Vytautas Germanavicius— L'Astéroïde B612

         Vytautas Germanavicius (Lithuanian Academy of Music and Theater) Abstract Clearing up Specific Intonations in Lithuanian Folk Songs and their Applications in Composition „L’Astéroïde B-612” for Two Violins (2021) This paper argues that the Lithuanian folk music preserved microtonal intervallic relations in vocal and instrumental tradition. It elucidates the selected examples of Lithuanian folk tunes, referring to the analyses of archival sound recordings, and the use of the obtained data in music composition. The main source for this research was archival sound recordings from the period in between 1930s to1940s, which could presumably preserve the ancient tunings, unequal tone distances, and manifestation of microtonality in vocal and instrumental tradition, and which could possibly change and redefine the structure of the scale comparing to 12-TET, and its intervallic relations. A research of archival sound recordings of Lithuanian folk songs and their instrumental versions was carried out in order to determine interval distances and possible tone deviations comparatively with natural harmonic series and 12-TET. Therefore, regularly repeated scale degrees, corresponding to the particular microtones and microtonal overtones of the natural 31-harmonic series, in comparison with equal tempered scale were identified. The original interval code, identifying the same interval distances, was determined to clarify some constant similarities in vocal and instrumental music scales. The results of this research were used to create a compositional system for the work „L’Astéroïde B-612” for two violins. Thus, the scale for the piece was formed according to the interval distances of lithuanian polyphonic song Sutartinė - „Du žaliūs berželiai“ (two green birches), which compiles microtonal structure of five tones (3 microtones, whereas two of them are microtonal overtones), by adding four extra components to create a division of 19 steps per octave or 19-TET. These four original scale tones of microtonal interval structure implemented into the episodes of the piece is an attempt to highlight the archaic micro-sound harmony of Lithuanian folk tradition, and to transform it into timbrical sonority, using central tones of the harmonic projection of one chord.

黃奐瑋、賴柏瑋（小提琴）、「Dominant 5室內樂團」