Mugham () or Mughamat () is one of the many classical compositions from Azerbaijan, contrasting with tasnif and ashik.
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 in the regions of Karabakh, Shirvan, and Baku. The town of Shusha of Karabakh, was particularly renowned for this art.
A short selection of Azerbaijani mugham, played on the Azerbaijani wind instrument balaban, was included among many cultural achievements of humanity on the Voyager Golden Record, which was attached to the Voyager spacecraft to represent world music.
In 2003, UNESCO proclaimed Azerbaijani Mugham a "Masterpiece of the Oral and Intangible Heritage of Humanity". It was added to the UNESCO Intangible Cultural Heritage Lists in 2008.
History
In the course of its long history, the people of Azerbaijan have retained their ancient musical tradition. Mugham belongs to the system of modal music and may have derived from Persian musical tradition. The Uighurs in Xinjiang (新疆) call this musical development muqam, the Uzbeks and Tajiks call it maqom (or shasmaqom), while Arabs call it maqam and Persians dastgah.
The meta-ethnicity and intricate complexity of this music also becomes apparent in the fact that terms such as mugham, maqam, or dastgah, omnipresent in oriental music, can mean one thing in the Turkish tradition, while the same term in the music of Uzbekistan takes on quite another meaning, and yet another in the classical Arabic tradition. So, in one culture mugham may be related to a strictly fixed melodic type, while in another it is only the cadences, the melody endings that are associated with it. In a third culture it may only correspond to a specific type of tone scales.
In the 16–17th centuries the art of mugham was passing through the development process as a professional music of the palace. In this period a dastgah form starts to develop in the structure and forms of mugham. New colors and shades as well as tasnifs developed in mugham performance. The masters of mugham of Azerbaijan sang gazals written in aruz genre by Fuzuli, Habibi and Khatai. The music events were held in most regions of today's Azerbaijan in the 19th century and mugham was performed at these events. In the 19th century famous French writer Alexandre Dumas who attended the ceremony in Shamakhy, wrote in his works about his trip saying he was greatly impressed by mugham that sounded there. Such events held in Azerbaijan were attended by khanendes from Karabakh, Baku and Tabriz which in turn caused the blending of singing traditions of different regions.
In the early decades of the 20th century, a member of native intelligentsia, Uzeyir Hajibeyov, the author of the first national opera Leyli and Majnun, also formulated the theoretical basis of Azerbaijani mugham in his work The Principles of Azerbaijan Folk Music. Famous Azerbaijani composer Gara Garayev and Fikrat Amirov also made a great contribution to the development of the art of mugham through creating the mugham symphony.
Hajibaba Huseynov was credited as a key figure in the popularization of mugham, and developing talented mugham khanandas such as Alim Qasimov, Aghakhan Abdullayev and Gadir Rustamov. As of 1985, Agdam Mugham School functions in Azerbaijan, which produced the "Karabakh Nightingales" mugham ensemble.