Part of the confusion arises from the fact that the term itself can have two different, if related meanings. The famous Azerbaijani composer Gara Garayev has the following explanation: “The expression "mugham" is used in two senses in the folk music of Azerbaijan. On the one hand the word "mugham" describes the same thing as the term "lad" for key, mode, scale. An analysis of Azerbaijani songs, dances and other folk-music forms show that they are always constructed according to one these modes. On the other hand the term "mugham" refers to an individual, multi-movement form. This form combines elements of a suite and a rhapsody, is symphonic in nature, and has its own set of structural rules. In particular one should observe that the "suite-rhapsody-mugham" is constructed according to one particular "mode-mugham" and is subject to all of the particular requirements of this mode.” (Sovetskaya Muzyka 1949:3). Azerbaijani conservatory throughout the 20th century produced significant scholars and scholarship. Among them, Rena Mamedova explored the philosophical content of mugham, as an Azerbaijani "formula of creative thinking". Elkhan Babayev wrote extensively on rhythmic aspect of mugham performance. The native scholars continued and expanded Hajibeyov's analysis of mugham.