Özet:

The manifestation of East-West synthesis in the field of music culture in itself covers a wide range of valuable and complex problems. When we look at the historical development of the art of music, which we have defined for centuries as the "Eastern" and "Western" musical culture, we can see that their interrelationships have a very ancient history and are manifested in many ways. The problems we examine in this study are specifically related to the work of national composers of the twentieth century and piano music, which is one of its important branches. The piano music of Azerbaijani composers includes a crossroads of different musical traditions and sources belonging to the East and the West. At the same time, one of the main factors in the formation of piano music is the attachment to national music. However, Azerbaijani composers are never satisfied with this situation, they appeal to different trends and tendencies of European music, and widely use their means of expression. Thus, the factor of nationality is gradually deepens, and as a result, the style of piano music is undergoing a broad evolution. According to national principles, the new features of European music were "diffused" and took a new form of a unique unity and interesting results of a new quality emerged.That is, as a result of the intersection of different musical cultures, a completely new artistic quality is obtained. It finds its interesting, "multicultural" solution not only in the adaptation of the genre but also in the style. Azerbaijani composers are examples of the principles of the East, represented in the oral traditional national music, belonging to the West, neo-romanticism, neoclassicism, neo folklorism, widespread dodecaphonic writing techniques, aleatoric, sonorities, etc. They have proved the inexhaustibility of the possibilities of integration, even with the works they have created as a result of the synthesis of tradition and modernity. The national composer's creativity is combined with the features of our traditional oral music through the artistic and technical means of modern music, new methods of composition, as well as folklore, neo-folklorism, neoclassicism, postmodernism, the latest trends, and styles. It is a manifestation of a problem defined as Western synthesis. At various stages of the development of the piano creativity of Azerbaijani composers, there is a constant interest in new artistic trends, a tendency to renew the means of musical expression. In the first half of the twentieth century, national traditions in Azerbaijani piano music, including the principles flowing from mugham, along with Romanticism and Impressionism, were embedded in the work of European composers. One of them was the tendency of neoclassicism, which was associated with the name of G.Garayev and later found its brilliant manifestation in other areas of the national composer's work. When speaking about the tendency of neoclassicism in the piano work of Azerbaijani composers, we need to briefly mention the main features that characterize this style. Piano works which are involved the neoclassicist style of G. Garayev that are typical for this indication, we see that the period of these people classicism genre and the revival of ancient music composition aspects of the twentieth century using enrichment, which applies the ancient music of the twentieth-century music genres, forms, manifests itself in the combination of language elements. The originality of neoclassicism in Garayev's work lies in the fact that the characteristic features of this stylistic trend, which is widespread in the music of the twentieth century, are important styles of national musical thinking and, above all, the art of mugham. In the piano works written by G.Garayev in the neoclassical style, the principles of mugham are completely obvious at the level of the organization of the material, the form of the music, the texture, and, in particular, the melody. Thus, in the example of G.Garayev's works for piano, we see the organic combination of the principles of national musical thinking with the means used in the neoclassical style. In the composer's polyphonic works, the conformity to the law of mugham thinking is already manifested at the same time in the "environment" of the author's "polyphonic writing style of the past and the present, as well as in the" environment "of the author's twelve-tone chromatic tonality evaluated as.

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