At first glance, the title of this volume does not quite seem to do justice to its contents. The book neither endeavors to provide a summation of the music of Azerbaijan as a whole, nor does it chart any teleological progression from mugham to opera in the history of arts in Azerbaijan. The inference, however, is that any comprehensive representation of music in the culture of Azerbaijan must include—in close proximity—both mugham and opera, with opera standing in for any number of forms associated with highly cultivated European musical culture: sonata, symphony, ballet, concerto, jazz composition. Trained in piano and musicology at state conservatories in Baku and St. Petersburg, Aida Huseynova examines the musical orientations embedded within a national consciousness projected by arts practitioners since the nineteenth century and how these orientations encircle each other and interact. In particular, the world of conservatory education and compositional ideologies promoted in republican...

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