All Music by Mikalojus Konstantinas Čiurlionis: Critical Edition of the Symphonic Poem The Sea
The aim of the project was to investigate the authenticity of Čiurlionis’ symphonic poem The Sea. Based on historical sources, one could assume that it had never been performed in its original form, written down by the composer himself. At the premiere of the symphonic poem The Sea (1936), it was heard in the performing edition by Vytautas Bacevičius (the organ part was arranged for wind instruments), and later Eduardas Balsys changed the orchestration. It was full of tempo indications, strokes, dynamics, instrumentation, and even changes in the form of the composition that could not be attributed to Čiurlionis. This particular version of the poem took root in Lithuanian concert halls during the Soviet period and became a reference in the tradition of the symphonic poem recordings. The edition of Čiurlionis’ The Sea, published by J. Petronis in 2000, rejected some of the changes made by Balsys and retained the editorial changes made by Bacevičius. Thus, in the framework of the project, scientific research was carried out on the authenticity issues of Čiurlionis’ symphonic poem The Sea, which aimed at reconstructing its original musical text. The reconstruction of the musical text was to open a new page in the history of its performance. The scientific output of the project included:
1) a critical text of the source (a critical edition of Čiurlionis’ symphonic poem The Sea), based on the study of the history of the text;
2) a general introductory article for the entire collection of works of Mikalojus Konstantinas Čiurlionis.
A group of researchers worked on the project, prepared the methodological material, carried out the research on the history of the text, and drafted the critical text of the source and the introductory article for the entire collection: prof. dr. habil. Gražina Daunoravičienė, dr. Charis Efthimiou, and assoc. prof. dr. Audra Versekėnaitė.
Critical editing of all works by Čiurlionis creates the highest artistic-scientific value and opens up a hitherto untapped potential for the international publicity of Čiurlionis’ works: it is in the strategic interest of the libraries of the largest universities in the contemporary world to acquire the edited volumes of such fundamental projects immediately (without waiting for the the total multi-volume set to be published). The published volumes of Čiurlionis’ works will be presented to many world-renowned academic institutions, such as the New York Public Library, the Library of Congress, the British Library, the Bibliothèque nationale de France, and the Humboldt Library. The project will for the first time bring leading international cultural institutions into intensive scholarly contact with the musical works of Čiurlionis.
The project is part of the preparations for Čiurlionis’ 150th birth anniversary (2025); it is part of a concerted effort to produce a high-quality edition of his complete works and to make it available to an international audience of scholars and performers.
Conditions for Ensuring Fair Remuneration for Authors and Performers
Ensuring fair remuneration for authors and performers is one of the conditions not only for their success, but also for the development of cultural and creative industries. The low remuneration of authors and performers is due not only to the lack of knowledge of copyright and related rights, but also to the lack of managerial capacity to properly manage the results of their creative or performing activities as well as to the changes in the legal and economic environment. The development of new digital platforms, the diversity of forms of activity, and recent changes in the legal framework open up new opportunities for the development of authors’ and performers’ activities, however, also pose new challenges in terms of ensuring the protection of property rights and fair remuneration.
The research sought to identify the reasons behind the current state of remuneration of authors and performers and the challenges they faced in the realisation and commercialisation of their activities. It sought to assess how authors and performers were adapting to the changing market and legal environment and whether they were making use of all available tools to maximise their financial returns.
The research, carried out by researchers dr Andrius Juškys, dr Erika Vaiginienė, and Nomeda Sindaravičienė, revealed that the lack of knowledge about copyright and related rights protection among young composers had an impact on the remuneration they received for their creative activities and performances.
The qualitative research carried out during the project revealed that young creators of performing arts and performers lacked the practical skills to properly assess the potential risks of their professional activities, to choose between the available models of property rights management, and to select and communicate the most beneficial methods of remuneration for creative outputs and objects of related rights.
The data accumulated during the project implementation were useful for updating the curricula and teaching materials on copyright and related rights protection and for making decisions on updating non-formal education programmes. The results of the study were also useful for decision-making on updating the intellectual property management system of higher education institutions.
Early Cinema in Lithuania: National, Imperial, and Global Connections
The project explored early and silent cinema, its origins, development, and change in Lithuania between the years 1896–1922. The research was based on an interdisciplinary approach, which allowed for seeing cinema as a sociocultural phenomenon. It explored the first cinema-going experiences, first films, the establishment of first cinemas, changing audience atitudes towards films, etc. Those aspects of the early cinema were analysed in national, imperial, and global perspectives. The focus was on the coexistence of the early film screenings and mass culture with Lithuanian national movement and the establishment of the independent Republic of Lithuania.
The important part of the research was the peripherical interrelationships within the Russian Empire, the First World War, and German rule, and the impact of those political shifts on cinema and its audience. The third part of the research was dedicated to the cinema in relation to the formation of new social groups and new sociocultural practices regarding the reception of films. The research on the subject was the first attempt in Lithuanian historiography. Consequently, it employed new historical sources, national and foreign archives, libraries, and databases. As an attempt to provide broader access to the reseach findings, a free use database was created.
Perception of Expression in Musical Performance. Cross-cultural Aspects and the Lithuanian Case
In the past decades, research on the art of music performance had been rapidly intensifying; however, studies of the kind were scarse in Lithuania. The project aimed at filling the existing gap in the research on the expression of music performance by analysing its main phenomena and its perception in the context of current Lithuanian musical culture. The originality and topicality of the research lay in the fact that the relevant research employing Lithuanian respondents was in fact absent, and the studies in East European music cultures remained fractional.
In the framework of the project, various aspects of perception of music performance, such as emotion in music performance, music complexity, performer’s virtuosity, and the perception of gestural expression were examined.
Especially valuable part of the research was the inclusion of respondents related to traditional music; it became a comparative, cross-cultural study of music performance and perception. The project contributed to expanding the field of music performance studies in Lithuania.
The Evolution of Lithuanian Music Culture (1970-2020) from the Viewpoint of Typology: from Deformation to New Phenomena
The aim of the project was related to the objective of contemporary genrology to discuss the issue of the typological identity of new artistic phenomena. Such a need had been pointed out by a number of professionals in the field (H. Danuser, F. Fabbri, W. Marx, F. Holt, E. Drott, etc.), since the fundamental tectonic sonic turn, born in the 1950s through 1960s, which replaced the calm evolutionary change, posed questions on an ontological level. The shifts in art towards interdisciplinarity, mediality, visuality, and performativity opened up a new space for artists’ creative self-expression, and the individualisation of the opus genetic code invaded the range of creative expression. Although these processes had been developing at an accelerating pace and intensity, they were still poorly summarized at an epistemological level. More significant experiments had been performed by H. de la Motte-Haber, B. Barthelmes, A. Engström and Å. Stjerna, S. Sanio, etc. Other art critics (C. Dahlhaus, M. Gardiner, L. Kajikawa) had interpreted passionarity of the typological process of art through claiming the collapse, “death”, and de-actualisation of the genre (genotype) phenomenon.
Innovation in the field of music genotype (the concept of Daunoravičienė) became an integral segment of research into the music modernisation process. Therefore, the need arose for the formation of a theoretical discourse of that dynamic phenomenon. In its context, the fact had to be acknowledged tthat the theory of music genre formed in the 1960s through 1970s (see W. Wiora, V. Zukkerman, C. Dahlhaus, M. Aranovsky, H. Danuser, W. Marx) on the basis of the analysis of stable phenomena, which made it difficult to explain the mechanisms of the phenomenon’s “seismicity”. The presented theoretical model of music genotype formed a new approach to the identity of the phenomenon, its origin and development, structural elements, and ontology and promoted the development of the discourse of dynamic processes.
The image of Lithuanian art music of 1970 through 2020 was analysed by the author through an approach of a holistic conception of creation genealogy, based on the concept of contemporary metascience, the GST, and the priority of a case study. The scores of Lithuanian composers were explored by mixing the methods of art history, anthropology, sociomusicology, comparative studies, and musicological analysis, and simultaneously focusing on the problem of music genotype. The systematised ontic statuses of a dynamic, self-organising music genotype (mono-genre, poly-genre, free genre, and their mixes) made it possible to compare the genetic shifts of the Lithuanian music scene over five decades with the typological trends of the mainstream of Western music culture.
The research in the transformation and hybridisation of traditional music genotypes revealed a wide range of Lithuanian “free genotype” opuses. Among them, the author differentiated “musics”, neoprogrammatic opuses, cases of technological significations, the links of cultural codes, and the cases of individual genotype creation. The new phase of modernisation of national music was based on the trend of sound art (Germ. Klangkunst), developing in the country and the world, which conceptualised interdisciplinary performative acoustic experiences. Since the late 1980s, typological innovations of the post-fluxus era were created by several cohorts of young composers in Lithuania. If the development of Lithuanian art of the twentieth century was haunted by the shadow of the “belated culture”, the qualitative change in Lithuanian music since the mid-1960s eventually turned into a transitional milieu of the intersection of the “old” music genotypes (macro)system and the “new” genotypes (macro)system.
The two scientific monographs presented in the final report implemented the major tasks set in the project. Presentations at the 4th International Congress of the Society of Music Theory (Russia) Terms, Concepts, and Categories of Musicology (2019), in the International Conference of Baltic Musicologists Changes in Music Before and After 1991 (2020), in the International Conference Typologies of Significations (2021), four peer-reviewed scientific articles, and two popular science articles (see Appendix 6) presented the research results as planned in the project.
Critical Editing of Mikalojus Konstantinas Čiurlionis’ Musical Works. The Preparatory Stage of the Historical Source Publication
Academic editing of the musical works of Mikalojus Konstatinas Čiurlionis was a project based on scientific research which opened up his authentic musical texts to a wide range of musicians and researchers. The aim was to publish a complete collection of Čiurlionis’ sheet music in a multi-volume set and establish the canon of the text of all his works.
Academic editing of Čiurlionis’ works is a complex and long-term project, requiring the highest level of international musical-scientific expertise in music publishing. Under the supervision of leading experts in Čiurlionis’ music, an international team of musicologists will for the first time prepare and edit the works of the composer who represents the national cultural identity of Lithuania. The complete works will be presented to the international scholarly community in two different formats: online and in print.
The plan is to prepare and publish 15 volumes, arranged by genre (e.g. choral works, works for organ, etc.). Each volume meets the publishing requirements for historical scholarship and consists of a critical review of the musical text, a research-based introductory article, detailed commentaries, and the variants recorded in the manuscripts. The quality of the project is ensured by the editorial board, consisting of prof. dr. habil. Vytautas Landsbergis, prof. dr. Darius Kučinskas (Kaunas University of Technology), assoc. prof. dr. Judita Žukienė (Lithuanian Academy of Music and Theatre (LAMT)), dr. Charris Efthimiou (University of Music and Performing Arts Graz), assoc. dr. Audra Versekėnaitė (LAMT), and others. The project is initiated and implemented by the Lithuanian Academy of Music and Theatre in cooperation with the National M. K. Čiurlionis Art Museum and other cultural institutions.
In the 2021-stage of the project, the following research was carried out: the principles and methodology of critical editing of the music text were developed and, in compliance with the principles, a critical edition of Čiurlionis’ symphonic poem In the Forest was prepared in German, English, and Lithuanian. The research result was a critical source text based on the study of the history of the text.
The project was carried out by a group of researchers: prof. dr. Darius Kučinskas, prof. dr. habil. Gražina Daunoravičienė, dr. Charis Efthimiou, and assoc. prof. dr. Audra Versekėnaitė.
On the Other Side of Interpretations: a Virtual Collection of Artistic Research and a Platform for Recitals
The project aimed to create and present to a wide audience of art creators and consumers a platform for artistic research articles in the field of music by Lithuanian and foreign authors and recitals, aimed at the development of international collaboration between musicians and the development of artistic research. The electronic publication was to enable multifaceted dissemination of artistic expression and reflection, with a focus on the balance of research dissemination between Lithuanian and foreign authors and full integration. The virtual artistic research platform provided full visual (photo and video) dissemination of the 2018 recitals, lectures-concerts, and presentations at the Lithuanian Academy of Music and Theatre and selected 38 artistic research articles for publication.
The publication of an e-collection of artistic research and the virtual platform of research recitals and lectures-concerts successfully consolidated both the results of the 3rd Scientific Festival-Conference Doctors in Performance, held in Vilnius in 2018, and the position of the LAMT as an internationally recognised high-level artistic research institution.
Project results and benefits:
– Dissemination of performing arts and artistic research in an attractive and accessible way through new media (choice of e-publication). The virtual format of the publication allowed for both publishing a selection of the best papers of the Doctors in Performance Conference and for presenting the event itself in an attractive way through photographs and videos;
– Each new artistic research publication draws the attention of artists and the public to the presentation of the art of music performance in new forms, linking it to the critical and creative reflection of the artist. The appearance of such a publication in the Lithuanian artistic research space is believed to have an impact on the further development of Lithuanian artistic research and creative reflection;
– 38 articles were selected from 72 performances of the participants of the Doctors in Performance Conference, given both the authors’ ability to convey their recitals or lecture-concerts in a textual form and the expert opinion of international collaborators. A professional English editor ensured the quality of the English language articles, and the platform’s textual and visual content met the needs of a minimalist, uncluttered site that was consistent with the previous Doctors in Performance video material.
Development of a Virtual Cultural Space Meeting the Needs of Society
The Lithuanian Academy of Music and Theatre has one of the largest archives of specialised musical folklore not only in Lithuania, but also in Europe, and it is constantly supplemented with new material. The users of the material are Lithuanian and foreign researchers in various fields of ethnic culture, leaders and members of folklore ensembles, teachers, cultural workers, professional art creators, other promoters of ethnic culture, and persons interested in the national traditions and cultural uniqueness. However, the accessibility of the collected resources was limited, as most of them had not been digitised and systematised, and for a long time the most valuable examples had been published only in journals, which became a bibliographic rarity.
In order to comprehensively address the problem of dissemination of digitised cultural heritage and to open up the cultural heritage as widely as possible to Lithuanian and global users, the LAMT, together with the Martynas Mažvydas National Library of Lithuania and 23 other partners, implemented an investment project.
Development of a Virtual Cultural Space Meeting the Needs of Society. The project aimed to expand the accessibility of digital cultural heritage. During the project, the functionality of the Virtual Electronic Heritage Information System was modernised and nine new electronic services were created, facilitating the search, collection, organisation, and use of the digitised cultural content for education, research, and other purposes of interest to users of the ePaveldas portal.
At the LMTA, musical folklore collected and digitised during the project (about 60,000 items, including audio recordings of works performed by folk singers and musicians in the period of 1956 to 1973 with descriptions; transcriptions and descriptions of vocal, instrumental, and choreographic folklore recorded in the period of 1950 to 1990; the photos of folklore expeditions and presenters of the period of 1947 to 2012 and video recordings with descriptions) currently became accessible due to the project and can be more effectively used and integrated into the overall context of the cultural heritage accumulated by memory institutions.
Sound Utopias: Cultural Impulses and Institutional Contexts of Lithuanian (Trans)avant-garde Music
In the twentieth – twenty first century, Lithuanian music and radical changes in music creation, practice, and self-awareness developed as a distinct response to the impulses of international avant-garde. The research aimed to explain the turning points of national musical imagination in different historical periods as the conceptually interconnected Lithuanian (trans) avant-garde. The creative activity of contemporary Lithuanian and émigré composers (Balakauskas, Lapinskas, Nakas, Mažulis, and others) was influenced by Kačinskas’ interwar microtonal music that entered the international network of modern music and spread there. Thus, in cooperation with influential international institutions of contemporary music documentation and research, the researchers looked for unexplored archival sources. On their basis, they sought to update the understanding of Lithuanian music modernisation and to incorporate the nationally underresearched phenomena into the international space of art. The changing nature of interpretation of the twentieth – twenty first century artistic innovations and the need to link contemporary artistic experimentation to wider contexts of modernity were taken into account. Accordingly, the research revealed the problematic cross-sections while interpreting the works of Lithuanian (trans) avant-garde, performance, and critical discourse. Different fields of research (art philosophy, musicology, exact sciences, performance studies, etc.) were combined for the purpose of the research and an interdisciplinary model of analysis. It led to a comprehensive analysis of Lithuanian avant-garde music, its technological and cultural aspirations and expression as well as national identity and international integrity. The results of the research were summarised in a collective monograph by Povilionienė, Stanevičiūtė, and Sapiega and presented in international scientific articles and conference presentations. The research was significant as the first attempt to summarise the fundamental direction of modernisation in Lithuanian musical culture. It was implemented in cooperation with qualified institutions abroad and included a critical review of national music processes in a more general cultural and scientific area.
Music of Change: Expression of Liberation in Polish and Lithuanian Music Before and After 1989
Poland and Lithuania at the end of the Cold War and in the period of the post-communist transformation serve as a case study for the theorization of music and politics. The research sought to investigate the contribution of Polish and Lithuanian music cultures to political and cultural independence before and after 1989. As the basis for a comparative approach, a little-studied field of two neighbouring countries’ cultures had been chosen: oppositional musical networking that in addition resulted in politically and socially engaged collaboration between Polish and Lithuanian musicians since late 1970s. Although the researchers had some knowledge of oppositional cultural networks in non-democratic countries, no transnational studies on the impact of musical cultures in Eastern Europe existed. The musicological research on artistic expression and musical activities at the turn of the Cold War which shaped the moral and cultural attitude of several generations, however, was fragmented and to a large extent limited to national borders. In order to become more known and used by international scholarly communities and general public, it required a comparative analysis to testify to their cultural variety and historical affinities. To address the chosen topic, the research had an ambition to provide a space for deep engagements in music and its various contexts overcoming a simplified understanding of music practices as a reflection of social structures and political processes. Aimed to rethink the definition and history of the oppositional music networks, the researchers approached and conceptualised the rhythmic synchronization and the comparative typology of diffusion process of information, people, and ideas in Poland and Lithuania at the end of the Cold War and in the post-communist period (late 1970s–2000s). The implemented project enlarged the definition and contextualization of the transformative power of the politically and socially engaged music, contributing to a deeper understanding of the social and cultural meaning of music as well as of the artistic potential of societies and its impact for social and political change.
With reference to newly accessed cultural sources, the project findings were summarized in two scholarly monographs, one special issue of a scientific journal, and several peer- reviewed articles. The project also resulted in three international conferences and the popularisation of the project results via different media (public lectures, new media etc.). The research was relevant as the first collaborative study to summarise the processes of the Polish and Lithuanian musical cultures at the turn of the Cold War from the problem-based perspective that contextualised new sources and included a critical overview of musical processes in a more general history of culture and research space. The impacts were in accordance with the project’s overall aim: 1. Promotion of the historical knowledge about the role of music in non-democratic countries and independence movements as European cultural history for scholarly, educational, and cultural purposes. 2. Raising awareness of the repertoires and the memories of experiences learned from the socialist past and post-communist transformation. 3. The contribution to research innovation and internationalisation of the partner countries. Examination and dissemination of the repertoires and activities of oppositional music cultures contributed to international accessibility, visibility, and diffusion of important part of European cultural experience and memory. As such, the project appealed to a broad range of scholars, especially those studying music and politics, culture and society, memory, independence and cultural movements and other issues.
Genesis and Comparative Study of Vilnius Baroque Organ Building School Stops Vox Humana&Unda Maris: Adaptation of Caspari(ni) and Italian Traditions
The project focussed on the research into the genesis and adaptation of the unique Baroque organ stops Vox humana and Unda maris that had survived in instruments assigned to Vilnius Late Baroque Organ Building School (VLBOS, late eighteenth and early nineteenth centuries). The research encompassed different branches of art criticism, history, and comparative analysis (comparison of the organ-related issues in Lithuania and other European countries) and employed a technological approach (i.e. the study of the material of the register pipes, measurements of their scales, and production and analysis of pipe copies in relation to the authentic data). A comparative study included the examination of archival material, practical investigation of the authentic pipes, and the study of different inscriptions and definition of the same stops in different Baroque organs in Europe, i.e. the technical data of Lithuanian organ stops were compared with the register models of the same period in instruments in Italy and Germany made by the Caspari(ni) family and related masters as well as with the typologically linked Baroque organs in Poland, Belarus, Latvia, and Sweden.
The project sought to define the level of authenticity and uniqueness of the Vox humana and Unda maris organ stops of the VLBOS and to provide a comprehensive historical and theoretical background and methodological tools for a combined study of the above mentioned organ registers. The main tasks of the research were:
1) to historically review the genesis and models of adaptation of Vox humana and Unda maris in Baroque instruments in an international context;
2) to set and define the level of adaptation of the Italian Baroque organ tradition in Lithuanian heritage as well as to assess the influence of the German-Italian organ masters Caspari(ni’s) family;
3) to give an analytical description of the history/typology of Vox humana and Unda maris stops in Lithuanian Baroque organs;
4) to make a comparative study of Vox humana and Unda maris of instruments in Lithuania and other countries (Italy, Germany, Poland, Sweden, Belarus, etc.);
5) to make and analyse the copies of the Vox humana stop by the measurement of authentic pipes scales;
6) to develop a new methodological and theoretical system, focused on the restoration concepts of the researched Baroque organ stops of various countries.
The research acquired an important international profile: international collaboration connected the experience of organ researcher, restorer, and representative of Lithuanian heritage dr. Girėnas Povilionis and representative of Italy, organist, organ researcher, and supervisor of Sicilian organ heritage dr.Diego Cannizzaro (E-Campus University – CUN – Section of Cefalù, Italy). In obtaining the important data for a comparative analysis (pipe scales of analogous Baroque organs in Sweden, Germany, Poland); the project leader collaborated with organ research centres in Sweden (GOArt) and Germany (Baltisches Orgel Centrum). An important international result was achieved through the publication of a monograph (in English) by prestigious academic publisher Springer (series Humanities – Arts and Humanities in Progress).
Lithuanian and Latvian Ethnic Musical and Cultural Cooperation in Siberia. Lithuanian Folk Songs Written Down by Latvian Composer Jānis Līcītis in the Vorkuta Camp in 1950
The project aimed to reveal the forms, expressions, and meanings of Lithuanian and Latvian ethnic musical and cultural communication and consolidation under the conditions of Soviet repression in Siberia in a contemporary, accessible, and attractive way through research and the preparation, publication, and presentation of a representative monograph and CD. The project team carried out in-depth research, organised an expedition to Latvia to collect authentic material, and produced a two-volume monograph. In cooperation with the Literature and Music Museum in Riga, permission was obtained to publish facsimiles of the Vorkuta collection of Latvian composer and pedagogue Jānis Līcītis and related material.
The final result of the project consisted of a scholarly monograph and a facsimile edition of a collection of Lithuanian folk songs recorded in Rečlag, Vorkuta, with two scholarly articles and a CD of the collection’s songs. This was one of the works that revealed the spiritual strength and role of the repressed inhabitants of the Baltic States in resisting the Stalinist regime during the Soviet era. Not only did the publication reveal the life path of Jānis Līcītis, but also the whole situation of repression of Latvian musicians and music-making during the Soviet occupation. For the first time, facsimiles of the entire manuscript of Līcītis collection were published with detailed scholarly comments of ethnomusicologist prof. Daiva Vyčinienė. Moreover, for the first time, a CD with 29 recordings of songs from this collection was published: the 1958 Jānis Līcītis cycle Seven Lithuanian Folk Songs for Voice and Piano, op. 14 (in Latvian), and 22 songs from this collection performed by Lithuanian youth folklore groups and soloists in 2019.
The Nylon Curtain. Correspondence of Lithuanian Musicians in the Cold War Cultural and Political Contexts
The ideological tensions and political constraints of the Cold War affected all the fields of the Lithuanian music culture: composition, performance, national and international dissemination, and reception. The research sought to investigate the interaction of socio-political and musical processes on the basis of an analysis of interpersonal relations of Soviet-time Lithuanian musicians and artistic exchanges with the diaspora and foreign cultural figures.
As the basis of the analysis, a little-studied segment of the Lithuanian musical heritage had been chosen: the correspondence of the period of 1945 to 1990, accumulated in Lithuanian and foreign state archives and personal collections. Based on the methodologies developed in the Cold War-period music studies and cultural musicology, the research sought to reveal the dynamics of the Lithuanian musicians’ international relations in a political and cultural context, to analyse the issues of synchronisation of political and musical processes, and to examine the impact of the intercultural communication on the development of the national tradition. In the attempt to reveal the characteristic traits of those processes, three geo-cultural axes were focused upon: Lithuania–USA, Lithuania–France, and Lithuania–Poland. The chosen research development directions enabled a complex analysis of the development of the relations between musicians from the chronological viewpoint and in several problem-based sections (the impact of extramusical factors; music modernisation projections; reconfigurations of the national tradition; the issues of music (de-)politicisation, etc.). With reference to newly accessed cultural sources, the research findings were summarised in a collective monograph (authors: R.Stanevičiūtė-Kelmickienė, D. Petrauskaitė, V. Gruodytė) and in a collection of sources (about 300 sources with scientific commentaries, the total volume of 36 quires). The research was relevant as the first study summarising the processes of the Lithuanian music culture of the second half of the twentieth century from the problem-based perspective that was carried out in collaboration with competent international partners, contextualised new sources, and included a critical overview of musical processes in a more general history of culture and research space.
Developing a Model for Lithuanian Cultural Policy. Analysis of the Prospects of Lithuanian Cultural Policy Making
In order to qualitatively expand the opportunities of Lithuanian cultural policy making, a study Development of a Model of Lithuanian Cultural Policy. Analysis of the Prospects of Lithuanian Cultural Policy-making was carried out. It aimed to analyse the situation of cultural policy in Lithuania during the period of restored independence and currently, to identify the trends of cultural change, and to envisage the possible prospects of cultural policy making. The study resulted in: presenting a coherent set of instruments of the cultural policy model; defining the structural form of an optimal implementation of permanent analysis and self-analysis of the cultural policy; identifying the desirable level of the state’s commitment to culture; outlining the need for and the scope of the optimal reforms; and discussing the need for the necessary legal acts to implement the model of cultural policy. The study provided a model for the future of Lithuanian cultural policy, which enabled a systematic evaluation of the effectiveness of implementation of strategic planning documents in the sector of culture.