The article is dedicated to the comparative analysis of three variants of mugham Rast — in the interpretation of B. Mansurov, A. Bakikhanov and A. Asadullaev. The practicability of this research is due to the need to demonstrate the variance of genre model of mugham, and due to the desire to reveal the paradigm of its multi-level transformations. The conducted analysis has shown that the safety of the typological layer in the interpretational versions goes along with the variance of intonation- melodic composition of mode’s melodies, with internal combinatorics of known formulas, with the expansion or contraction of cycles’ scales, with the change of its composition due to the addition or extraction of parts, and in some cases — with the change of dramatic accents in the dynamical process of mugham’s deployment.
Abstract