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Azeri Musiqi Dünyasi
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Garayev entered to the world art history with his huge, brave, astonishing achievements and surely has special place in the music of 20 century. Years will pass, the future generations will benefit from Garayev’s music origin, the performers will find new features in his works, and the researches will investigate the essence of his art. The human beings living in various places of the planet regardless of their nation, beliefs will enjoy, morally rise, and become more beautiful after the meeting with Garayev’s bright, noble, high-minded art..
The musical art of Azerbaijan has very old sources, coming from the very depths of ancient times. The manuscripts of Azerbaijani musical-scientists and historians of the XI, XII, XIV, XV and XIX centuries, also the immortal works of Nizami and his contemporaries, such as the poetess Mehsety and the poet Mujereddin Beylagany, testify to the highest stage of development of musical art of Azerbaijani nation. “In Karabakh and different cities of Azerbaijan there were a lot of singers, musicians, sazandas*, flautists and dancers. Along the villages and cities traveled the national singers– ashugs and ozans**, accompanying their songs with music on string, wind and percussion instruments. On the squares and in the palaces were held competitions of performers (singers, dancers)”. («История Азербайджана» the issue of the Azerbaijan Academy of Science, 1958, volume I)..
The traditional music of Azerbaijan can be divided into two main parts: a “professional” part, in other words, one reserved to highly qualified and trained musicians, and a popular part, whose use does not necessitate a particular qualification. The first domain is that of the art of Mugam, as well as that of the bards (´âshuqs), whereas the second comprises the so-called folk music. A third domain can be assigned to urbane centres and their entertainment music, which includes elements of all domains, as well as western influences. The “musique savante” or professional music can be divvied up roughly into two zones: the north of the country and a part of Karabagh with a special preference for the art of Mugam, while the south is famous for the cultivation of the art of the bards.Both traditions have close ties, of course. However, there are certain differences: Contrary to the music of the bards, Mugam music can also be purely instrumental. An instrumental solo, a very important part of Mugam music is very rare in the art of the ´âshuqs, reserved for a few exceptional virtuosos. The art of the bards therefore consists almost exclusively of song, whose leeway for interpretation is rather narrow. Its tradition is purely oral, while Mugam is often based on ancient texts. To work out the specificities of all Azeri musical traditions is, however, extremely complicated, since they all follow a very dense structure that is sometimes hard to comprehend with western concepts of music in mind..
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