Mugham: Real Existence and Generalisation versus Tradition and Practice
It is the aim of this writing to deal with the complexity and complicacy as well as the unity and integrity of the system of musical utterances existing and transmitted in Azerbaijanian mugham music. Undoubtedly, it is important to elaborate and use the abstract idea of the maqam principle...
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| Main Author: | |
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| Format: | Article |
| Language: | English |
| Published: |
Logos Verlag Berlin
2024-12-01
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| Series: | Asian-European Music Research Journal |
| Online Access: | https://www.logos-verlag.de/cgi-bin/engpapermid?doi=10.30819/aemr.14-4&lng=deu&id= |
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| Summary: | It is the aim of this writing to deal with the complexity and complicacy as well as the unity and
integrity of the system of musical utterances existing and transmitted in Azerbaijanian mugham music.
Undoubtedly, it is important to elaborate and use the abstract idea of the maqam principle for
understanding historical evolution and special regional branches of maqam implicated in music making.
However, this approach doesn’t hold the whole truth. The generalisation of structural features
and constructive rules reflects only essential inner aspects of the corresponding music which makes
it more comprehensible but doesn’t represent nor describe the peculiarity of the respective reproduction
of a mugham. This passes beyond the system and stock of means of formation. Being based
insolubly on the repertoire and the system of expression handed down, the achievement of the creative
musician consists downright in lending to his execution a configuration of his own. The number
of all reproductions embodies the real existence of any mugham which is characterised by general
features and particularised by each creative performance. The peculiar executions of a mugham hold
the perspectives of its real existence and the power not only of its development and change but also
of the change of the corresponding system of musical utterances.
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| ISSN: | 2701-2689 2625-378X |