Examining of the teaching of Zarbi mughams

Abstract

Although zarbi mughams are shorter and more concise in form compared to dastgah-type compositions, their accurate and effective performance requires a high level of musical proficiency. In this context, it is essential for the performer to possess a wide vocal range, accurately produce high-pitched tones, have strong command of vocal technique, and ensure melodic cohesion while accompanied by "kavul" (a traditional rhythmic instrument). Zarbi mughams are among the professional music forms rooted in oral tradition. Unlike dastgahs, zarbi muğams are typically structured as single-part compositions and are predominantly performed in a vocal-instrumental format, in which the singer and musicians perform collectively as an ensemble. This study focuses on the place and significance of zarbi mughamams in the art of hanende (traditional vocal performance). In particular, it presents analyses of the vocal ranges required for these performances and the rhythmic structures they adhere to. In the analysis section, the research draws on the analytical approaches found in the national musicological works of prominent Azerbaijani scholars such as M. Ismayilov, I. Kocherli, R. Zohrabov, R. Huseynov, and F. Khaligzade. Zarbi mughamams hold an important place in the development of mugham art. Accordingly, this study examines seven zarbi mughamams and three examples of shikeste, providing their names and essential information about their content. Findings from the research indicate that the zarbi muğam titled “Shirvan Shikestesi” has been performed by hanendes for many years in gatherings, concert halls, and weddings, and continues to be performed and appreciated today. However, the fact that these important muğams are taught only in their instrumental form at universities, and are not included in hanende (vocal) classes, is seen as a pedagogical shortcoming.