О ДЕТЕРМИНАНТАХ АЗЕРБАЙДЖАНСКОЙ ПРОФЕССИОНАЛЬНОЙ МУЗЫКИ УСТНОЙ ТРАДИЦИИ
THE DETERMINANTS OF THE ORAL TRADITION OF AZERBAIJANI PROFESSIONAL MUSIC

Summary/Abstract: This article is devoted to specific peculiarities of two branches of Azerbaijani folk music of verbal professional tradition. In the article it is underlined that having various genre manifistations, and ashyg music and mugham are united in one system of national musical creation. The last one testifies to the unity and integrity of Azerbaijan folk music. In the article there are considered many parameters both asgyg music and mugham. It is noted that poetic text in ashyg melodies is mainly “a regulator” of rhythmic motion and the important structural element of melody form. In the process of the creation of ashyg melody there occurs its active interaction and interinfluence with poetic text. The verse gives rise to melody which later can promate the creation of the new verse, in its turn inspiring the performer-creator to white new musical composition. The tradition makes up the pivot of ashyg’s opinion, the elements of the last one are reproduced in endless majority of concrete variants. The correlation of the text and melody is here enough mobile. Original peculiarities of mugham are conditioned by the originality of the national folklore when the professionalism is mugham is connected with certain interregional canon. The national originality of Azerbaijani mughams first of all reveals itself in their melos and is a result of centuries-old development of Azerbaijani folk creation with the very early stages of its formation. As dastan, mugham in Azerbaijani music was formed as a big, complicated and thematically whole cyclical composition. It is distinguished by concentrated emotional speech. The subject-matter of mughams to a considerable extent is determined by a sphere of lirycs – amorous, philosophical, meditative. It is by no change gazelles of classics of eastern literature Nizami, Fizuli, Nasimi, Khagani, Vidadi, Vagif and others served poetic basis of mugham form. Lyrical expression in mugham leans upon a vocal expressiveness of melorecitation, the main capacity of which is a dramatic modulation

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