this way. However, there are hundreds of varieties, such as songs similar to war chant. In the 16–17th centuries the art of mugham was passing through the development process as a folklore professional music of the palace conditions. In this period a dastgah form starts to develop in the structure and forms of mugham. New colors and shades as well as tasnifs developed in mugham performance. The masters of mugham of Azerbaijan sang gazals written in aruz genre by Fuzuli, Habibi and Khatai. The music events were held in most regions of today's Azerbaijan in the 19th century and mugham was performed at these events. In the 19th century famous French writer Alexandre Dumas who attended the ceremony in Shamakhy, wrote in his works about his trip saying he was greatly impressed by mugham that sounded there. Such events held in Azerbaijan were attended by khanendes from Karabakh, Baku and Tabriz which in turn caused the blending of singing traditions of different regions. In the early decades of the 20th century, a member of native intelligentsia, Uzeyir Hajibeyov, the author of the first national opera Leyli and Majnun, also formulated the theoretical basis of Azerbaijani mugham in his work The Principles of Azerbaijan Folk Music. Famous Azerbaijani composer Gara Garayev and Fikrat Amirov also made a great contribution to the development of the art of mugham through creating the mugham symphony. Hajibaba Huseynov was credited as a key figure in the popularization of mugham, and developing talented mugham khanandas such as Alim Qasimov, Aghakhan Abdullayev and Gadir Rustamov. As of 1985, Agdam Mugham School functions in Azerbaijan, which produced the "Karabakh Nightingales" mugham ensemble. Azerbaijan also has a great tradition of composers and musicians of western classical music. Uzeyir Hajibeyov with his Leyli and Majnun created the genre of mugham-opera. Fikret Amirov (1922–1984) was the first composer of symphonic mughams, namely – Shur, Kurd Ovshari, and Gulistan Bayati Shiraz. Azerbaijani composers created a plethora of compositions that fused mugham and traditional European genres. Among those, for example, Vasif Adigozal's mugham oratorio Karabakh Shikastasi. Such works are obviously very different from traditional mugham formations but in fact incorporate many mugham idioms. On the level of musicians, there remains a strict separation between classical and "traditional" music in terms of training. Even if the musicians are educated at the same conservatorium they stick to one camp. According to the New York Times,