FEATURES OF MUSICAL LANGUAGE IN THE SYMPHONIC CREATIVITY OF COMPOSER NARIMAN MAMMADOV

work the features of the creative style, which is a of his high professionalism. The identification of N. Mammadov’s regularities in the language of folk music is connected with the study of national peculiarities of the composer’s creative style. In this regard, the study of the composer’s work allows us to understand the basic laws of musical language, resulting from its connection with folk music. At the same time, the new directions of modern music that are manifested in the composer’s work are organically connected with national roots. In this sense, the study of the works of the composer Nariman Mammadov is actual. The article examines the features of the cultural environment in which Nariman Mammadov was formed, and shows its role in his creativity. The stages of development of N. Mammadov’s creativity are studied, his works are analyzed from the point of view of themes and genre diversity. In this direction, the works of the composer are studied in all areas of creativity: musical-stage, chamber-instrumental, vocal, symphony orchestra and for orchestra of folk instruments, during which the features of the musical language of his works are analyzed. The author explores the activities of N. Mammadov in the field of ethnomusicology, recording and research of mughams, folk songs and dances. The author also summarizes the unique creative features and style of the composer at the scientific and theoretical level. In the article it was possible to generalize the features of his musical language on the example of fortepiano concertos in the form of analyzed works of the composer – the Second Symphony for chamber orchestra, fortepiano and timpani, the Fourth Symphony “The voice of my heart” dedicated to Huseyn Javid, the Seventh Symphony “To the Martyrs of Khojaly”.