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A Musical Instrument of Global Sounding Saadat Abdullayeva Doctor of Arts, Professor
Focusing on Azerbaijan A musical instrument of global sounding Saadat ABDULLAYEVA Doctor of Arts, Professor THE TAR IS PRObabLY THE MOST POPULAR MUSICAL INSTRUMENT AMONG “The trio”, 2005, Zakir Ahmadov, AZERbaIJANIS. ITS SHAPE, WHICH IS DIFFERENT FROM OTHER STRINGED INSTRU- bronze, 40x25x15 cm MENTS, IMMEDIATELY ATTRACTS ATTENTION. The juicy and colorful sounds to the lineup of mughams, and of a coming from the strings of the tar bass string that is used only for per- please the ear and captivate people. forming them. The wide range, lively It is certainly explained by the perfec- sounds, melodiousness, special reg- tion of the construction, specifically isters, the possibility of performing the presence of twisted steel and polyphonic chords, virtuoso passag- copper strings that convey all nuanc- es, lengthy dynamic sound rises and es of popular tunes and especially, attenuations, colorful decorations mughams. This is graphically proved and gradations of shades all allow by the presence on the instrument’s the tar to be used as a solo, accom- neck of five frets that correspondent panying, ensemble and orchestra 46 www.irs-az.com instrument. But nonetheless, the tar sounding board instead of a leather is a recognized instrument of solo sounding board contradict this con- mughams when the performer’s clusion. The double body and the mastery and the technical capa- leather sounding board are typical of bilities of the instrument manifest the geychek which, unlike the tar, has themselves in full. The tar conveys a short neck and a head folded back- the feelings, mood and dreams of a wards. Moreover, a bow is used play person especially vividly and fully dis- this instrument. -
Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery KAMRAN IMANOV * Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery
KAMRAN IMANOV Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery KAMRAN IMANOV * Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery The book - “Tall Armenian Tales”, presented to the reader’s attention, consists of two thematic sections. Chapter I, entitled “I came, I saw, I... stole”, is about the misappropriation and armenization of intellectual property of the Azerbaijani people, intellectual plagiarism of the Azerbaijani folklore, dastans (epics) and other epic works, the desire to seize the Azerbaijani bayati (Azerbaijani folk poems), proverbs and sayings. The book also narrates about the “armenization” of tales, anecdotes, music and other samples of folk genre. What is the common of these various manifestations of Armenian plagiary shown in the chapter “I came, I saw, ..., I stole”? The fact is that, firstly, these “tales” do not have an Armenian origin, but only an Armenian presentation. These tales are alien to the Armenian people; in addition, these are the same “anecdotes” in allegorical meaning of this term in the form of absurdities - false statements shown in Chapter II - “The Theatre of Absurd.” PREFACE .............................................................................................. 6 CHAPTER I. “I came, I saw,.. .1 stole”: about the Armenian tradition of misappropriation of the Azerbaijani cultural heritage ............................................................... 8 §1. “I c a m e , w h i c h briefly tells about the mass settlement of the Armenians in the South Caucasus .............................. 9 2 TABLE OF CONTENTS §2. I s a w , w h i c h relates about what Armenians experienced in the South Caucasus .................................................................................... 14 §3. I stole”, which relates about the origins of the Armenian plagiarism ............................................................................................................. -
Hamlet Isaxanli in Search of “Khazar”
Hamlet Isaxanli In Search of “Khazar” 2 In Search of "Khazar" The realities of events associated with the establishment and development of Khazar University have left indelible traces in my memory. I intend to pass these events to you in their entirety and in all sincerity. I hope I can relive together with you, readers, those days spent in ‘search of "Khazar". In Search of "Khazar" 3 CHAPTER 1 BETWEEN HEAVEN AND EARTH For a number of years I was familiarizing myself with different universities all over the world, whilst gathering my thoughts on science and education in my own country, Azerbaijan. These ideas and comparisons were taking a distinctive shape in my imagination - the shape of a university. Novel ideas and thoughts seemingly appear unexpectedly, but in reality they are a result of long and intensive subconscious efforts. The information that we absorb, accept and keep in our minds is explored and analyzed in invisible and imperceptible ways. Accor- ding to some hypotheses, this way is simply called a harmonization, putting thoughts into a correct and beautiful order. In this process, suddenly everything falls into place and an idea appears as a patch of light. The first place where I studied after Azerbaijan was Moscow State University. I spent long years there first studying and then researching mathematics. The university’s extremely high scientific potential and pleasant and creative atmosphere seemed to be a new world to me. Later I traveled more and came across more varied systems at universities in Canada and in Europe. I didn’t content myself solely with giving lectures, presenting papers at different conferences, workshops, and conducting new research. -
Amil ASKEROV YALLI DANCES in NAKHCHIVAN MUSICAL CULTURE
MUSİQİ DÜNYASI ____________________________________________________3 (76), 2018 Amil ASKEROV YALLI DANCES IN NAKHCHIVAN MUSICAL CULTURE Abstract The article is devoted to the Nakhchivan yallis, which have a special place and role in the musical culture of Azerbaijan. Based on the notes of Nakhchivan Yallis and the researches carried out, classification of yalli dances was conducted, and the area of spread was determined. The writing of the Yalli names has been revealed in connection with the terrain, man, tribal names, mythological outlook,and actions. The musical instruments used in accompaniment of yalli dances have been characterized. Comparative analysis of yallis in the Azerbaijan – Turkey area has been put forward as an important issue. Key words: Azerbaijan, Nakhchivan, yalli, genre, range, performance, note, classification, research. The Azerbaijani folk yallis, one of the oldest collective plays in the world, are a rare example of creativity that combines choreography, instrumental and vocal music. Yallı dances are one of the oldest folk dances in terms of genre, performance, and expression. For centuries, Nakhchivan has been known as the "homeland of yallis", "the land of yallis" among Caucasians, both Near and Middle East and Europe. Yalli is an ancient cultural monument of Nakhchivan's traditional musical heritage. The history of Yalli dance in Nakhchivan begins with the Bronze Age B. C.Yalli dances are described in the Gamigaya archaeological monument in Nakhchivan. Yally is a collective dance. This dance expresses the history of ancient Nakhchivan, the people's unity, labor, love for the motherland, heroism, freedom in music and dance. Great leader Heydar Aliyev called this dance "Nakhchivan's crown". -
Violations by Armenia of International Human Rights Law and International Humanitarian Law in the Course of New Armed Aggression Against Azerbaijan
THE COMMISSIONER FOR HUMAN RIGHTS (OMBUDSMAN) OF THE REPUBLIC OF AZERBAIJAN FIFTH INTERIM REPORT ON VIOLATIONS BY ARMENIA OF INTERNATIONAL HUMAN RIGHTS LAW AND INTERNATIONAL HUMANITARIAN LAW IN THE COURSE OF NEW ARMED AGGRESSION AGAINST AZERBAIJAN 27 SEPTEMBER – 31 OCTOBER 2020 CONTENTS ABBREVIATIONS …..………………………………………………………………………………………….…..…………….…/ 2 INTRODUCTION ……………………………………………………………………………………..…………………...........…/ 3 HISTORICAL BACKGROUND OF THE CONFLICT …..…………………………………..…………………...........…/ 6 SECTION 1. VIOLATIONS AGAINST CIVILIANS ………………………………………………………………............/ 7 1.1 Deaths among the Civilian Population ………………………………………………………………………………/ 7 1.2 Civilian Injuries …………………………………………………………………………………………………..……………../ 7 SECTION 2. TARGETING CIVILIAN INFRASTRUCTURE ………………………………………………………………./ 9 2.1 Targeting Public Facilities and Private Property …………………………………………………………………/ 9 2.2 Targeting Civilian Infrastructure ……………………………………………………………………………………../ 15 SECTION 3. VIOLATIONS DURING THE HUMANITARIAN CEASEFIRE ………………………….……….…./ 17 SECTION 4. VIOLATIONS WITH RESPECT TO CIVILIANS IN THE TERRITORIES UNDER CONTROL OF ARMENIA……………………………………………………………………………………………../ 24 SECTION 5. CONCLUSIONS …………………………………………………………………………………………….……../ 27 ANNEX 1 ………..……………………………………………………………………………………………………………………../ 29 Page 1 of 39 ABBREVIATIONS Armenia SSR Armenia Soviet Socialist Republic Azerbaijan SSR Azerbaijan Soviet Socialist Republic ECHR European Court of Human Rights ICRC International Committee of Red Cross IDPs Internally Displaced Persons IHL International -
Innovation Economy Azerbaijan
1 Development of a Knowledge-Based and Innovative Economy in Azerbaijan –– Evaluation and Recommendation Document Innovation Economy Azerbaijan Focus on ICT UNDP 2 This document has been prepared by the United Nations Development Programme (UNDP) in Azerbaijan We wish to express our appreciation to the many persons who performed background research for this document, and to the many persons in Azerbaijan who gave the ir time for interviews. 3 Table of Contents List of Abbreviations ................................................................................................................... 6 Executive summary ..................................................................................................................... 8 Defining a National Innovation System ....................................................................................... 9 The Challenges of National Innovation ................................................................................................. 10 The Landscape of Azerbaijan’s Economy .................................................................................. 10 Structural Characteristics of the Economy in Azerbaijan...................................................................... 11 Institutional Characteristics of Azerbaijan’s National Innovation System .................................. 12 Demographics ....................................................................................................................................... 12 Role of Petroleum ................................................................................................................................ -
L' Azerbaïdjan
L’ Azerbaïdjan : pays de traditions et d’avenir 8 - 31 JUILLET 2014 L’AZERBAÏDJAN À CANNES 1 Les relations culturelles entre la France et l’Azerbaïdjan Les relations culturelles favorisent le dialogue et la compréhension entre les peuples, indépendamment des origines ethniques ou de l’appartenance religieuse de leurs représentants. L'organisation de l'exposition « Azerbaïdjan : pays de traditions et d’avenir » par la Fondation Heydar Aliyev dans diverses régions françaises est une merveilleuse contribution à l’enrichissement mutuel de nos cultures respectives, permettant une meilleure connaissance de nos peuples. À travers cette exposition, nous vous présentons l’Azerbaïdjan et son patrimoine culturel dont l’importance au sein du patrimoine de l’humanité n’est plus à démontrer. Dans l’Orient musulman, l’Azerbaïdjan est la patrie du premier théâtre laïque, du premier opéra, du premier ballet, de la première Académie nationale des Sciences. Vous pourrez voir dans cette exposition des échantillons de notre culture originelle trouvés lors de fouilles archéologiques en Azerbaïdjan, des objets en cuivre, des instruments de musique anciens, des tapis aux motifs mystérieux hérités à travers les siècles, des costumes traditionnels, etc. L’Azerbaïdjan est aujourd’hui connu pour être un pays tolérant où vivent depuis des siècles des peuples différents qui entretiennent des relations d’amitié et de fraternité, qui pratiquent des religions différentes dans un esprit de respect et de confiance. Valorisant cet atout historique, la Fondation Heydar Aliyev poursuit cette tradition en prenant part au dialogue entre les différentes cultures et religions à travers ses actions de mécénat. C’est ainsi que la Fondation a restauré des monuments historiques, culturels et religieux dans différents pays du monde, dont la France. -
Scientific Meetings 031.Pdf
EDİTÖRLER DOÇ. DR. TARKAN YAZICI DOÇ. DR. KÜRŞAD GÜLBEYAZ 01 AĞUSTOS 2019 ÜRGÜP – NEVŞEHİR V. ULUSLARARASI MÜZİK VE DANS KONGRESİ ÖZET KİTABI 22-23-24-25-26 Temmuz 2019 / Ürgüp www.imdcongress.com KONGRE KOORDİNATÖRLERİ Doç. Dr. Kürşad GÜLBEYAZ & Doç. Dr. Habibe MAMMADOVA & Doç. Dr. Tarkan YAZICI ONUR KURULU Prof. Dr. Mazhar BAĞLI Türkiye Nevşehir Hacı Bektaş Veli Üniversitesi Rektörü Prof. Dr. Ferhad BEDELBEYLİ Azerbaycan Bakü Müzik Akademisi Rektörü Prof. Dr. Timuçin EFENDİYEV Azerbaycan Bakü Koreografi Akademisi Rektörü Prof. Pencho GESHEV Bulgaristan Sofya NSA Vassil Levski Rektörü KONGRE KOMİTESİ Anıl ÇELİK Ender ŞENEL Fatih Mehmet SÜRMELİ Gülcan YÜCEDAĞ Gülcan BOYRAZ Gülnaz ABDULLAZADE Gürbüz AKTAŞ Habibe MAMMADOVA Kubilay ÖCAL Kürşad GÜLBEYAZ Mevlüt YILDIZ Sonahanım İBRAHİMOVA Tarkan YAZICI Turan SAĞER SANAT KURULU Dr. ARZU UYSAL Mersin Üniversitesi Dr. AYŞE MERAL TÖREYİN Ankara Üniversitesi Dr. ÇINLA ŞEKER Dokuz Eylül Üniversitesi Dr. EMRAH UYSAL Mersin Üniversitesi Dr. GÜLNAZ ABDULLAZADE Bakü Müzik Akademisi – Azerbaycan Dr. GÜRBÜZ AKTAŞ Emekli – Amerika Birleşik Devletleri Dr. LYUDMILA HASANOVA Bakü Koreografi Akademisi – Azerbaycan Dr. MUZAFFER SÜMBÜL Çukurova Üniversitesi Dr. NİHAL ÖTKEN İstanbul Teknik Üniversitesi Dr. NİLGÜN SAZAK Sakarya Üniversitesi Dr. TURAN SAĞER Yıldız Teknik Üniversitesi Dr. UĞUR ALPAGUT Abant İzzet Baysal Üniversitesi i V. ULUSLARARASI MÜZİK VE DANS KONGRESİ ÖZET KİTABI 22-23-24-25-26 Temmuz 2019 / Ürgüp www.imdcongress.com BİLİM / HAKEM KURULU ADI SOYADI KURUMU Dr. ABDUL MENAF KORKUTATA Çanakkale 18 Mart Üniversitesi Dr. AHMET SELİM DOĞAN Atatürk Üniversitesi Dr. ANIL ÇELİK Nevşehir Hacı Bektaş Veli Üniversitesi Dr. ANN R. DAVID Roehampton Üniversitesi – İngiltere Dr. ARZU UYSAL Mersin Üniversitesi Dr. AYCAN GÜRER ÖZÇİMEN Necmettin Erbakan Üniversitesi Dr. -
Azerbaijan's Journey Through Jazz
Art 40 www.irs-az.com 43, SPRING 2020 Ian PEART Saadat IBRAHIMOVA Azerbaijan’s journey through jazz - Another Sarabski Milestone - www.irs-az.com 41 Art Outstanding Azerbaijani composer Uzeyir Hajibeyov istory, geography and character have Azerbaijani was finally persuaded to take on the role of Leyli. As for people ideally placed to enrich their own cul- Majnun, the role proved to be the springboard for the Hture with the best of the many others that pass long and distinguished career of Huseyngulu Sarabski. this way. Cultural exchange was a feature of the ancient An operatic tenor, Sarabski was equally proficient at Silk Road and is likely to continue as the current Belt and singing mugham and in 1926 was a soloist with the Road Initiative progresses. This has been no one-way Eastern Orchestra entrancing Moscow audiences with process; spot the carpets from this region that found traditional songs and music1. Remember that family their way into Renaissance paintings. And over the last name, its reappearance 83 years later forms the second hundred years or so, Azerbaijan has made remarkable part of this story. contributions to cross-cultural exchanges of music. As if Uzeyir bey did not do enough in introducing Musical pioneer opera, promoting local culture and women’s eman- On 12 January 1908, an opera was staged in a Baku cipation among other more liberal social values in his theatre. Composed by the 22-year-old Uzeyir Hajibeyov, theatrical works, he was also instrumental in the found- it was the first opera in the Muslim East; the first to fea- ing of the Azerbaijan State Conservatoire in 1920 (since ture traditional Azerbaijani folk instruments alongside 1991 the Baku Academy of Music). -
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 ............................................................................................................... -
The Piano Music of Azerbaijan: National and Cross- Cultural Influences on Contemporary Performance Practices
City Research Online City, University of London Institutional Repository Citation: Mirzayeva, G. (2020). The piano music of Azerbaijan: national and cross- cultural influences on contemporary performance practices. (Unpublished Doctoral thesis, Guildhall School of Music and Drama) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25377/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Piano Music of Azerbaijan: National and Cross- Cultural Influences on Contemporary Performance Practices A thesis submitted to Guildhall School of Music & Drama for the degree of DMus in the Department of Research January 2020 Gunel Mirzayeva Table of Contents Table of Contents ii List of Figures and Maps vii Abstract ix Acknowledgments x Abbreviations and Notes on Transliteration -
Origins C. Koechlin, E. Schulhoff, A. Babadjanian, F
Origins MENU C. Koechlin, E. Schulhoff, A. Babadjanian, F. Amirov, B. Bartók Toon Fret, Veronika Iltchenko CLASSICAL MENU 2 Fuga Libera Origins FUG 612 Origins MENU C. Koechlin, E. Schulhoff, A. Babadjanian, F. Amirov, B. Bartók Toon Fret, Veronika Iltchenko 3 Credits Tracklist EN FR NL DE Programme notes FUG 612 Recorded Producer in the Blue Hall of deSingel, Antwerp Wim Van Breusegem - EMS MENU 30 July-1 August 2018 Co-producer deSingel https://desingel.be Recording, editing & mastering Piano technician Yannick Willox Moreau Pianoservice www.acousticrecordingservice.be 4 Fuga Libera Artistic Director Editorial Coordinator Jérôme Lejeune Valérie Delforge Design Cover Image Stoëmp Studio Photos @ Julie De Clercq Fuga Libera Origins FUG 612 Origins MENU C. Koechlin, E. Schulhoff, A. Babadjanian, F. Amirov, B. Bartók Toon Fret, Veronika Iltchenko 5 Charles Koechlin (1867-1950) – Quatorze Pièces pour flûte et piano Ervín Schulhoff (1894-1942) – Sonata for flute and piano Arno Babadjanian (1921-1983) – Vagharshapat Dance & Impromptu Fikret Amirov (1922-1984) – Six Pieces for flute and piano Béla Bartók (1881-1945) / Paul Arma – Suite paysanne hongroise for flute and piano Toon Fret: flute Veronika Iltchenko: piano Fuga Libera Origins FUG 612 Charles Koechlin MENU Quatorze Pièces pour flûte et piano 01 . Vieille Chanson. Andante con moto 0’38 02 . Gai, assez animé 0’21 03 . Andante espressivo 0’56 04 . Moderato con moto 0’51 05 . Allegro moderato 0’25 06 . Andante quasi adagio 1’21 07 . Beau soir. Large 1’48 08 . Andantino 0’46 09 . Allegretto con moto 0’50 6 10 . Allegretto quasi Andantino 0’41 11 . Allegretto 0’40 12 .