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were organized by the famous landlord M ahm ud Aga in Shamakhi
in the second part o f the 19th century and those meetings took an
im portant part in the development of singing profession in Shirvan
region. D uring those periods the other literary meeting “Beytus-
S efa” was also fo rm ed in S ham akhi by Seyid A zim S hirvani.
M ahm ud A ga was a sponsor o f the members of that meeting. He
often organized the competition o f singers in the special hall of his
proper house and aw arded the conquerors with valuable presents.
In the second part o f the 19th century many travelers usually were
guests in his place. The French writer A leksandr D um a, Russian
painter G agarin and others’ information about it is very interesting.
The musicians from different places such as from Tbilisi, Garabag,
Ira n , etc. also a tte n d e d th o se m usical m eetings. The fam ous
m usicians such as H aji H usu, M ashadi Isi, Bulbuljan, A rdabilli
Sattar, Sadigjan, Jabbar Garyagdi oglu and others were the favorite
guests of M ahm ud Aga. He also invited the young musicians and
trained them in classical East music. His meetings were a school of
mastership for the musicians in the whole area of Caucasian. Singers
and m usicians such as M irze M ehem m edhesen, M ehdi, M abud,
Shukur, D avud Safiyarov, M ehemm edgulu and Humayi were the
students o f M ahm ud Aga. It is not accidental th a t the name o f
M ahm ud A ga and Shamakhi musical school are remembered and
showed as a model.
SHASHM AKOM . Uzbek, Tajik professional musical genre belonging
to the Middle Ages. It was formed in the 18th century. The musical
composition “Shashmakom” consists of 6 large independent plays:
“ B u z ru k ” , “ R o s t” , “ N a v o ” , “ D u g o k h ” , “ S e g o k h ” , “I r o k ”
(makoms). Nowdays Shashmakom has two kinds: “Bukhara” and
“K harazm ” . Shashmakom has been noted entirely.
SHADDI-SHAHNAZ. The part of mugham. “Shadd” is called the high-
p itc h e d to n e o f a m elody, it gives the h igh to n e m eaning o f
“S hahnaz” . Sometimes it is called “Z il-S hahnaz” in the mastery
practice.
SHA K KI-SH AH N AZ. The p art o f mugham. Its literal meaning is
“Shahnaz” with “suspicion”.
SHARG CONCERTS. The name given to the performances of musicians
and singers in musical sketches at the end of the 19th century. The
aim o f those concerts held in Moscow, St.Petersburg, Tbilisi and so
on w ere to help p e c u n ia ry a id especially th e p o o r M uslim
(A zerbaijanian) students. As the program o f “Sharg concerts”
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consisting o f the perform ances o f singers and trio groups with
mughams and tasnifs (national rhythm ical melody) to differ them
from symphonic and camera musical concerts those concerts were
called with th a t name. The first “Sharg concert was organized in
“Khandem irov’s theatre” in Shusha in Azerbaijan in 1901 with the
initiative of the writer A.Hagverdiyev. The best trio groups and the
fam ous singers such as Ja b b a r G ary ag d i oglu, K echachi oglu
Mehemmed, Gasim Abdullayev, Mirze Sadig Asad oglu (Sadigjan),
M ashadi Zeynal, the well-known ashugs Abbasgulu and Najafgulu
from Gulabli were invited to that concert. The concert was over
with the musical performance “A zerbaijan wedding” compiled by
A.Hagverdiyev. In 1902 the first “Sharg concert” in Baku was also
organized by A.Hagverdiyev, the same concert program was again
shown in Shusha and the famous singers of Baku Alasgar Abdullayev
and Seyid M irbabayev took part in th a t concert. The tradition of
“Sharg concerts” (east concerts) are being continued with the names
“M ugham concert”, “M ugham akhsham i” nowadays and attracts
a lo t o f audience. These concerts ta k e the im p o rta n t role o f
developing, immortalizing and propaganda of mugham art.
SHARG G EJELER I. The name of concerts with large programs held
at the beginning of the 20th century in Azerbaijan. The performances
of singers and ashugs, the small theatre performances and dances
were organized in the concerts “Sharg gejeleri” . The first “Sharg
gejesi” was held for the poor people by the organization “Muselman
kheyriyye jemiyyeti” (“Muslim” charitable society) in 1907 in Baku.
SHIKESTEYI-FARS.The central part created on the 5th stage o f some
m ugham mode, for example: (“Shur” , “ Segah” , “D ashti” and so
on.)
SH IK E S T E . The precession m ugham in the mode “Segah”. Its size is
2/4. It has some kinds: “G arabag shikestesi”, “Kesme shikeste”,
“Shirvan Shikasta” and so on.
SHIRVAN SHIKESTESI. One of the kinds of Shikeste.
SH O B E . The com plete and independent p a rt due to the m elodic and
mode point of mugham dastgah.
SHUR. One of the m ain mughams in Azerbaijan folk music. The root
of the m ugham “S hur” takes an im portant place in ashug music
activity, many o f ashug songs are in the root o f “Shur” . Usually
Azerbaijan folk songs, dance melodies and other instrum ental forms
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