"Musiqi dünyası" № 1 (58) 2014

 

Article №1; 7011 - 7021 pages.
Zemfira SƏFƏROVA. Dədə Qorqudun musiqi dünyasi /
Zemfira SAFAROVA. Dede Gorgud's musical world

Abstract

Our Dede Gorgud in the ancient monument of art of Azerbaijan people "Kitabi-Dede Gorgud" 1300 years ago wished his people, his native land peace and prosperity. Let the singer play his gopuz striking on strings on holidays, then peace and quiet will be at your home and native land.
In the article there is considered gopuz which became the main musical instrument of oguz Ozans. According to mythological legend its creator and brilliant player was Dede Gorgud himself. Golcha gopuz indicated in Kitabi-Dede Gorgud is gopuzi-ozan, it often was called Dede Gorgud's gopuz. Among oguz dzhigits Dede Gorgud's gopuz was a sacred symbol. Oguz dzhigits seeing gopuz even in enemy's hands didn't approach to him and didn't kill him.
Music soaked into each line, each verse of the epos "Dede Gorgud" musicality was its essence.
V.V.Bartold in his translation bylinas of Dede-Gorgud into Russian called them not chapters, stories, narrations but "Songs". It seems to us that it is no mere chance for feeling the melodiousness of epos the scientist translated them by musical term "song" (may be by analogy with European legends – "Song about Nibelungs", "Song about Roland", "Song about Sid", "Song sbout Bamsi-Beyrek, Bay Bura's son", "Song about Gan Tural, Ganly Goje's son" etc.
In "Kitabi-Dede Gorgud" there are other musical instruments – boru, alcha-gopuz, golcha gopuz, guruluja gopuz, davul, duduk, kuce, nagara, surna and others connected with various incidents, events, battles.
"Kitabi-Dede Gorgud is a monument of culture not only of Azerbaijan people, this epos is all Turkic-speaking peoples' property. There are a series of legends connected with the theme Dede Gorgud which exist up to present. Legends connected with Gorgud's birth, his death. In the article there is considered the music of 11 Kazakh kuys.
The article comes to end with the same words of Gorgud with which the author began it: "Let the singer play his gopuz striking on strings on holidays, then peace and quiet will be at your home and native land".
Key words: Dede Gorgud, music, dastan, poetry, gopuz

Article №2; 7022 - 7036 pages.
Тариель МАМЕДОВ. Взаимодействие стиха и напева в традиционных напевах Азербайджанских ашыгов /
Tariyel MAMMADOV. Interaction poem and song in the tradition songs of Azerbaijan ashigs

Abstract

The traditional ashig poetry, being integral part of the melodies as a whole, is normative character. The unified notion about man and his existence, being reflected in the ashig's conscience as the bearer of the artistic past of the bygone ages, consolidates artistic principles in the form of the aesthetical canon, deeply rooted in the ancient musical-verbal art of Azerbaijan people. Naturally, canonical art limited the poetic language, but at the same time, the ashig was bound to surpass his predecessors in transformation of the traditional themes, and in doing so, promoted the perfection of poetic style.
Key words: ashig, poem, song, aruz, poetic rhythm, metrics, rhythm system, dastan.

Article №3; 7037 - 7055 pages.
Анна АМРАХОВА Когнитивный взгляд на формообразование в современной музыке
Anna Amrakhova. A Cognitive Approach to the Formenbildung in Contemporary Music

Abstract

In this article, the author examines a certain way of using cognitive models in the Formenbildung. Image schemas and propositions, as well as their metaphoric and metonymic sweep, are introduced in view of this new classification. The findings are confirmed through some analyses of works by contemporary Russian composers.
Keywords: Formenbildung, cognitive models, frame analysis

Article №4; 7056 - 7064 pages.
Рена МАМЕДОВА. Об этноморфологическом анализе азербайджанской народной музыки /
Rana MAMMADOVA. On ethnomorphological analysis of Azerbaijan folk music

Abstract

In the given article there is considered main terminological notion of ethnomorphological analysis of folk music – genoformulas. The typology and laconism of the genoformula is accentuated. The initial layer of early-folklore modulating is also considered.
Keywords: analysis, typology, genoformula, mugam.

Article №5; 7065 - 7069 pages.
Rohat CEBE. Yezidi music and the epic of Derweşe evdi

Abstract

The most common forms prevail in the field as means of Yezidi oral tradition are as follows: folk songs (strana folklori), various forms of narrative prose (çirok), and women`s laments (şin). Unfortunately, many forms existing in Yezidi oral tradition could only be studied within these three categories since forms in Kurmanji have not been thoroughly analyzed and documented. Yezidis use stran, which is considered the most popular and important form of oral tradition, in their conversations related to oral tradition. The Kurdish term stran means song. Its scope is broad. Celil Brothers` book entitled Zargotina Kurda, the most comprehensive and competent compilation that aims at documenting Kurmanji oral traditions by drawing on Yezidi sources, classifies stran as historical stran (tarixi), love stran (bengiti) dance stran (govend), and lament stran (şin). Even though they contain many different subjects, Yezidi strans mostly narrate heroism, villainy, and events that are believed to be historical.
The most important Yezidi strans are as follows: Feriq Pasha, Dawude Dawud and Derweşe Evdi. Among these has Derweşe Evdi the richest musicality.
Keywords: The Yezidis, The Yezidi Music, The Yezidi Oral Tradition, Derweşe Ewdi.

Article №6; 7070 - 7089 pages.
Татьяна ЧЕРНОВА. Жанровый аспект музыкальной формы.
Tatyana CHERNOVA. Musical Form in Terms of Genre

Abstract

The article presents a relation between musical genre and musical form. The author states that, yet an independent phenomenon, the genre of a piece of music is also an important aspect to determine its musical form. The problem of identifying the form of a piece of music with its structure is considered.
Keywords: genre, form, composition, structure