Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art

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ISSN / EISSN : 2616-7581 / 2617-4030
Total articles ≅ 66
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Mekhpara Rzaieva
Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, Volume 4, pp 101-115; https://doi.org/10.31866/2616-7581.4.1.2021.233342

Abstract:
The article analyzes several works related to the symphonic work of Rufat Ramazanov, a middle-aged representative of the modern Azerbaijani school of composition. The article also examines Ramazanov’s symphonic works against the background of the development of Azerbaijani music culture and examines his symphonic works in terms of genre diversity. Also, the article considers the characteristics of music and harmonic language in the symphonic works of the composer, the methods of using orchestration. The article emphasizes the unique stylistic features of Rufat Ramazanov’s symphonic works, their connection with folk art, and his tendency to modernize within the traditions. The purpose of the research is to analyze certain symphonic works of Rufat Ramazanov and to study the individual stylistic features of the composer. The main touches are the emergence of the characteristic features of the composer’s symphonic work and the discovery of its connection with modern Azerbaijani music culture. The basis of the research is the involvement in detailed scientific research of several valuable symphonic works of R. Ramazanov, a worthy representative of the modern generation of Azerbaijani composers, which have 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 work has undergone stylistic changes in the process of development, and modern technical methods have uniquely manifested themselves. At the same time, based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists, the article forms the methodological basis. The scientific novelty of the research is that for the first time as special research work, the article is devoted to the symphonic work of R. Ramazanov, a representative of the modern school of the composition of Azerbaijan, and the study of general creative features associated with it. The presented article for the first time scientifically analyzes the symphonic works of R. Ramazanov, which are important in his work but have not been studied so far. Conclusions. A comprehensive analysis of Ramazanov’s symphonic works in the presented article allows one to draw important conclusions about the features of the composer’s creative style. It was noted that the richness and deep content of the musical language of the bright and individual symphonic works created by Ramazanov, one of the modern Azerbaijani composers distinguished by his original creative style, in various years of his creative life are important in our national music art. It was noted that the composer’s insistence and seriousness towards himself are also felt like his works. From this point of view, Ramazanov’s symphonic music and modern writing techniques with rich images were chosen from his contemporaries and recognized in our music society and were welcomed not only in his homeland but also far beyond its borders. It should be noted that several of Ramazanov’s works have been successfully performed not only in his native Azerbaijan but also in Turkey, England, Norway, Israel, Canada, Georgia, and other countries. Ramazanov is currently experiencing a period of growth in his creativity, enriching our professional music art by creating new modern works.
Айсель Асадова
Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, Volume 4, pp 11-20; https://doi.org/10.31866/2616-7581.4.1.2021.233334

Abstract:
The article analyzes the musical language of the opera Kerem by A. Adnan Saygun. Ahmet Adnan Saygun was born during the Ottoman period and lived in the newly created Republic of Turkey. Saygun is one of the founders of the Turkish School of Composing, as well as one of the founders of the Turkish Five. The composer paid great attention to folk art and national values. You can always see folk music and folklore in his works. The purpose of the research is to analyze Sufi motives in the scenes of the opera. Mainly, the attention is paid to musical drama and harmonic aspects of the opera, which directly reflect Turkish folklore and musical culture in general. The research methodology lies in solving a scientific and theoretical problem. A number of theoretical and analytical methods have been applied, highlighting the principle of using a literary text in musical scenes that contain phrases that reflect “reunification with the Creator” in Sufism. The use of characteristic rhythmic patterns in mystical scenes, when searching for information, the methods of the axiological concept of culture were used, which made it possible to highlight the characteristic features of Turkish music. The scientific novelty of the research lies in the fact that for the first time the reflection of religious characteristics based on folk music, in particular, based on modal structures and maqams, analysis of the mystical motives of the opera, in combination with modern musical techniques is considered. Conclusions. Saigun’s opera Kerem is one of the rare works based on Sufi philosophy. A clear reflection of the main thought of Sufi philosophy was noted in Kerem, according to which the suffering of the seeker of truth is marked by a return to it. The way of light is the way of Allah. The composer, to show the unique colour and character of Anatolia, the life and customs of people, used the fret and rhythmic structure characteristic of Turkish music. As a result of the study, we see how in Kerem the author enthusiastically and passionately works on national values in all aspects of the opera.
Leila Zaliieva
Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, Volume 4, pp 21-33; https://doi.org/10.31866/2616-7581.4.1.2021.233335

Abstract:
The article is devoted to the history of the choral music development in Azerbaijan and to highlighting the ways of choirmaster art formation. The development of choral art in Azerbaijan began, firstly, with the formation of the composer creative activity. The introduction of classical choral samples with the emergence of the first opera and the formation of an ensemble for performing it are considered to be the first step in this area. Later, the emergence of professional choral collectives, the development of the opera genre, as well as the activity of music education institutions included a new stage of development. Therefore, the formation of choral music genres allowed the development of the art of conducting, especially the areas such as an opera choirmaster who leads a choir collective, a chapel choirmaster. The purpose of the research is to highlight the formation of choral conducting in Azerbaijan, to study the ways of high-level development of choirmaster art and to explore the creative path of professional opera choirmasters. The research methodology is based on historical and theoretical principles, with the help of which the position of choral art in the musical culture of Azerbaijan, the history of the formation of choral art is considered. The theoretical and methodological basis of the study was the existing works of Russian and Azerbaijani musicologists in this field. The scientific novelty of the research is connected with the fact that for the first time in Azerbaijan the ways of development of choir art are comprehensively covered. Conclusions. The involvement of Azerbaijani choral art in the research and the study of the issue mainly in terms of the conducting and choirmaster art formation have shown that the development of this art was primarily connected with composer creativity. Since the emergence of classical samples of choral music is associated with the opera genre, the art of conducting and choirmaster has entered its stage of formation, in parallel. The professional development of choirmaster art took place in parallel and mutually with the art of conducting and it was associated with the high-level organization of music education in the country. Consequently, such professional choirmasters as L. V. Frolova, A. A. Yurlov, N. Malikov, L. Atakishiyeva, E. B. Novruzov, B. Vakilova, S. Agayeva, N. Mardanov, N. Nabiyev, Z. Ismayilova, Y. Adigozalov, G. Imanova and L. Mammadova have been trained in Azerbaijan. Besides, areas such as a chapel and opera choirmaster have also developed within choirmaster art.
Rovshana Kerimova
Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, Volume 4, pp 116-129; https://doi.org/10.31866/2616-7581.4.1.2021.233343

Abstract:
The article considers some features of the symphonic poem “Caravan” by the outstanding Azerbaijani composer Sultan Hajibeyov, studied the style of the work, the principles of symphonic development, methods used in orchestration. In the symphonic poem “Caravan”, a connection with national origins is clearly manifested. The improvisational principle inherent in mugham, the organic combination of melodic developmental techniques with symphonic development, the use of variable and variational development, as well as the creative use of national frets – all this arises from national music. The article deals with some features of the symphonic poem “Caravan” by the outstanding Azerbaijani composer Soltan Hajibeyov as a program work, examines the style of the work, the principles of symphonic development, and the methods used in orchestration. The purpose of the research is to study a number of features of the composer’s individual creative style in S. Hajibeyov’s symphonic poem “Caravan”. The disclosure of programming in the work, the consistent provision of epic drama in the genre of a single-part symphonic sketch, the disclosure of the connection of this feature with the mugham genre are the main points of the research. The research is based on the disclosure of the Eastern nature image through its manifestation mainly in a calm lyrical aspect and at the same time in an internal movement. The research methodology is based on a comprehensive generalization of the research of Azerbaijani and Russian musicologists in the genre of symphonic sketch based on musical-analytical, theoretical and historical analysis. Scientific novelty of the research. For the first time in the framework of Azerbaijani music science, the figurative content and orchestral features of S. Hajibeyov’s symphonic poem “Caravan” were considered from the perspective of oriental art. At the same time, based on the analysis, certain comparisons were made with the symphonic poem “In the Steppes of Central Asia” by the Russian composer A. Borodin, and the “Caravan” composition was studied in details. Conclusions. The symphonic poem genre is important in Azerbaijani music, and many interesting examples have been created in this area. The emergence and development of the symphonic poem genre in Azerbaijani music was associated with the emergence of interest and need for samples of a single genre. Thus, in Azerbaijani music, the symphonic poem genre prevails among one-act works, and this genre originated even earlier than the genre of the national symphony. Even though the symphonic poem genre in Azerbaijani music continues the traditions of the Russian School of composition, it is based on national musical intonations. Thus, the rhythmic structure of works, artistic content, and textured form is determined by national characteristics. From this point of view, S. Hajibeyov’s “Caravan” symphonic poem is the most striking example of this genre in Azerbaijani music. At the same time, the unique orchestration, texture, and use of sound timbres of instruments opened a new page in the field of National Symphony music. In particular, the use of intonations of mugham, the Azerbaijani oral traditional musical genre, brought originality to this work.
Parvin Rustamova
Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, Volume 4, pp 130-139; https://doi.org/10.31866/2616-7581.4.1.2021.233345

Abstract:
The article is devoted to the analysis of the concert for piano and symphony orchestra by the modern Azerbaijani composer R. Agababayev. The article is very relevant from the point of view of identifying ways to implement classical traditions in a modern piano concerto of the 21st century. It must be said that in this issue we have found many such stylistic features that testify to the strong reliance of Azerbaijani composers on classical traditions. This article is devoted to the study of identifying the stylistic features of R. Agababayev’s piano concerto in the context of the historical development of this genre. Research methodology. The choice of the methodological basis for this study is due to the above goals and tasks that we set ourselves in the framework of this work. Based on the subject matter of the article, the methodological basis of this scientific work is a complex analysis, which implies the interaction of several research methods at different levels. The basis for the analytical analysis of the piano concerto was a theoretical approach, in which such aspects of the work as the problem of form formation, stylistic features of individual elements of the musical language are subject to research. The scientific novelty of the research lies in the fact that for the first time as special research work is the study and detailed analysis of R. Agababayev’s piano concerto. Conclusions. The main conclusion of our scientific research was to determine the stylistic features of the Azerbaijani piano concert created in the 21st century. Based on the data obtained during the analysis, we were able to determine the main trends and ways of development of this genre at the present stage of the development of Azerbaijani academic music. One of the important, if not decisive, aspect in achieving this kind of goal is to identify issues of preserving and transforming traditions, as well as innovative tendencies in the composer’s solution of a particular work. Single-movement piano concertos have become widespread in academic music since the beginning of the era of romanticism. And in the Azerbaijani one-part piano concerts, connections with romantic traditions are deeply felt. Moreover, in each specific work, these traditions are reflected especially. Since the concert by R. Agababayev demonstrates an interesting and original one-part interpretation, combined with an inner poly-part one, this is a typically romantic tendency associated with the composers’ desire to compress the cycle.
Elmira Humbatova
Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, Volume 4, pp 140-151; https://doi.org/10.31866/2616-7581.4.1.2021.233346

Abstract:
The article is dedicated to the piano creativity of Ogtay Rajabov, a brilliant representative of the 20th-century Azerbaijani school of composition. It should be noted that O. Rajabov is the author of many pieces for piano, and among them, the genres written for young pianists have a special place. The article analyzes some of these pieces. They include some small miniatures such as “Barkarolla”, “Lyric dance”, “Joke”, “Thought”, “Lyric waltz”, “Naughty kids”, “Remembering the Past”, “Remembering my mother”, “Sad mood” and “My memories”. In his works, the composer was able to bring the world of children to life with great skill. The article provides a theoretical analysis of each piece and specifies the stylistic characteristics inherent in the composer’s piano music. In the works, the traits of O. Radjabov’s composing style, a kind of transfer of elements of folk music, the different images within a small play, the rich imagination of the composer and many other things are highlighted. These works play an important role in the development of the technical capabilities, artistic thinking and aesthetic taste of the young performer. Here, the main characteristic feature is the variety achieved through dynamic nuances, the different development of the melody, the use of different registers, and other similar aspects. Such works are also extensive in terms of the subject matter. So, the images of various characters are reflected here. The purpose of the research is to analyze some of the small miniatures that hold a special place in O. Rajabov’s piano creativity work and set forth his stylistic features. The research methodology is based mainly on theoretical-comparative principles. The miniatures have been theoretically analyzed in terms of the means of expression of musical language and been characterized by its results. The theoretical and methodological basis of the research is constituted of works by Russian and Azerbaijani musicologists available in this field. The scientific novelty of the research lies in pioneering a study of the composer Ogtay Rajabov’s piano creation and his directly analyzed miniatures as a research object for the first time. That is to say, in this article, O. Rajabov’s piano works have been subjected to theoretical analysis for the first time. Conclusions. The contents commonality of the last four pieces, including the fourth one among the ten pieces we have analyzed, has united them somewhat in a series. As for such pieces as “Joke”, “Naughty kids”, “Lyric waltz”, “Barcarolle” and “Lyric Dance”, they mostly combine in one theme the different moods and emotional states of children’s world, expressing it in itself. Among the features that summarize and differentiate the pieces, there is a preferred type of texture, the methods of theme development, use of polyphonic style. In particular, the contrast that occurs as a result of dynamic nuances when playing the theme in different registers is observed in most of his pieces. The analyzed pieces serve as a valuable tool for the formation of a young pianist’s aesthetic taste, as well as the development of artistic and technical performance.
Рена Мамедова (Сарабська)
Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, Volume 4, pp 34-44; https://doi.org/10.31866/2616-7581.4.1.2021.233336

Abstract:
An early article is devoted to the study of the concept of Eurasianism in the context of comparative art history. The presented article emphasizes that modern art history requires methodological innovations that will reveal the features not only of the national specifics of music, but also the parameters of its dialogue with other cultures. The article discusses the concept of musical genocide as an analogue of an innate program that determines the vectors of the artistic culture evolution. As a result, it is possible to determine both universal ethnocultural and the specificity of regional conditioned properties of culture. The purpose of the research is to determine the comparative parameters of the Eurasian culture. The research methodology lies in the method of historicism. Of fundamental importance, he can reveal the logic of historical thinking. The prospect of using the method of historicism lies in the possibility of approaching the complex whole of Eurasian culture in its historical movement, in the unity and development of its constituent parts. Behind the variety of manifestations, the main, common lines of the historical development of Eurasia are being built. The scientific novelty of the research undertaken in this article is to form a number of provisions of the comparative analysis. For example, the concept of a gene formula, a typological series. Conclusions. The category of the gene formula formulated in the article is a historically conditioned sign function of culture. The gene formula is generated by the collective experience of the ethnos and has semantic meaning. At the same time, the gene formula defines a specific type of pitch that ensures the vitality of the music and realizes the identity of the culture.
, Iryna Riabchun
Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, Volume 4, pp 45-60; https://doi.org/10.31866/2616-7581.4.1.2021.233338

Abstract:
The article focuses on the history of origin, the specifics of sound production, the philosophy of performance of the carillon – a European musical instrument, which in recent decades has become active in Ukraine. The purpose of the research is to analyze the history of the carillon origin, its design, technical and expressive means of sound extraction and musical representation of composition and performance. Research methodology. The article uses historical, axiological, musicological and culturological approaches and corresponding methods. The historical-chronological method is used to consider the history of origin, stages of carillon distribution in Europe and the world, axiological – to determine the artistic and psychotherapeutic value of bell (carillon) sound, musicological and culturological methods contribute to various analysis’ aspects of the place and meaning of Ukrainian carillon. Scientific novelty of research. A historical retrospective of the carillon’s spread has been carried out; generalizations regarding its constructive, melodic-intonation, technical, figurative-artistic properties, in particular, in the Ukrainian sound space, have been introduced into the scientific circulation of Ukrainian musicology. Conclusions. The history of the creation of stationary and mobile carillons in Ukraine, stages of entering the specified musical instrument into the Ukrainian sound space, the character of the repertoire performed on it, pedagogical and performing aspects of its popularization have been analyzed. The dynamics of the International Festival of Bell and Carillon Art ‘Bells of Yasna Hora Unite Everyone’ is noted. The performance possibilities of the timbre combination of the carillon with other instruments and singing voices are noted. The technical and expressive significance of synthesizing carillon and the ensemble of bandurists has been highlighted and analyzed. Textural variation of ensemble combination of carillon and ensemble of bandurists and possibilities of thematic and genre extension of repertoire has been proposed.
Гюнель Ейваззаде
Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, Volume 4, pp 89-100; https://doi.org/10.31866/2616-7581.4.1.2021.233341

Abstract:
The article examines the scientific work of one of the prominent representatives of the 20th century Azerbaijani piano performing school, Honored Art Worker, Professor Nigar Usubova (1914–1994). N. Usubova devoted an important part of her life to pedagogical activity, raising a generation of talented pianists. She made an exceptional contribution to the development of the Azerbaijani piano school and the definition of its future directions. N. Usubova’s pedagogical principles are reflected in her dissertation work and methodical manual. As it is known, N. Usubova studied in the class of A. Goldenweiser and wrote these scientific works under the guidance of the prominent pianist. An important part of these scientific works is devoted to the study of A. Arensky’s piano creative activity. Here, the musician touched upon the features of the composer’s piano performing, as well as the characteristic features of his music. The research also provides performing characteristics of the works analyzed and covering various genres. The purpose of the research is to study the fundamental results and main performing principles in the scientific works dedicated to A. Arensky’s piano creative work by Nigar Usubova, a brilliant representative of the Azerbaijani piano school of the twentieth century. In these scientific research works, N. Usubova touched upon the features of the prominent composer’s piano creative work, performing principles, circle of images; moreover, analyzed the form, genre, tone and other aspects and conducted research on the background of characteristic features of Russian music. We would like to bring to your attention that N. Usubova’s scientific works have not been published. This raises the scientific significance and relevance of the topic more. These scientific works are the first research work dedicated to the study of A. Arensky’s piano music in the Azerbaijani science of music. The research methodology is based on analytical and theoretical analysis, as well as on the source research method (work with archival materials). The main principle is the study and analysis of the fundamental results obtained by N. Usubova in the study of piano music by A. Arensky The scientific novelty of the research is that for the first time the scientific works of the outstanding pianist Nigyar Usubov are studied, their scientific significance, as well as the issues reflected in those works, are revealed. We would like to bring to your attention that these scientific works reflect N. Usubova’s method of approach to A. Arensky’s piano pieces as a pianist. For this reason, these scientific works are a valuable recommendation for every pianist who turns to A. Arensky’s piano creative work. Conclusions. Nigar Usubova is the author of two scientific works and her scientific creative activity is devoted to the definition of performing features of A. Arensky’s piano creative work. Each of these scientific-methodical works was written under the guidance of a prominent representative of the Russian piano school, pedagogue A. Goldenweiser. In these works, N. Usubova worked on A. Arensky’s creative work in a comprehensive and detailed way. According to the author, A. Arensky’s piano creative work is characterized by the clarity of form and texture, the richness of melodic material, which brings him closer to Tchaikovsky’s chamber music. Although the composer prefers miniature forms in his piano creative work, it is also possible to find virtuoso pieces, etudes, scherzos and capriccios. These works, in particular, influenced the formation of S. Rakhmaninov’s and A. Scriabin’s creative activity. The main characteristic features here are polyphonism, polymelodism and polyrhythmics of the piano texture. Simultaneously, N. Usubova thoroughly studied the influence of Western European composers on the formation of A. Arensky’s creative activity.
Осман Озель
Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, Volume 4, pp 152-166; https://doi.org/10.31866/2616-7581.4.1.2021.233348

Abstract:
The article is devoted to the study of the features of the vocal performance of the Honored Artist of the Republic of Azerbaijan Ilham Nazarov, who entered the history of Azerbaijani musical culture as the first performer with a countertenor timbre of voice. At the same time, the singer's uniqueness in vocal art lies in the fact that he has a wide range, as well as various vocal timbres, which determines the use of various performing techniques. The purpose of the research is to determine the features of Ilham Nazarov’s vocal performance technique as a countertenor and the influence of elements inherent in Azerbaijani music on his performance technique. The research methodology is based on the use of methods of music-analytical, historical, theoretical analysis, as well as physiological analysis of voice. In the article, the characteristics of the performer’s voice are also presented with documents, which are confirmed through laboratory tests. The methods and principles of the approach used in the framework of the research are aimed at studying the features of the musician’s voice and studying the characteristic elements of Azerbaijani music in its performance technique. The scientific novelty of the research is that the influence of Azerbaijani music on the performance of the Honored Artist of the Republic of Azerbaijan Ilham Nazarov is being investigated for the first time. At the same time, the author explains the place and importance of the musician’s work in the art of vocal performance in Azerbaijan. I. Nazarov is the first performer with a countertenor voice timbre in the art of vocal performance in Azerbaijan. Voicing samples of national music with such a timbre of the voice itself requires a technique of distinctive performance. In this respect, the structure of the musician's performance is a process based on a complex technique. These features have been first studied and investigated on a scientific basis. Conclusions. Based on the study of the features of I. Nazarov’s performance, the following may be concluded: I. Nazarov is a vivid example of the art of vocal performance in Azerbaijan. The features of the voice turn the performer into a unique phenomenon in the musical culture of Azerbaijan. The study focuses on the physiological features of the musician’s voice and presents the size of the vocal folds for the first time. This explains the volume of the broadband of the performer’s voice, as well as the reason for his performance by both the bass and countertenor timbre of the voice. The countertenor timbre of the voice has a distinct technique of performance. Performers having such a timbre of voice mostly refer to the composers’ works of the Baroque period. Voicing the national music of Azerbaijan with a countertenor voice timbre in itself means the combination of two different performance techniques. Thus, in his work, the performer successfully combined the technique of countertenor performance with the features of the original performance of Azerbaijani mugham. As a result, the musician was successful in forming a unique, original style of performance.
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