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			The '''polyphonic song of ]''' is a form of traditional folk ] practiced among ], ], ] and ] in southern Albania and northwestern ].<ref>Bart Plantenga. . Routledge, 2004. {{ISBN\|978-0-415-93990-4}}, p. 87 Albania: "Singers in Pogoni region perform a style of polyphony that is also practised by locals in Vlach and Slav communities .</ref><ref>Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman,1997,{{ISBN\|0-226-77972-6}},page 356,"Neither of the polyphonic textures characteristic of south Albanian singing is unique to Albanians.The style is shared with ] in the Northwestern district of Epirus (see Fakiou and Romanos 1984) while the Tosk style is common among Aromanian communities from the Kolonje region of Albania the so called Faserotii (see Lortat-Jacob and Bouet 1983) and among Slavs of the ] region of Northern ] (see N.Kaufamann 1959 ). Macedonians in the lower villages of the Prespa district also formerly sang this style "</ref>
			The polyphonic song of Epirus is not to be confused with other varieties of polyphonic singing, such as the ] songs of the region of ], or the ] of ].<ref>Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman,1997,{{ISBN\|0-226-77972-6}},page 356,A striking counterpart from outside the Balkans is the polyphonic Yodeling of juuzli from the Muotatal region of Switzerland</ref> Scholars consider it an old tradition, which either originates from the ancient Greek<ref>{{Cite book\|last1=Nitsiakos\|first1=Vassilis\|chapter-url=https://books.google.com/books?id=VTErDwAAQBAJ&pg=PA200\|title=Greece and the Balkans: Identities, Perceptions and Cultural Encounters Since the Enlightenment\|last2=Mantzos\|first2=Constantinos\|date=2017\|publisher=Taylor & Francis\|isbn=978-1-351-93218-9\|editor-last=Tziovas\|editor-first=Dimitris\|page=200\|language=en\|chapter=Negotiating Culture: Political Uses of Polyphonic Folk Songs in Greece and Albania}}</ref> and Thraco-Illyrian era,<ref>{{Cite book\|last=Shetuni\|first=Spiro J.\|url=https://books.google.com/books?id=SjasqxAeHXAC\|title=Albanian Traditional Music: An Introduction, with Sheet Music and Lyrics for 48 Songs\|date=2014-01-10\|publisher=McFarland\|isbn=978-0-7864-8630-4\|language=en}}</ref> or the ] era, with influences from ].<ref>{{Cite book\|last=Koço\|first=Eno\|url=https://books.google.com/books?id=V8U4EAAAQBAJ&pg=PA113\|title=Albanian Identity in History and Traditional Performance\|date=2021\|publisher=Cambridge Scholars Publishing\|isbn=978-1-5275-7189-1\|pages=113–114\|language=en}}</ref> The ] – which is recognized as ] by ] – is considered to have its roots in the many-voiced '']'', the southern Albanian traditional lamentation of the dead.<ref>{{cite journal\|last=Tole\|first=Vasil S.\|title=Kabaja With Saze as a Ballad Without Words\|journal=]\|issn=0585-5047\|year=2022\|issue=2\|pages=43–50\|url=https://akad.gov.al/wp-content/uploads/2024/08/2022-vol.-2.pdf}} pp. 43–45.</ref> The Greek project Polyphonic Caravan, which aims at researching, safeguarding and promoting the Epirus polyphonic song since 1998, was inscribed in the ] of Good Safeguarding Practices in 2020.

			==Polyphonic Music in Greece and Albania==
			===In Greece===
			] wearing ] and ]]]
			Among ], polyphonic song is found in the northern part of the Greek region of ];<ref>Ricky Holden, Mary Vouras: ''Greek Folk Dances'', 1965, page 10</ref><ref>Simon Broughton, Mark Ellingham: ''World Music: The Rough Guide'', 1999, {{ISBN\|1-85828-635-2}}, page 149</ref> in ], (Ktismata, Dolo, ]) and some villages north of ]), as well as in very few villages in northeastern ] (], ], ], ]).<ref>{{cite web\|last1=Athinoula\|first1=Gkika \|script-title=el:Τεχνικές ηχογράφησης της ηπειρωτικής παραδοσιακής μουσικής\|url=http://io.teiion.gr/handle/123456789/1584\|publisher=Technological Educational Institute of Ionian Islands\|access-date=20 February 2017\|page=15\|language=el \|date=1 January 2014}}</ref> Among the ] in southern Albania,<ref>Simon Broughton, Mark Ellingham: ''World Music: The Rough Guide'', 1999, {{ISBN\|1-85828-635-2}}, page 5, 127</ref> polyphonic singing is performed in the regions of ], ] (Kato Pogoni) (]) and the cities of ], ], ] and ].<ref>Ardian Ahmedaja, ]. . Böhlau Verlag Wien, 2008 {{ISBN\|978-3-205-78090-8}}, p. 267.</ref>

			Greek polyphonic groups can include six different parts: taker (partis), turner (gyristis), spinner (klostis), isokrates, rihtis (the one who "drops" the voice) and foreteller (prologistis). Songs are performed in two (taker and turner or taker and isokrates), three, four or five voices.
			In five-voice singing all parts are present, while the role of the spinner and the rihtis is performed by one part. The main voice, the taker, can be sung either by men or women, but it can also alternate between them. Greek polyphonic groups usually consist of 4 to 12 persons.<ref>{{cite web\|last1=Paraskevi\|first1=Kanellatou \|script-title=el:Το Ελληνόφωνο Πολυφωνικό Τραγούδι στο Νότιο Τμήμα της Επαρχίας Πωγωνίου στην Ήπειρο \|trans-title=The Greek Polyphonic Singing of the South Pogoni Province in Epirus \|url=https://www.researchgate.net/publication/265292297\|website=ResearchGate\|publisher=ERKET e-Journal, Vol.: 1, Jul. 2010\|access-date=20 February 2017\|pages=5, 16\|language=el}}</ref>

			Among Greeks a second kind of polyphonic singing differing in maximum roughness is also performed in ] and ].<ref>Ardian Ahmedaja, Gerlinde Haid. . Böhlau Verlag Wien, 2008 {{ISBN\|978-3-205-78090-8}}, p. 283.</ref>

			In 2020, the Polyphonic Caravan, which is a Greek project with the purpose of researching, safeguarding and promoting the Epirus polyphonic song since 1998, was inscribed in the ] of Good Safeguarding Practices.<ref>{{Cite web\|title=UNESCO - Polyphonic Caravan, researching, safeguarding and promoting the Epirus polyphonic song\|url=https://ich.unesco.org/en/BSP/polyphonic-caravan-researching-safeguarding-and-promoting-the-epirus-polyphonic-song-01611\|access-date=2021-04-12\|website=www.unesco.org}}</ref><ref>{{Cite web\|title=Ιστορικό\|url=https://www.polyphonic.gr/index.php?option=com_content&view=article&id=214&Itemid=1437&lang=el-gr\|access-date=2021-05-16\|website=www.polyphonic.gr\|language=el}}</ref>

			===In Albania===
	] wearing ] and ]]]		] wearing ] and ]]]
			{{see\|Albanian iso-polyphony}}
	The '''Polyphonic song of ]''' constitutes one of the most interesting musical forms, not only for the east ] and the ], but also for the worldwide repertoire of the ] ]. The music is mainly found among ], ], ] & ] in southern Albania and northwestern Greece<ref>Bart Plantenga. . Routledge, 2004. ISBN 978-0-415-93990-4, p. 87 Albania: "Singers in Pogoni region perform a style of polyphony that is also practised by locals in Vlach and Slav communities communities .</ref><ref>Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman,1997,ISBN 0-226-77972-6,page 356,"Neither of the polyphonic textures characteristic of south Albanian singing is unique to Albanians.The style is shared with Greeks in the Northwestern district of Epirus (see Fakiou and Romanos 1984) while the Tosk style is common among Aromanian communities from the Kolonje region of Albania the so called Faserotii (see Lortat-Jacob and Bouet 1983) and among Slavs of the ] region of Northern Greece (see N.Kaufamann 1959 ). Macedonians in the lower villages of the Prespa district also formerly sang this style "</ref>.
			Among Albanians, all four regions of ], ], ], and ] have the polyphonic song as part of their culture. Among Albanians a related form of polyphonic singing is also found in northern ] in the area of ], the Albanian communities of ] in ], the areas of ], ], ] and ] in ] and the region of ] in northern Albania and southern ].<ref name="ardian">European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 210, 243-44 </ref>

			The region of Labëria is a particular region known for multipart singing and home to many different genres like that of '']''. Songs can be of two, three, or four parts. Two part songs are sung only by women. Three part songs are more diffused and can be sung by men and women. Four part songs are a Labëria specialty. Research has shown that four part songs have come after three part ones and that they are the most complex form of polyphonical singing.<ref>European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid pages 214-215 </ref>
	The polyphonic song of Epirus is not to be confused with other varieties of polyphonic singing, such as the ] songs of the region of ],<ref>Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman,1997,ISBN 0-226-77972-6,page 356,A striking counterpart from outside the Balkans is the polyphonic Yodeling of juuzli from the Muotatal region of Switzerland</ref> or the ] of ].

			The ], ], ({{langx\|sq\|Festivali Folklorik Kombëtar}}), has been held every five years in the month of October, starting from 1968 and it has typically included many polyphonic songs.<ref name="books.google.com">European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 241 </ref>
	==Origin==
	Although current research has not reached absolute conclusions, this polyphonic form is considered to be very old. The melodies of polyphonic songs of Epirus, including some more songs of Epirus and ], are the only ones in Albania and Greece that have preserved the ] scale without semitones (a scale consisted of five tones without semitones). According to some musicologists, this scale is identified with the ] way of the ancient Greek ], the par excellence ] harmony. Except from its scale, what pleads for the very old origin of the kind is its vocal, collective, rhetorical and modal character. The tradition of Polyphonic singing has being contested and used by both sides of the Greek and Albanian border in a nationalistic manner<ref>Notes from the Balkans: Locating Marginality and Ambiguity on the Greek-Albanian Border,2005,ISBN 0-691-12199-0,page Back matter ,"... the appropriate manner(Adkins 2002; Adkins and Lury 1999; Skeggs 1997). 16. Theodosiou (2003); Nitsiakos and Mantzos (2003) note that polyphonic singing has become one of those traditions that is argued about by nationalist folklorists on both sides of the border, .."</ref>.

			] is included in UNESCO's ] list.<ref>{{cite web\|url=http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00155 \|title=UNESCO Culture Sector - Intangible Heritage - 2003 Convention \|publisher=Unesco.org \|access-date=2013-09-22}}</ref>
	==Polyphonic Music in Greece and Albania==

	These days, polyphonic song is found in northwestern Greek<ref>Greek Folk Dances by Rickey Holden, Mary Vouras - 1965 - ,page 10,"The tonal variations produced on this instrument by Greek musicians, particularly
			The tradition of polyphonic singing has been contested and used by both sides of the Greek and Albanian border in a nationalistic manner.<ref>Notes from the Balkans: Locating Marginality and Ambiguity on the Greek-Albanian Border,2005,{{ISBN\|0-691-12199-0}},page Back matter ,"... the appropriate manner(Adkins 2002; Adkins and Lury 1999; Skeggs 1997). 16. Theodosiou (2003); Nitsiakos and Mantzos (2003) note that polyphonic singing has become one of those traditions that is argued about by nationalist folklorists on both sides of the border, .."</ref>
	in the music of Epirus"</ref> region of ]<ref>World Music: The Rough Guide by Simon Broughton, Mark Ellingham - 1999 - ISBN 1-85828-635-2,page 149,"The city of Ioannina in Epirus has long been an important centre of this style"</ref> (villages of ], ] and some villages north of ]), in very few villages in northeastern ] (], ], ], ]) and, mainly, in ]<ref>World Music: The Rough Guide by Simon Broughton, Mark Ellingham - 1999 - ISBN 1-85828-635-2,page 5,"south of Gjirokastër, has a sizeable ethnic Greek population, and their music is related to the music of Epirus,"</ref> some significant examples are the villages and towns were recognized Greek populations reside in southern Albania (Northern Epirus)<ref>World Music: The Rough Guide by Simon Broughton, Mark Ellingham - 1999 - ISBN 1-85828-635-2,page 127 ,"The folk music ot Epirus (//игл.) exhibits strong connections with that of Northern Epirus (now in Albania)"</ref> (], ], ], ], ], ] and others). Also found in to varying degree in the rest of Greece & the islands<ref>World Music: The Rough Guide by Simon Broughton, Mark Ellingham - 1999 - ISBN 1-85828-635-2,page 127,"The repertoire tends to fall into three categories which are also found further south mirologya or laments (the instrumental counterpart is called skaros); drinking songs or tis tavlas ;and various dancable melodies as noted above
	common to the entire mainland and the islands also"</ref>.

	==Structure==		==Structure==
			{{Music of Greece}}
	Polyphonic groups of Epirus consist of four members at least. There are four distinct roles that compound the group.

	==Voices==
			Polyphonic groups of Epirus consist of at least four members. Each group has two soloists and a drone group, which provides and maintains the vocal rhythm of the song.
	"Πάρτης" (partis) or "σηκωτής" (sikotis) is the voice that sings the main melody, beginning, "παίρνοντας" (pernontas, taking) or "σηκώνοντας" (sikonontas, lifting) the song. The second voice answers, "γυρίζει" (yirizei, turns) or "τσακίζει" (tsakizei, crimps) the song; that’s why it is called the "γυριστής" ("yiristis", the turner). Sometimes, instead of "yiristis", or according to some musicologists parallel with it, we find the role of "κλώστης" (klostis, spinner), which makes peculiar yodels, "κλώθοντας" (klothontas, spinning) the song between the tonic and subtonic of the melody, a technique that reminds the movement of the hand which holds the spindle and spins the thread.

	A role that is often, but not always, found is the one of "rihtis", who "ρίχνει" (drops) the song in the end of the introduction of "partis", singing an exclamation (e.g. "αχ ωχ ωχ" (ah oh oh), "άντε βρε" (ante vre) a fourth lower than the tonic of the melody, resting "partis" and uniting its introduction with the entrance of "ισοκρατές" (isokrates).
			The first soloist (or the '''taker''') ({{langx\|el\|"πάρτης" (partis)}} or "σηκωτής" (sikotis), {{langx\|sq\|Bëj zë or Mbaj kaba or marrësi}},<ref name ="European Voices2">European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 215 </ref> {{langx\|rup\|Atselu tsi u lia}}) is the voice that sings the main melody. The first soloist performs the beginning of the song ({{langx\|el\|παίρνοντας (pernontas, taking) or σηκώνοντας (sikonontas, lifting)}}, {{langx\|sq\|e merr dhe e ngre}}), and literally acts as the ] and leader of the group, singing the main part of the song.
	The rest members of the polyphonic group, "isokrates", keep the "ίσο" (iso, vocal drone), namely the sound of the tonic of the melody, creating the modal base of the song. The isokrates' role is particularly important; the louder the «ισοκράτημα» (isokratima, keeping of the vocal drone) is, the more "βρονταριά" (vrontaria) the song goes (i.e. the better).
			The second soloist (or the '''turner''') ({{langx\|el\|"γυριστής" (yiristis)}}) answers (or "turns") the voice ({{langx\|el\|"γυρίζει"}} (yirizei, turns) or "τσακίζει" (tsakizei, crimps) {{langx\|sq\|kthej zë or kthyesi, Mbahes or Kthehës or Pritës}}<ref name="European Voices2"/> {{langx\|rup\|Atselu tsi u tali}}).
	The perfection of the rendition of the polyphonic song presupposes the existence and the unity of the several voices–roles of the polyphonic group. As a result, polyphonic song presupposes the collectiveness of expression and the firm distinction between the roles it reflects, and the unwritten hierarchy in the composition of the group and the distribution of the roles.

	{{Northern Epirus}}
			Sometimes, instead of the "turner", or according to some musicologists parallel with it, we find the role of the '''spinner''' ({{langx\|el\|κλώστης}} (klostis, spinner), {{langx\|sq\|dredhes}}). The "spinner" spins the song between the tonic and subtonic of the melody, a technique that reminds the movement of the hand which holds the spindle and spins the thread. This is a role that is often, but not always, found is the one of "rihtis", who drops ({{langx\|el\|ρίχνει}}) the song in the end of the introduction of "partis", by singing an exclamation (e.g. {{langx\|el\|αχ ωχ ωχ}} (ah oh oh) or, "άντε βρε" (ante vre)), which is a fourth lower than the tonic of the melody, resting "partis" and uniting its introduction with the entrance of the drone group.

			The '''drone group''' is composed by the rest of the members of the polyphonic group and is also called '''iso keepers group''' ({{langx\|el\|ισοκρατές}}, (isokrates, ''iso keepers'') {{langx\|sq\|Venkorë or Iso-mbajtës}},<ref>European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 211 </ref> and {{langx\|rup\|Isu}}), from the ] ] "ισοκράτης" and that from the ] "ισοκρατών" (''isokraton''),<ref>Takis Kalogeropoulos, ''Lexicon of the ]'', 2001, {{ISBN\|960-7555-39-2}}</ref> "one who holds the ''ison''", the note that holds on the whole length of a song, from ] "ἴσος" (''isos'') generally meaning "equal" but here "equal in flight of song"<ref>, Henry George Liddell, Robert Scott, ''A Greek-English Lexicon'', on Perseus Digital Library</ref> + "κρατέω" (''krateo'') "to rule, to hold".<ref>, Henry George Liddell, Robert Scott, ''A Greek-English Lexicon'', on Perseus Digital Library</ref> The words ''ison'' and ''isos'' literally mean the continuous base note<ref>, Monastère de la Théotokos et de Saint martin</ref> and isocrates creates and holds the modal base of the song. The '''isokrates''' role is particularly important; the louder the keeping of the vocal drone, ({{langx\|el\|ισοκράτημα\|translit=isokratima}}), the more "βρονταριά" (vrontaria) (i.e. better) the song goes, because the rhythm and the vocal base of the song are maintained.<ref>{{cite book\|last=Sugarman\|first=Dave\|title=Engendering song: singing and subjectivity at Prespa Albanian weddings\|publisher=]\|year=1997\|series=Chicago studies in ethnomusicology\|pages=221\|isbn=0-226-77973-4\|url=https://books.google.com/books?id=dKKTre6VJYwC&q=polyphony+soloist+drone&pg=PA221}}</ref><ref>{{cite book\|last=Tziovas\|first=Demetres\|title=Greece and the Balkans: identities, perceptions and cultural encounters since the Enlightenment\|year=2003\|publisher=Ashgate Publishing\|pages=198\|isbn=0-7546-0998-7\|url=https://books.google.com/books?id=RjGidYC9pUYC&q=polyphonic+music+epirus}}</ref> The term derives from the Byzantine Greek musical tradition, where the "ίσον" also features.<ref name="books.google.com"/>

			The perfection of the rendition of the polyphonic song presupposes the existence and the unity of the several voices–roles of the polyphonic group. As a result, polyphonic song presupposes the collectiveness of expression and the firm distinction between the roles it reflects, and the unwritten hierarchy in the composition of the group and the distribution of the roles.{{Citation needed\|date=April 2010}}

	==References==
	{{reflist}}
	==See also==		==See also==
	*]		*]
			*]
			*]
			*]
			*]
			*]
			*]
			*]
	*]		*]

			==References==
			{{reflist\|2}}

	==Further reading==		==Further reading==
	* World Music: The Rough Guide by Simon Broughton, Mark Ellingham - 1999 - ISBN 1-85828-635-2		* World Music: The Rough Guide by Simon Broughton, Mark Ellingham - 1999 - {{ISBN\|1-85828-635-2}}
	* Greek Folk Dances by Rickey Holden, Mary Vouras – 1965		* Greek Folk Dances by Rickey Holden, Mary Vouras – 1965
	* Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman,1997,ISBN 0-226-77972-6		* Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman,1997,{{ISBN\|0-226-77972-6}}

	==External links==		==External links==
			*{{dead link\|date=January 2018 \|bot=InternetArchiveBot \|fix-attempted=yes }}
	*
	*		*
	*
	*
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	*
	*
	*
	*
	*		*

			===Songs in Greek===
	]

			*Himara
			:* (Daughter of the Mountain)
			:* (Song of ])
			*Delvina
			:* (Mother poor Mother)
			:*
			*Dropull
			:* (])
			:* (Song of ])
			:* (Song of the ])
			*Pogoni
			:* Γιάννη μου
			:* (Song of the ])
			:* Song from Ktismata
			*Permet
			:* (Go Mother tell to Giannis)

			===Songs in Albanian===
			*Songs from Labëria
			** {{langx\|sq\|Kenge nga Laberia}}
			** {{langx\|sq\|Do filloj duke menduar}}
			**
			** {{langx\|sq\|Shqiperi o shkemb e gure, vritesh pritesh per flamure}}
			** {{langx\|sq\|Bijë Çobanesh}}
			** {{langx\|sq\|Kurvelesh, ç'i bëre djemtë?}}]
			** {{langx\|sq\|Tunde moj shamine}}
			** {{langx\|sq\|Dile moj te dalte rrenja}}
			*Songs from Skrapar
			** {{langx\|sq\|O Riza Cerova Malli C'Me Ka Marre}}
			** {{langx\|sq\|Muaji Gusht dita njezete}}
			** {{langx\|sq\|Djalerine kur e kujtoj}}

			{{Northern Epirus}}
			{{Cham Albanians}}

			{{DEFAULTSORT:Polyphonic Song Of Epirus}}
			]
	]		]
	]		]
			]
			]

Latest revision as of 14:06, 5 December 2024

The polyphonic song of Epirus is a form of traditional folk polyphony practiced among Albanians, Aromanians, Greeks and ethnic Macedonians in southern Albania and northwestern Greece. The polyphonic song of Epirus is not to be confused with other varieties of polyphonic singing, such as the yodeling songs of the region of Muotatal, or the Cantu a tenore of Sardinia. Scholars consider it an old tradition, which either originates from the ancient Greek and Thraco-Illyrian era, or the Byzantine era, with influences from Byzantine music. The Albanian Iso-Polyphony – which is recognized as cultural heritage by UNESCO – is considered to have its roots in the many-voiced vajtim, the southern Albanian traditional lamentation of the dead. The Greek project Polyphonic Caravan, which aims at researching, safeguarding and promoting the Epirus polyphonic song since 1998, was inscribed in the UNESCO Intangible Cultural Heritage List of Good Safeguarding Practices in 2020.

Polyphonic Music in Greece and Albania

In Greece

Among Greeks, polyphonic song is found in the northern part of the Greek region of Ioannina; in Ano Pogoni, (Ktismata, Dolo, Parakalamos) and some villages north of Konitsa), as well as in very few villages in northeastern Thesprotia (Tsamantas, Lias, Vavouri, Povla). Among the Greek minorities in southern Albania, polyphonic singing is performed in the regions of Dropull, Pogon (Kato Pogoni) (Poliçan) and the cities of Delvinë, Himara, Sarandë and Gjirokastër.

Greek polyphonic groups can include six different parts: taker (partis), turner (gyristis), spinner (klostis), isokrates, rihtis (the one who "drops" the voice) and foreteller (prologistis). Songs are performed in two (taker and turner or taker and isokrates), three, four or five voices. In five-voice singing all parts are present, while the role of the spinner and the rihtis is performed by one part. The main voice, the taker, can be sung either by men or women, but it can also alternate between them. Greek polyphonic groups usually consist of 4 to 12 persons.

Among Greeks a second kind of polyphonic singing differing in maximum roughness is also performed in Karpathos and Pontos.

In 2020, the Polyphonic Caravan, which is a Greek project with the purpose of researching, safeguarding and promoting the Epirus polyphonic song since 1998, was inscribed in the UNESCO Intangible Cultural Heritage List of Good Safeguarding Practices.

In Albania

Further information: Albanian iso-polyphony

Among Albanians, all four regions of Myzeqe, Toskeri, Chameria, and Labëria have the polyphonic song as part of their culture. Among Albanians a related form of polyphonic singing is also found in northern Albania in the area of Peshkopi, the Albanian communities of Kaçanik in Kosovo, the areas of Polog, Tetovo, Kicevo and Gostivar in North Macedonia and the region of Malësia in northern Albania and southern Montenegro.

The region of Labëria is a particular region known for multipart singing and home to many different genres like that of pleqërishte. Songs can be of two, three, or four parts. Two part songs are sung only by women. Three part songs are more diffused and can be sung by men and women. Four part songs are a Labëria specialty. Research has shown that four part songs have come after three part ones and that they are the most complex form of polyphonical singing.

The Gjirokastër National Folklore Festival, Albania, (Albanian: Festivali Folklorik Kombëtar), has been held every five years in the month of October, starting from 1968 and it has typically included many polyphonic songs.

Albanian iso-polyphony is included in UNESCO's intangible cultural heritage list.

The tradition of polyphonic singing has been contested and used by both sides of the Greek and Albanian border in a nationalistic manner.

Structure

Music of Greece

General topics

Genres

Specific forms

Media and performance

Music awards
Arion Awards MAD Video Music Awards
Music charts
Greek Albums Chart Foreign Albums Chart Singles Chart
Music festivals
Athens Festival Epidaurus Festival Olympus Festival Thessaloniki Song Festival
Music media
MAD TV (MAD World) MTV Greece

Nationalistic and patriotic songs

National anthem
"Hymn to Liberty"

Regional music

Related areas
Macedonia Peloponnese Thessaly
Other regions
Aegean Islands Crete Cyprus, Epirus (polyphonic song) Ionian Islands Thrace

Polyphonic groups of Epirus consist of at least four members. Each group has two soloists and a drone group, which provides and maintains the vocal rhythm of the song.

The first soloist (or the taker) (Greek: "πάρτης" (partis) or "σηκωτής" (sikotis), Albanian: Bëj zë or Mbaj kaba or marrësi, Aromanian: Atselu tsi u lia) is the voice that sings the main melody. The first soloist performs the beginning of the song (Greek: παίρνοντας (pernontas, taking) or σηκώνοντας (sikonontas, lifting), Albanian: e merr dhe e ngre), and literally acts as the narrator and leader of the group, singing the main part of the song. The second soloist (or the turner) (Greek: "γυριστής" (yiristis)) answers (or "turns") the voice (Greek: "γυρίζει" (yirizei, turns) or "τσακίζει" (tsakizei, crimps) Albanian: kthej zë or kthyesi, Mbahes or Kthehës or Pritës Aromanian: Atselu tsi u tali).

Sometimes, instead of the "turner", or according to some musicologists parallel with it, we find the role of the spinner (Greek: κλώστης (klostis, spinner), Albanian: dredhes). The "spinner" spins the song between the tonic and subtonic of the melody, a technique that reminds the movement of the hand which holds the spindle and spins the thread. This is a role that is often, but not always, found is the one of "rihtis", who drops (Greek: ρίχνει) the song in the end of the introduction of "partis", by singing an exclamation (e.g. Greek: αχ ωχ ωχ (ah oh oh) or, "άντε βρε" (ante vre)), which is a fourth lower than the tonic of the melody, resting "partis" and uniting its introduction with the entrance of the drone group.

The drone group is composed by the rest of the members of the polyphonic group and is also called iso keepers group (Greek: ισοκρατές, (isokrates, iso keepers) Albanian: Venkorë or Iso-mbajtës, and Aromanian: Isu), from the Greek Isocrates "ισοκράτης" and that from the Medieval Greek "ισοκρατών" (isokraton), "one who holds the ison", the note that holds on the whole length of a song, from Ancient Greek "ἴσος" (isos) generally meaning "equal" but here "equal in flight of song" + "κρατέω" (krateo) "to rule, to hold". The words ison and isos literally mean the continuous base note and isocrates creates and holds the modal base of the song. The isokrates role is particularly important; the louder the keeping of the vocal drone, (Greek: ισοκράτημα, romanized: isokratima), the more "βρονταριά" (vrontaria) (i.e. better) the song goes, because the rhythm and the vocal base of the song are maintained. The term derives from the Byzantine Greek musical tradition, where the "ίσον" also features.

The perfection of the rendition of the polyphonic song presupposes the existence and the unity of the several voices–roles of the polyphonic group. As a result, polyphonic song presupposes the collectiveness of expression and the firm distinction between the roles it reflects, and the unwritten hierarchy in the composition of the group and the distribution of the roles.

References

Bart Plantenga. Yodel-ay-ee-oooo. Routledge, 2004. ISBN 978-0-415-93990-4, p. 87 Albania: "Singers in Pogoni region perform a style of polyphony that is also practised by locals in Vlach and Slav communities .
Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman,1997,ISBN 0-226-77972-6,page 356,"Neither of the polyphonic textures characteristic of south Albanian singing is unique to Albanians.The style is shared with Greeks in the Northwestern district of Epirus (see Fakiou and Romanos 1984) while the Tosk style is common among Aromanian communities from the Kolonje region of Albania the so called Faserotii (see Lortat-Jacob and Bouet 1983) and among Slavs of the Kastoria region of Northern Greece (see N.Kaufamann 1959 ). Macedonians in the lower villages of the Prespa district also formerly sang this style "
Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman,1997,ISBN 0-226-77972-6,page 356,A striking counterpart from outside the Balkans is the polyphonic Yodeling of juuzli from the Muotatal region of Switzerland
Nitsiakos, Vassilis; Mantzos, Constantinos (2017). "Negotiating Culture: Political Uses of Polyphonic Folk Songs in Greece and Albania". In Tziovas, Dimitris (ed.). Greece and the Balkans: Identities, Perceptions and Cultural Encounters Since the Enlightenment. Taylor & Francis. p. 200. ISBN 978-1-351-93218-9.
Shetuni, Spiro J. (2014-01-10). Albanian Traditional Music: An Introduction, with Sheet Music and Lyrics for 48 Songs. McFarland. ISBN 978-0-7864-8630-4.
Koço, Eno (2021). Albanian Identity in History and Traditional Performance. Cambridge Scholars Publishing. pp. 113–114. ISBN 978-1-5275-7189-1.
Tole, Vasil S. (2022). "Kabaja With Saze as a Ballad Without Words" (PDF). Studia Albanica (2): 43–50. ISSN 0585-5047. pp. 43–45.
Ricky Holden, Mary Vouras: Greek Folk Dances, 1965, page 10
Simon Broughton, Mark Ellingham: World Music: The Rough Guide, 1999, ISBN 1-85828-635-2, page 149
Athinoula, Gkika (1 January 2014). Τεχνικές ηχογράφησης της ηπειρωτικής παραδοσιακής μουσικής (in Greek). Technological Educational Institute of Ionian Islands. p. 15. Retrieved 20 February 2017.
Simon Broughton, Mark Ellingham: World Music: The Rough Guide, 1999, ISBN 1-85828-635-2, page 5, 127
Ardian Ahmedaja, Gerlinde Haid. European voices: Multipart singing in the Balkans and the Mediterranean. Böhlau Verlag Wien, 2008 ISBN 978-3-205-78090-8, p. 267.
Paraskevi, Kanellatou. Το Ελληνόφωνο Πολυφωνικό Τραγούδι στο Νότιο Τμήμα της Επαρχίας Πωγωνίου στην Ήπειρο [The Greek Polyphonic Singing of the South Pogoni Province in Epirus]. ResearchGate (in Greek). ERKET e-Journal, Vol.: 1, Jul. 2010. pp. 5, 16. Retrieved 20 February 2017.
Ardian Ahmedaja, Gerlinde Haid. European voices: Multipart singing in the Balkans and the Mediterranean. Böhlau Verlag Wien, 2008 ISBN 978-3-205-78090-8, p. 283.
"UNESCO - Polyphonic Caravan, researching, safeguarding and promoting the Epirus polyphonic song". www.unesco.org. Retrieved 2021-04-12.
"Ιστορικό". www.polyphonic.gr (in Greek). Retrieved 2021-05-16.
European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 210, 243-44
European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid pages 214-215
^ European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 241
"UNESCO Culture Sector - Intangible Heritage - 2003 Convention". Unesco.org. Retrieved 2013-09-22.
Notes from the Balkans: Locating Marginality and Ambiguity on the Greek-Albanian Border,2005,ISBN 0-691-12199-0,page Back matter ,"... the appropriate manner(Adkins 2002; Adkins and Lury 1999; Skeggs 1997). 16. Theodosiou (2003); Nitsiakos and Mantzos (2003) note that polyphonic singing has become one of those traditions that is argued about by nationalist folklorists on both sides of the border, .."
^ European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 215
European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 211
Takis Kalogeropoulos, Lexicon of the Greek Music, 2001, ISBN 960-7555-39-2
ἴσος, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library
κρατέω, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library
Psaltic Chant, Monastère de la Théotokos et de Saint martin
Sugarman, Dave (1997). Engendering song: singing and subjectivity at Prespa Albanian weddings. Chicago studies in ethnomusicology. University of Chicago Press. p. 221. ISBN 0-226-77973-4.
Tziovas, Demetres (2003). Greece and the Balkans: identities, perceptions and cultural encounters since the Enlightenment. Ashgate Publishing. p. 198. ISBN 0-7546-0998-7.

External links

Songs in Greek

Himara

Κόρη του Βουνού (Daughter of the Mountain)
Του Σπυρομήλιου (Song of Spyromilios)

Delvina

Μάνα καημένη Μάνα (Mother poor Mother)
Polyphonic Song from Delvino

Dropull

Δεροπολίτισσα (Woman of Dropull)
Του Μάρκου Μπότσαρη (Song of Markos Botsaris)
Κάστρο της Ωριάς (Song of the Castle of the Fair Maiden)

Pogoni

Gianni Γιάννη μου
Του Γιοφυριού της Άρτας (Song of the Bridge of Arta)
Αλισμωνώ και Χαίρομαι Song from Ktismata

Permet

Σύρε Μάνα πες του Γιάννη (Go Mother tell to Giannis)

Songs in Albanian

Songs from Labëria
- Song from Labëria Albanian: Kenge nga Laberia
- I'll Start by Thinking Albanian: Do filloj duke menduar
- Ismail Qemali Song
- Albania Rock and Stone, You'd Kill Yourself for Your Flag Albanian: Shqiperi o shkemb e gure, vritesh pritesh per flamure
- Sons of Shepards Albanian: Bijë Çobanesh
- Kurvelesh, What did You Do with Your Sons? Albanian: Kurvelesh, ç'i bëre djemtë?]
- Shake Your Handkerchief Albanian: Tunde moj shamine
- Get Out, May Your Root Get Out Albanian: Dile moj te dalte rrenja
Songs from Skrapar
- I miss you Riza Cerova Albanian: O Riza Cerova Malli C'Me Ka Marre
- Month of August, Day the Twentieth Albanian: Muaji Gusht dita njezete
- When the Boyhood I Remember Albanian: Djalerine kur e kujtoj

v t e Greeks in Albania
History	Ancient Epirus Chaonians Omphales Dexaroi Despotate of Epirus Revolt of 1567-1572 Revolt of 1854 Revolt of 1878 Himara revolt of 1912 Autonomous Republic of Northern Epirus Northern Epirus Protocol of Corfu Greco-Italian War in southern Albania Morava–Ivan Korytsa Saranda Himara Klisura Pass Trebeshina Italian spring offensive Hill 731 Northern Epirus Liberation Front
Society and culture	Himariote dialect Laiko Vima Polyphonic song of Epirus Postage stamps and postal history Lasso fund Education: New Academy (Moscopole) Zographeion College (Qestorat) Acroceraunian School (Himara) Dhuvjan Monastery (Dropull) Bangas Gymnasium (Korçë)
Geography	Ancient: Chaonia, Parauaea Medieval and modern: Dryinopolis, Kolonia
Settlements	Ancient: Phoenice Vouthroton Avlon Apollonia Thronion Amantia Antigonia Antipatreia Oricon Modern: Gjirokastër Korçë Himara Delvinë Sarandë Dropull Pogon Përmet Leskovik Bilisht Moscopole Zvërnec Vlorë Berat Durrës
Organizations	Omonoia Panepirotic Federation of America Panepirotic Federation of Australia Unity for Human Rights Party
Individuals	Benefactors: Apostol Arsache Evangelos and Konstantinos Zappas Ioannis Pangas Georgios and Simon Sinas Alexandros and Michael Vasileiou Christakis Zografos Literature: Theodore Kavalliotis Katina Papa Konstantinos Skenderis Takis Tsiakos Tasos Vidouris Stavrianos Vistiaris Andreas Zarbalas Politics: Fredi Beleri Georgios Christakis-Zografos Spiro Ksera Vangjel Dule Vasilis Bolanos Military/Resistance: Kyriakoulis Argyrokastritis Dimitrios Doulis Nikolaos Dailakis Konstantinos Lagoumitzis Zachos Milios Athanasios Pipis Ioannis Poutetsis Vasileios Sachinis Georgios Soulios Spyromilios Spyros Spyromilios Sports: Pyrros Dimas Sotiris Ninis Panajot Pano Leonidas Sabanis Andreas Tatos Clergy: Photios Kalpidis Vasileios of Dryinoupolis Panteleimon Kotokos Eulogios Kourilas Lauriotis
Includes localities with a substantial ethnic Greek population, or otherwise with any kind of cultural or other type of significance, historical or current, for the Greek minority in Albania. Includes individuals not necessarily of Greek ethnicity but with important contributions to Greek civilization.

v t e Cham Albanians
History	Pashalik of Janina Souliotes (Souliote Confederacy Catastrophe of Zalongo Assembly of Preveza Albanian Committee of Janina Këshilla
Issue	Cham Albanian Resistance during World War II 4th "Ali Demi" Battalion "Chameria" Battalion Cham Albanian collaboration with the Axis Këshilla Paramythia executions Expulsion of Cham Albanians Anti-Fascist Committee of Cham Immigrants Liberation Army of Chameria
Organizations	"Çamëria" Association Chameria Human Rights Association Party for Justice, Integration and Unity Democratic Foundation of Chameria Bilal Xhaferri Cultural Association Shoqata Çamëria Party of the Chameria Party for Justice and Integration Party for Justice and Unity
Culture	Cham Albanian dialect Music Iso-poliphony Song of Çelo Mezani Song of Marko Boçari Dance Dance of Osman Taka Dance of Zalongo Magazines Krahu i shqiponjës
Settlements	Chameria Konispol Konispol Markat Janjar Paramythia Filiates Igoumenitsa Katavothra Fanari Louros Kranea Derviziana Thesprotiko Parapotamos Mousiotitsa Sagiada Syvota Xarrë Anthousa Kanallaki Parga Pandalejmon Mavronoros Vrinë Perdika Margariti Kastri Karvounari
Individuals	Azis Tahir Ajdonati Aziz Çami Hamdi Çami Qamil Çami Thoma Çami Refo Çapari Ali Demi Musa Demi Niazi Demi Rexhep Demi Tahir Demi Abedin Dino Ahmed Dino Ali Dino Rasih Dino Shahin Dino Veli Gërra Muhamet Kyçyku Shpëtim Idrizi Tahir Muhedini Teme Sejko Dashamir Tahiri Hasan Tahsini Osman Taka Jakup Veseli Bilal Xhaferri
Settlements inhabited by communities known as Arvanites, and very rarely characterized as Cham

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