「ムガム」の版間の差分

 

==分析==

Part of the confusion arises from the fact that the term itself can have two different, if related meanings. The famous Azerbaijani composer [[Gara Garayev]] has the following explanation: “The expression ''mugham'' is used in two senses in the folk music of Azerbaijan. On the one hand the word ''mugham'' describes the same thing as the term ''lad'' [Russian for key, mode, scale]. An analysis of Azerbaijani songs, dances and other folk-music forms show that they are always constructed according to one [of these] modes. On the other hand the term ''mugham'' refers to an individual, multi-movement form. This form combines elements of a suite and a rhapsody, is symphonic in nature, and has its own set of structural rules. In particular one should observe that the ''suite-rhapsody-mugham'' is constructed according to one particular ''mode-mugham'' and is subject to all of the particular requirements of this mode.” (Sovetskaya Muzyka 1949:3). Azerbaijani conservatory throughout the 20th century produced significant scholars and scholarship. Among them, Rena Mamedova explored the philosophical content of mugham, as an Azerbaijani "formula of creative thinking".<ref>Rena Mamedova, ''Rol' maye''. Baku: Akademiia Nauk Azerbaijana, 1985.</ref> Elkhan Babayev wrote extensively on rhythmic aspect of mugham performance.<ref>Elkhan Babayev, ''Ritmika Azerbaijdzhanskogo dastgah''. Baku: Ishig, 1990.</ref> The native scholars continued and expanded Hajibeyov's analysis of mugham.<ref>Ramiz Zohrabov, ''Teoreticheskie problemy Azerbaidzhanskogo mughama''. Baku: Shur, 1992; Shakhla Mammadova, Tematizmn mugham. Baku: Shur, 1997.</ref>