Event Title

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

This document is currently not available here.

Share

COinS
 
Oct 30th, 12:00 AM Oct 30th, 12:00 AM

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.