ANALYTICS

Tar - “ancient Armenian string instrument” or modern Armenian appropriation

08.07.20 14:35


As you know, the uniqueness of the culture of any nation is not least determined by its musical culture, which also has its own unique musical instruments. The musical culture of the Azerbaijani people is inconceivable without such an instrument as tar.


The Azerbaijani art of performing on containers and the craftsmanship of its manufacture are included in the UNESCO intangible cultural heritage list. At the same time, since Azerbaijani folk music was a living, constantly evolving tradition, tar was gradually improved.

 

The creator of the new improved Azerbaijani container, which is mainly used today, is also known - it is a native of Karabakh, Sadikhjan (Sadikh Mirza Asad oglu). In the XIX century, he was one of the most famous Azerbaijani performers on packaging. Having improved the tar, Sadikhjan expanded the possibilities of virtuoso playing on this instrument. He increased the number of strings from 5 to 13, made additional changes to the tool body, and also changed the system of fingers on the neck of the container. In the 90s of the XIX century, an ensemble was created under the leadership of Sadikhdjan in Shusha, which included famous singers and musicians of that time (and among the students of this outstanding tariff there were not only Azerbaijanis, but also Georgians and Armenians - an indicator that Azerbaijani musical art has always been open to other peoples).

 

It is symbolic that the homeland of Sadikhjan is the city of Shusha, the former capital of the Karabakh khanate, the city which was the center of Azerbaijani culture and art, including music, is now occupied by Armenia, most of the monuments of architecture are barbarously destroyed. And today, the Armenian "invaders of the alien" want to appropriate not only Azerbaijani lands, but also Azerbaijani culture.

 

Assignment of a stranger and applications for the fact that the art of neighboring peoples turned out to be "ancient Armenian" today are occupied by many Armenian information resources. Among them, “Out of Lines” resource, which recently published an article under the screaming title “Tar - Ancient Armenian String Instrument” (https://vstrokax.net/kultura/tar-drevnij-armyanskij-strunnyj-instrument/?fbclid=), is especially arrogant. IwAR320d0PBdrn0JwpzobcIfrmeWnlmjSpKkC_zx3HDMWqmHQcfs2r6QdmSCU). Here is an excerpt from this opus:

 

“The Armenian tar is the most solo of all instruments in the musical life of Armenians, and the most famous performer who has ever played it is ashug Sayat Nova.

 

Today, in Armenia, the tariff acts both as a soloist and in a leading role in the ensemble. One of the famous performers of the game on Armenian packaging is the scientist Hovhannes Darbinyan. Playing a musical instrument is widespread in Armenia, Afghanistan, Iran, Iraq, Turkey and the countries of the Middle East ”.

 

It is symbolic that the myth that “Sayat Nova” is supposedly “Armenian ashug”, although the vast majority of his works have come down to us in the Azerbaijani language (more than 125 poems) and there are great doubts about its Armenian origin (as the Caucasus has already written, is repeated here) Plus ”in the material“ Response to the article “Sayat-Nova in the sight of the Transcaucasian Turkish falsifiers” of the Voskanapat.info website ”http://kavkazplus.com/news.php?id=14493#.XwK2uG0zbIU). But even the fact that there are Armenians among the performers of the container game still does not say anything. An Armenian can actually master the game on the balalaika too - but this does not mean that after that the balalaika will become not a Russian, but an “ancient Armenian” musical instrument.

 

Having appropriated the Azerbaijani Turkic poets and prominent cultural figures (such as Sayat Nova, who lived in Georgia and composed songs in the Azerbaijani language), the Armenian falsifiers do not stop there and appropriate the whole cultural trends of the peoples among whom the Armenians lived. And now an attempt is being made to appropriate and give out the musical cultural heritage of the Azerbaijani people as “ancient Armenian”. Although there aren’t even special Armenian musical compositions on the container - all this is Azerbaijani music. As for example, “Armenian” mugam did not exist and now does not exist - one of the main genres of Azerbaijani traditional music, the performance of which is unthinkable without packaging.

 

In their attempts to appropriate the stranger and pass off as Armenian falsifiers, it seems that they forgot about their own development of musical culture. As a result, you can certainly shout everywhere that tar is an “ancient Armenian instrument”, but alas, those performers of the container game that are now in Armenia are a legacy of the school of the USSR, when Armenia had not yet turned into a mono-ethnic ghetto, Azerbaijanis lived here and there was a cultural exchange with Azerbaijan. Then no one doubted that tar is an Azerbaijani instrument. Today, against the backdrop of attempts to appropriate the cultural heritage of others, the Armenian musical culture is degrading before our eyes, as well as the Armenian state, which, instead of developing in peace with its neighbors, has relied on the seizure of foreign lands.

 

 

KavkazPlus

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