Mugam direction as basis development of the national theory of music of Azerbaijan

Abstract

The article is devoted to one of the topical topics of musicology related to the study of the musical culture of the Muslim East, in particular, the Azerbaijani mugam. The focus of the work is the history of mugam in the creative laboratory of Azerbaijani composers. It is noted that in Azerbaijani culture a mugam musical trend has formed in Azerbaijani composer music, which has a unique specificity. In connection with temperament issues, the composer school of Azerbaijan, within the framework of the “mugam musical trend”, put forward three historical branches of development. The beginning was laid by W. Hajibeili and is associated with the birth of the genre of mugam opera, where the composer implemented the idea of a musical synthesis of mugam theory with the traditions of Western European music. The source of the study of the synthesis problem was the search for common sound elements between the national 17-sound system of the unevenly tempered structure of latkes of the tar instrument (which still serves as a national sound alphabet) with a 12-typoluton temperament of Western European music. The containers perform both music that sounds in a 12-tone octave temperament, and in an unevenly tempered 17-sound mugam octave system. Based on this property of sound in two tempered systems, for the first time in the framework of this article, the latest branch in the theory of music is revealed, which consists in showing and comparing the modal and tonal modes of Azerbaijani music.