Music of Albania

of the Albanian language Albanian folk music has a deep history and can be separated into three major stylistic groups: the northern Ghegs, southern Labs and Tosks and with other important urban music areas around Shkodër and Tirana. Albanian folk songs can be divided into major groups, the heroic epics of the north and the sweetly melodic lullabies, love songs, wedding music, work songs and other kinds of song. The music of various festivals and holidays is also an important part of Albanian folk song, especially those that celebrate Lazarus Day, which inaugurates the springtime. Lullabies and laments are very important kinds of Albanian folk song, and are generally performed by solo women. Northern Albania player wearing traditional Albanian clothing The Ghegs from North of the Shkumbini River are known for a distinctive variety of sung epic poetry. The music of the north is particularly monophonic. Many of these are about the struggles of the Albanian people and history, the constant Albanian themes of honor, hospitality, treachery and revenge but also Skanderbeg, a legendary 15th century warrior who led the struggle against the Ottomans. The most traditional variety of epic poetry is the Albanian Songs of the Frontier Warriors. These epic poems are sung, accompanied by a lahuta. It is rarely performed in modern Albania, but is found in the northern highlands within the Dukagjin highlands and Malësia. and violinist Ethem Qerimaj. The ethnic Greek inhabitants of the country's southern parts, have a music very similar to the music of Epirus in Greece. Instrumentation from Mirditë in the north Instrumentation are an integral part of Albanian folk music, especially in the north. Those instruments can be divided into string, wind and percussion categories. They vary from region to region and are used frequently throughout the entire country, performing both dance and instrumental polyphonic folk music. It is usually played only by men during winter evenings by the fireplace. The instrument is primarily widespread in the mountainous northern area of the country but can be also found in the center of the country. was used since the Ottoman occupation of Albania. Çiftelia is a long necked stringed instrument and frequently used by Gheg Albanians in northeastern Albania, Kosovo, Montenegro and North Macedonia. It is an integral part of northern traditional instrumental ensembles, commonly played in the context of northern wedding music. Fyell, also known as Zumare, is a similar instrument to a pennywhistle and is mostly played by shepherds in the north along with a shepherd's flute. The instrument contains five holes in each pipe and a bell. The melodies which are played with a fyell are homophonic and sounds nasal as well as very strong and powerful. Violina is usually used since the 19th century in both the northern and southern region. In the past, it was held in a vertical position like a violoncello or a lahuta but is not practised anymore. • Clarinet • Qypi • Surlja • Dajreja • Gajda • Lodra • Defi • Toubeleki • Albanian Bagpipe == Popular music ==

Emergence that was active in Korçë, 1909 The development of groups of instrumentalists played a significant role for the establishment of urban music in Albania. In the cities of northern Albania these instrumentalist groups were referred to as ahengje (meaning roughly 'to party' or 'partying') in Shkodër and as orkestrina ('little orchestras') in Tirana, Durrës, Kavajë and Elbasan; while in all cities of southern Albania they were referred to as saze (another term for 'little orchestras'). Conglomerates of solists or groups of instrumentalists were referred to as taifa, which were created in order to facilitate the professional rights and existence of the musicians. With the growth of the cities their music began to develop peculiar features that were inclined to be accepted by the bulk of Albanians. The popullore ('popular') songs covered repertories which incorporated urban songs, as well as Romani songs, and sometimes also complex folk music. It has been suggested that before the second half of the 20th century "the entire musical life of Albania was determined by folk music". However, while the musical life of Albania may have been strongly influenced by folk music during the first half of the 20th century, urban lyric songs show that by 1930 that influence was no longer strong enough to thoroughly predominate the Albanian musical environment. 1930s Urban Song The Albanian Urban Lyric Song is a tradition that started in Albania in the 18th century but culminated in the 1930s. These songs are a major part of Albania's music heritage, but have been little-studied by ethnomusicologists, who prefer to focus on the rural folk music that they see as being more authentically Albanian. Out of this melting pot of local and imported styles came a kind of lyrical art song based in the cities of Shkodra, Elbasan, Berat and Korça. Though similar traditions existed in other places, they were little recorded and remain largely unknown. By the end of the 19th century, Albanian nationalism was inspiring many to attempt to remove the elements of Turkish music from Albanian culture, a desire that was intensified following independence in 1912; bands that formed during this era like the Korçë-based Lira Chorus played a variety of European styles, including marches and waltzes. Urban song in the early 20th century could be divided into two styles: the historic or nationalistic style, and the lyrical style. 90s and beyond performing the winning song at Kënga Magjike 2009 The isolationism of contemporary music ceased after the fall of the regime, and the popular music of Albania was rapidly integrated into the overall trends in Southeast Europe, with the promotion of hybrid musical forms using synthetic accompaniments. Tallava is a pop music genre originating in Kosovo, also popular in Albania and North Macedonia, in the Albanian-speaking communities. Having originated in the Roma community in Kosovo in the 1990s, it is oriental-sounding, and perceived of as low-status. Nevertheless, it is becoming increasingly popular in Albania and North Macedonia. It is identified as part of the wider Pop-folk genre of the Southeastern Europe, which includes Chalga from Bulgaria, Skiladiko from Greece, Manele from Romania and Turbo-folk from Serbia. Albania has participated in the Eurovision Song Contest since 2004. Albanian music in North Macedonia and Kosovo Kosovo has been home to many important Albanian musicians, and the same can be said for North Macedonia. Prior to the Kosovo War, there was a thriving music industry in Kosovo, which reached new heights in recent years. The Kosovar music industry was home to many famous musicians, including the famous Nexhmije Pagarusha, Ismet Peja and the romantic, more elaborate Qamili i Vogël of Gjakova. Rock Rock arrived in Albania, particularly in Kosovo, in 1950 with an American and British influence. The first distinctively Albanian rock band was Blue Star, founded in Pristina. == Classical music ==

Opera Palokë Kurti is usually said to be among the founders of Albanian opera. A native of Shkodër, he was a musical amateur who composed the Unity of Albania March (Bashkimi Shqipnis) in 1881. Another composer and also a priest, Martin Gjoka is also considered to be one of the most important founders of Albanian classical music. During his lifetime, he composed several vocal and instrumental music using elements of urban art song and the folk melodies of the north. In the 19th and 20th century, Fan S. Noli and Mikel Koliqi contributed to the development of classical music culture in Albania. They achieved prominence, with Noli using urban folk songs in his Byzantine Overture and is also known for a symphonic poem called Scanderberg. Koliqi spent much of his life in prison for his religious beliefs, but managed to compose melodramas such as The Siege of Shkodër, The Red Scarf and Rozafa. Other pivotal composers in modern Albanian classical music were Thoma Nassi, Kristo Kono, Frano Ndoja and Lec Kurti who composed "Arbereshja" in 1915. Prenk Jakova became well known for operas including Scanderbeg and Mrika, which were influenced by traditional Italian opera, the belcanto style and Albanian folk music. Çesk Zadeja composed in many styles, from symphonies to ballets, beginning in 1956, and also helped found the Music Conservatory of Tirana, the Theatre of Opera and Ballet, and the Assembly of Songs and Dances. Later in the middle of the 20th century, Albanian composers came to focus on ballets, opera and other styles; these included Tonin Harapi, Tish Daija, Nikolla Zoraqi, Thoma Gaqi, Feim Ibrahimi, Shpëtim Kushta and many others. Since the fall of the communism in Albania in the 21st century, composers like Aleksandër Peçi, ethnologist musician Ramadan Sokoli, Sokol Shupo, Endri Sina, Pëllumb Vorpsi and Vasil Tole have arisen, as have new music institutions like the Society of Music Professionals and the Society of New Albanian Music. The contemporary opera artists such as Inva Mula, Ermonela Jaho and Saimir Pirgu have achieved international recognition for their music. ==Contemporary music==

founded the Kënga Magjike festival in 1999. In Albania, the most prominent rock bands and individuals only appeared after 1990 as rock music was prohibited. However, youth groups found ways to listen it through clandestine channels. Furthermore, electronic music has become a mainstream music genre in Albania. Albanian artists and renowned DJs such as DJ Aldo, Vin Veli, DJ Sardi, Dj Tedd and others are successfully collaborating mainly with Italian and Romanian artists, while showcasing themselves in renown clubs in Tirana and in annual music festivals along the Albanian Riviera such as Turtle Fest and Soundwave Albania. == See also ==