Lithuanian multipart songs sutartinės feature most characteristic of vocal and instrumental polyphony, second accords, complementary rhythms and syncopation, indicate a powerful, unique musical system of thought per sutartinės.

Sutartinės, Lithuanian multipart songs inscribed in 2010 on the Representative List of the Intangible Cultural Heritage of Humanity.

Description of the term sutartinė(s). The root verb sutarti means ‘to be in accord’ and ‘to agree’. Performances are named hymn-singing and a sutartinė – hymn, as distinct ritualistic songs.

Musical speech features: a) narrow melodic diapason; b) short ranges; c) intonational stability; d) non-existence of resolution intervals; e) syllabic link of word and melody; f) complementary rhythm; g) polyphony (diaphony) at the second, heterophony. Polytonal, polyscale and polytextual vocal interactions are characteristic; polyrhythm and polymeter appear.

Poetic distinctions. Abundant archaic elements: a) patriarchal traces; b) ancient livelihood, hunting, beekeeping, reflections; c) strophic structure; d) abundant onomatopoeic interjections: čiūto rūto, tatatõ, dūno, rititatatoj etc. Characteristic polytextuality regards concurrently resounding contextual and onomatopoeic words, a feature unique to Lithuanian sutartinės; no polyphonic analogies exist elsewhere. Sutartinės is a syncretic art reflecting the link between music, words and movements. Choreography is uncomplicated and movements, moderate, often noble: circle walking, twirling arms linked, “starlet” formation, stamping, pair walking opposite pair etc. Certain sutartinės are played on skudučiai 'multi-pipe whistles', ragai 'horns', daudytės 'long wood trumpets' and lamzdeliai 'fipple flutes'. A folk term, ‘tooting’, expresses performance variety – woodwind-blowing, hymn-singing and dancing.

Regional differences. Northeastern Aukštaitija (Uplands ethnic region) comprises the longest-surviving area of the greatest sutartinės dissemination and surviving performers as per historical documents reporting on this tradition. Musical differences are especially pronounced in north (Biržai surroundings) and east (Švenčionys surroundings) territories of sutartinės habitat. To the north, the second is the only interval. Singing features specific instrumental music: chanting (syllabism), “clucking sound” etc. The second is the usual random accord in the east; its more sequential melodic intonations, slower performance tempo and a more singular rhythm reflect the origin of vocal sutartinės.

Performances. Three main sutartinės categories per performer numbers are popular: ‘twosome’ (counterpoint), ‘threesome’ (canon) and ‘foursome’ (antiphonal counterpoint). However, polyphony style is more important. Nearly 40 different performance styles relevant to some widespread function in some territory are known. 20th century notations mention group (2-4 women) hymn-singing customs. More can participate for some relevant function: dancing, visiting rye, etc. Hymn-singers are mainly women; men appear in collective dances. Recently collective singing (10-30 people) flourishes alongside traditional group singing.

Defining and disseminating the tradition. The first abundant sutartinės recordings (with melodies) only occurred at the 20th century start, when collective hymn-singing was vanishing. Today few, isolated singers recall sutartinės in villages.

Sutartinės roots may reach prehistoric times. Many features indicate an ancient origin, including all syncretic components. Setting a date of origin is difficult. No written data exist prior to the 16th century. Maciej Stryjkowskij’s Kronika (1952) first mentions sutartinės (?), noting singing mouths agape, one before another; the constantly repeating refrain, “lado, lado”, clapping and trumpeting a long horn. Adolfas Sabaliauskas probably contributed most to “discovering” sutartinės along with Finnish professor Aukusti Roberti Niemi (They compiled, ‘Lithuanian Songs and Hymns of Northeastern Lithuania’ Helsinki (Riga), 1911, later supplemented by Sabaliauskas with ‘Notes to Lithuanian Songs and Hymns’, Helsinki, 1916.) Folk music expert Zenonas Slaviūnas, 1935-1941, recorded the last authentic group on phonograph. His also compiled and published a three-tome collection (Sutartinės. ‘Polyphonic Lithuanian Folk Songs’. Vol. 1, 2. - V., 1958; Vol. 3. - 1959). The group sutartinės singing tradition in villages became nearly extinct by mid-20th century. Experts lamented a lack of interest by youth. Sutartinės rebirth began with the 1969 concert by Povilas Mataitis’ Folk Music Theater Troupe in Vilnius. Since, folk music ensemble performances of live sutartinės returned to cities, continuing a new albeit qualitatively different life in various forms to now. Sutartinės has become a distinct symbol of Lithuanian identity since the 20th century’s start, providing the basis for numerous 20th century compositions.