MËNYRAT E TË KËNDUARIT DHE TIPOLOGJIA E INTERPRETUESIT TË KËNGËVE TONA KRESHNIKE
MODES OF SINGING AND TYPOLOGY OF THE INTERPRETER OF OUR HEROIC SONGS

Summary/Abstract: The originality of Albanian heroic songs comes into perspective also by the mode of their performance, which is compatible with entire European paradigm. Even though heroic song were recited, main mode of their exercise was singing with accompaniment of instruments. Although the term lute/lahutë is borrowed it doesn’t mean that there did not exist an indigene archaic instrument which was identified with introduced instrument. Similarities between Albanian lute and Slavic gusla are connected to typological analogies between chordophone instruments. There are also differences in the form between the lute and gusla. Musical period in Albanian epic is divided in instrumental introduction, vocal parts, instrumental interlude, and instrumental final. Parts of Albanian heroic song performance are also gestures or clothing of the lute-player. A relevant role during performance of Albanian heroic songs plays especially interaction between performer and listeners. From analyses of all components in performance of heroic songs, comes out that their originality is not only in their substance and form but also in the quality and the way of performance. Lute-player of Albanian heroic songs is not identical to the reader or the author of literature compositions. He was closer to mediaeval jongleurs than to trubadur or truver. Nevertheless there were scarce talents being true composers. Lute-player performers were frontier warriors and travelers. Heroic songs were practiced mainly by men, but in some particular occasions also women, especially burrnesha or virgjna (sworn virgins/vowed females who turned into men by gender), sang by lute. Greatest numbers of Albanian lute-players were amateurs, but among some of them were noticed elements of professionalism such as long experience, rich repertoire, high quality of performance, awarding with presents and money. Blind lute-players didn’t play any particular role in performance of Albanian heroic songs. Both texts and performance or circulation of heroic songs testify they are organic part of Albanian culture.

• Details
• Contents