Traditional Albanian polyphonic music can be divided into two major stylistic groups. The Gheg people sing in the northern part of the country, while Tosks and Labs living in the southern part of the country. The term iso is linked to Byzantine church music and refers to the drone accompanying polyphonic singing. Tosk singers usually perform the drone in two ways: continuously, and on the syllable 'e' with staggered breathing. In contrast, lab singers sometimes sing the text of the song in a rhythmic tone. The music is traditionally accompanied by a wide range of social events, such as weddings, funerals, harvest feasts, religious celebrations, and festivals, like the well-known Albanian folk festival in Gjirokastra.
Scholars who have studied Albanian iso-polyphony and in general the polyphonic music of the Balkans believe the tradition of Albanian polyphonic music dates back to the Thraco-Illyrian era. However, there is an absence of historical documentation related to Albanian polyphonic traditional music, which most scholars have concluded is the product of oral transmission down many generations. This musical tradition continues to be performed in modern times.
Albanian iso-polyphony is characterized by songs consisting of two solo parts, a melody, and a countermelody with a choral drone. Some of the solo parts may vary depending on the way the drone is performed. This can lead to a variety of structures in all the groups performing this music. All these styles of music have fascinated countless international authors, scholars, anthropologists, and poets. Polyphony has become a source of inspiration for all those interested in understanding their roots. Through poetry and music, poets have discovered the dramatic history of the country woven into the sounds and verses of the art form. Their lyrics and sounds are so intimately linked to the country of their birth that they reflect the country's spectacular yet treacherous landscape. Because of its complete authenticity, polyphony has inspired people to delve into ancient history and, as a result, their origins.
A modest rise in cultural tourism and growing research interest in Albanian iso-polyphony have contributed to its revival over the last few decades. However, the tradition is adversely affected by poverty, the absence of legal protection, and the lack of financial support for practitioners, threatening to inhibit the transmission of its vast repertoire of songs and techniques. In addition, young people from rural areas are increasingly leaving for the cities and abroad in search of work. Under these circumstances, these traditions are currently being passed down through professional folk artists rather than through the traditional family structure.
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