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world”, “M ugham Centre” created by Heydar Aliyev Fund are being
realized nowadays. The peculiarities o f these projects are connected
with just mugham world, m ugham phenomenon, they are based on
to p ro tect A zerbaijan m ugham art, to hand them to the future
g e n e ra tio n , to in v e stig a te th e m in d e ta ils a n d p r o p a g a n d a
everywhere. In these projects including the sound recordings, electron
and publication variants are also intended to hold the international
conferences, festivals and competitions.
M UGHAM M EETIN G S. The meeting consisting of singers, performers
and mugham connoisseurs existing in Azerbaijan art history. During
the second part o f the 19th century in big cultural centers such as
Baku, Shamakhi, Shusha there were musical meetings organized in
aristocratic halls and houses, the different people - famous poets,
musicians, culture sponsors, etc. took p art in those meetings. Those
musical meetings were also nam ed as “musical circle” or “musical
salon” . It is necessary to note the followings: “N avvab’s mejlis” in
Shusha, “M ahm ud A ga’s circle” in S ham akhi, “ M eshedi Melik
M ansurov’s salon”, etc. All o f them had become the real musical
school, school of art. The sounds of those meetings were not spread
only in big cities but also in countries and villages, the special
mugham meetings were organized by music lovers there too.
“M U G H A M M E R K E Z I” P R O JE C T . O ne of the m ugham projects
created by Heydar Aliyev Fund. The aim of the project is to create
mugham centre in Azerbaijan. The center is also considered as an
org an izatio n o f co o rd in a tin g the activity of all projects about
mugham.
M UGHAM CO M PETITIO N . The competion of mugham performers.
It is usually organized by different com panies, o rganization in
different age levels. The com petitions dedicated to the fam ous
mugham masters and to find out the talented youths are usually
often hold. F or example: the competition named after Sadigjan, the
com petition nam ed after J a b b a r G aryagdioglu, the com petition
dedicated to the 100 jubilee o f Uzeyir Hajibeyli, the com petition
named after Ahsan D adashov and so on. O rganizing of mugham
competitions among the school children is a traditional case.
M UGHAM TRIO . The traditional mugham ensemble consisting o f three
performers - khanande (singer), tar player and kam ancha player.
The group of singers and performers.
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M U G H A M TRIO NAM ED AFTER JABBAR GARYAGDI OGLU.
The first m ugham trio created attached to the A zerbaijan State
Philharm onic named after M.Magomayev. The composition of the
trio is M ohlet Muslimov (tar), Fakhraddin D adashov (kamancha)
an d Zahid Guliyev (singer). L ater the m ugham trio worked with
other singers and was in tours in many foreign countries. Some CD
with the performances of the trio has been also published.
M U G H A M NOTES. M ugham as a kind of oral traditional professional
music has been passed from the master to the disciple, from one
perform er to the other with the help of memory and hearing. The
note writing system discovered by Safiaddin Urmavi in the Middle
Ages was used by musicians in the East and the musical compositions
created by S.Urmevi and A .M aragi have been saved in this system.
As a result of application universal Europe note writing system in
Azerbaijan music in the 20th century mugham dastgahs, percussion
mughams, tasnifs and rangs had been noted and published by the
composers and musicians formed after 1930 years. The first examples
o f Azerbaijan oral traditional music - folk songs and dance melodies
h a d been noted and published in different jo u rn als by R ussian
ethnographers - P.V ostrikov, M .P.Polonski and others from the
second p a rt of the 19th century. F o r the first tim e the jo u rn a l
“ A z e rb a ija n T u rk ic fo lk s o n g s ” n o te d by U .H a jib e y li a n d
M .M agom ayev was published in Azerbaijan in 1927. Copying the
m u g h a m n o te to th e w ritin g was do n e fo r th e first tim e by
M.Magomayev. He noted the mugam “R ast” from the performance
of G urban Primov in 1928. T hat note was not published (It is kept
at the ANAS Institute of H andw riting nam ed after Fuzuli). It is
necessary to note N iyazi’s services in the branch o f noting the
w riting. The dastgahs “R a s t” and “S h u r” were noted in vocal-
instrum ental form the performance of Jabbar Garyagdi oglu, but it
was not published either. In 1932 the im portant work in the branch
o f noting was done by the contributors with the leading Bulbul of
Scientific-investigation musical study attached to Azerbaijan State
C o n se rv a to ry . T he firs t n o te w ritings w ere w ritte n from the
m ugham s “R ast”, “Z a b u l” by Tofig Guliyev, “D ugah” m ugham
d astg a h s by Z ak ir B agirov fro m the p erfo rm a n ce o f M a n su r
M ansurov and were given in L .R u d o lfs harm onization. “S h u r”
m ugham noted from the performance of G urban Primov by G ara
G arayev reflects the mugham melodies as they are in original (its
hand writing is kept at the archieve of ANAS Architecture and A rt
Institute). Only one p art of this handwriting - the p art “Maye” was
published in the book “The essays about the music history of USSR
nations” by V.Belyayev. Besides it at the end of 1930 years F.Amirov
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