For most musicians and musicologists in the West, traditional Albanian music remains an obscure subject, even though Albania has produced a monumental cultural and corresponding musical heritage. This book examines the distinct musical culture of southeastern Europe, both monophonic and polyphonic, by delineating its four main musical dialects: Gheg, Tosk, Lab and Urban. The origins, fundamental features, musical styles and genres of the four dialects are discussed.
Additional topics covered include an historical and demographic analysis of Albania, the history of Albanian ethnomusicology and the various classifications in Albanian music. Relying heavily on field research and recordings, this text introduces traditional Albanian music to both ethnomusicologists and curious readers.

Spiro J. Shetuni is an associate professor and authority control librarian at Winthrop University in Rock Hill, South Carolina.

Spiro J. Shetuni
Format: softcover (7 x 10)
Pages: 213
Bibliographic Info: musical notation and lyrics, map, notes, bibliography, index
Copyright Date: 2011
pISBN: 978-0-7864-6449-4
eISBN: 978-0-7864-8630-4
Imprint: McFarland

Acknowledgments      vi

Introduction      1

General Classifications      7

PART I

1. Albania: A Historical, Ethnic, and Demographic Synopsis      11

2. History of Albanian Ethnomusicology      16

3. Classification in Albanian Traditional Music      22

4. Gheg Musical Dialect      25

5. Polyphonic Traditional Music: Origins and General Features      33

6. Tosk Musical Dialect      37

7. Lab Musical Dialect      42

8. Urban Musical Dialect      51

PART II

Lyrics      61

Gheg Musical Dialect: Gheg Songs      61

Tosk Musical Dialect: Tosk Songs      68

Lab Musical Dialect: Lab Songs      73

Urban Musical Dialect: Urban Songs      81

Musical Notations      88

Typical Modes      88

Typical Songs      93

Notes      197

Bibliography      199

Index      203

“comprehensive yet easily understandable…highest praise and recommendation. No other book or article in English comes close to capturing the nuances of traditional Albanian music while at the same time conveying an authoritative command of Western music theory”—ARSC Journal; “a delightful gain for all scholars who study Albanian and also Balkan traditional vocal music…most valuable…an important study that presents the diversity of Albania’s traditional music”—Fontes Artis Musicae.