A potential “Organology of Kosova musical instruments” and Folk/Traditional music documentation” as an aggregate of a structured Kosova traditional music education, as a Folk Symphony Orchestra format, and as a curriculum based on Kosova's own musical heritage and new heritage based compositions
Session
Modern Music and Audio Production
Description
This article deals with the reconceptualization of traditional Kosovar instruments such as çiftelia, sharkia, prim-i, lahuta, ilyrian ocarina, fyelli i shokës, kavalli, surla, gajdja, briri, def-i, tupani, through the format of the Folk Symphony Orchestra and contemporary structures of mixed ensembles. Kosova's musical heritage has been treated in fragmented ways through the analysis of specific genres, instruments, musicians, musicianship, education and as a specific period documentation. In its ancient history from Illyrian-Dardanian times until today, Kosova is home to a rich combination of instruments, which exist in their original form and that have developed and formed their own instrument families. These instruments are played in their chamber setting and are combined seldom from period to period. A ancient instrument like the Runik Ocarina is not combined with the Ottoman period Çifteli, and for example a Lahuta of even more ancient periods is not combined with a pastoral Fyell i shokës or a Kavall. This is because we view these instruments through the genre and the setting/format in which they have been traditionally represented historically. We do not yet see them as a full instrument heritage and as part of a potential “Organology of Albanian instruments” in Kosova”. I propose in this article that such a continuation of our heritage is more then neccecary and it can be achieved through the agregation of our existing musical heritage and through the commissioning of new works for these musical groups and entities. Kosova has the potential to create its “Traditional music school”. Today we have a list of musical works and documentation done from the period of Lorenc Antoni, continued with our composers and musicologists and ethnomusicologists that can serve as the basis for a existing musical program which is notated form. This can be the landmark in which we can already commision not only compositions but re-arrangments of these musical materials for this instrumentarium in solo, chamber and in the “Folk-Symphonic format”. Through this approach we have the chance to establish a curriculum which can be integrated in our educational landscape all across our country and offer our young generations and all others the learning of our musical instruments, the learning of our musical heritage as a full historic program and the learning of performing with these instruments new works in a Symphonic and orchestral setting. The main goal would be to create a new musical identity for Kosovo, which combines heritage and innovation, positioning folk music as a language open to global and technological developments.
Keywords:
Kosova folk instruments, Kosova folk symphony orchestra, mixed ensembles, çifteli, lahutë, kavall, contemporary music, traditional music education, tradition and innovation, Kosovar musical identity
Proceedings Editor
Edmond Hajrizi
ISBN
978-9951-982-41-2
Location
UBT Lipjan, Kosovo
Start Date
25-10-2025 9:00 AM
End Date
26-10-2025 6:00 PM
DOI
10.33107/ubt-ic.2025.274
Recommended Citation
Jupolii, Liburn, "A potential “Organology of Kosova musical instruments” and Folk/Traditional music documentation” as an aggregate of a structured Kosova traditional music education, as a Folk Symphony Orchestra format, and as a curriculum based on Kosova's own musical heritage and new heritage based compositions" (2025). UBT International Conference. 1.
https://knowledgecenter.ubt-uni.net/conference/2025UBTIC/MMDPM/1
A potential “Organology of Kosova musical instruments” and Folk/Traditional music documentation” as an aggregate of a structured Kosova traditional music education, as a Folk Symphony Orchestra format, and as a curriculum based on Kosova's own musical heritage and new heritage based compositions
UBT Lipjan, Kosovo
This article deals with the reconceptualization of traditional Kosovar instruments such as çiftelia, sharkia, prim-i, lahuta, ilyrian ocarina, fyelli i shokës, kavalli, surla, gajdja, briri, def-i, tupani, through the format of the Folk Symphony Orchestra and contemporary structures of mixed ensembles. Kosova's musical heritage has been treated in fragmented ways through the analysis of specific genres, instruments, musicians, musicianship, education and as a specific period documentation. In its ancient history from Illyrian-Dardanian times until today, Kosova is home to a rich combination of instruments, which exist in their original form and that have developed and formed their own instrument families. These instruments are played in their chamber setting and are combined seldom from period to period. A ancient instrument like the Runik Ocarina is not combined with the Ottoman period Çifteli, and for example a Lahuta of even more ancient periods is not combined with a pastoral Fyell i shokës or a Kavall. This is because we view these instruments through the genre and the setting/format in which they have been traditionally represented historically. We do not yet see them as a full instrument heritage and as part of a potential “Organology of Albanian instruments” in Kosova”. I propose in this article that such a continuation of our heritage is more then neccecary and it can be achieved through the agregation of our existing musical heritage and through the commissioning of new works for these musical groups and entities. Kosova has the potential to create its “Traditional music school”. Today we have a list of musical works and documentation done from the period of Lorenc Antoni, continued with our composers and musicologists and ethnomusicologists that can serve as the basis for a existing musical program which is notated form. This can be the landmark in which we can already commision not only compositions but re-arrangments of these musical materials for this instrumentarium in solo, chamber and in the “Folk-Symphonic format”. Through this approach we have the chance to establish a curriculum which can be integrated in our educational landscape all across our country and offer our young generations and all others the learning of our musical instruments, the learning of our musical heritage as a full historic program and the learning of performing with these instruments new works in a Symphonic and orchestral setting. The main goal would be to create a new musical identity for Kosovo, which combines heritage and innovation, positioning folk music as a language open to global and technological developments.