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| 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). | 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 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). In Albanian they are the "iso" keepers ({{lang-sq|iso-mbajtësi}})<ref>European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 211</ref>. | 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). In Albanian they are the "iso" keepers ({{lang-sq|iso-mbajtësi}})<ref>European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 211</ref>. The term derives from the Byzantine Greek musical tradition, where the "ίσον" also features.<ref name "European Voices2"> | ||
| 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.{{cn}} | 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.{{cn}} | ||
| ==See also== | ==See also== | ||
Revision as of 17:08, 27 April 2010
The Polyphonic song of Epirus is a form of traditional folk polyphony practiced among Albanians, Greeks, Aromanians and Macedonian Slavs 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.
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 Thessaly, are the only ones in Albania and Greece that have preserved the pentatonic scale without semitones (a scale consisted of five tones without semitones). According to some musicologists, this scale is identified with the Doric way of the ancient Greek Dorians, the par excellence Hellenic harmony. Except from its scale, what pleads for the very old origin of the kind is its vocal, collective, rhetorical and modal character.
Polyphonic Music in Greece and Albania
These days, polyphonic song is found in northwestern Greek region of Ioannina (villages of Pogoni, Parakalamos and some villages north of Konitsa), in very few villages in northeastern Thesprotia (Tsamantas, Lias, Vavouri, Povla) and, mainly, in Northern Epirus some significant examples are the villages and towns were recognized Greek populations reside in southern Albania (Northern Epirus) (Delvinë, Dropull, Pogon, Poliçan, Vuthroto, Himara and others).
In both Albanian ethnomysicological literature and mass media the polyphonic song simply refers to the multipart songs of Southern Albania. All four regions of Myzeqe, Toskeri, Chameria, and Labëria have the polyphonic song as part of their culture.
Within Southern Albania Labëria is particular region for multipart singing. Songs can be of two, three, or four parts. If two part songs are sung only from women, three part songs are more spread, but four-part songs are a Labëria specialty. Research has shown that four part songs have come after three part ones and that are the highest form of polyphonical singing.
The National Folklore Festival of Gjirokastër (Template:Lang-sq), held every five years beginning from 1968, has typically included many polyphonic songs.
The tradition of polyphonic singing has been contested and used by both sides of the Greek and Albanian border in a nationalistic manner.
Structure
The "Πάρτης" (partis) or "σηκωτής" (sikotis) (Template:Lang-sq) 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) (Template:Lang-sq) , turns the voice) 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 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). In Albanian they are the "iso" keepers (Template:Lang-sq). The term derives from the Byzantine Greek musical tradition, where the "ίσον" also features.<ref name "European Voices2">
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.
See also
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 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
- Greek Folk Dances by Rickey Holden, Mary Vouras - 1965 - ,page 10,"The tonal variations produced on this instrument by Greek musicians, particularly in the music of Epirus"
- 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"
- 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,"
- 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)"
- European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 212
- European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 210
- 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
- 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 215
- European voices: Multipart singing in the Balkans and the ..., Volume 1 By Ardian Ahmedaja, Gerlinde Haid page 211
Further reading
- 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
- Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman,1997,ISBN 0-226-77972-6
External links
Songs in Greek
- Greek Polyphonic Song
- Songs from Politsani
- Polyphonic Song from Delvino
- Polyphonic Festival, MySpace
- Polyphonic Singing from Epirus, Greece
- Polyphonic Song from Deropolis
- Greek Polyphonic Song
Songs in Albanian
- Songs from Laberia
- Song from Laberia Template:Lang-sq
- I'll Start by Thinking Template:Lang-sq
- Ismail Qemali Song
- Albania Rock and Stone, You'd Kill Yourself for Your Flag Template:Lang-sq
- Wake up Himara, Wake up Vlora Template:Lang-sq
- Manushe Your Hair Template:Lang-sq
- Sons of Shepards Template:Lang-sq
- Kurvelesh, What did You Do with Your Sons? Template:Lang-sq
- Shake Your Handkerchief Template:Lang-sq
- Get Out, May Your Root Get Out Template:Lang-sq
- Songs from Skrapar
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