The phenomenon of SoNoR ensemble in the context of the cultural paradigm shift at the turn of the 21st century

Samir Mirzayev

Akdeniz University, Antalya (Turkey).

ORCID 0000-0002-7855-966X

DOI:

Keywords: SoNoR ensemble, contemporary music, academic music, intercultural relationships, Azerbaijani music, alternative programs, concerts, festival, cultural dialogue.  

Abstract. Towards the end of the millennium, a once-vast empire had collapsed, causing a multitude of disruptions. This was an empire that had won World War II and become one of the world’s superpowers for many decades; the empire that had created a completely new ideology and culture that had spread throughout many of its constituent nations as well as a number of neighboring countries. Music had been an important part of this culture. The demise of such a vast empire resulted, on one hand, in many of its component nations gaining liberty, but on the other, in various military, economic, and legal problems, among which should be mentioned a cultural and ideological vacuum. At the end of the last century, Azerbaijan, as well as other post-Soviet countries, was going through a period of crisis and culture shock, during which all governmental culture programs had been shut down. SoNoR, a contemporary music ensemble, appeared as an alternative to those programs during the darkest period of chaos. It was founded solely by a group of enthusiasts, and filled a cultural niche, becoming an image of contemporary music in the country for many years. SoNoR arranged concerts, festivals, workshops, and premieres both nationally and internationally. The band also established cultural exchanges with various countries. This article concerns the phenomenon of this group in the context of the turn of the century, as well as an attempt to analyze the main reasons for its ups and downs and eventual breakup.

Author Biography.

Samir Mirzayev, Ph.D. in History of Art, Akdeniz University, Antalya (Turkey).

rimasveozrim@gmail.com

References:

Dadashzade, Z. (2000). SoNoR’un musiqisi. Şerqi, N 4, Baku, s. 22–23.

Dadashzade, Z.A. (2002). We are also part of the world … Musical Academy, №1, Moscow (in Russian).

Farhadov, Rauf. (2020, July 05). The whole truth about jazz mugam? Retrieved from https://azlogos.ru/jazz-mugam/ (in Russian).

Karaev, Faradj. (1976). Sonata per duo esecutori. Russia-Azerbaijan.

Klänge aus dem musikalischen Chemiebuch. (14.08.2001). Die Welt, Germany.

Makushkin, V. (2010). Modern trends in chamber ensemble music. Bulletin of the Chelyabinsk State University, N 11. P. 161–165 (in Russian).

Orlova, L. (2008). Chamber-instrumental ensembles of G. Gorelova: features of style and peculiarities of interpretation. Academic works of the Belarusian State Academy of Music. Issue 17 (in Russian).

Pereverzeva, M.V., Sigida, S. Yu., & Saponov, M.A. (Eds.). (2019). History of Contemporary Music: Musical Culture of the United States of the Twentieth Century: A Textbook for Undergraduate and Specialist Degrees. Moscow: Yurayt. P. 383 (in Russian).

Von Mattias, R. Entress. (13.08.2001). Spur zur alten Kultur, Berliner Morgenpost, Germany.

Von Peter, Uemling. (14.08.2001). Viel Bedeutung und nur venig Balsam, Berliner Zeitung, Germany.

PDF (English).

Published:

Vol 19 No 1 (2021).

Section: APPLIED CULTURAL STUDIES AND CULTURAL PRACTICES.