Əşrəf Abbasovun yaradıcılığı beynəlxalq elmi nəşrdə yer alıb.
Azərbaycan bəstəkarlıq məktəbinin görkəmli nümayəndələrindən olan Əşrəf Abbasovun yaradıcılığı ilə bağlı araşdırma beynəlxalq səviyyədə yüksək qiymətləndirilib.
Sənətşünaslıq üzrə fəlsəfə doktoru Ruslan Tağıyev tərəfindən aparılan elmi tədqiqat Ukraynada keçirilən beynəlxalq konfransda ingilis dilində təqdim olunaraq qəbul edilib. Araşdırma daha sonra “ПЕРФОРМАТИВНІ МИСТЕЦТВА У ПРОСТОРІ МІЖКУЛЬТУРНОГО ДІАЛОГУ: ТЕОРІЯ, ІСТОРІЯ, ПРАКТИКА” adlı elmi monoqrafiyada dərc olunub.
Bu mühüm nailiyyət Azərbaycan musiqi mədəniyyətinin və milli bəstəkarlıq irsinin beynəlxalq elmi müstəvidə təbliği baxımından əhəmiyyətli hadisədir. Tədqiqatda Əşrəf Abbasovun yaradıcılığının bədii-estetik xüsusiyyətləri, milli musiqi ənənələrinin inkişafındakı rolu və sənət irsinin müasir elmi baxışlarla təhlili öz əksini tapıb.
Qeyd edək ki, beynəlxalq elmi nəşrdə yer alan bu araşdırma Azərbaycan musiqişünaslığının dünya elmi məkanında tanıdılması istiqamətində uğurlu addımlardan biridir.
XeberTıme.az elmi monaqrafiyanı təqdim edir:
Ruslan Tagiyev
Doctor of Philosophy in Art Studies
Sumgayit City Bulbul Children's Art School № 2
[email protected] ORCID iD: 0009-0000-5819-6702
Baku, Azerbaijan
PERFORMANCE FEATURES OF THE «BAYATI-SHIRAZ» MUGHAM IN THE CREATION OF AHSAN DADASHOV One of the outstanding musicians of Azerbaijan was Honored Artist Ahsan Dadashov (1924-1976). He showed interest in music from childhood and was admitted to the tar class of the Azerbaijan State Music College in 1938. Since 1960, A. Dadashov created the «Khatira» folk instrument ensemble under the Azerbaijani Television and was the artistic director of this ensemble until the end of his life. In addition to a number of composer's works, A. Dadashov also composed instrumental mughams. He was a professional performer of mughams such as «Rast», «ZabulSegah», «Orta Mahur», «Humayun», «Shur», «Vilayeti Dilkesh» and «Chahargah», as well as «Bayati-Shiraz». The instrumental mugham «Bayati-Shiraz» performed by A. Dadashov attracts attention with its rich timbre. The master craftsman traditionally began the mugham with the «Bardasht» section. He performed this section in a medium tempo, in a question-and-answer format, in two periods. In A. Dadashov's performance, this theme is expanded starting from the underlying leading tone of the melody, and at the same time, the melody of the first period is referred to only once. The melody of the second period of the section is again built on the theme of the first period and performed. Thus, the fluidity of the theme is expanded by moving at a rapid pace from the lower leading tone of the fluid to the upper fifth of the fluid, and then returning to the lower leading tone of the fluid, which is expected in the fluid. This is a kind of announcement. Consequently, in the subsequent development, the theme presented in the announcement was further expanded; the melody progressed to the upper fifth degree of the maye and to the upper leading tone of that upper fifth, before returning to rest briefly on the mediant degree of the maye. In the further progression, the melodic flow descends from the mediant tone of the maye down to its sub-mediant tone, pauses there, and gradually advances toward the tonic (root tone) of the maye, thereby completing the second period. Following this, A. Dadashov transitioned to the «Maye Bayati-Shiraz» section (shobe). In the master's interpretation, this section was performed with composure, at a moderate tempo, and within the framework of three periods. Here, as noted by K. Ahmadov regarding the performance characteristics of «Maye Bayati-Shiraz» A. Dadashov made extensive use of the yellow string (sarı sim), yet sounded the sequence of plectrum strikes (mizrab) in his own unique style. In A. Dadashov's rendition, this section is performed somewhat slowly and plaintively. The melody of the first period begins from the upper leading tone of the maye (tonic), is performed within the interval of a minor third, rests briefly on the mediant of the tonic (maye), and is developed from the upper fifth degree down to the tonic (maye), pausing for a moment. In the subsequent development, the melodic flow, starting from the tonic, expands to the lower leading tone and from there to the upper fourth degree, gradually descending back toward the tonic. Following this, the melody rises again toward the upper fifth degree, gradually descends to the tonic, and concludes the melody of the second period on the tonic. In the third period, during the alternation of the upper fifth and fourth degrees of the tonic (maye), the resulting melody rests briefly on the mediant degree. In the next stage, the resulting phrase descends slowly to the lower fourth degree, and the continuation of the theme moves stepwise toward the tonic, completing the third period. After finishing the «Maye Bayati-Shiraz» section, A. Dadashov performs the central section, «Bayati-Isfahan». In the master's performance, this section was played very slowly and with great restraint within four periods. In his approach, the melodic intonation and character of «Bayati-Isfahan» are conveyed to the listener in an extremely calm and sorrowful manner. Subsequently, the tar player performed the «Zil Bayati-Shiraz» section in three periods. In the master's rendition, this section sounds somewhat distressing and mournful. The performer then transitioned to the «Uzzal» section. «Uzzal» is one of the high-register (zil) sections of the «Bayati-Shiraz» dastgah. Here, after performing «Uzzal» in the high register in two periods, the performer transitioned to the «Shikasteyi-fars» melodic passages (gushe) in the low (bem) register (Example 1). Example 1. «Uzzal» [2, p. 83]. Afterwards, the master artist returned to the high register (zil) and performed the «Suzu Gudaz» gushə within the framework of one period. As previously mentioned, since this gushə is closely related to the «Segah» mugham, it is performed in the high register following «Shikasteyi-fars». The master artist skillfully utilized the «Suzu Gudaz» melodic passages (gushe) specifically to transition to the «Ayaq»(cadence/concluding) melodic passages (gushe) of the dastgah. The musical notation for the aforementioned gushə is presented below (Example 2). Example 2. «Suzu Gudaz» [2, p. 84]. After performing the «Suzu Gudaz» melodic passage (gushe), the master returned to the «Maye» tonic degree through the «Ayaq» melodic passage (gushe), thereby concluding his overall performance of the «Bayati-Shiraz» dastgah. The core characteristics of A. Dadashov's performance include his performance dynamics, the articulation of complete musical ideas within phrases, and his remarkably weighty and complex plectrum techniques (mizrab). The sections (shobe) and melodic passages (gushe) of the instrumental «Bayati-Shiraz» mugham as performed by A. Dadashov are presented as follows: «Bardasht», «Maye BayatiShiraz», «Bayati-Isfahan», «Zil Bayati-Shiraz», «Uzzal», «Shikasteyi-fars», «Suzu Gudaz» and «Ayaq» [1]. In conclusion, it should be noted that «Bayati-Shiraz» is one of the fundamental dastgahs of Azerbaijan, and Ahsan Dadashov is truly one of its finest performers. During the performance, the artist's unique plectrum ornamentations and the magnificent phrases he created within the sections (shobe) and melodic passages (gushe), of the mugham have, in the truest sense, further enriched the aesthetic appeal of the mugham.
REFERENCES
1. Ehsen Dadashov «Bayati-Shiraz». YouTube. URL : https://www.youtube.com/watch?v=9goweO9Rkqo (date access: 21.03.2026).
2. Tağıyev R.Ə. «Bayatı-Şiraz» dəsgahı: Monoqrafiya. Bakı: AFPoliqrAF, 2026. 176 s.
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