Evolution of Lyrical Image in Ballets of Azerbaijani Composers

This article is devoted to the study of the evolution of the lyrical image in the ballets of Azerbaijani composers. The presented article emphasizes that the Azerbaijani ballet on the extension of the history of the Azerbaijani school of composition functioned indefinitely as an important component of the Azerbaijani musical culture. The theme of this article is actualized in the aspect of the historical approach, as each ballet of Azerbaijani composers, on the other hand, reflected the significant features of the artistic, historical and cultural context. On the other hand, the study of the evolution of the lyrical image in the Azerbaijani ballets reflects the dynamics of the development of the Azerbaijani school of composition. Moreover, the figurative system in Azerbaijani ballets represents the slender line of artistic connections of Azerbaijani culture. The purpose of the research is to study the role of the lyrical image in the evolution of the Azerbaijani ballet. The research methodology is based is based on the use of a historical approach to determine the basic definitions of the study. The expediency of the historical method is due to the fact that the development in the space of historical time should be based on certain basic categories that would reflect the school of composition, its national specifics. The scientific novelty of the research is that for the first time the peculiarities of the evolution of the lyrical image in Azerbaijani ballets – from its origin to modern functioning – are analyzed; the nuances of style creation in the Azerbaijani school of composers in the specified aspect are considered, and also certain art processes are systematized. Conclusions. It is proved that the combination of deep lyricism with dramatic emotions is characteristic of the transfer of lyricism in the drama of ballets at all historical stages of development, in different stylistic contexts. Lyrical images in the ballets of Azerbaijani composers have similar features and are due to the specific content of the national worldview.

Zlata Tkach’s Concerto for Piano and Orchestra as a Culmination of the Composer Symphonic Thinking

The purpose of the article is to characterize Zlata Tkach’s Piano Concerto as the culminating composition in the genre of the composer’s symphonic music. The research methodology is based on the method of complex musicological analysis, due to which, the role of this work in the system of memorial genres of the author is determined, typical style features of her work late period are revealed, the thematic structure of the Concerto is characterized from the position of the manifestation of the principle of dialogicity and monothematism. The scientific novelty of the research is that for the first time, intonation processes in a Piano Concerto by Z. Tkach are systematically analyzed and the correlation of its traditional and innovative features is characterized. Being by genre attribution an opus with a pronounced desire to use modern means of expression, the concert is distinguished by the manifestation of the principle of microthematism and textural thematism. In the dramaturgical solution, the author conducts a constructive search in dynamic, timbre and rhythmic comparisons. At the same time, the intonational unity between the sections of the form, being the development of the romantic principle of poetry, is expressed in the form of monothematism. Conclusions. The creative method of Z. Tkach manifests itself in the synthesis of tradition and experiment. This is confirmed by the intonation-thematic structure of the Piano Concerto, in which the convergence of contrasting material contributes to the formation of an integral musical and dramatic concept. The motifs that form the basis of the monothematism complex establish intonation arches between the sections of a one-part composition, fastening them and subordinating them to a common plan. Important importance belongs to the opposition of the roles of the participants in the performance. Their dialogical activity is manifested in a peculiar way by the composer, primarily in the dialogue between the soloist and the orchestra: the interweaving of two contrasting figurative spheres is realized primarily in terms of content. The principle of monothematism is manifested especially vividly in the characterization of tragic reflections, painful reflections on the eternal conflict of the creative personality with the surrounding world, leading to a deep understanding of what exists. The other embodies the dynamism of life, dominating in the culmination of ‘action’, the accumulation of energy. Both the piano and the orchestra are equally involved in the development of both figurative principles. The resulting translational, purposeful movement towards the finale determines, along with the principle of monothematism, the integrity of the entire composition.

Features of Jalal Abbasov’s Work ‘Munajat – I’

The article analyzes the chamber-instrumental work of Jalal Abbasov, a brilliant representative of the modern Azerbaijani school of composition, in particular, ‘Munajat-I’. It also looks at the work of Jalal Abbasov against the background of the development of Azerbaijani music culture and explores the genre diversity of chamber-instrumental works. In addition, the study highlights the form and content, music, and harmonic language in the composer’s chamber-instrumental works, especially in the work ‘Munajat-I’. The article emphasizes the peculiar stylistic features of Jalal Abbasov’s chamber-instrumental work, its connection with musical folklore, and its tendency to modernity based on traditions. The purpose of the research is to analyze the work of Jalal Abbasov ‘Munajat’ and to study the individual stylistic features of the composer. The main features are the emergence of the characteristic features of the composer’s chamber-instrumental work and its special importance in the development of modern Azerbaijani musical culture. The basis of the research is the involvement of J. Abbasov, a worthy representative of the modern generation of Azerbaijani composers, in the detailed research work of the work ‘Munajat-I’, which has not been subjected to scientific and theoretical analysis. From this point of view, the research is based on the method of complex theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that the composer’s personal style has improved in the process of development, modern innovative ideas, modern technical methods have been used uniquely in the diversity of genres. At the same time, based on the scientific-theoretical principles and research of Azerbaijani musicologists, the article forms the methodological basis. The scientific novelty of the research is that the article, presented for the first time as special research work, is based on manuscripts dedicated to the chamber-instrumental work of the representative of the modern school of the composition of Azerbaijan J. Abbasov and the features of ‘Munajat-I’. For the first time in the presented article, the work "Munajat", which is important in the work of J. Abbasov, but has not been studied so far, has been scientifically analyzed. Conclusions. The comprehensive analysis of Jalal Abbasov’s chamber-instrumental work, especially ‘Munajat-I’ in the presented article, allows us to draw important conclusions about the features of the composer’s personal style. An important feature of the composer's chamber-instrumental works, distinguished by their original creative style, is the richness and deep content of the musical language. It was noted that J. Abbasov, who organically combined nationalism and modernity in his works, expressed his deep philosophical thoughts with high demand and seriousness. From this point of view, the elements of national music in the composer’s works with a bright content and individual style are expressed by the features of modern writing techniques. It was noted that the philosophical, rich imagery, deep meaning, and thoughtful thoughts characteristic of the composer’s work are reflected in his chamber-instrumental works, including ‘Munajat-I’. That is why the works of J. Abbasov have been successfully performed not only in his native Azerbaijan but also in many foreign countries and have successfully represented our modern school of composition. Jalal Abbasov is currently living in the period of the wisdom of his work, enriching Azerbaijani music by creating new modern works.

Franghiz Alizadeh’s Composition ‘Wahe’ (‘Oasis’) for String Quartet and Tape Recorder

The article examines the chamber-instrumental work of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, People’s Artist, awarded the honorary title of ‘Artist of Peace’ by UNESCO. The article also highlights the characteristics of the musical and harmonic language, original timbre combinations, unusual dynamics, methods of using modern musical techniques of chamber-instrumental works of Franghiz Alizadeh, which is an area of her creative work that combines East-West music synthesis. The article analyzes Franghiz Alizadeh’s composition ‘Oasis for tape recorder and string quartet and gives specific features of the work. The article emphasizes that Franghiz Alizadeh’s presentation of Oriental thought in a synthesis of modern methods in the composition ‘Oasis’ is a unique feature of the work. The purpose of the research is to analyze the composition of Franghiz Alizadeh’s ‘Oasis’ and to determine the individual stylistic features of the composer. The interpretation of important innovations in Franghiz Alizadeh’s chamber-instrumental work and the discovery of its connection with modern music culture is especially emphasized. The basis of the research is the involvement of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, in the research work of the composition ‘Oasis’, which has not been subjected to scientific and theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that Franghiz Alizadeh’s chamber-instrumental work was formed in the context of the development of modern music, and modern technical methods were manifested uniquely. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists. The scientific novelty of the research is that for the first time, the general features of Franghiz Alizadeh’s chamber-instrumental creative work were studied within the framework of Azerbaijani music science, and the composer’s composition ‘Oasis’ was analyzed in detail. At the same time, based on the analysis, the article presents a detailed scientific study of the composition ‘Oasis’, which is of great importance in the work of the composer. Conclusions. The comprehensive analysis of Franghiz Alizadeh’s chamber-instrumental work and especially the composition ‘Oasis’ in the presented article allows drawing important conclusions about the features of the composer’s creative style. Franghiz Alizadeh is a modern Azerbaijani composer distinguished by her original creative style, and it was noted that the deep content of her works, distinguished by her unusual style of performance, is important in our national music art. It was noted that the East-West synthesis is dynamically manifested in the composer’s work, and this feature is directly felt like her works. From this point of view, F. Alizadeh’s camera-instrumental work is distinguished by the difference of modern writing techniques with rich images, and she has achieved great success not only in her native Azerbaijan but also far beyond its borders. It should be noted that Franghiz Alizadeh’s works, which combine East-West synthesis, have been performed in many countries and met with success. From this point of view, the composition of ‘Oasis’ differs by its rhythmic structure, artistic content, and texture form. It is especially emphasized that the unusual performance of the composition ‘Oasis’ was used to reveal a certain image. It is noted that the composition has a different musical language, along with deep content and non-traditional features. The combination of serial technique and mugam elements gives the composition ‘Oasis’ originality. It is noteworthy that the tape was used as an integral part of the camera-instrumental work. It was noted that the composition "Oasis", as a work of synthesis of theatre and music, has a theatrical effect. Franghis Alizadeh is currently living the period of wisdom in her work and enriches the professional music of Azerbaijan with her unusual works of modern type, which combine East- West synthesis.

Modern Stylization of Ukrainian Song Folklore

The purpose of the research is to study contemporary musical culture and reveal the specifics of Ukrainian song folklore stylization in academic and non-academic practice. The research methodology is aimed at using a comparative method, with the help of which the difference between the processing of a folk song and the stylization of folklore is highlighted. The method of analysis is implemented to highlight the essential features of stylized folklore. Using the synthesis method, the results of research from academic and non-academic musical creativity have been extrapolated, in which the introduction of the stylization of folklore has been discovered. The scientific novelty of the research is examining the symbiosis of composer and folk art, as a result of which stylized song folklore appears in the modern musical culture of Ukraine. Conclusions. In the modern musical culture of Ukraine, the principle of stylization of song folklore is widely used. The introductions of adaptations of folk sources, along with stylization, are two options for the interaction of composer and folk art. The stylization is characterized by a deep interpenetration of elements of the author’s and folklore principles, which is accompanied by the formation of an original musical text that has a genetic relationship with folk Melos. The author’s text, which traces the presence of folk songs stylization, often includes typical intonational complexes with small ambitus, repetition of rhythmic formulas, and the prevalence of the variant-variative principle of the musical fabric development. The literary text of works related to the stylization of folklore is characterized by the use of folk texts or dialectics, lexemes that liken a vocal work with folklore. The effectiveness of folk stylization in musical culture is enhanced by the use of an authentic folk singing manner. The stylization of folklore is inherent both in the works of the leading classics of the Ukrainian composing school and in groups working in different directions of non-academic music of our time.

Works of Mykola Leontovych in the Performance Traditions of the Odesa Choral School

The purpose of the research is to identify the peculiarities of performing reading and conducting-methodical mastering of choral works by M. D. Leontovych in the activities of outstanding representatives of the Odesa choral school. The tasks of the work are determined: coverage of the concept of a performing school, in particular, the Odesa choral school; identification of the poetical-semantic features, intonational-expressive factors that influenced the performing approaches to the works of M. Leontovych; determination of the creative continuity’s features of generations in the context of interpretations, intonation and artistic images’ embodiment of M. D. Leontovych’s works in choral sound. The research methodology is based on the use of general scientific and special chorological approaches. An analytical-abstract approach was used to study the scientific literature on the outlined issues; in working with the memories of contemporaries, graduates – analytical and historical; in work with musical texts – choral, textual and selective methods; The system-structural method helped to present the phenomenon under study as a generalization of various research and practical tools – it became a unifying factor in the holistic understanding of experience. The scientific novelty of the research is due to the fact that for the first time an original view of the performing interpretation of individual works of M. Leontovych from the standpoint of performing, conducting, research experience of the Odessa Choral School; figurative-associative approaches in the context of chorological elaboration of the author’s text are covered; emphasis is placed on the relationship between musical and historical facts and current trends in the development of choral performance. Conclusions. M. Leontovych’s choral works are an original example of an individual author's concept of the folk song idea in choral elaboration, which forms multiple semantic vectors for performing interpretation. Genre-style, intonation-expressive priorities of the composer in the processing of folk song material become a kind of ‘guide’ in the interpretive strategies of performers and provoke them and the listener to certain reflections of associative, musical-semantic, theatrical and figurative composition. At the present stage of its development, the Odesa Choral School, declaring historically established approaches to the works of M. Leontovych in the repertoire of the student choir at the same time demonstrates their living performing tradition.

Master Class as Part of Musicians Professional and Practical Training

The article examines the features of practical training and independent work of musicians in art institutions of higher education, presents the experience of introducing master classes as a methodological component of the educational program ‘Musical Art’ for ‘Bachelor’ and ‘Master’ degrees. The purpose of the research is to analyze the practical experience of using the master class method in training musicians for the educational programs ‘Bachelor’, ‘Master’. The research methodology consists of several general scientific and special methods: analytical-search – to clarify the concepts of research; problem-search and observation method – to identify the main features of the master class; comparative – to compare the educational process as a whole and the method of transferring information within the framework of master classes; classification – for grouping master classes by type, method of conducting and tasks. The scientific novelty of the research consists in a comprehensive understanding of the practice of conducting master classes as an integral part of the professional competencies’ formation of music students in institutionalized higher music education, their systematization and classification by types, methods and tasks. Conclusions. The analysis of many of master classes held at the Kyiv National University of Culture and Arts made it possible to make some generalizations of practical experience and propose the following classification by type: conceptual master class, practice-oriented master class, combined master class. Own experience of initiating, planning and conducting master classes and pedagogical observation proves that the construction of the author's models of the educational process in real-time, the practical mastering of music skills within the framework of the broadcast of experience, the activation of the cognitive activity of music seekers are the most effective means of exchange and popularization of modern technologies, techniques, programs to improve professional competence, the formation of an individual creative performing style.

From the History of the Conservatory Creation in Azerbaijan

This article is devoted to the first conservatory creation of the Muslim East, which was opened in the city of Baku on August 26, 1921. In itself, this remarkable fact testifies to the difficulties that arose on the way to creating this Higher Musical Educational Institution in Baku. The article consistently highlights the most important facts related to the opening and activities of the conservatory. It is important to emphasize that despite all the difficulties that arise along the way, Uz. Hajibeyli and his associates persistently went to their cherished dream – the creation of the first conservatory in Baku. The purpose of the research is to identify the conditions in which the first conservatory of the Muslim East was created. Uz. Hajibeyli took years of consistent work to create that strong foundation on which the building of the conservatory was erected, now BMA named after. Uz. Hajibeyli. Note that August 26, 2021, marks the 100th anniversary of the first conservatory in Azerbaijan founding. The research methodology is based on genuine historical facts with which the activities of Uzeyir Hajibeyli were associated in the process of creating the conservatory. The scientific novelty of the research is associated with some facts of Uz. Hajibeyli’s life, which were not mentioned at all in Soviet times. All these facts, one way or another, come out of the time of the existence of the Azerbaijan Democratic Republic. The ADR national anthem was written by Uz. Hajibeyli. It is also the anthem of modern Azerbaijan. Conclusions. The approaching centenary anniversary of the first conservatory in Azerbaijan allows not only to evaluate the path it has travelled but also to pay tribute to its creator, Uzeyirbek Hajibeyli, the founder of Azerbaijani professional music, a great visionary who consistently leads Azerbaijani music along the path of progress and conquest of heights in composing, performing and educational processes in the republic.

Features of Futurism Performance on the Example of the Works ‘Luna, Lussuria e Velocita’ in Ilkham Nazarov’s Interpretation

The purpose of the study is to determine the vocal performance characteristics of the ‘Luna, Lussuria e Velocita’ work, written in the style of futurism in the interpretation of I. Nazarov, taking into account the peculiarities of the timbre of his voice. ‘Luna, Lussuria e Velocita’ is written in the futuristic style and is intended for bass/countertenor and electronic musical instruments. The purpose of the research is to determine the features of the vocal performance of the ‘Luna, Lussuria e Velocita’ work composed in the style of futurism, taking into account the features of I. Nazarov's voice timbre. The research methodology is based on the use of music analytical, historical and theoretical analysis methods. The analysis of vocal performance given in the research was carried out based on the note presented by the composer and the video material performed by I. Nazarov. At the same time, a number of scientific literature on futurism was referred to. The scientific novelty of the research is that the work of Italian composer S. Muscaritolo ‘Luna, Lussuria e Velocita’ was involved in the study for the first time. The work is designed for two registers (bass/countertenor) and is composed in the style of futurism, which characterizes its scientific novelty. The work uses non-traditional playing methods for bass and countertenor. In the research, the research of vocal performance methods used by I.Nazarov during the performance was carried out for the first time. Conclusions. I.Nazarov is the first and only singer in the history of Azerbaijani music culture with a countertenor voice and boundless vocal technique. Not only Azerbaijani but also European composers create works of various genres in accordance with the possibilities of his voice. These works are new due to their features and performance requirements. In ‘Luna, Lussuria e Velocita’ I. Nazarov showed himself as a singer with high technical capabilities, able to perfectly control both the baritone and countertenor sound timbre. The singer expanded the possibilities of performing the countertenor sound timbre, which gave rise to the assessment of the sound timbre from a new position.

Historical Background for the Creation of the Research Room of Music

The article discusses the research issues conducted in the field of music education in Azerbaijan in the early twentieth century. The article also looks at the process of collecting and transmitting the oral folk heritage of Azerbaijan to future generations and examines the purposeful work carried out in this area. In addition, the article provides information about prominent Azerbaijani educators in the field of writing and studying samples of national folklore, based on archival materials, highlights several relevant sources in this regard. The article emphasizes the peculiarities of the folklore environment of Baku and Sheki, where oriental concerts are held. The purpose of the research is to determine the features of the collection and recording of Azerbaijani folklore samples. The article emphasizes the work of the Research Music Room, which is important in the field of education. The study of national and cultural values of the Azerbaijani people in modern times and the solution of the problems of spiritual heritage protection are the basis of the research as a working principle of the research music room. The research methodology is based on music-analytical and historical analysis. It was noted that the research music room has established its activities in the field of collection and study of folklore within the requirements of modern times. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research practices of Azerbaijani and foreign musicologists in the study of musical folklore, comparison of oral folk-art examples, recording of folk music samples. The scientific novelty of the research is that for the first time, the activity features of the scientific room within the framework of Azerbaijani music were examined, and the working principles were studied in detail. At the same time, based on the research, the article presents a scientifically substantiated study of the features of the process of collecting and studying musical folklore in the early twentieth century, the oral folklore recording. Conclusions. The presented article allows us to cover the activity of the Research Room of Music established at the Azerbaijan State Conservatory in 1932, in particular, to get important results in the study of Azerbaijani folklore. The article analyzes the continuation of the educational movement in Azerbaijan, in particular, the popularization and use of oral folklore, using articles, transcripts and speeches of meetings periodically published in the press. It is noted that the processes of globalization taking place in the world today emphasize the value system of traditional heritage. This is especially important in the field of humanities in terms of studying the history and folklore of Azerbaijani music culture up to modern times. The problems of writing and studying Azerbaijani music folklore were raised by national educators. From this point of view, it is especially important to systematically publish materials on the study of oral folk art in periodicals. It was noted that the educators paid special attention to the educational significance of oral folk art. In this sense, the research draws attention to Hasan bey Zardabi’s research on folk art, especially its educational function. From this point of view, it is very important to emphasize that the first researches on oral folklore carried out by Azerbaijani enlighteners allowed national folklore to enter the world folk art system. Such issues as identifying the uniqueness of the collection of oral folk art, studying music folklore as a whole, comparing examples of oral music, determining the regularities and harmonization of folk music from the activities of the Research Room of Music, and assessing the protection of spiritual heritage were noted. At present, the research music room continues to play an important role in the study of music folklore and generalizes the study of music science at a certain stage in the history of Azerbaijan.