja
Composers: Vytautas Leistrumas, Marius Repšys
Script consultant ViskasYraKitaip 
Stage movement coordinator Judita Urnikytė 
Video projection: Nidas Kaniušas, Justinas Piliponis 
Lighting designer: Vilius Vilutis 
Assistant Lighting designer: Valdas Latonas
Technical assistant in Lithuania: Dominykas Grinius 
Tutors: directors Kristian Smeds and Yana Ross 
Producers: Lithuanian Academy of Music and Theatre, State Youth Theatre 
Partners: Theatre Academy of Uniarts Helsinki, LRT, Rowohlt Theater Verlag, Caffeine 
Supporters: Ministry of Culture of the Republic of Lithuania, NordPlus

Duration: 1 hour 30 min. 
Performed in English.

* * *

Saturday, 22 August 2020 at 2 PM 
Saturday, 22 August 2020 at 8 PM
LMTA Theater Manufactury (T. Kosciuškos st. 10)

THE PELICAN (N–14) 
Based on August Strindberg’s play of the same title

August Strindberg’s late work – the collection of Chamber plays – consists of four plays created for the Intima Teater in 1907 – Thunder in the Air, The Burnt Side, The Ghost Sonata and The Pelican. In the chamber plays playwright shifts the action weight of drama from superficial to the most refined circumstances, reminiscent the existence of metaphysical laws – powerful actions beyond the physical limits of the action of the drama. The playwright is also developing a new model through which he intends to communicate the prospects of people’s lives in a different way.

Pelican examines the perception of the world as a network of illusions and lies, analyzes the personal and environmental events of the characters, which determine the desire to live not in the present and future, but in the image of an idealized past. Family – formation and development of this social construct – is analyzed in detail. The performance analyzes and questions the concept of family necessity, offering the idea that every generation inherits the worst qualities from their predecessors. It can be perceived as the cause of a network of illusions and lies. These processes form the medium for the meaningless development of everyday existence, as if falling into an endless cycle. The never-ending wheel spins, accelerates and leads to a dubious future.

Director: Naubertas Jasinskas 
Cast: Alvydė Pikturnaitė, Aurelijus Pocius, Kipras Mašidlauskas, Deividas Batavičius, Saulius Ambrozaitis 
Voice: Kristupas Sabolius 
Set designers: random heroes 
Costume designer: Lina Židonytė 
Composer: Diopo Ndugu 
Video projection author: Kornelijus Jaroševičius
Light designer: Dainius Urbonis 
Sound director: Dominykas Grinius 
Video assistant: Dinas Marcinkevičius 
Light assistant: Martynas Vaitkevičius 
Technical assistant in Lithuania: Dominykas Grinius 
Technical assistant in Iceland: Egill Ingibersson 
Tutors: directors Kristian Smeds and Yana Ross, actress Halldóra Geirharðsdóttir, lecturer Snæbjörg Sigurgeirsdóttir 
Producers: Lithuanian Academy of Music and Theatre, State Youth Theatre 
Partners: Iceland University of the Arts, Lithuanian National Drama Theatre, Caffeine 
Supporters: Ministry of Culture of the Republic of Lithuania, NordPlus

Duration: 1 hour 45 min. 
Performed in English. 
Smoke effects, strobe lights, disturbing images and foul language will be used during the performance. 

Friday June 12th, 2020

GRADUATION CEREMONY IN VILNIUS AND KLAIPĖDA

June 26 and July, of 2020, the Lithuanian Academy of Music and Theatre (LMTA) organizes the Graduation Ceremony for LMTA bachelors and masters of arts. 

Schedule

2020 June 26, Friday, 14:00
LMTA Klaipėda Faculty Concert Hall (K. Donelaičio 4, Klaipėda)
Diplomas will be awarded for graduates of the Klaipėda Faculty 

2020 July 2, Thursday, 12:00
LMTA Building 1, Great Hall (Gedimino Ave. 42, Vilnius)
Diplomas – for graduates of the Faculty of Theatre and Film: Departments of Acting and Directing, Art History and Theory, Art Management Division  

2020 July 2, Thursday, 14:00
LMTA Building 1, Great Hall 
Diplomas – for graduates of the Music Faculty: Department of Vocal Performance

2020 July 2, Thursday, 16:00
LMTA Building 1, Great Hall 
Diplomas – for graduates of the Music Faculty: Departments of Accordion, Piano, Folk Instruments, Organ and Charpsichord  

2020 July 3, Friday, 12:00 
LMTA Building 1, Great Hall
Diplomas – for graduates of the Music Faculty: Departments of String Instruments, Chamber Ensemble, Contemporary Music Specialisation

2020 July 3, Friday, 14:00 
LMTA Building 1, Great Hall
Diplomas – for graduates of the Music Faculty: Departments of Wind and Percussion Instruments, Jazz

2020 July 3, Friday, 16:00 
LMTA Building 1, Great Hall
Diplomas – for graduates of the Music Faculty: Departments of Conducting, Choir Conducting, Composition, Ethomusicology, Organ and Harpsichord, Specialisations of Musicology and Music Theory and Critic

2020 06 12 

Thursday May 14th, 2020

Live stream concert “Quarantine Sessions #8”

Tonight at 24:00 Lithuanian time – from 16 to 17 May – composer, head of the LMTA Music Innovation and Studies Center, Mantautas Krukauskas will play in the live stream concert Quarantine Sessions #8. The concert is organised by Stanford University (Palo Alto, USA). 
 
Quarantine Sessions #8
A Distributed Electroacoustic Network Improvisation
 
 
The Coronavirus Crisis has changed our lives and we are in the midst of a long period without concerts as we knew them. In addition to the problem of large audiences, the regulations also make it ‘virtually’ impossible for musicians to get together, to rehearse, or perform. However, many technologies and solutions are already available, helping us to find new ways of collaborating and transporting our work to audiences. 
 
In the past few weeks, we have been programming, testing, and rehearsing in an online environment between California, which is facing a ‘shelter-in-place’ situation, Berlin (DE) with strict ‘Kontakt- und Ausgangsbeschränkungen’, and Ghent (BE). Each Saturday afternoon we are presenting a concert that connects six musicians from these locations and guests from other places to each other. The sessions are broadcast live with audio and video feeds from each site. 
 
Guests:
Matt Hughes, interactive visuals (Sydney, AU)
Mantautas Krukauskas, live electronics (Vilnius, LT)
 
Performers:
Constantin Basica (Palo Alto, CA)
Chris Chafe (Woodside, CA)
Henrik von Coler (Berlin, DE)
Fernando Lopez-Lezcano (San Carlos, CA)
Juan Parra (Ghent, BE)
Klaus Scheuermann (Berlin, DE) 
 
The ‘Quarantine Sessions’ are realized using free and open source technologies, which can be adopted by anyone: 
JackTrip (audio)
Jitsi (video)
OBS (streaming)
 
More information you can find HERE
 
After ccrma.stanford.edu 
2020 05 16

Events

2020/12/03

Concert: Department of Chamber Ensemble

2020 December 3, Thursday, 18:00

Online broadcast on tv.lmta.lt

CONCERT OF THE LMTA DEPARTMENT OF CHAMBER ENSEMBLE

PROGRAMME:

Felix Mendelssohn-Bartholdy (1809–1847)
String quartet no. 6 in F minor, op. 80
I – Allegro vivace assai
Performers:
Gediminas PLĖŠNYS (violin, M2)
Eglė LABANAUSKAITĖ (violin, B4)
Dovydas BULOTAS (viola, M1)
Laima RITIKYTĖ (cello, B3)
Prof. Audronė Pšibilskienė’s class

Nino Rota (1911–1979)
Trio for flute, violin and piano
II – Andante sostenuto
III – Allegro vivace con spirito
Performers:
Saulina NEDZINSKAITĖ (flute, B3)
Aušrinė RUKŠĖNAITĖ (violin, B3)
Jokūbas FEDORKINAS (piano, B3)
Lect. Ingrida Rupaitė-Petrikienė’s class

Aram Khachaturian (1903–1978) 
Trio for flute, clarinet and piano 
I – Andante con dolore, con molto espressione 
II – Allegro 
III – Moderato 
Simona ŽILIŪTĖ (flute, B3) 
Motiejus VAITKUS clarinet, B3) 
Fausta HOPENAITĖ (piano, B2) 
Lect. Gytis Cinauskas’ class

Jan Alm (1955)
Quartet no. 1 for 4 double-basses
I – Allegretto
II – Walzer-Allegro
III – Largo
IV – Allegro molto
Performers:
Rokas STUNŽĖNAS (double-bass, M1)
Vincas BAČIUS (double-bass, B4)
Samanta IGNATJEVA (double-bass, B4)
Vilius SENŪTA (double-bass, B3)
Lect. Rokas Vaitkevičius’ class

Dmitri Shostakovich (1906–1975)
Sonata for cello and piano in D minor, op. 40
I – Allegro non troppo
II – Allegro
Performers:
Šarūnas POZNIAKOVAS (cello, B4)
Kliment JAREMČIUK (piano, B4)
Prof. Rimantas Armonas’ class

Arūnas Navakas (1954) 
Rondata (Rondo Sonata) for alto saxophone and piano 
Evald MASALSKI (alto saxophone, M1) 
Greta GIEDRAITĖ (piano, B3) 
Prof. Dalios Balsytė’s class

Bronius Kutavičius (1932)
Stasys’ Eight Miniatures (version for flute, clarinet and piano)
II – Sorrow
III – Scream
IV – Clown
V – Triangle
VI – The Bird Behind The Pane
VII – The Cardboard Man
VIII – The Eternal Peace
Performers:
Greta POCEVIČIŪTĖ (flute, M2)
Erikas ŠLAKAITIS (clarinet, M1)
Ugnė KAUŠIŪTĖ (piano, B4)
Assoc. Prof. Dr. Indrė Baikštytė’s class 

2020/12/09 - 2020/12/10

Doctoral Thesis Defence of Božena Čiurlionienė

2020 December 9, 10

DOCTORAL THESIS OF BOŽENA ČIURLIONIENĖ / Doctoral Student of Art / Department of Composition 

“CHANGE OF THE CONCEPTION OF TRITONE AND SYSTEMIC CONSTRUCTIVISM IN THE MUSIC COMPOSITIONS OF THE 20TH CENTURY”

SUPERVISORS: Prof. RYTIS MAŽULIS, Prof. Habil. Dr. GRAŽINA DAUNORAVIČIENĖ

CHAIRPERSON OF THE DOCTORAL THESIS DEFENCE BOARD:   
Prof. VACLOVAS AUGUSTINAS (Lithuanian Academy of Music and Theatre)

MEMBERS OF THE BOARD:  
Prof. Dr. RIČARDAS KABELIS (Lithuanian Academy of Music and Theatre) 
Prof. Habil. Dr. WOJCIECH WIDŁAK (Academy of Music in Kraków) 
Prof. Dr. RIMA POVILIONIENĖ (Lithuanian Academy of Music and Theatre) 
Prof. Dr. ANTANAS KUČINSKAS (Lithuanian Academy of Music and Theatre) 

REVIEWERS:  
Prof. MINDAUGAS URBAITIS (Lithuanian Academy of Music and Theatre) 
Assoc. Prof. Dr. AUDRA VERSEKĖNAITĖ-EFTHYMIOU (Lithuanian Academy of Music and Theatre) 


DEFENCE OF THE ARTISTIC PART 
December 9, Wednesday, 17:00

Programme: 
Božena Čiurlionienė. Confessiones (2020) 
Božena Čiurlionienė. Time (2019) (Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday)  
Božena Čiurlionienė. Xertz (2018) 
Božena Čiurlionienė. Dead End (2019), from the album Automatic Mind


DEFENCE OF THE RESEARCH PART 
December 10, Thursday, 9:00 


Online events. For participating please register until December 7 by the e-mail: daiva.buivydiene@lmta.lt.

2020/12/09 - 2020/12/11

Doctoral Thesis Defence of Raimonda Žiūkaitė

2020 December 9, 11

DOCTORAL THESIS OF RAIMONDA ŽIŪKAITĖ / Doctoral Student of Art / Department of Composition 

“NEO-RIEMANNIAN INTERPRETATION OF TRIADS AND THE PERSPECTIVE OF ITS TRANSFORMATION INTO A COMPOSING SYSTEM”

SUPERVISORS: Assoc. Prof. Dr. MĀRTIŅŠ VIĻUMS, Prof. Habil. Dr. GRAŽINA DAUNORAVIČIENĖ

 

CHAIRPERSON OF THE DOCTORAL THESIS DEFENCE BOARD:   
Prof. MINDAUGAS URBAITIS (Lithuanian Academy of Music and Theatre)

MEMBERS OF THE BOARD:  
Assoc. Prof. Dr. MARIUS BARANAUSKAS (Lithuanian Academy of Music and Theatre) 
Prof. Habil. Dr. WOJCIECH WIDŁAK (Academy of Music in Kraków) 
Prof. Dr. RIMA POVILIONIENĖ (Lithuanian Academy of Music and Theatre) 
Prof. Dr. AUDRONĖ ŽIŪRAITYTĖ (Lithuanian Academy of Music and Theatre)

REVIEWERS:  
Prof. RYTIS MAŽULIS (Lithuanian Academy of Music and Theatre) 
Prof. dr. ANTANAS KUČINSKAS (Lithuanian Academy of Music and Theatre)

 


DEFENCE OF THE ARTISTIC PART 
December 9, Wednesday, 18:00

Programme: 
Raimonda Žiūkaitė. Salz ist mein Erbe (2020) 
Raimonda Žiūkaitė. Orbifold (2017) 
Raimonda Žiūkaitė. Wormholes of the Mind (2019) 
Raimonda Žiūkaitė. Virgo Rosa (2020) 
Raimonda Žiūkaitė. 1000 burnų/1000 mouths (2020)


DEFENCE OF THE RESEARCH PART 
December 11, Friday, 10:00 

 


Online events. For participating please register until December 7 by the e-mail: daiva.buivydiene@lmta.lt.

2020/12/11 - 2020/12/12

XXI VINCĖ JONUŠKAITĖ-ZAUNIENĖ FEMALE SINGERS COMPETITION

2020 December 11–12

Online broadcast on tv.lmta.lt from the LMTA Great Hall (Gedimino Ave. 42, Vilnius)

XX VINCĖ JONUŠKAITĖ-ZAUNIENĖ FEMALE SINGERS COMPETITION 

Sponsor: Vydūnas Youth Foundation. 

 

2020/12/11 - 2020/12/12

STASYS BARAS MALE SINGERS COMPETITION

2020 December 11–12

Online broadcast on tv.lmta.lt from the LMTA Great Hall (Gedimino Ave. 42, Vilnius)

STASYS BARAS MALE SINGERS COMPETITION 


Sponsor – Stasys and Elena Baras Scholarship Foundation.