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On the Border
The flow of emigrants from Albania to Greece, being one-sided, indicates a relation of inequality between the two countries. Indeed, the violence with which the collapse of the regime is effected and the subsequent opening of the border and the, as a rule, undocumented way of entering Greece, makes this relation even more asymmetrical and places the moving ones in a much more powerless position, as they live and work illegally: their "outlaw" status deprives them of all rights. Legalisation improves their position but does not cancel the structural inequality that characterises the phenomenon of immigration any way, as well as the quality of the immigrant. In any case, the effort of the immigrants to present aspects of identity that would facilitate their position and residence (proofs of Greek roots or Christian faith, changes of names, etc.) demonstrates, precisely, how they experience this unequal relationship, which is further aggravated by factors pertaining to their otherness.
The Mediterranean in Music
Politically and historically, the Mediterranean has been a space for critical dialogue for competing and often antagonistic voices, and still functions as meeting place for diverse and interdisciplinary approaches. Although other academic disciplines have attempted a unified approach to Mediterranean studies, until recently Mediterranean music as a singular concept has received relatively little scholarly development. This volume is a crucial first step and investigates several musical cultures that have traditionally demonstrated common threads, trends, and interactions. The music of Greece, Crete, Turkey, Albania, Corsica, Italy, Spain, Morocco, Algeria and Palestine are all considered in this volume as the scholars represented here reveal the musical commonality among otherwise divergent traditions. Unnecessary technical jargon is avoided, and an interdisciplinary approach embracing ethnology and material culture considerations makes this volume relevant not only to musicologists and anthropologists, but likewise to the general reader interested in tourism.
A Journey of the Vocal Iso(n)
This study is concerned with the vocal iso(n) repertory, used, on the one hand, in the oral traditions of the multipart unaccompanied singing (IMUS) of the Southwest Balkans, or, more specifically, South Albania, North Epirus in Greece and a small part of the Republic of Macedonia (FYROM), and on the other hand in Byzantine chanting. The vocal iso(n) is an important component of these traditions, which are still practised today in the Southwest Balkans region. The study presents evidence on various manifestations of the practice in their particular geographical regions, and examines in detail the historical roots of these traditions. An ison, a drone holding-note, is the voice that provides ...
Ars Poetica Nr. 1, Nëntor 2007
Revista e parë letrare elektronike në shqip, si e përmuajshme për letërsi, art dhe kulturë (projekt eksperimental) ishte revista "Ars Poetica", nën përkujdesjen teknike dhe përmbajtësore nga S. Guraziu, aktive nga 2007 deri 2009, me 23 numra. Revista kishte kolegjiumin redaksional dhe një rrjet kontributorësh nga bota mbarëshqiptare. *** The first electronic literary magazine in Albanian, as monthly for literature, art and culture (pilot project) was magazine "Ars Poetica", under maintenance and technical auspices by S. Guraziu, active from 2007 to 2009, with 23 issues. Ars Poetica eMagazine had an editorial college and a net of contributors...
Albanian Urban Lyric Song in the 1930s
The author examines the indigenous diatonic and chromatic modes used in Albanian urban music and classifies them under traditional headings and as part of a newly established grouping, here termed south-western Balkan modes. The core of the work is the analysis of Albanian urban lyric songs, seen as an artistic version of the traditional Albanian urban songs.
Sourcebook for Research in Music, Third Edition
Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.
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