Mugham - Muram

[KGrigory]

I found an old recording that was given to me a long time ago by a clarinet player from baku. It is Armenian muham (mugam). There is a clarinet playing and a lady singing. The clarinet player is Karo Chorchogaryan, and the recording was made in the 50's. The lady singing is a refugee from the ottoman empire. I have never heard this style of music among Armenians so I thought it was interesting. I converted it to mp3s and you can listen to it here: http://icdweb.cc.purdue.edu/~kgrigory/armenian/

 

or for a lower bitrate you can listen to it here: http://icdweb.cc.purdue.edu/~kgrigory/armenian/lq/

 

I would like your feedback or any other type of information you may have on this type of music or on the lady singing. Thanks for your input.

[MosJan]

/ HAyeren Xosum es /// indz hamar shat aveli hest e iys temayi shurj HAyeren xosel, yete voch k@patasxanem anglerenov.

[KGrigory]

lav chem xosum hayeren, bayts sovorumem. Ozumem gidem hova etpes lav yerkum?

recorded: 1960?, baku.

clarnet: Karo Chohchogoryan

[MosJan]

shat bari

Portsem KArj yev Konkret

 

Arajin@ sa Karo Chorchogaryan chi iyl -Chorni Xachon - yergich@ Yerevantsy e , dziynagrutyun@ 1965-70 tvakani , yergichi anun@ yete chem sxalvum Hovhanes kam Hovik -

 

Mugham - Muram

 

Muram@ da Arevelqi Pilisopayutyun e- skizb e Arel Parskastanits - yete ushadrutyun darstnes nuynisk muramneri anuneri mets mas@ der parskakan anunerov en - Muram Segya (Truk #1 ) Muram RAsti ( Siraharneri HAndipum ) muram Jergiya - Murram Char Jergya ( Yergi mer Muram@ 4 angam e nvagvum )~~~

kan murrami 100its aveli tesakner, amen murram uni ir orenq@ yev petqe nerkayatsni voroshaki notaneri xumb, petqe sksi voroshaki notayits yev verchana voroshaki notayov yev qaylerov verevits nergev yev nergevits verev, mek nota verev kam nergev da urish murram e yev kam nuyn murrami yenthajur....

 

- Karo Chorchogaryan - 30aman tvakanerin Kovkasi amenahaytni porrayin gortsik n@vagor@ - Zurna - shvi - clarenet- duduk. Karo Chorchogaryan'its en sovorel eyv @endhorinakel en jamanakis amenamets astrer@ - Vache Hovsepyan,, chorni xacho, Abarantsy valod, yev yes KAtak em anum yes yerrajisht chem :

 

yerb asum en te Stalin@ qari pes mard e yerel - barekam@s metseri patmelov yerb Karo Chorchogaryan yev Hrant Torosyan@ ( qyamanche - TAr ) n@vagel en Stalini patvin ir xnjuyqnerits mekum, na zuyg achqerov e lats yerel yev yerkusin el mets maqevner tvel.

 

shateris hamar tsanot e murram@ vorpes rabiz yerajshtutyan masnik, sakayn muram@ tarber voji yerajshtutyan mej tarber e, nuyn inq@ jazz@ uni ir muram@ ( mood ) kam blus@ kam ~~~~~, urraki kam muram yev ka murram mets kaxum iuni nayev yergichi katarum@, orinak iys yergeri mej ogtagortsvum e Gerezmani k@l k@l, sa shat e taratsvats gerezmani yergiochneri mot (Voxbi yerb ), iys dzevov en nayev yergel adrbejamanakan voxbi yerger@ yev parskakan vaxbi yerger@. hameniyn deps amen inch galsi yev kangnum e PArskakan b@nax-pyuri vra.

 

Muram@ yerashtutyan hamn u hotn e, yev amen mardu el hasaneli che murami imast @yev qartsrutyun@, yete iharke iyn katarvum e jisht.

orinak murram vor yergum e yergich@ iys yergerum indz hamar shat hajeli che, skayn clarnetyi yev duduki murram@ hoyakap e.

 

MOvses

 

[ December 17, 2001: Message edited by: MosJan ]

[hayemyes]

AZERBAIJAN MUGAMS

Mugams, being the most ancient and the rearest

 

«pearls» of Azerbaijan music culture, are mature creative expression of moral world of people's wit. Azerbaijan music is based on Mugam. Mugams, which are foundations of our music, are art taste of not only Azerbaijan, but also all of Eastern people. In historical source, there is an information about the existence of great music culture in the states; Shumer, Manna, Midia.

 

In the X-IX centuries B.C., during the leadership of Midia, around the lake Urmia, the Mugs, being ancient Azerbaijan tribes, living in Mugan, were spreading out their scientific knowledge in palaces, among the people and were involved in music. Nizami Ganjavi, (1141-1209) stating, that the Mugs were musicians, writes in his «Igbalname»: «Singer, play an ancient melody. Play some Mugan melody like the Mugs». According to this, we can say that Mugam melodies first appeared in the territory of Mugan. The music critics of Iran, Arabian countries and also other countries, making investigations of mugam state, that mugam had been widely spread out in Sasani times (III-VII centuries) and mugams were played in the form of «destgah», which means in groups. As the most talented musicians of the time were working in the palaces, that is why mugams were created by these artists there.

 

Mugams have been the most favorite music of the Turks, the Arabs, Persians, Indians and other peoples, living in the big geographical–administrative territories, for many centuries and in each country mugams improved people's inherent moral features. Mugams, being a central genre of Eastern traditional music, based on oral traditions, were called differently in the languages of different peoples. But the essence is the same. Azerbaijani called this musical genre as «mugam», Turks and Arabians as «makam», Persians as «destgah», Indians as «paga», Tadjiks and Uzbeks as «makom», Turkmens and Uygurs as «mukam», the Japaneses as «gaganu», Indonesians as «patet», the Kazakhs as «kuy», the Kirghiz as «ky», Pakistani as «khayyal».

 

Beginning from IX-X centuries, the science of music began its development in the countries of Near and Middle East. The first scientific information about the mugams is given in the poem «Gabusname» by Keykavus. But as the note writings of the mugams, created in the Middle Ages did not come till our time, we can find information about them in the handwritings of Eastern music critics living in the IХ–ХIХ centuries. The founder of Eastern music Science Abu Nasr Mohammed Farabi (865-950) writes his work «Kitab-ul musigi-al-kabir» («Great book about the music»). Abu Ali Ibn Sina's (980-1037) work called «Risatun fi elm–ul-musigi» (the treatise about music) became the most widespread work. At the beginning of XII century the encyclopedia called «jame–ul-ulum» of Fahraddin Al Razi introduced to music lovers. In the XIII century the outstanding Azerbaijan music critic Safiaddin Urmavi (1230-1294) enriched music science by «Kitab al-advar» (Book of Times) «Sharafiyya» treatise. Mohammed ibn Abubakr Shirvani wrote and completed the book «Ikhvanus-safa music». In the XIV century Mahmud ash-Shirazi and Mohammed ibn Mahmud Al-Amuli also wrote their scientific works on music.

 

Azerbaijani music scientist of XIV-XV centuries Abdulgadir Maragai (1353-1433) took science of music to the highest level by his works; as: «Megasir ul-alhan» (1413), «Jame–ul-Alhan» (1418), «Favaidi-ashara» («10 advantages»), «Lahniyya» («About melody»), «Kanzul-alhan» (Music Treasury) and «Zubdatyl advar fi sharhi risalatil advar» («Selected melodies in the explanation of music collection»).

 

In the XVI-XVII centuries new information about mugams was given to music lovers in the treatise «Risalei-musigi» of Najmaddin Kavkabi, in the book of Darvish Ali, who was the musician at the palace of Imam Gulu khan (1611-1642), and in the work called «Risalei-Musigi» of Azerbaijani musician Mirzabay.

 

In the ХIХ century, Mir Mohsun Navvab, writing about mugam culture, explained the origin of mugams, musical instruments, alikeness of poetry and music in his work called «Vuzuhil-apram» and also wrote about the branches, types and melodies of mugam «destgahs» not only in Azerbaijan, but also in all Eastern countries. He also made schedule of them.

 

Azerbaijan mugams, being different from pieces of music of this genre, have been enriched in the essence by the talent of conducting of our singers and have been matured in the form. From this point of view, mugams consisting of different melodies, appeared in accordance with definite events, were called differently depending on the essence:

 

mugams of lad-magam (type) («Shur», «Humayun», and etc), mugams of emotional-figurative structure («Semai-Shams, «Rast», «Dilkash» etc.), mugams of different areas («Arazbari», «Garabagh Shikastasi», etc), mugams of different persons («Shah Khatai», «Khostovani», «Huseyni», etc), mugams of different cities («Bayati Shiraz», «Bayati-Isphahan» , etc), mugams of different nations' names («Bayati-Kurd», «Bayati-Turk», etc.), mugams called according to the way of conducting («Kesme shikasta», etc) and according to the ordinal numerals («Yegah», «Dugah», «Segah», «Chahargah», «Panjgah»).

 

In the beginning of ХIХ century Azerbaijan literary sphere entered its new development stage. In Shusha «Majlisi-Faramushan», and «Majlisi-Uns», in Shamakhi «Beytus-Safa», in Baku «Majmausi-Shuara» poetry-musical literary «mejlises» (gatherings) began their activity. Differing from other cities of Azerbaijan, Shusha becomes the cultural center of famous poets, music critics and singers. Singers of marvelous art center –Shusha represented Azerbaijan music not only in their Motherland, but also in other Eastern countries, creating the history of Azeri music. The music talents of Shusha appeared neither in the cities of Caucuses nor The East. Shusha vocal school takes the same position in the history of the East, which Italian vocal school in the history of European music. Shusha was called «Italy of Caucuses».

 

The names of famous singers, «tar» and «kamancha» players, who eastablished Azerbaijan mugam school in the first beginning of ХIХ century , also being famous in Near and Middle East by their wonderful voices, are given in undergiven tables:

 

Famous singers:

 

Haji Husu

Mashadi Isi

Adulhassan khan Igbal

Keshtazli Hashim

Ala Palaz oglu Molla Rza

 

Bulbuljan (Abdulbagi Zulalov)

Jabbar Garyagdi oglu

Shahnaz Abbas

Kechechi oglu Mahammad

Hasancha

 

Mirza Mahammadhassan

Malibayli Hamid

Zabul Gasim

Segah Islam Abdullayev

Mashadi Mammad Farzaliyev

 

Bulbul (Murtuza Mammadov)

Seyid Shushunski

Zulfu Adigozalov

Khan Shushunski

Shakili Alasgar (Abdulayev)

 

 

 

Famous «Tar» (National music instrument) Players

 

Aliasger

Sadigjan

 

(Mirza Sadig Asad oglu)

Mashadi Zeynal

Javadbey Alibay oglu

Mirza Mansur

 

Mansurov

 

Mardi Janibayov

Mashadi Jamil Amirov

Shirin Akhundov

Gurban Pirimov

Bala Malikov

 

 

Famous «Kamancha» (National music instrument) Players

 

Garachi Haji bey

Gulu Aliyev

Bahdagul Oglanlari

Mirza Muhtar Mammadzadeh

 

Sasha Ogenazeshvili

Rasim Shirinov

Boyukkishi Aliyev

Habil Aliyev

 

 

 

 

In the first beginning of ХIХ century the singers were singing by the accompanying of «tar», «kamancha» and «yastibalaban» (national musical instruments. This group of 4 men consisting of the singer and the players was called group of «sazendes (players)». In the beginning of XIX century the group of 4 players became consisting of 3 persons: singer, tar, kamancha and goshanagara players. The songs of this group of 4 men and triple (group of 3 men) were dedicated mostly to love and female beauty. In accordance with the changes in spirits of people, the way of singing mugam also changed. So, mugam was being sung during 2-3 hours before, but later this time was shortened and became 15-20 minutes.

 

Beginning from the Middle Ages till the beginning of XX century, mugam was considered to be an art, conducted only by the male singers, but in spite of this fact, beginning from the 20s years, the names of talented female singers, who developed our culture and took it to the pick, are given in undergiven schedule:

 

Hagigat Rzayeva

Yavar Kalantarli

Gulkhar Hasanova

Shovkat Alakbarova

Rubaba Muradova

 

Fatma Mehraliyeva

Tukezban Ismayilova

Sara Gadimova

Nazakat Mammadova

Zeynab Khanlarova

 

Sakina Ismayilova

Melekkhanim Ayyubova

Gandab Guliyeva

Shahnaz Hashimova

 

 

The delicacies of poetry, expressing philosophy of life, love to nature, love for all the men, which exists in Azerbaijan mugams – unit of poetry and music, is the most important thing, which makes completeness together with wonderful music melodies. The following outstanding Azeri poets praized mugam in their works: Gatran Tabrizi, Mahsati Ganjavi, Nizami Ganjavi, Falaki Shirvani, Givati Mutarrizi, Khagani Shirvani, Imadaddin Nasimi, Mahammad Fuzuli, Molla Panah Vagif, Gasim bey Zakir, Seyyid Azim Shirvani, Huseyn Razi, Bakhtiyar Vahabzadeh, Aliaga Vahid, Samad Vurgun, Suleyman Rustam.

 

 

 

NOWADAYS AZERBAIJAN MUSIC ART CONSISTS OF THE FOLLOWING MUGAMS:

 

Rast

Shur

Segah

Chahargah

Bayati-Shiraz

Shushtar

 

Humayun

Mahur-Hindi

Bayati-Gajar

Orta Mahur

Dugah

Zabul-Segah

 

 

Divisions (sho'be) and branches (gushe) of mugams according to their composition:

 

Deramed

Berdasht

Reng

Diringi

Shobe

 

Gushe

Avaz

Maye

Tasnif

 

 

Daramad: «Daramad» is an instrumental melody widely used in mugam «dastgahs» and it is an introduction part of vocal-instrumental mugams. «Daramad» expresses the features of mugam to which it refers and it is called as the mugam.

 

Berdasht: «Berdasht» is an instrumental melody written in the genre of oral traditional music. «Berdasht» is widely applied in mugam art. From this point of view, «Berdasht» is an introduction part of instrumental mugam «destgshs».

 

Reng: «Reng» is played after definite divisions of «destgah» and is called as the mugam it refers to. By nature, «rengs» are divided into those, looking like a dance, a march, and lyric ones. The first type of «reng» is «Diringi».

 

Diringi: «Diringi» is a melody, less than «reng» and it is more danceable than «reng». It is usually played in divisions or branches of little volume, or finalizes them.

 

«Reng» and «Diringi», being a piece of music, when played, gives a singer an opportunity for preparing for the next mugam division.

 

Gushe (branch): Im comparison with division, «Gushe» is a mugam episode of improvisation character, with less volume. Like, divisions, branches also have different names.

 

Avaz: «Avaz» usually means a completed musical sentence. «Avaz»s have no definite names and they are sung either within divisions or branches. So, a division is made of 5-6 «avaz»s, and a branch is made of 2-3 «avaz»s.

 

Maye: «Maye» plays a main role in vocal-instrumental and instrumental mugams and it determines their structure by its essence. «Maye» plays a central role in mugam «destgah»s and all the divisions of «destgah» are activate around it. The conductive features of divisions and branches generally depend on «Maye» part.

 

Tasnif: «Tasnif», has a lyric and dance like character and is sung after the singing of each division of mugam «destgah». Each of tesnifs are sung independently as a complete piece of music.

 

2. Mugams of little volume:

 

Gatar

Rahab

Shahnaz

Bayati-kurd

Dashti

 

 

Mugams, which are less in volume than destgahs, and which have less divisions and branches are called little volume mugams. They usually consist of 3-5 divisions or branches. «Gatar», «Bayati-Kurd», and «Dashti», having been divisions of mugam destgah, being enriched by branches coinciding with their own melodies, and «Rahab» and «Shahnaz» mugams by decreasing of their divisions and branches have changed and became mugams of little volume.

 

3. Impact mugams:

 

Heyrati

Arazbari

Mansuriyye

Semayi-Shems

Maani (Osmani)

 

Ovshari

Heyderi

Garabagh Shikastasi

Kesme shikasta

 

 

One of the widely spread genres of Azerbaijan oral-traditional music are impact mugams. When they are sung, in the ensemble, accompanying the singers, impact instruments are preferred. Impact mugams begin with instrumental introduction of active-emotional character and on the basis of musical parts of this introduction the main melody is played.

 

The songs, tesnifs, operas, symphonies and other musical genres created by our composers are based on mugam. So, they widely used mugam in their creative activity. The outstanding composer Uzeir Hajubayov composed his operas; «Leyli and Majnun», «Sheykh Sanan», «Rustam and Zohrab», « Koroglu», «Shah Abbas and Khurshid Banu», «Narun and Leyla», «Asli and Karam» on mugams ans at the same time, he wrote his fantasies for national musical instruments orchestra on «Chahargah» and «Shur» mugams. These fantasies are called the same as the 2 mugams. He prepared «Arazbari» mugam for cord orchestra, established new gazal (classic poem)-romance genre, based on Nizami Ganjavi's gazals «Sensiz (Without you)» and «Sevgili janan (Belowed)». Muslim Magomayev in his opera «Shah Ismayil», Zulfugar Hajubayli in his opera «Ashig Garib», Shafiga Akhundova in her opera «Gelin Gayasi» have used mugam melody. Asaf Zeynali applied mugam to chamber instrumental music, also he wrote his work «Mugamsayagi» for violin and piano and «Chahargah» for piano. Fikrat Amirov, when writing «Shur» and «Kurd-Ovshari» symphonic mugams, he kept traditional structure of «Shur» in «Kurd-Ovshari» he used examples of impact mugams. He wrote his «Azerbaijan» capriccio on «Mahur» tasnif. Azerbaijan tasnifs are wonderfully expressed in Fikrat Amirov's «Gulustan-Bayati Shiraz» symphonic mugams. Composer and conductor Niyazi in his «Rast» symphonic mugam, Suleyman Alasgarov in his «Bayati-Shiraz» symphonic mugam, Jovdet Hajiyev in his «The fourth symphony» and in «Ballada» written for piano, Gara Garayev in his «The third symphony», have used mugam melodies. Chorus, sung in the 3rd part of «Azad» opera of Jahangir Jahangirov is «Chahargah» mugam. He created role of Fuzuli by means of «Rahab» mugam in the introduction of «Fuzuli» cantata.

 

In his «The Fourth Symphony» and «The Sixth Synphony», Arif Malikov used melodies of mugam destgahs. He also composed his «Love Legend» ballet on «Humayun» mugam. Agshin Alizadeh has professionally used «Shur», «Chahargah», «Segah», «Vilayati» mugams in his «Fourth symphony» called «Mugamvari». Russian composer R. Gliyer in his opera «Shahsanam» used «Arazbari» mugam and 30 Azerbaijan national songs and ashig n songs (national melodies).

 

Afrasiyab Badalbayli used «Mansuriyye» and «Heyrati» mugams in his ballets «Giz Galasi (Maiden tower)». Soltan Hajibayli in his «Karvan» symphonic work has used musical colourings of impact mugams. Learning and investigating of mugam, which is an oral-traditional mucis of the East, is one of the most important tasks of music critics in the World.

 

Beginning from the Middle Ages till nowadays, studying this genre of Eastern music culture has become the theme of research of the scientists. A number of articles, research works have been written. The names of these scientists are given below: Al-Kindi, Al-Munajjim, Al-Farabi, Ibn-Sina, S. Urmavi, G.Shirazi, Al-Amuli, Al-Jurjani, Abdulgadir Maragai, Shabaddin Ajami, H. Farter, K..Zaks, R. Derlanjs, Kamal Al-Holan, Ahmad Aminaddin, Mahmud Mukhtar, Mahammad Salahaddin, Yusif Shauki, R. Khaligi, A.N. Vaziri, M. Barkishli, A. Shabani, R. Yekta, Sadaddin Arel, S. Azgi, I.H.Ozkan, Y. Elsner, S.M. Uzdilek, M.Karadeniz, Y. Tura, M. Barzanchi, V. Belyayev, V.Vinogradov, U.Hajibayov, M.S.Ismayilov, E.Abbasova, G.Abdullazadeh, R. Mammadova, R. Zohrabov, I.R.Rajabov, R.Imrani, F.M. Karomatov, T.S.Vizgo, O.Matyakubov and others.

 

Some of the conferences and symposiums held on international standards concerning Eastern oral-traditional music:

 

ВII International Music Congress held in 1971 in Moscow in the theme «Tradition and Modernity», III International Tribune of Asian Countries held in Alma-Ata in 1973.

 

In the I International symposium, held by UNESCO in 1978 in Samargand in the theme: «Traditional music of Near and Middle East Peoples and Modernity», the following Azerbaijani musician scientist took part: E. Abbasova, L.Karagijiyeva, N. Aliyeva, R. Zohrabov, Z. Gafarova, N. Mammadov, A. Eldarova and S.Agayeva. They made interesting reports.

 

In the II International symposium held in 1983 in Samargand, E. Abbasova, N.Mammadov, S.Gasimova, Z.Safarova, I.Efendiyeva , R. Zohrabov made reports.

 

Tar player B.Mansurov, kamancha player T.Bakikhanov, singers J.Akbarov and A.Gasimov sang Azeri mugams.

 

In III International symposium held in 1987 in Samargand, which represented more than 400 musicians, N.Aliyeva, S. Dashdamirova, S.Agayeva, composer E.Mansurov made reports. Our singers A.Babayev, and A. Gasimov, tar players R. Guliyev and A.Abdullayev, kamancha player Sh. Eyvazova were applauded by the audience.

 

No doubt, that all these music forums will play an important role in studying musical heritage of Eastern Peoples, in strengthening relations between musician scientists. According to the opinion of World musicians, Azerbaijan mugams, which are richer and stronger among mugam musicians in different geographical areas, according to their emotional impression and development level, will become a source of creativity for many composers for many years and will be investigated by musicians. The successes achieved by our singers and ensemble of national musical instruments in foreign countries is the evidence that they are devoted successors of our classic music heritage.

 

MUGAM

 

Copyright © by . All Right Reserved.

 

I don't know if everything here is true though.

[MosJan]

improvisation mugham Segya Ararat Petrossian Shvi duduk.com

02:47

improvisation

mugham: Segya

Musician: Ararat Petrossian

Instrument: Armenian Alto Shvi

Recorded: @ http://www.duduk.com

07-02-07

 

[MosJan]

improvisation mugham: Shiraz

Musician: Ararat Petrossian

Instrument: Armenian Alto Shvi

Recorded: @ http://www.duduk.com

07-02-2007

[MosJan]

improvisation mugham: Shur

Musician: Ararat Petrossian

Instrument: Armenian Alto Shvi

Recorded: @ http://www.duduk.com

07-02-2007

 

[Anoushik]

Wait, how do the above qualify as mugham?

 

Also, who actually sits down and listens to that?