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21«ШУШМУМ-ШУГМаУ» #33(156), 2022 / PHILOLOGICAL SCIENCES
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PHILOLOGICAL SCIENCES
Vafa Ibrahim
PhD
Associate professor ANAS Institute of Folklore DOI: 10.24412/2520-6990-2022-33156-47-50
AZERBAIJAN FOLK MUSIC IN THE WEST CONTEXT
Вафа Ибрагим
кандидат наук Доцент
Институт фольклора НАНА АЗЕРБАЙДЖАНСКАЯ НАРОДНАЯ МУЗЫКА В КОНТЕКСТЕ ЗАПАДА
Abstract
The various holidays, folk festivals and ceremonies have existed in the history of every nation. Traditions, ceremonies and rituals of each people are differed according to the fullness of the content, the diversity of the subject and the beauty of the form. Some of them were forgotten over time, erased from memory, since they were connected with an ideology alien to the people. The role of historical and geographical factors, genetic and ethnic ties in the formation ofmusic are great. In the article the book "Azeri Folksongs. At the Fountain - Head of Music" by the Hundarian scientist Yanos Sipos is analyzed. The author has explained Yanos Sipos's thoughts about Azerbaijan folklore, including folk songs. The problems about the translation of Azerbaijani folk songs into English are touched upon.
The study of Azerbaijan ashiq music in English language sources is also very important. In the author analyzes the master-apprentice relationship, the genres of ashiq poetry.
Аннотация.
Различные праздники, народные гуляния и церемонии существовали в истории каждого народа. Традиции, церемонии и ритуалы каждого народа различаются по полноте содержания, разнообразию тематики и красоте формы. Некоторые из них со временем были забыты, стерты из памяти, поскольку были связаны с чуждой народу идеологией.
В статье анализируется книга венгерского ученого Яноса Шипоша «Азербайджанские народные песни в истоках музыки». Комментируются высказывания ученого об азербайджанском фольклоре, в том числе о народных песнях. Кроме того автор обращает внимание на вопросы перевода азербайджанских народных песен на английский язык. Изучение азербайджанской ашугской музыки в англоязычных источниках также очень важно. В статье автор анализирует взаимоотношения мастера и ученика, жанры ашугской поэзии.
Keywords: folklore, music, book, problem, Yanos Sipos, ashiq, master
Ключевые слова: фольклор, музыка, книга, проблем, Янос Шипош, ашуг, мастер
Azerbaijan folk music in the West context
The study of Azerbaijani oral folk literature abroad, especially in English-language sources, the translation of Azerbaijani folklore into foreign languages are the important issues. Because folklore is an irreplaceable asset, which preserves the feelings and thoughts, customs, traditions, history, worldview, in a word - the national identity of the people, which is a source of spiritual power. Although the history of scientific and cultural relations between Azerbaijan and Europe is ancient, the history of the study of Azerbaijani literature in Europe and English-language sources began in relatively later periods.
First of all, we must say that since Azerbaijan has not been an independent state for many years, it has not been possible to convey Azerbaijani folklore to the English-speaking reader as an independent literary fact. Till nowadays Azerbaijani folklore has not been translated into the English language systematically. It
is natural that English-speaking researchers have little known and studied Azerbaijani folklore. In English-language scientific sources the Azerbaijani folklore has been studied more as an integral part of the Turkic folklore. Speaking about Turkic folklore in general, from time to time the English scientists also mentioned the Azerbaijani folklore. The same can be said about the translation of Azerbaijani folklore into English, too.
Among the recent works on the study of Azerbaijani folklore in English-language sources a special place is occupied by the book of the famous Hungarian scientist Yanos Sipos "Azeri folk songs. At the Fountain - Head of Music". He visited the regions of Azerbaijan, collected folklore music of different peoples living in Azerbaijan, prepared notes of those music samples and analyzed them in details. According to the author, each nation should know the music of neighboring peoples, kindred nations in order to determine the
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specific and common features of their folk music. Ya-nos Sipos preferred the method of comparative analysis in his researches. In his research, the author writes about the connection among the folklore music of the Hungarians belonging to the Finno-Ugric language group and the folklore of the Turkic peoples: "Most Hungarian musicologists have mentioned Turkic-Mongolian similarities in Hungarian folk music. Bela Bartok and Laslo Vikar began to study Turkic folk music among the Finno-Ugrics before discovering melodic styles similar to some layers of Hungarian music. They found styles corresponding to Hungarian folk music styles in Asian expeditions in Anatolia, Azerbaijan, Kazakhstan, Caucasus, Inner Mongolia and in different places" [Yanos Sipos, 11-12].
Yanos Sipos wrote the ethno-music study in a comparative way with the folklore music of great territories starting from the Volga-Kama region and stretching to Anatolia and the East. In the book the maps and photographs were used in the analysis of Azerbaijan folklore music, an extensive anthology of musical samples was given and a comparative analysis of Azerbaijani musical styles was highlighted.
In addition, the different folklore song texts, translation of these texts into the English and Hungarian languages, index, notes and a compact disc with the most beautiful folklore melodies were added to the book. This valuable research by Yanos Sipos is divided into the following sections: "Preface", "About the history of Azerbaijan", "The report about the expedition to Azerbaijan", "Folk music of Azerbaijan", "Anatolian analogues of the Azerbaijan melodic tunes", "About some musical phenomena", "Some notes on the music of several ethnic minorities living in the region", "Relations among the folk music of Azerbaijan and music of other Turkic peoples and Hungarians", "Anthology of Azerbaijani melodies", "Melodies on the ionic root", "Melodies on the Locrian root", "Melodies on the aeolian root", "Texts of the melodies and their translation into the English language".
In his research, the scientist compared the folklore songs of Azerbaijan and the folklore songs of Anatolian Turks in details. According to his thoughts the same Turkic tribes took part in the ethnogenesis of Azerbaijani Turks and Anatolian Turks. He investigated about two thousand folklore songs and three thousand melodies collected in Anatolia. At the same time, the researcher studied about six hundred and fifty Azerbaijani folk songs and three hundred melodies. His conclusion about that investigation is as followings: "In Azerbaijani folk music the melodic types classified as simple and difficult are dominated. In this musical folklore, not only the range, rhythm and number of melodic motifs are simple, but also the character of the melodic movement is extremely homogeneous. On the contrary, Anatolian melodies with a limited range and two cores are quite different both in terms of rhythm and melodic image" [Yanos Sipos, 115].
It can be said that the folklore melodies of Azerbaijan and the folklore melodies of different Turkic peoples are the same, but there are very different ones among them. The scientist carried out the parallels among Azerbaijani, Anatolian and Hungarian folklore.
While analyzing the folklore melodies and songs of Azerbaijan Yanos Sipos also expressed his attitude to the style of Azerbaijani ashiqs. According to his researches, the Azerbaijani ashiqs sing the short melodies aloud, while singing these melodies they include simple introduction, intermediate play and ending sections. Azerbaijani ashiqs use the instrument saz with long sleeves and three pairs of strings. Azerbaijani ashugs do not always play the instrument saz when they sing. The scientist compares the repertoires of ashiqs with the melodies sung by the people and writes the followings: "In general, the difference among the melodies sung by the people and the repertoire of ashiqs is that ashiqs tend to have longer musical verses, singing them over long verses of poems" [Yanos Sipos, 127].
Azerbaijani ashiqs begin their songs with the most loud and high sounds. From this point of view, the songs sung by the Azerbaijani ashiqs are similar to the long melodies performed by the ashiqs from the region Adana of Turkey.
Janos Sipos has analyzed the folklore melodies and songs of Azerbaijan from a musical point of view seriously. Analyzing the folklore songs and melodies he has given their notes and explained their specific features.
One of the most interesting sections of the book is called "Azerbaijani folk music and relations among the music of other Turkic peoples and Hungarians". According to the scientist's explanation most of the folklore songs and melodies in Azerbaijan has Anatolian parallels. Comparing Azerbaijani, Anatolian and Hungarian folk music he writes: "In comparison with Hungarian and Anatolian folk music Azerbaijani folk music is characterized by a limited range of stabilized four-part structures and a very rare manifestation. In Azerbaijani folk music, in fact, there is no plagal melody structure" [Yanos Sipos, 168].
The limited area material of the Hungarians was defined as a folklore tradition according to Hungarian studies on the influence of ancient European and medieval musical culture, as well as the melodies of the 15th -17th centuries. The mentioned cultures have had no relation to the cultures that are related to the Azerbaijani culture and there really is no common aspect among the Hungarian and Azerbaijani narrow-range melodies.
Several-tone motifs revolve around the middle note, which is also very typical for simpler types of Hungarian and Anatolian materials, and show up in Azerbaijani music rarely, but mostly in instrumental melodies.
On the contrary, there are plenty of Azerbaijani melodies, similar to the small form of Hungarian and Anatolian elegy. This is probably the only musical form that demonstrates important identities [Yanos Sipos, 179].
After comparing the folklore melodies of these peoples, the author comes to the conclusion that Azerbaijani folk music significantly deviates from the folklore music of the Turkic ethnos both in the neighborhood and further away, at the same time Azerbaijani folk music creates a unique color in the music of the Turkic peoples.
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In his book the researcher gave an anthology of Azerbaijani folk melodies and made folklore music to a note. The original text of Azerbaijani folklore songs and translation of these texts into English are one of the advantages of the book.
One of the scientists who studied the Azerbaijani ashiq music is Charlotte F.Albright. She wrote a dissertation on the theme of Azerbaijani ashiq literature and published a number of articles. One of her articles about on Azerbaijani Ashiq literature was "The Ashig Azerbaijani: A Musician's Adaptations to a Changing Society" (2). In this article Charlotte F.Albright mentioned firstly the origin of the word "ashiq" and the whole ashiq art and ashiq literature. To clarify this issue she used the scientific researches as a source written by scientists from Azerbaijan, Iran, Turkey and Central Asia. In her researches she explains that the word "ashiq" derives from an Arabic word and means "the one who loves" ("the one who falls in love"). The author divides ashiqs into several parts: creative ashiqs, performing ashiqs and master ashiqs, which combine both lines. The scientist also notes that the ashiqs occupied an important place in the protection of the spiritual and moral values of the Turkic communities. They brought up, protected and raised the Turkic society with their instrument "saz" ("saz" is an ancient string musical instrument of Azerbaijan) and poems. They have propagated national and moral values with their stories, legends, eposes and became the protectors of the society. The scientist connects the origin of the ashiqs to shamanism which is an ancient system of Turkic thought. Therefore, the poetic and musical culture of Azerbaijan is as old as the age of the Turkic peoples: In pre-Islamic times these poets-musicians acted as shamans among some Turkic groups [Charlotte F.Albright, 205].
In the article the scientist mentions that the ashiqs combine two aspects such as poetry and music, then notes that the ashiqs were named with different words among the Turkic peoples. For example, the different peoples name as the followings: the Kyrgyz people call ashiq as "akin", the Turkmens - "bakhshi", the Azer-baijanis - "ashiq", the Anatolian Turks - "ashik" [Charlotte F.Albright, 208].
The scientist notes that the place and role of the ashiq in society has also changed from time to time. For example, shamans were in the position of a spiritual leader who fulfilled all the needs of the community they were connected to, guided and educated them. But day by day this work has been changing and it is one of the greatest sources of spiritual mobility in the ashiq community.
One of the issues that attract attention in Charlotte Albright's article is that she points out that it is necessary for the ashiq art to adapt to changes related to the development of science and technology. Analyzing the performance style of the ashiqs in the Western and the Eastern Azerbaijan (Urmia and Tabriz), she also shows similarities and differences among them [Charlotte F.Albright, 209]. The similarities among these schools are that in both of them, the ashiqs are among the people, they choose the tea/coffee houses as the place of performance, they also receive a certain amount of
money given by the people in exchange for the music they play, the melodies and the songs they perform.
There are also some differences among the Eastern and Western ashiq schools of the South Azerbaijan. The ashiqs who belong to the Western school prefer solo performances [Bashgoz Ilhan, 331]. In some cases, the music is accompanied by the instrument "balaban" and "qaval". As the sound of these musical instruments is compatible with each other, they complement one another [Bashgoz Ilhan, 337]. But the ashiqs who are related to the East school prefer short ashiq melodies rather than singing long epics. In that version the ashiq is always accompanied by an ensemble.
In the article the researcher also explains the principles of the epos telling of the ashiqs of the South Azerbaijan. The ashiqs have excellent speech skills, they can control the whole audience. In order to do it they use different ways and methods. For example, a number of ashiqs telling eposes they use different jokes and various interesting events in their speeches. According to the scientist's conclusion, the number of ashiq melodies used in South Azerbaijan is more than seventy.
Talking eposes the ashiqs give a great place to the improvisation. They use different genres of poems, especially quatrains. The researcher also explains the composition of quatrains such as "bayati" and "qoshma" in her article [Charlotte F.Albright, 209].
Charlotte Albright also mentioned about the genres of Azerbaijan ashiq literature in the research. She gives a little information about different genres, mainly focuses on the quatrains such as "qoshma" and "gerayli" [Charlotte F.Albright, 211]. Analyzing the genres of ashiq poetry, she gives examples from different Turkic poems. Charlotte Albright mentions mostly about the genres of ashiq poetry in Northern and Southern Azerbaijan. According to her opinion, the most popular of the genres belonging to the ashiq poetry are "qoshma" and "gerayli" and they are usually in different subjects. The songs written and performed in North and South Azerbaijan change their theme from time to time. For example, in certain periods there were more ashiq songs and in certain periods there were songs with the social theme. Analyzing these forms of poetry, the scientist pays attention to the differences among these genres in the north and south part of Azerbaijan [Charlotte F.Albright, 234]. According to her observations, in the south of Azerbaijan the genre of the poem "gerayli" shows itself more in ashiq songs as in the form of a poetic poem.
One of the issues that Charlotte Albright mentions is the master-apprentice relationship. Therefore, this relationship has a special place in the development of ashiq art. Those who want to learn the ashiq art, firstly, go to master's lessons in order to learn to play the instrument "saz" and the rules of etiquette. This apprenticeship lasts more than ten years. After learning to play the instrument "saz" from his master the apprentice performs with his master for a while in different parties. When some of them start performing, they play the instrument "balaban" near the master and later they perform the ashiq melodies and songs. In addition, the ap-
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prentice participates in the organization of ashiq meetings, carries his master's instrument, helps him and earns money. The apprentice gives all the money he earns to his master and the master returns a certain part of this money to him [Charlotte F.Albright, 243].
The author analyzes the master-apprentice relationship on the example of different ashiqs living in the south of Azerbaijan. That is why, most of the ashiqs living in the south of Azerbaijan are illiterate. Here, the ashiq poems are passed from memory to memory, that is why one can see many versions of one poem. According to her observations, in recent times, in order to prevent this confusion, the help of various technical means is used. But these technical possibilities create new problems. Thus, most of the listeners give more preference to listening to music on tapes, as a result, the music audience has lost the opportunity to have real meeting.
The study of all these issues in the musical process requires high skill from the musician. To determine the quality of the music and to estimate it are on the responsibility of the researchers. From this point of view, the theme discussed in the article can be considered topical and legal.
Literature:
1. Yanos Sipos. Azeri Folksongs. At the Fountain - Head of Music. Budapest, 2005, p. 604.
2. Charlotte F.Albright. The Azerbaijani Ashiq: A musician's adaptations to a changing society // Edebiyat, 1986, volume 11, № 1-2, p. 205-217
3. Charlotte F.Albright. The Azerbaijani Ashiq and his performance of a dastan // Iranian Studies, 1976, volume IX, № 4, p. 220-247
4. Bashgoz Ilhan. Turkish Hikaye - Telling Tradition in Azerbaijan, Iran // Journal of American Folklore, 1970, volume 83, p. 391-405
5. Bashgoz Ilhan. Turkish folk stories about the lives of minstrels // Journal of American Folklore, 1965, volume 65, p. 331-339
6. Babaoglu R. Harmony of difference East-West-Caucasus triangle in the Azerbaijani culture / Myth, nation, literature. New Silk Road International Literary Symposium. Baku, 2006, p. 73-80
7. Azerbaijanian Poetry (classic, modern, traditional). Moscow, 1969, 662 p.
8. Azerbaijanian Proze. Moscow, 1969, 662 p.
УДК 78.07
Сахиба Садник кызы Пашаева Институт Фольклора Национальной Академии Наук Азербайджана DOI: 10.24412/2520-6990-2022-33156-50-52 МИФИЧЕСКИЕ КОРНИ БОЕВЫХ ИСКУССТВ И КУЛЬТОВ ОРУЖИЯ В ЭПОСАХ «КОРОГЛУ»
И «МАНАС»
Sahiba Sadnik kizi Pashayeva
Institute of Folklore Azerbaijan National Academy of Sciences
MYTHICAL ROOTS OF FIGHT TRICKS AND WEAPON CULTS IN THE EPOSES "KOROGLU"
AND "MANAS"
Аннотация.
Согласно эпосам «Короглу» и «Манас» в жизни азербайджанского и кыргызского народов были сильны родо-племенные отношения и традиции быта, и поэтому традиции, производные от родо-племенной принадлежности, продолжали сохранять свою силу в воинской области также. Военная стратегия, применяемая в боях, виды используемого оружия (меч, стрела, штык, дротик, булава, щит и т.д.), одежда (бронь, головные уборы и т.д.) свидетельствуют о древней и богатой истории воинской культуры обеих тюркских народов. В этих эпосах находят отражение борьба с внешними и внутренними захватчиками, усилия по спасению родины от внутреннего раскола, а также чувства единства и коллективизма.
В средние века в процессе обучения военному искусству были технические предметы, рассчитанные на физическую силу, и они составили определенный этап в развитии военной истории.
Вся военная подготовка, связанная с боевым искусством, а также искусство рукопашного боя закладывались у древних тюрков с детства. Битва один на один начиналась с того, что боец представлял себя и свою родословную и молился в честь бога войны. В этом отношении тюркская военная история тесно связана с мифическими культами. Эта связь отражена в мифологической семантике военной тематики в эпосах «Короглу» и «Манас».
Abstract.
As the tribal-clan style and living traditions were strong in the life of the peoples of Azerbaijan and Kyrgyz in the eposes "Koroglu" and "Manas", traditions arising from tribal-clan affiliation also continued to keep their forces in their military work. "The military strategy applied in battles, the used types of weapons (sword, arrow, bayonet, pike, mace, shield, etc.), clothing (armored cover, cap, etc.) give the ancient and rich history information of the military culture of both nations. Here the struggle against foreign and internal invaders, efforts to save the country from internal fragmentation, feelings of unity and collectivism are reflected. In the Middle Ages there were
