Mugham: Real Existence and Generalisation versus Tradition and Practice

It is the aim of this writing to deal with the complexity and complicacy as well as the unity and integrity of the system of musical utterances existing and transmitted in Azerbaijanian mugham music. Undoubtedly, it is important to elaborate and use the abstract idea of the maqam principle for understanding historical evolution and special regional branches of maqam implicated in music making. However, this approach doesn’t hold the whole truth. The generalisation of structural features and constructive rules reflects only essential inner aspects of the corresponding music which makes it more comprehensible but doesn’t represent nor describe the peculiarity of the respective reproduction of a mugham. This passes beyond the system and stock of means of formation. Being based insolubly on the repertoire and the system of expression handed down, the achievement of the creative musician consists downright in lending to his execution a configuration of his own. The number of all reproductions embodies the real existence of any mugham which is characterised by general features and particularised by each creative performance. The peculiar executions of a mugham hold the perspectives of its real existence and the power not only of its development and change but also of the change of the corresponding system of musical utterances.