Lithuanian folk music, often celebrated as a cornerstone of the nation’s cultural identity, holds intriguing connections to European unequal temperament systems and Middle Eastern tunings. This discovery, unveiled by researchers at Kaunas University of Technology (KTU), sheds light on the unique and diverse roots of Lithuania’s musical traditions.
Exploring the Origins of Lithuanian Music
The KTU research team conducted a comparative analysis of Lithuanian folk modes with historical tuning systems from Europe and the Middle East. Their aim was to trace the origins of microtonality—a defining feature of Lithuanian music—and uncover its ties to the unequal temperament systems of Europe and the tunings of Middle Eastern cultures such as Turkish and Arabic music.
A Cultural Fusion of Influences
“European tuning systems from the 16th to 19th centuries, such as mean-tone temperaments and well-tempered systems, likely influenced Lithuanian folk music through the spread of Christian music, especially organ music originating in Italy and Germany,” explains Dr. Vytautas Germanavičius, a KTU researcher and one of the project’s investigators.
Beyond Christian music, the musical traditions of Lithuania’s minority communities, including Karaim, Crimean Tatars, and Jews, may have also shaped Lithuanian folk music. However, surviving audio records are scarce.
“In the Karaim community, only two or three recordings have survived, primarily featuring religious music and ceremonial songs like wedding tunes. A similar situation exists with the music of the Crimean Tatars in Lithuania,” notes Dr. Germanavičius.
For Jewish folk music in Lithuania before 1940, most recordings capture religious or klezmer music—a non-liturgical traditional genre of Western European Jews. Unfortunately, no other genres have been preserved locally.
Finding Links with Arabic Modes
The study’s comparative analysis revealed surprising parallels between Lithuanian folk music and historical European and Middle Eastern systems. Microtonal structures in Lithuanian modes share similarities with natural tuning and Arabic scales, which prominently feature natural intervals.
Old European temperament systems, such as “Werckmeister III,” may have also influenced Lithuanian musical harmony through Christian organ music, suggesting a blend of natural intervals within evolving systems.
A Global Connection with Unique Roots
The findings underscore that Lithuanian music is not an isolated phenomenon but a product of rich cultural interplay connecting Eastern and Western traditions. This makes Lithuanian folk music a unique voice within a broader musical heritage.
Despite the global shift toward the 12-tone equal temperament system in the 20th century—which eliminated natural intervals in musical instruments—Lithuanian folk music resisted this change. Research shows that the original tunings remain a vital part of the tradition.
“Recordings of Lithuanian folk music among U.S. immigrants reveal a divergence from those preserved in Lithuania. While a shift toward equal semitones can be observed in late 20th-century recordings, collections such as ‘Smithsonian Folkways’ retain the ancient Lithuanian intonations,” explains Dr. Germanavičius.
Bringing Archaic Structures to Modern Music
KTU researchers have also developed innovative methods for notating microtonal music, bridging traditional modes with contemporary compositions.
“One creative goal is to preserve or transform the original sound of archaic interval structures. By integrating these into compositional systems, we aim to retain their authenticity while exploring new creative directions,” says Dr. Germanavičius.
This integration opens new possibilities for combining harmony, timbre, and sound, allowing the unique colors of archaic music to shine in modern compositions. The diversity of these structures provides endless inspiration for expanding the boundaries of musical expression.
A Project Rooted in Innovation
The study, titled “Adaptation of Unequal Temperament Systems in a New Technological Environment and Their Application in Creative and Performance Practices” (Project No. S-PD-24-20), was funded by the Research Council of Lithuania. The project team includes Dr. Darius Kučinskas, Dr. Vytautas Germanavičius, and Dr. Mindaugas Kavaliauskas.
