TINGUJT E NDRYSHIMIT: (R)EVOLUCIONI I SKENËS MUZIKORE NË KOSOVË (1990-1999)
(R)EVOLUTION OF THE MUSIC SCENE IN KOSOVO (1990-1999)

Summary/Abstract: The Albanian society in Kosovo has struggled to establish a definitive name for the hybrid music that emerged after the 1990s of the 20th century. The reasons behind this remain unclear, as a thorough investigation and expertise in various scientific fields would be required to determine them. Perhaps, it may be beneficial to examine the ongoing development of these musical creations and conduct further research on the influences and emerging musical trends in Kosovo over an extended time. This extended timeframe could also reflect the continuity of traditions and practices. It is possible that as a society, we are inclined towards seeking long-term stability for a musical trend before fully integrating it into everyday life. This stability may not necessarily be in the conventional musical sense, but rather in terms of its etymology. The endeavor to trace the emergence of a musical genre and music hybridization of that historical era becomes even more significant when considering its continuous evolution in the future, despite not yet solidifying as a musical genre classification on its own. The music scene in Kosovo lately (post-2000s) has undergone under unprecedented influences from Balkan and global musical cultural traditions and practices, struggling to ever find stability and a sustainable form. “Folklore-inspired composed songs,” so-called “tallava,” and “Roma music,” alongside contemporary genres from the Balkan region countries, have left Albanians uncertain about Kosovan music, in terms of its name and genre identity. Despite the instability, these hybrid genres have successfully made their way into the family rituals and ceremonies of Albanian society in Kosovo, alongside the daily listening to music. As such, they were initially imposed, and then eventually got embraced by the broad public. This way how music was received into family rituals has brought about a duality of joy and experience for this music genre. Traditional songs that have long been a part of Albanian family traditions still tend to characterize climactic and liminal moments of relevant rituals and ceremonies. This cultural and musical transition in Kosovo, which began over 30 years ago, is evolving but has not yet revealed its “true colors”.

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