Τζαμάρα

Giorgos Kokkonis (2017: 135-136), researching "this unknown chapter of creative conversations between multiple ethnocultural groups, which are still largely unexplored" and attempting "a first approach to the penetration of Romanian folk music traditions in the Greek corresponding ones, based on the discographical sources," focuses "mainly on three musical forms: the chora, the sirba and the doina, which either kept the original nomenclature or altered it. Thus, gradually, in Greek, the chora was named 'chasapiko', the sirba "serviko" or 'chasaposerviko' and the doina 'skaros' and in some cases 'tzamara'."
In particular, regarding the doina and the relationship with the skaros and the tzamara, he mentions the following: (op. cit., p. 152-155): "The doina does not connect the musical cultures of Greece and Romania in the broad way we saw above, but refers on both sides to a specific identity related to the mountainous livestock sector. In Greece, this sector is associated with the Vlachs.
As a purely vocal expression, the doina is identified with the songs of the hajduks. In Greece, corresponding stylistic elements are found to a large extent in the kleftika songs, both in the field of rhythmic composition (always performed rhythm-free), and in that of melodic development (use of standard phrases and ornaments). In Greek discography, however, the word doina describes exclusively instrumental songs, which of course comprise the two abovementioned characteristics. [...]
In Greek discography, the doina, with the countryside and especially the region of Epirus as its 'field of action', was replaced by the skaros in the first decades of the 20th century. This word, according to ancient etymology, means night grazing and clearly refers to a livestock context for the Vlachs; as a structure and phraseology, it is reminiscent of the kleftika songs. 'Vlachiko' and 'kleftiko' thus became definitively part of the vocabulary in terms of genre.
Many skaroi (plural form of skaros) were recorded by all of the clarinet virtuosos from Epirus, followed by their counterparts from the rest of Greece. In Epirus and Southern Albania, this genre is the only one, together with the instrumental laments ("moiroloi" in Greek), that allows a demonstration of skills through melodic development not only by the protagonist, that is, the clarinet, but also by the other instruments of the orchestra (violin, lute). As an emblematic form for the rural area, the doina must have penetrated very early in Greek music, as evidenced by its identification with two older instruments, the flute and its metallic version in Epirus, the tzamara. Hence the designation 'tzamara' instead of 'doina' in the titles of recordings of this form by virtuosic popular musicians inside and outside Epirus."
The label of the record reads "Arvanitiko" ("Song in Arvanitika" [an Albanian language variety]).