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06.00 Friends with the Moon -- JIM CHAPPELL -- out of Time -- LIZ
06.00 Friends with the Moon -- JIM CHAPPELL -- Out of time -- LIZ STORY -- ight in the land -- IGHT OISE -- Pacific II -- WILL ACKERMA -- Abide the winter -- WILL ACKERMA -- Salve Regina -- THERESA SCHROEDER-SHEKER -- Full circle -- EUGE E FRIESE -- 06.30 Children -- DA,ID DARLI G -- -Golden a..les of the sun- y -The minstrel0s adieu- -- PAUL WI TER -- ,AUGHA WILLIAMS Fantas1a sobre Greensleeves Academia de San Mart1n de los cam.os Dir2 Sir eville Marriner A 3 IMO Greensleeves Ren4 Clemencic, flauta Andr6s Kecs7es, guitarra 8ACH Sarabanda y Gavota en sol menor Ren4 Clemencic, flauta Andr6s Kecs7es, guitarra 07.00 MOZART Allegro de la Sonata en Re mayor Alicia de Larrocha, .iano ROSSI I Moderato de la Sonata .ara cuerdas 9 1 en Sol menor Rossini Ensemble Dir2 Andr6s Kiss PUCCI I Coro a bocca chiusa de la ;.era Madama 8utterfly Orquesta Filarm;nica y Coro de la Re.=blica Checoslovaca Dir2 Alexander Rahbari Selecci;n de la banda de sonido de la .el1cula SE SATEZ Y SE TIMIE TO, com.uesta .or PATRICK DOYLE Selecci;n de la banda de sonido de la .el1cula LOS CORISTAS, com.uesta .or 8RU O COULAIS 07.30 SCHUMA Pieza fol7;rica, O.. 102 Maria Kliegel, chelo Kristin Merscher, .iano TCHAIKO,SKY -Abril- y -Octubre-, de Las Estaciones Ta7a7o ishiza7i, viol1n Orquesta Sinf;nica de Cueensland Dir2 Peter 8reiner CLARA SCHUMA Romance en La menor Yoshi7o Iwai, .iano ELGAR Serenata .ara cuerdas O..20 The English Chamber Orchestra 8ARTOK Danzas .o.ulares rumanas Angele Dubeau D La Piet6 08.00 GERSHWI Preludio o. -
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 -
Circulating Items Inventory - Azerbaijan
Circulating Items Inventory - Azerbaijan Category of Item Item # Item Name English? Artist/Author Producer/Publisher Year Made Length Image Art/Photo 2175 Azerbaijan Landscapes No postcard set 2176 large postcard set No “Azerbaijan Miniatures” 2177 5 Azeri Novruz cards No 2178 postcard set No “Azerbaijanian Jewellery Art” [sic] Wednesday, June 02, 2010 Page 1 of 43 Category of Item Item # Item Name English? Artist/Author Producer/Publisher Year Made Length Image 2179 set of art cards No 2180 set of large cards No showing Azerbaijani carpets 2209 Shaki. The Palace of No Shaki Khans postcard set 2214 Azeri philanthropist No Zeynalabdin Taghiyev Wednesday, June 02, 2010 Page 2 of 43 Category of Item Item # Item Name English? Artist/Author Producer/Publisher Year Made Length Image 2506 Tin Engraving of Nizami No Cooperative ARZU (Azeri poet) 4354 Baku State University: Yes Aleskerov, Murtuz Baku 1994 1919-1994 4604 water_14.jpg No Greg Burris 4605 water_15.jpg No Greg Burris Wednesday, June 02, 2010 Page 3 of 43 Category of Item Item # Item Name English? Artist/Author Producer/Publisher Year Made Length Image 4682 Baku No Agasiyev, Alekper ISIQ 1994 22 4764 Azerbaijan landscapes No Farid Mamedov Extima 4766 Azerbaijanian Jewellery Yes Intourist 1989 28 pp. Art 4767 Azerbaijan Miniatures Yes Husseinzade, Huseyn Minaret 1996 20 pp. (photo & design) Advertising Company Wednesday, June 02, 2010 Page 4 of 43 Category of Item Item # Item Name English? Artist/Author Producer/Publisher Year Made Length Image 4768 Azerbaijan Carpets Yes Husseinzade, Huseyn Minaret 1996 20 pp. (photo & design) Advertising Company 4811 Azerbijanians Concert Yes Book/Bound 2160 Azerbaijan Republic No (country survey) 2161 Seki (in Latinic Azeri) No Wednesday, June 02, 2010 Page 5 of 43 Category of Item Item # Item Name English? Artist/Author Producer/Publisher Year Made Length Image 2162 Travel Brochure No “Gobustan” 2163 Azerbaijan State Theater No of Opera and Ballet 3096 The Azerbaijanis: People, Yes Editors Nicholas Bennett & Bloom 2009 255 pp. -
Les Voix Féminines Du Jazz
Les voix féminines du jazz Le jazz a ma préférence depuis longtemps, et c’est en préparant cette soirée consacrée aux voix féminines du jazz que je me suis rendu compte que… je ne savais pas ce que « Jazz » signifie ! Dès lors, faut-il rebaptiser cette soirée et vous parler simplement des voix féminines dans la musique ? Ou faut-il essayer de comprendre ? En réalité, il m’a suffit de quelques minutes et d’un tableau pour comprendre qu’il n’y a, peut-être, rien à comprendre, mais beaucoup à… écouter ! Evolution du Jazz 1900 - 1930 30 - 40 40 - 50 50 - 55 55 - 60 60 - 70 70 - 90 90 - … Jazz-rock New Orleans World jazz Swing Be bop Cool Hard bop New thing Nouvelles Acid jazz Chicago musiques Trip hop jazz improvisées Dominances Rock Soul Musiques World M. Funk Ragtime Boogie afro- Musiques Rhythm Musiques Musiques Hip hop cubaines classiques & Blues orientales électron. Techno Influences Qu’importe l’étiquette, pourvu qu’on ait l’ivresse… HUhttp://www.lamediatheque.be/dec/clj/som.htmU HUhttp://jazz.nikkojazz.fr/qu-est-ce-que-le-jazzU Les voix féminines du jazz Que signifie le mot jazz ? Voici plusieurs hypothèses : "jazz" viendrait de "jass" qui en vieil anglais serait assimilable à "chass", signifiant "chasse", "poursuite". Notons que, dans le premier style de jazz, nommé "New Orleans", les musiciens poursuivaient chacun une voie mélodique jouée en parallèle avec les autres; "jass" serait une altération de "jasm", traduisible par "vitalité", "énergie". La dynamique toute particulière du jazz est évidemment l'une de ses principales caractéristiques; "jass" serait dérivé de "chasse", un pas de danse condamné par les puritains. -
State, Identity, and the Politics of Music: Eurovision and Nation-Building in Azerbaijan
Nationalities Papers Vol. 40, No.6, November 2012,833-851 State, identity, and the politics of music: Eurovision and nation-building in Azerbaijan Murad Ismayilov*1 University of Cambridge & Azerbaijan Diplomatic Academy (Received 12 March 2012; final version received 28 June 2012) Albeit often - and fairly - degraded in the world of high culture as a populist and politicized representation of music, the Eurovision Song Contest (ESC) - by sheer virtue of the populist and politicized nature of its essence - stands among the most consequential cultural encounters to which post-independence Azerbaijan has been exposed, in that the extent to which Baku's victory in the ESC-2011 - and the further developments this victory has generated - can potentially impact on, and contribute to, the very process of nation-building and national identity formation, with which this post-Soviet Muslim-majority country is currently struggling, is unparalleled by any of the state's earlier encounters of the kind. This paper focuses on, and examines, four intimately related ways in which the ESC and Azerbaijan's successful involvement with the latter worked to interfere with the country's nation-building: as a dubious factor in the evolution of the Western sense of self among Azerbaijanis; as a unifying force within the structure of the country's rapidly maturing civil society; as a medium working to open up a channel through which Western popular cultural elements could interfere with the evolving dynamics of, and work to globalize, indeed de-endogenize, indigenous Azerbaijani culture, on one hand, and unify the discursive realm within which the country's cultural domain is to further evolve, on the other; and, finally, as an important element serving to decouple the evolving processes within the country's cultural domain from the unfolding dynamics of conflict settlement and hence conducive to the diversification of public discourse in Azerbaijan. -
State, Identity, and the Politics of Music: Eurovision and Nation-Building in Azerbaijan
Nationalities Papers Vol. 40, No.6, November 2012,833-851 State, identity, and the politics of music: Eurovision and nation-building in Azerbaijan Murad Ismayilov*1 University of Cambridge & Azerbaijan Diplomatic Academy (Received 12 March 2012; final version received 28 June 2012) Albeit often - and fairly - degraded in the world of high culture as a populist and politicized representation of music, the Eurovision Song Contest (ESC) - by sheer virtue of the populist and politicized nature of its essence - stands among the most consequential cultural encounters to which post-independence Azerbaijan has been exposed, in that the extent to which Baku's victory in the ESC-2011 - and the further developments this victory has generated - can potentially impact on, and contribute to, the very process of nation-building and national identity formation, with which this post-Soviet Muslim-majority country is currently struggling, is unparalleled by any of the state's earlier encounters of the kind. This paper focuses on, and examines, four intimately related ways in which the ESC and Azerbaijan's successful involvement with the latter worked to interfere with the country's nation-building: as a dubious factor in the evolution of the Western sense of self among Azerbaijanis; as a unifying force within the structure of the country's rapidly maturing civil society; as a medium working to open up a channel through which Western popular cultural elements could interfere with the evolving dynamics of, and work to globalize, indeed de-endogenize, indigenous Azerbaijani culture, on one hand, and unify the discursive realm within which the country's cultural domain is to further evolve, on the other; and, finally, as an important element serving to decouple the evolving processes within the country's cultural domain from the unfolding dynamics of conflict settlement and hence conducive to the diversification of public discourse in Azerbaijan. -
BIOGRAPHY Aziza Mustafa- Zadeh Was Born in Baku, the Capital Of
BIOGRAPHY Aziza Mustafa- Zadeh was born in Baku, the Capital of Azerbaijan, to musical parents. Her father, Vagif Mustafa Zadeh, a pianist and composer, became famous by creating a fusion between jazz and the traditional Azerbaijani music known as MUGAM. His wife, Eliza Mustafa Zadeh, was a classically- trained singer from Georgia. As a young child Aziza enjoyed all forms of art - dancing, painting, singing - and at the age of 3 she appeared in public with her father, improvising with voice. But it was her talent for the piano that eventually shone through. Having studied classical piano from an early age, and despite her enthusiasm for the compositions of JS Bach and Frederic Chopin, she soon began displaying a gift for improvisation. "I didn't practise enough," she admits. "If I don't feel like playing then I don't play." When her father died tragically on stage at the age of 39, it was a shocking blow to the young Aziza, and a major turning point in her life. Her mother's response to the crisis was to give up her own career as a classical singer and dedicate herself to nurturing her daughter's musical gifts. She now acts as her manager, and Aziza has come to rely on her judgment when she's writing or recording new pieces. "I trust her because she's extremely experienced as a classical musician and she had jazz experience with my father," Aziza points out. "And she knows a lot about music and history and literature." When she was 17, she won the Thelonious Monk piano competition in Washington DC, playing some of Monk's compositions but in her own mugam- influenced style. -
FIJAZZ2013.Pdf
BIBLIOTECA PÚBLICA DE ALICANTE AL DI MEOLA ■ BIOGRAFÍA Al DiMeola (Jersey City, 22 de julio de 1954), guitarrista estadounidense de jazz. Di Meola, de origen italo-americano (verdadero nombre Al Laurence Dimeola), es uno de los grandes representantes de la fusión jazzística, en su caso tanto con el rock como con las llamadas músicas del mundo, fruto de su interés por otras tradiciones musicales extrañas al ámbito occidental. Es considerado un virtuoso tanto con la guitarra eléctrica como con la acústica. DiMeola estudió durante un breve período en la Berklee School of Music en Boston a comienzos de los años setenta, antes de reemplazar en 1974 al guitarrista Bill Connors en el grupo de fusión Return to Forever (un grupo que incluía instrumentalistas como el teclista Chick Corea y el bajista Stanley Clarke). Con su presencia, el grupo obtuvo un gran éxito comercial, con discos como Where Have I Known Before, de 1974; No Mystery, de 1975, y Romantic Warrior de 1976, que llevó a que DiMeola iniciase carrera en solitario. Su carrera está repleta de brillantes ejemplos de discos de jazz fusión basados en la guitarra: 1976: Land of the Midnight Sun, 1977: Elegant Gypsy y Casino, 1979: Splendido Hotel. Obtuvo gran repercusión musical el trío que formó con otros dos guitarristas, John McLaughlin y Paco de Lucía, para grabar en 1980 Friday Night in San Francisco. A lo largo de los años 80 y 90, Di Meola aumentó su prestigio, tocando con artistas como Paul Simon, Jean Luc Ponty, Stanley Jordan, Chick Corea, Stanley Clarke, Paco de Lucía, y John McLaughlin. -
Azerbaijan.Pdf
Table of Contents Profile.................................................................................................................................. 5 Introduction..................................................................................................................... 5 Facts and figures ............................................................................................................. 6 Geography......................................................................................................................... 13 Introduction................................................................................................................... 13 Geographic Divisions.................................................................................................... 13 Topographic Features.................................................................................................... 14 Climate.......................................................................................................................... 14 Rivers and Lakes........................................................................................................... 15 Population and Cities .................................................................................................... 16 Environmental Concerns............................................................................................... 20 Natural Hazards ...........................................................................................................