Këndimi i femrave në dasmën shqiptare në Bujanoc dhe në Preshevë: = The singing of women at the Albanian wedding in Bujanoc and Presheva
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Albanian |
| Veröffentlicht: |
Prishtinë
Instituti Albanologjik
2023
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract Literaturverzeichnis |
| Beschreibung: | 284 Seiten Notenbeispiele 24 cm |
| ISBN: | 9789951241885 |
Internformat
MARC
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| 246 | 1 | 1 | |a The singing of women at the Albanian wedding in Bujanoc and Presheva |
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Datensatz im Suchindex
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| adam_text |
Përmbajtja HYRJE. 5 KREU I Ceremoniali i dasmës në rrethinën e Bujanocit dhe të Preshevës.9 KREU II Përmbajtja tematike e këngëve të dasmës në rrethinën e Bujanocit dhe të Preshevës. 19 KREU III Analizë meloritmike dhe strukturore e këngëve të dasmës. 61 Tekstet e këngëve të dasmës.231 KREU IV Ngjashmëritë ndërmjet melodive të këngëve të dasmës.257 Mënyra e formimit të vargut melopoetik. 260 Përfundime. 273 Përmbajtja tematike e këngëve të dasmës. 273 Karakteristikat meloritmike dhe strukturore të këngëve të dasmës. 275 Rezyme në gjuhën angleze. 277 Subjektet nga terreni. 281 Bibliografîa. 283
THE SINGING OF WOMEN AT THE ALBANIAN WEDDING IN BUJANOC AND PRESHEVA Summary Conclusions Thematic content of wedding songs Based on the analysis of the contents of the wedding songs collected in the field, it is obvious that their theme is closely related to the ceremony from the beginning to the end. Some of these songs specifically focus on the pre-wedding process, namely on the engagement. As far as engagement songs are concerned, the son and his fiancée take a central position, and through songs they are congratulated and wishes are expressed for the bride to be beautiful, honest, and hardworking. Certain engagement songs openly express joy, pride, and the family's reputation, inferring that they are a respected and valued family, very much liked by the others, and as such making it easy for their sons to get engaged. Many engagement songs are dedicated to the matchmaker. Through these songs, the matchmaker is so metimes praised and congratulated with warm and kind words, while at other times they are ridiculed and criticized with teasing words and tones, and in extreme cases, they are cursed with serious words. Criticisms of the matchmaker are not uncommon in these songs, as they highlight every negative aspect of their character, such as selfishness, unmanly behavior, incompetence in their role, inappropriate attire, and lot many negative traits of his personality. Singers are not always critics of the matchmaker, at times they act as promising messengers, but anyway these promises come with conditions.
278 Albin SADIKU Wedding songs, predominantly performed by female artists in the groom 's house are numerous and diverse as far as their thematic content in the surroundings of Bujanoc and Presheva are concerned. Usually, their thematic content is closely related to all stages of the wedding ceremony, such as: opening of the wedding, cutting the wood, sifting the flour, leave ning the dough, the arrival of the guests, the arrival of the bride, the bride's dressing, and styling until the end of the wedding. Above all, in the wed ding songs, in the groom's house, the joy and happiness of the family is described, with special emphasis on the happiness of the father and mother whose son is getting married. These songs also express emancipation of the society and emancipation of the Albanian women. Moreover, these songs depict love and trust shared between two young people. In conclusion, we can say that in the wedding ceremony, various themed songs are danced about and sung all the time to entertain the wed ding guests, but not only that, through the song, advice, suggestions, con gratulations, etc. are also given, but obviously the central place in this cere mony is occupied by the songs in which the beauty of the bride and the manly features of the groom are described. The entire wedding ceremony in the girl's house is accompanied by songs and dances from the beginning to the end. The girl's family, too, goes to great lengths to ensure that this event is organized to the best of their abilities, by inviting family members, friends, well-wishing people, and neighbors to
honor their daughter who has spent a significant portion of her life in that house, therefore, her parents try to organize this event to the best of their ability possible. Once the wedding begins, the female members of the family, including daughters, sisters, cousins, and aunts, all those sen sible and passionate about arts, gather around and initiate their singing. These songs showcase a wide range of motifs, whose content is directly related to the wedding ceremony, with the focal point being the girl who is becoming the bride. On the very first day of her wedding, she is expected to start crying as per the customs, traditions, and expectations. Afterwards, during the entire wedding party, through songs, the bri de-to-be is given guidance and advice on life after marriage, while nos talgically recalling her childhood days. To foster a joyful ambiance, she is occasionally playfully teased by mocking and criticizing her husband's family, his village, her mother-in-law, her father-in-law, etc.
KËNDIMI I FEMRAVE NË DASMËN SHQIPTARE NË BUJANOC DHE NË PRESHEVË 279 The melo-rhythmic and structural characteristics of wedding songs Certainly, melody is one of the most significant elements of a folk song, encompassing a wide range of elements which are integral part of its structure. Tonal order - Wedding songs are mostly performed in a diatonic tonal sequence, built in with consecutive sounds within interval of a major second and a minor second. These tonal sequences are created by untam pered sounds, which is a common feature in almost all Albanian popular music creation and wider. Seldom, wedding songs are sung in chromatic tonal sequences that incorporate alternating sounds within their structure. However, the following modal chordal sequences are predominant: Trichordal Tetrachordal Pentachordal Hexachordal, etc Tonal sequences in which most of these songs are sung have the fo llowing interval order: The distance between the 1st and 2nd degrees is a major second, IIIII=2v, III-IV=2m, IV-V=2m, V-VI=2v, VI-VII=2m, VII-I =2 m. As you can see from this scheme, the tonal chordal sequence is built in mainly from the interval of the major second except for the interval between II-III and V-VI degrees, which is the minor second. The largest number of the wedding songs, collected in the field, are sung in tonal chordal sequences, with the interval order noted above. A group of the wedding songs are sung in the tonal sequence which includes within itself the interval of the enlarged second between the sound of the second and third degrees of the tonal sequence. The tonal
sequence concerned has this specific order of the sounds: 1-11=2 v; II-III=2zm; III-IV=2 v; IV-V=2m; V-VI=2v; VI-VII=2m; VII-I=2m. In most cases, the song begins and ends in the same tonal sequence without any alterations. It is highly uncommon to start a song in one of the modes and end it in another. The melodic progression of these songs ty-
280 Albin SADIKU pically commences with the first-degree sound (finalis), the third degree, specifically the minor third, the fourth degree, and occasionally the fifth degree. The melody is built in through consecutive sounds, without signi ficant interval leaps. We come across dances mainly at the beginning of the song, and precisely between the finalis sound, if the song starts with it, and with the second sound of the melo-verse. The interval of the minor third, the fourth, are predominantly domineering, followed by the perfect fifth less dominee ring. Naturally, we do not always encounter the mentioned interval dances solely at the beginning of the song; at times, they can also be found in the middle and at the end. The melody of the wedding songs mainly has a de scending character. The common characteristic among all these songs is the conclusion of the melo-verse on the first degree (the finalis sound), which is achieved through the second-degree sound or even the subfinalis sound. Other instances of cadence in these songs are rarely observed. An exception to the above occurs when the melo-poetic verse is recurring with an exact replication of both text and melody. Typically, the initial rendition of the sung verse concludes with the second-degree sound, occasionally with the third degree or subfinalis sound, while the repetition concludes with the finalis sound. The ambitus of these songs ranges from the minor third to the minor sixth, and in very rare instances, to the pure octave. The rhythm is also one of the significant elements in this creative expression. It
manifests in various forms and shapes, with predominant me ters such as 4/4, 7/8, and 9/8, giving rise to forming of diverse rhythmic units. The structure - Wedding songs have a diverse structure. Two-part forms with musical scheme: ab, and textual-poetic scheme: ab being prevalent. There is also a one-part form with a musical scheme a and a tex tual scheme: a that follows. Although less common, there can be found other structures, such as: (abca-abcd); (aabb-abcd); (abcb-abcd); (abcdd 1 abbcd), and so on. Wedding songs in the Presheva Valley as an integral place of our cultural heritage display characteristic phenomena of multiple value and significance for all the scientific fields concerned: ethnomusicology, musi cology, literature, sociology, psychology, and so on.
Bibliografia Agim Bido, Arti popullor në veshje e tekstile, ASHSH, Tiranë, 1991. Arthur Shopenhauer, Metafizika e dashurisë, PHOENIX, 1999. Alfred Uçi, Estetika e folklorit, ASHSH, Tiranë, 2007. Besëlidhja e re, Don Simon Filipaj, Drita, Zagreb-Ferizaj, 1980. Dasma shqiptare në Preshevë dhe rrethinë dikur dhe sot”, Preshevë, 2012. Engjëll Berisha, Kultura muzikore, Libri shkollor, Prishtinë, 1998. Fatmir Hysi, Estetikë në tri pamje, UEGEN, Tiranë, 2005. Fritz Bose, Etnomuzikologija, Universitet Umetnosti, Beograd, 1989. Françoise Dolto, Etapat kryesore të fëmijërisë, TOENA, Tiranë. Ferdinando de Napoli, Seksologjia, LOGORECI, Tiranë, 1998. Fjalor i shqipes së sotme, ASHSH, Toena, Tiranë, 2002. Hyppolite-Adolph Taine , Filozofîa e artit, ideart, Tiranë, 2004. Idriz Ajeti, “Rreth disa veçorive të të folmeve të shqiptarëve të rrethit të Preshevës dhe Bujanocit”, Gjurmime albanologjike, 1969, nr. 2, f. 37-61. Imanuel Kanti, Mbi të bukurën dhe të madhërishmen, RILINDJA, Pri shtinë, 1990. Ismail Kadare, Autobiografia e popullit në vargje, Onufri, Tiranë, 2002. Kanuni i Lekë Dukagjinit, Shtjefen Gjeqovi, Kuvendi, 2001. Këngë dasme I”, IAP, Prishtinë, 1980.
284 Albin SADIKU Këngë dashurie II, IAP, Rrustem Berisha, Myzafere Mustafa, Prishtinë, 1987. Këngë të ndryshme popullore, IAP, Prishtinë, 1982. Këngë dasme II, LAP, Prishtinë, 1984. Kurani, përkthim me komentim në gjuhën shqipe, H. Sherif Ahmeti, Prishtinë, 1987. Lorenc Antoni, “Folklori muzikor shqiptar”, bleni IV, RILINDJA, Prishtinë, 1970. Mark Tirta, Etnologjia e shqiptarëve, ASHSH, Tiranë, 2006. Mark Tirta, Mitologjia ndër shqiptarë, ASHSH, Tiranë, 2004. Mehmet Rukiqi, “Këngë dasme I, IAP, Prishtinë, 2009. Mehmet Rukiqi, “Këngë dasme II. LAP, Prishtinë, 2009. Μ. Ilin, E. Segal, Si u ba njeriu viga, Mustafa Bakija, Prishtinë, 1952. Ndoc Papleka, Kulte, rite, magji në traditën orale, Toena, Tiranë, 1999. Nuhi Vinca, Këngë të ndryshme popullore, IAP, Prishtinë, 1982. Presheva, Bujanoci dhe Medvegja, dje sot dhe nesër, IAP, Prishtinë, 2015. Rexhep Munishi, Probleme etnomuzikologjike, IAP, Prishtinë, 1997. Rexhep Munishi, Identiteti muzikor, Prishtinë, 2001. Rexhep Munishi, Këndimi i femrave të Podgurit, IAP, Prishtinë, 1979. Roger Scruton, E bukura, CUNEUS, Prishtinë, 2020. Steve Biddulph, Sekreti i femijëve të lumtur, Tiranë, 2006. Xhemaledin Salihu, Kultura shqiptarë në Preshevë 1945-1995, Preshevë, 1999· |
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| illustrated | Illustrated |
| indexdate | 2024-11-11T09:09:36Z |
| institution | BVB |
| isbn | 9789951241885 |
| language | Albanian |
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| publisher | Instituti Albanologjik |
| record_format | marc |
| spelling | Sadiku, Albin 1974- Verfasser (DE-588)1251779131 aut Këndimi i femrave në dasmën shqiptare në Bujanoc dhe në Preshevë = The singing of women at the Albanian wedding in Bujanoc and Presheva Albin Sadiku The singing of women at the Albanian wedding in Bujanoc and Presheva Prishtinë Instituti Albanologjik 2023 284 Seiten Notenbeispiele 24 cm txt rdacontent n rdamedia nc rdacarrier Zusammenfassung in englischer Sprache Volkslied (DE-588)4063852-2 gnd rswk-swf Hochzeitslied (DE-588)4160310-2 gnd rswk-swf Frau (DE-588)4018202-2 gnd rswk-swf Albaner (DE-588)4068517-2 gnd rswk-swf Preševo-Tal (DE-588)1053680937 gnd rswk-swf Bujanovac (DE-588)1119357519 gnd rswk-swf Preševo-Tal (DE-588)1053680937 g Bujanovac (DE-588)1119357519 g Albaner (DE-588)4068517-2 s Hochzeitslied (DE-588)4160310-2 s Volkslied (DE-588)4063852-2 s Frau (DE-588)4018202-2 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=035128738&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=035128738&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract 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=035128738&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis |
| spellingShingle | Sadiku, Albin 1974- Këndimi i femrave në dasmën shqiptare në Bujanoc dhe në Preshevë = The singing of women at the Albanian wedding in Bujanoc and Presheva Volkslied (DE-588)4063852-2 gnd Hochzeitslied (DE-588)4160310-2 gnd Frau (DE-588)4018202-2 gnd Albaner (DE-588)4068517-2 gnd |
| subject_GND | (DE-588)4063852-2 (DE-588)4160310-2 (DE-588)4018202-2 (DE-588)4068517-2 (DE-588)1053680937 (DE-588)1119357519 |
| title | Këndimi i femrave në dasmën shqiptare në Bujanoc dhe në Preshevë = The singing of women at the Albanian wedding in Bujanoc and Presheva |
| title_alt | The singing of women at the Albanian wedding in Bujanoc and Presheva |
| title_auth | Këndimi i femrave në dasmën shqiptare në Bujanoc dhe në Preshevë = The singing of women at the Albanian wedding in Bujanoc and Presheva |
| title_exact_search | Këndimi i femrave në dasmën shqiptare në Bujanoc dhe në Preshevë = The singing of women at the Albanian wedding in Bujanoc and Presheva |
| title_full | Këndimi i femrave në dasmën shqiptare në Bujanoc dhe në Preshevë = The singing of women at the Albanian wedding in Bujanoc and Presheva Albin Sadiku |
| title_fullStr | Këndimi i femrave në dasmën shqiptare në Bujanoc dhe në Preshevë = The singing of women at the Albanian wedding in Bujanoc and Presheva Albin Sadiku |
| title_full_unstemmed | Këndimi i femrave në dasmën shqiptare në Bujanoc dhe në Preshevë = The singing of women at the Albanian wedding in Bujanoc and Presheva Albin Sadiku |
| title_short | Këndimi i femrave në dasmën shqiptare në Bujanoc dhe në Preshevë |
| title_sort | kendimi i femrave ne dasmen shqiptare ne bujanoc dhe ne presheve the singing of women at the albanian wedding in bujanoc and presheva |
| title_sub | = The singing of women at the Albanian wedding in Bujanoc and Presheva |
| topic | Volkslied (DE-588)4063852-2 gnd Hochzeitslied (DE-588)4160310-2 gnd Frau (DE-588)4018202-2 gnd Albaner (DE-588)4068517-2 gnd |
| topic_facet | Volkslied Hochzeitslied Frau Albaner Preševo-Tal Bujanovac |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035128738&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=035128738&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=035128738&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT sadikualbin kendimiifemravenedasmenshqiptarenebujanocdhenepreshevethesingingofwomenatthealbanianweddinginbujanocandpresheva AT sadikualbin thesingingofwomenatthealbanianweddinginbujanocandpresheva |