Azerbaijani music was creating as the centuries progressed. The hints of old music of Azerbaijan were found in various landmarks, uncovered in time of archeological burrows, and also in shake carvings of Gobustan (18-3 thousand years B.C) and Gemigaya (3-1 thousand years B.C). Kitabi Dede Gorgud (eighth century), imaginative works of Nizami, Fizuli give full scope of medieval music workmanship, music types and music instruments. The records of such conspicuous medieval researchers of Azerbaijan as Sefiaddin Urmevi (18 century), Abdulgadir Maragai (17 century), Mir Movsum Nevvab (19 century) called attention to the exceptionally created workmanship and culture of music and dominance execution and refered to hypothetical issues of music in medieval Azerbaijan.

The main composed landmark of our nation epos Kitabi Dede Gorgut , containing a few parts, identified with music and refering to the names of various melodic instruments, affirms that out music craftsmanship has old history.

The main book on music goes back to the thirteenth century. Two conspicuous researchers and artists of Azerbaijan Sefieddin Urmevi (1217-1294) and Abdulqadir Maraghai made an extraordinary commitment to the advancement of hypothesis of Near and Middle Eastern music in the 13-fifteenth hundreds of years. Booklets Kitabi el-Edvar and Seferiyye by Urmevi built up the art of music of Azerbaijan and established the framework for its further improvement. Urmevi entered the historical backdrop of Azerbaijan as the author of the school "Framework" and tabulator science. The framework melodic documentation, made by Urmevi, was the absolute best arrangement of that period


Booklets that took after the innovative works of Maragai, did not manage complex hypothetical issues of the hypothesis of Eastern music or on the off chance that they managed, they rehashed those of Urmevi, simply deciphering them in various ways. The principle preferred standpoint of these booklets was their reasonable significance. The inventive works of that period incorporate the booklet Negavetil Edvar by the more youthful child of Maraghai Abdulaziz Chelebi and Megasid el-Edvar by his grandson Mahmud Chelebi


A booklet "About Music" by Mirza Bey is one of the intriguing works, made in South Azerbaijan in mid seventeenth century.

Starting in late nineteenth century music gatherings, affiliations and circles (by Mahmud Agha in Shamakhy, Kharrat oghly , Mir Movsum Nevvab in Shusha, Meshedi Malik Mansur in Baku). In the 1880th M.M.Nevvab and Hadjy Husu sorted out gatherings of Musicians, which were devoted to exchange of stylish issues of music, dominance execution and mugam . Gatherings were gone to by celebrated artists and saz players Meshedi Djemil Amirov, I.Abdullayev, S.Shushinskiy, Sadykhdjan and others.

Hadji Husu, offspring of Kharrat Gulu, is one of the considerable delegates of vocalism of Shusha. He considered mugam , enhanced various them and made new mugam s. Mirza Sadyg Esed ogly was a maestro of tar of the nineteenth century, he remade tar and made the tar of present day sort. Meshedi Zeynal , Meshedi Djamil Amirov, Shirin Akhundov, Gurban Primov were all delegates of this workmanship.

There are various urban communities on the planet, which assimilated music by its stones, tower and its environment. These are Vienna (Austria), Neapol (Italy) and Shusha (Karabakh, Azerbaijan). There exist a well known saying that newborn children in Shusha even cry under the music of mugam .

Noticeable agents of the Shusha Caucasus Conservatoire effectively spoke to Azeri music and celebrated everything over the world.

Shusha is the home of Mir Movsum Nevvab, Kharrat Gulu, Hadjy Husu, Sadikhdjan, Meshedi Isi, Abdulbaghy Zulalov, Djabbar Qaryaghdyoglu, Kechedji ogly Memmed, Meshedi Memmed Ferzeliyev, Islam Abdullayev, Seyid Shushinskiy, Bulbul, Zulfi Adygozelov, Khan Shushinskiy,

Meshedi Djamil Amirov, Qurban Pirimov, authors Uzeyir Hadjybeyov, Zulfugar Hadjybeyov, Fikret Amirov, Niyazi, Afrasiyab Bedelbeyli, Soltan Hadjibeyov, Ashraf Abbasov, Suleyman Aleskerov, and vocalist Rashid Behbudov. However this rundown is not an entire rundown of performers of Shusha.

In the mid twentieth century, in the climate of financial and social development, U.Hadjibeyov established the framework of the way of life of current expert music of Azerbaijan and made a union of arranger manifestations and old stories music. That brought on the obstruction of Western and Eastern societies. In 1908 U.Hadjibeyov organized the musical show "Leyli and Medjnun" at the theater of H.Z.Tagiyev, accordingly, establishing the framework of musical show in Azerbaijan as well as in the whole Muslim East and turned into the author of the class of mugam - musical drama. Understanding that the new type will be hard to grasp, U.Hadjibeyov, alluding to the sonnet by Fuzuli "Leyli and Medjnun" and classes of legends music, made a phase work, comparing to the soul of that period and good needs of individuals.

U.Hadjibeyov is additionally the author of melodic comic drama in Azerbaijan. Melodic comedies of social character ("Husband and Wife", 1910, "either, 1911, Arshyn Mal Alan, 1913) in view of created old stories tunes and move music. His melodic comic drama Arshyn Mal Alan (arranged in 1913) was an awesome achievement.

The comic drama was converted into English, German, Chinese, Arabic, Persian, Polish, Ukrainian, Belarus, Georgian and different dialects (almost 70 dialects), arranged in 120 theater in Moscow, Istanbul, New-York, Paris, London, Teheran, Cairo, Beijing, Berlin, Warsaw, Sofia, Budapest, Bucharest and different urban areas and over and over put on screen (in Baku, 1916-1917, in USA in the 1930th, in Soviet Azerbaijan, in 1945 and 1960). With Rashid Behbutov (1915-1989), assuming the central part, the musical show increased overall notoriety. The well known performer of the USSR R.Behbudov sang old stories and created melodies, assumed the part of Balash of the musical drama Sevil by F.Amirov. He was likewise the organizer and pioneer of the theater "Mahny"

Musical show "either" by U.Hadjibeyov, was put on screen in Yalta in 1919 and for the second time it was put on film a the film studio Azerbaijanfilm in 1956.

The 1930th were set apart by the ascent in Azerbaijan music. That period represented the foundation of assemblages, symphonic symphonies (1920, at present Azerbaijan State Symphonic orchastra after U.Hadjibeyov), melody (1926), Orchestra of Folklore melodic instruments (1931), move group (1926), Azerbaijan State Philharmonic Society (1936), Azerbaijan Union of Composers (1934), Musical Comedy Theater (1938, now after Sh. Gurbanov), and also the logical research office of music (1931) under the Azerbaijan State Conservatoire to consider and propagandize the old stories music of Azerbaijan 

In the 1920th R.M. Gliyer made the musical show Shahsenem (arranged in 1927) in light of the epos Ashyg Garib, utilizing the old stories music of Azerbaijan. The musical show fortifying the accomplishments of world music was the principal activity to make musical show on the premise of examples of Azeri old stories music.

U.Hadjibeyov is additionally the creator of the prominent brave epopee "Koroglu" (got the USSR state grant in 1941). The musical show, set apart for its imaginative thoughts, mirrored the national soul and mental significance. U.Hadjibeyov achieving the amicability of sort piece of old stories music, pitch gadgets and expressive methods for musical show music made gems of national musical drama. The musical show incorporates scenes of individuals' life and profound characters of fundamental legends. The part of Bulbul was played by Koroghlu more than 400 circumstances. 

1920th - 1940th are set apart by the presence of new arrangers. 

In the mid 1930th works (the first and the second dream by U.Hadjibeyov) are composed for symphonic ensembles (Solemn walk of U.Hadjibeyov, "In the boulevards of Azerbaijan", "Move of free lady", "Walk of Azerbaijani walk RV-8 of Muslim Magomayev) and old stories melodic instruments 

The subject of patriotism and gallantry, which ascended from the war of 1941-1945 , was reflected in melodies, in structures for legends melodic instruments (by U.Hadjibeyov, S.Rustemov), in the musical drama "Country" by G.Garayev and C.Hadjiyev (exhibited the USSR State grant in 1946_, the primary orchestra by Dj.Hadjiyev, G.Garayev and S.Hadjibeyov (first manifestations of the symphonic classification of Azeri music). The musical show "Khosrov and Shirin" by Niyazi (1942), sentimental ghazals by U.Hadjibeyov "Without you" and "Sweetheart" were likewise the inventive works of the time of war. The originator of new sort of ghazal U.Hadjibeyov made the union of declamation, transformed into the dialect of music and songs of cantilena sort utilizing the verse and discourse with an awesome authority. The whole music accomplished an awesome advance during that time of the Great Patriotic War. 

In the post war period the national music encounters new development. The music of Azerbaijan was the achievement in our nation as well as in the nations abroad. 

The artful dance "Seven Beauties" by Gara Garayev (1952, in view of the closely resembling ballad by Nizami, choreograph P.A.Gusev, Azerbaijan Theater of Opera and Ballet) opened another phase ever. The expressive dance "Seven Beauties" assumed a basic part in the improvement of artful dance in Azerbaijan as it established the new melodic dramaturgy in the artful dance craft of Azerbaijan.

The artful dance "The way of thunder" by U.Hadjibeyov was arranged in the Theater of Ballet and Opera of Leningrad in 1958 (Lenin's honor in 1967, in light of the practically equivalent to novel by P.Abrahams, choreograph-K.M.Sergeyev). The creator, bringing the awful love of a fundamental character to a sharp clash, made a present day play particular from the perspective of its melodic sythesis. The play joins an unmistakable melodic idea, splendid characters and legends music of the South Africa. 

S.Hadjibeyov made the artful dance "Gulshen" (1950, the state honor of the USSR, 1952), which reflected contemporary life. Operettas "Gozun Aydyn" by F.Amirov (1946), "The crane" by S.Rustamov (1947), "Ulduz" (1948) are the cases of thes janre 

. 

In the 1950th the symphonic music was set apart for a specific ascent. Dire socio-political issues of that period were reflected in different symphonic manifestations of authors. F.Amirov entered the history as the originator of an exceptional classification of symphonic mugam . The arranger built up the topic, force and other elaborate characteristics of mugam from the symphonic perspective. Distinctiveness of the play of ensemble, type differences and significance of characters, impossible to miss of Amirov's symphonic manifestations, were reflected in various works of that period. 

The symphonic craft of Dj.Hadjibeyov was set apart by the significance of mental thoughts of its characters, the sharp emotional improvement of music, the epic way of its melodic. Various symphonic creations of S. Hadjibeyov (his second orchestra, 1946) completely secured the topic of the Great Patriotic War, while the music of his different manifestations were enriched with striking shades of the class. 

Dj.Djahangirov for the most part made vocal-symphonic arrangements (the lyric "On the opposite side of Aras" , the state honor of the USSR in 1950, the cantata "Fuzuli"). The vocal-symphonic sonnet "On the opposite side of Aras" was another sort, which joined both symphonic and cantata-rhetorical components of music. The ascent in melody sort was firmly associated with the innovative action of S.Rustamov, T.Guliyev, R.Hadjiyev, Dj.Djahangirov, G.Huseynli, A.Rzayeva. Around then various tunes were composed to movies and dramatization plays and the workmanship pf execution was likewise generally spread. The principal state string quartet (A.Aliyev, M.Taghiyev, R.Seyidzade, S.Aliyev, champs of worldwide challenge (1957, Moscow) of the 6th world celebration ) was built up in 1957. The new era of vocalists incorporated the well known artist of the USSR F.Ahmedova, ballet dancer L.Vekilova, respected specialist of expressive arts Dj. Hadjibeyov (conductor), and so on. The main session of the Union of Composers of Azerbaijan (starting from 1990-called the Union of Composers and Musicians of Azerbaijan) occurred in 1956. 

The 196oth 1980th were set apart by inventive movement of senior era of authors, the presence of new arrangers, noteworthy advance in all classifications and development of worldwide contacts. 

Authors of Azerbaijan as often as possible routed to musical drama and expressive dance in their innovative action. Ballet productions "The legend of one adore" (1961) by A.Melikov, "Epos about Nasimi" (1973 The State honor of the Azerbaijan SSR in 1974) and "One thousand and one night" by Fikret Amirov (1979; the state honor of the USSR in 1980) are popular around the world. 

Symphonic and orchestral compositions of Azeri authors started to spread in the nations abroad. Symphonic Mugams by F.Amirov "Shur" and "Kurd ovshani", by Nizami "Rast" and symphonic organizations by G.Garayev and U.Hadjibeyov were presented in various nations and got high appreciation. Creations by A.Melikov, Kh. Mirzazade, A.Alizade, F.Alizade, F.Garayev, Dj.Guliyev, and so on picked up accomplishment in Europe, America and Asia. Artists from Azerbaijan every now and again go on visit to remote nations. 

Famous vocalists R.Bahbutov, Niyazi, Z.Khanlarova, M.Magomayev. and so forth were generally reknowned. Vocalists as F.Gasymova (1977, Italy, the primary spot), Kh.Gasymova (1981, Athens, the primary spot; the second prize of the eighth worldwide rivalry after P.I.Chaikovcky (Moscow, 1982), musician F.Bedelbeyli (1967, Gradets-Kralove, CSSR, 1968, Lisbon, Portugal, the main prize), youthful piano players M.Guseynov, M.Adygozelzade and so forth were the victors of different rivalries. 

Such contemporary conductors as R.Abdullayev, Dj.Djafarov, Y.Adygozelov, T.Goychayev, G.Imanov, R.Mustafayev, N.Azimov made the manifestations of arrangers clear to the group of onlookers and propagandized them. 

The rundown of craftsmanship specialists, who added to the protection and advancement of the customs of mugam and fables workmanship incorporates prevalent artists Kh.Shushinsky, R.Muradova, Sh.Alekperova, A.Aliyev, S.Gadimova, F.Mehreliyeva, T.Ismailova, A.Babayev, I.Rzayev, regarded artists Z.Adigozelov, H.Guseynov, Q.Rustamov, C.Akberov, A.Qasimov, prominent players of tar A. Bakikhanov, H.Mamedov, B.Mansurov, A.Quliyev, R.Quliyev, respected figures A. Dadasov, M.Muradov, F.Alekberov, well known kamancha player H.Aliyev, regarded kamancha players H.Mirzaliyev, T.Bakikhanov, Sh. Eyvazova, F.Dadashov, respected drummer Ch.Mehdiyev, accordion players Abutalib (A.Yusifov), Kor Akhad, Kerbelayi Letif, T.Demirov, A.Israfilov, saz players A.Nasibov, and so forth. 

Popular and jazz music of Azerbaijan are growing effectively too. T.Guliyev, R.Hadjiyev make creations for the State Jazz Orchestra of Azerbaijan (workmanship executive Niyazi, music chief - T.Guliyev), built up in 1941. P.Rustembeyov (saxophone), A.Bunyadzade, D.Baghyrzade, and so forth were the main entertainers of the symphony. The State Variety Show Orchestra of Azerbaijan (1956, workmanship executive R.Hadjiyev), pop group "we are from Baku (1957), Pop symphony of the Azerbaijan Television and broadcasting (1960, craftsmanship chief and director T.Ahmedov), quartet "Gaya" (1960, later vocal outfit, craftsmanship chief T.Mirzayev), Azerbaijan State Theater of Songs (1966, craftsmanship executive and soloist R.Behbudov), Azerbaijan State Pop and Symphonic Orchestra (1975, craftsmanship chief and soloist-M.Magomayev) were set up and assumed a basic part in the improvement of popular music of Azerbaijan. In the after war time frame musical drama vocalists (R.Atakishiyev, L.Imanov) greatly affected the change of pop workmanship in Azerbaijan. The inventive action of R.Behbudov and M.Magomayev added to the pop specialty of the nation. 

Prevalent craftsmen Sh.Alekperova, G.Mamedov, M.Babayev, F.Kerimova, E.Rehimova, Y.Rzazade, G.Agayev, I.Guliyeva, regarded craftsman A.Ganiyev and H.Hadiyeva, A.Islamzade and others took a dynamic part in the promulgation of pop melodies.

Mustafazade made an awesome commitment to the improvement to jazz music of Azerbaijan. He was

the originator and the pioneer of gatherings "Sevil" and "Mugam " and took the primary spot in the eighth International jazz challenge (Monte-Carlo, 1978). R.Babayev, V.Sadigov, A.Guseynov, Dj.Zeynalli, A.Mustafazade and different entertainers of jazz are likewise notable. 

In the current political circumstance pieces under the steady string of war on the issue of war in Karabakh, praising Motherland, asking to safeguard it from the adversary represent the most piece of contemporary specialty of music. 

These incorporate the oratorios "Garabag Shikeste" and " Caravan of grief"(1999) by V.Adygozelov , the ensemble "Cry of Garabagh" (2001) by T.Bakikhanov, the tribute "Country" (1993) by A.Alizade, the seventh ensemble by N.Mamedov, committed to the Hodjaly catastrophe (1998), the cantata "Azerbaijan, you are correct" (1992), the lyric by H.Khanmemmedov "My saz is crying", composed for legends melodic instruments (dedicated to saints of Karabakh, 1991), the cantata "Saints of my territory" {1990) and "I miss you, Shusha" (1999), by S.Ibrahimova, made for tar and string symphonies, and so on. 

The expressive dance "Excursion to the Caucasus" by A.Alizade, in view of the making of A.Dyuma, was organized in 2002. The one-demonstration artful dance by T.Bakikhanov "Great and malice" (1990), ballet productions "Sheykh Senan" by H.Mamedov, "Alibaba and forty looters" (1990) were made at that period. 

In the time of freedom arrangers of Azerbaijan participate in various music celebrations, global challenges, world social and melodic ventures , speak to Azeri music abroad, in this manner presenting it around the world. 

Manifestations of A.Melikov, V.Adygozelov, Kh.Mirzazade, A.Alizade, T.Bakikhanov, F.Garayev, I. Hadjibeyov, F.Alizade, Dj.Guliyev, E.Dadashva, R.Gasanova, G.Mamedov, F.Guseynov were presented in Turkey, Norway, Holland, Cyprus, USA, Switzerland, Germany, Tailand and different nations and won the principal prizes in compelling rivalries. The main evenings of organizations by A.Melikov (Symphony No 7), V.Adygozelov (the oratorio "Chanaggala") were held in Turkey, while inventive works by T.Bakikhanov ("Seasons of North Cyprus", "The suite of North Cyprus") were initially presented in Cyprus. Structures by F. Garayev ("Khutbe, Mugam , Sure", "The fiasco of Babil", 2000), F. Alizade ("Mirage"), R.Gasanova ("The Sky") were performed in Holland. The interest of F.Alizade ("Dervish") and Dj.Guliyev ("The Caravan") in the Silk Road was a win. F.Guseynov won the primary spot in a challenge, held by UNESCO and Japan (the Concerto for a symphonic symphony "An excursion crosswise over time") and was additionally introduced the UN grant for his oratorio "Let it be piece on the planet". 

The expert entertainer of mugam A.Gasymov was given the gold decoration of UNESCO for his commitment to the advancement and flawlessness of specialty of mugam in 1999. 

Arrangements of U.Hadjibeyov, G.Garayev and F.Amirov were effectively performed by the Azerbaijan State Symphonic Orchestra (workmanship chief and director famous craftsmanship specialist R.Abdullayev) at a global celebration, held in France. The splendid execution of the Azerbaijan State Chamber Orchestra, State Dance Ensemble and a gathering of craftsmanship laborers at the International Exhibition "Expo-2000", held in Germany, was in the spotlight of that period 

The primary night of the musical show "Khan qizy Natavan" (December, 2003) by V. Adygozelov, committed to the poetess of Azerbaijan Natavan, was held in 2003. This production of the unmistakable writer involved a fitting spot in the historical backdrop of advancement of national musical show. 

Rich music of Azerbaijan is at a new stage of development. We expect it to attain new progress, to create perfect compositions and brilliant talents.
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