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R A ST M U G H A M F A M IL Y . The mughams created in the mode of
“ R a s t” fo rm s “R a s t m u g h a m fam ily ” ; th e m ugham s such as
“ M a h u r-H in d i” , “ O rta -M a h u r” , “B ay ati-G aja r”, “D ugah” are
alike to each other according to their subject, at the same time they
are differed from each other due to their character, content and
tonality.
RA ST M U G H A M N O T E S . The mugham “R ast” has been noted in
different perform ances a few times. The ta r player G .P rim ov’s
performance was noted by M.Magomayev (in 1928, handwritting),
the singer Jabbar G aryagdi oglu’s performance was noted by Niyazi
(in 1935, handwritting), the tar player M .M ansurov’s performance
was noted by T.Guliyev (in 1936, Baku), the singer Zulfi Adigozelov
and the tar player G urban Primov (handwritting, some parts of it
was published in the book “A bout music folklore and the ancient
writings, Moscow, 1971”), Ahmed Bakikhanov’s performance was
noted by N.M am m adov (Baku, 1963), from the performance of the
singer H ajibaba H üseynov and the tar player Bahram M ansurov
(Moscow, 1978), the ta r player Elkhan M irzeferov’s performance
was noted by A. Asadullayev (Baku, 2005), “R ast” mugham has
been used in com poser activity very m uch. On the base of this
m ugham dastgah N iyazi has com posed the sym phonic mugham
“R a s t” (in 1949).
RAST-PANJGAH. The second name of “R ast” mugham in Azerbaijan
music. This mugham is one of the main dastgahs in Iranian music.
RAVENDI. The mugham p art in the dastgahs “R ast” and “Humayun”
in modern East music.
R EPO ITO IR E. The collection of performed plays by any singer or the
theatre group.
REJEZ. The percussion mugham at the end of the dastgah “Chahargah”,
the p art perform ed before “M ensuriyye” .
REHAB. The dastgah consisting of the parts and sections in Azerbaijan
music: “R a h a b ”, “H um ayun”, “T arkib”, “U zzal”, “Bayati-turk”,
“B ayati-G ajar”, “Z am in-K hara” , “M averannahr”, “B al-K abutar”,
“H ijaz”, “Bagdadi”, “Shahnaz”, “Azerbaijan”, “A rag”, “Ashiran”,
“Zang-Shotor” , “O sm ani” , “B ayati-K urd” , “Bayati-Shiraz”, “Haji
Y uni”, “Sarenj” , “S hushtar” , “M asnevi-Sagil” and “Suzi-Gudaz” .
REM EL. Musical measure. It has many kinds. These kinds are classified
according to the definite rules. In A rabian-Iranian classical music
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the measure “remel” has two parts: “rem el-khafif ’ and “remel-sagil”.
In Azerbaijan music the measure “remel” is also used very much.
RENG. The instrumental music genre in Azerbaijan oral traditional
professional music. It has the punctual metro-rhythmic sized, various
melodic structure. The genre “reng’ is performed as the independent
plays or in the content of mugham dastgahs.
RO O T. The main system is shown according to the comparison with
the mathematical quantity. The root with 12 voices with the equal
tem perate has been accepted. It is accepted as a real sounding of
musical instruments with note recordings. In Azerbaijan music the
modes consisting of the base of mughams are given in the definite
roots. In other words, each mugham is performed according to its
root.
RUBEND. One of the last parts of the dastgah “C hahargah” in
Azerbaijan music of the 19th century.
RUH-UL-ARVAH. The first part in the dastgah “D ugah”.
RUBAB. The stringed musical instrument. It was used in music life of
all N ear East nations. Now basically it is liked by musicians of Middle
Asia. Rubab has some kinds. Each kind is named with the spread
region, for example: tajik rubab, gashgar rubab, afghan rubab and
so on. Sometimes the same rubab in the same kind and construction
is called differently. Rubab has 3 main strings, but sometimes extra
strings are also connected. Rubab strings are sounded with a little
m ediator prepared from the horn of the cattle.
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SANTUR. The stringed, percussion musical instrument.
SARANJ. The part situated between “Hijaz” and “Nishibi-Feraz” in
the dastgah “Shur”.
SAZENDE. M usician, performer.
SEG AH M U G H A M . One o f the 24 mugham s in music o f N ear and
M iddle Asia nations. One of the famous mughams in Azerbaijan.
There are some variants of “Segah” in mugham art: “Zabul Segah”,
“K harij Segah” , “Mirze Hüseyn Segah” .
SEGAH M U G H A M FAMIUY. “Segah” is one o f the most famous and
monumental dastgah in Azerbaijan music. There are some variants
of “Segah” in Azerbaijan: “O rta Segah”, “K harij Segah”, “Mirze
Huseyn Segahi” , “Zabul Segah”, “Hashim Segah” . One can meet
am ong the ancient gram ophone recordings the variant of “Yetim
Segah” performed by Islam Abdullayev. Generally as I.Abdullayev
was the famous master o f this mugham, this mugham was named as
“Segah Islam ”. All variants of “Segah” were sung in his repertoire.
All m ugham s belonging to the m ugham “ S eg ah ” are differed
according to their tonality and th a t is why the mugham “Segah”
has created the particular tonality system in itself.
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SEGAH M UGHAM NOTES. The mugham “Segah Zabul” belonging
to the family “Segah” was noted by com posers. T. Guliyev was
noted the mugham “Zabul” from the performance of M .M ansurov
(1936), the instrum ental m ugham “ Segah Z a b u l” was noted by
N .M am m adov from the perform ance o f A .B akikhanov (1965),
E.M irzeferov’s perform ance was noted by A. Asadullayev (2006).
This mugham is also used in composer activity. V. Adigozelov has
created “Segah symphony” on the base of this mugham (2005).
SETAR. The ancient musical instrument with three strings.
SELM EK. l.The part situated between “D ashti” and “M uye” in the
dastgah “S hur”; 2. In E ast music: the p art between the sections
“G erayli” and “M olla N azi” in the dastgah “Shur”.
SEM AYI-SHAM S. The percussion mugham belonging to the dastgah
“S hur” . As a rule it is performed before “Zem in-K hara” or after
“Shikesteyi-Fars” (before the part “H ijaz”).
S E N J. The musical instrument with seven strings.
SES. Any melodic line forming the music texture.
SH A H KHATAI. The part between “A bulchap” and “A zerbaijan” in
the dastgah “Shahnaz” in Azerbaijan music; ashug music form.
SH A H PERD E. The tunes sounded in taut stringed musical instruments.
S H A H N A Z . The sm all m ugham . In the p ractice o f the 19th century
mastery it was an independent mugham dastgah and the section of
mugham, after “Vuzuhul-Argam” it has become the small volume
mugham. It belongs the mugham family “Shur” . Its structure consists
o f three parts: “S hahnaz” , “D ilkash” , “Z il-S hahnaz” (“ Shaddi-
Shahnaz”). The music of this mugham is excited, passionate, at the
same time lyric and effective. One of the six tunes of East nations in
M iddle Ages.
SH A K H E. The totality o f m ugham parts based on the m ode o f the
dastgah and in the branch of the same dastgah intonations. “D ashti”,
“A bu-A ta” and other small mughams belong to the family o f the
mugham “Shur” .
S H A M A K H I M U G H A M M EET IN G S. The musical poetic meetings
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