DOI: https://doi.org/10.36719/2706-6185/61/54-60
Development of Musical Culture in Nakhchivan and the Creative Activity of Saida Mammadova
Zemfira Babayeva 
Abstract. This article analyzes the historical development of music culture in the Nakhchivan Autonomous Republic from ancient roots to modern professional level and the invaluable role of prominent composer, pedagogue, conductor and organizer Saida Mammadova in this process. It covers ancient traditions (Gobustan petroglyphs, Gamigaya, Kitabi-Dede Gorgud), medieval theorists, dervish and Sufi music, the influence of Uzeyir Hajibeyov school in the 20th century, the opening of the first music school in 1937, and opera performances since 1912. Detailed attention is given to Saida Mammadova’s biography (born 1942), education in Baku Music Technicum and Conservatory under Cahangir Jahangirov, creation of children’s choirs in Baku, return to Nakhchivan in 1969, teaching at the 1st Music School, founding of the “Nakhchivan” folk instruments ensemble (purchasing instruments with personal funds), directorship of Nakhchivan Music College (1975-1983), and headship of the Piano Department at Nakhchivan State University (since 1996, professor since 2012). Her songs “Nakhchivanam”, “I Love My Homeland”, “You Are in My Heart”, “My Nigar”, “Meeting”, “That Kamancha Sound” embody patriotism, lyricism and national spirit. Newly added topics include ashug creativity traditions in Nakhchivan and their influence on professional music, Ertugrul Javid’s musical legacy and kamancha tradition, development of higher music education, the role of women musicians in regional culture, and the contemporary significance of folk-professional synthesis. Saida Mammadova’s multifaceted activity is assessed as a fundamental contribution to elevating Nakhchivan music culture to professional standards, training hundreds of young musicians, and preserving national-spiritual values. Her legacy will live forever in Azerbaijani music history.
Keywords: Composer, music pedagogue, Nakhchivan music culture, professional music education, ashug creativity, piano, choir conducting, cultural heritage, higher music education, women musicians, folk-professional synthesis