EARLY POSTMODERNIST AND SOCIALIST REALISM TENDENCIES IN THE CREATIVE WORK OF RAMADAN SOKOLI
DOI:
https://doi.org/10.58885/ijllis.v14i1.37rkKeywords:
Rhapsody, concerto, exposition, development, coda, introduction theme, thematic materialAbstract
Over 60% of Ramadan Sokoli's music is composed of flute. These operas include miniatures, duets, and trios and extend to rhapsodies, suites, and concertos. In Prof. Sokoli's "Rhapsody No.1" for flute and piano, the choice of the Sonata Form (with an introductory theme and episode, without development) and reliance on the intonations of the Shkodër urban folk music (themes and modal-tonal harmony) result in a piece that is both accessible to audiences and exemplary in its refinement of folk music traditions. "Concerto No.1" for flute and piano, composed by Prof. Sokoli in 1956, shares the same year of composition as "Rhapsody No.1." While the structural elements of both works are nearly identical—featuring an introductory Sostenuto with rich harmonic textures, themes inspired by the intonations of northern urban music, and a Sonata Form, "Concerto No.1" marks a significant advancement in harmonic and thematic development. In "Burlesque," Prof. Sokoli chose a small ternary composition structure. This miniature for flute incorporates thematic material with a distinct national character. Despite being miniature, the flute technique is well showcased, establishing it as a convincing addition to the flute repertoire.
The researcher worked on these operas with the students in class and played them in the concert, and reached the following conclusions.
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