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Šargija
Other namesŞarkiya
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Bosniak from Sarajevo with a Šargija, 1906.

The šargija, şarkiya (Bosnian: šargija, Turkish: şarki or şarkiya, Albanian: sharki or sharkia), anglicized as shargia is a plucked, fretted long necked lute used in the folk music of various Balkan countries and Thrace including Bosnia and Herzegovina, Serbia, Albania, Kosovo, North Macedonia, Greece and Turkey.[1] The instrument is part of a larger family of instruments which includes the tambura, balkan tambura, tamburica, tambouras, çöğür and the bağlama[2].

History

[edit]

The instrument was studied by musicologists in the 20th century. Their studies have been characterized as speculative and nationalistic.[2]

More recently, an American researcher, Richard March, concluded that the tambura arrived in the Balkans with Turkish people in the 1500s. It was adopted by people living in the Balkans, including "urban Muslim Slavs" and "Bosnia Christians." It also arrived in Croatia with laborers.[2]

Today the šargija is played by Albanians, Bosniaks, Serbs and Croats. The sharki is used by the Gheg Albanians in northern Albania, Kosovo, Serbia and parts of Montenegro and North Macedonia.[citation needed]

The Instrument accompanies singing and dancing.[1]

Characteristics

[edit]
Musicians in Kosovo play çifteli and sharki lutes. Metal frets on the larger sharki are visible in the foreground, showing fret patterns specific to local music.

Its original four strings have been increased to six or even seven. These are grouped to create courses of strings; the instrument has 3 or 4 courses.[1] In the past, frets were moveable, although generally not moved once the instrument was set up.[1] Modern instruments may be inlaid with non-moveable metal frets.

The pattern that the frets are set up to play depends on the tonal system used by the musical tradition a musician participate in.[1] The instrument's body can be made from separate staves, or carved from one piece of wood.

The šargija usually accompanies the violin, and has a jangling quality, similar to the Turkish saz. Musician's play with "complex polyphonic techniques".[1]

The sharki is a similar to or related to the two-string Çifteli or qiftelia, but with more strings.

Sources

[edit]
  1. ^ a b c d e f Cvjetco Rihtman (1984). "Šargija". The New Grove Dictionary of Musical Instruments. p. 298. Volume 3.
  2. ^ a b c LESLEY HAM (Spring 2015). "Review: [Untitled] Reviewed Work: The Tamburitza Tradition: From the Balkans to the American Midwest by Richard March". Western Folklore. 74 (2). Western States Folklore Society: 229–232.

Additional works which discuss the instrument

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[edit]
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Šargija

View on Grokipedia
from Grokipedia
The šargija (also spelled sargija or shargia) is a traditional plucked, fretted long-necked originating from during the Ottoman period in the 1500s, widely used in the of the , including regions in , , , , and , to accompany , dancing, and . Characterized by its teardrop-shaped or nearly triangular resonant body—often crafted from woods such as , cherry, , , or —and a long neck with metal frets, the instrument typically features four to six metal strings, often tuned in pairs or courses, which are strummed or plucked with fingers or a made from beef horn or cherry bark. Dimensions vary by size (smaller and larger variants exist, often played in duos for richer ); for example, a small 1937 Bosnian example measures 58 cm in length, 12.5 cm in width, and 12.5 cm in depth, with decorative elements like mother-of-pearl inlays on the neck and face, as well as sound holes (glasnice) on the soundboard to enhance resonance. As part of the broader tambura family of stringed instruments—influenced by Ottoman-era lutes like the saz—the šargija produces a jangling, melodic tone suited for ensemble playing, often alongside violins or in duos combining smaller and larger variants for richer harmony. Historical artifacts, such as the 1937 Bosnian example in the Metropolitan Museum of Art's collection, highlight its cultural significance in Eastern European folk traditions, where it remains a symbol of regional identity and is still handcrafted today.

Overview

Description

The šargija is a plucked, fretted, long-necked primarily used in the traditions of the . It consists of a resonant body, an extended neck fitted with frets for precise intonation, and multiple metal strings that are typically plucked with a plectrum made from materials such as horn or wood bark. The instrument's body is generally teardrop-shaped or slightly triangular with a rounded peak at the back, constructed from woods like , cherry, or to enhance . The overall form emphasizes a compact, curved —often flat at the bottom with a peaked top—paired with a slender that allows for clear extension and . Dimensions vary significantly by variant and maker, with overall lengths typically ranging from about 58 to 116 cm, body widths around 10 to 25 cm, and depths of 7 to 20 cm. Acoustically, the šargija produces a bright, resonant tone through its soundboard and sympathetic vibrations from the body, making it well-suited for rhythmic in ensemble settings.

The name šargija derives from the Turkish word şarkı, which originates from the šarqiyy meaning "eastern," underscoring the Ottoman cultural influences on Balkan musical nomenclature. This etymological root highlights the instrument's association with eastern musical traditions introduced during the Ottoman era. In English, the term is anglicized as "shargia," while local variations reflect linguistic adaptations in the region, such as the Serbian šargija and the Albanian sharki or sharkia. The naming evolved historically as the instrument spread through Slavic and Albanian communities under Ottoman rule, with the term adapting to local phonetics and dialects while retaining its Turkish core, though no prominent folk etymologies have been documented.

History

Origins and Introduction to the Balkans

The šargija, a long-necked plucked , arrived in the during the alongside Turkish migrations spurred by the Ottoman Empire's expansion into the region. This introduction occurred amid the Ottoman conquests, particularly under Süleyman the Magnificent (r. 1520–1566), when Turkish settlers, soldiers, and administrators brought instruments from , integrating them into the cultural fabric of newly incorporated territories. The instrument's dissemination was tied to the Ottoman Frontier Warrior Culture, including irregular troops known as levends, who carried long-necked lutes as part of military and social life. Initial adoption of the šargija was prominent among urban Muslim Slav communities in Bosnia and , where it drew direct influences from the Turkish saz, sharing morphological features such as a conical or teardrop-shaped , extended neck, and typically three courses of strings. These groups, often descendants of local converts to during Ottoman rule, incorporated the instrument into their musical practices, adapting it for in epic narratives and social rituals that blended Anatolian and local Slavic elements. The saz's jangling, polyphonic qualities resonated in these settings, facilitating its role in fostering cultural synthesis without immediate widespread use among non-Muslim populations. Early documentation of the šargija in the is limited but includes 17th-century traveler accounts, such as those by , who described saz variants in Bosnian urban contexts during rituals like the 1660 pobratim brotherhood ceremonies. Speculative links to pre-Ottoman lutes, such as Byzantine pandoura or ancient Mesopotamian tanbūrs, have been proposed based on iconographic evidence, but these are critiqued by musicologists like Richard March as oversimplified or nationalistic narratives that ignore the rhizomatic Ottoman transmission pathways. By the 16th and 17th centuries, the šargija had integrated into Bosnian and Albanian urban music scenes, accompanying in ensemble performances and epic songs, solidifying its foundational presence before later regional evolutions.

Adoption and Evolution

In the 19th century, the šargija began to evolve beyond its initial Ottoman-influenced form, with instrument makers in rural Balkan communities adapting its to suit local musical needs, including variations in string count, often five strings in three courses, for richer harmonic support in ensemble playing. This modification facilitated its integration into polyphonic folk traditions, particularly among Bosnian Christians and Croatian laborers who carried the instrument during seasonal migrations for work in urban centers like and . These groups, often from impoverished rural areas, embraced the šargija as an affordable and portable accompaniment to epic songs and dances, embedding it in their communal gatherings and family rituals. In the late 20th and early 21st centuries, musicological has affirmed its in Anatolian long-necked lutes while highlighting its hybrid development through cross-ethnic exchanges. Scholars have applied rhizomatic models to trace its non-linear evolution, rejecting linear phylogenetic narratives that overlooked Ottoman military and trade influences. The instrument played a key role in nationalistic folk revivals during the and post-World War II era, as cultural organizations in newly formed promoted it to foster unity among diverse Slavic populations, often pairing it with voice in performances of heroic ballads. The šargija's spread to , , and accelerated in the late 19th and early 20th centuries, propelled by population migrations and the disruptions of the (1912–1913) and , which scattered instrument makers and musicians across borders. In these regions, refugee communities and returning soldiers adapted local variants, incorporating elements like extended necks for better projection in open-air settings, while wars interrupted but ultimately revitalized artisan traditions through improvised constructions in frontline areas. This diffusion underscored the instrument's resilience amid geopolitical upheaval. Modern documentation emphasizes the šargija's cross-cultural adoption as a symbol of shared Balkan heritage, detailing how it transitioned from a marginal rural tool to an emblem of ethnic identity in communities. Analysis highlights its role in bridging Muslim, Christian, and secular musical practices, drawing on archival recordings and fieldwork to illustrate ongoing adaptations without romanticizing isolated origins.

Design and Construction

Physical Components

The šargija features a body that is typically pear-shaped or teardrop-shaped, with a deeply structure and a somewhat conical profile exhibiting a dorsal along the bottom for acoustic projection. In the Bosnian variant, the body often has flatter, straighter sides compared to more curved forms in related regional styles, and it measures approximately 45.5 inches in total length, 10 inches in width, and 7.5 inches in depth. The body may be carved from a single piece of wood, contributing to its compact, bulbous form with incurved shoulders. Extending from the body is a long, slender that serves as the primary extension for finger placement, typically comprising 50-70 cm in length and accounting for about 70% of the instrument's overall proportions. The is narrow and straight, often without a distinct , allowing frets to be directly inlaid along its surface and sometimes extending onto the top of the body for extended playability. This design facilitates precise intonation in folk traditions, with the neck integrating seamlessly into the pegbox at the head. The soundboard, or face, covers the front of the and is characterized by its teardrop or ovoid shape, often featuring a small round soundhole known as a glasnica for sonic , along with decorative elements such as inlaid mother-of-pearl circles or triangular dark wood sections. In some examples, it includes additional sonorous holes and ornamental trim like burned crosses or foliage patterns to enhance both aesthetics and vibration. A key structural element is the fret system, which historically employed movable, tied-on frets (brass or copper), arranged in 11-13 positions for a non-tempered diatonic scale accommodating microtones. Contemporary šargijas utilize fixed metal frets, typically 17 in number, inlaid as U-shaped elements along the neck and upper body in a diatonic configuration to support regional modal playing. The bridge elevates the strings above the soundboard and is a small, carved structure positioned near the base, often wooden and designed to transmit vibrations efficiently without a prominent tailpiece. At the instrument's head, the pegbox angles slightly backward or curls sideways, housing tuning mechanisms such as mechanized pegs or wooden ones inserted from the front or back to adjust tension. This component ensures stable pitch control, with the pegbox often lighter in finish compared to the and body for visual distinction.

Materials and Manufacturing

The body of the šargija is typically constructed from resonant hardwoods such as , , mulberry, , cherry, or , selected for their acoustic properties and availability in the . The neck is fashioned from denser woods like , , or similar hardwoods to provide structural stability and support the frets and strings. Modern instruments commonly use metal ( or ) or strings for greater durability and brighter projection. Manufacturing of the šargija emphasizes artisanal handcrafting in small workshops, particularly in Bosnia-Herzegovina, where the body may be carved from a single block of wood or assembled via stave-glued construction—staves of wood bent and joined to form the —for enhanced resonance and strength. Notable examples from the Kreševo region in demonstrate this technique, with separate carving of the body, neck, , and soundboard, often incorporating mother-of-pearl inlays and metal frets for precision. Regional variations reflect Ottoman luthiery influences, evident in refined methods like tight stave bonding and polished finishes that protect the wood while optimizing tonal clarity. To ensure longevity and superior , woods undergo extensive air-drying and processes, sometimes lasting years, to minimize warping and maximize vibrational response. is applied sparingly to the exterior, sealing against while preserving its natural resonance, a practice rooted in traditional Balkan instrument-making. In contemporary settings, while handcrafting persists, some production has shifted toward semi-industrial methods for broader accessibility, though artisanal quality remains prized.

Tuning and Playing Techniques

String Configuration and Tuning

The šargija's string configuration varies by regional and historical variant, typically featuring 3 to 6 metal strings arranged in 2 to 3 courses, with pairs or singles per course. A common setup includes five strings in three courses: a pair tuned to g₁, a single to d, and a pair to a₁ (relative pitches). Earlier forms may have four single strings, while some modern examples extend to six or seven strings in three or four courses for enhanced resonance. Tuning adheres to the karadüzen system, a diatonic modal framework suited to Balkan pentatonic and local scales, often G-D-A across courses for polyphonic with dissonant intervals like seconds. This —where higher courses may loop back in pitch—facilitates adjustable intonation via mechanized or wooden pegs, allowing transposition to fit ensemble modes without fixed . The fretboard employs tied or metal frets in diatonic scaling, numbering 11 to 17 depending on the maker, to approximate microtonal nuances (such as quarter- or three-quarter-tones) inherent in regional tonal systems. This setup supports non-tempered intervals while maintaining playability on a length of approximately 30-40 cm. String maintenance involves periodic replacement of metal to preserve tone, with intonation fine-tuned by repositioning frets or adjusting peg tension for stable pitch across the scale.

Performance Styles

The šargija is typically played by plucking its strings using either a , known as a terzijan or mızrap, crafted from materials such as beef horn, cow horn, or cherry bark, or by using the bare fingers for more nuanced control. This allows for both strumming across multiple courses to produce rhythmic and individual picking to articulate melodies. The instrument is held in a seated position, often cross-legged with the neck angled downward or vertically, facilitating access to the frets while maintaining stability during extended performances. Performance techniques on the šargija emphasize complex polyphonic patterns, where players simultaneously execute bass lines on lower courses, melodic lines on higher ones, and drones sustained through rapid plucking. Ornamental flourishes, such as hammer-ons, pull-offs, and rapid intervals played across adjacent courses, add expressive depth, often creating dissonant seconds or parallel fourths and fifths characteristic of Balkan styles. These methods enable the instrument to produce a jangling, resonant , with frequently used to fret and alter pitches on upper courses while the other fingers handle plucking. In settings, the šargija provides rhythmic drive and harmonic support, commonly accompanying , voice, or other lutes like the tambura in traditional groups, where it anchors the texture with steady drones and syncopated strums. It also demonstrates solo potential through improvisational passages that weave intricate , often in or contexts. Optimal interplay can involve multiple šargijas of varying sizes, with one handling bass and another focusing on to enhance overall sonority. Mastering the šargija demands significant dexterity, as players must coordinate precise across up to 13 partitions—often marked for tone guidance—with simultaneous plucking to maintain polyphonic layers and drones without interruption. This requires advanced technical precision for ornaments and rapid shifts, alongside an intuitive grasp of modal structures to support ensemble dynamics effectively.

Cultural Significance

Role in Folk Music Traditions

The šargija serves as a primary accompaniment instrument in Balkan , particularly for sevdah ballads and kolo circle dances, where it provides rhythmic and harmonic support to vocalists and dancers. In sevdah performances, it underscores melancholic love songs with steady strumming patterns that enhance the emotional depth of the lyrics. For kolo dances, the instrument delivers a pulsating essential to the communal movement, often leading or sustaining the group's tempo during social gatherings. In 2024, (sevdah), a tradition in which the šargija is prominently featured as an accompaniment instrument, was inscribed on the Representative List of the of Humanity. Musically, the šargija contributes drone and chordal textures within polyphonic folk ensembles, typically alongside and vocals, creating a layered heterophonic sound that reinforces the overall harmonic structure. Its role as a rhythmic drone offers stable foundational support, allowing for modal progressions such as Mixolydian scales, while limited stepwise chords add subtle harmonic color without overpowering the lead elements. This setup facilitates improvisational vocal forms, where the šargija's consistent pulse enables singers to vary melodies and ornamentation freely, a hallmark of traditional izvorna styles. In wedding and ritual music, the instrument holds symbolic importance, marking life-cycle events through its evocative presence in ritual songs that convey communal bonds and traditions. Socially, the šargija is embedded in Balkan oral cultures as an emblem of , often passed down through in rural settings to preserve cultural knowledge and foster intergenerational continuity. Its use in these contexts underscores themes of and , influencing the development of modal folk harmonies that prioritize over complex progressions in improvisational practices.

Regional Usage

In , the šargija serves as a central instrument in Bosniak sevdah traditions, where it provides melodic and rhythmic to vocal performances expressing themes of and longing. This usage spans both urban settings, such as Sarajevo's coffeehouse ensembles, and rural practices in regions like , often paired with the tambura for layered textures in solo or small-group settings. Its prominence in sevdah underscores its role in preserving Bosniak cultural identity through intimate, emotive folk expressions. Among communities in and , the šargija—locally known as sharki—integrates into traditional ensembles, complementing the çifteli in accompaniments for songs and dances rooted in and epic narratives. This configuration supports the rhythmic drive of iso-polyphonic vocal styles, particularly in highland gatherings where the instrument's fretted neck allows for microtonal inflections characteristic of Gheg dialects. In , it features in cross-border exchanges with Serbian influences, enhancing communal celebrations in areas like . In , , and , the šargija functions primarily as an accompaniment for folk dances such as the kolo, providing steady strumming patterns that propel group formations in village festivals and urban revivals. Serbian ensembles often deploy it alongside the in and central regions, while in 's mountainous areas, it echoes in gatherings blending Slavic and Ottoman motifs. usage appears in mixed-ethnic settings near , contributing to shared Balkan folk repertoires. Among Balkan diaspora communities in Europe, particularly Bosniak groups in Germany, Sweden, and Austria, the šargija sustains cultural ties through private gatherings and festivals, where it accompanies sevdah and kolo to foster intergenerational transmission amid migration challenges. Immigrant ensembles in cities like Vienna preserve its playing techniques, adapting them to hybrid performances that blend homeland traditions with host-country influences.

Types of Šargija

The šargija exhibits several distinct types, primarily differentiated by string configuration, size, and regional adaptations, reflecting its evolution from Ottoman influences to local Balkan folk practices. The traditional 4-string šargija represents the earlier, simpler form of the instrument, designed for basic rhythmic in rural music settings. This version features single metal strings, and is typically constructed with a long neck and a small, guitar-like body for portability and ease of play. In contrast, the modern variant often incorporates 6 strings in multi-course configurations—such as pairs or mixed single/double courses—to enable richer textures and polyphonic capabilities. These allow for more complex strumming patterns and chord voicings, adapting the instrument to ensemble performances while maintaining its fretted long-neck design. Occasionally, 7 strings are used, grouped into 3 or 4 courses. Regional subtypes further diversify the šargija, with the Bosnian bugarija serving as a smaller variant equipped with 4 or 5 strings (the first two often doubled), optimized for support in orchestras. Other Bosnian subtypes include the dangubica (a smaller form) and samica, each varying in size and role. While influenced by Turkish lutes like the saz and its variants (such as baglama, bozuk, and karaduzen), the šargija developed distinct local adaptations in and string tension for specific tonal roles. In Albanian traditions, the instrument appears as the šargjë (or sharkia), a 5-string subtype with a comparable long-necked structure but adapted for deeper resonance, featuring 11-13 frets and typically tuned with paired upper strings in G, a middle D, and lower pairs for balanced accompaniment to vocals or .

Comparisons with Similar Lutes

The šargija maintains a close relation to the Turkish saz, also known as , as both belong to the family of long-necked plucked lutes disseminated across the from Central Asian and Anatolian origins. This shared heritage is evident in their use for and folk accompaniment, with the saz central to Turkish bardic traditions and the šargija evolving to support Bosnian sevdah music in urban elite settings. However, the Bosnian variant developed a larger, more elaborate form to accommodate regional modal complexities. It also links to the and tambura through familial ties in Balkan evolution, where the šargija served as an early precursor adapted from Middle Eastern models like the saz and . These instruments share hybrid East-West stringing and solo performance roles for dances and songs, but the šargija's non-standardized design contrasts with the tamburica's later ensemble-oriented standardization, such as in Croatian and Serbian orchestras, producing a distinct jangling resonance suited to rural lyric traditions. Distinct from the Albanian çifteli, the šargija features multiple string courses—typically four to six—enabling polyphonic layering in Balkan folk contexts, whereas the çifteli's two-string setup supports simpler monophonic rural narratives, highlighting contrasting scales and simplicity in Albanian traditions. In the wider Ottoman-influenced lute family, the šargija diverges from the Greek tambouras, a parallel long-necked plucked instrument tied to regional folk ensembles but shaped by distinct Hellenic adaptations, and from the Bulgarian gadulka, which employs bowing rather than plucking for its integral role in dance music, underscoring performative and timbral differences across the Balkans.

References

  1. https://wmic.net/lute-sargija-bosnia/
  2. https://earlymusicseattle.org/early-instruments/
  3. https://tkanica.org/instrumenti/sargija/
  4. https://www.metmuseum.org/art/collection/search/505127
  5. https://musicbrainz.org/instrument/26fccd38-1a9e-42d4-8e42-b0cb1b79e579
  6. https://muzej.info/s/muzej-rs/item/905
  7. https://wmic.net/lute-sargija-double-neck/
  8. https://hrvatski.en-academic.com/15161/sargija
  9. https://deqistamps.com/product/bosnia-hp-mostar-stamp-year-2012-folk-music-instrument-sargija/
  10. https://brill.com/display/book/9789004531260/BP000015.xml
  11. https://orca.cardiff.ac.uk/id/eprint/126268/12/PhD%20charest-1.pdf
  12. https://balkaninsight.com/2022/01/18/saz-ancient-instruments-epic-journey-from-central-asia-to-the-balkans/
  13. https://www.brill.com/display/book/9789004531260/BP000015.xml
  14. https://www.atlasofpluckedinstruments.com/europe2.htm
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  16. https://stringedinstrumentdatabase.aornis.com/s.htm
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  18. https://ru.scribd.com/document/820122889/Hans-de-Zeeuw-The-Turkish-Long-Necked-Lute-Saz-or-Ba%25C4%259Flama
  19. https://folkways-media.si.edu/docs/folkways/artwork/SFW40407.pdf
  20. https://www.archaeopress.com/Archaeopress/DMS/C19633EF47F14024BA0588AD07DF0DD5/9781789691696-sample.pdf
  21. https://ich.unesco.org/en/RL/sevdalinka-traditional-bosnian-and-herzegovinian-urban-love-song-02060
  22. https://escholarship.org/content/qt8n61r2sd/qt8n61r2sd.pdf
  23. https://sk.sagepub.com/ency/edvol/download/the-sage-international-encyclopedia-of-music-and-culture/chpt/bosnia-herzegovina-modern-contemporary-performance.pdf
  24. https://escholarship.org/content/qt98j5c2zr/qt98j5c2zr.pdf
  25. https://classic1073.org/wp-content/uploads/2023/02/Musical-Ancestries-Bosnia-Written-Script.pdf
  26. http://www.folkworld.eu/40/e/albania.html
  27. https://repository.up.ac.za/items/5b0bcf31-d401-4e0e-b81d-fe144a888da1
  28. https://www.serbiaincoming.com/magazine/serbian-traditions-national-folk-dance/
  29. https://folkcloud.com/folk-music-by-country/serbia
  30. https://www.youtube.com/watch?v=AvqSLNHYd8w
  31. https://carkiv.musikverk.se/www/epublikationer/Meddelanden_52.pdf
  32. https://www.academia.edu/94554206/Serbian_diaspora_in_Slovenia_and_other_European_countries_and_challenges_of_their_new_stage_presentations
  33. https://folkways-media.si.edu/docs/folkways/artwork/ARH07051.pdf
  34. https://www.youtube.com/watch?v=RqIWwlAc7yY
  35. https://www.tradmusictrails.com/audio/albania/vendemiaire_114/vendemiaire_114.pdf
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