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This book represents a group of individual musical essays collected under common Albanian themes, with a particular focus on historical identities and traditional musical performance. It shows that, at the beginning of the 18th century, there was a growing interest in representing the Albanian hero Scanderbeg on the operatic stage, as some well-known composers of baroque music began to place a greater emphasis on music’s dramatic power to elicit emotional response. The book also notes that this sense of drama was also incorporated into the vocal forms such as opera.
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Albania is a small country located in the western part of the Balkan Peninsula. The country is bounded by the Adriatic Sea to the west, Montenegro to the northwest, Kosovo to the northeast, North Macedonia to the east, and Greece to the south. Albania's history is rich and complex, reflecting its position as a crossroads between East and West, and its interactions with numerous empires and nations throughout the centuries. The country has a population of approximately 2.9 million people and covers an area of 28,748 square kilometers. Albania is known for its stunning natural beauty, breathtaking mountains, and clear turquoise waters. The country boasts a mix of traditional and modern influences, reflecting a rich cultural heritage that includes music, art, cuisine, and traditional crafts. Traditionally, the Albanian economy relied on agriculture, which remains an important sector to this day. However, other industries such as tourism, manufacturing, and services have grown in recent years, contributing to the country's economic diversification and growth. Despite challenges, such as political instability and corruption, Albania is slowly emerging as a potential travel destination and investment opportunity in the Balkans.
Identity and Dialect Performance discusses the relationship between identity and dialects. It starts from the assumption that the use of dialect is not just a product of social and demographic factors, but can also be an intentional performance of identity. Dialect performance is related to identity construction and in a highly globalised world, the linguistic repertoire has increased rapidly, thereby changing our conventional assumptions about dialects and their usage. The key outstanding feature of this particular book is that it spans an extensive range of communities and dialects; Italy, Hong Kong, Morocco, Egypt, Syria, Japan, Germany, The Sudan, The Netherlands, Nigeria, Spain, US, UK, French Guiana, Colombia,and Libya.
This is a comprehensive overview of contemporary European theatre and performance as it enters the third decade of the twenty-first century. It combines critical discussions of key concepts, practitioners, and trends within theatre-making, both in particular countries and across borders, that are shaping European stage practice. With the geography, geopolitics, and cultural politics of Europe more unsettled than at any point in recent memory, this book’s combination of national and thematic coverage offers a balanced understanding of the continent’s theatre and performance cultures. Employing a range of methodologies and critical approaches across its three parts and ninety-four chapters, this book’s first part contains a comprehensive listing of European nations, the second part charts responses to thematic complexes that define current European performance, and the third section gathers a series of case studies that explore the contribution of some of Europe’s foremost theatre makers. Rather than rehearsing rote knowledge, this is a collection of carefully curated, interpretive accounts from an international roster of scholars and practitioners. The Routledge Companion to Contemporary European Theatre and Performance gives undergraduate and graduate students as well as researchers and practitioners an indispensable reference resource that can be used broadly across curricula.
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.
For most musicians and musicologists in the West, traditional Albanian music remains an obscure subject, even though Albania has produced a monumental cultural and corresponding musical heritage. This book examines the distinct musical culture of southeastern Europe, both monophonic and polyphonic, by delineating its four main musical dialects: Gheg, Tosk, Lab and Urban. The origins, fundamental features, musical styles and genres of the four dialects are discussed. Additional topics covered include an historical and demographic analysis of Albania, the history of Albanian ethnomusicology and the various classifications in Albanian music. Relying heavily on field research and recordings, this text introduces traditional Albanian music to both ethnomusicologists and curious readers.
This open access book draws on award-winning cross-generational research comparing the complex and life-changing processes of settlement among Albanian migrants and their adolescent children in three European cities: London (UK), Thessaloniki (Greece), and Florence (Italy). Building on key concepts from the social sciences and migration studies, such as identity, integration and transnationalism, the author links these with emerging theoretical notions, such as mobility, translocality and cosmopolitanism. Ethnic identities, transnational ties and integration pathways of the youngsters and adults are compared, focusing on intergenerational transmission in particular and recognizing mobility as an inherent characteristic of contemporary lives. Departing from the traditional focus on the adult children of settled migrants and the main immigration countries of continental North-Western Europe, this study centres on Southern Europe and Great Britain and a very recently settled immigrant group. The result is an illuminating early look at a second generation “in-the-making”. Indeed, the findings provide ample grounds for pragmatic and forward-looking policy to enable these migrant-origin youngsters, and others like them, to more fully attain their potential. The book ends with a call to reassess the term “second generation” as it is currently used in policy and scholarly works. Children of migrants seldom see themselves as a particular and homogeneous group with ethnicity as an intrinsic identifying quality. More importantly, they make use of all the limited resources at their disposal, and view their integration processes through broader geographies – showing sometimes a cosmopolitan orientation, but also using localized reference points, such as the school, city, or urban neighbourhood.