Azərbaycan Milli Elmlər Akademiyası Folklor İnstitutu İzahli muğam lüĞƏTİ
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Ex pla na tor y mu gh am dic tio na ry ORCHESTRA O F AZERBAIJAN FOLK M USICAL INSTRUMENTS. T he m usical collective form ed on the base o f the folk musical instruments performing with the notes. The scheme of the orchestra includes the in stru m en ts such as w ind in stru m e n ts - balabans (1,2,3,4), tutek, zurna, clarnet, goboy, fleyta; percussion instruments - gaval, n ag ara , go sh a n a g a ra ; strin g ed - bow in stru m en ts - kam ancha, contrabass; stringed-m ediator instrum ents - tar (1,2,3), saz (1,2), ganun, bass-tar (dutar-bass), ud, piano. F or the first time this orchestra was created by U zeyir H ajibeyli in 1931. The first works for this orchestra “C hahargah” and “Shur” were written by him. Later goboy, piano and other instrum ents were added to this orchestra. ORTA M AHUR. The mugham performed one level higher than “Mahur- H indi”. If the white string of the tar is tuned up “do” note, in this case the base of “O rta M ahur” becomes in the note “fa”. ORTA SEGAH. The origin o f “Segah” mugham in the dastgah “Zabul Segah” . As a rule it is performed after the part “M anend-M ukhalif’. If the white string of the tar is tuned up “do ” note, in this case the base of “O rta Segah” becomes the note “m i”. OUVJ. (the literal m eaning o f the w ord is “the highest level of sky”). The part sounded in the highest register, carrying the function of high-pitched tone (for example, “Arag” part).
P A S H R E V . The genre o f the in stru m e n ta l m usic; the in stru m e n ta l prelude performed before each mugham or dastgah. PA N JG A H . The p art performed after “A rag” in the dastgah “R ast”. As the position of this part is im portant in the dastgah “R ast”, the dastgah is mostly called “R ast-Panjgah”. PERD E. 1. Arrangement of each sound; 2. The part tied to the hand of some stringed musical instruments such as tar, saz, dutar, tanbur and so on. It is prepared from the intestine of sheep as a thin rope and is worked up. The perform ers have called the “p erde” with different names and at the same time it means the voice in the musical instrument; 3. The definite part of the play written for the theatre. PER D E VURMAG. In the practice of playing tar with fingers pressing the strings. In this case the voices are not sounded correctly. P E R F E C T H EA R IN G . The ability of specifying the exact height of the voice. The existence of perfect hearing is not im portant for music, but it usually helps its professional growth. P E R F O M E R . The musicians such as a conductor, a band-master, a singer, a pianist, a violinist performing the musical plays reflect the idea, thoughts and spirits of the composer with their work. PER-PERESTUK . The most effective instrumental pacing up and down in the base of the dastgah “Chahargah” . 1 7 7 Exp lan ato ry mu gha m dic tio nar y Ex pla na tor y mu gh am dic tio na ry PERV A N E. The p art perform ed between “Zang-Shotor” and “Ruh- A fza” at the beginning o f the dastgah “R ast-Panjah” in the ancient classical music. PEST. 1. To sing bass, deep sound in the low register; 2. to sing slowly. PESTKHAN. The singer performing the plays in deep sound. P IS H D E R A M E D . 1. The prelude performed for “whole dastgah” by the group of singers; 2. The percussion instrum ental p art before the base of mugham. PR O FE SSIO N A L M U SIC W ITH ORAL TRADITION. The highest level of Azerbaijan music of art with oral tradition; mugham art, the singer having special trainings, the activity o f professional musicians, mughams with small forms, percussion mughams, tasnif and other genres are considered. The role of singers and musicians in the appearance, form ation and development of these genres are very great. F o r singers and performers the mugham dastgahs based on the hard mode system are considered the product of high creating thinking. In the limits o f dem anded laws the performers can create the new traditions, original styles, schools with their own perfect talent, rich thinking and beautiful taste in mugham art. One of the im portant factors of traditional -professional music art is to have oral character, it means to pass it with oral form, with the help of memory from the m aster to the disciple, from one performer to the other. T raditional-professional music perform ers perform in solo form, such kind of performing style shows the vivid importance of oral tradition in the development o f mugham art. 1 7 8 RAK. 1. The episode betw een the p a rt “P a n jg a h ” and th e section “K havaran” in the dastgah “R ast”; due to the other variants after the part “Khojeste” the sections “R ak-H indi” and “R ak-K horasani” are perform ed in the dastgah “R a st” ; 2. In the ancient classical music: as a rule at the end of the dastgahs “R ast” and “M ahur” (after performing the last part) it was necessary to stay in the section called “R ak-A bdulla”. As a m atter of fact “R ak-A bdulla”, “Rak- K horasani” and “Rak-H indi” are the different variants o f the same melody.
RAST. One of the 12 mughams of classical music of Near East nations. The ancient musicians were called the mugham “R ast” the mother o f the mughams. “R ast” In A zerbaijan music: the dastgah consisting o f p arts “N ovruz- R avende”, “R ast” , “U shshag”, “H useyni”, “Vilayeti” (sometimes “D ilkesh”), “K hojasta”, “K havaran”, “A rag” , “Panjgah”, “R ak ”, “A m iri” and “M asihi”. RAST M EGAM . The 1st of the seven main modes in Azerbaijan music (U.Hajibeyli). Its structure is 1-1-1/2 tune formulas with three tetra cord; the sound row consists of ten stages. The 4th, 6th, 7lh, 8lh stages of the sound row o f the mode constists the base o f parts o f mugham “R ast”; the musical examples - folk songs, dances, ashug melodies formed in this mode are based on those stages.
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