Download Albanian Traditional Music: An Introduction, with Sheet by Spiro J. Shetuni PDF

By Spiro J. Shetuni

For many musicians and musicologists within the West, conventional Albanian track continues to be an imprecise topic, even if Albania has produced a huge cultural and corresponding musical history. This e-book examines the unique musical tradition of southeastern Europe, either monophonic and polyphonic, via delineating its 4 major musical dialects: Gheg, Tosk, Lab and concrete. The origins, basic good points, musical kinds and genres of the 4 dialects are mentioned. extra issues coated comprise an historic and demographic research of Albania, the heritage of Albanian ethnomusicology and a number of the classifications in Albanian song. depending seriously on box study and recordings, this article introduces conventional Albanian tune to either ethnomusicologists and curious readers.

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Additional info for Albanian Traditional Music: An Introduction, with Sheet Music and Lyrics for 48 Songs

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In these instances the launcher is contributing primarily to harmonic enrichment. The styles of Himarë, Dukat, and Pilur are typical representations of the launcher taking this form. Lastly, the launcher can assume a role in which it begins singing a minor third higher than the drone, then, usually about halfway through the song, 42 SEVEN— Lab Musical Dialect 43 drops down to the same note as the drone. Kurvelesh, Lopës, Lunxheri, Zagori, Smokthinë, and Bënçë are representative styles of the launcher performing in this fashion.

In the mountains the climate tends to be cool in the summers and harsh in the winters. The seashore on the other hand has a characteristic Mediterranean climate. Songs in Toskëri are reflective of its beautiful natural environment, often provoking lively emotions. Chapter Six Tosk Musical Dialect The region of Toskëri comprises all of Albania south of the Shkumbin River. The Tosk musical dialect thus exists in this region, with the exception of an area in Southwestern Albania referred to as Labëri.

As alluded to, melody in the legendary heroic epic has limited versatility. It is generally built on three musical phrases: an introductory phrase, which is instrumental only, followed by the second and third phrases, both of which are instrumental and lyrical. Musically, all three phrases sound quite similar and songs flow naturally from one to another. There are various iterations of the three phrases, with melody staying the same while new lyrics are sung. Many songs are quite long. Other salient musical features of epic music include: ambitus in fourth, fifth, or sixth; incomplete diatonic modes/scales of Dorian and Phrygian types; beginning of songs in E and ending in the A note; the significant role played by the E note in contribution to melody; composed of small intervals (unison, minor second, major second, minor third, and others); flow of pitch, as a rule, in descending order, often in sequence; slow tempo; and a free meter/rhythm.

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