This study aims to examine Uzeyir Hajibeyov’s comic operetta "Arshin Mal Alan", staged in many countries around the world, by addressing the musical identity of its author. It is also aimed to rediscuss this operetta based on Hajibeyov’s identity, as well as to transfer this valuable work, the popularity of which is still high in the Turkic world, to the next generations. The operetta essentially covers the structure of Azerbaijani society, as well as women's rights and freedom. This work, which has been very popular in Islamic countries, is thought to criticize Islam and Islamic traditions and it is a fact that this operetta helped the liberalization of women in these countries. Arshin Mal Alan exposes on the stage the obsolescence of the dominant customs and traditions and reveals the necessity of a modern social structure. It has been observed that the composer wrote the operetta with a positive approach and disapproved of the old feudal merchant order. Hajibeyov synthesized contemporary Azerbaijani music by combining the 20th-century Azerbaijani music with folk melodies, to which he attached great prominence, universal musical norms, and Western harmony. Hajibeyov came up with and developed most of the style and aesthetic characteristics of Azerbaijani music. Üzeyir Hacıbeyli's operetta called "Arşın Mal Alan" was written at a time when cultural and social change movements were accelerating in Azerbaijan, and it was staged as a contribution to these innovation efforts. The work expresses a section of the life of the Azerbaijani people at the beginning of the 20th century. The characters of operetta are chosen from life in the work, so it presents the social and cultural life of that period. In the research, it is known that the operetta, which was written according to the conditions of the period, maintains its importance today.