Glasoechko

Male two-part singing in Dolni Polog, Macedonia, is a traditional form of vocal music, known locally as Glasoechko, which is characteristic of the region. The music is sung in a polyphonic manner with the droning voice moving contrapuntally in relation to the melodic leading voice, often accompanied by a shepherd's flute and a bagpipe.

Despite its similarities to the music of neighboring Balkan countries, it is distinguished by its rhythm and sound. Glasoechko is performed at celebrations, assemblies, weddings, dinner parties, and other social gatherings by groups of two or three people. It's always spontaneous and anticipates the event's conclusion, bringing the attendees together.

Rather than ritual songs, glasoechki songs are often epic or lyrical, often with mythological or love lyrics. Throughout East, Northeast, and Pirin Macedonia (modern-day Bulgaria), the songs are commonly sung for Voditsi, Lazaritsa, Gyurgyovden, Easter, harvesting, and wedding festivals.

The men sing in a drone style, but occasionally it creates three-part singing. Often accompanied by a shepherd's flute and a bagpipe, the droning voice moves contrapuntally to the melodic leading voice. The mode of singing, in general, is the drone principle which is most typical of male singing, but it also can be found in female singing.

By their very nature, epic or mythological lyrics point to their importance in preserving traditions, since through the melodies, the beliefs, history, and mythology of local populations are transmitted as well.

Glasoechko is currently facing numerous very serious threats to its viability, although its practitioners are noted and talented singers who learned their skills from their predecessors. As a result of the ongoing migration of bearers outward following the civil war conflict in 2001, the number of people and groups practicing and transmitting it is decreasing rapidly.

There are no records of Glasoechko songs, and in its present state, the tradition seems to be on the verge of extinction. Since younger generations have only limited exposure to Glasoechko performances and older generations consider there is insufficient interest to warrant continued transmission.

Today, it has changed significantly in terms of the traditional two-part and multi-part singing. It no longer takes place within a real ambient, during holidays and rituals. But it continues to be practiced as part of traditional Macedonian cultural heritage, both locally and regionally, and nationally.

Having discovered the reason for the disappearance of some types of two- and multipart singing, studying this traditional art form has become part of cultural policy in Macedonia, in an attempt to strengthen the country's national cultural identity.