DOCSLIB.ORG

Ôîëêëîð Âə Åòíîãðàôèéà

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ôîëêëîð Âə Åòíîãðàôèéà ÁÅÉÍßËÕÀËà ÅËÌÈ ÆÓÐÍÀË ÈÍÒÅÐÍÀÒÈÎÍÀË ÑÚÈÅÍÒÈÔÈÚ ÆÎÓÐÍÀË ÔÎËÊËÎÐ ÂƏ ÅÒÍÎÃÐÀÔÈÉÀ Ôîëêëîðå àíä Åòùíîgðàïùé Æóðíàë Àçÿðáàéúàí Ðåäàêñèéàíûí öíâàíû: Ðåñïóáëèêàñû ßäëèééÿ ÀÇ 1108 Àçÿðáàéúàí Íàçèðëèéèíäÿ ãåéäèééàòà Ðåñïóáëèêàñû, Áàêû øÿùÿðè, Ùöñåéí Úàâèä àëûíìûøäûð. ïðîñïåêòè, 115. 5-úè ìÿðòÿáÿ, 551. Àääðåññ: 31. Ùöñåéí Úàâèä àâåíóå, ÂÞÅÍ: 1300495731 5, 551 , Áàêè, Àçåðáàèæàí Ðåïóáëèú, ÀÇ Ðöáëöê åëìè æóðíàë 1108 Òùå Åäèòîðèàë îôôèúå îô “Ôîëêëîðå Ùàêiìëè Äÿðýè àíä Åòùíîgðàïùé” æîóðíàë Ôîóíäåð àíä Åäèòîð-èí-Úùèåô: Ïðîô. Æóðíàë 2004-úö èëäÿí íÿøð Ì.Ï.Gàñèìëè îëóíóð. 2017. ¹ 01 (49) Òåë: (994 12) 539-56-25 Ìîá., 0503186183 Å-ìàèë îðùàíïàñùàì58 @éàùîî.úîì ÃÓÐÓÚÓÑÓ: îðùàíïàñùàì58 @ìàèë.ru ïðîô.Ì.Ï.ÃÀÑÛÌËÛ www.folkloretnoqrafiya.com ÐÅÄÀÊÑÈÉÀ ÙÅÉSSÒÈ: Ìÿùÿððÿì ÃÀÑÛÌËÛ (áàø ðåäàêòîð), Ñòåôåí ÁËÀÌ (ÀÁØ), Þúàë ÎÜÓÇ (Òöðêèéÿ), Fikrәt TÜRKMƏN (Òöðêèéÿ), Bayram DURBİLMƏZ (Òöðêèéÿ), Éàøàð ÊÀËÀÔÀÒ (Òöðêèéÿ), Áåòòè ÁËÅÉÅÐ (ÀÁØ), Əli KAFKASİYALI (Türkiyә), Esma ØÈÌØßÊ (Òöðêèéÿ), Abuzÿr ÁÀÜÛÐΠ(Ðóñèéà), Èìïåðèàò ÕÀËÈÏÀÉÅÂÀ (Ðóñèéà), Øÿìñÿääèí ÊÓÇß×È (Èðàã), ßëè ÀÁÁÀÑ (Ýöðúöñòàí), Áþéöêáÿé ßËßÊÁßÐÎÜ ËÓ (Òÿáðèç), Ìóõòàð ÈÌÀÍÎÂ, Ãÿçÿíôÿð ÏÀØÀÉÅÂ, Qadir QADİRZADƏ, Àéáÿíèç Êÿíýÿðëè-ßËÈÉÅÂÀ, Ãÿíáÿð ØßÌØÈÐÎÜËÓ, Ñÿùÿð ÎÐÓÚÎÂÀ, Èðàäÿ ÊÞ×ßÐËÈ, Mahmud ALLAHMANLI, Àôèíà Êóðìàíáàé (Türkiyә), ßäàëÿò ÍßÑÈÁÎÂ, Èñôÿíäèéàð ÐÖÑÒSSÌÎÂ, Òàùèð ßÌÈÐÀÑËÀÍ, Èñìàéûë ÌßÌÌßÄËÈ, Éóñèô ÑßÔßÐÎÂ, Áÿùðóçÿð ÐÖÑÒß ÌÎÂ. MÜNDƏRİCAT Mәhәrrәm Qasımlı Dilimizin vә ruhumuzun sәrrafı........................................................................................3 İlham Rәhimli Meydan teatrı...................................................................................................................7 Mәti Osmanoğlu Rövşәnmi, Uruşanmı?.....................................................................................................25 Camal Mustafayev Ozanla Yunan Robsodinin sәnәt qohumluğu..................................................................30 Bәhruzәr Rüstәmov Oğuz yurdunun tәbiәtindә әfsanә izlәri..........................................................................34 Tahir Əmiraslanov “Beş”in sirri vә sehri.......................................................................................................41 Abbasqulu Nәcәfzadә “Bakı şikәstәsi” haqqinda nә bilirik?..............................................................................49 İsmayıl Umudlu Molla Vәli Vidadinin şәcәrәsi.........................................................................................61 Fikrәt Əlizadә Dil vә cins.......................................................................................................................70 Ruziyә Quliyeva, Elmira Şirinova Aşıq Hüseyn Cavanın hәyatı vә sәnәti............................................................................80 Mirzә Mәmmәdoğlu Qәdim Tiflisin saz vә söz ustalari...................................................................................88 Afina Memmedli “Azerbaycan yurt bilgisi” (1932-1934) dergisinde âşiklar üzerine araştirma................95 Orxan Paşa Mәlәk qanadında enibdi göydәn (şeir)..........................................................................103 CONTENTS Maharram Gasimli Connoisseur of Our Language and Soul...........................................................................3 Ilham Rahimli Square Theatre..................................................................................................................7 Meti Osmanoghlu Rovshan or Urushan?......................................................................................................25 Jamal Mustafayev Artificial Relationship of Ozan with Greek Rhapsody...................................................30 Bahruzar Rustamov Legend in Oghuz Land’s Nature.....................................................................................34 Tahir Amiraslanov Mystery and Magic of “Five”..........................................................................................41 Abbaskulu Najafzade We must Study Deeper....................................................................................................49 Ismayil Umudlu Molla Vali Vidadi’s Genere............................................................................................61 Fikrat Alizade Language and Gender.....................................................................................................70 Ruziye Guliyeva, Elmira Shirinova Life and Profession of Ashug Huseyn Javan..................................................................80 Mirza Mammadoglu Craftsmen of Ancient Tbilisi...........................................................................................88 Afina Mammadli Investigation on Ashuks in Journal “Azerbaijan Yurt Bilgisi”......................................95 Orkhan Pasha Poetry............................................................................................................................103 Ôîëêëîð âÿ Åòíîãðàôèéà 2017 ¹ 01 MƏHƏRRƏM QASIMLI Əmәkdar Elm Xadimi, professor RUHUMUZUN VƏ DİLİMİZİN SƏRRAFI İnsan doğulduğu yerdәn, doğma tәbiәt - dәn, boya-başa çatdığı ailә mühitindәn çox şeylәrи þçöíöí âàðëûüûíà, ðóùóíà ùîïäó- ðóð. Bu amillÿr ÷îõ zамаn onun tale vә ömür yolunun, şәxsiyyәt vә xarakterinin áè÷èìëÿíìÿñèíäÿ ùÿëëåäèúè ðîë îéíàéûð. Bu sәtirlәri yazarkәn istәr-istәmәz uzun illәr sәmimi ünsiyyәtdә olduğum, sinәsindә vә hafizәsindә milli-mәnәvi sәrvәtlәrimizin әvәzsiz qaynaqlarını, etnoqrafik çalar vә әlvanlığını böyük ehtiras vә şövqlә söz-söz, kәlmә-kәlmә şәrh etmәyi özünün müqәddәs amalı sayan tanınmış dilçi-leksikoqraf alim, filologiya elmlәri doktoru, professor İsmayıl Mәmmәdli canlanır. Ùÿòòà ìÿíÿ áåëÿ ýÿëèð êè, İsmayıl Mәmmәdli äèë÷è- ôèëîëîã éîõ, ðèéàçèééàò÷û, êèìéà÷û, ùÿêèì âÿ ñ. bàøãà áèð ïåøÿíèí ñàùèáè îëñàéäû äà, ìÿíñóá îëäóüó õàëãûí äèë âÿ ìÿäÿíèééÿòèíÿ åéíè äÿðÿúÿäÿ ùÿññàñëûã ýþñòÿðÿcәêäè. Hәr dәfә onunla üz-üzә gәlәndә, ünsiyyәtә girәndә adama elә gәlir ki, simasından nur yağan, tәpәdәn-dırnağa qәdәr sәmimiyyәt mücәssimәsi olan bu insanı lap binаyi-qәdimdәn tanıyırsan, onunla kәlmә kәsmәyә, hal-әhval tutmağa äÿðäëÿøèá ôèêèð áþëöøìÿéÿ bir mәnәvi ehtiyac duyursan ùÿð çàìàí. İsmayıl Mәmмәdli yetmiş il bundan әvvәl Tanrının qüdrәtli әllәri ilә dağlar qoynunda bәrqәrar olan, özünün füsünkar tәbii gözәlliklәri ilә hamını heyran qoyan axar-baxarlı, saz-söz beşiyi Göyçәnin Sәtәnәxaç kәndindә sayılıb seçilәn el sәnәtkarı aşıq Orucun ailәsindә dünyaya göz açıb. Îíóí áàáàëàðû äà ñàç-ñþç àëÿìèíäÿ ñàéûëûá-ñå÷èëÿí ñÿíÿòêàðëàð îëóá. Íåúÿ äåéÿð- ëÿð, ãàðäàøûìûç ñþç-ñÿíÿò ñÿððàôû îëàí óñòàäëàð àèëÿñÿíäÿ pәrvәriç òàïûá. Kiçik yaşlarından Stalin köçürmәlәrinin àüðû-àúûñûíû öz taleyindә yaşayan İsmayıl Mәmmәdlinin ailәsi Gәdәbәyin Zәhmәt kәndinә üz tutur, burada ev- eşik qurur, yerli sakinlәrlә qaynayıb qarışır. Ancaq Göyçә hәsrәti heç vaxt bu ailәni tәrk etmәmiş, onların xәyallarında, düşüncәlәrindә doğma yurda mehr vә mәhәbbәt bu ýöí äÿ êþâðÿê âÿ ùÿçèí áèð íèñêèë îëàðàã ãàëûð. Əslindә İsmayıl Mәmmәdlinin dil faktoruну türk-oğuz yurdunun mәnәvi sәrhәdlәrini tәyin etmәk üçün prinsipial ölçü vә meyara çevirmәsi ùå÷ äÿ îíóí òàëåéèíè èçëÿéÿúÿê ñîíðàêû äþíÿmin ìöùèòè áàõûìûíäàí äà tÿsadöfi deyiläè. Aspirantlıq illәrindә xalq şairi Rәsul Rzanın ilk milli ensiklopediya 3 Ôîëêëîðå àíä Åòùíîgðàïùé 2017 ¹ 01 quruculuğunda yaxından vә fәal surәtdә iştirakдa îíóí Àçÿðáàéúàí òöðêúÿ- ñèíÿ ùÿññàñ éàíàøìàñûíà íþâáÿòè áèð òÿêàí îëìóøäó. Èñìàéûë ìöÿëëèì Ðÿñóë Ðçà ìÿêòÿáèíäÿ ÿñèë ìèëëè ìöcadilÿ þðíÿéè ýþðìöø âÿ îíóí þçöíöí åëìè ùÿéàòûíûí ìöãÿääÿñ àìàëûíà ÷åâèðìèøäè. Daha sonralar ekran-efir mәkanında “Azәrbaycan dili”, “Dil xalqın mәnәvi sәrvәtidir” adlı verilişlәri yüksәk sәriştә vә professionallıqla aparması, ÿsëèíäÿ ñîâåò ðåæèìèíèí sәrt qadağalar dövründә әsil ìèëëè mücadilә, vәtәndaşlıq örnәyi kimi vurğulana bilәr. Dilçi alimin etnolinqvistika vә lüğәtçilik sahәsindә mәhsuldar fәa- liyyәti dә bu mәnada bir-birini ta - mamlayan, bir-birinә tәmәl vә bünövrә olan yaradıcılıq axta rışları kimi diqqәti çәkir. Onun doktorluq disserta siyası kimi uğurla müdafiә etdiyi “Azәr baycan dilinin etno linq- vistikası” mövzusundakı tәdqiqat işi uzun illәrin gәrgin axtarışla rının nәticәsindә meydana çıxan, milli yaddaşın genetik qatlarını tutarlı fakt vә dәlillәrlә aşkarlayan, bu gün dә öz elmi dәyәr vә san balını qoruyub saxlayan araşdır ma lar dandır. Maraq doğuran áåëÿ bir hadisәni xatırlatmaq lazımdır ki, milli müstәqilliyә qovuş- du ğumuz illәrdә ilk elmlәr doktoru alim lik diplomu Ali Attestasiya Komissiyasında mәhz onun adına yazılmışdır. Bәlkә dә bunu bir tәsadüf kimi qarşılayanlar tapıla bilәr. Ancaq bunun хош bir tale vә qismәt olduğunu da heç cür danmaq olmaz. İsmayıl Mәmmәdlinin dilçilik sahәsindә elmi axtarışlarının bir istiqamәtini dә lüğәtçilik tәşkil edir. Óçóí èëëÿðèíèí éîðóëìàç ÷àëûøìàëàðû íÿòèúÿñèíäÿ araya-әrsәyә şәrikli gәtirdiyi “Azәrbaycanca-rusca etnoqrafiya terminlәri lüğәti”, özünün tәrtibçisi olduğu “Azәrbaycanca-rusca danışıq kitabı”, tәrtibçilәrdәn biri olduğu “Azәrbaycan dilinin orfoqrafiya lüğәti”, “Azәrbaycan dilinin izahlı lüğәti” (3 cilddә) êèìè ñàìáàëëû åëìè âÿ òÿúðöáè èøëÿðè îíóí Azәrbaycan dilinin leksikası sahәsindә ardıcıl araşdırmalar aparmasıíû ýþñòÿðèð. “Azәrbaycan dilinin etnoqrafik leksikası”, “Qәzet dilin- in leksikası” monoqrafiya vә kitabları leksikologiyanın müxtәlif sahә vә istiqamәtlәrini zәngin fakt vә materiallar әsasında üzә çıxaran ôóíäàìåíòàë tәdqiqatlar sırasındadır. “Axtarışlar, yozumlar, anımlar” kitabında, habelә adları sadalanan lüğәt 4 Ôîëêëîð âÿ Åòíîãðàôèéà 2017 ¹ 01 vә toplularda İsmayıl Mәmmәdli sәnәt vә peşә leksikasının unudulmaqda
Load more

Recommended publications
  • On Theatre Stage
    Prof. Dr. Şeref Ateş President Greetings our esteemed readers in the last issue of the year 2017, e experience the sweet weariness of lea- from concerts performed by famous Turkish artists ving a busy year behind, and the excite- to film screenings where the most popular examp- Wment of welcoming a new year which har- les of Turkish cinema are shared with the audience, bingers the new projects to be launched. from gastronomic trainings where traditional, unique We have come a long way in teaching Turkish within Turkish dishes are introduced to exhibitions where the past year, that is among our primary goals. We Anatolia's centuries of artistic heritage is presented, have reached 10 thousand people in the last year in short, with both short and long-term projects in a by way of 54 Enstitü centres in 43 countries on 5 very wide range, promoting Turkey still remains as continents, schools with which we have agreements one of our top priorities. within the scope of My Preference Turkish Project, We think that bringing the accumulation of our an- and universities with which we signed cient civilization to regions we reach, is the Turcology protocol. Since the foun- a debt we owe to civilizations that lived dation of the Enstitü, we have taught on these lands for centuries as well as Turkish to nearly 120 thousand people. to our country, and the ties we have es- These figures were multiplied thanks to tablished with all the cultures we have Turkish Instruction Portal. The portal encountered from America to Asia, and has served 65,000 users in as little as from Europe to Africa since 2009, come 9 months.
    [Show full text]
  • III Fəsil “Nizami” Operası 1948-Ci Ildə Opera Teatrı Ə.Bədəlbəylinin
    III fəsil “Nizami” operası 1948-ci ildə opera teatrı Ə.Bədəlbəylinin “Nizami” operasını tamaşaya qoydu. Operanın ilk tamaşası dekabrın 12-də böyük şair-mütəffəkir Nizami Gəncəvinin 800 illiyinin qeyd olunduğu günlərdə oldu. Məlum olduğu kimi, 1945-ci ildə bitmiş Böyük Vətən mühari- bəsi Azərbaycan xalqina dinc yaradıcı əməyə qayıtmaq imkanı ver- di. Təbiidir ki, müharibədən sonrakı dinc həyatın yeni şəraitində ədə- bi-bədii əsərlərin və incəsənətin bütün növlərinin məzmun və möv- zuları gözəçarpacaq dərəcədə yeniləşdi. Bir çox janrlarda əsərlərin müəlliflərini tarixlə, tarixi keçmişin əlamətdar hadisələri, ədəbiyyat abidələri və xalqın bütün mədəni irsi ilə bağlı mövzular cəlb edir. Yeni mövzular, yeni obrazlar incəsənətin bu və ya digər sa- həsində yaradıcılıq diapozonunu genişləndirən yeni janr, forma, ifadə vasitələri axtarışlarına gətirib çıxarır. Opera yaradıcılığı sahəsində ideya-mövzu, obraz-janr diapo- zonu genişlənməsinin əlamətlərindən biri də opera və balet teat- rının səhnəsində “Nizami” operasının milli səhnə üçün yeni janrda tamaşaya qoyulması oldu. Operanın müəllifi ilk dəfə olaraq qarşısına tarixi şəxsiyyət – şair, filosof obrazını milli operada hələ təqdim olunmamış janr- da yaratmaq, beləliklə də, operanı onun yeni növü ilə zənginləş- dirmək vəzifəsini qoydu. Qarşısına böyük şairi musiqidə tərən- nüm etmək vəzifəsini qoyan Ə.Bədəlbəyli ilk dəfə olaraq xalqın yaddaşında yaşamış və bəşəriyyətdə yaxşı nə varsa onu təcəs- süm etdirən insanın canlı obrazını səhnəyə çıxardı. Bəstəkar operada tanınmış yazıçı M.S.Ordubadinin “Qılınc və qələm” romanının məzmununa əsaslanır. “Dumanlı Təbriz”, “Gizli Bakı”, “Döyüşən şəhər” kimi bir sıra romanların müəllifi olan yazıçı “Qılınc və qələm” romanı üçün süjeti aramla inkişaf edən epik nəql formasını seçir. Hadisələrin iştirakçılarının taleyi 386 ictimai və siyasi münaqişələr fonunda baş verir. Burada müba- rizə, iztirab xəyanətlə, məhəbbət nifrətlə, qətl və saray fitnə-fa- sadı ilə bir-birinə qarışır.
    [Show full text]
  • Bu Eserin Tam Metnini Indirmek Için Tıklayın
    IJOESS Year: 9, Vol:9, Issue: 31 MARCH 2018 THE BENEFITS OF USING WORKS ADAPTED FROM EPICS TO OPERAS FOR THE TEACHING OF EPICS Halide Gamze İnce Yakar Assist. Prof. Dr., Okan Universiy , [email protected] ORCID Number: 0000-0002-9165-7037 Received: 22..12.2017 Accepted: 21.03.2018 ABSTRACT Epics as products of oral literature tradition have found their way into the forms of performance since the disappearance of the epic tradition, opera being one of such forms of performance. Difficulties are observed in the teaching of epics in high-schools because they express the life and times of an era distant from the students’ time period. In the teaching of epics, it is possible to make use of multi-dimensional contributions made by an inter-disciplinary learning environment and form an effective learning environment by means of the works adapted from epics to opera. The present paper aims to present the relationship between epics and opera, a short history of opera in Turkey, major works adapted from Turkish and world epics, the benefits of making use of the works adapted from epics to opera, the works of literature and opera with titles, and some ways of making use of them in the teaching of epics. Keywords: The teaching of epics, opera, effective teaching, inter-disciplinary learning. 312 İnce Yakar, H. G. (2018). The Benefits Of Using Works Adapted From Epics To Operas For The Teaching Of Epics, International Journal Of Eurasia Social Sciences, Vol: 9, Issue: 31, pp. (312-319). IJOESS Year: 9, Vol:9, Issue: 31 MARCH 2018 INTRODUCTION It is possible to make use of modern genres of art in the teaching of epics, which are the products of oral culture in which the stories of heroism, natural disasters, wars, immigrations, love and religion as formed in mythological eras and holding a position in the anonymous memory and common emotions of a nation.
    [Show full text]
  • Musical and Dramatic Features of Choral Scenes in the Operas of Azerbaijani Composers
    Journal of Critical Reviews ISSN-2394-5125 Vol 7, Issue 7, 2020 MUSICAL AND DRAMATIC FEATURES OF CHORAL SCENES IN THE OPERAS OF AZERBAIJANI COMPOSERS Ayten Babaeva Baku Music Academy named after Uzeyir Hajibayli Azerbaijan, Baku [email protected] Received: 11.02.2020 Revised: 03.03.2020 Accepted: 17.04.2020 Abstract The presented article is devoted to the musical and dramatic features of choral scenes in the operas of Azerbaijani composers. The paper considers the long-term development of Azerbaijani national operas from operas of mugamat the beginning of the 19th to the 20th century some aspects are found in the context of European and national traditions. Also, the domestic operas of Azerbaijan paid attention to the features of choral scenes, some principles of development, and the richness of the musical language. In particular, the law of updating the dramaturgy of choral scenes in Azerbaijani operas at the level of content and musical language was emphasized. The article classifies Azerbaijani operas by content and considers drama, the principle of structure, features of the musical style, the artistic character of images in the analysis of choral scenes in lyric-dramatic, literary-historical, satirical and patriotic operas. The unique qualities and role of choral scenes in Azerbaijani national operas were also presented. Keywords: Azerbaijan National Opera, musical and dramatic features of choral scenes, mugam opera, lyrical and tragic opera, satirical opera, patriotic opera, musical and exciting art. © 2020 by Advance Scientific Research. This is an open-access article under the CC BY license (http://creativecommons.org/licenses/by/4.0/) DOI: http://dx.doi.org/10.31838/jcr.07.07.87 INTRODUCTION.
    [Show full text]
  • Culture of Azerbaijan
    Administrative Department of the President of the Republic of Azerbaijan P R E S I D E N T I A L L I B R A R Y CULTURE OF AZERBAIJAN CONTENTS I. GENERAL INFORMATION............................................................................................................. 3 II. MATERIAL CULTURE ................................................................................................................... 5 III. MUSIC, NATIONAL MUSIC INSTRUMENTS .......................................................................... 7 Musical instruments ............................................................................................................................... 7 Performing Arts ....................................................................................................................................... 9 Percussion instruments ........................................................................................................................... 9 Wind instruments .................................................................................................................................. 12 Mugham as a national music of Azerbaijan ...................................................................................... 25 IV. FOLKLORE SONGS ..................................................................................................................... 26 Ashiqs of Azerbaijan ............................................................................................................................ 27 V. THEATRE,
    [Show full text]
  • New Approaches to Performance and the Practical
    New Approaches to Performance and the Practical Application of Techniques from Non-Western and Electro-acoustic Musics in Compositions for Solo Cello since 1950: A Personal Approach and Two Case Studies Rebecca Turner Submitted in Partial Fulfillment of the Requirements for the Degree of PhD in Music (Performance Practice) Department of Music Goldsmiths College, University of London 2014 Supervisor Professor Alexander Ivashkin Declaration I, Rebecca Turner, the undersigned, hereby declare that the work submitted in this thesis is my own and where the contributions of others are made they are clearly acknowledged. Signed……………………………………………… Date…………………….. Rebecca Turner ii For Alexander Ivashkin, 1948-2014 iii Acknowledgments I would like to acknowledge the wisdom, encouragement, and guidance from my academic supervisor, the late Professor Alexander Ivashkin; it was an honour and a privilege to be his student. I am also eternally grateful for the tutelage of my performance supervisor, Natalia Pavlutskaya, for her support and encouragement over the years; she has taught me to always strive for excellence in all areas of my life. I am enormously grateful to Franghiz Ali-Zadeh and Michael Cryne for allowing me to feature their compositions in my case studies, and also for generosity giving up their time for our interviews. I am indebted to the staff of the Music Department at Goldsmiths College, London University, both for supporting me in my research and also being so generous with the use of the available facilities; in particular the Stanley Glasser Electronic Music Studios. I also thank C.f. Peters Corp., Breitkopf & Härtel, Schott Music Ltd, MUSIKVERLA HANS SIKORSKI GMBH & CO, for their kind permission to quote from copyrighted material.
    [Show full text]
  • Statesmen and Public-Political Figures
    Administrative Department of the President of the Republic of Azerbaijan P R E S I D E N T I A L L I B R A R Y CONTENTS STATESMEN, PUBLIC AND POLITICAL FIGURES ........................................................... 4 ALIYEV HEYDAR ..................................................................................................................... 4 ALIYEV ILHAM ........................................................................................................................ 6 MEHRIBAN ALIYEVA ............................................................................................................. 8 ALIYEV AZIZ ............................................................................................................................ 9 AKHUNDOV VALI ................................................................................................................. 10 ELCHIBEY ABULFAZ ............................................................................................................ 11 HUSEINGULU KHAN KADJAR ............................................................................................ 12 IBRAHIM-KHALIL KHAN ..................................................................................................... 13 KHOYSKI FATALI KHAN ..................................................................................................... 14 KHIABANI MOHAMMAD ..................................................................................................... 15 MEHDİYEV RAMİZ ...............................................................................................................
    [Show full text]
  • Lmi Əsərlər. Humanitar Elmlər Seriyası 2016, № 78
    2 NAXÇIVAN DÖVLƏT UNİVERSİTETİ. ELMİ ƏSƏRLƏR, 2016, № 4(78) NAKHCHIVAN STATE UNIVERSITY. SCIENTIFIC WORKS, 2016, № 4 (78) НАХЧЫВАНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ. НАУЧНЫЕ ТРУДЫ, 2016, № 4 (78) ƏDƏBİYYATŞÜNASLIQ HÜSEYN HƏŞİMLİ Naxçıvan Dövlət Universiteti E-mail: [email protected] UOT: 82: 316. 3 İZZƏDDİN HƏSƏNOĞLUNUN BİR QƏZƏLİ HAQQINDA Açar sözlər: Azərbaycan ədəbiyyatı, poeziya, İzzəddin Həsənoğlu Key words: Azerbaijan literature, poetry, Izzeddin Hasanoglu Ключевые слова: Азербайджанская литература, поэзия, Иззеддин Гасаноглы On üçüncü yüzillikdə yazıb-yaratmış Şeyx İzzəddin Həsənoğlu doğma dilimizdə lirik şeirləri dövrümüzə çatmış ilk Azərbaycan şairi kimi ədəbiyyat tariximizdə mühüm mövqe tutur. Hazırda elm aləminə şairin üçü Azərbaycan, biri fars dilində olmaqla cəmi dörd qəzəli məlumdur.Bu məqalədə biz İzzəddin Həsənoğlunun Azərbaycan elmi-ədəbi ictimaiyyətinə təqdimedilmə tarixi baxımından doğma dildə ikinci şeiri - “Necəsən, gəl ey yüzü ağum bənüm” misrası ilə başlanan qəzəli barədə bəzi məsələləri araşdırmaya cəlb edəcəyik. Həmin şeiri alman şərqşünası, Hamburq Universitetinin professoru Barbara Flemminq aşkara çıxarmış, 27-29 sentyabr 1972-ci il tarixlərdə Türkiyədə keçirilmiş I Türk Dili Bilimsəl Qurultayında etdiyi “Sultan Qavri divanında naməlum şeirlər” adlı məruzəsində bu barədə elmi ictimaiyyətə məlumat vermişdir. Dinlənilmiş məruzələrin materialları Türkiyədə 1975-ci ildə çap olunmuşdur və B.Flemminqin təqdim etdiyi mətn daxilində Həsənoğlunun qəzəli də verilmişdir (bax: 3, s.332). Həmin elmi tədbirdə iştirak edən Azərbaycan alimi Fərhad Zeynalov alman şərqşü- nası B.Flemminqin aşkarladığı qəzəl barədə Bakıda çıxan “Ədəbiyyat və incəsənət” qəzetinin 25 noyabr 1972-ci il tarixli sayında dərc olunmuş “Həsənoğlunun azərbaycanca yeni şeiri” adlı yığcam məqaləsində məlumat vermiş, şeirin mətnini də oxuculara çatdırmışdır (7). Fərhad Zeynalov yazırdı: “B.Flemminqin məlumatından aydınlaşdı ki, o, yeni bir Misir türk əlyazmasında Həsənoğluya aid ola bilən ikinci bir şeirə də rast gəlmişdir.
    [Show full text]
  • Silk Road Notes.Indd
    Program A Friday, March , , pm Zellerbach Hall Th e Silk Road Ensemble with Yo-Yo Ma PROGRAM A Silk Road Suite Kayhan Kalhor (b. ) Gallop of , Horses Dong-Won Kim (b. ) & Kojiro Umezaki (b. ) When the Wind Circles… Kim Once We Were… Romanian Traditional (arr. Ljova (b. )) Doina Oltului (Song of the River Olt) Classical Music of Azerbaijan Traditional Mugham Fikret Amirov (–) Kor Arab Uzeyir Hagibeyov (–) Shikasta INTERMISSION Kayhan Kalhor Th e Silent City* Osvaldo Golijov (b. ) Air to Air† Wah Habibi Aiinin Taqtiru Kwadulupe Tancas Serradas * Th e Silent City was made possible by a grant from the Fromm Music Foundation and was fi rst performed at Harvard University in . Th is arrangement was commissioned by the Carnegie Hall Corporation. † Commissioned by the Carnegie Hall Corporation. Ford Motor Company is continuing as a Global Corporate Partner to the Silk Road Project as part of its longstanding tradition of arts education support. Th is presentation is made possible, in part, by Nancy Livingston and Fred M. Levin, Th e Shenson Foundation; Bank of America; and the National Endowment for the Arts. Th e Silk Road Project Cultural Exchange Initiative activities are assisted fi nancially by the U.S. Bureau of Educational and Cultural Aff airs. Cal Performances’ – season is sponsored by Wells Fargo. 4 CAL PERFORMANCES A View from the Silk Road “When we enlarge our view of the world, we deepen our understanding of our own lives. Th e Silk Road Project hopes to plant the seeds of new cultural growth, and to celebrate traditions and musical voices everywhere.” n years of performing in diff erent parts of the world, I have become Iincreasingly intrigued by the migration of ideas among communities.
    [Show full text]
  • Mugham Creativity in Pre-Soviet, Soviet, and Post-Soviet Azerbaijan
    Musical and Ontological Possibilities of Mugham Creativity in pre-Soviet, Soviet, and post-Soviet Azerbaijan by Polina Dessiatnitchenko A thesis submitted in conformity with the requirements for the degree of Doctor of Philosoophy Graduate Department of Music University of Toronto © Copyright by Polina Dessiatnitchenko 2017 Musical and Ontological Possibilities of Mugham Creativity in pre-Soviet, Soviet, and post-Soviet Azerbaijan Polina Dessiatnitchenko Doctor of Philosophy in Ethnomusicology Graduate Department of Music, University of Toronto 2017 Abstract The different angles from which the phenomenon of mugham creativity can be approached all point to the significance of sung ghazal poetry. Even in instrumental renditions of mugham, the overriding presence of sung texts manifests itself through the musical structure, pace, technique and, most importantly, an imaginative and interpretive engagement with meanings that musicians undergo. In this dissertation, the link between music and poetry and its role in mugham creativity are investigated from both diachronic and synchronic perspectives. First, pre-Soviet, Soviet and post-Soviet contexts are examined to reveal how changes in musical and textual parameters influenced creativity and shaped its historical trajectory in Azerbaijan. Second, native terminology, musical examples, characteristics and experiences of creativity are explored using hermeneutic phenomenology in order to shed light on the creative process in the moment of performance. It is my contention that interpretation based on meanings in ghazal – ii – poetry that are rooted in Islamic sciences opens up both musical and ontological possibilities for musicians embarked on the mugham journey. This creates a state that is often difficult to express discursively as musicians themselves resort to phrases such as “revelation”, “explosion of thinking”, and “the self is taken from the self” that show only the limits of language to explain what goes on.
    [Show full text]
  • Bibliography About Uzeyir Hajibeyov's Musical Legacy
    Bibliography about Uzeyir Hajibeyov’s Musical Legacy From “Scientific and Cultural Personalities of Azerbaijan. Uzeyir Hajibeyov. Bibliography”. Editors: Elmira Abasova, Zemfira Safarova, T. Sadikhova. Baku: Elm, 1978. pp. 44-62. Translated from Azeri (Cyrillic) to English by Farida Sadikhova for HAJIBEYOV.com (“A Web site Celebrating the Legacy of the Azerbaijani Composer, Uzeyir Hajibeyov”) created by Azerbaijan International Magazine. © 2001 Azerbaijan International. Editor Betty Blair. Webmaster Arzu Aghayeva. This bibliography does not reflect development of Hajibeyov’s work after 1978. For more information see “Uzeyir Hajibeyov Encyclopedia”, Baku: Azerbaijan Publishing House, 1996. Editor: Nazim Ibrahimov and others. MUSICAL WORKS OPERAS 1907 1. “Leyli and Majnun” – mugham opera (five acts, six scenes in first edition, four and six scenes in later editions). Libretto by Uzeyir [and Jeyhun Hajibeyov] based on Fuzuli’s poem, “Leyli and Majnun.” January 12, 1908 (old calendar: January 25) – premiere in the Taghiyev Theater in Baku (currently State Theater of Musical Comedy). Starring: Husein Sarabski (Geis – Majnun), A. Farajev (Leyli), M. M. Mammadov (Abdul-Geis), D. Daghistanli (ibn Salam); Kangarli (Zeid). Director: H. Arablinski, Conductor: A. Hagverdiyev, Tar players: Gurban Primov and Sh. Akhundov. More significant new stagings of the opera were done by Azerbaijan State Academic Opera and Ballet Theater: 1935 – Director: S. Dadashev 1955 – Director: M. Mammadov, conductor: A. Hasanov, Artist: I. Seidova. Arranger of the new orchestral edition: N. Aliverdibeyov (1959). The opera was performed in some of the cities of Caucasus, Central Asia and Iran. Libretto was translated into Russian and Armenian. Edition. Libretto (Azeri Cyrillic). Baku, 1912, 1915, 1917. Baku: Printing House of Orujov Brothers, 1941.
    [Show full text]
  • Uzeyir Hajibeyli Is the Eminent Classical Composer of Azerbaijani Music
    Uzeyir Hajibeyli Pre-reading activities: Find out the museums we have in Baku, and what are some of the special characteristics of what they represent. Discuss in class some of the museums that the students have visited. Uzeyir Hajibeyli is the eminent classical composer of Azerbaijani music. His creative work has played a foundational role in the history of the national music art. Hajibeyli stands at the roots of the formation and development of professional music in Azerbaijan, which also includes emergence of new music genres and creation of a number of professional music bands. Despite that he was composing music and working under severe conditions of life, he managed to establish national musical theater in the entire Near East. Hajibeyli played an outstanding role in the development of Azerbaijani national culture. As a public figure, dramatist, scientist, folklorist and educator, he authored the first operas, musical comedies, mass songs, ghazals, cantatorium- oratorio music, pieces for orchestra of national instruments, as well as the first Azerbaijani classic opera – the masterpiece of the Azerbaijani music “Koroghlu”. Uzeyir Abdul Husseinoghlu Hajibeyli was born on 18 September 1885 in a town called Aghjebedi into a family of a rural clerk Abdulla Hussein Hajibeyov. Soon after Uzeyir was born, his family moved to Karabakh, Shusha, which was called the conservatoire of Azerbaijan as we all know. The composer spent his childhood years there. The Hajibeyli family was musically gifted. It is mainly due to the influence of the composer’s mother, Shirin Khanim Aliverdibeyova. It is noteworthy to also mention that Uzeyir’s older brother Zulfugar Hajibeyov also became one of the first composers in Azerbaijan.
    [Show full text]