Tuesday September 25th, 2018

The 3rd “Doctors in Performance” reached a high note

On September 4–6, 2018, the third “Doctors in Performance” festival conference of music performance and artistic research welcomed artist-researchers from all over the world to the Lithuanian Academy of Music and Theatre.

“Doctors in Performance” is a festival conference where music performers conducting artistic research at doctoral and post-doctoral levels present their artistic research in the form of recitals, concert lectures or paper presentations. The first “Doctors in Performance” festival conference was held at the Sibelius Academy of the University of the Arts Helsinki on September 4–5, 2014. The second edition took place at the Royal Irish Academy of Music (RIAM), Dublin, on September 8–9, 2016.

Lithuanian Academy of Music and Theatre hosted “Doctors in Performance 2018” in Vilnius, the event being particularly varied in terms of geography of participants. Artist-researchers from 22 countries took part in DIP this year: Latvia, Ireland, Finland, Belgium, Italy, Australia, The Netherlands, United Kingdom, Switzerland, Estonia, Norway, Catalonia, Sweden, Poland, Hungary, Austria, Brazil, Serbia, France, South Africa, and Malaysia. Eleven participants represented the hosting body, Lithuanian Academy of Music and Theatre. On September 4 and 5 respectively, keynote lectures were delivered by one of the major figures in music performance studies, musicologist and pianist Prof. Dr. John Rink (University of Cambridge) and the Lithuanian composer and conductor, founder of the Lithuanian Ensemble Network Prof. Vykintas Baltakas (Lithuanian Academy of Music and Theatre, Maastricht Academy of Music). 72 recitals, lecture-recitals and paper presentations of researchers into musical performance were delivered during the 24 sessions of DIP 2018. Nearly half of the participants hold a PhD or Doctor of Arts degree, the remaining ones are currently doctoral students.

“Doctors in Performance 2018” was organised by HARPS, Hub for Artistic Research and Performance Studies at the Lithuanian Academy of Music and Theatre (lead by Assoc. Prof. Dr. Lina Navickaitė-Martinelli). Of crucial importance was the collaboration with major institutions and communities carrying out artistic, or practice-based research and music performance studies. Representatives from Cambridge University (UK), Orpheus Institute in Ghent, Antwerp Conservatoire (Belgium), Catalonia College of Music (ESMUC), artistic doctorate schools at the Norwegian Music Academy and Estonian Music and Theatre, among others, have attended DIP 2018. Large participant delegations were sent to DIP 2018 by the conference partners, Helsinki University of the Arts Sibelius Academy, Irish Royal Academy of Music and Royal Music Academy (London), the members of DIP steering committee belonging to these institutions (Dr. Anu Vehviläinen, Dr. Markus Kuikka, Dr. Denise Neary, and Dr. Sarah Callis made a fine contribution to the event’s organisation.

Keynote lectures and those lecture-recitals taking place at the Music Innovation Studies Centre were live broadcasted and are available on MiSC LMTA YouTube channel. All presentations from the event were filmed and will constitute a virtual archive of “Doctors in Performance” – online proceedings will be published on the basis of papers delivered at the conference. The photo gallery of the event may be found on HARPS website:

HARPS info
2018 09 27

Thursday August 30th, 2018

Conference: Principles of Music Composing (deadline extension)

Lithuanian Composers’ Union
Lithuanian Academy of Music and Theatre

18th International Music Theory Conference

Principles of Music Composing:
Retrospective of the Century 

November 13th–15th 2018
Vilnius, Lithuania

Considering audiation and composition together is not prevalent in existing research, and thus provides a thought provoking intention in the field of music theory. Audiation is designed and usually referred to in educational contexts as an aptitude to hear and comprehend music even when the real sound is not present. It is a cognitive process by which the brain gives a meaning to musical sounds. Giving a sense to a sound is an essential condition for the emergence of particular composing techniques, styles or even the general features of entire historical periods. With the rapid development of technologies and their apparent influence on composing as well as the increasing manifestations of serial methods in contemporary music, the role of audiation in the creative process becomes a problematic issue. For this reason integrating audiation and composition into a common discourse is expected to foster an intellectual field embracing both composing dilemmas as well as educational issues. Special attention is paid to audiation facets of Lithuanian composers and their development in the retrospective of a century. 

The topic of the conference is divided into suggested subtopics:

1) Audiation, aural perception/reception, inner hearing, ear training in the context of composing practices. Theoretical, typological, historical outlook.
2) Different audiative approaches (tonal, sonorous, intensity, rhythmic, etc.) as a premise for emergence of new composing techniques or trends in the retrospective of the century.
3) Composing as a result of audiation activity or conscious rejection (or restriction) of aural conducting in the composing process. (Auto)analysis of composer’s creative process. 
4) Audiation aspects in accordance with creative evolution and style of a composer in oeuvre of Debussy (commemorating the 100th anniversary of composer’s death), his contemporaries and later composers.
5) Audiation tendencies and their manifestation in Lithuanian composers’ music following Čiurlionis (celebrating the centenary of independence of Lithuania). 
6) Audiation strategies as creative stimuli in relation with other areas (literature, painting, motion, spirituality, etc.) and interrelationship between different senses (aural, visual, touch, etc.). Interdisciplinary approach to Debussy, Čiurlionis’ and other composers’ creative work.
7) Aural training possibilities and perspectives in regard with new composing demands emerged in the previous century.

Paper proposals (abstract and a short biography) should be sent by email: The abstract must not exceed 500 words. The duration of full presentation is limited to 20–25 minutes.

The main language of the conference is English. 

The deadline for proposal submissions is extended to September 24th 2018. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome.

The participation fee is 20 Euros.

Selected papers of the conference will be published in the annual peer reviewed scientific journal ‘Principles of Music Composing’.

Scholarly committee of the conference:

Prof. dr. Pavel PUŞCAŞ (Music Academy Cluj-Napoca, Romania)
Prof. Miloš Zatkalik (University of Arts in Belgrade, Serbia)
Prof. Roger Redgate (Goldsmiths, University of London, England)
Dr. Bert Van Herck (New England Conservatory of Music, USA)
Dr. Jānis Petraškevičs (Jāzeps Vītols Latvian Academy of Music, Latvia)
Dr. Martin Vishnick (United Kingdom)
Prof. dr. Rimantas Janeliauskas (Lithuanian Academy of Music and Theatre)
Prof. dr. Antanas Kučinskas (Lithuanian Academy of Music and Theatre)
Assoc. prof. dr. Mārtiņš Viļums (Lithuanian Academy of Music and Theatre)
Assoc. prof. Marius Baranauskas (Lithuanian Academy of Music and Theatre)

Coordinators of the conference:

Andrius Maslekovas,
Aistė Vaitkevičiūtė

Thursday August 23rd, 2018

Norteas Intensive course Forum in Vilnius

Norteas Intensive course Forum will held on 26th August – 2nd September 2018 in Vilnius at the Lithuanian Academy of Music and Theatre. The intensive course aims at bringing together the knowledge students have gained through the express courses and puts it into practice trough artistic projects. On the course student groups work independently towards a presentation under the supervision of a mentor. The Norteas member schools will propose mentors for the course. During the intensive week there will be series of talks in the afternoon with artists, intellectuals, cultural politicians and Nordic culture funds present their operation.

Norteas Intensive course Forum is curated by Karmenlara Ely, Artistic Director of Acting and Performance at Østfold University College/Norwegian Theatre Academy in Fredrikstad Norway:

“Three speakers relating their practices and research uniquely to questions of sustainability, post-institutional art making contexts and to some extent, values and questions relevant to a critique of the anthropocene. All three speakers, in their varying approaches, put relations, materiality and interdependency at the center of their focus, critically different from individualistic, careerist art making approaches often found globally in academia and “the industry”. With the expanded fields of theatre and performance in reference, these internationally recognized artists offer strategies and perspectives which I believe inspire the next generation of artists to follow their instincts to remain critically tender and connected, relying on listening, collaboration, and even failure as key components to their practice.”

Schedule of keynote speeches:
26th August Una Chaudhuri 
27th August Rebecca Hilton
28th August Edit Kaldor


Una Chaudhuri
“From Anthropocene to SymbioScenes: Staging Human Stories in a More-Than-Human Frame”

What roles can theatre and art play in the age of climate change? “Spreading the word” and “sounding the alarm” are valuable contributions. But didacticism has its limits, and theatre’s traditional investment in psychological and sociological complexities may now–in the age of climate chaos–need to expand. How might we include biological, even geological frames in the way we put human stories on stage? 

Bio on Una Chaudhuri: Una Chaudhuri is Collegiate Professor and Professor of English, Drama, and Environmental Studies at New York University. She is the Director of NYU’s Center for Experimental Humanities and a pioneer in the fields of  eco-theatre and Animal Studies.  Her recent publications include: The Stage Lives of Animals: Zooësis and PerformanceAnimal Acts: Performing Species Today (co-edited with Holly Hughes, and The Ecocide Project: Research Theatre and Climate Change (co-authored with Shonni Enelow). Chaudhuri participates in collaborative creative projects, including the multi-platform intervention entitled Dear Climate, which has been presented in New York, Santa Barbara, Troy, Dublin, Abu Dhabi, Houston, and the Netherlands. She is a founding member of the theatre collective CLIMATE LENS.



Rebecca Hilton
PARTICIPATE OR ELSE!?!?!?!?!?!?!?!? 
3 anecdotes, 3 practices, 3 readings
solidarity, singularity and sustainability
community, plurality and subjectivity
ethics, aesthetics and participation.

they were concerned that the balcony might not be able to sustain the weight: bear, support, carry, stand, keep up, prop up, shore up, bolster, underpin, buttress. ANTONYMS collapse under.
she had lived life to the full, but now had only the memories of such times to sustain her: comfort, help, assist, encourage, succour, support, give strength to, be a source of strength to, be a tower of strength to, buoy up, carry, cheer up, hearten, see someone through; informal buck up. ANTONYMS torment, plague.
they were unable to sustain a coalition: continue, carry on, keep up, keep going, keep alive, keep in existence, keep, maintain, prolong, preserve, conserve, protract, perpetuate, bolster up, prop up, retain, extend.
she had a slab of bread and cheese to sustain her | Britain sustained a much lower population than did Italy: maintain, continue, preserve, keep, keep alive, keep going, provide for; nourish, feed, nurture, provide board for.
six Marines sustained slight injuries: undergo, experience, go through, suffer, endure.
the allegation was not sustained by any court: uphold, validate, ratify, vindicate, confirm, endorse, approve; verify, corroborate, substantiate, bear out, prove, authenticate, attest to, back up, evidence, justify.
-Oxford Thesaurus of English

Bio of Rebecca Hilton: Rebecca Hilton is an Australian dance person living in Stockholm. Her practices include performing, choreographing, directing, conversing and writing. Across three and a half decades in performance, She has contributed to the work of a range of artists including Russell Dumas, Stephen Petronio, Mathew Barney, Michael Clark, Tere O’Connor, Jennifer Monson, Tino Sehgal, Xavier Le Roy, Scarlet Yu, Chrysa Parkinson etc. At the Stockholm University of the Arts, as Professor in Choreography for the research area Site-Event-Encounter, she is developing GROUPNESS, a suite of projects researching relationships between embodied practices, oral traditions and choreographic systems. She works in contexts including workplaces, social groups, friendship circles and families. Currently she is  an Artist in Residence at Malarbacken (Sweden’s largest elder care centre) as part of DoBra, a Karolinska Institute Research Project. DoBra is a decade-long, nation-wide research program exploring relationships to death and dying in Sweden.


Edit Kaldor
“Creative Processes; Drive and Agency”

“In my talk I will zoom in on the intimate and complex process of making work. Based on my own practice and that of colleague artists, both contemporary and historical, I’d like to look at some of the forces that feed and maintain these processes. What is there behind the stubbornness, the determination to ‘Fail again. Fail better’? What is the drive, what is the agency? How do you recognize it? How do you sustain it? And how does it relate to the others: collaborators, spectators, and the broader community beyond the scope of the arts?”

Bio of Edit Kaldor: Edit Kaldor is recognized internationally as a unique voice in the contemporary theatre landscape. She works with nonprofessional performers, mixing documentary and fictional elements, and often integrating the use of digital media. She lives in Amsterdam and works internationally. Her theatre performances, which stretch considerably the boundaries of theatrical conventions, have been presented in over 30 countries in Europe, the Americas, Asia and North Africa.
Kaldor was born in Budapest, and immigrated as a child to the United States, where she lived for ten years before moving back to Europe. She studied English Literature and Theatre at Columbia University in New York and at DasArts in Amsterdam. She had worked for years as dramaturge and video-maker with Peter Halasz (Squat theater/Love theater, New York), collaborating on numerous theatre performances and film scripts, before starting to write and direct her own pieces. She has taught and lectured at art academies across Europe, and has led numerous workshops in theatres,  festivals and related contexts. Currently she is artistic research fellow at Østfold University College/Norwegian Theatre Academy in Fredrikstad, where she is developing  her research project The Many and the Form: Working Methods for Participatory Co-Creative Practices in Postdramatic Theatre.


The Sustainable Theatre Artist is a two-year pedagogical project that aims at artistic, professional and societal sustainability of future theatre and performing artists. The project is inspired by the challenge an artist must rise to – how to make meaningful art within the parameters of the professional field, the world around us and our planet and how to interact in an intelligent, resourceful and responsible way with our society in different cultural contexts.

Monday July 9th, 2018

Transatlantyk Instant Composition Contest™

Łódź (Poland) is host of Transatlantyk Instant Composition Contest™ (TICC). It is a unique and prestigious international event – one of a kind simultaneous composition contest based on the idea of improvisation created synchronously to the image on the screen.

The TICC is a remarkable event initiated by Oscar winning composer Jan A.P. Kaczmarek. 

Young artists who have a talent for improvisation and expressing emotions through music will find an extraordinary challenge here. They will watch a short movie material and then, a minute later on stage, in front of the audience they will create a composition to accompany the movie. The skill requires extraordinary musical and emotional sensitivity as well as an exceptional technical proficiency.


  • July 13th 2018 – Submission deadline 
  • July 19th 2018 – Eliminations and The Final 
  • July 20th 2018 – Announcement of the competition winners and awards presentation during the Closing Gala. 

There are three main prizes in the competition: 

  • Transatlantyk Instant Composer Award – First Prize – 15 000 PLN, (approximately. 3 860 $- according to the exchange rate at the day of the transfer). 
  • Transatlantyk Instant Composer Award – Second Prize – 7 500 PLN, (approximately. 1 930 $- according to the exchange rate at the day of the transfer).
  • Transatlantyk Instant Composer Award – Third Prize – 5 000 PLN, (approximately. 1 285 $- according to the exchange rate at the day of the transfer). 

The ICC is held in Łódź (Poland). Regulations and the form:,transatlantyk-instant-composition-contest-2

More information:

Transatlantyk Festival 2018 info

Wednesday June 27th, 2018


On June 15–21, 2018, Lithuanian Academy of Music and Theatre hosted the II Juozas Pakalnis International Competition of Wind and Percussion Instrumentalists. According to the initiator of the festival prof. dr. Robertas Beinaris, Juozas Pakalnis Competition is the only international event of such scale in Baltic countries. 

Over 50 musicians from 17 countries took part in the Juozas Pakalnis Competition. 

The results of the competition are as follows:


1 prize – Sorie Bangura (France)
from 02:10 min to 25:00 min:

2 prize – Louis Quiles (France)
from 01:04:22 onwards

3 prize – Masayuki Niino (Japan)
from 34:47 min to 54:20 min

Jury: Assist. Modestas Barkauskas (Lithuania) – chairman, Prof. Linda Maxey (USA), Lect. Tomas Kulikauskas (Lithuania), Pavel Giunter (Lithuania), Lect. Sigitas Gailius (Lithuania) – secretary of the jury.


3 prize – Maris Evelons (Latvia)
from 41:30 onwards

First degree diploma – Artūrs Krūminš (Latvia)
from 04:32 min to 22:17 min

First degree diploma – Dariusz Dinh Thieu Quang (Poland)
from 22:45 min to 40:50 min 

Jury: Assoc. Prof. Egidijus Stanelis (Lithuania) – chairman, Assoc. Prof. Igor Szeligowski (Poland), Assoc. Prof. Gatis Evelons (Latvija), Lect. Paulius Lukauskis (Lithuania), Assist. Indrė Kuleševičienė – secretary of the jury.


1 prize – Kris Garfitt (UK)
from 24:00 min to 39:00 min

2 prize – Jaroslaw Meisner (Poland)
from 55:50 min onwards

3 prize – Christoph Schnaithmann (German)
from 40:30 min to 54:52 min

First degree diploma – Albina Gražulis (Lithuania)
from 07:40 min to 22:51 min


2 prize – Kevin Roby (France)
2 prize – Thomas Bousquié (France) 

Jury: Assoc. Prof. Rimantas Valančius (Lithuania) – chairman, Prof. Eirik A. Devold (Norway), Prof. Niels-Ole Bo Johansen (Denmark), Lect. Marius Balčytis, Audrius Stasiulis – secretary of the jury.

Thursday May 24th, 2018

The first Virtual Audition for singers in Copenhagen

The first virtual audition has been held on May 24th in Copenhagen, at the Royal Danish Academy of Music.

This is a part of development project supported by Nordplus higher education programme, coordinated by the Lithuanian Academy of Music and Theatre. Project partners: The Royal Danish Academy of Music and Oulu Appiled Arts University, School of Music Dance and Media.

Twenty two singers from three partner schools participated in the audition by performing for professional opera agents. Four LMTA students performed live in Copenhagen, and four students participate virtually, at the Music Innovation Studies Centre of LMTA, live stream via Polycom system. Names of LMTA students who participated in the audition: Eglė Gabrielė Stundžiaitė, Žygimantas Jasiūnas, Erika Kviatkovskaja, Anastasia Lebedyantseva, Agnė Buškevičiūtė, Aurelija Stasiulytė, Monika Kučinska, and Ieva Juozapaitytė.

„Virtual Audition“ project got funded for the next academic year, and will be coordinated by partners in Oulu (Finland).

2018 05 24


Wednesday April 25th, 2018

Yamaha Scholarship Award 2017/2018 – for clarinetist Ignas Daniulis

On 25 April the Yamaha Scholarship Award 2017/2018 was given to clarinetist Ignas Daniulis. He is a master student of the Lithuanian Academy of Music and Theatre.

The Yamaha Competition was held on March 26th in LMTA Juozas Karosas Hall. The Jury:  Chairman – Prof. Algirdas Budrys, Assoc. Prof. Julius Černius, Lect. Rimvydas Savickas, Assist. Antanas Taločka, clarinetist Vytautas Giedraitis.

The value of the Yamaha Scholarship Award is 1000 Eur.

Photos: on the left – Ignas Daniulis; on the right – Jury member Rimvydas Savickas, LMTA Rector Prof. Zbignevas Ibelgauptas, Jury Chairman Prof. Algirdas Budrys, Manager Export of Yamaha Music Europe GmbH Christian Hinrichs, Ignas Daniulis, pianist-concertmaster Agnė Zavistanavičiūtė, Regional Manager for Estonia, Latvia and Lithuania of Yamaha Music Europe GmbH Gints Dobbermann.

2018 04 25

Wednesday April 18th, 2018

“Nordplus” intensive course “NORD+MIX”

The third intensive course NORD+MIX takes place in Vilnius from April 19 to 30, 2018. It is an interdisciplinary intensive hands-on workshop organized by the Lithuanian Academy of Music and Theatre together with nine partner institutions from Nordic/Baltic countries, financed by the NORDPLUS programme.

During the workshop 24 composers and 12 contemporary music performers tutored by 13 expert knowledge teachers of electronic/electroacoustic composition, sound art, improvisation, and music technology will learn how to create, develop and perform compositions in 360 degrees sound environment. The main topic of NORD+MIX is immersive sound utilizing higher order ambisonics available at the sound sphere of the Music Innovation Studies Centre (MiSC) of LMTA, which is as well portable to the larger concert venues. Immersive sound is used not only for electronic music experimentation, but also becomes a sound standard in the context of creative industry (virtual reality and 360 video).

According to individual preferences of students, three groups were formed: members of the 1st group will focus on compositions for instrumental musicians (with and without electronics), members of 2nd group will develop a group improvisational pieces on the spot, and the 3rd group will mix electroacoustic/acousmatic music pieces for the sound sphere.

All composition developed during the NORD+MIX will be presented for the larger audience at the cultural hub “Kablys” in Vilnius. Concert I, featuring purely electroacoustic music will take place on April 28, Saturday, at 10pm, and Concert II, featuring electronic music involving live musicians will be held on April 29, Sunday, at 6 pm.

Coordinating institution: Lithuanian Academy of Music and Theatre.

Partner institutions: Estonian Academy of Music and Theatre, Iceland Academy of the Arts, Jāzeps Vītols Latvian Academy of Music, Lund University/Malmö Academy of Music, Norwegian Academy of Music, Royal College of Music in Stockholm, Royal Danish Academy of Music, University of Arts/Sibelius Academy, University of Gothenburg/Academy of Music and Drama.

Alejandro Olarte, Andrew Bentley (Sibelius Academy)
Anders Tveit (Norwegian Academy of Music)
Hans Gunter Lock, Theodor Parker (Estonian Academy of Music and Theatre)
Hans Peter Stubbe Teglbjærg (Royal Danish Academy of Music)
Henrik Frisk (Royal Music College in Stockholm)
Kent Oloffson (Malmö Academy of Music/Lund University)
Mantautas Krukauskas, Jonas Jurkūnas (Lithuanian Academy of Music and Theatre)
Ríkharður Friðriksson (Iceland Academy of the Arts)
Staffan Mossenmark (Academy of Music and Drama/Gothenburg University)
Voldemārs Johansons (Jāzeps Vītols Latvian Academy of Music)

Students of composition:
Hermod Ringset Bentsen, Michael McCormick (Norwegian Academy of Music) 
Kirsten Milenko, Robert Durnin (Royal Danish Academy of Music)  
Maria Horn, Mattias Erik Hållsten (Royal Music College in Stockholm) 
Martino Torquati, Daniel Möllås (Malmö Academy of Music/Lund University)   
Olesja Kozlovska, Alise Rancāne (Jāzeps Vītols Latvian Academy of Music)
Paul Klooren, Markus Robam (Estonian Academy of Music and Theatre)  
Paola Livorsi, Matilda Seppälä, Tornike Karchkhadze, Ani Zakareishvili, Viktor Toikkanen (Sibelius Academy) 
Stefán Ólafur Ólafsson, Saevar Helgi Johannsson (Iceland Academy of the Arts)

Composers Jūra Elena Šedytė, Marija Paškevičiūtė, Monika Zenkevičiūtė, Aleksej Kalinin, Dainora Aleksaitė  and performers Dalia Krapavickaitė, Kristupas Gikas, Simonas Kaupinis, Monika Kiknadzė, Deimantas Jurevičius, Kazimieras Jušinskas, Greta Garmašaitė, Mėta Pelegrimaitė, Domantas Razmus, Kristupas Kmitas  (Lithuanian Academy of Music and Theatre)

Professional musicians:
Marta Finkelštein (piano), Artūras Kažimėkas (clarinet)

More information about previous editions of NORD+MIX can be found on NORDPLUS Music website:

Wednesday April 11th, 2018

The Sustainable Theatre Artist

The Sustainable Theatre Artist is a two-year pedagogical project that aims at artistic, professional and societal sustainability of future theatre and performing artists. The project is inspired by the challenge an artist must rise to – how to make meaningful art within the parameters of the professional field, the world around us and our planet and how to interact in an intelligent, resourceful and responsible way with our society in different cultural contexts.

The project aims at raising an awareness among future theatre and performing artists on:

  • how to sustain the arts in society;
  • how to sustain one owns artistic practice;
  • how the performing arts can contribute to social and ecological change.

It also aims at providing practical tools to carry out artistic projects with sustainable focus, create strategies and develop sustainable artistic methods.

The project contains:

  • Monthly online lecture series hosted by the participating schools.
  • Series of express courses on sustainability.
  • A big intensive course that can host up to 100 students working in groups of 10 for a week on sustainable projects with a correlating sustainable forum on 26th August – 2nd September 2018 in Vilnius at the Lithuanian Academy of Music and Theatre.

The intensive course aims at bringing together the knowledge students have gained through the express courses and puts it into practice trough artistic projects. On the course student groups work independently towards a presentation under the supervision of a mentor. The Norteas member schools will propose mentors for the course. During the intensive week there will be series of talks in the afternoon with artists, intellectuals, cultural politicians and Nordic culture funds present their operation.

More information about the project can be found online:


2018/10/23 - 2018/10/26


2018 October 23–26

LMTA 1st Building: Juozas Karosas Hall (Gedimino Ave. 42, Vilnius)



Over fifty years ago Baltic musicological conferences were established as a cultural space for musical exchange, professional collaboration, and openness to the wider international networking. In 2018, the three neighbouring countries – Lithuania, Latvia and Estonia – celebrate the centennial of their modern statehood. Inspired by the key reference points throughout the century of changes, the 46th international Baltic musicological conference will focus on music criticism in its relationship to cultural transformations. The conference seeks to encourage discussion about the contribution of critical discourse on music to the 20th–21st c. cultural and social processes.

In the 20th–21st centuries, music criticism played an important role in the articulation and critical reflection on rapid changes of culture and their relationship to political history, social and economical transformation, development of technologies and media. Shifts in traditions and canons, variety of new music phenomena, cultural hybridization, expansion of musical consumption and globalization of music industry – orientations of music criticism and understanding of its function were influenced to a great extent by the changing worlds of music. Engaged as an instrument of cultural self-awareness, music criticism itself contributes to the political, social and cultural changes. As Jacques Attali well writes, 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) – this attitude can be addressed not only to musical expression, but also to the critical discourse on music. In the context of “cultural omnivorousness” (Peterson 1996) and general cultural polyglotism (Eco 1990), music criticism seeks to reconsider the typologies of ideas and values employed for assessment of musical practice and to reflect their effectiveness within local and global cultural spaces.

Keynote speakers:

– Richard Taruskin (University of California, Berkeley)
– Daniel Leech-Wilkinson (King`s College University London) 
– Andreas Engström (Kontraklang, Berlin)
– Olga Manulkina (St Petersburg N. Rimsky-Korsakov State Conservatory)

Official language of the conference is English.

Programme Committee:

– Rūta Stanevičiūtė (Lithuanian Academy of Music and Theatre) – chair
– Andreas Engström (Kontraklang, Berlin)
– Marina Frolova-Walker (Cambridge University)
– Jūratė Katinaitė (Lithuanian National Radio)
– Jānis Kudiņš (Jāzeps Vītols Latvian Academy of Music)
– Olga Manulkina (St Petersburg N. Rimsky-Korsakov State Conservatory)
– Lina Navickaitė-Martinelli (Lithuanian Academy of Music and Theatre)
– Richard Taruskin (University of California, Berkeley)

Organisers: Lithuanian Composers’ Union, Lithuanian Academy of Music and Theatre. Conference is supported by Lithuanian Council for Culture.

2018/10/26 - 2018/10/31


2018 October 26–31

LMTA Great Hall (Gedimino Ave. 42, Vilnius), LMTA 2nd Building: Chamber Hall (Vilniaus str. 6-2, Vilnius)


26 October, Friday, 18:00
LMTA Great Hall

27 October, Saturday, 9:30

LMTA 2nd Building: Chamber Hall 
Categories – Trumpet, Cornet

LMTA Great Hall
Categories – Euphony, Tube

29 October, Monday, 10:30

LMTA 2nd Building: Chamber Hall
Categories – Trumpet, Cornet

LMTA Great Hall
Categories – Euphony, Tube

30 October, Tuesday, 19:00
LMTA Great Hall
Paulius Matuzas (piano)  

31 October, Wednesday, 11:00
LMTA Great Hall
11:00 – Category – Euphony (final)
13:00 – Category – Tube (final)
15:00 – Categories – Euphony, Tebe (awards)
15:30 – Category – Cornet (final)
19:00 – Category – Trumpet (final)
21:00 – Categories – Cornet, Trumpet (awards)

Tickets: Free, no tickets required.


Concert “Clarinet+”

2018 October 31, Wednesday, 18:00

LMTA Juozas Karosas Hall (Gedimino Ave. 42, Vilnius)


Performers: students of the Assoc. Prof. Julius Černius Clarinet and Chamber Ensemble Class – Erikas Šlakaitis, Paulius Viščius, Vytautas Žemaitis (clarinets), Clarinet Quartet: Kęstutis Abaris, Petras Vaitekutis, Motiejus Vaitkus, Vytautas Žemaitis, Woodwind Sextet: Saulina Nedzinskaitė (flute), Simona Žiūliūtė (flute), Linas Šalna (oboe), Petras Vaitekutis (clarinet), Tomas Girskis (bassoon), Baltramiejus Krikščiūnas (French horn). Guest performers: Domas Zaborskis (clarinet), Lina Šatkutė (piano). Concertmasdter – Ala Bendoraitienė.

Programme: C. Janequin, W. A. Mozart, F. Danzi, R. Schumann, G. Verdi – D. Lovregio, J. Brahms, C. Nielsen, I. Stravinsky, L. Bernstein.

Tickets: Free, no tickets required.