AZERBAIJAN MUGAMS Mugams, being the most ancient and the rearest pearls of Azerbaijan music culture, are

mature creative expression of moral world of people's wit. Azerbaijan music is based on Mugam. Mugams, which are foundations of our music, are art taste of not only Azerbaijan, but also all of Eastern people. In historical source, there is an information about the existence of great music culture in the states; Shumer, Manna, Midia. In the X-IX centuries B.C., during the leadership of Midia, around the lake Urmia, the Mugs, being ancient Azerbaijan tribes, living in Mugan, were spreading out their scientific knowledge in palaces, among the people and were involved in music. Nizami Ganjavi, (1141-1209) stating, that the Mugs were musicians, writes in his Igbalname: Singer, play an ancient melody. Play some Mugan melody like the Mugs. According to this, we can say that Mugam melodies first appeared in the territory of Mugan. The music critics of Iran, Arabian countries and also other countries, making investigations of mugam state, that mugam had been widely spread out in Sasani times (III-VII centuries) and mugams were played in the form of destgah, which means in groups. As the most talented musicians of the time were working in the palaces, that is why mugams were created by these artists there. Mugams have been the most favourite music of the Turks, the Arabs, Persians, Indians and other peoples, living in the big geographicaladministrative territories, for many centuries and in each country mugams improved people's inherent moral features. Mugams, being a central genre of Eastern traditional music, based on oral traditions, were called differently in the languages of different peoples. But the essence is the same. Azerbaijani called this musical genre as mugam, Turks and Arabians as makam, Persians as destgah, Indians as paga, Tadjiks and Uzbeks as makom, Turkmens and Uygurs as mukam, the Japaneses as gaganu, Indonesians as patet, the Kazakhs as kuy, the Kirghiz as ky, Pakistani as khayyal. Beginning from IX-X centuries, the science of music began its development in the countries of Near and Middle East. The first scientific information about the mugams is given in the poem Gabusname by Keykavus. But as the note writings of the mugams, created in the Middle Ages did not come till our time, we can find information about them in the handwritings of Eastern music critics living in the II centuries. The founder of Eastern music Science Abu Nasr Mohammed Farabi (865-950) writes his work Kitab-ul musigi-al-kabir (Great book about the music). Abu Ali Ibn Sina's (980-1037) work called Risatun fi elm ul-musigi (the treatise about music) became the most widespread work. At the beginning of XII century the encyclopedia called jameululum of Fahraddin Al Razi introduced to music lovers. In the XIII century the outstanding Azerbaijan music critic Safiaddin Urmavi (1230-1294) enriched music science by Kitab al-advar (Book of Times) Sharafiyya treatise. Mohammed ibn Abubakr Shirvani wrote and completed the book Ikhvanus-safa music. In the XIV century Mahmud ash-Shirazi and Mohammed ibn Mahmud Al-Amuli also wrote their scientific works on music. Azerbaijani music scientist of XIV-XV centuries Abdulgadir Maragai (1353-1433) took science of music to the highest level by his works; as: Megasir ul-alhan (1413), Jameul-Alhan (1418), Favaidi-ashara (10 advantages), Lahniyya (About melody), Kanzul-alhan (Music Treasury) and Zubdatyl advar fi sharhi risalatil advar (Selected melodies in the explanation of music collection). In the XVI-XVII centuries new information about mugams was given to music lovers in the treatise Risalei-musigi of Najmaddin Kavkabi, in the book of Darvish Ali, who was the musician at the palace of Imam Gulu khan (1611-1642), and in the work called Risalei-Musigi of Azerbaijani musician Mirzabay.

In the I century, Mir Mohsun Navvab, writing about mugam culture, explained the origin of mugams, musical instruments, alikeness of poetry and music in his work called Vuzuhil-apram and also wrote about the branches, types and melodies of mugam destgahs not only in Azerbaijan, but also in all Eastern countries. He also made schedule of them. Azerbaijan mugams, being different from pieces of music of this genre, have been enriched in the essence by the talent of conducting of our singers and have been matured in the form. From this point of view, mugams consisting of different melodies, appeared in accordance with definite events, were called differently depending on the essence: mugams of lad-magam (type) (Shur, Humayun, and etc), mugams of emotional-figurative structure (Semai-Shams, Rast, Dilkash etc.), mugams of different areas (Arazbari, Garabagh Shikastasi, etc), mugams of different persons (Shah Khatai, Khostovani, Huseyni, etc), mugams of different cities (Bayati Shiraz, Bayati-Isphahan , etc), mugams of different nations' names (Bayati-Kurd, Bayati-Turk, etc.), mugams called according to the way of conducting (Kesme shikasta, etc) and according to the ordinal numerals (Yegah, Dugah, Segah, Chahargah, Panjgah). In the beginning of I century Azerbaijan literary sphere entered its new development stage. In Shusha Majlisi-Faramushan, and Majlisi-Uns, in Shamakhi Beytus-Safa, in Baku Majmausi-Shuara poetry-musical literary mejlises (gatherings) began their activity. Differing from other cities of Azerbaijan, Shusha becomes the cultural center of famous poets, music critics and singers. Singers of marvelous art center Shusha represented Azerbaijan music not only in their Motherland, but also in other Eastern countries, creating the history of Azeri music. The music talents of Shusha appeared neither in the cities of Caucuses nor The East. Shusha vocal school takes the same position in the history of the East, which Italian vocal school in the history of European music. Shusha was called Italy of Caucuses. The names of famous singers, tar and kamancha players, who eastablished Azerbaijan mugam school in the first beginning of I century , also being famous in Near and Middle East by their wonderful voices, are given in undergiven tables: Famous singers:

Haji Husu

Mashadi Isi

Adulhassan khan Keshtazli Hashim Igbal

Ala Palaz Molla Rza

oglu

Bulbuljan (Abdulbagi Zulalov) Mirza Mahammadhassan

Jabbar oglu

Garyagdi Shahnaz Abbas

Kechechi oglu Hasancha Mahammad

Malibayli Hamid

Zabul Gasim

Segah Islam Mashadi Abdullayev Mammad Farzaliyev Khan Shushunski Shakili Alasgar

Bulbul

(Murtuza Seyid Shushunski

Zulfu Adigozalov

Mammadov)

(Abdulayev)

Famous Tar (National music instrument) Players Sadigjan Aliasger (Mirza Sadig Asad oglu) Mardi Janibayov Mashadi Amirov Jamil Shirin Akhundov Mashadi Zeynal Mirza Mansur Javadbey Alibay oglu Mansurov

Gurban Pirimov

Bala Malikov

Famous Kamancha (National music instrument) Players

Garachi Haji bey

Gulu Aliyev

Bahdagul Oglanlari Boyukkishi Aliyev

Mirza Muhtar Mammadzadeh Habil Aliyev

Sasha Ogenazeshvili

Rasim Shirinov

In the first beginning of I century the singers were singing by the accompanying of tar, kamancha and yastibalaban (national musical instruments. This group of 4 men consisting of the singer and the players was called group of sazendes (players). In the beginning of XIX century the group of 4 players became consisting of 3 persons: singer, tar, kamancha and goshanagara players. The songs of this group of 4 men and triple (group of 3 men) were dedicated mostly to love and female beauty. In accordance with the changes in spirits of people, the way of singing mugam also changed. So, mugam was being sung during 2-3 hours before, but later this time was shortened and became 15-20 minutes. Beginning from the Middle Ages till the beginning of XX century, mugam was considered to be an art, conducted only by the male singers, but in spite of this fact, beginning from the 20s years, the names of talented female singers, who developed our culture and took it to the pick, are given in undergiven schedule:

Hagigat Rzayeva

Yavar Kalantarli

Gulkhar Hasanova

Shovkat Alakbarova

Rubaba Muradova

Fatma Mehraliyeva

Tukezban Ismayilova

Sara Gadimova

Nazakat Mammadova Shahnaz Hashimova

Zeynab Khanlarova

Sakina Ismayilova Melekkhanim Ayyubova

Gandab Guliyeva

The delicacies of poetry, expressing philosophy of life, love to nature, love for all the men, which exists in Azerbaijan mugams unit of poetry and music, is the most important thing, which makes completeness together with wonderful music melodies. The following outstanding Azeri poets praized mugam in their works: Gatran Tabrizi, Mahsati Ganjavi, Nizami Ganjavi, Falaki Shirvani, Givati Mutarrizi, Khagani Shirvani, Imadaddin Nasimi, Mahammad Fuzuli, Molla Panah Vagif, Gasim bey Zakir, Seyyid Azim Shirvani, Huseyn Razi, Bakhtiyar Vahabzadeh, Aliaga Vahid, Samad Vurgun, Suleyman Rustam.

NOWADAYS AZERBAIJAN MUSIC ART CONSISTS OF THE FOLLOWING MUGAMS:

Rast Humayun

Shur Mahur-Hindi

Segah Bayati-Gajar

Chahargah Orta Mahur

Bayati-Shiraz Dugah

Shushtar Zabul-Segah

Divisions (sho'be) and branches (gushe) of mugams according to their composition:

Deramed Gushe

Berdasht Avaz

Reng Maye

Diringi Tasnif

Shobe

Daramad: Daramad is an instrumental melody widely used in mugam dastgahs and it is an introduction part of vocal-instrumental mugams. Daramad expresses the features of mugam to which it refers and it is called as the mugam. Berdasht: Berdasht is an instrumental melody written in the genre of oral traditional music. Berdasht is widely applied in mugam art. From this point of view, Berdasht is an introduction part of instrumental mugam destgshs. Reng: Reng is played after definite divisions of destgah and is called as the mugam it refers to. By nature, rengs are divided into those, looking like a dance, a march, and lyric ones. The first type of reng is Diringi. Diringi: Diringi is a melody, less than reng and it is more danceable than reng. It is usually played in divisions or branches of little volume, or finalizes them.

Reng and Diringi, being a piece of music, when played, gives a singer an opportunity for preparing for the next mugam division. Gushe (branch): Im comparison with division, Gushe is a mugam episode of improvisation character, with less volume. Like, divisions, branches also have different names. Avaz: Avaz usually means a completed musical sentence. Avazs have no definite names and they are sung either within divisions or branches. So, a division is made of 5-6 avazs, and a branch is made of 2-3 avazs. Maye: Maye plays a main role in vocal-instrumental and instrumental mugams and it determines their structure by its essence. Maye plays a central role in mugam destgahs and all the divisions of destgah are activate around it. The conductive features of divisions and branches generally depend on Maye part. Tasnif: Tasnif, has a lyric and dance like character and is sung after the singing of each division of mugam destgah. Each of tesnifs are sung independently as a complete piece of music. 2. Mugams of little volume:

Gatar

Rahab

Shahnaz

Bayati-kurd

Dashti

Mugams, which are less in volume than destgahs, and which have less divisions and branches are called little volume mugams. They usually consist of 3-5 divisions or branches. Gatar, BayatiKurd, and Dashti, having been divisions of mugam destgah, being enriched by branches coinciding with their own melodies, and Rahab and Shahnaz mugams by decreasing of their divisions and branches have changed and became mugams of little volume. 3. Impact mugams:

Heyrati

Arazbari

Mansuriyye

SemayiShems Kesme shikasta

Maani (Osmani)

Ovshari

Heyderi

Garabagh Shikastasi

One of the widely spread genres of Azerbaijan oral-traditional music are impact mugams. When they are sung, in the ensemble, accompanying the singers, impact instruments are preferred. Impact mugams begin with instrumental introduction of active-emotional character and on the basis of musical parts of this introduction the main melody is played. The songs, tesnifs, operas, symphonies and other musical genres created by our composers are based on mugam. So, they widely used mugam in their creative activity. The outstanding composer Uzeir Hajubayov composed his operas; Leyli and Majnun, Sheykh Sanan, Rustam and Zohrab, Koroglu, Shah Abbas and Khurshid Banu, Narun and Leyla, Asli and Karam on mugams ans at the same time, he wrote his fantasies for national musical instruments orchestra on

Chahargah and Shur mugams. These fantasies are called the same as the 2 mugams. He prepared Arazbari mugam for cord orchestra, established new gazal (classic poem)-romance genre, based on Nizami Ganjavi's gazals Sensiz (Without you) and Sevgili janan (Belowed). Muslim Magomayev in his opera Shah Ismayil, Zulfugar Hajubayli in his opera Ashig Garib, Shafiga Akhundova in her opera Gelin Gayasi have used mugam melody. Asaf Zeynali applied mugam to chamber instrumental music, also he wrote his work Mugamsayagi for violin and piano and Chahargah for piano. Fikrat Amirov, when writing Shur and Kurd-Ovshari symphonic mugams, he kept traditional structure of Shur in Kurd-Ovshari he used examples of impact mugams. He wrote his Azerbaijan capriccio on Mahur tasnif. Azerbaijan tasnifs are wonderfully expressed in Fikrat Amirov's Gulustan-Bayati Shiraz symphonic mugams. Composer and conductor Niyazi in his Rast symphonic mugam, Suleyman Alasgarov in his Bayati-Shiraz symphonic mugam, Jovdet Hajiyev in his The fourth symphony and in Ballada written for piano, Gara Garayev in his The third symphony, have used mugam melodies. Chorus, sung in the 3rd part of Azad opera of Jahangir Jahangirov is Chahargah mugam. He created role of Fuzuli by means of Rahab mugam in the introduction of Fuzuli cantata. In his The Fourth Symphony and The Sixth Synphony, Arif Malikov used melodies of mugam destgahs. He also composed his Love Legend ballet on Humayun mugam. Agshin Alizadeh has professionally used Shur, Chahargah, Segah, Vilayati mugams in his Fourth symphony called Mugamvari. Russian composer R. Gliyer in his opera Shahsanam used Arazbari mugam and 30 Azerbaijan national songs and ashig n songs (national melodies). Afrasiyab Badalbayli used Mansuriyye and Heyrati mugams in his ballets Giz Galasi (Maiden tower). Soltan Hajibayli in his Karvan symphonic work has used musical colourings of impact mugams. Learning and investigating of mugam, which is an oral-traditional mucis of the East, is one of the most important tasks of music critics in the World. Beginning from the Middle Ages till nowadays, studying this genre of Eastern music culture has become the theme of research of the scientists. A number of articles, research works have been written. The names of these scientists are given below: Al-Kindi, Al-Munajjim, Al-Farabi, IbnSina, S. Urmavi, G.Shirazi, Al-Amuli, Al-Jurjani, Abdulgadir Maragai, Shabaddin Ajami, H. Farter, K..Zaks, R. Derlanjs, Kamal Al-Holan, Ahmad Aminaddin, Mahmud Mukhtar, Mahammad Salahaddin, Yusif Shauki, R. Khaligi, A.N. Vaziri, M. Barkishli, A. Shabani, R. Yekta, Sadaddin Arel, S. Azgi, I.H.Ozkan, Y. Elsner, S.M. Uzdilek, M.Karadeniz, Y. Tura, M. Barzanchi, V. Belyayev, V.Vinogradov, U.Hajibayov, M.S.Ismayilov, E.Abbasova, G.Abdullazadeh, R. Mammadova, R. Zohrabov, I.R.Rajabov, R.Imrani, F.M. Karomatov, T.S.Vizgo, O.Matyakubov and others. Some of the conferences and symposiums held on international standards concerning Eastern oraltraditional music: II International Music Congress held in 1971 in Moscow in the theme Tradition and Modernity, III International Tribune of Asian Countries held in Alma-Ata in 1973. In the I International symposium, held by UNESCO in 1978 in Samargand in the theme: Traditional music of Near and Middle East Peoples and Modernity, the following Azerbaijani musician scientist took part: E. Abbasova, L.Karagijiyeva, N. Aliyeva, R. Zohrabov, Z. Gafarova, N. Mammadov, A. Eldarova and S.Agayeva. They made interesting reports. In the II International symposium held in 1983 in Samargand, E. Abbasova, N.Mammadov, S.Gasimova, Z.Safarova, I.Efendiyeva , R. Zohrabov made reports.

Tar player B.Mansurov, kamancha player T.Bakikhanov, singers J.Akbarov and A.Gasimov sang Azeri mugams. In III International symposium held in 1987 in Samargand, which represented more than 400 musicians, N.Aliyeva, S. Dashdamirova, S.Agayeva, composer E.Mansurov made reports. Our singers A.Babayev, and A. Gasimov, tar players R. Guliyev and A.Abdullayev, kamancha player Sh. Eyvazova were applauded by the audience. No doubt, that all these music forums will play an important role in studying musical heritage of Eastern Peoples, in strengthening relations between musician scientists. According to the opinion of World musicians, Azerbaijan mugams, which are richer and stronger among mugam musicians in different geographical areas, according to their emotional impression and development level, will become a source of creativity for many composers for many years and will be investigated by musicians. The successes achieved by our singers and ensemble of national musical instruments in foreign countries is the evidence that they are devoted successors of our classic music heritage.