Roli, funksioni dhe përdorimi i sharkisë në Kosovë: = The role, function and use of the sharki in Kosovo
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Partitur Buch |
| Sprache: | Albanian |
| Veröffentlicht: |
Prishtinë
Instituti Albanologjik
2020
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 308 Seiten Illustrationen, Porträts 24 cm |
| ISBN: | 9789951241144 |
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| 246 | 1 | 1 | |a The role, function and use of the sharki in Kosovo |
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Datensatz im Suchindex
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| adam_text | Përmbajtja HYRJE..........................................................................................................................5 KREUI TERMINOLOGJIA, ERGOLOGJIA DHE TEKNIKA E PUNIMIT TË SHARKISË..................................................................................... 9 HISTORIA DHE FUNKSIONII PËRDORIMIT TË SHARKISË...........................................................................................................13 ROLI DHE FUNKSIONI I SHARKISË NË TRADITËN MUZIKORE FOLKLORIKE SHQIPTARE...............................31 Sharkia si objekt estetik....................................... 32 Prejardhja origina dhe identiteti і sharkisë..................................................... 35 Sharkia, interpreti dhe publiku...........................................................................37 KREU II VEÇORITË MUZIKORE TË LUAJTjES NË SHARKI....................................... 39 Bashkëtingëllimet harmonike............................................................................. 44 Melografimet e këngëve........................................................................................45 Ah rreth e rreth baçes ju solla.............................................................................. 55
308 Albin SADÍKU Ali Pasha se n’bedena....................................................................................... 64 Avni trimi nga Shqipëria.................................................................................. 74 Bajram Curri-Kërsiti pushka............................................................................ 84 Bardhok Biba.................................................................................................... 101 E mirë boll po flokť e gata..............................................................................no Fryni era na u çel taraba..................................................................................121 Haj medet për ket Shipnije............................................... .............................128 Hajde ni bylbylo qo po k’nono në tavane..................................................... 138 Kunrat e zeza çorapat me vegza.................................................................... 151 Moj e mire gjyksin me pare............................................,.............................. 162 Moj Kosově ke rritë shumë trima.................................................................. 178 Moj Shypni mos thuj marova.........................................................................189 N’dërrasë të vekit kush po kane.....................................................................199 Në Prizrenin heroik........................................................... 208 N’oda t’burrav me sharki n’dorë....................................................................219 Çikë pash
bacën ku nťje rritë.......................................................................236 Çka i tha Cima Vuksan Lekës....................................................................... 244 Çka po m’rrin karshi karshi............................................................................271 Shumë asqer po çet pampori.........................................................................277 Foto...................................................................................................................281 Bibliografi........................................................................................................ 297 Roli, funksioni dhe përdorimi і sharkisë në Kosově - Rezyme.................299 The role, function and use of the sharki in Kosovo - Summary.............. 303
THE ROLE, FUNCTION AND USE OF THE SHARKI IN KOSOVO Summary The sharki, along with the çifteli, is one of the most popular and commonly found instrument in the Albanian musical folklore in Kosovo. Almost all gifted rhapsodists of Kosovar musical folklore play the sharki. We find it everywhere in Kosovo, in every village and town. Its role, function and importance in Albanian musical folklore is irreplaceable. Lyrical, historical, legendary songs, ballads, as well as all kinds of Alba nian folk songs are accompanied by the sharki. Its presence in Kosovo according to Professor Ramadan Sokoli and Professor Pirro Misos ex tends to approximately two hundred years. Throughout this two-century period, it has made its practical journey and has been passed down from generation to generation until the present days of the 21st century. Despite the lahuta and bagpipe that seem to count the last days of use, the sharki is still widely used in Albanian musical folklore. The fact that many young people are learning to play it, is an impressive and important indicator that its use is prevalent at a fairly large extent among the people. This is why the study of the sharki, especially from the point of view of an ethnomusicologist, is of special importance. Aware of this, I decided to approach this study on the basis of field research, using the rare written data and performances available on the YouTube for the melodic transcriptions. I have tried to elaborate this monographic study in a different scientific dimension, giving primary importance to its role and musical function in the
accompaniment of Albanian folk songs in Kosovo. To achieve this scientific goal, I had to transcribe - notate all the songs presented in this ethnomusical study from the beginning to the end, trying with the utmost seriousness of a researcher to capture and bring all the melodic - rhythmic elements and also the lyrics of songs accom-
304 Albin SADÍKU panied by the sharki, by the sharki and çifteli as well as by the sharki and prim. It must be admitted that the transcription of songs was a very difficult work that required serious professional preparation, but at the same time a lot of efforts, extraordinary patience, and of course a lot of time. I say this for many reasons such as: -During the transcription only the musical ear was used and some times the piano to check the transcriptions, using no other technical ins trument that makes an accurate measurement of the pitch of the sounds interpreted by the singer, by the sharki, by the sharki and çifteli and by the sharki and prim. - Sometimes the performances in the technical aspect were not at a good level, which caused many problems during transcription. In some cases, the text or melody, the rhythm, and so on, were not clearly audible. -One of the main difficulties during the transcription of folk songs accompanied by the sharki and by çifteli is the phenomenon that both the sharki and çifteli are non-tempered instruments, which means that the pitch of sound between intervals is not equal and same as in the classical artistic music. For example, the major or the minor of the sharki may sound higher or lower than on tempered instruments such as the piano. Therefore, the piano as the only instrument that helped me over the cour se of transcription often created confiision, uncertainty and problems. - Apart from the non-tempered pitch, another issue during the tran scription was the performance of songs with different tempos, sometimes faster and
sometimes slower in the same song. The biggest problem, ho wever, was the performance of songs in different rhythms. There were times when the rhythm was confhsing and gave the impression that the performer was wrong. In this regard, it should be noted that the biggest problem that arose during the transcription of the final cadences of the songs, in most cases was when the rhythm, tempo and melody changed. -Another problem during transcription was caused by the fact that the sharki has three sets of strings tuned in different ways that create di fferent harmonic resonances. The difficulty was increased when the shar ki was played along with the çifteli, which also has two strings tuned to the perfect quartet, or the prim which is tuned in the same way as the sharki. In spite of the difficulties mentioned above, the transcription was the only way to conduct such a study. The complete notation of the songs accompanied by the sharki, the sharki and çifteli or prim, allowed us to conduct professional melodic and rhythmic analysis of songs such as to-
ROLI, FUNKSIONI DHE PËRDORIMII S HARKI S Ë NË KOSOVĚ 305 ne rows, formed intervals, harmonious resonances of the sharki and çif teli or prim, melodic counterpoints, rhythmic units, melopoetic formstructure of songs, etc. At the end of the study, the following conclusions were drawn: - The sharki is used in almost every village and town in Kosovo. - The form, the appellation, the playing technique, the working technique, and the tuning is the same throughout Kosovo. - It accompanies songs, and it is played in the Oda, weddings, festivals and folk music concerts. - It is used as a solo and accompanying musical instrument. - It accompanies the lyrical, historical, emigration, bravery songs as well as melodies and dances of our folk tradition. - Commingles with the çifteli, prim, tambourine, violin, harmonica, guitar, etc. - Has a long period of use of about two centuries. - Along with the lahuta and the çifteli, the sharki is one of the most favorite and popular instruments in our popular musical tradition. - The tonal sequences of songs performed by the sharki are various: tetrachord, pentachord, sextachord, septachord, etc. - The harmonious resonances of the sharki in these songs are also different. They include within themselves intervals of the perfect, but also magnified quartet, the perfect quintet, the large and small third, the major and minor second, the large and small sextet, the major and minor septum, the perfect octaves, etc., such as: (c-f-a; c-f-g; c-f-h; c-f-b; c-f-c; c-f-d; c-f-es; etc.). -When accompanying songs, the rhapsodists most of the time play in all
the three groups of sharki strings thus creating various harmonic resonances, but there are cases, especially during singing, when the per former plays only in the lower group of the sharki strings accompanying the melody of the song in unison. - According to the scientific division, the sharki belongs to the group of popular musical instruments with vibrating chordal strings. Thus, the source of sound is the string stretched and tightened on the bo dy of the instrument set in motion by a pick moving up and down. - People use the sharki with three, four, five, six, up to twelve strings divided into three groups such as low, medium and high. The most com mon case that I encountered in the field in different parts of Kosovo, was the five-string sharki, in which case the lower and upper strings are in pairs, while the middle one is single.
306 Albin SADÍKU - We have several ways of tuning the sharki strings. The most po pular and at the same time most practical way of tuning in all the regions of Kosovo that I managed to visit is the following: - The first (lowest) group, which usually has two strings, is tuned according to player’s wish to a certain sound pitch in unison (usually in f, g a,). - The second group - the second (middle) string is tuned for a per fect (pure) quintet lower than the first group. - The third (highest) group is tuned for a large second lower than the first (even this group usually has two strings that sound in unison). - The ambitus of the sharki is not precisely defined, however, it reaches approximately one and a half octaves to two octaves. - The intervals heard in the sharki are not tempered. - Among the characteristic features of the sharki is the creation of various polyphonic systems. In the basic tuning (sol-do-fa) in which the melodic line is played mainly in the lower group of strings, on one sound the melodic line is heard, while the other two sounds accompany it in double iso in perfect parallel quartets. (5 Bayerische Staatsbibliothe München
|
| adam_txt |
Përmbajtja HYRJE.5 KREUI TERMINOLOGJIA, ERGOLOGJIA DHE TEKNIKA E PUNIMIT TË SHARKISË. 9 HISTORIA DHE FUNKSIONII PËRDORIMIT TË SHARKISË.13 ROLI DHE FUNKSIONI I SHARKISË NË TRADITËN MUZIKORE FOLKLORIKE SHQIPTARE.31 Sharkia si objekt estetik. 32 Prejardhja origina dhe identiteti і sharkisë. 35 Sharkia, interpreti dhe publiku.37 KREU II VEÇORITË MUZIKORE TË LUAJTjES NË SHARKI. 39 Bashkëtingëllimet harmonike. 44 Melografimet e këngëve.45 Ah rreth e rreth baçes ju solla. 55
308 Albin SADÍKU Ali Pasha se n’bedena. 64 Avni trimi nga Shqipëria. 74 Bajram Curri-Kërsiti pushka. 84 Bardhok Biba. 101 E mirë boll po flokť e gata.no Fryni era na u çel taraba.121 Haj medet për ket Shipnije. .128 Hajde ni bylbylo qo po k’nono në tavane. 138 Kunrat e zeza çorapat me vegza. 151 Moj e mire gjyksin me pare.,. 162 Moj Kosově ke rritë shumë trima. 178 Moj Shypni mos thuj marova.189 N’dërrasë të vekit kush po kane.199 Në Prizrenin heroik. 208 N’oda t’burrav me sharki n’dorë.219 Çikë pash
bacën ku nťje rritë.236 Çka i tha Cima Vuksan Lekës. 244 Çka po m’rrin karshi karshi.271 Shumë asqer po çet pampori.277 Foto.281 Bibliografi. 297 Roli, funksioni dhe përdorimi і sharkisë në Kosově - Rezyme.299 The role, function and use of the sharki in Kosovo - Summary. 303
THE ROLE, FUNCTION AND USE OF THE SHARKI IN KOSOVO Summary The sharki, along with the çifteli, is one of the most popular and commonly found instrument in the Albanian musical folklore in Kosovo. Almost all gifted rhapsodists of Kosovar musical folklore play the sharki. We find it everywhere in Kosovo, in every village and town. Its role, function and importance in Albanian musical folklore is irreplaceable. Lyrical, historical, legendary songs, ballads, as well as all kinds of Alba nian folk songs are accompanied by the sharki. Its presence in Kosovo according to Professor Ramadan Sokoli and Professor Pirro Misos ex tends to approximately two hundred years. Throughout this two-century period, it has made its practical journey and has been passed down from generation to generation until the present days of the 21st century. Despite the lahuta and bagpipe that seem to count the last days of use, the sharki is still widely used in Albanian musical folklore. The fact that many young people are learning to play it, is an impressive and important indicator that its use is prevalent at a fairly large extent among the people. This is why the study of the sharki, especially from the point of view of an ethnomusicologist, is of special importance. Aware of this, I decided to approach this study on the basis of field research, using the rare written data and performances available on the YouTube for the melodic transcriptions. I have tried to elaborate this monographic study in a different scientific dimension, giving primary importance to its role and musical function in the
accompaniment of Albanian folk songs in Kosovo. To achieve this scientific goal, I had to transcribe - notate all the songs presented in this ethnomusical study from the beginning to the end, trying with the utmost seriousness of a researcher to capture and bring all the melodic - rhythmic elements and also the lyrics of songs accom-
304 Albin SADÍKU panied by the sharki, by the sharki and çifteli as well as by the sharki and prim. It must be admitted that the transcription of songs was a very difficult work that required serious professional preparation, but at the same time a lot of efforts, extraordinary patience, and of course a lot of time. I say this for many reasons such as: -During the transcription only the musical ear was used and some times the piano to check the transcriptions, using no other technical ins trument that makes an accurate measurement of the pitch of the sounds interpreted by the singer, by the sharki, by the sharki and çifteli and by the sharki and prim. - Sometimes the performances in the technical aspect were not at a good level, which caused many problems during transcription. In some cases, the text or melody, the rhythm, and so on, were not clearly audible. -One of the main difficulties during the transcription of folk songs accompanied by the sharki and by çifteli is the phenomenon that both the sharki and çifteli are non-tempered instruments, which means that the pitch of sound between intervals is not equal and same as in the classical artistic music. For example, the major or the minor of the sharki may sound higher or lower than on tempered instruments such as the piano. Therefore, the piano as the only instrument that helped me over the cour se of transcription often created confiision, uncertainty and problems. - Apart from the non-tempered pitch, another issue during the tran scription was the performance of songs with different tempos, sometimes faster and
sometimes slower in the same song. The biggest problem, ho wever, was the performance of songs in different rhythms. There were times when the rhythm was confhsing and gave the impression that the performer was wrong. In this regard, it should be noted that the biggest problem that arose during the transcription of the final cadences of the songs, in most cases was when the rhythm, tempo and melody changed. -Another problem during transcription was caused by the fact that the sharki has three sets of strings tuned in different ways that create di fferent harmonic resonances. The difficulty was increased when the shar ki was played along with the çifteli, which also has two strings tuned to the perfect quartet, or the prim which is tuned in the same way as the sharki. In spite of the difficulties mentioned above, the transcription was the only way to conduct such a study. The complete notation of the songs accompanied by the sharki, the sharki and çifteli or prim, allowed us to conduct professional melodic and rhythmic analysis of songs such as to-
ROLI, FUNKSIONI DHE PËRDORIMII S HARKI S Ë NË KOSOVĚ 305 ne rows, formed intervals, harmonious resonances of the sharki and çif teli or prim, melodic counterpoints, rhythmic units, melopoetic formstructure of songs, etc. At the end of the study, the following conclusions were drawn: - The sharki is used in almost every village and town in Kosovo. - The form, the appellation, the playing technique, the working technique, and the tuning is the same throughout Kosovo. - It accompanies songs, and it is played in the Oda, weddings, festivals and folk music concerts. - It is used as a solo and accompanying musical instrument. - It accompanies the lyrical, historical, emigration, bravery songs as well as melodies and dances of our folk tradition. - Commingles with the çifteli, prim, tambourine, violin, harmonica, guitar, etc. - Has a long period of use of about two centuries. - Along with the lahuta and the çifteli, the sharki is one of the most favorite and popular instruments in our popular musical tradition. - The tonal sequences of songs performed by the sharki are various: tetrachord, pentachord, sextachord, septachord, etc. - The harmonious resonances of the sharki in these songs are also different. They include within themselves intervals of the perfect, but also magnified quartet, the perfect quintet, the large and small third, the major and minor second, the large and small sextet, the major and minor septum, the perfect octaves, etc., such as: (c-f-a; c-f-g; c-f-h; c-f-b; c-f-c; c-f-d; c-f-es; etc.). -When accompanying songs, the rhapsodists most of the time play in all
the three groups of sharki strings thus creating various harmonic resonances, but there are cases, especially during singing, when the per former plays only in the lower group of the sharki strings accompanying the melody of the song in unison. - According to the scientific division, the sharki belongs to the group of popular musical instruments with vibrating chordal strings. Thus, the source of sound is the string stretched and tightened on the bo dy of the instrument set in motion by a pick moving up and down. - People use the sharki with three, four, five, six, up to twelve strings divided into three groups such as low, medium and high. The most com mon case that I encountered in the field in different parts of Kosovo, was the five-string sharki, in which case the lower and upper strings are in pairs, while the middle one is single.
306 Albin SADÍKU - We have several ways of tuning the sharki strings. The most po pular and at the same time most practical way of tuning in all the regions of Kosovo that I managed to visit is the following: - The first (lowest) group, which usually has two strings, is tuned according to player’s wish to a certain sound pitch in unison (usually in f, g a,). - The second group - the second (middle) string is tuned for a per fect (pure) quintet lower than the first group. - The third (highest) group is tuned for a large second lower than the first (even this group usually has two strings that sound in unison). - The ambitus of the sharki is not precisely defined, however, it reaches approximately one and a half octaves to two octaves. - The intervals heard in the sharki are not tempered. - Among the characteristic features of the sharki is the creation of various polyphonic systems. In the basic tuning (sol-do-fa) in which the melodic line is played mainly in the lower group of strings, on one sound the melodic line is heard, while the other two sounds accompany it in double iso in perfect parallel quartets. (5 Bayerische Staatsbibliothe München |
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| format | Musical Score Book |
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| geographic | Kosovo (DE-588)4032571-4 gnd |
| geographic_facet | Kosovo |
| id | DE-604.BV047835769 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T19:10:26Z |
| indexdate | 2024-07-10T09:22:40Z |
| institution | BVB |
| isbn | 9789951241144 |
| language | Albanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033218946 |
| oclc_num | 1298747944 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 308 Seiten Illustrationen, Porträts 24 cm |
| psigel | BSB_NED_20220310 |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Instituti Albanologjik |
| record_format | marc |
| spelling | Sadiku, Albin 1974- (DE-588)1251779131 cmp Roli, funksioni dhe përdorimi i sharkisë në Kosovë = The role, function and use of the sharki in Kosovo Albin Sadiku The role, function and use of the sharki in Kosovo Prishtinë Instituti Albanologjik 2020 308 Seiten Illustrationen, Porträts 24 cm txt rdacontent ntm rdacontent n rdamedia nc rdacarrier Zusammenfassung in englischer Sprache Volksmusik (DE-588)4063854-6 gnd rswk-swf Albaner (DE-588)4068517-2 gnd rswk-swf Langhalslaute (DE-588)4237751-1 gnd rswk-swf Kosovo (DE-588)4032571-4 gnd rswk-swf Kosovo (DE-588)4032571-4 g Albaner (DE-588)4068517-2 s Langhalslaute (DE-588)4237751-1 s Volksmusik (DE-588)4063854-6 s DE-604 Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033218946&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033218946&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Sadiku, Albin 1974- Roli, funksioni dhe përdorimi i sharkisë në Kosovë = The role, function and use of the sharki in Kosovo Volksmusik (DE-588)4063854-6 gnd Albaner (DE-588)4068517-2 gnd Langhalslaute (DE-588)4237751-1 gnd |
| subject_GND | (DE-588)4063854-6 (DE-588)4068517-2 (DE-588)4237751-1 (DE-588)4032571-4 |
| title | Roli, funksioni dhe përdorimi i sharkisë në Kosovë = The role, function and use of the sharki in Kosovo |
| title_alt | The role, function and use of the sharki in Kosovo |
| title_auth | Roli, funksioni dhe përdorimi i sharkisë në Kosovë = The role, function and use of the sharki in Kosovo |
| title_exact_search | Roli, funksioni dhe përdorimi i sharkisë në Kosovë = The role, function and use of the sharki in Kosovo |
| title_exact_search_txtP | Roli, funksioni dhe përdorimi i sharkisë në Kosovë = The role, function and use of the sharki in Kosovo |
| title_full | Roli, funksioni dhe përdorimi i sharkisë në Kosovë = The role, function and use of the sharki in Kosovo Albin Sadiku |
| title_fullStr | Roli, funksioni dhe përdorimi i sharkisë në Kosovë = The role, function and use of the sharki in Kosovo Albin Sadiku |
| title_full_unstemmed | Roli, funksioni dhe përdorimi i sharkisë në Kosovë = The role, function and use of the sharki in Kosovo Albin Sadiku |
| title_short | Roli, funksioni dhe përdorimi i sharkisë në Kosovë |
| title_sort | roli funksioni dhe perdorimi i sharkise ne kosove the role function and use of the sharki in kosovo |
| title_sub | = The role, function and use of the sharki in Kosovo |
| topic | Volksmusik (DE-588)4063854-6 gnd Albaner (DE-588)4068517-2 gnd Langhalslaute (DE-588)4237751-1 gnd |
| topic_facet | Volksmusik Albaner Langhalslaute Kosovo |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033218946&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=033218946&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT sadikualbin rolifunksionidheperdorimiisharkisenekosovetherolefunctionanduseofthesharkiinkosovo AT sadikualbin therolefunctionanduseofthesharkiinkosovo |