阿塞拜疆音乐艺术中“chahargah”mugham的历史理论研究问题

A. Abushova
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摘要

本文致力于研究“Chahargah”mugham的历史发展和理论基础,它在阿塞拜疆音乐中占有特殊的地位。阿塞拜疆mugam艺术在东方文化的一般体系中很重要,是作为专业表演者的创造性产品发展起来的,代代相传,在音乐宝库中占有特殊地位。由于阿塞拜疆的杰出大师,穆哈姆艺术征服了世界,今天创造了丰富多彩的音乐遗产。穆罕默德的历史和理论研究是穆罕默德研究中的重要问题。在mugam的遗产中,每个mugam都有自己的地位和重要性,发展的历史,改进的方式。对这一切的研究,使我们能够更好地了解穆哈姆艺术的演变,并使这一领域的研究成为现实。研究中涉及到的每一种木格汉乐器都可以让我们对历史和理论问题有更深入的了解,从这个角度来看,研究木格汉的演奏选择是特别值得注意和必要的。通过对穆哈姆乐器的演奏选择的比较研究,以及对其历史发展的研究,也揭示了音乐语言所表现出来的演变过程,这些都决定了研究的相关性。所有这些问题都在文章中以“Chahargah”mugham为例进行了讨论。作者通过对历史研究中反映的mugham作品、中世纪资料、mugham表和课程的研究,阐明了“查哈尔加”mugham的历史发展,并探索了“查哈尔加”mugham在录音和笔记中的表演变体,揭示了它们的特点。同时,对《查哈尔加》木格姆的结构特征、瞬间基础、旋律发展形式进行了研究,并对木格姆变奏的共性和不同特征进行了系统梳理。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
ISSUES OF HISTORICAL-THEORETICAL RESEARCH OF “CHAHARGAH” MUGHAM IN AZERBAIJANI MUSIC ART
The article is dedicated to the study of the historical development and theoretical foundations of “Chahargah” mugham, which has a special place in Azerbaijani music. Azerbaijani mugam art, which is important in the general system of Eastern culture, developed as a creative product of professional performers, passed down from generation to generation and took a special place in the musical treasury. Thanks to the outstanding masters of Azerbaijan, the art of mugham has conquered the world and today has created a musical heritage rich in its colorful interpretations. The historical and theoretical study of mughams are important issues in mugham studies. In the heritage of mugam, each mugam has its own place and importance, history of development, way of improvement. The study of all this allows us to shed light on the evolution of the art of mugham and actualizes research in this area. The involvement of each of the mugham instruments in the study allows for a deeper understanding of historical and theoretical issues, from this point of view, the study of the performance options of a mugham is especially noteworthy and necessary. A comparative study of the performance options of the mugham instrument, along with the study of its historical development, also reveals the evolutionary process manifested in the language of music, all of which determines the relevance of the study. All these issues are considered in the article on the example of “Chahargah” mugham. The author illuminates the historical development of “Chahargah” mugham through the study of mugham compositions reflected in historical research, medieval sources, mugham tables and curricula, as well as explores the performance variants of “Chahargah” mugham in recordings and notes and reveals their peculiarities. At the same time, the structural features of "Chahargah" mugham, the basis of the moment, the forms of melodic development were studied, the general and different features of the variants of mugam were systematized.
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