DOCSLIB.ORG

Musical and Dramatic Features of Choral Scenes in the Operas of Azerbaijani Composers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. In the 1920s, discussions about the development of national The genre of opera, which occupies a prominent place among opera, which were widely used in this area, were mainly the musical and stage works created by Azerbaijani related to the development of Azerbaijani art. The leading composers, has survived a century of development. The artists of the Azerbaijani opera are Uzeyir Hajibeyli and history of Azerbaijani professional music begins with the Muslim Magomayev, as well as A. Badalbeyli (Azerbaijani opera genre. " Leili and Majnun " U. Hajibeyli (1908), the first composer, 1909-1979, author), who was very young at that national Azerbaijani opera, mugams , vocal and instrumental time. The first ballet in the musical West (Maiden's Tower) compositions, which are direct examples of our professional advocated national preservation operas, as well as the national music, is also widely known, and the city of Shusha is development of professional music by studying the classical especially famous for this art. Mugam is an Azerbaijani variety heritage and works of European composers. Baku, as a large of musical practice that is widespread in the cultures of the industrial city, developed and developed into cultural Near and Middle East. It is the common name for Azerbaijani relations. The construction of the opera house by the frogs. 31558) and the further development of the opera of philanthropist Haji Zeynalabdin Tagiyev in 1883, the opening Azerbaijani composers were associated with this genre. The of first-class hotels and secular schools catalyzed multicultural basis of the musical theatre in Azerbaijan was laid by processes between Western and Eastern culture. Western the mugam opera, which bridges the gap between music of the early twentieth century played a significant role traditional mugam and modern Azerbaijani music and has no in Azerbaijani culture; therefore, a school of performing arts analogues in world music. began to form here, characterized by a large variety and richness of musical images. As in other forms of art, here are Establishment of national opera of Azerbaijan presented the ideas of the East and west, closely intertwined, So, in 1908, the first opera was created in Azerbaijan. It was mutually enriching each other. The perception of new tempos, exciting that in the opera, along with a mugamic plot, the rhythms, timbres, tonalities, musical forms created a particular features of the Shabikhs were organically combined with mood, sensitivity to the understanding of the real world (2, p. religious content. It should be noted that the choirs took an 34).The second half of the 30s - two operas created during the active part in the performances of significant upsurge of Azerbaijani musical culture "Nargiz" the Sabbaths. "Sheikh Sanan " (1909), "Rustam and Sohrab " (1935) and "Koroglu" (1937), was a great achievement of (1910), "Shah Abbas and Khurshudbanu " (1911), " Asli and Azerbaijani music. Muslim Magomayev's opera "Nargiz" had a Karam", created based on the opera of Uzeira Hajibeyli (1885– modern revolutionary theme, and Uzeyir Hajibeyli's opera 1948) " Leili and Majnun " ( 1908) (1912), the operas "Koroglu" was an opera reflecting the heroic past of the of Zaligar Hajibeyov (1884–1950) " Ashig Garib " (1916), the people. "Nargiz", which was a transition from the opera operas "Shah Ismail" by Muslim (1885–1937) (1916) as scenic "Mugam" to the modern opera in the classical style, and the works glorifying humanism, a free human personality, love opera "Koroglu", which was a turning point in the and devotion (1, p. 71). development of the Azerbaijani opera, were the result of significant research.Azerbaijani opera has a long history of Thus, opera became the first genre of professional music in development. "Vatan" (1945), created by Dzhovjet Gadzhiev Azerbaijan. The founder of opera, U. Hajibeyov, dressed in and Kara Garayev, "Azad" by Jahangir Jahangirov, "The fate of general education, received professional music education at a the singer", "Sevil" by Fikret Amirov (1953), "Aigun" Zakirov seminary in Georgia, then at music courses in Moscow and at Bagirova (1972), "Dead" by Vasif Adig "( 1963) and Natavan the Conservatory in St. Petersburg. The special environment (2001), Vagif by Ramiz Mustafayev (1962), The Rock of the that formed on a stick of the 19th and 20th centuries, when the Bride by Shafigi Akhundov (1974), The Deceived Stars development of Baku oil opened the gate to Western musical M. Guliyev (1977), Intisar Frangizade (2009) Each of his culture, contributed to increasing attention to the local musical operas played an essential role in the development of the elite, which created the creative spirit of the artistic Azerbaijani opera (1, p. 56). movement. M music, but with Asian content. This synthetic genre was support for solving several problems in the In general, looking at the history of the development of the emergence of professional music in Azerbaijan. Azerbaijani national opera, one can trace an exciting and Journal of critical reviews 495 MUSICAL AND DRAMATIC FEATURES OF CHORAL SCENES IN THE OPERAS OF AZERBAIJANI COMPOSERS unique way of developing the opera genre. Thus, the type of characters and specific situations to life. In this sense, the mugham opera, which first appeared in Azerbaijani music and formation of the musical and dramatic beginning of choral combined national features, as well as the originality of scenes in national operas begins directly with the opera Leyli domestic operas written in real European traditions, a variety and Majnun. It should be noted that the choir used in this of content, and novelty at the level of the musical language opera is an example of the first two-part national choir (7, p. attracts special attention. Looking at the operas of Azerbaijani 23). composers for decades, one can come across several interesting points. Thus, at the beginning of the twentieth Classification of Azerbaijani operas at the content level century, that is, from the moment the first Azerbaijani national In general, when studying the musical and dramatic role of opera was created until the 1930s, mugam operas choral scenes in Azerbaijani operas, it is necessary to predominated. The mugam operas of Uzeyir Hajibayli and emphasize the updating of national operas in terms of content Muslim Magomayev, the creators of the first Azerbaijani opera, and musical language. In this sense, classifying Azerbaijani became famous scenes during this period. The 1930s entered operas by content, you can familiarize yourself with the types the history of the national opera genre with the writing of the of operas formed on several topics: lyric-dramatic, satirical first Azerbaijani operas based on European traditions. Thus, in and patriotic, literary and historical operas are a vivid example our national music, which is undergoing a period of growth, of updating Azerbaijani operas in content. In general, the the issues of consensus building, the naturalness of the musical and dramatic development of choral scenes in influence of national and European traditions are more Azerbaijani operas is directly related to the content of the pronounced. Muslim Magomayev's operas Nargiz (1935) and opera. At the same time, the same can be said about the Koroghlu by Uzeyir Hajibeyli (1937) were written one after language of music. Thus, the use of elements of Azerbaijani another and became the pearls of Azerbaijani opera in the ethnic music, as well as the laws of development of mugham 1930s. In the 1940s, the consequences of World War II were and references to samples of folk art is some of the features also felt in the genre of the national opera, with preference that determine the operas of Azerbaijani composers. being given to the revival of people's thoughts and actions, their ideas and lifestyle. As a result, the opera Vatan was The role of choirs in the dramaturgy of each of the Azerbaijani created by Gara Garayev and Dzhovchet Gadzhiev (1945), operas, the embodiment of the mass is unique and specific, and which reflected the strict laws of war at the level of content also has a particular function in the nature of the images. It is and musical language in the opera. Fekret Amirov's opera known that the quality of the image is revealed not only on an Sevil, written in the 1950s, is the best example of a lyrical and individual level but also on public scenes.
Load more

Recommended publications
  • About the Artistic and Performing Features of Violin Works Gara Garayev About the Artistic and Performing Features of Violin Works of Gara Garayev
    CEYLA GANİOĞLU CEYLA ABOUT THE ARTISTIC AND PERFORMING FEATURES OF VIOLIN WORKS OF GARA GARAYEV OF VIOLIN WORKS GARA AND PERFORMING FEATURES ARTISTIC THE ABOUT ABOUT THE ARTISTIC AND PERFORMING FEATURES OF VIOLIN WORKS OF GARA GARAYEV Art Proficiency Thesis by CEYLA GANİOĞLU Department of Bilkent University 2019 Music İhsan Doğramacı Bilkent University Ankara May 2019 ABOUT THE ARTISTIC AND PERFORMING FEATURES OF VIOLIN WORKS OF GARA GARAYEV The Graduate School of Economics and Social Sciences of İhsan Doğramacı Bilkent University by CEYLA GANİOĞLU In Partial Fulfillment of the Requirements for the Degree of ART PROFICIENCY IN MUSIC THE DEPARTMENT OF MUSIC İHSAN DOĞRAMACI BİLKENT UNIVERSITY ANKARA May 2019 ABSTRACT ABOUT THE ARTISTIC AND PERFORMING FEATURES OF VIOLIN WORKS OF GARA GARAYEV Ganioğlu, Ceyla Proficiency in Music, Department of Music Supervisor: Prof. Gürer Aykal May 2019 Garayev’s unique talents of music opened a new page in Azerbaijan’s music of 20th century. He adapted an untypical way of making music in which he was able to combine the traditional and the modern type. There are several substances that were brought in music of Azerbaijan by Garayev such as new themes, new images, and new means of composing. He achieved success not only in the areas of the national ballet, choral, and chamber music but also panned out well considering sonata for violin and piano and the violin concerto. These works represents main aspects and characteristics of Garayev’s music like implementation of national traditions while applying new methods of the 20th century, specifically neo-classicism and serial technique. In both sonata for violin and piano and the violin concerto, he reflects a perspective of synthesis of the two musical systems that are the Eastern and the Western.
    [Show full text]
  • 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]
  • Research and Tradition
    RESEARCH AND TRADITION Article received on February 23rd 2017 Article accepted on 10th March 2017 UDC: 78.071.1:929 Денисов E. B. Bogumila Mika * University of Silesia, Katowice, Poland Department of Fine Art and Music Institute of Music ‘BENEATH THE SHADOW OF POLITICS’. RECEPTION OF THE MUSIC OF EDISON DENISOV IN POLAND Abstract: The music of Russian composer Edison Denisov was frequently presented in the Warsaw Autumn festival. Between 1964 and 2005, Polish audiences heard his pieces 21 times, including three world premieres. This music was widely received, especially in the 1960s and the 1970s, when Polish culture was strongly influenced by politics. The following decades brought changes in the context of politics and style in the arts, but Denisov’s compositions continued to be performed in Warsaw. The aim of this paper is to present the opinions formulated by Polish music critics as evidence about the reception of Denisov’s music. Key words: Edison Denisov, reception, the Warsaw Autumn festival, critics, avant-garde, Russian music. * Author contact information: [email protected] 139 New Sound 49,1/2017 The political context in post-war Poland After the Second World War, all culture in Poland, including musical culture, was rigorously controlled by politics. The communist authorities imposed their doctrine of art, so-called ‘socialist realism’. The infamous conference in Lagôw Lubuski in Western Poland in 1949 officially condemned ‘musical formalism’ and proclaimed that only socialist realistic music could be written. Political pressure prohibited artistic contacts with the West, including coop­ eration with foreign artists. Polish culture gradually became isolated from West­ ern culture and art.
    [Show full text]
  • SHUSHA, La Capitale Azerbaigiana Della Musica
    Musica Zemfi ra SAFAROVA Dott ore, critico d’arte, professore SHUSHA, La capitale Azerbaigiana della musica IN POCHE CITTÀ AL MONDO OGNI PIETRA, OGNI STRADA E TUTTA L’ AURA SI NUTRONO DI MUSICA: VIENNA IN AUSTRIA, NAPOLI IN ITALIA, SHUSHA IN AZERBAIGIAN. husha è uno degli angoli più belli del Garabagh, è il tempio Se la culla della musica azerbai- giana. Come diceva l’illustre poeta azer- baigiano Samed Vurgun “quasi tutti i famosi cantanti e musicisti dell’Azer- baigian sono nati a Shusha. Non a caso Shusha è defi nita la culla della musica e della poesia”. La città è stata giustamente defi - nita ”il conservatorio del Caucaso”. Il famoso studioso russo di musica orientale V. Vinogradov, già nel 1938 nel suo libro “Uzeyir Hajibeyov e la musica Azerbaigiana” scriveva a 10 Kechachi oglu Muhammed con il suo gruppo www.irs-az.com Heritage_IT_5_2012_last.indd 10 12/14/12 9:29 AM proposito di Shusha: “Qui c’è tanta popolari si basano sui suoi versi. Nelle riunioni, oltre ad eseguire musica, qui più che in qualsiasi altro La poesia di Vagif ha attirato musica, si tenevano dibattiti e discus- distretto dell’Azerbaigian si possono anche gli interpreti di mugam. sioni sui problemi relativi alla cre- sentire tante canzoni popolari, danze, Nell’eseguire il mugam da un lato azione artistica e il tema centrale cantanti, strumentisti. Sin dai tempi è necessario rispettare tutti i canoni era rappresentato dall’arte esecu- antichi Shusha era famosa come cen- di uno svolgimento ben intonato, le toria dei mugam. La poetessa e pit- tro musicale ed era celebre in tutta la regole di drammaturgia e di forma- trice di talento Khurshidbanu Nata- Transcaucasia come fucina inesauribile zione, dall’altro è necessario che ci sia van è stata la fondatrice del famoso di talenti musicali popolari.
    [Show full text]
  • Land of Music Festivals
    Following tradition Azerbaijan – land of music festivals Lala HUSEYNOVA PhD in Arts THE LAND OF FIRE… AZERBAIJAN HAS BEEN KNOWN AS SUCH FROM TIME IMMEMORIAL, AND THERE ARE MANY REASONS FOR THAT. BUT WE WILL TALK ABOUT A COMPLETELY DIFFERENT FAME THAT THIS DEVELOPING AND FASCINATING LAND IS GRADUALLY EARNING ITSELF. THE LAND OF MUSIC FESTIVALS – tHIS IS HOW AZERBAIJAn’S CURRENT MUSICAL AND CUL- TURAL REALITIES CAN BE DESCRIBED IF WE WERE TO PARAPHRASE THE WELL-KNOWN PHRASE. least one traditional mu- sic festival is conducted in AtAzerbaijan every season. The participants and guests of the second “Space of Mugham” interna- tional festival, held over the spring holidays of Novruz (the first was held in 2009), are convinced that it was one of the most successful international projects on the traditional music of the East. This has largely been pos- sible thanks to the initiator and main sponsor of the festival, the Heydar Aliyev Foundation led by its President, the Goodwill Ambassador of UNESCO and ISESCO, Mehriban Aliyeva. As was the case during the first festival, the 34 www.irs-az.com Azerbaijan – land of music festivals capital Baku became a venue for a re- The festival was joined by vocalists the energy of life, but also the blos- cord number of music events for the and instrumentalists from Azerbaijan som of art and creative inspiration. eight days (14-21 March) of the festi- and foreign countries, including the The upcoming summer season is val. Art enthusiasts had the opportu- USA, Canada, France, Peru, Ecuador, promising to be no less interesting in nity to see the world’s first Mugham Turkey, Uzbekistan, Iran, Iraq, Egypt, terms of music events.
    [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]
  • Bibliographie Der Filmmusik: Ergänzungen II (2014–2020)
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Bibliographie der Filmmusik: Ergänzungen II (2014– 2020) 2020 https://doi.org/10.25969/mediarep/14981 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Bibliographie der Filmmusik: Ergänzungen II (2014–2020). Westerkappeln: DerWulff.de 2020 (Medienwissenschaft: Berichte und Papiere 197). DOI: https://doi.org/10.25969/mediarep/14981. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0197_20.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020). Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020. Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestell !on "ans #$ %ul& und 'udger (aczmarek Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor die wir !""# in Medienwissenschaft: Berichte und Papiere $#% !""#& 'rgänzung )* +,% !"+-. begr/ndet haben. 1owohl dieser s2noptische 3berblick wie auch diverse Bibliographien und Filmographien zu 1pezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als 4eildisziplin der Musik- wissenscha5 am 6ande der Medienwissenschaft mit 3bergängen in ein eigenes Feld der Sound Studies geworden ist.
    [Show full text]
  • Presentation Scrolable Compressed
    Welcome to Baku, Azerbaijan Country is the part of Silk Road, situated at the crossroads of Southwest Asia and Southeastern Europe. Land Area: 82,629 km2 Water Area: 3,971 km2 Total Area: 86,600km2 (#111) World Heritage Sites in Azerbaijan ATESHGAH FIRE TEMPLE (6th c.) State Historical Architectural Reserve Burning natural gas outlets Ancient Persian Temple for re worshipers ICHERISHEHER (Old City) Maiden Tower, Karvan Saray Ukhara, Karvan Saray Multani Baku Khan's Residence Shirvan Shahs' Palace, Aga-Mikhail bath house Double Gates, Old Mosques GOBUSTAN 6,000 Rock engraving Dated between 5,000 and 40,000 years ago. Caves, Settlements, Mud Volcanoes Baku Multicultural City MUSEUMS AND CULTURE CENTERS: Heydar Aliyev Cultural Centre Museum of Azerbaijan History Mugam Centre Carpet Museum Opera and Ballet Theater Museum of Modern Art CITY SIGHTS: Flame Towers Crystal Hall Flag Square Baku Eye Baku Boulevard ENTERTAINMENT: Art Galleries, IMAX cinema National and International Restaurants/Cafes/Bars SHOPPING: Port Baku Mall, Ganjlik Mall 28 Mall, Park Bulvar Mall Neftchilar Avenue, Metropark Mall Azerbaijani Cuisine MEAT: Kebab, Dolma, Levengi, Gutab, Piti FISH: Sturgeon, Black Caviar, Trout SOUPS: Doushbara, Dovgha, Bozbash PLOV: 40 Different types VEGETERIAN: Kuku (egg), Gutab (greens) Pumpkin rice, vegetable kebab SWEETS: Shekerbura, Pakhlava, Sheker Chorek FRUITS: Pomegranate, Persimmon Flame Towers • FAIRMONT BAKU brings 299 guest rooms, suites and 19 serviced apartments including Fairmont Gold • BUSINESS TOWER with 35 000 m2 working
    [Show full text]
  • Azerbaijan/Azerbaïdjan
    BIENNIAL MEMBERSHIP REPORT for the period 2010-2011 NATIONAL MUSIC COUNCILS for presentation to the 34th IMC General Assembly Tallinn, September 30 – October 1, 2011 You are kindly requested to complete and return this report to the Paris Secretariat not later than August 29, 2011. In order to facilitate the compilation of activity reports, we strongly recommend that the document does not exceed 6 pages. PART I: YOUR ORGANISATION 1. Name of organisation: The National Music Committee of Azerbaijan 2. Mission of the organisation: To promote music heritage and contemporary music of Azerbaijan within the country and worldwide 3. Board of Directors/Executive Committee: [name, role within Board, name of organization(s) that the Board member represents or is affiliated with] Board of Directors 1. Lala Kazimova, President Ph.D. in Musicology, The Institute of Art and Architecture, Azerbaijan National Academy of Sciences 2. Aida Huseynova, Secretary General Ph.D. in Musicology, Baku Music Academy 3. Murad Adigozalzade Pianist, Honored Artist of Azerbaijan, Director of the Azerbaijan State Philhamonic 4. Salman Gambarov Jazz pianist and composer, Honored Artist of Azerbaijan 5. Jahangir Selimkhanov Musicologist, Arts & Culture Program Director, Soros Foundation, member of the European Cultural Parliament 6. Elshan Mansurov Kamancha [traditional instrument] performer, the Azerbaijan National Conservatory, Honored Artist of Azerbaijan 4. Membership Total number of members: Composition of membership Number of institutional members: 12 Number of individual members: 41 Other members (specify): n/a As per your estimation, how many persons does your organisation reach? 3000 5. Activities carried out since the last IMC GA (October 2009) Please list your activities related to a) advocacy and policy making n/a b) presentation or production Number of • conferences 0 • recordings 0 • live performances 1 • festivals 1 • workshops 1 • competitions 0 • prizes and awards 0 Please describe the main events.
    [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]
  • İncəsənət Və Mədəniyyət Problemləri Jurnalı
    AZƏRBAYCAN MİLLİ ELMLƏR AKADEMİYASI AZERBAIJAN NATIONAL ACADEMY OF SCIENCES НАЦИОНАЛЬНАЯ АКАДЕМИЯ НАУК АЗЕРБАЙДЖАНА MEMARLIQ VƏ İNCƏSƏNƏT İNSTİTUTU INSTITUTE OF ARCHITECTURE AND ART ИНСТИТУТ АРХИТЕКТУРЫ И ИСКУССТВА İncəsənət və mədəniyyət problemləri Beynəlxalq Elmi Jurnal N 1 (75) Problems of Arts and Culture International scientific journal Проблемы искусства и культуры Международный научный журнал Bakı – 2021 Baş redaktor: ƏRTEGİN SALAMZADƏ, AMEA-nın müxbir üzvü (Azərbaycan) Baş redaktorun müavini: GULNARA ABDRASİLOVA, memarlıq doktoru, professor (Qazaxıstan) Məsul katib : FƏRİDƏ QULİYEVA, sənətşünaslıq üzrə fəlsəfə doktoru (Azərbaycan) Redaksiya heyətinin üzvləri: ZEMFİRA SƏFƏROVA – AMEA-nın həqiqi üzvü (Azərbaycan) RƏNA MƏMMƏDOVA – AMEA-nın müxbir üzvü (Azərbaycan) RƏNA ABDULLAYEVA – sənətşünaslıq doktoru, professor (Azərbaycan) SEVİL FƏRHADOVA – sənətşünaslıq doktoru (Azərbaycan) RAYİHƏ ƏMƏNZADƏ - memarlıq doktoru, professor (Azərbaycan) VLADİMİR PETROV – fəlsəfə elmləri doktoru, professor (Rusiya) KAMOLA AKİLOVA – sənətşünaslıq doktoru, professor (Özbəkistan) MEYSER KAYA – fəlsəfə doktoru (Türkiyə) VİDADİ QAFAROV – sənətşünaslıq üzrə fəlsəfə doktoru, dosent (Azərbaycan) Editor-in-chief: ERTEGIN SALAMZADE, corresponding member of ANAS (Azerbaijan) Deputy editor: GULNARA ABDRASSILOVA, Prof., Dr. (Kazakhstan) Executive secretary: FERİDE GULİYEVA Ph.D. (Azerbaijan) Members to editorial board: ZEMFIRA SAFAROVA – academician of ANAS (Azerbaijan) RANA MAMMADOVA – corresponding-member of ANAS (Azerbaijan) RANA ABDULLAYEVA – Prof., Dr. (Azerbaijan)
    [Show full text]