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I. Pazycheva

Azerbaijani Zarbi-mugham in the context of comparative analysis

The article deals with the study of the problem of variation in the genre canon of Zarbi-mugham in the performing practice of Azerbaijani musicians. The material for the comparative study was two performance versions of four Zarbi-mughams – “Mansuriya”, “Heyrati”, “Arazbari”, “Karabakh shikestesi”. The recordings by the famous Azerbaijani ethnomusicologist R. Zohrabov and professional tar player A. Bakihanov were used in the article. The peculiarities of the “multi-layered” (S. Galitskaya) sound field of Zarbi-mugham are determined by the presence of two intonation layers in it – mugham and reng, and their characteristic connections, which create the integrative qualities of the genre. These qualities make their demands on the artistic elements that compose it, subordinating them to their integrity: improvisational episodes – mugham – are subject to the measure and metric system in Zarbi-mugham and are coordinated with a clearly rhythmic organization of reng. A melos-variant structure is formed in the improvisational fragments of Zarbi-mugham, where the measure of articulation is the unequal phases of the singing of the reference tone of the mode.

The peculiarities of the individual interpretation of one Zarbi-mugham were observed during the process of comparative research, and the variation of the genre canon in compositions of various mode families was also recorded. The canonized mode intonation scheme in each performing interpretation receives a different morphological and structural arrangement. A special role here is played by the differences in the performing composition and the individual skills of the musicians, who create their own version of the genre model of Zarbi-mugham. The rondo form acquires a complex and original appearance in the one-part composition of Zarbi-mugham, which is enriched by the variant development of thematism, rearrangement of parts, variability of their composition and chronology of succession, as well as changes in the compositional scheme of the genre canon. The studying of the variation problem of the genre canon in the intonation space of Zarbi-mugham is of great importance for understanding its compositional structure and in general, the peculiarities of thinking in Eastern traditional music.

Key words

Azerbaijani Zarbi-mugham, “Mansuriya”, “Heyrati”, “Arazbari”, “Karabakh shikestesi”, genre canon, performing staff, interpretation, comparative analysis, variance.

For citation

Pazycheva I. Azerbaijani Zarbi-mugham in the context of comparative analysis // South-Russian Musical Anthology. 2023. No. 4. Pp. 22-29.