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İşin adı Jurnalın adı, Nəşriyyat, cild, N Müəlliflər İstinad sayı Nəşr tarixi Abstrakt və oxşar məqalələr
The sound state of Uzbekistan: Popular music and politics in the Karimov era book / Routledge Kerstin Klenke 21 2019 The Sound State of Uzbekistan: Popular Music … The Sound State of Uzbekistan: Popular Music and Politics in the Karimov Era is a pioneering study of the intersection between popular music and state politics in Central Asia. Based on 20 months of fieldwork and archival research in Tashkent, this book explores a remarkable era in Uzbekistan’s politics (2001–2016), when the Uzbek government promoted a rather unlikely candidate to the prominent position of state sound: estrada, a genre of popular music and a musical relic of socialism. The political importance it attached to estrada was matched by the establishment of an elaborate bureaucratic apparatus for state oversight. The Sound State of Uzbekistan shows the continuing legacy of Soviet concepts to frame the nexus between music, artists and the state, and explains the extraordinary potency ascribed to estrada. At the same time, it challenges classical readings of transition and also questions common … Daha çox
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Growing into music in Mali–perspectives on informal learning in West Africa book Lucy Durán 16 2015 Despite the fact that Mali is famous … Despite the fact that Mali is famous for its musical traditions, some of which date back to the 13th century, very little research has been done on the passing down of musical knowledge from one generation to the next. Yet surely this is a key to understanding how these oral musics have survived into the 21st century with such vigour. In this chapter I reflect on how children within specialist Malian musical families (jelis, also known as as griots) acquire musical skills. The chapter draws on many years of research in the region, particularly between 2009 to 2012 when I engaged in a film-based project entitled ‘Growing into music – musical enculturation in oral traditions’. There is a small but growing ethnomusicological literature documenting aspects of childhood musicality in Africa (see Rice 2003, Campbell & Wiggins 2013), but almost nothing on Mali except for passing comments in Charry (2000). I am inspired by the … Daha çox
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Musical and Ontological Possibilities of Mugham Creativity in pre-Soviet, Soviet, and post-Soviet Azerbaijan University of Toronto (Canada) Polina Dessiatnitchenko 7 2017 The different angles from which the phenomenon … The different angles from which the phenomenon of mugham creativity can be approached all point to the significance of sung ghazal poetry. Even in instrumental renditions of mugham, the overriding presence of sung texts manifests itself through the musical structure, pace, technique and, most importantly, an imaginative and interpretive engagement with meanings that musicians undergo. In this dissertation, the link between music and poetry and its role in mugham creativity are investigated from both diachronic and synchronic perspectives. First, pre-Soviet, Soviet and post-Soviet contexts are examined to reveal how changes in musical and textual parameters influenced creativity and shaped its historical trajectory in Azerbaijan. Second, native terminology, musical examples, characteristics and experiences of creativity are explored using hermeneutic phenomenology in order to shed light on the creative … Daha çox
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The Azerbaijani ashiq: Musical change, transmission, and the future of a bardic art Journal of Folklore Research / Indiana University Press /Cild: 57 /N: 3 səh: 1-26 Behrang Nikaeen, Anna Oldfield 9 2020 This article examines how changes in methods … This article examines how changes in methods of transmission are enhancing a tendency toward musical change in the Azerbaijani ashiq genre as it is performed in the Republic of Azerbaijan and northern Iran. Based on fieldwork in both of these regions, the authors have observed the ashiq genre in flux, shifting from an essentially narrative bardic genre to an essentially musical genre. Although many factors influence this change, this study focuses on how changing methods of transmission are impacting this change. Although the Republic of Azerbaijan and northern Iran are different contexts, the processes are similar: as the genre has changed from being taught in a master-apprentice model to music lessons and self-teaching, many of the skills specific to bardic dastan (epic) recitation are not being transmitted to younger ashiqs. Instead, musical skills that encourage virtuoso performance are being transmitted … Daha çox
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“The One Who Knows the Value of Words”: The Aşiq of Azerbaijan Yearbook for Traditional Music / Cambridge University Press /Cild: 47 səh: 116-140 Sanubar Baghirova 7 2015 “The one who knows the value of … “The one who knows the value of words”: this is a line from the most famous aşιq poem in the Azerbaijani language in which the author, Aşιq Əlǝsgǝr, describes the qualities of the ideal aşιq. Interpreted in much of the western world as a traditional bardic art, Azerbaijanis regard the art of the aşιq (pl. aşιqlar) as a high-class professional syncretic form with its own established canons, traditional forms of teaching and learning, and numerous regional traditions of performance. This article is about the aşιqlar who live and practise their arts in the Azerbaijan Republic. Daha çox
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Azerbaijani mugham Conference on Music in the world of Islam. Assilah /Cild: 8 səh: 13 Sanubar Baghirova 5 2007 Any art tradition proves its vitality by … Any art tradition proves its vitality by the way it keeps on developing and getting renewed The art of mughan in Azerbaijan is an example of such a living art tradition. The history the mugham art tradition. as is natural foi oral musical heritage, is a pennanent process of forming certain art norms, their replication in performance practice, and canonization. followed by degradation and making up new ones. The artistic canon that forms the basis of mugham is distinguished by its certain mobility, it is listorically specific, and it makes an artistic law for each given period of time. Thus, in this process of development. different historical strata become alloyed into the art. some of them being older while others are of a relatively recent origin. The phenomenon of the canonization of nghan is fully realized in the traditional performing milieux. Terminologically it is expressed by the word qanda (rule), perhaps, the most frequently … Daha çox
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The Azeri Aşıq in Iran and the Republic of Azerbaijan: Towards a Transnational Comparison of a Diverging Tradition Musicologist / Trabzon University /Cild: 2 /N: 2 səh: 166-182 Anna Oldfıeld, Behrang Nıkaeen 4 2018 The Azeri aşıq tradition is a genre … The Azeri aşıq tradition is a genre of musical storytelling that has circulated through the Caucasus and Northern Iran for over 500 years. Aşıqs travelled between regions to perform, and practitioners remained in contact for most of the genre’s history. This contact was disrupted in the early 20 th century, when northern Azerbaijan was incorporated into the USSR. Divided between two countries, the aşıqs of the Republic of Azerbaijan and Northern Iran have developed along separate paths. This paper will compare contemporary aşıq performances as observed in The Republic of Azerbaijan and Northern Iran, focusing on historical factors, performance contexts, and gender. Finally, it will consider how increased interaction between the two regions since the 1990s may influence the future of the genre. This study is based on the fieldwork and research of Anna Oldfield in the Republic of Azerbaijan and Behrang Nikaeen in Iran. Daha çox
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Azеr Rzаyev: Traits Of Azerbaijani Folk Music And Dance In His Sonata For Violin And Piano book / Temple University. Libraries Azer Damirov 1 2020 After 1950, a few Azerbaijani composers began … After 1950, a few Azerbaijani composers began to pay attention to the sonata, as an important genre of instrumental chamber music. Sonatas contain contrasting motifs among the separate movements constituting the whole composition providing the opportunity for including Azerbaijani folk music inspired motifs. This monograph will demonstrate the impact of folk music on Azerbaijani classical music, specifically in the Violin Sonata in E minor of Azer Rzayev, whose work significantly influenced further composition. This analysis of the folk music aspects of Rzayev’s musical thinking, as expressed in his violin sonata, will provide insight into Azerbaijani music, guidance for appreciating Rzayev’s work, and perhaps most significantly, as a basis for future composition in the genre. Rzayev is the author of many notable compositions in a few related genres. Rzayev’s unique contribution was his signature approach to the folk music of Azerbaijan, the elements of which he skillfully merged with the traditions of classical music. This approach resulted in Rzayev’s independent style, which played a significant role in the development of Azerbaijani classical instrumental music. This monograph briefly touches on the Azerbaijani mugham, as it plays a decisive role in the development of Azerbaijani classical music. The people of Azerbaijan over the centuries have created an ancient, rich and distinctive culture. In various fields of art, including music, they created priceless masterpieces of art. One such masterpiece is the pearl of the world musical treasury—mugham. It is no coincidence that the art of mugham deeply influences Azerbaijani composers because it … Daha çox
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Anthology of World Music: The Music of Azerbaijan the world of music / Florian Noetzel GmbH Verlag, VWB-Verlag für Wissenschaft und Bildung, Schott Music GmbH & Co. KG, Bärenreiter /Cild: 46 /N: 1 səh: 154-159 Sanubar Baghirova 1 2004 The Music of Azerbaijan is a digital … The Music of Azerbaijan is a digital analogue of the LP with the same title released in 1971 in the series The Musical Anthology of the East. This series comprised one of the three parts of the UNESCO collection called Anthology of the Traditional Music of the World produced by the International Institute of the Comparative Research in Berlin in the 1970s and 80s under the general editorship of Alain Daniélou (1902-94). As a tribute to his work Rounder Records has republished the entire collection that originally consisted of 50 albums. There is no doubt that the disc, The Music of Azerbaijan, was valuable for its time as it introduced to the Western world the music culture that was a" terra incognita". However, it was not the first disc with Azerbaijani music released in the West. The pioneer recording released in 1906 by the English company, Gramophone, included a performance of Jabbar Garyagdi Ogly, the famous … Daha çox
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The Morphology of Dəstgah. By Faik Ibrahim oglu Chelebi. Translated by Polina Dessiatnitchenko. Ethnomusicology Translations /N: 13 Polina Dessiatnitchenko 0 2023 Faik Chelebi, ethnomusicologist and distinguished tar performer, … Faik Chelebi, ethnomusicologist and distinguished tar performer, provides a detailed theoretical analysis of mugham, a branch of Azerbaijani traditional music. Relying on a vast number of sound recordings and his performance expertise, he presents a morphology of the main cyclical genre of mugham known as dəstgah. All the constituents of dəstgah and their internal cyclical connections are analyzed, making this study an entry point into the entire complex of genres belonging to Azerbaijani mugham. Daha çox
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Contemporary Piano Works by Three Azerbaijani Composers Bowling Green State University Humay Gasimzadeh 0 2022 Azerbaijani traditional music has multifaceted oral traditions. … Azerbaijani traditional music has multifaceted oral traditions. The following were developed without the use of notation: folk dances, ashuq tunes, ceremonial songs, mugham and meykhana genre. These multifaceted genres have played an important role in the development of Azerbaijani written music culture. The westernization of the musical output of Azerbaijan is a relatively new stylistic phenomenon. This stylistic change began at the beginning of the twentieth century, when a wave of composers began to establish themselves, starting in Azerbaijan with Uzeyir Hajibeyli (1885–1942), who aimed to compose in the western meaning of the word but used the mugham style in his compositions. Composers of today follow Uzeyir Hajibeyli’s lead, combining Azerbaijani traditions with Western elements. With this research, I want to find out how three Azerbaijani composers integrate traditional music elements of Azerbaijani music with Western classical art tradition. In this paper, I analyze three pieces for solo piano by three Azerbaijani composers: Tahir Ibishov, Said Gani, Turkar Gasimzada. I have commissioned a piece by Said Gani specifically for this dissertation. Daha çox
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Poetry and Music of Medieval Azerbaijani Ashygs in the Context of Mystic Practices ACCELERANDO: BELGRADE JOURNAL OF MUSIC AND DANCE /Cild: 2 /N: 7 Sanubar Baghirova 0 2017 This article focuses on poetry and music … This article focuses on poetry and music of the medieval Azerbaijani ashyg in the context of mystic practices. The ashygs are the bearers of the syncretic art form that came into being at the end of the 15th–early of the 16th centuries and has reached to date. Both medieval and modern ashygs–ustads (masters) were and are poets, composers and performers in one person. Poetry of early medieval ashygs, such as, Dirili Gurbani, Miskin Abdal (15th-16th century), Abbas Tufarganly, Khaste Gasym, Sary Ashyg (17th century) was thought to convey the Gods message; these ashygs called themselves ‘haqq ashiqi’, that is ‘those who fell in love with Truth’meaning by Truth the Higher Principle, the Absolute. Some of the early ashygs, for instance, Dirili Gurbani and Miskin Abdal, were Sufi mystics and members of Sufi brotherhoods. Poetry and music of the medieval Azerbaijani ashygs was often a part of the Zikr, the mystic musical rites of samapracticed by various Sufi dervish orders. A number of songs from the repertoire of modern ashyg sometimes are called ‘samavi havalar’(samatunes) and do sound particularly archaic; it is believed to date back to the music performed at sama. In the 19th century the art of ashyg lost its ideological function but religious and mystical motifs remained an inspiration for the ashyg even in the 20th century. These motifs were mainly associated with the name and cult of Imam Ali, the son-in-law of the Prophet Muhammad, and the Twelve Imams. Core notions of the article are: Ashyg,’haqq ashiqi’, sama, zikr, madh, meddah of Imam Ali, mürid, mürshid, khanegah, tekye. Daha çox
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B| BLIOGRAPHY Music of Azerbaijan: From Mugham to Opera / Indiana University Press səh: 293 Karaev Stat’i Pis' ma Vyskazyvaniia 0 2016
Beyond the Text: Growing into Music in Azerbaijan Yearbook for Traditional Music / Cambridge University Press /Cild: 46 səh: 254 Inna Naroditskaya 0 2014 Watching this ninety-minute ethnographic documentary I imagine … Watching this ninety-minute ethnographic documentary I imagine an impossible, magically assembled group consisting of Albert Lord, Bruno Nettl, and Daniel Neuman-ethnomusicologists who for decades searched for words to convey the processes of oral transmission, oral learning, oral composition, and improvisation. Samir Jalilov, once a khanande prodigy in Qarabaq, is now a taxi driver in Baku, and the only surviving evidence of his singing is a twenty-four-year-old videocassette. A saz maker's son, teenage virtuoso Nidjat Gurbanov, must decrease his daily practise when preparing for university entry exams. Daha çox
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Growing into Music: Music Enculturation in Music Traditions. Produced by Lucy Durán, Nicolas Magriel, and Geoff Baker (with contributions by Sanubar Baghirova and Michele Banal … Yearbook for Traditional Music / Cambridge University Press /Cild: 45 səh: 290-291 Kirk King 0 2013 Growing into Music is a Beyond Text'project … Growing into Music is a Beyond Text'project that explores how children learn and make music in six different cultures in Mali/Guinea, Cuba, Venezuela, North India, Rajasthan, and Azerbaijan. Mainly through the medium ofvideo, this threeyear study (2009-12) examines various factors regarding the musical growth of children, including lessons, the learning environment, performing, virtuosity, family, community, oral tradition, and more. Growing into Music's landing page is simple and uncluttered, inviting further exploration of the site. Still photos, a slideshow, a welcome message, and an introductory medley of music from the six cultures together give a clear initial impression ofwhat to expect inside. Navigation ofthe website is intuitive, and tabs are neatly displayed in a menu at the top of each page. The" About" tab prompts the visitor toward information about the project, personnel, and past and upcoming events … Daha çox
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Azerbaïdjan: Le kamantcha d'Elshan Mansurov/Azerbaijan: The Kamancha of Elshan Mansurov. 2008. Archives internationales de musique populaire AIMP 83. Disques VDE-Gallo VDE-CD … Yearbook for Traditional Music / Cambridge University Press /Cild: 42 səh: 228-229 Stephen Blum 0 2010 INEDIT/Maison des cultures du monde W 260135. … INEDIT/Maison des cultures du monde W 260135. Recorded by Fayiq Babayev. Annotated by Sanubar Baghirova. 10 pp.(booklet)+ 88 pp.(PDF file) of notes in Azeri, French, and English, French translation by Pierre Bois; English translation by Frank Kane. 1 colour, 8 b/w photographs (additional colour photographs+ 2 maps in PDF file). 2 compact discs, 17 tracks (70: 45) and 13 tracks (72: 41).The brothers Malik (b. 1962) and Elshan (b. 1963) Mansurov are justly celebrated for their artistry on the tar (long-necked lute) and the kamancha (four-string spike fiddle), respectively. Their performances with the famous singer Alim Qasimov are well represented on compact discs (reviewed in Yearbook for Traditional Music 27 (1995): 203-5); solo performances ofMalik are also available in the Musiques du monde series, Azerbaidjan: Le tar de Malik Mansurov (Buda 92696-02, 1998). This set of five solo performances by … Daha çox
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Entretien avec la musicologue azerbaïdjanaise Sanubar Baghirova. book Sanubar Baghirova, Aygün Eyyubova, Elisabeth de Pablo 0 2009 Sanubar BAGHIROVA est l'un des grands chercheurs … Sanubar BAGHIROVA est l'un des grands chercheurs azerbaïdjanais dans le domaine de la musicologie. Elle exerce ses fonctions à l'Institut de l'Architecture et des Arts de l'Académie des Sciences d'Azerbaïdjan. Elle s'occupe principalement de la musique traditionnelle azerbaïdjanaise. Depuis 1976, elle mène des recherches sur le mugham azerbaïdjanais, auquel elle a consacré sa thèse de doctorat. Sanubar Baghirova est également expert auprès de l'UNESCO pour le patrimoine oral et immatériel. Elle a préparé les dossiers de candidature du mugham azerbaïdjanais et de la musique ashiq (musique de troubadours azerbaïdjanais) afin qu'ils soient proclamés chefs-d'oeuvre du patrimoine de l'UNESCO. Ainsi, le mugham azerbaïdjanais et la musique ashiq ont été inscrits, respectivement en 2003 et 2009, sur la liste du patrimoine oral et immatériel de l'humanité de l'UNESCO. Mais les activités … Daha çox
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INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC (ICTM), THE CAUCASUS, AND THE TURKIC-SPEAKING WORLD book Svanibor Pettan 0 0 The principal aim of this article is … The principal aim of this article is to explore the presence of the Caucasus region and of the Turkic-speaking countries and peoples in the activities of the leading international association for scholarly research of traditional music (ICTM) during its almost seven decades of existence. The article starts with a general introduction to ICTM and ends up with suggestions, based on the discussion in its central part, on how to increase the quality and quantity of mutually beneficial interactions between the ICTM on the one hand and the Caucasus and Turkic-speaking world on the other. The Caucasus is examined with respect to its three UN-recognized countries entirely located in the region (Armenia, Azerbaijan, Georgia), 1 while the Turkic-speaking countries considered in this article include Azerbaijan, Kazakhstan, Kyrgyzstan, Turkey, Turkmenistan, and Uzbekistan. Whenever applicable, those Turkic-speaking peoples … Daha çox
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