Lithuanian folk music

There are three ancient styles of singing in Lithuania connected with ethnographical regions: monophony, multi-voiced homophony, heterophony and polyphony.

They are an ancient form of two and three voiced polyphony, based on the oldest principles of multivoiced vocal music: heterophony, parallelism, canon, hocket, and free imitation.

The melodies are symmetrical, consisting of two equal-length parts; rhythms are typically syncopated, and the distinctly articulated refrains give them a driving quality.

One of the most important characteristics of the sutartinės is the wide variety of vocables used in the refrains (sodauto, lylio, ratilio, tonarilio, dauno, kadujo, čiūto, etc.).

Different vocal and instrumental forms developed, such as lyrical, satirical, drinking and banqueting songs, musical dialogues, wedding laments, games, dances and marches.

Chronicles and historical documents of the 13th through 16th centuries contain the first sources about songs relating the heroics of those fallen in battle against the Teutonic Knights.

There are several typical melodic characteristics associated with Christmas ritual songs, such as a narrow range, three-measure phrases, dance rhythms, a controlled slow tempo, and a tonal structure based on phrygian, mixolydian or aeolian tetrachords.

The rateliai round dances have long been a very important part of Lithuanian folk culture, traditionally performed without instrumental accompaniment.

Since the 19th century, however, fiddle, basetle, lamzdeliai and kanklės came to accompany the dances, while modern groups also incorporate bandoneon, accordion, concertina, mandolin, clarinet, cornet, guitar and harmonica.

Some of the most prominent town folklore groups: Ratilio, Ūla, Jievaras, Poringė (Vilnius), Kupolė (Kaunas), Verpeta (Kaišiadorys), Mėguva (Palanga), Insula (Telšiai), Gastauta (Rokiškis), Kupkiemis (Kupiškis), Levindra (Utena), Sūduviai (Vilkaviškis).