Features of timbre and texture in Arif Malikov's symphonies

Abstract

This study investigates the role of timbre and texture in Arif Malikov’s symphonic creation, revealing the originality and innovative nature of his orchestral thinking. By examining Malikov’s eight symphonies, the research analyzes their historical context, musical form, and thematic development, with particular emphasis on the hybrid musical language shaped by both the mugham tradition and European symphonic practice. The study explores timbre through aspects such as instrumental color and register range, harmonic density, and dynamic sound layering, while also addressing textural structures including monodic, polyphonic, homophonic, and mixed musical layers used in dramaturgical construction. The use of ostinato, the function of rhythmic cells in building dramatic tension, thematic transformation, and the deeply individualized nature of orchestration are discussed in detail. Each of Malikov’s symphonies emerges as a musical manifesto shaped by the cultural, humanistic, and aesthetic concerns of its time. His symphonic language conveys an artistic worldview grounded in emotional sincerity, moral sensitivity, and an expressive expressivity of orchestral color. The study demonstrates that Malikov’s symphonic approach holds significant importance not only within the context of Azerbaijani music history, but also as a noteworthy reference within contemporary musicological discourse.