Ghazal-romances composed by Azerbaijani composers to the ghazals of Mohammad Fuzuli

The creation of the first examples of the ghazal-romance genre in Azerbaijan in the 40s of the 20th century is connected with the name of the genius composer Uzeyir Hajibeyli. In 1941, U. Hajibeyli composed the ghazal-romances «Sensiz» and «Sevgili canan» on the occasion of the 800th anniversary of the birth of the great Azerbaijani poet N. Ganjavi. This study analyzes the ghazal-romances composed by Azerbaijani composers based on the poet›s ghazals on the occasion of the 400th anniversary of Muhammad Fuzuli›s death. The purpose of this study is to analyze the ghazal-romances written by Azerbaijani composers based on the poet›s ghazals, to reveal the individual musical concepts of the ghazal-romances, to take a systematic look at the composers› use of fret-intonation features, the unity of music and words, and the principles of using compositional techniques. This study is important for musicologists, vocal performers, and those working in relevant fields such as music literature, and can also be used as additional resources in music educational institutions. The presented article provides information about the origins of the romance genre in Europe, Russia and Azerbaijan, as well as about Asef Zeynalli, the first composer of romance in Azerbaijan, and the romances he composed. In the study, the researches conducted in Azerbaijan regarding ghazal-romances, their historical development, and the unity of words and music were mentioned. In the next chapter, the ghazals-romantics written by S. Rustamov, A. Rzayeva, A. Abbasov S. Alasgarov, R. Mustafayev, O. Zulfugarov to M. Fuzuli›s ghazals are presented as the subject of research. Composers› ghazal-romances were examined based on note samples. The texts of the musical examples of ghazal-romance included in the study are presented in the latin alphabet for the first time. Document analysis, one of the qualitative research types, was used as the research model. According to the results; it becomes clear that in the analyzed ghazal-romances, the form, fret-intonation, metrorhythmic and rules of their use, as well as the variety of writing style in the ghazal-romances created by the composers at different times, the variety of tone-intonation use, from which point of view the principles of approach emerged in the modern era. In future studies, ghazal-romances written to the words of other Azerbaijani poets can be analyzed and compared based on this analysis method.