Abstract
<jats:p>This article examines the relationships between Polish and Lithuanian folk songs in the context of historical and contemporary interethnic contacts. The study is based on archival sources, field recordings, and comparative analysis of melodic, rhythmic, and poetic structures. By juxtaposing selected examples of wedding, harvest, ritual, and lyrical songs, the author demonstrates a remarkable degree of similarity that ex- tends beyond isolated motifs to entire melodic models and poetic texts. In several cases, the parallels include not only analogous melodic-rhythmic formulas but also nearly identical tunes functioning in both traditions, which allows us to speak of com- mon melodic archetypes within the Balto-Slavic cultural sphere. Particular attention is given to the phenomenon of bilingualism and shared po- etic identity in songs recorded in Lithuanian-Polish border regions, where identical or closely related melodies appear with texts in both languages. The comparative mate- rial highlights both the functional differences of individual songs – for instance, play- ful or lyrical types in Poland versus ritualized forms in Lithuania – and the distinctive performance practices, most notably the presence of polyphony in Lithuanian vari- ants, which is absent in Polish tradition. Such differences may serve as markers of local identity, while the commonalities reveal deep-rooted historical interactions. The findings underscore the significance of borderland regions such as Lithua- nian Dzūkija, Polish Suwałki and Kurpie as centers of cultural exchange and mutual influence. They also emphasize the survival of archaic elements, including narrow- ranged melodic structures, specific tonal supports, melismatic variants, and ritual symbolism preserved in textual motifs. The study further points to broader parallels with Ukrainian, Belarusian, and South Slavic traditions, confirming that these songs belong to a wider Central and Eastern European continuum of folk creativity. 85 From a methodological perspective, the article combines ethnomusicological, ethnolinguistic, and cultural-historical approaches. It highlights the need for system- atic comparative studies involving archival sources, manuscript collections, and me- logeographic mapping of song distribution. Future research should focus on clarifying the regional versus pan-ethnic character of particular melodies, tracing their dissemi- nation beyond Lithuania and Poland (to Belarus, Ukraine, Slovakia, Czechia, Ger- many, and elsewhere), and exploring connections between Polish folk repertoires and the traditions of other neighbouring nations. In conclusion, the study not only enriches our understanding of Polish-Lithua- nian musical relations but also provides valuable comparative material for Ukrainian and broader Slavic ethnomusicology. It advocates the establishment of joint Lithua- nian-Polish research projects, including translation and publication of existing results, in order to foster cross-cultural dialogue and advance the comparative study of Euro- pean folk song traditions. Keywords: ethnomusicology, comparative musicology, Polish folk songs, Lithu- anian folk songs, Polish-Lithuanian ties in musical folklore.</jats:p>