Музыка Албании: Традиции и современность

Music coming from the country of Albania

The music of Albania is associated with the country of Albania and Albanian communities. Music has a long tradition in the country and is known for its regional diversity, from the Ghegs in the North to the Tosks in the South. It is an integral part of the national identity, strongly influenced by the country's long and turbulent history, Polyphonic singing and song forms are primarily found in South Albania, while in the North they are predominantly monophonic. Albanian iso polyphony has been declared an UNESCO Intangible Cultural Heritage of Humanity. The Gjirokastër National Folklore Festival, held every five years in Gjirokastër, is an important venue exhibiting traditional Albanian music. Albanian music extends to ancient Illyria and Ancient Greece, with influences from the Byzantine and Ottoman Empire. The Middle Ages in Albania included choral music and traditional music. Internationally renowned contemporary musicians of Albanian origin from Albania and Albanian diaspora include Action Bronson, Elvana Gjata, Ava Max, Bebe Rexha, Dua Lipa, Era Istrefi, Albert Stanaj, Dafina Zeqiri, Gashi, Ermal Meta, Enca, Elhaida Dani, Noizy, Unikkatil, and Rita Ora. In the field of classical music, several Albanian sopranos and tenors have gained international recognition including Rame Lahaj, Inva Mula, Marie Kraja, Saimir Pirgu and Ermonela Jaho, and the composer Vasil Tole, a member of the Academy of Sciences of Albania.

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.

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 honour, 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. The ethnic Greek inhabitants of the country's southern parts, have a music very similar to the music of Epirus in Greece.

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. 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. 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.

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.

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 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.

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. 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.