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  • #343387

    Anonymous
    [size=14pt]Sevdalinka[/size]
    [img width=820 height=547]http://8tracks.imgix.net/i/001/032/623/13396.original-9369.jpg?q=65&sharp=15&vib=10&fm=jpg&fit=crop” />

    Sevdalinka is a traditional genre of folk music from Bosnia and Herzegovina. Sevdalinka is popular across the ex-Yugoslavia region, especially in Bosnia and Herzegovina, Croatia, Serbia, Montenegro and Macedonia. The actual composers of many sevdalinkas are unknown. In musical sense, sevdalinka is characterized by a slow or moderate tempo and rich harmony, leaving a melancholic feeling with the listener. Sevdalinka songs are very elaborate, emotionally charged and are traditionally sung with passion and fervor. The combination of Oriental, European and Sephardic elements make this type of music stand out among other types of folk music from the Balkans. The singer will often impose the rhythm and tempo of the song, both of which can vary throughout the song. Traditionally, sevdalinkas are women's songs, most addressing the issue of love and longing, unfulfilled and unfortunate love, some touch on a woman's physical desire for her loved one, and some have comic elements. Currently they are often performed by men as well. Traditionally, they were played without any instruments, hence the elaborate harmony. Modern interpretations are followed by a small orchestra containing accordion (the most prominent), violin, nylon-string guitars and/or other string instruments (occasionally), flute or clarinet (occasionally), upright bass, snare drum. In between the verses, an accordion or violin solo can almost always be heard.

    Performers
    [hr]
    The most prominent performers (singers) of sevdalinka in the 20th century are Zaim Imamović, Asim Brkan, Beba Selimović, Hanka Paldum, Himzo Polovina, Meho Puzić, Safet Isović, Silvana Armenulić, Zehra Deović and Nada Mamula. Although sang mainly by traditional Bosnian singers, sevdalinka has made its way to many "mainstream" musicians. Sevdalinkas were re-recorded by Josipa Lisac (she recorded Safet Isović song "Omer Beže"), Željko Bebek ("Da zna zora"), Ibrica Jusić (he recorded a whole album of sevdalinkas in 2003 named "Amanet", and in 2008. called Amanet 2), Jadranka Stojaković and Zdravko Čolić or taken as a basis for few songs by Johnny Štulić (his band Azra was named after a verse from a sevdalinka song). In 1990s a band Mostar Sevdah Reunion was assembled in Mostar and in early 2000s they became widely popular on world music scene receiving high awards for their lively interpretations of sevdalinkas and introducing many people outside Bosnia to sevdalinka.

    Origins
    [hr]
    The origins of sevdalinka are not known for certain, though it is known to date from sometime after the arrival of the Turks in medieval Balkans. The word itself comes from the Turkish sevda which derives from the Arabic word sawda (meaning black and also black bile), which in earlier times was used by doctors to denote a substance purported to control human feelings and emotions. But in Turkish sevda doesn't mean black; it means love, caressing. That word was brought to Bosnia by the Ottomans. Today it is a richly evocative Bosnian word meaning love, caressing, longing (for loved one), and the main theme of sevdalinka lyrics. Thus the people of Bosnia employ the words "sevdalinka" and "sevdah" interchangeably as the name of this music, although the word sevdah can also be used in other meanings. It is possible that the central term in Portuguese Fado saudade is of the same origin.

    Examples
    [hr]
    Hanka Paldum – Ali Pamtiš Još
    Hanka Paldum – Mojoj Majci
    Himzo Polovina – Žute Dunje
    Himzo Polovina – Emina [size=7pt](Best one IMO)[/size]
    Safet Isović – Sve Behara I Sve Cvjeta
    Safet Isović – Grana Od Bora

    #384263

    Anonymous

    How do you turn the embedded videos into links?

    #384264

    Anonymous

    http://youtu.be/iECT1Of9h4g > My favuorite
    @ Svevlad Youtube, click "Share" or "Dijeli" then copy the link you are given

    #384265

    Anonymous
    Quote:

    Good taste.

    Quote:
    @ Svevlad Youtube, click "Share" or "Dijeli" then copy the link you are given

    Oh ok. Thank you :)

    #384266

    Anonymous
    [size=12pt]Types of Sevdalinka music accompaniments[/size]

    Contextual Overview
    [hr]
    Sevdah heritage is at least 500 years old and covers some 4000 known texts in existence today. Sevdalinka repertoires performed by modern artists (i.e. within the last 50 years or so) have largely been narrowed down to a small set of some 50 songs. Variations on the theme within each Sevdalinka are also plentiful. From variations in vocal interpretation to variety of backing arrangements, Sevdalinka has obtained many new musical forms in recent years. However, which of these forms are true to the essence of Sevdalinka as a song and what ought to be ‘appropriate’ is a matter of great debate these days. I will try and make my arguments for and against each approach, with reference to interpretations which I have heard and seen so far.

    Traditional approach – solo singing with no accompaniment
    [hr]
    Pure Sevdalinka in its original form was a song performed by a solo singer, who was storytelling through his or her singing. This is the simplest form of presenting Sevdalinka to audience and is very effective as there are no musical backing distractions from the story and the message within the song. The melody played a massive part in this form of interpretation along with perhaps minimal elements of vocal variations or freestyle. Many interpreters find this form of singing very difficult as it totally exposes their vocal and interpretation abilities (or inabilities as its sometimes the case). Many interpreters perceive this form as boring and prefer to be accompanied by elaborate backings in order to cover up their vocal weaknesses.

    Sargija and Saz accompaniments
    [hr]
    Sargija existed in Bosnia before Saz and would have been the most original form of accompaniment for sevdalinka vocal performances. Nowadays it is not uncommon to find Saz players who are still capable of playing Saz and singing along their accompaniment, so proving backing for another solo singer. Saz was probably preferred to Sargija over time as it has a more resonant sound and gives off a more classy feel, somewhat like a Harpsichord is well suited to classical music due to its harmonic richness. Saz also looks more grandiose than Sargija, giving the accompanist a more prominent image than when he played Sargija. Saz and Sargija are predominantly harmonic instruments, but it is possible to play melodies on them too, which would have given rise to parallel playing of melodies along with the singing, but also to playing of the so called vorspiel before each song or each verse within the songs. The role of a vorspiel is to break up the monotony, give the singer time to rest between each verse and maybe allow the audience to have some mezze or take a sip of their coffee while listening. It is important to outline at this point that Sevdalinka performances would have been delivered within someone’s house or a small Royal premise, and the audience numbers would probably be no larger than 20 in size, giving a very close and intimate impression on both audience and the performer. It would not be unusual for the audience to participate in the singing also, giving the performances participatory and contributory dimension. This participation would have lead towards emergence of (subtle) lyric variations, which we can observe in many Sevdalinkas of today. Those variations may have been based on the local geography of Bosnia, people or customs, which local people would have been keen to put into a more permanent form.

    Accordion accompaniments
    [hr]
    With arrival of Austo-Hungarian Empire, Bosnia got a new ‘national instrument’ – accordion. This meant that Sevdalinka now obtained a potential accompanying instrument which could be used as a full solo instrument, giving it a more prominent impact on the musical form of typical Sevdalinka. With accordion Sevdalinka accompanist gained a much more important role within the typical melody and  accompaniment Sevdalinka duet and became, in some cases, the main focus of attention. At this point solo accordion performances of various ‘kolo’ compositions gained more traction and focus shifted towards a more dance oriented heritage in Bosnia as opposed to more typical and traditional Sevdalinka storytelling through a song. With accordion the melody and use of ornaments within Sevdalinka melodies became more prominent as (mainly) Serbian accordionists, lead by Jovica Petkovic, developed a virtuoso style of playing accordion (probably inspired by their masterful playing of Serbian kolo). Through this ‘stamping’ of Sevdalinkas with kolo-like interpretations, Serbian accordionists arguably took far too much focus away from singing and shifted it towards accordion playing, causing the lyrics and song to be drowned within endless thrills and ornaments of accordion playing.

    Tamburica orchestra accompaniment
    [hr]
    Tamburica is an instrument similar to mandolin in size and sound. It is an instrument commonly played in Croatia, Hungary and North Serbia, but often can be heard in the context of providing musical accompaniment for some of the popular Sevdalinka interpretations from the 20th century. Tamburica orchestras have a very mellow and not overpowering sound to them, which compliments solo singing, especially solo female singing. Tamburica orchestras are not frequent in Bosnia, so this type of accompaniment is somewhat a foreign interpretation of Sevdalinkas similar to the use of clarinet to play some of the Sevdalinka tunes which can often be heard in Serbia. Even though not native to Bosnia (which is the same that can be said of accordion until the 19th century), tamburica orchestras provide somehow appropriate Sevdalinka musical accompaniments in many cases.

    Classical arrangements
    [hr]
    Serbian arrangements of Sevdalinkas did not only come in the form of very elabourate accordion accompaniments which over-powered the singer in many cases, but they also came in form of use of classical ensembles to accompany certain interpretations. This gave Sevdalinka a very ‘royal’ sound and made some Sevdalinkas really stand out from the rest of the songs at the time highlighting them as excellent examples of incredibly high quality, timeless melodies which lend themselves to very organic harmonic treatment. Classical ensemble arrangements would often include accordion as an added melody instrument, but often used in a less elabourate manner than when only accordion and voice are used. This type of arrangement highlighted the operatic nature of highly melismatic Sevdalinka melodies, especially within the very tenuated songs. It helped propel some performers into real royalties of the entertainment scene in the 20th century and provided for very long term, highly valuable materials which sound very good even today.

    Modern accompaniment variations
    [hr]
    It is not strange to find Sevdalinka arrangements done in various modern arrangements with varying accompaniments today. Jazz bands have been used for accompanying certain Sevdalinka interpretations. Jazz quartets have started to incorporate heavy Sevdalinka arrangements into their repertoires, while even heavy metal albums have been influenced heavily by Sevdalinkas. Unfortunately some of the ‘bedroom producing’ youth of the day are also trying to incorporate Sevdalinka elements into their techno tracks, leading to great elements of confusion and dilution of value of the heritage. Arguably even worse form of devaluing Sevdalinka through mixing it with other styles of music comes from interpreters who purposely ‘foreignise’ Sevdalinkas into non-related musical styles such as flamenco, making a musical parallel between the two, a parallel which makes no sense at all. Many heavily synthesised verzions of Sevdalinka arrangements can also be found today and are, by and large, examples of trying to move Sevdalinka into the very dangerous and destructive, quasi musical, post modern style of music known as Turbo Folk.
    [hr]

    Opinion by the World of Sevdah

    #384267

    Anonymous

    This is my favorite one :

    HIMZO POLOVINA … Anadolka

    Thanks for the thread!

    #384268

    Anonymous

    No worries. Sevdah is great music.

    Himzo Polovina – Mila majko salji me na vodu

    #384269

    Anonymous
    Quote:
    This is my favorite one :

    Himzo Polovina – Anadolka

    Thanks for the thread!

    Whose Is this Song – PREVIEW

    Full movie available on YouTube – search for Čija je ovo pesma.

    Really worth watching. I as a Serb say, certainly not our melody :).
    Eventhough known, it is as I believe Ottoman Mehter music,
    a march played by the Ottoman troops while going to the jihad,
    or islamisation of the Balkans.

    A really great documentary worth watching.

    #384270

    Anonymous
    Quote:
    Whose Is this Song – PREVIEW

    Full movie available on YouTube – search for Čija je ovo pesma.

    Really worth watching. I as a Serb say, certainly not our song :).
    Eventhough known, it is as I believe Ottoman Mehter music,
    a march played by the Ottoman troops while going to the jihad,
    or islamisation of the Balkans.

    A really great documentary worth watching.

    So this song is realy widespread in the Balkans?

    #384271

    Anonymous
    Quote:
    So this song is realy widespread in the Balkans?

    Watch the movie :)

    #384272

    Anonymous
    Quote:
    Watch the movie :)

    I just did. So it has a cult status among these countries?

    #384273

    Anonymous
    Quote:
    I just did. So it has a cult status among these countries?

    You saw the whole movie already, not just the preview?  It is a known melody, that people as it portrays claim for themselves.

    #384274

    Anonymous
    Quote:
    You saw the whole movie already, not just the preview?  It is a known melody, that people as it portrays claim for themselves.

    Ahhh i just saw preview. Thanks for infor. ;) :)

    #384275

    Anonymous

    Hanka Paldum, one of my favourite female singer.

    Hanka Paldum-Mojoj majci-spot

    #384276

    Anonymous

    Does Hanka sing sevdah? to me it seems more like narodnjaci

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