Li huanian Linguis ic Ac
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1
The Music o Speech
This Regula ion shall en e in o o ce on he wen ie h day ollowing ha o i s publica ion in he O icial Jou nal o he Eu opean Union.
In addi ion o he music o he compose , he e is also he wo k o he compose himsel , such as
he compose o he song, he compose o he song, he compose o he song, he compose o
he song, he compose o he song, he compose o he song, he compose o he song, he
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compose o he song, he compose o he song, he compose o he song, he compose o he
song. Many o hese con ac s a e ela ed o he mo he ongue, so knowledge o he basics o ha
language is a p e equisi e o p ope language ans e o music. In he spoken language, he lobes
ha open in i s in e als can gi e he compose ex emely in e es ing, ich ea u es o his musical
language. We a e alking abou wo ds because each o hem is a wo ld o inexhaus ible phone ic
di e si y and c ea i e possibili ies. The ex in music becomes an in eg al pa o he music, and
he e o e i is wo h alking mo e abou he con ac o he wo. Thus, language music is
unde s ood as in ona ion, he sounding o ex ( oices) in a ious sounds depending on he meaning
o wo ds (wo ds) o he ambigui y o hose meanings. The melody o he speech is a e y impo an
condi ion o he ha mony o he ex and he music in he ocal composi ion, he necessa y
condi ions o i s pe cep ion. Because he lis ene can only hea he ex , he canno ead i o s op
i . Music is a empo a y a . I a passage can be ead o e again while eading a ex , hen he wo k
being lis ened o (music, poe y, d ama) uns uns oppable o e ime, and he au ho mus hink o a
way o cu so ha he pace does no dis u b he cla i y o hough . So he epe i ion o a wo d o
ph ase, and i you don' in end o do i […] he speed o he musical empo, he pauses o he
ins umen al in e ludes can be e y use ul o he lis ene who is ollowing he meaning.
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Many languages a e composed o owels and consonan s, which, ega dless o how hey a e
w i en (in le e s o hie oglyphics), a e sepa a ed by owels and iden i ied as meanings. O
cou se, i he speake is no a s ange o he audience. In he opposi e case, a piece o music
wi h a language unknown o us sounds only as an addi ional imb e, ca ying he same wo dless
in o ma ion as he sound o a lu e, a lu e o a d um. Bu he silen music also con eys a lo o
in o ma ion o he lis ene s. Lis ene s c ea e hem in hei minds by ollowing he in ona ions o
he mo i s pe o med by hose ins umen s. Thus, e en a poo dic ion o a well-known language
o a dis o ed ex o a g ea song p ese es he in o ma ion, he mood, and he o e all
imp ession ha he compose seeks in he piece hanks o music. The e o e, he au ho s o he
music we e no a aid o he cla i y o he wo d "lose", compensa ing o his exclusi ely by
means o musical exp ession. By using he o m, he ac s, he con as .
I is said ha he ly ics o songs should be simple, hyming, wi hou complica ed wo ds. Such a
concep is a he p imi i e. G ea , popula songs wi h e y complex ly ics and cle e hy hmic
d awing a e known. Many excellen examples o ly ical poe y a e ound wi h whi e lines, e en
c ea ed o p ose ex s. Wha ma e s is how one o he o he ex s a e se o music. In each
pa icula case, he choice o musical ins umen s, he gen e, he scope, he na u e o he o m,
and he mas e y o he whole hing come in o play. Fo example, F anz Schube 's ocal cycle
[…]Win e eise[…] ([…]Win e Jou ney[…], op. 89, D 911, 1927) […] is a small-scale song wi h qui e complex,
o en se e al le els o meaning in he poe ic ex s o Wilhelm Mülle . The way hey a e deal wi h in
he musical space by Ge man compose s who wen om he classical o he oman ic epoch can be
a good lesson o compose s o all shapes and as es, as long as hey se iously ca e abou he
poe ic and melodic quali y o hei composi ions. The same can be said abou he songs o pop music
g oups The Bea les o Abba, he s uc u e o which, as well as he ela ionship be ween he music
and he ex , we e discussed in de ail du ing a cou se on musical aes he ics a Vy au as Magnus
Uni e si y. I has been obse ed ha he popula i y o many o hese g oups' songs is due o he
e y p ecise ela ionship be ween he music and he ex , he pe ec symbiosis o meaning and
sound, he mas e y o o m and, mos impo an ly, he ideal coincidence o he ly ics and he
in ona ion o he music. I 's a shame ha s uden s who aspi e o be composi ion ama eu s lea e
his and o he expe iences ha a e e y impo an o hem ou he doo . The iendship be ween
expec a ions and le e s has been in e es ed since he un emembe ed imes and he p ac ices o
ea ly w i ing. Ancien G eek w i ing monumen s ha e su i ed, which eco d an a emp o depic
he heigh and du a ion o he sounds o songs in owels. The ancien p ies s, o acles, augu s, and
p ies s augh many ways o combining wo ds and music o lead he assembled people o one o
ano he ce emony. The pe sonal phone ics s o e e y in e es ing eco dings o A ican abo iginal
i ual i uals, in which he speake speaks long and ai ly quickly in a language unde s ood by all,
la e slowing down he language by con inuing he oices, e en ually lea ing only oices wi h a
sligh ly changing in ona ion, e en ually becoming ocalized wi hou ex . A he memo y, an
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analogy a ises om he amous a chi ec u al Bo obudu emple on he island o Ja a in Indonesia.
I 's an 8 h-cen u y py amidal s uc u e wi h se en e aces on he second side wi h a e y clea
ma ix o soul-sca e ing, spi i ual con empla ion: i on he i s e aces he monk sees elie s
depic ing he abode, hen ising upwa ds hey a e changed by images o ege a ion, la e mo e and
mo e elabo a ely deco a ed, un il inally, a he e y op, he is me by a s upa delibe a ely
un inished s a ue o he Buddha and an imp essi e alley pano ama. The e seems o be no hing
le , bu he e's a lo mo e o i han wha you see a he bo om. The in oduc ion o such ex s,
such wo ds, such hings in o abs ac ions is a e y imp essi e and imp essi e means o
sus ainable in oduc ion. I has been used many imes and seems o ha e been success ul.
GIMTAKALB'S GUIDES I is no su p ising, hen, ha many o he wo ld's poo es and mos ulne able people a e li ing in po e y.
The Li huanian language is closes o he au ho o he a icle no only because i is his na i e
language, bu abo e all because o i s beau y and lexibili y, weal h and o igin. I can be seen how he
Bela usian language is s udied se iously and deeply in a ious uni e si ies and ins i u es a ound he
wo ld. This ac es i ies o he e y impo an his o ical and na u al knowledge o languages, no
only o g amma bu also o phone ics. Finally, he ecogni ion ha he di e si y o languages
opens up ano he impo an pic u e o he uni y o he wo ld's di e ences. And no jus he
image, bu he sound. An indi ec consequence o his mode n app oach is he ejec ion o
ansla ions o ope a lib e o in o he language o he coun y whe e hey a e pe o med, bu
he p esen a ion o he o iginal in Czech, Polish, and Welsh. The echnical means allow he
ansla ions o be shown in he ligh s, which a e inc easingly isible in he hea e s o he wo ld's
ope a abo e he s ages. Maybe i 's also ela ed o he g owing espec o each, e en less
widesp ead o widesp ead, language. App op ia e espec is shown no only o speech bu also
o music. Because a pa icula language becomes an in eg al pa o a piece o music, and he
in ona ion o he language is o en so s ongly in luenced by he music ha when a ex is
ansla ed (e en pe ec ly) in o ano he language, he phone ic sys em o he uni e se collapses.
The ac ha he opic unde discussion is wo h cons an a en ion and con inuous discussion
1
and esea ch is also e idenced by one case ha caugh he a en ion o he au ho o his a icle: he melodic na u e o he poe ic speech o Vik o iya Sheina, a g adua e s uden a he Li huanian Li e a u e Depa men o Vilnius Uni e si y.
Al hough he dep h o insigh has dec eased somewha , he au ho is s ill able o lis en o he poe 's
speech and cap u e he di e si y o i s sound, melody, hy hm and lexibili y o in ona ion. An anas A.
Jonynas is a good example o his, al hough no he only one in Li huanian poe y. The music o Hen iko
Radausko, which is s ill oo modes , is men ioned below. I is ue ha he me e obse a ion o sampling
o musical objec i i y wi h jazz music and he connec ion o he poe y o poe y ha p e ails in his
gen e wi h melancholy omance and he music o he bi niks does no e eal he deepe connec ions o
he poe ic ex wi h he musical language highe , pe haps e en somewha me aphysical, le el. F om his
poin o iew, he au ho o he s udy akes only he i s , bu e y impo an , s eps in he s ill
g ounded ield o poe y. The au ho 's desi e o pe cei e he low o poe y as a s ong composi ional
s uc u e in which di e en Sheina Vic o ia 2001: The Melodiousness o An anas A. Jonynas' Poe ic
1
Speech. This is he i s ime ha I ha e been able o do so.
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wo ds wi h a close phone ic melodic […] elpa[…] in a s ong poe ic pos o m: […][D]ug he cadence
o he long lines is dac ylic (o eminine), i o ms a long line, so he in ona ion o he lines is
leng hened, o example: we appea on he s age, le 's no jump any mo e, le 's no coun he
yea s, and he cadence o he sho lines is masculine, i o ms a sho line, so hei ending is like a
c oss, o example: when he s age, he house o he league. This s anza s uc u e gi es he
passage a swinging hy hm, he low o he ph ase is in e up ed by pauses a he ends o he
e ses, and he ex sounds like a slow, slow melody. The e a e also mo e insigh s in o he music
o he languages sca e ed in menus, li e a y s udies, o linguis ics, bu his is mo e he conce n
o bibliog aphe s han o compose s in collec ing hem oge he . The au ho o he a icle is
conce ned no only wi h he easons o he musicali y o he language, bu also wi h he
p ac ical use o he language in he musical sco e, as an equal, independen and mul i ace ed
acous ic ins umen . The e o e, i is expec ed ha such esea ch will no be a oided in he
de elopmen o in e disciplina y a s. They a e e y impo an in expanding he unde s anding o
meanings using di e en , in e disciplina y exp ession ools. The isualiza ion o a piece o music,
which has become a necessi y e e ywhe e, has g ea ly simpli ied, unde es ima ed he powe o
he a o music, and a he same ime, he wo d ha sounds in a piece o music, has u ned i
in o jus a ambou ine wi hou p ope a en ion o i s ones. The au ho expe ienced how he
illus a ion o a wo d poses a se ious dange o he deepe senses o he lis ene and emo es
(and ul ima ely inhibi s) he powe o his subconscious imagina ion. Thus losing he need o
in e ac ion and disco e ies, you will disconnec om wha is shown on he sc een. The p ocess
o e u ning a wo d as an equi alen pa o a musical wo k becomes ano he ask, his ime no
o he compose , bu o he music c i ic, he cu a o , and pe haps e en he p oduce . O
cou se, now ha he c ea o has access o a a ie y o c ea i e echniques, and hey don' ha e
a lo o ime o show e e y hing a once, he e's a ques ion o he au ho 's es ain , he
au ho 's skill, he ques ion o selec ion, o which he a ely inds an answe . The wo d "u gen " is
also used he e o limi one's anxie y, o ocus on an impo an poin , o ocus. A good example is
Johann S. Bach, who was able o use wo ds so esponsibly and ac ully in his ocal wo ks ha he
se ou o ind ou whe e he sain had come om. I is he wo k o he Ge man compose
Hein ich Schü z (1585-1672). I sough he uni y o wo ds and in ona ions, bu he e we e also
opposi es b igh wo ds, accompanied by da k music ha had o con ey dange , dange , anxie y. J.
S. Bach wen on o say: Acco ding o Lu he 's belie s, he Bible's ex s we e so impo an ha he
de eloped a whole sys em o algo i hms o desc ibing e en s and con eying moods in musical
2
language wi h and wi hou ex s. In an o e iew o he Ame ican compose and conduc o Paulo
Ho ei e 's a icle on he acous ic philosophy o he li u gical ex s ha sound in he music o J.
S. Bach, we ind he opinion o o he schola s who s udy he ela ionship be ween wo d and music
ha in he case o J. S. Bach, as he Ge man heologian Pe e B une is igh ly no es, "a hymn is a
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song". Bu no only ha . Se ing mo e and
2
Ho ei e Paul 1995: Johann Sebas ian Bach and Sc ip u e: "O God, om hea en look down". […] Conco dia
Theological Qua e ly 59 (1[…]2), 67[…]92, also known as Conco dia Theological Qua e ly I is a ailable on he
In e ne a : h ps: c s w.ne /media/pd s/ho ei e jsbachandsc ip u e.pd .
3
Pe e B unne 1968: Wo ship in he Name o Jesus, S . Louis: Conco dia Publishing House, 137.
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is con empla ed. I is ue ha he e is a dange o alling in o ana icism o pe y godliness, bu
om hose sins he noble, s ong psychological connec ion o he wo d wi h he musical
in ona ion p o ec s. I is no in ended o ely on hese insigh s he e wi h mo e nume ical
examples, as i would be los in he galle ies o academic musicology. I wan ed o show he powe
o he ools o a ha c ea e he di e si y o spi i ual su i al. In e es ingly, in J. S. Bach's
wo ldly ins umen al music, he heological signi icance o in ona ion does no disappea and in
many o his wo ks i is hidden behind he pi ches, empos, and s ings o he ins umen s. The
ising in ona ions o J. S. Bach mean unning away om hope, alling in o despai , u ning ins ead
o pain and so ow, dancing o joy and... joy, and he long lines ollowed by wisdom. He e, oo,
Ma y's name ook on i s musical exp ession, he phone ics o he wo d being hea d in he musical
in ona ion, elying solely on melodic symbolism o ge a ound wi hou i . Such, now i e e sible,
lis ening skills de e mined he ichness o he musical language and, ul ima ely, i s longe i y. Now
he lis ene o en ca ches hese sub le ies no wi h he mind, bu wi h he mind. A i s glance,
he expe ience o language music in pe sonal c ea ions is no a memo able episode. While w i ing
he lib e o o he ope a "Queen Bona", she aced many his o ical challenges. I had o call o
help. I 's om P o . D . Ju a Kiaupienė, who helped o e come he own moun ain o igno ance. And
ha de ail is eally small: how did a mo he add ess he son in he Renaissance e a, you o you?
His o ically, he e was only a second appeal. This was a e y impo an message, because he wo
e e ences a e e y di e en . The i s , showing close kinship, as i cu o , he second […] mo e
espec ul, wi h a dis ance om he ela ions o close people, bu also mo e gen le. In addi ion, in
he speech you hea he expec a ion o powe , and you ha e many nuances om gen le, gloomy, o
i onic, sa cas ic, ambiguous. Tha 's he second hing I needed. I is no known wha imb e, olume,
o empo, o wha in ona ions his melody eached he ea s o his son, Sigismund Augus us, bu
one wo d could con ey a a ie y o moods and meanings in musical in ona ions.
The expe ience o di ec con ac wi h he Li huanian language in he au ho 's c ea i e
p ac ice o he a icle is abundan and di e en each ime. Some o hem will be discussed
below. Li huanian olk song s udios should become lessons in he uni y o wo d and sound o
each o ou compose s. Thei money opens up la e , unexpec edly, e en unconsciously.
Some imes he olk ex has o c ea e a new music, as happened in he ope a "P usa" wi h
he impo an song o he choi "An kalnelio" h oughou he d ama u gy o he wo k. The
o iginal melody was necessa y because o he uni ied s yle o he whole music and ce ain
in ona ional asks. The i s ph ase was especially impo an because i was supposed o be
emembe ed by he audience a leas somehow a e he i s call a he beginning o he
ope a. And hen, in he epea ed inale, wi h he oice o He kaus Man o, he agedy o he
dying people is comple ed. A somewha ongue-in-cheek mo i was bo n, i s melodic line
e lec ing a small hill, o pe haps a g ayish con ou . You ha e o be conscious and al eady know
in ad ance, un o una ely, qui e poo , he cha ac e is ics o whi e musical cul u e. The
empo and one also had o highligh he ex , which, by he way, had no di ec connec ion wi h he plo , bu only a me apho ical meaning. So e en in music, he ep esen a ion o he o iginal ex wouldn' be sa is ied.

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in an a is ic sense, al hough he idea and mood o he ex mus be p ese ed, especially in he
con ex o ope a d ama u gy. The illus a ions p esen he well-known mo i and au ho o he
olk song, an o iginal om he ope a "P usa". In e es ingly, he e iewe s no iced ha song, e en
hough hey mis akenly a ibu ed i o olk a . In ac , he melody o he selec ed ex was no
known o he au ho o he a icle, because i s sea ch did no p oduce esul s a ha ime. So
when I w o e his a icle, I wonde ed i he melody o he ex would be he e. Asked by he s a
o he Li huanian Ins i u e o Li e a u e and E hnog aphy […] maybe he e is a melody in hei
a chi es. E hnog aphe Ju gi a Usai y ė sen se e al a chi al audio eco dings o e e ences in
which, unde a ious names ([…]Pakelė, pa iešė en s ood[…], […]Žalioj gi ioj, lygioj lankoj[…], […]Oi,
sūneli, oi, ai eli[…]) di e en e sions o he song we e hea d, eco ded on phonog aph pla es in
1937. Finally, he Li huanian Academy o Music and Thea e's a chi e o olk music con ains he
ea lies and oldes ex used by he au ho o he a icle o he wa song (balade) "On he hill, on
4
he high". Pe o med by olk singe Domiuka
I is loca ed in Beležanskiu ė-Bukauskienė. Bo h mo i es ha e been gi en, showing how
di e en hey a e. 1 illus a ed Li huanian olk song "On he hill" 2 illus a ion. G. Kup e ičius
[…]An kalnelio[…], cho us om he ope a […]P usa[…], 1994 H. Radausko (1910[…]1970) The
musicali y o poe y is unpa alleled, unique and in many o he poems simply pe ec . This
esul was no achie ed o e nigh . Using he poe 's manusc ip , one can see how he lines, he
sequence o wo ds, he hy hm and he hy hm o he play we e polished. Such a mas e y o
poe ic melody is achie ed wi h a e y ich language, synonyms and simila -sounding, bu
di e en -meaning wo ds in he ea . The au ho o he a icle wi h hese quali ies was
epea edly a ached o H. Radausko's poems.
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Li huanian olk song "On he hill, on he high". She was a membe o he olk singe Domiuka
Beležanskiū ėBukauskienė, bo n in 1895 (LMTA musical olklo e a chi e, o iginal ime o eco ding No.
KF_3532_017, eco ding in 1961, Lazdijų ., Sei ijų dis ic , S a iškė).
7
The g een ea h is one o hem. In e es ingly, he poe ic line simply e okes he musical mo i ,
5
and all ha is le is o ix i . The i s pa o "The G een Ea h, he Su e ing o Nuskand",
"The Bi h o he Nameless Su ema" is ma ked by he ex emely unpleasan singing o he
le e s […], č, š[…], bu i is p ecisely he oices o he Neg oes ha c ea e a peculia
in ona ion o he language, a music di e en om he songs wi h he usual domina ion o he
oices. A simila si ua ion occu s wi h ano he poem […] […]Pa ko uduo[…], in he i s pa o
which he poe empha ically clones he p ism […] […] […] Žiau us sa ižudis uduo in o he
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s a ues o P a i kdo au ias, […] I eka aša ų anduo […] black ma ble au es. […] I would
compa e such a poe ic s uc u e wi h he eng a ings o he Du ch g aphic a is Mau i s C.
Esche (1898-1912), in which objec s o one meaning a e consis en ly abso bed in o o he s. In
he same way, H. Radauskas in his poe y u ns one meaning ul wo d in o ano he , and
melody ully combines i wi h he nex , as i hey we e insepa able one […] […] om he cold a
away, like a dead lea wi he ed molis[…]. In he language o music, such a composi ional echnique
(one om he o he ) is he ounda ion. Following he peculia i ies o H. Radausko's poe ic
language, he compose mus p ope ly ha monize he connec ions be ween language and music.
Ra e o calls
Howe e , he g ea es clash be ween language and music in he wo k o he au ho
o he a icle occu ed in he an i-ope a […]Pamoka[…] (1978), which was inspi ed by
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he F ench w i e Eugène Ionesco (1909).
1994) is an absu d poem called La Leçon. The ex ual s uc u e c ea ed excellen condi ions
o games wi h language, sepa a e wo ds, skiemenim, oices and oiceless con lic s. The
hy hm o he musical ex allowed he a ia ions o hese games o be o ganized in o an
in ini e low o sounds, in which he meaning o he senses and he absu di y o he minds,
he combina ions o he minds and he absu d si ua ions ha p o oke hough , we e scanned and b ough o he su ace.
The ope a's an i-ope a i e na u e was bo n om he abandonmen o a ias and o ches a, and
he song ansla ed in o Li huanian allowed he lis ene who knew he language o memo ize he
sequence o wo ds wi hou being ecognized. Only hen could he lis ene unde s and wha was
being said (sung). T ansla ed melodeclama ion, eci a ion, linguis ic singing, in Ge man called
Sp echgesang and Sp echs imme, echniques and ac s. Bu ha wasn' enough. Musical
8
g aphics we e used o achie e mo e accu a e in ona ion o le e s, syllables o wo ds, as well as
o eco d leng hs and heigh s. The adi ion o so-called pen music is qui e old, pe haps e en
ea lie han he now-known sys em o w i ing no es. G aphic eco ding o music equi es a mo e
in ellec ual way o in e p e a ion han e y p ecisely eco ded songs wi h he accompanying
many dynamic signs. The music is by Pyš a, Raduskas Hen ikas 1980: Ly ica [Ly ics], Vilnius: Vaga, 42.
5
6
This is a lis o ilms p oduced by he Polish ilm indus y based in Vilnius, Russia in he 1980s.
7
Pamoka was named an iope a because o he abandonmen o he adi ional ope a gen e componen s (a ia,
o ches a). The Hunga ian compose Gyo gas Lige is also called An iope a his s age wo k abou he des uc ion
o he wo ld "Le G and Macab e", bu mo e so because, acco ding o he au ho , i is no in ended o lo e s o adi ional ope a.
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The song is called Sp echsang Sp echs imme […] ok. chan ing, melodic eci a ion, pa lando […] musical
ansmission o ex by ollowing he hy hm o wo ds, he in ona ion o domes ic language. I is ound in some
wo ks by Richa d Wagne , Engelbe o Humpe dinck, A nold Schoenbe g and o he s.
8
By abandoning he adi ional w i ing o he no es, i is possible o indica e qui e p ecisely o he
pe o me s du ing he pe o mance hei own, acco ding o hose d awings c ea ed, condi ional
musical sequences, o decide o hemsel es on he leng h o he pauses, he empo, a ious
glissando, s acca o o enu o s ichus. The exac heigh o he owel has become less impo an .
The e a e nei he a ias no p ecisely w i en melodies in an i-ope a, and he oles can be
pe o med by non-ope a singe s, minimal ocal p ac ice by d ama a is s. So in his piece, i is
allowed o exp ess he in ona ed language in a way ha is con enien o each pe o me . The e
a e also no adi ional ensembles o choi s in Pamoko, bu i is necessa y o ake in o accoun a
ce ain hy hmic and in ona ional speaking sys em, he play o sepa a e g oups. This sys em is
designed o adjus he dynamics o e en s, o c ea e a s onge acous ic sound. Along wi h he
scenic mo emen , di e si y and con as s we e sough , wi hou which a la ge-scale wo k would
become mono onous and lose he in e es o obse e s. The o m ha was in he song i sel was
also impo an o he o ganiza ion o he uni e se, and wi h all he an i-musical accompanimen ,
i could be made e en mo e p onounced. 3 illus a ed G. Kup e ičius […]Pamoka[…], 1978: Pa I o he sco e, agmen 4 o he illus a ion. G. Kup e ičius […]Pamoka[…], 1978 agmen II o he sco e
9
And i 's only a he e y end o he an i-ope a ha he Coda is w i en in he adi ional musical
language. In i , he lis ene is e u ned o he usual wo ld o musical exp ession. Bu soon we a e
back om he beau i ul ope a o he beginning o he an i-ope a...
No o he will show a be e mix u e o icky absu di y and banal eali y han he un es ained
games o language and music o canons and an asies. In he 1970s, a new collec ion o poems
was published unde he i le "Ci cus-Ra s" in collabo a ion wi h he poe y collec ion
"Ci cus-Ra s" by J. M. Meko. I is said ha a ha ime he S a e Secu i y Commi ee o he
LTSR allowed p i a e indi iduals o ha e a p in ing p ess a home. A e o icially acqui ing and
applying such p in ing echniques, she ied o apply hem no only o he a icles, bu also o
he music composi ions. The composi ion "Ci cus-Ra s" is conduc ed acco ding o he sum o
he sea ed in he ci cle, always in di e en ones and g adually he pe o me s who in ona e
he ex lead om he sound "do" o "do" h ough all he ones. This p ocess can be epea ed
an in ini e numbe o imes, in e up ed a any ime. The poe 's ph ase "Whoe e decided
yes e day, epea s again a dawn" also sugges ed a musical solu ion.
9
5 illus a ed G. Kup e ičius […]Ci cus-Ra as[…], 1971 Simila oys wi h ex isualiza ion
exis in ypog aphy based on he signs o Pablo
Ne udos (1904-1973), Edwa d E. Cummingso (1894-1962) in his poems, whose meanings a e
10
ein o ced by he change in he ypes and sizes o he le e s o he alphabe . Ano he way
11
o con ey poe ic image y o eade s is Guillaume Apollinai e (1880-1918), who depic s he
meanings o wo ds om le e s in composi e d awings. I is ue ha all he au ho s
men ioned and he isualiza ions o hei poe ic ex s a e no ela ed o he menu o music,
bu who knows, pe haps such a symbiosis is possible.
9
John McCauley: F agmen s o a T ip. […] Poe y, Vilnius: Vaga, 147. This is he i s ime ha I ha e been able o do so.
10
Pablo Ne uda 1986: Ode o he P ess [Ode o he P ess], Vilnius: Vy u ys.
11
Fo example, he poem […] -p-o-p-h-e-s-s-g- […] in he collec ion No Thanks (1965).
16
In his a icle, he heme o language music is e iewed […] he encou agemen o onesel and
colleagues o engage in c ea i e mys e ies wi h mo e cou ageous and mo e open emo ions. The
le el o he scien i ic appa a us in Li huania is ac ually high enough o such jou neys. The e will ne e be oo many o hem.