About the Artistic and Performing Features of Violin Works Gara Garayev About the Artistic and Performing Features of Violin Works of Gara Garayev
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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. -
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. -
History of Azerbaijan (Textbook)
DILGAM ISMAILOV HISTORY OF AZERBAIJAN (TEXTBOOK) Azerbaijan Architecture and Construction University Methodological Council of the meeting dated July 7, 2017, was published at the direction of № 6 BAKU - 2017 Dilgam Yunis Ismailov. History of Azerbaijan, AzMİU NPM, Baku, 2017, p.p.352 Referents: Anar Jamal Iskenderov Konul Ramiq Aliyeva All rights reserved. No part of this book may be reproduced or transmitted in any form by any means. Electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without permission in writing from the copyright owner. In Azerbaijan University of Architecture and Construction, the book “History of Azerbaijan” is written on the basis of a syllabus covering all topics of the subject. Author paid special attention to the current events when analyzing the different periods of Azerbaijan. This book can be used by other high schools that also teach “History of Azerbaijan” in English to bachelor students, master students, teachers, as well as to the independent learners of our country’s history. 2 © Dilgam Ismailov, 2017 TABLE OF CONTENTS Foreword…………………………………….……… 9 I Theme. Introduction to the history of Azerbaijan 10 II Theme: The Primitive Society in Azerbaijan…. 18 1.The Initial Residential Dwellings……….............… 18 2.The Stone Age in Azerbaijan……………………… 19 3.The Copper, Bronze and Iron Ages in Azerbaijan… 23 4.The Collapse of the Primitive Communal System in Azerbaijan………………………………………….... 28 III Theme: The Ancient and Early States in Azer- baijan. The Atropatena and Albanian Kingdoms.. 30 1.The First Tribal Alliances and Initial Public Institutions in Azerbaijan……………………………. 30 2.The Kingdom of Manna…………………………… 34 3.The Atropatena and Albanian Kingdoms…………. -
The South Caucasus 2018
THE SOUTH CAUCASUS 2018 FACTS, TRENDS, FUTURE SCENARIOS Konrad-Adenauer-Stiftung (KAS) is a political foundation of the Federal Republic of Germany. Democracy, peace and justice are the basic principles underlying the activities of KAS at home as well as abroad. The Foundation’s Regional Program South Caucasus conducts projects aiming at: Strengthening democratization processes, Promoting political participation of the people, Supporting social justice and sustainable economic development, Promoting peaceful conflict resolution, Supporting the region’s rapprochement with European structures. All rights reserved. Printed in Georgia. Konrad-Adenauer-Stiftung Regional Program South Caucasus Akhvlediani Aghmarti 9a 0103 Tbilisi, Georgia www.kas.de/kaukasus Disclaimer The papers in this volume reflect the personal opinions of the authors and not those of the Konrad Adenauer Foundation or any other organizations, including the organizations with which the authors are affiliated. ISBN 978-9941-0-5882-0 © Konrad-Adenauer-Stiftung e.V 2013 Contents Foreword ........................................................................................................................ 4 CHAPTER I POLITICAL TRANSFORMATION: SHADOWS OF THE PAST, FACTS AND ANTICIPATIONS The Political Dimension: Armenian Perspective By Richard Giragosian .................................................................................................. 9 The Influence Level of External Factors on the Political Transformations in Azerbaijan since Independence By Rovshan Ibrahimov -
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. -
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. -
Baku, the Philharmonic and Shostakovich
D O C U M E N T A R Y I I I Baku, The Philharmonic and Shostakovich Aida Huseynova On January 27, 2004 a quite special event took place in Baku, A z e r b a i j a n ’s capital: the Azerbaijan State Philharmonic Hall opened after seven years of complete renovation. A splendid ceremony was held in the presence of Ilham A l i y e v, President of the Azerbaijan Republic and other dignitaries. A z e r b a i j a n ’s State Symphonic Orchestra conducted by Rauf Abdullayev also performed works by local composers - big names of the twentieth century in fact - namely which Azerbaijan passed during the common words heard at school at the Uzeyir Hajibeyov, Kara Karaev and past century: N i k o l a y e v s k a y a ( i n end of each day. Baku Philharmonic Fikrat A m i r o v. honour of the last Russian Ts a r, Nicolas had a reputation as one of the best II), Kommunisticheskaya (each city or concert halls in the Soviet Union. The Then came a solo performance by even a small village in the Soviet Union beauty of its architectural design and Mstislav (‘Slava’) Rostropovich of had a street named corresponding to the i n t e r i o r, the perfect acoustics, the B a c h ’s S a r a b a n d e from the Suite No. ruling party) and now I s t i g l a l i y y a t intellect and Eastern warmth of the 3 followed by the premiere of a piece (‘Independence’, in Azerbaijani). -
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. -
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 -
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. -
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. -
Western Xenophobia Demonstrated in Karabakh
Western xenophobia demonstrated in Karabakh The case of Karabakh has clearly demonstrated double standards of the Western civilization. Despite the conventional reasoning about the values of multiculturalism, the West sends the world an unambiguous message: Muslim sacred sites and cultural monuments can be destroyed, Christian ones – in no case! In May 1988 more than 90% of the 14,000 population of the city of Shusha [1] were Azerbaijanis. The city had 184 registered architectural monuments [2]. On May 8-9, 1992, Armenian militias captured the city of Shusha. Hovik Vardumyan, who fought on the Armenian side has published in 2012 a book dedicated to the occupation of Shusha [3]. He used the memoirs of other participants in the hostilities from the Armenian side and documents of the Armenian militias’ commanders. The tale of the events of May 8-9th, 1992 by Vardumyan includes the description of especially massive shelling of the city’s 18th century fortress and battles, which were fought in the area of the mosque [4]. On May 11th, 1992, the interim president of Azerbaijan, Yagub Mammadov, sent a missive to Russian President Boris Yeltsin. It said that “the city of Shusha is practically destroyed” [5]. In the same month, the Minister of Culture of Azerbaijan, Polad Bulbuloglu, sent messages to UNESCO Director Frederic Mayor, to the Secretary General of the International Council of Museums Elisabeth de Port, as well as to the Ministers of Culture of European countries [6]. The message contained a request to protect cultural and historical monuments of Shusha. The Azerbaijani minister indicated the following: “In this once beautiful city – resort, rich in monuments of ancient architecture and art, museums of the history of the city and Karabakh, memorial museums of the founders of Azerbaijani professional music and vocal art Uzeyir Hajibeyov and Bul-Bul, a branch of the State Carpet Museum, Shusha art gallery were created.