Problems related to the use of graphic notation system in works of Azerbaijani composers

Abstract

The origin of Azerbaijani piano culture dates back to the end of the 19th century. Historically, in a short period of time, it has gone through the path of intensive development and risen to the heights of modern music art. In the creativity of Azerbaijani composers, piano music has become a laboratory of bold searches, experiments and new solutions, creative development of the best traditions of European music. During the relatively short period of its existence, Azerbaijani music has successfully evolved in intonation structure, harmony, rhythm, formation, texture and other components of style. The emergence and development of the piano sonata in the Azerbaijani school of composition was undoubtedly influenced by the newly emerging genre in both Russian and Soviet instrumental creativity. The brightest examples in Russian music, for example, Tchaikovsky (1840-1893), Rachmaninoff (1873-1943), Scriabin (1872-1915), later in Soviet music Prokofiev (1891-1953), Shostakovich (1906-1975), Medtner (1879- 1951) and others' sonatas could not fail to interest the creative youth of the emerging professional school. And although the first examples of this genre in most cases do not leave a noticeable mark in the general development process of piano music in the republic, they are an important stage in the formation of the style characteristics of the Azerbaijani people. The works of composers who played an important role in the formation of the genre of sonata and sonatina in Azerbaijani piano music can be mentioned: G. Garayev (1953-1982), F. Amirov (1922-1984), V. Adigozalov (1935-2006), A. Alizade (1961). , A. Babirov (1934-2021), F. Garayev (1943), F. Huseynov (1949-2010) and others. Modern sound effects, symbols, etc. the new musical self-expression thought of using innovations led to the creation of new notations on the piano. In the 20th century, a new notation, graphic notation, appeared. In this notation, the geometric shapes of graphic figures and drawings are transferred to notation. In fact, this idea is not new at all. This was already tried by Olivier Messiaen (1908-1992) in 1950 in his "Four Rhythmic Etudes" for the piano. We find this notation for the first time in "Sonata for Two Performers" by the Azerbaijani composer F. Garayev. After F. Garayev, we find graphic notation in the works of representatives of his class.