Azerbaijani music
According to its tradition, Azerbaijani music is essentially vocal and can be roughly divided into the areas of classical urban music of the Muğam and the more rural music of the folk singers ( Aşık , Arabic عاشق, DMG ʿĀšiq 'the lover'). Since the end of the 19th century , symphonic music has been based on Western classical music and since the middle of the 20th century there has been its own forms of jazz .
The folk music of the bards
Aşık ( Georg . აშუღი , poor. Աշուղ to Arabic عاشق the lover ) is the name of a storyteller and folk song singer in Azerbaijan and Turkey. The same tradition has existed throughout the Caucasus region since pre-Islamic times. In Azerbaijan his main instrument is the lute saz ; it can also be accompanied by a wind instrument (e.g. the short oboe balaban , similar to the Turkish mey ) and a percussion instrument (e.g. the small tubular drum nağara ). Two balaban usually play as a group balabanchylar dastasi with one nağara .
The music consists of melody types ( hava , pers. ﺍﻭﻫ, air ) that have their own names (e.g. Koroğlu , Misri ); their total number should be around 100. The texts consist on the one hand of shorter poems (e.g. of the qoşma type, quatrains with eleven-syllable verses) of gallant, moral or religious content, on the other hand of longer lyrical or epic ballads ( dastan ) such as B. "Koroğlu" , "Äsli vä Käräm" or " Leyli vä Mäcnun " . The folk music of the Aschugen tends to be at home in rural areas or in the south of Azerbaijan and the neighboring Iranian region of the same name .
The art music
The term Muğam (in Arabic مقام location ) means both classical music and mode , since, as in many Asian musical cultures, a modal melody concept is the basis. The closest connections exist to the Persian maqām . A muğam has a basic modal substance ( mayä ) and individual characteristics ( şöbä , guşä ). If a muğam develops, a complex modal system ( dästgah ) can arise. The twelve Azerbaijani muğamlar are divided into seven main modes ( rast, şur, segah, çahargah, bayatı-şiraz, şüştär, humayun ) and five secondary modes (mahur (mahurı hindi, orta mahur), bayatı-kürd, bayatı-qacar- nişapur, rähab (also rahāb or rahāvand) ). The typical instrumentation consists of long-necked lute ( tar ), spiked fiddle ( kamança ) and frame drum ( däf ). The texts often come from classical poetry (from Nezāmi , Näsimi , Füzuli, etc., for example in the form of qäzäl ). The art of Muğam is more likely to be assigned to the cities or the north of Azerbaijan.
Intermediate forms
The rhythmic muğam ( zärbi-muğam , zarbi ), songs of a simpler character ( täsnif , tasnif ) and dance styles ( räng , reng , rang ) can be seen as mixed forms between folk and art music , which can also be incorporated into the free interpretation of a muğam .
Western influences
On the way across Russia, symphonic music arose in Azerbaijan from the end of the 19th century, which ties in with the tradition of Muğam and whose leading representative was Üzeyir Hacıbəyov (1885–1948).
A little later, and then again in the 1960s, jazz ( caz-muğam ) became popular from the Anglo-Saxon region . Well-known are the composer and pianist Vaqif Mustafazadä and the pianist and singer Aziza Mustafa Zadeh . Azerbaijani pop music emerged at the end of the 20th century.
See also
literature
- The Dastgâh organization in the Azerbaijani School . In: The Radif of Mirzâ Abdollâh. A Canonic Repertoire of Persian Music . Edited by Jean During, Mahoor Institute of Culture and Art, Teheran 2006, pp. 326–329 (also: p. 293)
- Jean During: The Modal System of Azerbâyjâni Art Music. A survey. In: Maqâm, Raga, line melody. Concepts and principles of music production. , ed. by J. Elsner, Berlin 1989
