Folk songs and ashug art, being among the very significant forms of Azerbaijani music art, are considered to appear much later than “mugham”. It is practically impossible to define the time of appearance of mugham, because it has very ancient sources. The creation of mugham is closely connected with definite and immediate feelings. This is the very reason why the word “mugham” has the meaning of time and moment. The first musical “cries” of primitive man appeared in some definite joyful or sorrowful moments of his life. For instance, after a successful or unsuccessful hunt, primitive man feels rejoice or grieve, uttered definite sounds which later became “music”. So, in this way was formulated the notion of joyful and sad music.
Also the role of nature in the appearance of music and especially of mugham was quite significant. The sounds of blowing winds, raging rivers, flashing lightnings, rumbling rain clouds, wild animals and birds, became the primitive music. It was developed to the immortal delight for heart and ears, and was delivered by means of primitive instruments made of wood, stone and leather.
The mugham is considered to be part of not only Azeri musical art; it also exists in near and middle eastern African and Asian musical art. But it should be noted that only in Azerbaijan has mugham reached the highest and most mature level of its development. The reason is that for the performance of mugham a very high timber of voice is needed. This voice timber is the characteristic feature of Azerbaijani people. There is no country in the world where the voice timber of mugham performers is so high and strong as in Azerbaijani. Nowadays the khanendas (mugham performers) from the exhausted, crying and groaning Karabakh, which was occupied by Armenia, fascinate and astonish the whole world by their singing.

One mugham consists of 6,8 or 10 levels. Depending on the area of mugham, it can be performed 1-2 hours without a break. The formation of the complete complex of mugham from ancient times was provided by the works of great mugham performers and musicians. Among them should be mentioned such scientists as Abdulgadir Maragai, Safiyaddin Urmavi ; such mugham performers as Hadji Khuzu, Jabbar Garyaghdi, Mohammed Kechachi oghlu, Meshedi Mohammed Farzaliyev, Zabul Gasim, Seyyid Shushinsky, Khan Shushinsky, Zulfi Adigezalov, hajibaba Huseynov, Fatma Mekhraliyeva, Hagiget Rzayeva, rubaba Muradova, Yagub Mamedov and others.

The heritage of mugham, which has been passed down to us, is developed by modern mugham performers such as Arif Babayev, Janali Akberov, Islam Rzayev, Aghakhan Abdullayev, Alibaba Mamedov, Qadir Rustamov, Alim Gasimov, Sakina Ismaylova, Melekhanum Ayubova and others.
Besides the minor forms of mugham in Azerbaijan we can distinguish 17 main forms:
3 forms of segah – “Segah of Mirza Gusein” “Zabul Segah”  “Kharidg Segah” Then “Rast”, “Bayaty Shiraz” “Chahargah”, “Mahur”, “Orta Mahur”, “Rehab”, “Humayin”, “Shushtar”, “Bayaty Kurd”, “Shahnaz”, “Gatar”, “Shur”, “Dashti”, “Bayaty Gajar”.
Mugham is considered to be an inexhaustible source not only for tesnifs and folk songs, but also for symphonic songs (opera). For instance “Rast” and “Shur” are symphonic mughams.
If in his youth Uzeir Hajibeyov had not paid much attention to the mughams performed by Jabbar Garyaghdy, he might never have created such masterpieces as “Leyli and Mejnun” and “Koroglu”.
All khanendes widely use the poems of classical poets in the performance of mugham; usually they use gazels (Lyrical poems) more than bayatis or goshmas, because the style of gazels is closer to the mugham. At the end of a mugham can also be performed 1-2 bayatis.
Mugham gives the people the irreplaceable calm feeling of alienation (or detachment) from reality and the approach to something spiritual and sublime. Doctors confirm that mugham has a very good influence on the human organism.
In the study and teaching of mugham, Asef Zeynally’s musical college is of great significance.
“The most perfect music of the world is mugham. Mugham is the inexhaustible source for all the music of the world.” – the words of Jean Pierve (the director of film “The Voice of the World”).
 

Mugams, being the most ancient and the rearest «pearls» of Azerbaijan music culture, are mature creative expression of moral world of people's wit. Azerbaijan music is based on Mugam. Mugams, which are foundations of our music, are art taste of not only Azerbaijan, but also all of Eastern people. In historical source, there is an information about the existence of great music culture in the states; Shumer, Manna, Midia.

In the X-IX centuries B.C., during the leadership of Midia, around the lake Urmia, the Mugs, being ancient Azerbaijan tribes, living in Mugan, were spreading out their scientific knowledge in palaces, among the people and were involved in music. Nizami Ganjavi, (1141-1209) stating, that the Mugs were musicians, writes in his «Igbalname»: «Singer, play an ancient melody. Play some Mugan melody like the Mugs». According to this, we can say that Mugam melodies first appeared in the territory of Mugan. The music critics of Iran, Arabian countries and also other countries, making investigations of mugam state, that mugam had been widely spread out in Sasani times (III-VII centuries) and mugams were played in the form of «destgah», which means in groups. As the most talented musicians of the time were working in the palaces, that is why mugams were created by these artists there.

Mugams have been the most favorite music of the Turks, the Arabs, Persians, Indians and other peoples, living in the big geographical–administrative territories, for many centuries and in each country mugams improved people's inherent moral features. Mugams, being a central genre of Eastern traditional music, based on oral traditions, were called differently in the languages of different peoples. But the essence is the same. Azerbaijani called this musical genre as «mugam», Turks and Arabians as «makam», Persians as «destgah», Indians as «paga», Tadjiks and Uzbeks as «makom», Turkmens and Uygurs as «mukam», the Japaneses as «gaganu», Indonesians as «patet», the Kazakhs as «kuy», the Kirghiz as «ky», Pakistani as «khayyal».

Beginning from IX-X centuries, the science of music began its development in the countries of Near and Middle East. The first scientific information about the mugams is given in the poem «Gabusname» by Keykavus. But as the note writings of the mugams, created in the Middle Ages did not come till our time, we can find information about them in the handwritings of Eastern music critics living in the IХ–ХIХ centuries. The founder of Eastern music Science Abu Nasr Mohammed Farabi (865-950) writes his work «Kitab-ul musigi-al-kabir» («Great book about the music»). Abu Ali Ibn Sina's (980-1037) work called «Risatun fi elm–ul-musigi» (the treatise about music) became the most widespread work. At the beginning of XII century the encyclopedia called «jame–ul-ulum» of Fahraddin Al Razi introduced to music lovers. In the XIII century the outstanding Azerbaijan music critic Safiaddin Urmavi (1230-1294) enriched music science by «Kitab al-advar» (Book of Times) «Sharafiyya» treatise. Mohammed ibn Abubakr Shirvani wrote and completed the book «Ikhvanus-safa music». In the XIV century Mahmud ash-Shirazi and Mohammed ibn Mahmud Al-Amuli also wrote their scientific works on music.

Azerbaijani music scientist of XIV-XV centuries Abdulgadir Maragai (1353-1433) took science of music to the highest level by his works; as: «Megasir ul-alhan» (1413), «Jame–ul-Alhan» (1418), «Favaidi-ashara» («10 advantages»), «Lahniyya» («About melody»), «Kanzul-alhan» (Music Treasury) and «Zubdatyl advar fi sharhi risalatil advar» («Selected melodies in the explanation of music collection»).

In the XVI-XVII centuries new information about mugams was given to music lovers in the treatise «Risalei-musigi» of Najmaddin Kavkabi, in the book of Darvish Ali, who was the musician at the palace of Imam Gulu khan (1611-1642), and in the work called «Risalei-Musigi» of Azerbaijani musician Mirzabay.

In the ХIХ century, Mir Mohsun Navvab, writing about mugam culture, explained the origin of mugams, musical instruments, alikeness of poetry and music in his work called «Vuzuhil-apram» and also wrote about the branches, types and melodies of mugam «destgahs» not only in Azerbaijan, but also in all Eastern countries. He also made schedule of them.

Azerbaijan mugams, being different from pieces of music of this genre, have been enriched in the essence by the talent of conducting of our singers and have been matured in the form. From this point of view, mugams consisting of different melodies, appeared in accordance with definite events, were called differently depending on the essence:

mugams of lad-magam (type) («Shur», «Humayun», and etc), mugams of emotional-figurative structure («Semai-Shams, «Rast», «Dilkash» etc.), mugams of different areas («Arazbari», «Garabagh Shikastasi», etc), mugams of different persons («Shah Khatai», «Khostovani», «Huseyni», etc), mugams of different cities («Bayati Shiraz», «Bayati-Isphahan» , etc), mugams of different nations' names («Bayati-Kurd», «Bayati-Turk», etc.), mugams called according to the way of conducting («Kesme shikasta», etc) and according to the ordinal numerals («Yegah», «Dugah», «Segah», «Chahargah», «Panjgah»).

In the beginning of ХIХ century Azerbaijan literary sphere entered its new development stage. In Shusha «Majlisi-Faramushan», and «Majlisi-Uns», in Shamakhi «Beytus-Safa», in Baku «Majmausi-Shuara» poetry-musical literary «mejlises» (gatherings) began their activity. Differing from other cities of Azerbaijan, Shusha becomes the cultural center of famous poets, music critics and singers. Singers of marvelous art center –Shusha represented Azerbaijan music not only in their Motherland, but also in other Eastern countries, creating the history of Azeri music. The music talents of Shusha appeared neither in the cities of Caucuses nor The East. Shusha vocal school takes the same position in the history of the East, which Italian vocal school in the history of European music. Shusha was called «Italy of Caucuses».

The names of famous singers, «tar» and «kamancha» players, who eastablished Azerbaijan mugam school in the first beginning of ХIХ century , also being famous in Near and Middle East by their wonderful voices, are given in undergiven tables:

Famous singers:

Famous «Tar» (National music instrument) Players

Famous «Kamancha» (National music instrument) Players

In the first beginning of ХIХ century the singers were singing by the accompanying of «tar», «kamancha» and «yastibalaban» (national musical instruments. This group of 4 men consisting of the singer and the players was called group of «sazendes (players)». In the beginning of XIX century the group of 4 players became consisting of 3 persons: singer, tar, kamancha and goshanagara players. The songs of this group of 4 men and triple (group of 3 men) were dedicated mostly to love and female beauty. In accordance with the changes in spirits of people, the way of singing mugam also changed. So, mugam was being sung during 2-3 hours before, but later this time was shortened and became 15-20 minutes.

Beginning from the Middle Ages till the beginning of XX century, mugam was considered to be an art, conducted only by the male singers, but in spite of this fact, beginning from the 20s years, the names of talented female singers, who developed our culture and took it to the pick, are given in undergiven schedule:

The delicacies of poetry, expressing philosophy of life, love to nature, love for all the men, which exists in Azerbaijan mugams – unit of poetry and music, is the most important thing, which makes completeness together with wonderful music melodies. The following outstanding Azeri poets praized mugam in their works: Gatran Tabrizi, Mahsati Ganjavi, Nizami Ganjavi, Falaki Shirvani, Givati Mutarrizi, Khagani Shirvani, Imadaddin Nasimi, Mahammad Fuzuli, Molla Panah Vagif, Gasim bey Zakir, Seyyid Azim Shirvani, Huseyn Razi, Bakhtiyar Vahabzadeh, Aliaga Vahid, Samad Vurgun, Suleyman Rustam.

NOWADAYS AZERBAIJAN MUSIC ART CONSISTS OF THE FOLLOWING MUGAMS:

Divisions (sho'be) and branches (gushe) of mugams according to their composition:

Daramad: «Daramad» is an instrumental melody widely used in mugam «dastgahs» and it is an introduction part of vocal-instrumental mugams. «Daramad» expresses the features of mugam to which it refers and it is called as the mugam.

Berdasht: «Berdasht» is an instrumental melody written in the genre of oral traditional music. «Berdasht» is widely applied in mugam art. From this point of view, «Berdasht» is an introduction part of instrumental mugam «destgshs».

Reng: «Reng» is played after definite divisions of «destgah» and is called as the mugam it refers to. By nature, «rengs» are divided into those, looking like a dance, a march, and lyric ones. The first type of «reng» is «Diringi».

Diringi: «Diringi» is a melody, less than «reng» and it is more danceable than «reng». It is usually played in divisions or branches of little volume, or finalizes them.

«Reng» and «Diringi», being a piece of music, when played, gives a singer an opportunity for preparing for the next mugam division.

Gushe (branch): Im comparison with division, «Gushe» is a mugam episode of improvisation character, with less volume. Like, divisions, branches also have different names.

Avaz: «Avaz» usually means a completed musical sentence. «Avaz»s have no definite names and they are sung either within divisions or branches. So, a division is made of 5-6 «avaz»s, and a branch is made of 2-3 «avaz»s.

Maye: «Maye» plays a main role in vocal-instrumental and instrumental mugams and it determines their structure by its essence. «Maye» plays a central role in mugam «destgah»s and all the divisions of «destgah» are activate around it. The conductive features of divisions and branches generally depend on «Maye» part.

Tasnif: «Tasnif», has a lyric and dance like character and is sung after the singing of each division of mugam «destgah». Each of tesnifs are sung independently as a complete piece of music.

2. Mugams of little volume:

Mugams, which are less in volume than destgahs, and which have less divisions and branches are called little volume mugams. They usually consist of 3-5 divisions or branches. «Gatar», «Bayati-Kurd», and «Dashti», having been divisions of mugam destgah, being enriched by branches coinciding with their own melodies, and «Rahab» and «Shahnaz» mugams by decreasing of their divisions and branches have changed and became mugams of little volume.

3. Impact mugams:

One of the widely spread genres of Azerbaijan oral-traditional music are impact mugams. When they are sung, in the ensemble, accompanying the singers, impact instruments are preferred. Impact mugams begin with instrumental introduction of active-emotional character and on the basis of musical parts of this introduction the main melody is played.

The songs, tesnifs, operas, symphonies and other musical genres created by our composers are based on mugam. So, they widely used mugam in their creative activity. The outstanding composer Uzeir Hajubayov composed his operas; «Leyli and Majnun», «Sheykh Sanan», «Rustam and Zohrab», « Koroglu», «Shah Abbas and Khurshid Banu», «Narun and Leyla», «Asli and Karam» on mugams ans at the same time, he wrote his fantasies for national musical instruments orchestra on «Chahargah» and «Shur» mugams. These fantasies are called the same as the 2 mugams. He prepared «Arazbari» mugam for cord orchestra, established new gazal (classic poem)-romance genre, based on Nizami Ganjavi's gazals «Sensiz (Without you)» and «Sevgili janan (Belowed)». muslim Magomayev in his opera «Shah Ismayil», Zulfugar Hajubayli in his opera «Ashig Garib», Shafiga Akhundova in her opera «Gelin Gayasi» have used mugam melody. Asaf Zeynali applied mugam to chamber instrumental music, also he wrote his work «Mugamsayagi» for violin and piano and «Chahargah» for piano. Fikrat Amirov, when writing «Shur» and «Kurd-Ovshari» symphonic mugams, he kept traditional structure of «Shur» in «Kurd-Ovshari» he used examples of impact mugams. He wrote his «Azerbaijan» capriccio on «Mahur» tasnif. Azerbaijan tasnifs are wonderfully expressed in Fikrat Amirov's «Gulustan-Bayati Shiraz» symphonic mugams. Composer and conductor Niyazi in his «Rast» symphonic mugam, Suleyman Alasgarov in his «Bayati-Shiraz» symphonic mugam, Jovdet Hajiyev in his «The fourth symphony» and in «Ballada» written for piano, Gara Garayev in his «The third symphony», have used mugam melodies. Chorus, sung in the 3^rd part of «Azad» opera of Jahangir Jahangirov is «Chahargah» mugam. He created role of Fuzuli by means of «Rahab» mugam in the introduction of «Fuzuli» cantata.

In his «The Fourth Symphony» and «The Sixth Synphony», Arif Malikov used melodies of mugam destgahs. He also composed his «Love Legend» ballet on «Humayun» mugam. Agshin Alizadeh has professionally used «Shur», «Chahargah», «Segah», «Vilayati» mugams in his «Fourth symphony» called «Mugamvari». Russian composer R. Gliyer in his opera «Shahsanam» used «Arazbari» mugam and 30 Azerbaijan national songs and ashig n songs (national melodies).

Afrasiyab Badalbayli used «Mansuriyye» and «Heyrati» mugams in his ballets «Giz Galasi (Maiden tower)». Soltan Hajibayli in his «Karvan» symphonic work has used musical colourings of impact mugams. Learning and investigating of mugam, which is an oral-traditional mucis of the East, is one of the most important tasks of music critics in the World.

Beginning from the Middle Ages till nowadays, studying this genre of Eastern music culture has become the theme of research of the scientists. A number of articles, research works have been written. The names of these scientists are given below: Al-Kindi, Al-Munajjim, Al-Farabi, Ibn-Sina, S. Urmavi, G.Shirazi, Al-Amuli, Al-Jurjani, Abdulgadir Maragai, Shabaddin Ajami, H. Farter, K..Zaks, R. Derlanjs, Kamal Al-Holan, Ahmad Aminaddin, Mahmud Mukhtar, Mahammad Salahaddin, Yusif Shauki, R. Khaligi, A.N. Vaziri, M. Barkishli, A. Shabani, R. Yekta, Sadaddin Arel, S. Azgi, I.H.Ozkan, Y. Elsner, S.M. Uzdilek, M.Karadeniz, Y. Tura, M. Barzanchi, V. Belyayev, V.Vinogradov, U.Hajibayov, M.S.Ismayilov, E.Abbasova, G.Abdullazadeh, R. Mammadova, R. Zohrabov, I.R.Rajabov, R.Imrani, F.M. Karomatov, T.S.Vizgo, O.Matyakubov and others.

Some of the conferences and symposiums held on international standards concerning Eastern oral-traditional music:

ВII International Music Congress held in 1971 in Moscow in the theme «Tradition and Modernity», III International Tribune of Asian Countries held in Alma-Ata in 1973.

In the I International symposium, held by UNESCO in 1978 in Samargand in the theme: «Traditional music of Near and Middle East Peoples and Modernity», the following Azerbaijani musician scientist took part: E. Abbasova, L.Karagijiyeva, N. Aliyeva, R. Zohrabov, Z. Gafarova, N. Mammadov, A. Eldarova and S.Agayeva. They made interesting reports.

In the II International symposium held in 1983 in Samargand, E. Abbasova, N.Mammadov, S.Gasimova, Z.Safarova, I.Efendiyeva , R. Zohrabov made reports.

Tar player B.Mansurov, kamancha player T.Bakikhanov, singers J.Akbarov and A.Gasimov sang Azeri mugams.

In III International symposium held in 1987 in Samargand, which represented more than 400 musicians, N.Aliyeva, S. Dashdamirova, S.Agayeva, composer E.Mansurov made reports. Our singers A.Babayev, and A. Gasimov, tar players R. Guliyev and A.Abdullayev, kamancha player Sh. Eyvazova were applauded by the audience.

No doubt, that all these music forums will play an important role in studying musical heritage of Eastern Peoples, in strengthening relations between musician scientists. According to the opinion of World musicians, Azerbaijan mugams, which are richer and stronger among mugam musicians in different geographical areas, according to their emotional impression and development level, will become a source of creativity for many composers for many years and will be investigated by musicians. The successes achieved by our singers and ensemble of national musical instruments in foreign countries is the evidence that they are devoted successors of our classic music heritage.