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Arazbary (mugham)
"Arazbary" ( az, Arazbarı) is one of the rhythmic Azerbaijani mughams belonging to the Zerbi mughams. The poetic text consists of folk bayats. At the end of each stanza, the words "ay zalym" ("Oh, villain!") are repeated. Arazbary, like the ashik melodies, is included in then creative heritage of ashik masters. Further, they were used, along with other elements of Azerbaijani folk music, in musical works of the classical European tradition. In particular, the composer Uzeyir Hajibeyov created a symphonic version of arazbary and used it (along with eirats, segah and other forms of mugham) in the first Azerbaijani opera "Leyli and Majnun ''Layla & Majnun'' ( ar, مجنون ليلى ; Layla's Mad Lover) is an old story of Arab origin, about the 7th-century Bedouin poet Qays ibn al-Mulawwah and his ladylove Layla bint Mahdi (later known as Layla al-Aamiriya). "The Layla ...", written in 1908 by the Azerbaijani poet Fuzuli based on the poem of the same name. Reference ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mugham
Mugham ( az, Muğam) or Mughamat ( az, Muğamat) is one of the many classical compositions from Azerbaijan, contrasting with tasnif and ashik. It is a highly complex art form that weds classical poetry and musical improvisation in specific local modes. Mugham is a modal system. Unlike Western modes, "mugham" modes are associated not only with scales but with an orally transmitted collection of melodies and melodic fragments that performers use in the course of improvisation. Mugham is a compound composition of many parts. The choice of a particular mugham and a style of performance fits a specific event. The dramatic unfolding in performance is typically associated with increasing intensity and rising pitches, and a form of poetic-musical communication between performers and initiated listeners. Three major schools of mugham performance existed from the late 19th and early 20th centuries in the regions of Karabakh, Shirvan, and Baku. The town of Shusha of Karabakh, was par ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tar (Azerbaijani Instrument)
The Azerbaijani tar and the skills related to this tradition play a significant role in shaping the cultural identity of Azerbaijanis. The tar is a long-necked, plucked lute, traditionally crafted, and performed in communities throughout the Republic of Azerbaijan. The tar is featured alone or with other instruments in numerous traditional musical styles. It is also considered by many to be the country's leading musical instrument. In 2012, the craftsmanship and performance art of the tar was added to the UNESCO's Intangible Cultural Heritage List. Craftsmanship Tar makers transmit their skills to apprentices, often within the family. Craftsmanship begins with careful selection of materials for the instrument: mulberry wood for the body, nut wood for the neck, and pear wood for the tuning pegs. Using various tools, crafters create a hollow body in the form of a figure eight, which is then covered with the thin pericardium of an ox. The fretted neck is affixed, metal string ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kamancheh
The kamancheh (also kamānche or kamāncha) ( fa, کمانچه, az, kamança, hy, Քամանչա, ku, کەمانچە ,kemançe) is an Iranian bowed string instrument used in Persian, Azerbaijani, Armenian, Kurdish, Georgian, Turkmen, and Uzbek music with slight variations in the structure of the instrument. The kamancheh is related to the rebab which is the historical ancestor of the kamancheh and the bowed Byzantine lyra. The strings are played with a variable-tension bow. In 2017, the art of crafting and playing with Kamantcheh/Kamancha was included into the UNESCO Intangible Cultural Heritage Lists of Azerbaijan and Iran. Name and etymology The word "kamancheh" means "little bow" in Persian (''kæman'', bow, and ''-cheh'', diminutive). The Turkish word kemençe is borrowed from Persian, with the pronunciation adapted to Turkish phonology. It also denotes a bowed string instrument, but the Turkish version differs significantly in structure and sound from the Pe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bayati
{{About, a form of Azerbaijani folk poetry, other uses, Bayat (other) Bayati ( az, Bayatı) is one of the oldest forms of Azerbaijani folk poetry. A bayati consists of four lines, each of which has seven syllables. The rhyme scheme is aaba. Anonymous bayati have been collected as folk wisdom in editions such as ''Xalqimizin deyimlari va duyumlari'' (Our people's sayings and feelings). Bayati can also be strung together in sequence to form longer poems, and there are several bayati dastan, epics, in which all of the verses are bayati; one example is ''Arzu-Qamber''. Some folklorists associate the bayati with women's folk creativity, but male ashigs compose bayati as well. Intriguingly, some scholars argue that the bayati dastan are from a lost repertoire of women's dastan, but so far there is no firm evidence to support this theory. In the Zagatala region of northern Azerbaijan, male and female ashiqs who play the tanbur sing poetry composed only in the bayati meter.Ann ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
