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Karabakh Shikastasi (mode)
Karabakh Shikastasi ( az, Qarabağ şikəstəsi) — is one of the rhythmic Azerbaijani mughams. It is a macama-based segah. Musical size - 2/4. It is performed at a heavy pace. After each verse sung by the singer, a different melody (instrumental episode) is played. It is considered one of the most popular shikeste - lyrical extended songs. "Karabakh Shikeste" was used in the opera"Asli and Kerem" of Uzeyir Hajibeyov, "Shah Ismail" of Muslim Magomayev,"Shahsenem" of Reingold Glier. The melody of this mugham is played in the 28 May metro station in Baku. It is believed that "Karabakh shikestesi" was performed with special brilliance by the Peoples Artist of the Azerbaijan SSR Khan Shushinsky. ( ) See also * Mugham * Mugham triads * Music of Azerbaijan References External links Karabakh Shikastasi - Performed by Arif Babayev"Karabakh Shikastasi" performed by Khan Shushinski, Shovkat Alakbarova Shovkat Feyzulla qizi Alakbarova ( az, Şövkət Ələkbərova) (20 October ... [...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 partic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tar (lute)
The tar (from fa, تار, lit=string) is a long-necked, waisted lute family instrument, used by many cultures and countries including Iran, Azerbaijan, Uzbekistan, Armenia, Georgia, Tajikistan (Iranian Plateau), Turkey, and others near the Caucasus and Central Asia regions.tar (musical instrument) Encyclopædia Britannica . Retrieved on 2013-01-01. The older and more complete name of the tār is ''čāhārtār'' or ''čārtār'', meaning in "four string", (''čāhār'' frequently being shorted to ''čār''). This is in accordance with a practice common in Persian-speaking areas of distinguishing lutes on the basis of the number of strings origi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kemenche
Kemenche ( tr, kemençe) or Lyra is a name used for various types of stringed bowed musical instruments originating in the Eastern Mediterranean, particularly in Armenia, Greece, Iran, Turkey, and Azerbaijan. and regions adjacent to the Black Sea. These instruments are folk instruments, generally having three strings and played held upright with their tail on the knee of the musician. The name ''Kemenche'' derives from the Persian Kamancheh, meaning merely a "small bow". Variations The Kemençe of the Black Sea ( tr, Karadeniz kemençesi, italic=y), also known as ''Pontic kemenche'' or ''Pontic lyra'' ( el, Ποντιακή λύρα), is a box-shaped lute ( ), while the classical kemençe ( tr, Klasik kemençe, italic=y or ''Armudî kemençe'', el, Πολίτικη Λύρα) is a bowl-shaped lute ( ). Other bowed instruments have names sharing the same Persian etymology include the kamancheh (or ''Kabak kemane'' in Turkish), a spike lute ( ), and the Cappadoc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Azerbaijani Soviet Encyclopedia
The ''Azerbaijani Soviet Encyclopedia'' (in Azerbaijani: Azərbaycan Sovet Ensiklopediyası, Cyrillic: Азәрбајҹан Совет Енсиклопедијасы) is a ten volume universal encyclopedia published in Baku, Azerbaijan from 1976 to 1987 by the Academy of Sciences of the Azerbaijan Soviet Socialist Republic. The editors-in-chief were Rasul Rza and Jemil Kuliyev. A special volume dedicated to Azerbaijan was scheduled to be published after the main ten volumes, but due to rising political problems and difficult economic situation, it has not been released. The complete set has been digitized and archived at the Internet Archive as of 2021. List of volumes by publication date #Volume I, 1976 #Volume II, 1978 #Volume III, 1979 #Volume IV, 1980 #Volume V, 1981 #Volume VI, 1982 #Volume VII, 1983 #Volume VIII,1984 #Volume IX, 1986 #Volume X, 1987 See also *Great Soviet Encyclopedia * National Encyclopedia of Azerbaijan References "Азәрбајҹан Совет Е ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mugham Triads
Mugham triads — ( az, Muğam üçlüyü) performers of a classic mugham consists who play the national musical instruments of Azerbaijan: tar, kamancheh and daf (tambourine); Structure The vocal instruments which are performed by the mugham triads are called the Mugham desgah. Deshgah means mugham's sophistication, its sequence, all sections and parts, as well as the sequence of tasnif and color. The sections included in the Mugham composition are composed of improvised receptive styled vocal tunes that determine the musical-poetic content of the work. They are replaced by song and dance episodes with a precise rhythm. Song episodes are called “tasnif” and dance is called “color”. In the early stage the sazende group was used in the triads: Tar (string instrument), tar, kamancheh and Balaban (instrument), balaban (balm), tasnif and color were used in the circle and naqareh. After reconstruction of the tar by the famous tar player Sadigjan, there is no need to use naqare ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Azerbaijan
Azerbaijani music ( Azerbaijani: Azərbaycan musiqisi) is the musical tradition of the Azerbaijani people from Azerbaijan Republic. Azerbaijani music has evolved under the badge of monody, producing rhythmically diverse melodies.Энциклопедический музыкальный словарь, 2-е изд., Москва, 1966 (''Encyclopedical Music Dictionary'' (1966-1967), 2nd ed., Moscow) Music from Azerbaijan has a branch mode system, where chromatisation of major and minor scales is of great importance. Classical music In 1920, Azerbaijani classical music had undergone a renaissance and Baku Academy of Music was founded to give classical musicians the same support as folk musicians. Modern day advocates of Western classical music in Azerbaijani include Farhad Badalbeyli, Fidan Gasimova and Franghiz Alizadeh. Opera and Ballet The emergence of opera and ballet in Azerbaijan is associated with the Imperial Russian and Soviet era of Azerbaijani history when Aze ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khan Shushinski
Khan Shushinski ( az, Xan Şuşinski), born Isfandiyar Aslan oglu Javanshir (20 August 1901, Shusha – 18 March 1979, Baku), was an Azerbaijani khananda folk singer. Life Despite Shushinski's relation to the khans of Karabakh, his stage name derives from an episode in his adolescence. In 1918, he and his mugham teacher Islam Abdullayev attended a wedding in the village of Novruzlu (presently in the Agdam Rayon of Azerbaijan), where guests were listened to a gramophone record of the Iranian singer Abul Hasan Khan performing the Kurd Shahnaz variety of mugham. After the song, young Isfandiyar was emphatically asked to resing that song live. Despite the complicated nature of Kurd Shahnaz, his performance impressed the guests to the point of them comparing Isfandiyar to Abul Hasan Khan and saying: "Now, here's the real Khan." [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shovkat Alakbarova
Shovkat Feyzulla qizi Alakbarova ( az, Şövkət Ələkbərova) (20 October 1922 in Baku – 7 February 1993 in Baku) was an Azerbaijani singer. Life and career development Shovkat Alakbarova was born to Azerbaijani people, Azerbaijani parents - Feyzulla and Hokuma Alakbarov, and was the third of the family's four children. Her mother was a professional Tar (lute), tar player and her father, a labourer, was a folk music lover. Both parents passed similar interests on to their children. by Rafael Huseynov. ''Azerbaijan International''. Summer 1993. Retrieved 27 August 2006 As a child, Shovkat took up kamancha lessons. In 1937, she became one of the finalists at a contest held among amateur singers and judged by prominent Azerbaijani composers and musicians, such as Uzeyir Hajibeyov and Bulbul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sara Gadimova
Sara Gadimova ( az, Sara Qədimova, 31 May 1922 – 12 May 2005) is an Azerbaijani singer who started her career as a soloist of the Azerbaijan State Philharmonic Society in 1941. The song "Compassionate sister", which was created by Uzeyir Hajibeyov and Samad Vurgun in the Second World War, was read by the singer before the Azerbaijani soldiers on the frontline. Noted particularly for her dastgah performance, which excelled other female dastgah performances, she also sang Bayaty-Shiraz, Karabakh shikastasi and other mugham varieties. She was awarded the Sharaf Order and Shohrat Order. Life Gadimova was born in Baku. Her father Babish hailed from the village of Gülablı, but settled in Baku. Having graduated from medical school, Gadimova entered the Baku Music Academy and completed studies there in 1941. Among her music mentors were Huseyngulu Sarabski, Khan Shushinski and Seyid Shushinski. During World War II and the First Nagorno-Karabakh War, Gadimova performed patriotic s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
