An analysis of Ağaselim Abdullayev’s tar performance in muğam and the piece “İlk Mehebbet

Abstract

Azerbaijani tar artist Ağaselim Abdullayev is recognized as a significant figure in the traditional performance and transmission of muğam, one of Azerbaijan’s distinctive music genres. Abdullayev has developed a unique performance style that is evident not only in Azerbaijani folk music but also in classical music and pieces composed for soloist performances, creating a distinctive school of tar performance. This approach has left a lasting impact on subsequent tar players, establishing Abdullayev as a key influencer in Azerbaijani music. This study aims to analyze the interpretation and performance style of Abdullayev, focusing on the piece “İlk Mehebbet,” composed by Kamber Hüseyinli, and the “Berdâşt” section of the “Şur” muğam. Abdullayev’s use of positions, plectrum techniques, ornamentation styles, expressive elements, melodic, and rhythmic variations in his tar performance are examined in detail. The analysis reveals that Abdullayev combines elements of the Azerbaijani muğam tradition with classical music nuances, resulting in an original and refined interpretation. His approach, while honoring the classical roots of Azerbaijani music, brings an innovative perspective to traditional muğam, influencing not only subsequent tar performers but also contributing to a modernized musical language within Azerbaijani music. The detailed analysis of his performance style serves as a guide for today’s tar players, and it is recommended that Abdullayev’s unique approach be further explored and documented for future generations. Preserving his musical legacy will ensure its transmission to future musicians.