MODAL-TONIC ORGANIZATION IN THE VARIATIONS COMPOSED BY AZERBAIJANI COMPOSERS

Abstract

Musical diversity, to a large extent connected with the world around man – climate, relief, biological diversity, nutritional features – has changed along with the world. A special role over the last 300–400 years has been played and is played by urban musical culture, which, as the interdependence and unity of human society has grown, has accumulated much uniformity and other features. The acceleration of the pace and rhythm of life, the development of informationtechnologies have led to an increase in the possibilities of music’s influence on the consciousness and feelings of people.The relevance of the study is dictated by the need to study the mechanisms of perception of modern music, which requires special training through education, social conditions and general ideological attitudes of the era. Music complements and sharpens existing ideas about oneself and the world. This is especially true for the national musical genre – mugham.The purpose of the article is to study the features of modality and melodic construction arising from the traditions of mugham in the variation-formal compositions of Azerbaijani composers. The research methodology is based on the structural-analytical method of research, which allowed to consider in detail the dramaturgy of the works, as well as to analyze variability as a method of compositional development. This method made it possible to trace the change in musical parameters, such as tempo, character, melody, harmony, rhythm, tonality and mode. In addition, the author, using the method of comparative analysis, compared the methods of variation in different works of Azerbaijani composers.The scientific novelty of the study lies in the fact that for the first time the author proposed a new analytical approach to the study of Variations for Piano by Fikret Amirov and Tofig Guliyev. In addition, for the first time the tonal organizationof the works, melodic-harmonic architecture, rhythmic properties and stylistic diversity of these works were studied.Conclusions. It is concluded that the composers engage with the resources of national mugham with confidenceand creative liberty, incorporating its modal-tonal system and melodic structure as foundational principles in theircompositional approach. Reflecting on the analytical discourse of the “Variations” created by Azerbaijani composers,the author concludes that the dramatic development of the stages of the work is carried out through variations marked by gradual transformations of character, tempo, melodic, harmonic, rhythmic structures and modal-tonal basis.