Intonation and text specifications of Siyavush Karimi’s song “pain being without you”

  • Aynura Vagif Mammadova Azerbaycan Milli Konservatuari
Keywords: şarkı, müzik, analiz, şiir, Siyavuş Kerimi`


Extended Abstract

One of the Famous musicians of the Republic of Azerbaijan, professor Siyavush Karimi started professional music activity in the 1970s. The evolution and development processes of his art and creativity have always acted on the rising line.

When we examine his creative biography in the article, we can define several aspects of his professional activity: performing, composing, scientific and educational activities, rectorate and enlightenment, music-social activity and etc. Especially, his musical creativity is researched in this article.

The musicals of Siyavush Karimi occupy a special place in modern Azerbaijani musical culture. We should also note that every single music he had made available to his listeners from the first day he performed. First of all, it enables music to be more dependent on national sources. At the same time, the composer’s original composition of each song has an important role. Another reason for their being loved by the audience is that they are lyrical character.

The songs of Siyavush Karimi consist of the free and essential area of his creativity. In particular, lyrical songs are the main indicator of the composer’s musical world. In lyric songs, the composer was able to instill his all the inner-spiritual world, thoughts, elegant, subtle emotions, as well as dramatic-expressive tension. Along with the lyrical music that plays a significant role in the composer’s musical creativity, it is important to keep place the genre of lyric-patriotic music, which is also particularly important in the variety music of Azerbaijan.
The melody of the S. Kerimi’s songs attracts attention with its fluency. In the melodic structure of the songs, the unity of words and music were harmonized by the composer, who attached great importance to its meaning. Therefore, every word used in his songs is even more effective with expressive tones. In any case, the main reason for this is that the melody of the song creates the advantage of the start of the sparkling speech.

Nevertheless, national color in songs, their commitment to folk musical sources keep their style of playback and fluent preform. In the Composer’s song creativity, the cohesion to the national sources gave wide opportunities to the genre. Specifically, aforementioned above, it provided dynamism, uniformity of the form, expression of language (ton), rhythm richness. Specifically, as mentioned above, it was providing the dynamism, openness of form, expression of language (ton) language, rhythm richness. The synthesis of all these types of musical genres (jazz, rock) has brought an interesting tone of confusion. However, despite all this, the main task facing the composer is to preserve national originality and richness.

Thus, from the end of the 20th century, with the music of S.Karimi, can be assumed that, as a new breath of modern Azerbaijan variety music was selected by its own style. It becomes possible thanks to the strong collaboration and unity of famous, talented composers and singers. His songs of high art value, decorating the repertoire of many artists - Firangiz Rahmmbayova, currently working in the United States and gained popularity in the 80s in the field of Azerbaijan variety, people’s artist Azar Zeynalov, Nazpari Dostaliyeva, Ilgar Muradov and other singers contributed to the development of modern music of Azerbaijan and made their own songs.

The melodic structure of the Azerbaijani folk music creativity, the development principle, the organization of the form is observed in many songs. The connection of his music with folk creativity is more apparent in the melodic style. The connection of composer melodies to folk music, national music identifies the deep and important feature of the songs.

The melodic source of music that collects the highest features of the music genre is the tone, structure and musical features of folk music. The melodic source of music that collects the highest features of the music genre in the modern variety defines the tone, structure and musical features of folk music. It gives uncertainty, originality to the music of Siyavush Karimi by filtering through the composer’s own creative the characteristic features of original folk music creations and synthesizing with modern varieties of music and combining with modern poetic text.

Singing a certain piece of the popular songs, the passage principle around it shows itself in the melody of most of the music of Karim. As determined, the main purpose of such passages in folk songs depends on the executive functions of the transport of style beating sound. The songs of S. Karimi are selected by melodic expression power. Here, the commitment of national resources according to the tempo shows itself more clearly. The music of Siyavush Karimi has the great impact power due to obvious genre and his internal energy. The melody of music has a wide range. Octave songs and the wider range of songs from it prevail.

The composer uses the basic principles, based on the traditions of folk music, in the organization of his musical form. Repetition, diversity, and sequence development principles are the cause of the genre requirement. From a structured perspective, most of the music of Siyavush Karimi is in the form of a clause-transplant. The composer’s lyrical musics, we can note, are mild, heavy temp, which is a characteristic of their characteristic, imaginary world. The connection of the composer’s lyric music with the folk lyric music genre clearly shows in their tone structure: in the order of the melodic line, in the movement of melodic turns down from the top, singing the beating voices and in reference to them, in the application of the principle of successive development and in the use of characteristic cadence returns from the tone content, and so on. From this point of view, we can conclude that, in the songs of Siyavush Karimi are reflected their high mastery characteristics which in their brains using skillfully the music and artistic vocabulary. As you listen to them, you believe that the author has his own style of writing, the ability to arrange arrangements that are not unique, and the music that is close to the heart.

The high artistic features of melodic expression of music, deep lyrical color, rhythmic tone sand etc. are a valuable example of influencing the development of modern Azerbaijani music.

composer, song, music, analysis, poetry


Download data is not yet available.


Azerbaycan halk şarkıları. I c. /Düzenleyen

S.Kerimi; red.: E.Dadaşova. – B.: Önder,

– 168 s.

Azerbaycan halk şarkıları. II c. /düzenleyen

S.Kerimi; red.: E.Dadaşova. – B.: Önder,

– 128 s.

İsmayılzade R. Azerbaycan halk şarkıları.

// Azerbaycan halk müziği. Denemeler. B.,

Elm, 1981. s. 52-85.

Guliyev А. Azerbaycan mugamının müzik

dramatürjisinde kontrastlık prensipleri. /

I Uluslararası mugam festivali, Doğu-batı,

, 135 s.

İsmayılov M.S Azerbaycan Halk müziğinin

lad özellikleri. Bilimsel notlar . seri XIII N02

(7). Б.: yayımevi.АГК, 1969. с.3-8

Halıgzade F. Azerbaycan Halk müziği ritmi.

Aday tez özeti, М.: 1985. 22 с.

Mammadova A. Siyavuş Keriminin bestekar

fealiyyetine bir nezer. Azerbaycan Milli

Konservatoriyası dergisi. N 1, Bakı, 2018,

s. 77-80

Mammadova A. Siyavuş Keriminin “Hamlet”

faciesine musiqisinde esas qehremanlarin

seciyyesi. Azerbaycan Milli Konservatoriyası

dergisi. N 1, Bakı, 2019, s. 46-49

Ferzeliyeva Ü. (27.10.2011) Siyavuş Kerimi:

«Muğam terapiyası layihesi üzerinde

işleyirik. TİBB gazetesi. №19-20, s. 2

How to Cite
Mammadova, A. (2019). Intonation and text specifications of Siyavush Karimi’s song “pain being without you”. Rast Musicology Journal, 7(1), 2009-2018.