An aulos player, found in Apollonia, Albania
A man with a sistrum and three comrades, all singing and chanting

If you want to contact me, please use the email address below: 

A Family of Song: Reflections of Albanian Urban Lyric Song in the Mediterranean, 2005
A Family of Song.doc
Microsoft Word document [103.5 KB]
Shostakovich, Kadare and the nature of dissidence: an Albanian view
Musical Times, Spring 2005
Shostakovich Kadare.pdf
Adobe Acrobat document [95.7 KB]
The Iso(n)—a Participatory Component in the South Albanian Multipart Unaccompanied Singing and in Byzantine Chant, 2015
The Iso(n)—a Participatory Component in [...]
Microsoft Word document [64.0 KB]
Samuel Baud-Bovy, an Independent Voice between Local Schools of Thought and Globally Dominant Trends
01-'Baud-Bovy', Tbilisi paper 2016.doc
Microsoft Word document [644.5 KB]
Bloomsbury Encyclopedia of Popular Music of the World, Volume 11, 2017
Bloomsbury Encyclopedia of Popular Music[...]
Microsoft Word document [30.9 KB]
Kënga Karakteristike Korçare.docx
Microsoft Word document [19.4 MB]
The Saze Instrumental Ensembles of South[...]
Microsoft Word document [24.8 KB]
Scanderbeg in Music

At the beginning of the 18th century, there was a growing interest in representing Scanderbeg on the operatic stage. Some well-known composers of baroque music began to place a greater emphasis on music’s dramatic power to elicit emotional response. The sense of drama was also incorporated into the vocal forms such as opera. In the list of rarely performed compositions, separate and specific arias and overtures have been recorded more often, including Antonio Vivaldi's opera titled Scanderbeg and Rebel and Francoeur’s opera also titled Scanderbeg.
In the second half of the 18th century, musical compositions in which Levantine subjects were embedded would draw attention to Western composers such as Mozart with his opera The Abduction from the Seraglio (1872) where
Microsoft Word document [5.5 MB]