As dusk falls in a southern Albanian village, a circle of voices rises in unison, weaving a tapestry of sound that is both haunting and beautiful. This ancient form of group singing, known as Albanian iso-polyphony, is more than just music – it’s a living piece of the country’s soul. Recognized by UNESCO as an Intangible Cultural Heritage of Humanity, iso-polyphony has captured the world’s attention for its mesmerizing harmonies and deep cultural significance. In this second installment of our series on Albanian culture and heritage, we explore the history, art, and enduring legacy of this unique vocal tradition.
What Is Albanian Iso-Polyphony?
Albanian iso-polyphony is a style of polyphonic (multi-voiced) a cappella singing found mainly in southern Albania. The word “iso” refers to the drone note sustained by a chorus of singers, a term derived from the Byzantine ison (chanting drone). In an iso-polyphonic song, typically one singer begins with a melody, and a second singer follows with a countermelody, while the rest of the group joins in on the drawn-out drone syllable (often a long “eee” sound). The result is a rich, layered harmony where voices interweave in call-and-response fashion, creating a sound that many describe as hypnotic or otherworldly.
This tradition features different arrangements of voices. Some songs are performed in three parts (one lead, one response, and the drone group), and others in four parts, especially in the Labëria region of Albania where an additional harmonizing voice is included. Men typically perform iso-polyphony, though women in certain areas sing two-voiced versions or join mixed ensembles. No musical instruments are used – the human voice carries all the melody and harmony, making iso-polyphony a pure expression of vocal artistry. It takes great skill and coordination; for instance, drone singers must use staggered breathing techniques so that the continuous “iso” never breaks, maintaining an unending harmonic background.
Cultural Significance and Occasions
For centuries, iso-polyphonic songs have been an integral part of Albanian community life. They are not just performances on stage, but living folk songs sung to mark important moments and express collective emotions. Traditionally, these haunting harmonies accompany a wide variety of social events and rituals, including:
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Weddings and Celebrations: Joyous polyphonic songs are sung to celebrate marriage unions or village festivities, filling the air with an uplifting communal spirit.
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Funerals and Laments: In more somber moments, vajtime (lamentations) are chanted in multiple voices to mourn the departed, the overlapping voices expressing grief and solidarity.
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Harvest Feasts and Work Gatherings: During harvest time or other communal work, singing together in harmony helps bond community members and lighten the labor with age-old melodies.
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Religious Celebrations and Holidays: On religious feast days or pilgrimages, group songs with droning harmonies add a sacred, ancient atmosphere to the observance.
These songs serve as a collective record of Albanian life – an oral history preserved in melody. The lyrics often tell stories of love and loss, heroism and hardship, or praise the beauty of the homeland. Through iso-polyphony, villagers could pass down legends, honor their ancestors, and reinforce social bonds. In many ways, the music functions as what one ethnomusicologist called “the autobiography of a nation,” capturing the joys, sorrows, and values of the Albanian people in song.
Historical Roots and Evolution
Iso-polyphony is an ancient tradition, believed to date back many hundreds if not thousands of years. Some scholars trace its roots to Illyrian times (long before the Roman era), suggesting that Albanians’ forebears may have sung in multiple voices during their rituals and gatherings. One clue to its age is the connection with lamenting chants: the southern Albanian custom of many-voiced mourning for the dead likely evolved into the structured polyphonic songs we hear today. Over generations, these raw emotional laments were shaped into refined harmonies.
The practice also bears influences from Byzantine church chanting – the use of a sustained drone in iso-polyphony mirrors the ison drone of Eastern Orthodox liturgical music. It’s a reminder that Albania, at the crossroads of East and West, absorbed diverse musical ideas while preserving its own distinct voice. Throughout history, iso-polyphonic singing was transmitted orally; there were no written scores, only careful teaching from elders to youth. Each region developed its own style: for example, the Toskëria and Myzeqe areas favor a continuous, steady drone, whereas in Labëria the drone might be sung with brief rhythmic breaks or syllables. Labëria in particular became famous for its complex four-part polyphony – a later development that added an extra vocal part to enrich the harmony.
Despite social and political changes over the centuries, including Ottoman rule and later communist-era cultural policies, iso-polyphony endured as a cherished form of expression among rural communities. It was heard in village squares, at family gatherings, and even quietly hummed in times when folk traditions were officially discouraged. By the mid-20th century, folklorists and musicians began to record and study these songs, recognizing their value and fragility.
UNESCO Recognition and Preservation Efforts
In the modern era, Albanian iso-polyphony gained international attention for its unique and profound cultural value. In 2005, UNESCO proclaimed it a “Masterpiece of the Oral and Intangible Heritage of Humanity,” and it was later inscribed in 2008 on UNESCO’s Representative List of Intangible Cultural Heritage. This recognition helped spark pride among Albanians and raised awareness globally about the need to preserve this precious tradition.
UNESCO’s recognition wasn’t just an honor – it also spurred efforts to safeguard iso-polyphony for future generations. The Albanian government and cultural organizations, often with international support, have taken steps to keep the practice alive. One major initiative is the National Folklore Festival held in the historic city of Gjirokastër. Since 1968, this festival has convened the best folk groups from across Albania (and Albanian communities abroad) every five years to showcase their repertoire, with iso-polyphonic choirs as a centerpiece. The festival stage, set against the backdrop of Gjirokastër’s castle walls, comes alive with the powerful voices of veteran singers and young talent alike, ensuring the music is heard and appreciated by new audiences.
Music schools and local cultural centers in Albania have also begun offering workshops for youth to learn iso-polyphonic singing from master practitioners. These mentorship programs encourage young Albanians to take pride in their heritage and learn directly from tradition-bearers. Even in an age of pop music and digital entertainment, many are drawn to the soulful authenticity of iso-polyphony once they experience it. Recordings of renowned polyphonic groups have circulated on YouTube and social media, sparking curiosity beyond Albania’s borders. While modern technology helps spread the sound worldwide, experts stress that the true spirit of iso-polyphony is best preserved through face-to-face transmission – learning by singing together in the community, just as it has always been.
A Living Heritage in the 21st Century
Today, iso-polyphony stands as a vibrant living heritage, not a relic frozen in time. In mountain villages and city festivals alike, one can still hear the echo of ancestral voices in these complex harmonies. The tradition has become a source of national pride and a strong marker of cultural identity. It connects generations: elders who know songs passed down from their grandparents now sing side by side with teenagers eager to carry the tradition forward.
Internationally, iso-polyphonic choirs from Albania have moved audiences at world music festivals, and ethnomusicologists study this art form to understand its structure and emotional depth. Tourists visiting Albania are often struck by the emotive power of an impromptu polyphonic performance, even if they don’t understand the words. There is a universal quality in the music’s emotion and in the way multiple voices blend as one.
As Albania continues to modernize, iso-polyphony remains a reassuring link to the past – a reminder of communal values and the creative spirit of its people. From village weddings to grand stages, this ancient polyphonic chant survives and adapts with the times. Its haunting melodies and droning refrains tell the story of Albania in a language more profound than words. By nurturing and celebrating iso-polyphony, Albanians ensure that the world can still experience the magic of a chorus of voices united in an “everlasting song” that transcends time and borders.
