Kosovo and related Albanian musical traditions.

Albanians comprise approximately 6% of the population of Montenegro and roughly 90% of that of Kosovo (Albanian: Kosova), an autonomous province within Serbia. Over 90% of Yugoslav Albanians are Muslim, while the rest are Roman Catholic; virtually all are north Albanians.

In Montenegro and western Kosovo, rural communities have maintained musical practices much like those in the northernmost regions of Albania. Young girls have been among the most active vocalists in these mountain districts, singing specific songs for each stage of the wedding ceremony, as well as for seasonal holidays such as Shingjergj (St George’s Day). Frequently they accompany their singing on frame drum (def or daire). One musical genre unique to this region is the kângë çobaneshave (‘song of the sheperdesses’), sung by girls in the Podgur and Rugovë districts of Kosovo. These songs are executed in a style known as me gisht në fyt (‘with finger on throat’), where each girl uses her thumb to vibrate her larynx while singing. A second local style is the narrow-range, two-part polyphony of girls’ songs from the Opojë district of Kosovo.

Throughout Kosovo links to Ottoman musical practices are evident in newer styles of rural music, and a few songs are sung to well-known Turkish tunes. The most popular men’s instruments in lowland areas have been long-necked lutes such as the two-string çifteli and the larger sharki, which generally has five to seven strings tuned in three courses. Families hosting weddings have often hired semi-professional ensembles of men who sing and play these two instruments, perhaps supplemented by violin, fyell (short end-blown flute) and accordion. These ensembles have customarily alternated long, formulaic historical songs with dance tunes and shorter love songs

For weddings and major religious holidays, families of Roma (Gypsy) musicians have also been contracted to perform. Roma women have sometimes been asked to sing, and perhaps also dance, for women’s wedding gatherings. More frequently, Roma men have been hired to play zurle (double-reed pipe) and lodër (or tupan, two-headed bass drum). In addition to dance melodies, zurle-lodër ensembles have performed medleys of listening music called nibet (from Arabic nawbah) for male wedding guests, as well as lively melodies for Turkish wrestling and other men’s athletic contests.

As in Albania, urban musicians in past decades incorporated features of Ottoman and western European music into their repertories. Songs from Kosovo as well as northern and central Albania have been performed frequently, accompanied by a small acoustic ensemble (çallgi) or its amplified counterpart. In the early 20th century, musicians in Gjakovë (Serbian: Đakovica) developed a distinctive repertory of songs, accompanied by an ensemble of violin, accordion, bugari (four-string lute), mandoll (mandola), 12-string sharki and def. In recent decades the most celebrated singers in this style have been Qamili i Vogël and Mazallom Mejzini.

In the decades following World War II, Albanians in newly socialist Yugoslavia gained considerable cultural autonomy. Priština, (Albanian: Prishtinë), the capital of Kosovo, became home to both an institute of Albanian studies (Instituti Albanoligjik) and the professional ensemble Shota, which showcased folk music and dance of all ethnic groups in the province. Amateur folklore ensembles participated in festivals throughout Yugoslavia, including the Gllogovc festival of village folklore held each year outside Priština. Many hours of folk music (muzika popullore) were broadcast by radio and television stations, while cassettes recorded in Priština were widely distributed in Albanian areas. Recordings of songs in rural style, accompanied by a large ensemble of more than one çifteli, sharki and def, plus other instruments, came to define a distinctive Kosovo sound that was also popular in Macedonia and Albania. As a strong sense of national identity increased among Yugoslav Albanians, singers popularized a number of highly evocative patriotic songs that served as rallying points for the expression of communal sentiments. By the mid-1980s, young Kosovo musicians were also recording albums of Western-influenced rock music.

Beginning in 1989, Kosovo’s autonomous status was rescinded, leading to the closing or dissolution of schools, institutes and other cultural organizations. Recordings of folk and popular music in Albanian were no longer produced or broadcast by the state media, leading to the development of a private recording industry funded largely by the Kosovar Albanian diaspora. As a result of these events, a number of Kosovo musicians have emigrated to western Europe or North America, where they now perform for large expatriate communities. Any re-emergence of a fully public Albanian musical life in Kosovo awaits a resolution of the political situation there.

Yugoslavia, §III: Traditional music

BIBLIOGRAPHY

and other resources

General texts

F. Kyhač: Južnoslovenske narodne popijevke, 5 vols [South-Slavic folk songs] (Zagreb, 1878–1941)

W. Wünsch: Die Geigentechnik der südslawischen Gusleren (Brno, 1934)

D.S. and L.S. Janković: Narodne igre [Folk dances] (Belgrade, 1934–64) [Eng. and Fr. summaries of i–vi]

P. Brömse: Flöten, Schalmeien und Sackpfeifen Südslawiens (Brno, 1937/R)

B. Bartók and A.B. Lord: Serbo-Croatian Folk Songs (New York, 1951)

M. Murko: Tragom srpsko-hrvatske narodne epike [On the trail of Serbo-Croatian folk epics] (Zagreb, 1951)

Z. Stanković: Narodne pesme u Krajini [Folk songs from the Krajina] (Belgrade, 1951)

M. Vasiljević: Narodne melodije iz Sandžaka [Folk melodies from the Sandžak] (Belgrade, 1953)

S.S. Mokranjac: Zapisi narodnih melodija [Notes on folk melodies] (Belgrade, 1966)

M. Vasiljević: Jugoslavske narodnie pesni iz Sandžaka, zapisan ot narodnogo pevca Hamdii Shahinpashicha [Yugoslav folk songs from the Sandzak, recorded by the folk singer Hamdii Sahinpasica] (Moscow, 1967)

T. Vujićić, ed.: Muzičke tradicije južnih Slovena u Madjarskoj [Traditional music of the South Slavs in Hungary] (Budapest, 1978)

A. Gojković: Narodni muzički instrumenti [Folk instruments] (Belgrade, 1989)

A. Gojković: Muzički instrumenti: mitovi i legende, symbolika i funkcija [Musical instruments: myths and legends, symbolism and function] (Belgrade, 1994)

S.S. Mokranjac: ‘Etnomuzikološki zapisi’ [Notes on ethnomusicology], Sabrana Dela, ix (Belgrade, 1996)

Serbia

T. Bušetić: Srpske narodne pesme i igre sa melodijama iz Levča [Serbian folk songs and dances with melodies from Levač] (Belgrade, 1902)

L. Kuba: Slovanstvo ve svyech zrevech, v: srpske iz Kraljevine [The Slavonic world in its songs, v: the Serbs of Kraljevina] (Prague, 1923)

V. Djordjević: Narodne melodije, južna Srbija [Folk melodies from southern Serbia] (Belgrade, 1928)

V. Djordjević: Narodne melodije, predratna Srbija [Folk melodies from pre-war Serbia] (Belgrade, 1931)

M. Vasiljević: Jugoslovenski muzicki folklor, i: Kosovo i Metohia [Yugoslav traditional music, i: Kosovo and Metohia] (Belgrade, 1950)

K. Manojlović: Narodne melodije iz istočne Srbije [Folk melodies from eastern Serbia] (Belgrade, 1953)

T. Onufrii: Naša pisnja: Zbornik narodnih i popularnih pisnjoh jugoslavjanskih Rusinox [Our songs: a collection of folk and popular songs from the South-Slavic Ruthenians] (Ruski Kerestur, 1953–4) [booklet]

T. Onufrii: Nasa pisnja: Zbornik narodnih i popularnih pisnjoh [Our songs: a collection of folk and popular songs] (Ruski Kerestur, 1955)

M. Vasiljević: Narodne melodije Leskovačkog kraja [Folk melodies from the Leskovac area] (Belgrade, 1960)

D. Dević: ‘Volksmusikinstrumente auf mittelalterischen Fresken in Serbien und Mazedonien’, Studia instrumentorum musicae popularis IV: Balatonalmádi 1973, 78–84

L. Miljković: Banja [Banja] (Knjaževac, 1978)

P. Vukosavljević: Gajde u Srbiji [Serbian Gajdas] (Belgrade, 1979)

D. Dević: ‘Typen serbischer Sackpfeifen’, Bürgerliche Musikkultur im 19. Jahrhundert in Salzburg: Salzburg 1980, 59–82

D. Golemović and O. Vasić: Narodne pesme i igre u okolini Bujanovca [Folk songs and dance from the vicinity of Bujanovac] (Belgrade, 1980)

D. Golemović and O. Vasić: Istraživanja, i: Valjevska Kolubara [Research, i: Valjevska Kolubara] (Valjevo, 1984)

O. Vasić, P. Vukaslavljević and J. Bjeladinović: Narodne melodije, igre i nošnje peštersko-sjeničke visoravni [Folk melodies, dances and costumes of the Pešter-Sjenica Plateau] (Belgrade, 1984)

P. Vukosavljević: Narodne melodije peštersko-sjeničke visoravni [Folk melodies of the Pešter-Sjeniča Plateau] (Belgrade, 1984)

L. Miljković: Mačva [Mačva] (Sabac, 1985)

D. Dević: Narodna muzika Dragačeva: oblici u razvoj [The folk music of Dragaćev: developing forms] (Belgrade, 1986)

L. Miljović: Donja Jasenica [Donja Jasenica] (Smederevska Palanka, 1986)

N. Fracile: Vokalni muzički folklor Srba i Rumuna u Vojvodini [Traditional vocal music of the Serbs and Romanians in Vojvodina] (Novi Sad, 1987)

D. Golemović: Narodna muzika Podrinja [The folk music of Podrinje] (Sarajevo, 1987)

D. Golemović and O. Vasić: Muzička tradicija i narodne igre Azbukovice [The musical tradition and folk dances from Azbukovica] (Ljubovija, 1989)

M. Kmeć: ‘Slovačke narodne pesme iz Stare Pazove’ [Slovak folk songs from Stara Pazova], Folklor u Vojvodini, iii (1989), 103–12

R. Petrović: Srpska narodna muzika [The folk music of Serbia] (Belgrade, 1989)

D. Dević: Narodna muzika Crnorečja u svetlosti etnogenetskih procesa [The folk music of Crnorečje in the light of ethnogenetic processes] (Belgrade, 1990)

A. Gojković: Proučavanje narodnih muzičkih instrumenata u Srbiji [The study of musical instruments in Serbia] (Belgrade, 1990)

D. Golemović: ‘Muzička tradicija Valjevske Kolubare’ [The musical tradition of Valjevska Kolubara], Istrazivanja odgoja i obrazovanja, vi (1990), 389–430

D. Golemović: Narodna muzika užičkog kraja [Regional folk music from Užiče] (Belgrade, 1990)

O. Vasić: Narodne igre i zabave u titovoužičkom kraju [Folk dances and celebrations from the area of Titovoužiče] (Belgrade, 1990)

S. Vukosavljev: Vojvodjanska tambura [The tanbur in Vojvodina] (Novi Sad, 1990)

E. Kiralj: Zbirka romskih (ciganskih) narodnih pesama iz Vojvodine [Collection of Romany (gypsy) folk songs from Vojvodina] (Budapest, 1992)

O. Vasić: Igračka tradicija Podrinja [Dance tradition of Podrinje] (Sarajevo, 1992)

J. Dokmanović: ‘Žensko obredno pevanje u srpskom Šopluku’ [Women’s religious singing in the Serbian Šopluko], Novi zvuk, no.1 (1993), 85–94

D. Golemović and O. Vasić: Takovo u igri i pesmi [Takovo in dance and song] (Gornji Milanovac, 1994)

M. Marković: ‘Etnomuzikologija u Srbija’ [Ethnomusicology in Serbia], Novi zvuk, no.3 (1994), 19–30

Montenagro

M. Ilijin: Narodne igre u Boku Kotorskoj [Folk dances from the Bay of Kotor] (Belgrade, 1953)

M. Vasiljević: Narodne melodije Crne Gore [Folk melodies from Montenegro] (Belgrade, 1965)

V. Šoć: Starocrnogorske narodne igre [Folk dances from old Montenegro] (Zagreb, 1984)

M. Vukičević-Zakić: Diple Stare Crne Gore [The diple in old Montenegro] (Belgrade, 1984)

L. Kuba: U Crnoj Gori [In Montenegro] (Podgorica, 1996)

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