THE CENTRAL STYLE OF AZERI FOLKSONGS

Özet

To what use does comparative ethnomusicological research over a vast area be
put? It suffices for a nation to realize that it is imperative to know the music of its
neighbors and language relatives in order to explore the particular and general
features of its own folk music. It holds true in general, too, that a comparative
examination is more informative and revelatory than the separate study of the
music of the peoples concerned.
Comparative musicology also leads to more universal findings, illuminating
fundamental human characteristics. „Indeed, all the world’s tribes, peoples, and
races have lived in continuous intercourse since the very beginning of history; they
have met in marriage, trade, and war. In this process of exchange and merger, they
discard their weapons, tools, and implements for better ones. But they preserve
their ancient songs; for singing, an expression of man’s soul and motor impulse,
has little to do with the mutable surface of life, and nothing with the struggle for
existence. This is why music is one of the steadiest elements in the evolution of
mankind.” (Sachs 1943: 21)
To spin on this thought: it is intriguing to determine the basic musical types of
a large geographical-cultural expanse. It is also important to know what specific
manifestations of these basic forms predominate in the music of various people or
geographical areas.