دانلود موسیقی آذری
موسیقی آذربایجانی به موسیقی سنتی مردمان آذربایجانی اطلاق میشود. هنرمندان آذربایجانی با خلاقیت خود، موسیقی منحصربهفردی را میآفرینند. کسانی که این نوع موسیقی را بههمراه سرودههای خود بهزبان ترکی آذربایجانی میخوانند،عاشیق خوانده میشوند. عاشیقها در وصف آذربایجان و دلاوریهای بزرگان آن، در مراسم جشن و عزاداری، سرودههای زیبایی را بههمراه موسیقی آذربایجانی میخوانند و مورد توجه مردم قرار میگیرند. عاشیقها از دوران قبل از اسلام در بین مردمان ترکتبار وجود داشتهاند.
موسیقی آذربایجانی از دو نوع یا شاخهٔ اصلی تشکیل شده که از لحاظ تقسیمبندی موسیقایی منشاء و حالتهای مختلفی دارند. معمولاً نوع سازهای موسیقی آذربایجانی، خاستگاه و دوستداران اقسام موسیقی با هم تا حدی متفاوتند، هرچند بسیاری دوستدار هردو هستند. تعداد بسیاری از موسیقیدانان آذربایجانی با آشنایی به هردو نوع از این موسیقیها توانستهاند آثاری هنری بزرگی در قالب اپراها، موسیقی سمفونیک و موسیقی برای باله خلق نمایند. از مهمترین گونههای موسیقی آذربایجانی میتوان به موسیقی میخانهای، هنر اجرای آذربایجانی تار، بالابان، ناقارا، باغلاما و گارمان اشاره کرد.
بسیار نزدیک به موسیقی دیگر ملل خاور میانه و مقامهای مشترکی با موسیقی ایرانی، موسیقی عربی دارد. اگرچه موسیقی موغام آذربایجان به دستگاههای موسیقی ایرانی نزدیک است و در بعضی مواقع حتی یکی هم هستند، ولی طرز اجرای این دو موسیقی ملی در انسان احساس بسیار متفاوتی ایجاد میکند. موسیقی آذربایجانی مملو از حس قهرمانی و جسارت است. در حالی که موسیقی ایران عارفانه است. درست است که موسیقی آذربایجان نیز دارای مقامهای حزین و غمگین و عارفانه است، ولی بههنگام شنیدن آن، امید و تحرک در آن احساس میشود. در این موسیقی حرکت و دینامیسم وجود دارد.
موسیقی مردمی (فولکلوریک)
این نوع موسیقی شامل موسیقی «عاشیقی»، «بزمی» و «ایلی» است.
Azerbaijani music is the musical tradition of the Azeri people, from Azerbaijan and Iranian Azerbaijan. It builds on folk traditions that reach back nearly 1,000 years. For centuries, Azeri music has evolved under the badge of monody, producing rhythmically diverse melodies. Music from Azerbaijan has a branch mode system, where chromatisation of major and minor scales is of great importance.
Main article: Azerbajani classical music
In 1920, Azerbaijani classical music had undergone a renaissance and Baku Academy of Music was founded to give classical musicians the same support as folk musicians. Modern day advocates of Western classical music in Azerbaijani include Farhad Badalbeyli, Fidan Gasimova and Franghiz Alizadeh.
Opera and Ballet
Main articles: Azerbaijani opera and Azerbaijani balletScene from Ballet of “The Maiden Tower” byAfrasiyab BadalbeyliScene from Ballet of “Leyli and Majnun” byGara GarayevCreators of the national anthem of Azerbaijan Uzeyir Hajibeyov(left) and Ahmad Javad(right)
The emergence of opera and ballet in Azerbaijan is associated with the Imperial Russian and Soviet era of Azerbaijani history when Azerbaijani musicians became exposed to European music traditions first-hand. The very first documented performance of an opera in Baku took place in May 1889 when Alexey Verstovsky‘s opera Askold’s grave was staged at a circus arena in Baku (on the site of the current Azerbaijan Carpet Museumbuilding), accompanied by the folk choir of Dmitry Agrenev-Slavyanski. Beginning in 1900, opera troupes toured Baku on a yearly basis (except 1901 and 1913), featuring prominent singers of the time such as Natalia Ermolenko-Yuzhina and Antonina Nezhdanova.
Prominent Azerbaijani opera singers such as Bulbul, Shovkat Mammadova, Fatma Mukhtarova, Huseyngulu Sarabski, Hagigat Rzayeva, Rashid Behbudov, Rauf Atakishiyev, Muslim Magomayev, Lutfiyar Imanov, Fidanand Khuraman Gasimovas, Rubaba Muradova, Zeynab Khanlarova and many other singers gained world fame.
Main article: Azerbaijani folk music
Most songs recount stories of real life events and Azerbaijani folklore, or have developed through song contests between troubadour poets. Corresponding to their origins, folk songs are usually played at weddings, funerals and special festivals.
Regional folk music generally accompanies folk dances, which vary significantly across regions. The regional mood also affects the subject of the folk songs, e.g. folk songs from the Caspian Sea are lively in general and express the customs of the region. Songs about betrayal have an air of defiance about them instead of sadness, whereas the further south travelled in Azerbaijan the more the melodies resemble a lament.
As this genre is viewed as a music of the people, musicians in socialist movements began to adapt folk music with contemporary sounds and arrangements in the form of protest music.
Instruments used in traditional Azeri music include the stringed instruments tar (skin faced lute), the kamancha (skin faced spike fiddle), the oud, originally barbat, and the saz (long necked lute); the double-reed wind instrument balaban, the frame drum ghaval, the cylindrical double faced drum nagara (davul), and the gosha nagara (pair of small kettle drums). Other instruments include the garmon (small accordion), tutek (whistle flute), and daf (frame drum).
Due to the cultural crossbreeding prevalent during the Ottoman Empire, the tutek has influenced various cultures in the Caucasus region, e.g. the duduks. The zurna and naghara duo is also popular in rural areas, and played at weddings and other local celebrations.
Main article: Ashiqs of Azerbaijan
Ashiqs are traveling bards who sing and play the saz, a form of lute. Their songs are semi-improvised around a common base. This art is one of the symbols of Azerbaijani culture and considered an emblem of national identity and the guardian of Azerbaijani language, literature and music.
Characterized by the accompaniment of the kopuz, a stringed musical instrument, the classical repertoire of Azerbaijani Ashiqs includes 200 songs, 150 literary-musical compositions known as dastans, nearly 2,000 poems and numerous stories.
Since 2009 the art of Azerbaijani Ashiqs has been inscribed on the Representative List of the Intangible Cultural Heritage of Humanity.
Main article: Meykhana
Meykhana is a distinctive Azerbaijani literary and folk rap tradition, consisting of an unaccompanied song performed by one or more people improvising on a particular subject. Meykhana is distinct from spoken word poetry in that it is performed in time to a beat.
Meykhana is often compared to hip hop music, also known as national rap among Azerbaijani residents, as it also includes performers that is spoken lyrically, in rhyme and verse, generally to an instrumental or synthesized beat. Performers also incorporate synthesizers, drum machines, and live bands. Meykhana masters may write, memorize, or improvise their lyrics and perform their works a cappella or to a beat.
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It is a highly complex art form that weds classical poetry and musical improvisation in specific local modes. Mugham is a modal system. Unlike Western modes, “mugham” modes are associated not only with scales but with an orally transmitted collection of melodies and melodic fragments that performers use in the course of improvisation. Mugham is a compound composition of many parts. The choice of a particular mugham and a style of performance fits a specific event. The dramatic unfolding in performance is typically associated with increasing intensity and rising pitches, and a form of poetic-musical communication between performers and initiated listeners.
Three major schools of mugham performance existed from the late 19th and early 20th centuries – the region of Garabagh, Shirvan, and Baku. The town of Shusha of Karabakh was particularly renowned for this art.
The short selection of Azerbaijani mugham played in balaban, national wind instrument was included on the Voyager Golden Record, attached to the Voyager spacecraft as representing world music, included among many cultural achievements of humanity.
Popular music is distinguished from the traditional genres as those styles that entered the Azerbaijani musicality after the fall of the Soviet Union, either due to attempts of national modernization from 1918 onwards, the opening of the republic to Western musical influences or modern fusions and innovations from artists themselves.
Azerbaijani pop music had its humble beginnings in the late 1950s with Azerbaijani cover versions of a wide range of imported popular styles, including rock and roll, tango, and jazz. As more styles emerged, they were also adopted, such aship hop, heavy metal and reggae.
Azerbaijani pop music reached new level after country made its debut appearance at the 2008 Eurovision Song Contest. The country’s entry gained the third place in 2009 and fifth the following year. Ell and Nikki won the first place at theEurovision Song Contest 2011 with the song “Running Scared“, entitling Azerbaijan to host the contest in 2012, in Baku.
Main article: Azerbaijani jazz
The Azerbaijani jazz is a popular variety of jazz, widespread in Azerbaijan. It covers a broad range of styles (traditional, post-pop, fusion, free flexion) and often features a blend with traditional Azerbaijani music. Among modern famed Azeri jazz musicians are Aziza Mustafazadeh, who was influenced by Bill Evans and Keith Jarrett, Isfar Sarabski, Salman Gambarov and Rain Sultanov.
Azerbaijani hip hop
Main article: Azerbaijani hip hop
The first Azerbaijani hip-hop song “Yesterday is Past”, created in 1983 by Chingiz Mustafayev, who would later become Azerbaijan’s national hero for unrelated reasons. The pioneer of Azerbaijani rap often associated with name of Anar Nagilbaz in 1992, which also included elements of disco but the popularity of the rap genre came with the rise of Dayirman, which included primarily patriotic elements.
Main article: Azerbaijani rock
The Azerbaijani rock scene began in the mid-to late 1960s, when popular United States and United Kingdom bands became well-known. Soon, a distinctively Azerbaijani fusion of rock and folk emerged; this was called Azerbaijani rock, a term which nowadays may be generically ascribed to most of Azerbaijani rock. Coldünya and Yuxu are the best known group of older classical Azerbaijani rock music.
Electronic dance music
There are many clubs across Azerbaijan, especially across its Baku region. The alternative music scene however is derived mostly from Baku’s thriving underground club scene that sees DJs merging the past with the present, utilising traditional motifs with new age sounds and electronic music.