A musical analysis of the “Mizan” cycle: the 24 preludes and fugues by Azerbaijani composer Yashar Sufi

The presented article examines the emergence and development of polyphonic cycles, focusing on how various composers, particularly Azerbaijani composers, have utilized these. The article discusses the significance of J.S. Bach’s “Well-Tempered Clavier” in the field of polyphonic cycles, a masterpiece not only of the composer himself but also of world music literature. It highlights how this genre was adopted and developed by Azerbaijani composers. The article also delves into how Azerbaijani composer Yashar Sufi’s “Mizan” cycle integrates national modes within polyphonic structures and how these elements are presented in a polyphonic form. The study also explores the innovations brought by Sufi’s work in applying polyphonic cycles within Azerbaijani music and how this form is synthesized with national modes. Additionally, the article highlights the continued influence of polyphonic cycles from Bach to the present day. Since Yashar Sufi’s “Mizan” is one of the first examples of polyphonic cycles in Azerbaijani music, analyzing this work helps us understand the composer’s creative approach. This article also contributes significantly by showing how the polyphonic form in Azerbaijani music can blend national elements with traditional polyphonic techniques. The research was conducted using both descriptive and analytical methods. Yashar Sufi’s “Mizan” cycle was studied in detail from a music theory perspective, and theoretical analyses of the prelude and fugue structures were carried out. The data collection process involved examining the sheet music of Yashar Sufi’s “Mizan” cycle and relevant music works. The sheet music of Sufi’s work served as the primary data source for the structural analysis of the preludes and fugues. The article underscores the pedagogical and historical significance of polyphonic cycles as a music form, showing that this genre thrives in the 21st century. Sufi’s work offers a new perspective on Azerbaijan’s musical identity, illustrating the vital role of local elements in polyphonic music.