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The Albanian clarinet is played in a style similar to Greek. Since it is almost always used as a lead instrument, it is played in a way to impress and touch the listener, rather than to blend with other instruments. Because of this, it is played with a constant vibrato and usually a strong, dominating tone. Also, because the clarinet mostly replaced more primitive woodwinds, such as the kaval, bagpipe, and zurna, it inherited similar decorations. These are very fast and performed more by the fingers than the mouth (listen to the beginning of the clarinet Kaba). Finally, the style includes playing some partial sharps and flats, and gradual pitch bends (listen to the beginning of Çermenika)."
Southern Albanian music is soft and gentle, and polyphonic in nature. Vlorë in the southwest has perhaps the most unusual vocal traditions in the area, with four distinct parts (taker, thrower, turner and drone) that combine to create a complex and emotionally cathartic melody. Author Kim Burton has described the melodies as "decorated with falsetto and vibrato, sometimes interrupted by wild and mournful cries". This polyphonic vocal music is full of power that "stems from the tension between the immense emotional weight it carries, rooted in centuries of pride, poverty and oppression, and the strictly formal, almost ritualistic nature of its structure".
South Albania is also known for funeral laments with a chorus and one to two soloists with overlapping, mournful voices. There is a prominent folk love song tradition in the south, in which performers use free rhythm and consonant harmonies, elaborated with ornamentation and melisma.
The Tosk people are known for ensembles consisting of violins, clarinets, llautë (a kind of lute) and def. Eli Fara, a popular émigré performer, is from Korçë, but the city of Përmet is the center for southern musical innovation, producing artists like Remzi Lela and Laver Bariu. Lela is of special note, having founded a musical dynasty that continues with his descendants playing a part in most of the major music institutions in Tirana.
Southern instrumental music includes the sedate kaba, an ensemble-driven form driven by a clarinet or violin alongside accordions and llautës. The kaba is an improvised and melancholic style with melodies that Kim Burton describes as "both fresh and ancient", "ornamented with swoops, glides and growls of an almost vocal quality", exemplifying the "combination of passion with restraint that is the hallmark of Albanian culture."
The ethnic Greek inhabitants of Dropull, have a music very similar to the music of Epirus in Greece. These Greek-Albanians have a rougher and more aggressive sound than other forms of Albanian music, and lack the polyphonic complexity, but otherwise the same scales and rhythmic patterns as the rest of the country.
In Greece the clarinet (usually referred to as "κλαρίνο" - "clarino") is prominent in traditional music, especially in central and northwest Greece (Thessaly and Epirus). The double-reed zurna was the dominant woodwind instrument before the clarinet arrived in the country, although many Greeks regard the clarinet as a native instrument. Traditional dance music, wedding music and laments include a clarinet soloist and quite often improvisations
Το πιθανότερο είναι ότι προήλθε από τη διαδικασία εκσυγχρονισμού των μουσικών του τουρκικού στρατού στις αρχές του 19ου αιώνα, οι οποίοι μεταξύ άλλων υιοθέτησαν και το κλαρίνο. Κατά μια απλούστερη εκδοχή, το κλαρίνο πέρασε στους Έλληνες από τους Τούρκους ή τουρκόγυφτους περιοδεύοντες μουσικούς, οι οποίοι το έφεραν από την Ευρώπη τον καιρό της τουρκοκρατίας. Το κλαρίνο διαδόθηκε εύκολα, λόγω της απόδοσής του και ίσως λόγω και της επιρροής του ως ένα μοντέρνο όργανο κατ'ευθείαν από τις συμφωνικές ορχήστρες της Δύσης.Ketu thot qe klarinua briti ne greqi ne shekulin e 19 na turket sepse donin te modernizonin instrumentat muzikore ne ushtrine turke nga rometurke dhe pastai nga greket dhe pastai greket e dime sot qe per ta eshte ne gje qe e duan shume si dhe ne nga jugu.
POR AMA PSE NE I THEMI KLARINOS GERMET GJITHE BOTA E QUAN KLARINO NEVE GERMET DOMETHEN QE NE JEMI LIDHUR ME KETE INSTRUMENT KAQ SHUME SEPSE NA MBULONTE GJITHA NEVOJAT TONA PER TE KRIJUAR NE LOJE ARGETIMI DHE KULTURE SHQIPETARE POR AMA NE JUG VETEM.
JU FALENDEROJ PER VEMENDJEN TUAJ
"Moreover, you scorned our people, and compared the Albanese to sheep, and according to your custom think of us with insults. Nor have you shown yourself to have any knowledge of my race. Our elders were Epirotes, where this Pirro came from, whose force could scarcely support the Romans. This Pirro, who Taranto and many other places of Italy held back with armies. I do not have to speak for the Epiroti. They are very much stronger men than your Tarantini, a species of wet men who are born only to fish. If you want to say that Albania is part of Macedonia I would concede that a lot more of our ancestors were nobles who went as far as India under Alexander the Great and defeated all those peoples with incredible difficulty. From those men come these who you called sheep. But the nature of things is not changed. Why do your men run away in the faces of sheep?"
Letter from Skanderbeg to the Prince of Taranto ▬ Skanderbeg, October 31 1460
Flisni për folklorin tonë të mrekullueshëm si gojëdhënat, legjendat, këngët e trimërisë, anegdodat popullore, kostumë popullorë, etj.
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