Tradita muzikore në Gjakovë: Vëllimi I dhe II
Gespeichert in:
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| Format: | Buch |
| Sprache: | Albanian |
| Veröffentlicht: |
Prishtinë
Ura
2014
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| Online-Zugang: | Inhaltsverzeichnis Abstract Literaturverzeichnis |
| Beschreibung: | Enthält: "Vëllimi I dhe II me 2 CD" |
| Beschreibung: | 537 Seiten Illustrationen, Faksimiles, Notenbeispiele 2 CD-R (12 cm, 41:97 Min., 42:33 Min.) |
| ISBN: | 9789951512749 9789951512732 |
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Datensatz im Suchindex
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| adam_text | Pasqyra e lëndës 3
Parathënie 5
VËLLIMI I PARÉ - MŪZIKA NË GJAKOVË - Hyrje 15
Kreu I - Vështrim i përgjithshëm 17
1.1. Themelimi i qytetit 19
1.2. Pasthemelimi i qytetit 31
1.3. Marrëdhëniet dhe lëvizjet qytet-fshat-qytet 39
1.4. Mūzika paragjakovare 52
Kreu II ֊ Mūzika në Gjakovë 59
2.1 .Formacionet muzikore 61
2.2.Stili muzikor gjakovar dhe ndikimi i stileve të tjera
në atë gjakovar 91
2.3. Këngët jogjakovare “të gjakovarizuara” 113
2.4. Gjinitë modale/tonale dhe makamet 119
2.5. Mūzika tradicionale qytetare në Gjakovë -
Tipare dalluese 127
2.6. Këngët pa autorēsi 131
Kreu III - Gjinitë dhe llojet folklorike të
këngës qytetare gjakovare 135
3.1 .Këngët liriķe të dashurisë 138
3.2. Këngët ashikishte - këngët e çunave dhe dylberëve 145
3.3. Këngët e dasmës 151
3 AKëngët e mërgimit 155
3.5. Këngët fetare-ilahitë në Gjakovë 158
3.6. Këngët historike 178
3.7. Baladat 185
3.8. Këngët e djepit 191
3.9. Këngët e përvaj shme 193
3
VËLLIMI 1 DYTË -
ВARTËSIT Е TRADITËS MUZIKORE GJAKOVARE 195
Bartësit dhe krijuesit e traditës muzikore gjakovare 197
Foto dokumetare dhe dokumente të ndryshme 500
Summary 527
Bibliografia 532
Ky libër shoqërohet nga dy CD.
4
Tradita muzikore ne Gjakove - Vellimi II
SUMMARY
The scope of the study of the early Gjakova’s urban song crossed with
difficulties, as the data are very fragmentary, whereas written documents
belongs only to the new period, respectively XX century. Indeed, in the
two songs lyrics there are two written dates. The first, the oldest, is a song
in which the lyrics are literally marked “ The song from the year with
1770. This song is titled “Rrehi teli pgr spahi” (“A call to Spahis)” and
belongs to the Spahis time of rule. The second song is called “Bash te
Teqja e Shejh Sahitit” (At the Shejh Sahiti’s Tekke). Above the first verse
(the song does not have a separate title), it is marked “1850 year“ Below,
in the bottom of the page is this note “Hagji Perolli, gjakovas” that should
have the meaning “Hagji Perolli, a gjakovar, one from Gjakova”. However,
with these two songs, although not categorically proved that the tradition
of the town of Gjakova does not start within these years, but neither it can
be denied, we can say that, if such facts are true , then we can freely say
that the tradition of Gjakova’s urban song is very old. As old as the cities
with much more tradition age would be jealous. However, it remains to
be further investigated: the origin of these songs, the countries or towns
where they might have been sung (except the town of Gjakova) and then
to have a more accurate conclusion. Currently, these presented data speak
much, and all material has a connection in chronological terms. It can be
also said that it has been managed gathering of plenty of material in one
single place, and this speaks to a very developed musical tradition of urban
singing and that is why, generally, we can say that various readers and
scholars of these songs, have in front of them a rich and quite satisfactory
material for studying or analyzing the stuff of this nature.
A very complex nature of research in the field, in the family archives
and in the archives of various towns, in which, being realistic, there is little
or no information on the musical tradition of the town of Gjakova, then
of previous publications without scientific basis and criteria and primarily
based on oral narratives and stories transmitted from mouth to mouth, from
generation to generation, made this paper, no matter of how good quality
it is, to have its disadvantages that can be eliminated only after bringing to
light new evidence.
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Obviously, this paper represents only a beginning of the completion of a
tradition that is really to be admired as well as interesting. Starting from
the first musician that is officially known as Hamez Kovaçi up to the last
one, they constitute a period of two centuries. In these 200 years associated
with music, too much things have changed, and of course, it is impossible
to include all of them in a single book. But what remains to be done?
I believe that this work satisfie a significant need for illuminating Gjakova’s
urban song. As a first attempt it serves to confess a reality that has existed,
but for which there was little information. I believe that musicians of
Gjakova, but also other citizens, different readers and researchers can
learn many new things regarding songwriters, song lyrics, their melodies,
different singers, the effects of other towns in the Gjakova’s tradition and
many other interesting information.
I can say without fear that, the evidence presented, the new facts
that are published for the first time, or even oral data, will enrich the artistic
baggage of many singers, instrumentalists and, why not, also of the citizens
and fans of Gjakova’s urban song.
Therefore, regardless of all the difficulties, which we were forced to
overcome in preparing this paper, we can say that it is already an important
foundation for ongoing treatises on Gjakova’s urban song.
This in no way means that researches in this field of research should stop
because they are completed!? No way. Rather, each type of folkloric
songs, necessarily requires more detailed and deeper research and why not
outside the Albanian territories. Since the number of each type of folkloric
is enormous, the inclusion or comparison of songs has been done by the
opportunities offered by certain time and moment.
A deeper research in particular require cradle songs which are
gathered very little in Gjakova area, as well as dances that are specific,
although not numerous. This applies in particular to the sung dances.
In conclusion, we can say that these two volumes, contained in a whole,
present the outcome of a research initiative made years ago while other
research results are expected to further come to light some time later.
At the same time, the fact that Gjakova’s typical traditional urban
songs fundament is very stable, very significative but also powerful for
oncoming researchers as well as a reference point for cultural tourism as
this heritage is actually the spiritual legacy of the citizens of Gjakova, but
not only of them, pushes us to investigate other cases of borrowings of
songs from town to town or from other countries, especially from Turkish
folkloric songs which, as evidenced by the great scholar from Shkodra
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Tradita muzikore ne Gjakove - Vellimi II
Kol Gurashi, after being processed in musical and textual terms, they were
introduced to Shkodra’s Heng from where they have passed to Gjakova’s
Heng. This very valuable legacy should be researched by comparing the
songs, should be cultivated and studied to bring to light the truth and origin
of these songs.
“If you have lost any song, seek it in Shkodra, you can find it there”,
said in an occasion the well known lyrical singer Bashkim Pafuku He is
right when he says it, but Gjakova is the place where, even more than in
Shkodra, you can find songs that have already almost been completely
forgotten, even in Shkodra. This fact can be proved easily if we hear the
“gjakovarized” songs, or songs that are known in Kosovo and wider, as
the old Gjakova’s songs or “asik” songs. Based on many facts, evidence
and affirmations, it can be said that Gjakova has preserved, cultivated and
interpreted non-Gjakova’s songs, way better than the musicians and singers
of Berati, Shkodra or Elbasani.
Almost two centuries has passed since the town of Gjakova has
institutionalized the musical modality, initially by “taifs” and later by
various formations. Commercial and religious links made songs spread:
those of Gjakova to be sent to other Albanian cities and those of Shkodra,
Elbasani, and Tirana to be brought to Gjakova.
Thus, since the second half of the XIX century, there is a presence
of almost all types of folkloric songs, including religious ones in the town
of Gjakova. This was achieved primarily by very important personalities
of Gjakova’s “Heng” who have played a key role in developing Heng
and urban music in general. In this context it is necessary to mention the
prominent personalities as Hamez Kova9i, Dahim Patoku, Ymer Riza,
Qamili i Vogel, Mazllum Mejzini and Zekri Carkaxhiu. Hamez Kova^i for
establishing the first taif, Ymer Riza for setting the basic rules on which
all, not only Gjakova’s music and urban songs, were based and developed.
Dahim Patoku, Qamili Vogel, Mazllum Mejzini for creating typical
Gjakova’s song, Zekri Qarkaxhiu for “ revolution “ made by establishing a
new formation, unprecedented at the time in Gjakova, or other creators of
new generations as Masar Peja, Sabah Bytyqi, Frrok Sell, Nagib Bytyqi,
etc., who also have created a considerable number of songs, ranging from
those with partisan motives, love songs, wedding songs , etc. Here, one
should not forget the enormous contribution of other instrumentalists and
529
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singers of different generations, who, however, have their unquestionable
merits in fulfillment of this tradition, I think, desirous for any city.
Thanks to these personalities, Gjakova today boasts for its typical
songs, completely different, as to the manner of construction and special
sound, and less influenced by the Orient, compared to musical tradition
of other towns, including Shkodra too. When talking about the impact of
the Orient, one can not exclude any song, however, that may have oriental
hues, such as almost all Dahim Patoku’s songs, Ymer Riza’s “O zambak,
zambak i bardhe” (“ Oh Lily, white lily “), Beqir Efendi Baraku’s “Kenga e
Sarajeves” (“Song of Sarajevo “), Qamili i Vogel’s, “Jabanxhi une qellova”
(“I was an emigrant”), Sabah Bytyqi’s , “Do t’ia marr nji ashikishte” (“I
will sing an asik song”), Mazllum Mejzini’s “Pse s’mendova” (Per here
t’pare dashni fillova)” (“ Why I didn’t think”), (“I began my first love”),
“Me ty vashe do t’za dashni” (I will fall in love with you girl)”. Generally,
the songs of Gjakova’s creators are distinguished for their pure sound, and
perhaps their slightly greater authenticity compared to Tirana and Elbasani’s
song for instance, where many songs, besides the Oriental influence, in fact
are ilahis (psalms), adapted for ordinary singing in “Aheng” or wedding
party.
Not pretending to “dye” a tradition or a city, it should be noted,
however, that Gjakova’s song and Shkodra’s song have been different and
have been more refrained when it comes to Turkish influence. That, can
be also proved by the fact that the Ottoman Empire, despite the enormous
power that it had from the XIV century until the early XX century, could
not nor has managed to leave traces of the Turkish language in the town of
Gjakova, and in this way, it remains the only Albanian city that disobeyed
this 500 years rule and it has saved its language.
Also, the circulation and interpretation of songs with emphasized
oriental overtones, Ottoman and later Turkish, are due to songs borrowings
from Shkodra, Tirana or Elbasani by Gjakova’s singers, such as “Mori
dallndyshe” (“Hey swallows”) ( Shkodra ), “Dashuri nje here me gezove”
( “Love, you delighted me once”) ( Elbasan) “Sillu, sillu bote e vjeter”
(“Turn around you old world”) ( Tirana ) etc. What surprises the most is
the fact that very few of Gjakova’s songs have been borrowed, accepted or
generally penetrated into other cities. This happened precisely for the only
reason that Gjakova’s songs have been treated and regarded as “ different “
from the usual songs, while Shkodra as a city with a much older and richer
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Tradita muzikore në Gjakovë - Vëllimi II
tradition, has taken some songs that mostly had nothing to do with oriental
influences. This is especially counts for serenades “Si dukat i vogèl je”
(“You are like a small ducat) “Zambaku i bardhè, çelé e lúlon”, (“White
lily is blooming”) by Bekir Baraku or the song “Çun té bukur t’bani nana”
(“You mother bom you a beautiful lad”) by an unknown author.
Gjakova’s song, created, developed and cultivated initially in
Ahengs and “Rende”498 was institutionalized in the second half of the
XX century, and this fact “has cemented” the preservation of Shkodra’s
Heng songs, but also cultivating and enriching it with new songs created
in the same spirit. Among all types of songs, most frequently is the type
of love lyrical folkloric songs, especially the group of so-called “lads and
dilbers songs “ but there are also few songs of historical epic and wedding
type. Being in almost all periods an area where very important historical
event, including many battles have been developed, the town of Gjakova
had many personalities participating in these events and battles, to which
tens of songs were dedicated. Moreover, to these personalities, songs were
dedicated even by authors outside Gjakova. Not pretending to overestimate
the importance of this town, there is an opinion that Gjakova as a town, as
a geographical area, as a mentality, created and preserved for centuries,
has indicated a very positive reference point for anti-ottoman resistance
and, why not, prevailing towards Western civilization. In this context, one
thing is certain. Gjakova was, is and will remain non-Oriental and very pro-
Western town.
498 A type of old time party where all participants was men’s (without woman’s) and
where participants sing, joke and plays different games. The participants was usually
handcraft masters like organizer’s. In those party’s, was participate and the best musicians
of the time.
531
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|
| any_adam_object | 1 |
| author | Arllati, Behar 1964- |
| author_GND | (DE-588)1136911626 |
| author_facet | Arllati, Behar 1964- |
| author_role | aut |
| author_sort | Arllati, Behar 1964- |
| author_variant | b a ba |
| building | Verbundindex |
| bvnumber | BV044396123 |
| contents | Vëllimi I: Muzika në Gjakovë Vëllimi II: Bartësit e traditës muzikore gjakovare |
| ctrlnum | (OCoLC)1002280670 (DE-599)BVBBV044396123 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| id | DE-604.BV044396123 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:51:49Z |
| institution | BVB |
| isbn | 9789951512749 9789951512732 |
| language | Albanian |
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| physical | 537 Seiten Illustrationen, Faksimiles, Notenbeispiele 2 CD-R (12 cm, 41:97 Min., 42:33 Min.) |
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| spelling | Arllati, Behar 1964- Verfasser (DE-588)1136911626 aut Tradita muzikore në Gjakovë Vëllimi I dhe II Behar Arllati Prishtinë Ura 2014 537 Seiten Illustrationen, Faksimiles, Notenbeispiele 2 CD-R (12 cm, 41:97 Min., 42:33 Min.) txt rdacontent n rdamedia nc rdacarrier Enthält: "Vëllimi I dhe II me 2 CD" Vëllimi I: Muzika në Gjakovë Vëllimi II: Bartësit e traditës muzikore gjakovare Zusammenfassung in englischer Sprache Geschichte gnd rswk-swf Volksmusik (DE-588)4063854-6 gnd rswk-swf Albanisch (DE-588)4112482-0 gnd rswk-swf Volkssänger (DE-588)4188545-4 gnd rswk-swf Albaner (DE-588)4068517-2 gnd rswk-swf Đakovica (DE-588)4846061-8 gnd rswk-swf (DE-588)4066724-8 Wörterbuch gnd-content Đakovica (DE-588)4846061-8 g Albanisch (DE-588)4112482-0 s Volksmusik (DE-588)4063854-6 s Albaner (DE-588)4068517-2 s Volkssänger (DE-588)4188545-4 s Geschichte z DE-604 Digitalisierung BSB Muenchen 24 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029798268&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029798268&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029798268&sequence=000004&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis |
| spellingShingle | Arllati, Behar 1964- Tradita muzikore në Gjakovë Vëllimi I dhe II Vëllimi I: Muzika në Gjakovë Vëllimi II: Bartësit e traditës muzikore gjakovare Volksmusik (DE-588)4063854-6 gnd Albanisch (DE-588)4112482-0 gnd Volkssänger (DE-588)4188545-4 gnd Albaner (DE-588)4068517-2 gnd |
| subject_GND | (DE-588)4063854-6 (DE-588)4112482-0 (DE-588)4188545-4 (DE-588)4068517-2 (DE-588)4846061-8 (DE-588)4066724-8 |
| title | Tradita muzikore në Gjakovë Vëllimi I dhe II |
| title_alt | Vëllimi I: Muzika në Gjakovë Vëllimi II: Bartësit e traditës muzikore gjakovare |
| title_auth | Tradita muzikore në Gjakovë Vëllimi I dhe II |
| title_exact_search | Tradita muzikore në Gjakovë Vëllimi I dhe II |
| title_full | Tradita muzikore në Gjakovë Vëllimi I dhe II Behar Arllati |
| title_fullStr | Tradita muzikore në Gjakovë Vëllimi I dhe II Behar Arllati |
| title_full_unstemmed | Tradita muzikore në Gjakovë Vëllimi I dhe II Behar Arllati |
| title_short | Tradita muzikore në Gjakovë |
| title_sort | tradita muzikore ne gjakove vellimi i dhe ii |
| title_sub | Vëllimi I dhe II |
| topic | Volksmusik (DE-588)4063854-6 gnd Albanisch (DE-588)4112482-0 gnd Volkssänger (DE-588)4188545-4 gnd Albaner (DE-588)4068517-2 gnd |
| topic_facet | Volksmusik Albanisch Volkssänger Albaner Đakovica Wörterbuch |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029798268&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029798268&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029798268&sequence=000004&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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