This article presents a full analytical study of the artistic and dramaturgical role of maqam vocal paths in the opera “Layli and Majnun” by R. Glier and T. Sodiqov. The research explores the mechanisms of adapting maqam modal–intonational structures to operatic form, including quotation, model-intonation, reduction, redistribution of climactic points, and orchestral reinforcement. Special attention is given to character representation and the synthesis of national and European musical traditions.
Durdona Rajabiy (Fri,) studied this question.
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