Researches in the field of terminology features
in musicological heritage of Afrasiyab Badalbeyli, one of the
brightest representatives of Azerbaijani musical art of the XX-th
Terminological questions today cover at once
a circle of the most interesting and intricate challenges of Azerbaijan
musicology. Terminology represents the research direction constantly
varying, updated, demanding periodic reconsideration of hundreds
concepts and terms. Not casually in 50th years of the last century
Afrasiyab Badalbeyli was entrusted with difficult and responsible
job on creation of music - terminological base in the Azerbaijan
Graduating from the East faculty of University
majoring in "linguistics", possessing the field of music theory
and history, A.Badalbeyli fine owned encyclopaedic knowledge both
in the Russian, and the east languages; he well knew both east,
and the West-European literature. He was a perfect "aesthete"
of native Azerbaijani language.
By then, when A.Badalbeyli began the long-term
job in the field of terminology, he has already had time to save
up a wide experience both as a composer, and a critic, publicist,
journalist, translator. All that was the correct orientation of
his terminological searches and huge achievements in this area.
Not denying the fact of sufficient development of Azerbaijan musicology
(i.e. in the Azerbaijani language) we are compelled to recognize
that "confusion" in translation of terms from Russian and other
languages A.Badalbeyli wrote about in the middle of the last century,
exists today, as well.
I think we know the most correct translation of the terms not
unified till now only from A.Badalbeyli.
Examples resulted by me, are the most used both in scientific
and in the educational literature. We can take, for example, the
term "leading note" translated into Azerbaijani as "aparıcı
ton". Neither from the point of view of Russian, nor from only
musical position (i.e. from the point of view of function of the
given tone) this translation cannot be counted correct. A.Badalbeyli
translates it as "chatdiriji ton" i.e. "entering tone" having
chosen the most expedient word meaning "introduction", he thus
finds the most correct word in which the function of the VII-th
step "leads" into Tonic.
The term "detention", which we translate as
"gejikma", A.Badalbeyli more correctly translates as "langima";
"non-chordal tones" which in Azerbaijani we use as "geyri-akord
tonlar", also the best are translated by A.Badalbeyli - "akorddan
kharijh tonlar", i.e. "off chord tones". "Passing tone" is expedient
for translating not as "êåchiji ton", but in the way A.Badalbeyli
does - "aralıq ton", i.e. "mediate tone", as this variant
expresses mesne function of these tones more precisely; moreover,
in German in the variant of this term "durchgangston" the part
"durch" stands for "by means of".
The term "predyom" which our musicologists,
not finding the correct translation, use only in Russian till
now, A.Badalbeyli translates it as "gabagjhases", i.e. "proleptic
(anticipatory) sound". Although sounding of this word does not
correspond to laws of the native language, but it correctly opens
the value of the term. "Deviation" which we understand as "yonelme",
A.Badalbeyli translates as "sapma", disclosure this term value
resulting the Farsi variant of translation (enheraf).
This translation ("sapma") subtlety is that
unlike the term "yonelme" (it is literally - "direction"), "sapma"
characterizes the transition process from one tonality into another
from the point of view of the basic one, i.e. the first tonality.
What in German is called "ausweichung" ("aus" means "from") -
in accuracy corresponds to the term "sapma". There is a mess while
translating the terms "triad" and "3-voice", because Russian words
both "sound" and "voice" in Azerbaijani are translated as "ses",
i.e. "sounding". In result the "triad" is translated as "uchsesli"
(or "uchseslik") "3-voice" done as "uchsesli".
A.Badalbeyli translates "3-voice" as "uchseslilik",
and "triad" does as "hemsada". Not denying some desuetude and
complexity of the given variant, we should recognize in this case
just the particle "hem" expresses the value, which in the word
"sozvuchiye", i.e. "accord" is expressed through the particle
"so", i.e. "with" that is an accord, harmonicity. All these examples
show that A.Badalbeyli while translating terms acts first of all
from a musician's position and tries to find the optimal variant
revealing the value of any term, its function, essence.
Examples brought here represent only a scanty part of terms, which
have no unified translation in works of our musicologists till
Certainly, we cannot reject the terms developed through years
strongly included in our musicological lexicon being guided only
with A.Badalbeyli's "Dictionary". But we are able and obliged
to consider his position correct while working out musical terminology
in the Azerbaijani language. In my opinion, each musicologist
dealing with translation of terms into the native language, should
be guided A.Badalbeyli's main principle trying to find such a
variant, which precisely opens its essence, value just in musical
process. Only in this way we can resolve many problems of the