Foreword of publication author

U.Hajibeyov's article about general structural arrangement of the mugham Rast in music of the Near East's peoples is rather grounded, and objections are not to be. However, this generality is to relate, as Uzeyirbey noted, to those its features only, as foundations of the scale and the pitch of tonic. Despite the common features of formation and structure of the scale, at surface consideration the different structure of dastgah, separate details of its sectors' consequence attracts attention.

It's necessary to note that distinctive peculiarities of the mugham Rast are observed in that of various peoples, as well as of the Azerbaijani in musical practice of different schools, approximately related to the same historical period. The table below displays the composite difference of the dastgah Rast and simultaneously demonstrates succession of its sections.

“Mejmeush-shuara” (Agha Kerim, Kerim Salig, Agha Dadash, Muniri, Agha Seid oghlu Aghabala, etc.); musical gatherings of the Mansurovs Baku (Absheron)	“Mejlisi-Khamushan” Mir Movsun Navvab, Asad oghlu Mirza Sadikh, Haji Husi, Meshadi Isa, Jabbar Garyaghdi oghlu, etc.) Shusha (Garabagh)	“Beytus Safa” (Seyid Azim Shirvani, Magomed Safa, Mirza Magomed Hasan); also musical gatherings of Magomedzade Mahmudagha Akhmedagha oghlu Shamakhi (Shirvan)
Maye-Rast Novruz-Ravende Rast Ushag Useyni Vilayeti Khogeste Haveran Erag Panjah Rag Haveran Emiri Mesihi Rast	Rast Panjah Vilayeti Мансурийя Zamin-khara Rag-Hindi Azerbaijan Erag Useyni Bayati-Turk Bayati-Hajar Maveranahr Bal-keviter Hijaz Shahnaz Ashiran Zengi-shotor Kerkuki Rast	Rast Ushag Mujiri Useyni Vilayeti Siyahi-Lashkar Mesihi Dehri Khogeste Shikesteyi-Fars Rag-Hindi Rag-Xorasani Saginame Erag Tesnif-gerai Mesnavi Zengi-shotor Nagmeyi-hindi Menevi Gabili Rast

Thus, endless disagreement on the issue of the body, structure, and succession of sectors (parts) in mugham of dastgahs between musicologists and executors is natural and necessary. It's a wonder whether it was a consequence of mugham performance by means of completely free improvisation? Actually, bringing of dastgahs even to comparatively systematized order, precise differentiation of its sectors, more concrete definition of branches and cells was always the central challenge of Azerbaijani musical society.

For the first time ever in history of our republic, the decision of necessity of drafting of music schools curriculum, professional training of domestic labor of mugham executors was reached for the purpose of betterment and development of Azerbaijani musical art in the beginning of the 20-th century.

In 1923 in Baku the research council that is Commission on Mughamat, including mugham experts - khanende and sazende, was organized by decree of Commissariat of Public Education of Azerbaijan SSR within the Azerbaijan music school. U.Hajibeyov, the director of the Misic School, was appointed as a Chairman of the council. Permanent members of the board: Jabbar Garyaghdi oghlu, Gurban Primov, Shirin Akhundov, Mirza Faraj Rzayev, Mansur Mansurov, with the author of these lines being a technique secretary. From time to time, khanende Islam Abdullayev participated at these meetings.

Scientific council of the mughamat, first located in the music school, then (from 1925) in the Azerbaijan Research Society, worked at such a significant and honored mission, as definition and specification of some important theoretical problems of Azerbaijani national music (chiefly, mughamat).

It is necessary to note the congregations of this scientific council were often conducted in the atmosphere of heated debates. However, as the saying goes, "truth originates in argument". As a result of these creative discussions, true, just, and sensible conclusions were defined. Two powerful factors guaranteed the effectiveness of the scientific board's work. First of all, presiding Uzeyir Hajibeyov, honestly judged, which of the two contrary opinions, grown battle-ground, was the right one. Secondly, in the hottest moment of the started contentions, he could show huge moderation and patience, unlike too many meeting participants.

The author of these lines recollects with feel of great respect and highly appreciates the whole work of the Research Society on elaboration of mughamat issues, which accepted decisions of the reputable assembly on all hands.

II The rich culture of the progressive Russian people is known to play a great role in development of Azerbaijani music.

Studying the creative practice of the Russian musical culture, that has achieved a global progress, our composers and music workers obtained significant creative success, having enriched at that national musical art with new forms, music genres, and methods of artistic expressiveness, unknown for Azerbaijani music art before.

That's why at the present time, along with careful studying of the applied in musical practice Russian music terms, one of the immediate needs, put forward by our rich musical life, is a task of definition the answer, correctly and precisely expressing the concept, contained in these terms, in the Azerbaijani language.

Unlike the other fields of art, the terms of the Global musical literature, taken from foreign languages and written in Latin, are widely used.

These terms, chiefly taken from the Italian language, apply for the purpose of definition of characteristic features of performing musical compositions or their parts in the certain tempo.

The taken separately third chapter of our Dictionary is dedicated to explanation of the musical terms of the foreign origin, most used in music.

The author primarily used for this chapter the Music Dictionary by A.Garras, edited and bettered by the writer V.F.Odoyevski (1804-1869), one of the founders of the Russian classical musicology.

It's also necessary to note "Encyclopedic Music Dictionary" (State Scientific Publishing House, "Big Soviet Encyclopedia", Moscow, 1959), compiled by the Soviet musicologists V.S.Shteypress and I.Yampolski in the collegiate way.

A.Badalbeyli

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