DOI: https://doi.org/10.36719/2706-6185/53/28-32
Inara Maharramova
Nakhchivan State University
DSc in Art Studies
https://orcid.org/0009-0000-6692-0713
inaramaharramova@ndu.edu.az
The Tradition of Notating Folk Music Examples in the
Composer's Creation
Abstract
The beginning of the process of collecting and notating samples of folk music in Azerbaijan dates back to the first decades of the 20th century. Uzeyir Hajibeyli was the first to take great initiative in this field and achieved great success. U. Hajibeyli defined the collection and notation of samples of folk music as one of the main goals in preserving the rich creative heritage and thought that it was possible to prevent the appropriation of national music samples by other peoples by this means.
In the 1930s, the most important work in discovering the rich sources of folk music fell on the expeditions organized by the Scientific Research Music Cabinet. In those years, promising young people studying at the Conservatory, such as Ertugrul Javid, Said Rustamov, Niyazi, Gara Garayev, Tofig Guliyev, Jovdat Hajiyev, Zakir Bagirov, and Fikrat Amirov, took an active part in the expeditions. During the first expeditions, young musicians transcribed the musical materials they collected in the Sheki, Guba, Ganja, Gazakh, Dilijan, and Borchaly zones into musical notation.
Every Azerbaijani composer has turned to folk music in his creativity. The great need for national music made folk music a necessity as a rich source for the creativity of composers. This necessity solved the problem of collecting folk music samples and using them in artistic creation. The involvement of composers in this work soon showed its positive results. This determined the importance of folk music and mugham intonations in the formation of the creative style of these composers.
Keywords: folk music, mugham, notation, composer’s creativity, genre, style