In the popular domain, the ʿāšeq bards have never stopped singing in cafes and at family celebrations, accompanying themselves on the sāz (čoḡūr in Azerbaijani Persian) and also accompanied by the reed flute (bālamān) and the tambourine (qawan[w]āl).
Alina Pahlevanian.Armenia I. Folk music. 6. The ‘ashughner’//Nеw Grоvе Ditiсtiоnаrу оf Мusiс аnd Мusiсiаns/Stanley Sadie, John Tyrrell.— 2.— Oxford University Press, 2001.— 2500с.— ISBN 0195170679, 9780195170672.
Ellen Koskoff.Armenian music. Ashugh//The Concise Garland Encyclopedia of World Music, Том 2.— Routledge, 2008.— Т.2.— С.1406.— ISBN 0415972930, 9780415972932.
Арыгінальны тэкст(англ.)
Typically, an ashugh treated his profession -and his instrument - with deep respect. He would often create songs dedicated to his own role or to the instrument he was using. The instruments, primarily strings, varied; they included the k'amanch'a, k'eman, k'anon, s'az, far, and violin. As a rule, the last stanzas of a song would give the author's name or pseudonym. Many Armenian ashughner compiled manuscripts of their lyrics, although the melodies were transmitted as an oral tradition. The most prominent representatives of the tagher and ashugh art of this period are Naghash Hovnat'an (1661 – 1722) and Paghtasar Dpir (1683 - 1768); their lyrics have been published, and their melodies are still sung today.
Г. Тарведян: «Армянские ашуги».
Кочарян А., Армянская народная музыка, М.-Л., 1939
Мсерианц Л. М., Ашуги, Литературная энциклопедия, Изд-во Ком. Акад., 1930.
В. Кривоносов: «Ашуги Азербайджана», журнал «Советская музыка», 1938, № 4;
А. Мирахмедов: Избранное, Баку, 1963, в сборнике: «Антология азербайджанской поэзии», том I.
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