Feim Ibrahimi

He then taught composition, counterpoint and harmony at the conservatory (1966–73), subsequently serving as vice-director of its parent body, the Superior Institute of Arts (1973–7).

His most significant post was as music secretary of the Union of Albanian Writers and Artists (1977–91); he later also served as director of the Theatre of Opera and Ballet, Tirana (1991–92).

Though obliged by his office to defend socialist realism, during his official travels abroad he tried, as much as was possible, to keep up with international musical developments, experimenting in secret with atonality (e.g. in the Cello Sonata, 1975, rev.

According to musicologist Nicholas Tochka, he underlined the importance of a creator's individuality (which was frowned upon in socialist Albania), and shared the complaints of many composers.

He cited international artists like Julio Iglesias, Marinella, Mikis Theodorakis, Toto Cotugno, and even the Beatles as positive examples rooted in urban popular music.

He also praised the broader range of themes that now better resonated with people's emotions, advising patience with their rising popularity, as these songs were only recently “recognized” and would take time to meet the public’s longstanding demand.