As with most old folk styles, what the sounds of the original melodies would have been like rests on conjecture, as their interpretations are now closely aligned, in part due to the historically increasing role of accompanying instruments, with the Western chromatic system (which stands in contrast to Oriental modes, which often use intervals smaller than a semitone).
Today, it is a richly evocative Bosnian word, denoting "to pine" or "to long", whether for a loved one, a place or a time, with a sense of joy and pain, both being at the emotional core of Sevdalinka lyrics.
Another early written document that refers to the Sevdalinka is the work of an Italian man passing through the Bosnian city of Visoko in the year 1574, who has heard what he described as "sad songs sung by the locals" that made him feel melancholic.
Towards the end of World War II, Radio Sarajevo was founded and signed some of the most prominent "Sevdalije" (or Sevdalinka performers), among them Zaim Imamović in 1945, Himzo Polovina in 1953, Beba Selimović in 1954, Safet Isović in 1955, and Zehra Deović in 1960.
Others, such as Silvana Armenulić, Emina Zečaj, Nedžad Salković, Hanka Paldum and Meho Puzić, were signed to record for such production companies as Jugoton, Diskoton or other Yugoslav labels.
[8][12][13] Equally popular today are songwriters/performers Damir Imamović, Božo Vrećo and Amira Medunjanin, the latter dubbed by the music journalist and author Garth Wainwright as "Bosnia's Billie Holiday".