Albanian ethnomusic map - A value of spiritual cultural heritage
Session
Modern Music, Digital Production and Management
Description
The interests in the Albanian music map have started earlier. The first attempts to create an ethnomusic map or a systematic study of Albanian traditional music became possible only in the early 1930s. There are different preferences within the Albanian folklore, such as the way of singing, musical scales, instruments or vocal music, etc. These preferences are undoubtedly related to a macrostructure, which we can call the Albanian "ethnomusic map" within which we find common features and properties, but also the differences that exist within the Albanian musical folklore.
The Shkumbin River, in addition to being a border between the Geg and Tosk dialects, in the ethnomusic view it serves as a natural orientation for dividing the ethnomusic map into two parts. From the Shkumbin River and further in south we will have the iso-polyphonic area of musical expression (two, three and four voices) or the polyphonic one, as we are used to call it. On the other hand, from the Shkumbin river and further in north we will have the monodic zone of musical expression (monody, monody with accompaniment or homophony).
Due to the specifics of music, the two main musical units are divided into smaller musical units. Thus, the southern area is divided into four musical units, which make up the southern music map and these units are: Toskënia, Myzeqeja, Labëria and Çamëria. While the ethnomusic macrozone of the North includes some ethnomusic zones such as: Gegnia, Dukagjini (Leknia), Malësia, Coastal fields or otherwise called as central Albania.
Despite the approximations between the areas, the ethnomusic map takes into account the special specifics, which characterize the musical values either through interpretation, or even accompanied with musical instruments. Therefore, my paper will be focused on the basic specifics of these musical subdivisions.
Keywords:
ethnomusic map, iso-polyphony, homophony, musical macrozones, north, south, etc.
Proceedings Editor
Edmond Hajrizi
ISBN
978-9951-550-47-5
First Page
1
Location
UBT Kampus, Lipjan
Start Date
30-10-2021 12:00 AM
End Date
30-10-2021 12:00 AM
DOI
10.33107/ubt-ic.2021.130
Recommended Citation
Cocaj, Nexhat, "Albanian ethnomusic map - A value of spiritual cultural heritage" (2021). UBT International Conference. 60.
https://knowledgecenter.ubt-uni.net/conference/2021UBTIC/all-events/60
Albanian ethnomusic map - A value of spiritual cultural heritage
UBT Kampus, Lipjan
The interests in the Albanian music map have started earlier. The first attempts to create an ethnomusic map or a systematic study of Albanian traditional music became possible only in the early 1930s. There are different preferences within the Albanian folklore, such as the way of singing, musical scales, instruments or vocal music, etc. These preferences are undoubtedly related to a macrostructure, which we can call the Albanian "ethnomusic map" within which we find common features and properties, but also the differences that exist within the Albanian musical folklore.
The Shkumbin River, in addition to being a border between the Geg and Tosk dialects, in the ethnomusic view it serves as a natural orientation for dividing the ethnomusic map into two parts. From the Shkumbin River and further in south we will have the iso-polyphonic area of musical expression (two, three and four voices) or the polyphonic one, as we are used to call it. On the other hand, from the Shkumbin river and further in north we will have the monodic zone of musical expression (monody, monody with accompaniment or homophony).
Due to the specifics of music, the two main musical units are divided into smaller musical units. Thus, the southern area is divided into four musical units, which make up the southern music map and these units are: Toskënia, Myzeqeja, Labëria and Çamëria. While the ethnomusic macrozone of the North includes some ethnomusic zones such as: Gegnia, Dukagjini (Leknia), Malësia, Coastal fields or otherwise called as central Albania.
Despite the approximations between the areas, the ethnomusic map takes into account the special specifics, which characterize the musical values either through interpretation, or even accompanied with musical instruments. Therefore, my paper will be focused on the basic specifics of these musical subdivisions.