Musical Armenia

The features of Khachaturian's film music

Vova Arthur Arzumanyan — 2025-03-09

In recent decades, it has been almost impossible to imagine cinema without musical accompaniment. Often, music becomes a key element in solidifying certain scenes from films in memory and not only. A significant number of films gain their content value through music. Taking all of this into account, we have explored Aram Khachaturian's creative works as a film composer, highlighting the aesthetic and cinematographic features of his works. Through the example of specific compositions, we have attempted to encapsulate the importance and relevance of his legacy in film music. By analyzing Khachaturian's film music within the context of film history, we have sought to distinguish its logical and content interconnections according to the films, which contribute to the ideological completion of the films. Our goal is also to provide a comprehensive view of the history of Khachaturian's film music.

A Brief Overview of Aram Khachaturian’s Portraits

Artyom Gerasim Andreasyan — 2025-03-09

The present essay by Artyom Andreasyan, a graduate of the Department of Art History and Theory of the Faculty of History of YSU, summarizes the creative and personal image of Aram Khachaturian, as depicted in paintings and drawings by contemporary Armenian and Russian artists. The author describes the inseparability of the depicted character from various musical attributes, as well as the connection of his depicted image with his turbulent creative and social activity. This report was presented at the "Aram Khachaturian - 120" student scientific conference held at YSU on November 20, 2023.

Aram Khachaturian in Yuri Petrosyan's Art

Ellada Lyova Mathevosyan — 2025-03-09

The image of Aram Khachaturian has found its expression in the art of sculptor Yuri Petrosyan. As a result, the author concludes that Yuri Petrosyan, by deeply understanding and perceiving the essence of Aram Khachaturian, has conveyed this essence through the sculpture, recreating a highly realistic representation. Through this immortalized figure, viewers can grasp the complete essence of the great composer. It is important to note that Yuri Petrosyan carried out this challenging task with great care and dedication.

Arno Babajanyan as a Descendant of the Khachaturian School

Liana Armen Poghosyan — 2025-03-09

The author of the article presents the encounters between Arno Babajanyan and Aram Khachaturian, and the guidelines in the life and creative sphere of Arno Babajanyan offered by the genius Aram Khachaturian. These include his advice during Babajanyan 's childhood, later in his youth, and subsequently during his study years in Moscow. Khachaturian 's influence on Babajanyan ’s creative process is analyzed in terms of genre, structure and stylistic aspects of his works.

Sharakan to the Holy Cross "This day has Appeared"

Astghik Albert Musheghyan — 2025-03-09

Armenian Catholicos and poet-musician Sahak III Dzoraporetsi (T'-8h centuries) played a significant role in the development of Armenian sacred songwriting. Almost all the sharakans of the canons dedicated to the holidays of Shoghakat, the Exaltation of the Holy Cross, the Varag Cross, and the Discoveiy of the Holy Cross, as well as other sharakans dedicated to the Holy Church feasts, are attributed to him. These works are primarily known through N. Tashchyan's recordings, made in the 19'՝ centwy song-writing in Armenian notation and ceiiified by the Armenian Church. However, the musical components of these sharakans were also recorded by H. Cherchyan in the 19h century. This article is a comprehensive study of these sharakans, uncovering their melodic styles, modal and rhythmic-intonation structures and other peculiarities. The results of our research demonstrate that the two recordings are closely related. Of particular interest to us are the sharakans in cantilena type, in view of N. Tahmizyan's statements that some of Tashchyan's recordings were enriched with new omamentic intonation patterns. From this point of view, the sharakan at the Exaltation of the Holy Cross, "This day the sign of the Lord God appeared in great radiance" glorifying the life-giving Cross as the victorious sign of the Lord, is indicative. Our comparative analysis of two recordings of the musical component of Dzoraporetsi's sharakan showed that inherent in N. Tashchyan's sample the extremely rich ornamented melody, rhythmic freedom, independent of the verbal text much-sounding chants, several times greater in metric units than the identical constructions of Cherchyan's recording, really confirms the theoiy of further changes in the musical component of the Dzoraporetsi's sharakan. Thus, our research reveals the more ancient and authentic origins of the Cherchyan's recording. At the same time, based on the intonation structure we discovered in the melody of the sharakan, known in Armenian sacred songwriting, we believe that its entire musical component was revised by Cilician musicians in the 13h-14’h centuries. Over the course of time, the literary and musical components of Sahak Dzoraporetsi's sharakan experienced several transfonnations. In the first of them, anonymous authors adapted a slightly different - varied musical material of the sharakan to the original literary text, renaming it to a different genre - meghedi, performed during Holy Patarag (Liturgy). In a later period, having remade the literary text (taking out the first few words) and combining it with a new modified version of the musical component, unknown musicians gave life to another independent work - the meghedi of the Holy Cross "The Sign of the Lord God", the earliest recording of which is preserved in "Tagharan" (Taghbook) by H. Cherchyan. In this way Sahak Dzoraporetsi's sharakan "This day the sign of the Lord God appeared in great radiance", representing one of the most significant works of Armenian sacred songwriting, underwent several transfonnations by musicians of later eras and turned into a meghedi of the Holy Cross, which is one of the prominent examples of Armenian tagh art.

Following My Copyright

Lilit Karlen Yepremyan — 2025-03-08

This article addresses issues of copyright concerning several articles by Lilit Yepremyan, published in the Yerevan newspaper "Novoye Vremya" with the author's signature, but subsequently distributed online without indicating her name. Whether the fact that the interviewer's direct questions are excluded from the printed text in the interview can be a reason for the absence of the latter's copyright - this is the main issue of the publication. The answer is no, because due to the current Copyright Law in Armenia, the interview has two authors.

Romanos Melikyan and the Development Paths of Armenian Romance

Zhanna Pyotr Zurabyan — 2025-03-08

Romanos Melikyan was among the first in Armenian compositional art to contribute to the development of the singing and romance genres. His early romances were somewhat aligned with the domestic romance genre, expressing lyrical melancholy and personal, romantic emotions, particularly in connection with nature. Later, the pinnacle of Melikyan's romance style was expressed in the vocal series "Zar-Var" and "Zmrukhti", created between 1916 and the 1920s. In these works, the composer closely approached the roots of folk music, successfully laying the foundation for the development of Armenian romance on genuinely national grounds.

“The First of the First”

Astghik Leonid Harutyunyan — 2025-03-08

Music public figure and powerful otganizer Romanos Melikyan lived a very vibrant life, leaving an invaluable legacy for future generations. Even in his youth, he engaged in intense musical activity in his birthplace, New Nakhichevan, and later as a musician, he improved and continued his education in Moscow and St. Petersburg. It was there that he first met his older friend, Alexander Spendiatyan. Initially, the young and rebellious Romanos had a biased attitude toward Spendiaiyan's music, which changed over time. Later, deeply appreciating Spendiatyan’s talent, his unique musical style, his innovative ideas in the musical life of the time, and especially the significance of the opera ՛Almost" in the histoiy of Armenian music, as well as the close friendship between these two great figures, Romanos reevaluated Spendiatyan ՝s role in Armenian music. It was through Romanes's mediation that Spendiatyan met the great Armenian poet Hovhannes Tumanyan and began composing his Swan Song, the opera "Almost". During the debut concert of the conseiyatoiy’s orchestra in their homeland on December 10, 1924, Romanos Melikyan’s wife, Arus Babalyan, performed Spendiaiyan’s romances with the composer accompanying her. Spendiaiyan's arrival in the homeland and the otganization of concerts boosted the activity and revival of musical life, while Romanes’s inquisitive and enthusiastic nature pushed him to establish a new musical institution, the Stepanakert Music School (1925). Some time later, the old friends met again in Yerevan, and Spendiatyan invited Romanos to live in his apartment at the current address of Nalbandyan 21, where the Spendiatyan
House Museum is now located. Romanos played a significant role in immortalizing Spendiaiyan’s memory, realizing the composer’s unfinished works and unrealized dreams, particularly in bringing to life the premieres of the opera "Almast" in Tbilisi, Odessa, and Yerevan. Alexander Spendiaiyan, Romanos Melikyan, Martiros Satyan, Alexander Tamanian, and others were not just names; they were dedicated individuals committed to the mission and belief in creating the new, revitalizing culture of their homeland with their tireless and devoted efforts.

Significant Details from the biography of Romanos Melikyan

Hamo Karen Sukiasyan — 2025-03-07

From the early 1920s onwards, the perfonnance of works with spiritual and religious themes was discouraged in Soviet Armenia as part of a broader effort to instill communist ideology among the populace. This policy extended even to the musical legacy of prominent composers. Romanos Melikyan, a composer and the head of the Conseivatoiy at the time, had a deep admiration for the work of Makar Yekmalyan and took active measures to collect, study, and promote his musical legacy. In Januaiy-Februaiy 1924, while serving as the Conseivatoiy’s head, Melikyan initiated the organisation of a concert evening dedicated to Yekmalyan’s compositions. Having obtained preliminary permission from the People’s Commissariat of Enlightenment (Narkompros) for the event, he proceeded, out of prudence, to seek formal approval from the Central Committee of the Communist Party of Armenia. This action, however, provoked a stem response from the Narkompros Askanaz Mravyan, who reprimanded Melikyan for approaching the higher Soviet and Party authorities on behalf of the Conseivatoiy without first securing permission from the People’s Commissariat of Enlightenment. Disheartened by the severity of the reprimand, Romanos Melikyan submitted his resignation from the position of head of the Conseivatoiy on 21 July 1924.

Eduard Pashinyan - 100

Tsovinar Hrayr Movsisyan — 2025-03-07

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Eduard Pashinyan's Universal Supermodal System and Its Significance in the Context of 20th-Century Theoretical Musicology

Ruzanna Vachagan Stepanyan — 2025-03-07

The article explores the features of the Universal Supermodal System proposed in 1973 by the renowned musicologist, PhD in Arts, Professor Eduard Ruben Pashinyan. This system is considered within the context of the main trends of theoretical musicology of the 20th century, particularly with regard to the tendency towards proposing comprehensive systems capable of explaining the diverse manifestations of music - both folk and professional. From this perspective, some other systems are also presented - G. Catuar's Chromatic System, O. Messiaen's Modes of Limited Transposition, P. Hindemith's concept, and R. Reti's Pantonality. Their similarities and differences are highlighted. The comparison of these systems allows the author to conclude that the Universal Triandahexiphonic Supermodal System is the ultimate dominant form of modal organization in 20th-century music, towards the establishment of which the entire course of historical development of modal thinking was directed.

Honored Teacher: Eduard Pashinyan

Nara Norik Baghdasaryan — 2025-03-07

Eduard Ruben Pashinyan is one of the outstanding musicologists of our time, whose contribution is great not only in the field of
science, but also that of pedagogy’. Thanks to his unbending, persistent character, he was able to overcome all the difficulties he
encountered on his path, to make a sharp transition from medicine to musicology, becoming the author of the only harmony and
polyphony textbooks in the Annenian language. In his textbooks Pashinyan proposed a number of Annenian-language terns and
included sections on Amenian musical art, which are interpreted from the perspective of the universal chord system he proposed.
Pashinyan's activity as a musicologist was combined with his pedagogical activity of half a century. The genius pedagogue educated his students not only as musicians, but also contributed to their fonnation as individuals. During his pedagogical activity, Pashinian created a new course for musicologists and composers. He introduced a fi-esh perspective to the solfeggio course, developing his method, presenting his system of step singing. A distinctive aspect of Pashinian's work lies in his mastery of composition. Many of his small works, written with a strict sequence of musicological thought, were used in the hannony course as material for analysis. Eduard Pashinran was, without a doubt, an exceptional teacher.

Algorithms of Eduard Ruben Pashinyan 's Supermodal System

Mikhail Artyem Kokzhayev (Kokzhayan) — 2025-03-07

Having delved deeply into the well-known theory of Eduard Pashinyan's "Supermodal System", the author of the article discovered that within the thirty-six-step mode he created, the phenomenon of hyper-octavity manifests only through the appearance of diminished octaves. These diminished octaves are, in fact, the key to overcoming the natural acoustic overtone octavity. Undoubtedly, this represents a real breakthrough in the field of mode creation, expanding the horizons of potential expressive means - both intonation and those related to counterpoint and harmony. However, relying on the algorithmic features of Pashinyan 's theory, Mikhail Kokzhayev described a way to further expand the possibilities of constructing a hyper-octave mode with the phenomenon of intramode augmented octaves. To achieve this, the author of the article, while preserving all the algorithmic features of Eduard Pashinyan 's thirty-six-step mode, created a forty-eight-step mode by replacing the original Aeolian tetrachord - the foundation of Pashinyan's supermode - with a Phrygian pentachord. As a result, the obtained forty-eight-step supermode contains eleven augmented octaves. In essence, the author of the article based on a new approach to mode creation - on the one hand, preserving the original algorithms of Eduard Ruben Pashinyan 's theory, and on the other, replacing the tetrachordal structure of the sound series with a pentachordal one - demonstrated the possibilities of expanding the "Supermodal System" theory.

On Eduard Pashinyan's 100th Birth Anniversary

Gohar Karlen Shagoyan — 2025-03-07

The article is dedicated to the 100th anniversary of Eduard Ruben Pashinyan, a unique teacher, lecturer, and professor, renowned for his exceptional pedagogical skills. Originally written in 1994 for the medical journal, it was the only article written on the occasion of Pashinyan 's 75th birthday, it is now being re-published in English with some additions. Professor Pashinyan highly appreciated the article and personally invited the author to participate in his tribute evening at the Conservatory. The article presents the professor both as a doctor and a musicologist, demonstrating how these two different professions merged in the life of a hardworking and dedicated individual with a scientific mindset. Throughout his career he remained faithful to both fields, which had been dear to him since childhood and, by fate, accompanied him throughout his professional activity.

Valery Abisal Gergiev. In honour of the Conductor’s jubilee

Svetlana Koryun Sarkisyan — 2025-03-07

The proposed material is related to the activities of the State Symphony Orchestra of Armenia (now the National Philharmonic Orchestra of Armenia) - the period when its leader was the St. Petersburg conductor Valery Gergiev. From 1981 to 1985, he headed the orchestra, combining work with the Mariinsky Theater. This period went down in the history of the State Symphony Orchestra of Armenia as a time of new artistic and technical achievements of the orchestra, the expansion of its repertoire by including works
by Armenian composers, primarily modern ones, as well as attracting leading soloists from around the world to collaborate. The “Gergiev” period of the State Symphony Orchestra of Armenia marked the beginning of close cooperation between the conductor and Armenian performing musicians, which continued later. Some aspects of these creative ties are reflected in this publication. In particular, in the article “Gergiev and Armenia” by Svetlana Sarkisyan (“Arg” day ly, Yerevan, December 12, 1996). Of documentary value is the complete publication the programs of maestro Valery Gergiev concerts with the State Symphony Orchestra of Armenia, giving an idea of the scale of the activities carried out. Gergiev’s creative collaboration with Armenian soloists received new range in the 21st century, already on the stage of the Mariinsky Theater and the concert venues of St. Petersburg. Gergiev’s constant contacts and initiatives with chamber choirs of Armenia were of particular importance. In this regard, the published material for the first time collects all the programs of the repeated performances of Armenian vocal groups within the framework of the annual
international «Moscow Easter Festival» organized by Valery Gergiev. In particular, this is the Municipal Chamber Choir under the direction of Harutyun Topikyan, the «Hover» State Chamber Choir under the direction ofSona Hovhannisyan, the «Geghard» vocal ensemble under the direction of Anahit Papayan, the «Speghani» Youth Choir under the direction of Sarina Avtandilyan.

Modem Research in Armenian Musical Folkloristics. Spitak Region

Nune Romeo Atanasyan — 2025-03-07

Modern Armenian folkloristics not only continues to collect folk material but also actively utilizes advancements from other fields of science. Ethnomusicological methods, such as the application of audiovisual technologies, digital archives, and databases, significantly expand research capabilities. One example is the project to create a digital archive of Armenian musical folklore, which includes not only recordings but also sheet music, lyrics, photographs of performers, and their biographies. The article presents materials from a 1975 scientific expedition in Spitak, included in the 14th volume of the series "Armenian Folk Songs and Melodies"compiled by the Chair of Armenian Musical Folkloristics at Yerevan State Conservatory. Thanks to the collecting efforts of the expedition's leader, Margarit Brutyan, a large volume of traditional Armenian songs, totaling 320 samples, were recorded and saved from oblivion, although many were lost due to the devastating earthquake. The published material is presented with complete scientific commentary, annotations, a glossary, and is classified according to genre and edited based on general
principles of notation by the volume's compiler, N. Atanasyan.

Academic singing chair of Yerevan State Conservatory after Komitas h (1921-1981)

Irina Georgiy Tigranova — 2025-03-07

The article gives an overview of the work of the Academic Singing Department of YSC from the day of its foundation until 1980. From the second half of the 19th century, Armenians who mastered European vocal art began to be represented in various countries. Qualified national staff of professional vocalists began to be educated in the Yerevan Music Studio, and then, since 1923, at the State Conseiwatoiy. Arus Babalyan was the founder and head of the Vocal Department of the Conservatory. From 1943, Haykanush Danielyan began her activities. The head of the department Tamara Shahnazaiyan (1953) played a major role in oiganizing the work at the methodological level. Anna Saradjeva joined the Conservatory (1964) with a solid experience. In 1976, Gohar Gaspaiyan became a Professor of the Conseiwatoiy. For 60 years, the Vocal Department of Yerevan Conseiwatoiy has has turned into a foige of vocal talent.

Dedicated to conductor Zaven Vardanyan

Editorial — 2025-03-07

The material has been prepared through the memories of the renowned artist, public figure, and conductor Zaven Vardanyan, along with those of his contemporaries, colleagues, students, and prominent artists. Through this, the creative portrait and essence of the talented conductor are revealed. Also presented is the activity of the chamber orchestra of Yerevan, founded by him, and its historical trajectory and place in the realm of Armenian culture.

Some observations on Vache Sharafyan's Ballet "Divinity" or "Ancient Gods"

Marine Karen Hovhannisyan — 2025-03-07

The genre of ballet holds an important place in the history of Armenian music. Starting with Aram Khachaturian ՝s work, ballet has had diverse manifestations in the compositions of prominent representatives of the national composition school. The author focuses on Vache Sharafyan's ballet "Gravitation". A prominent figure of contemporary Armenian composer art, Sharafyan's musical legacy spans symphonic, choral, and chamber-instrumental works in various styles. Musical-theatrical genres play a significant role in his work, incorporating new methods of choreography. This article provides a brief overview of Sharafyan's creative profile and delves deeper into the history of the creation of his ballet "Gravitation", based on Levon Shant's drama "Ancient Gods", as well as highlighting certain features of its musical language. The ballet is distinguished not only by the synthesis of traditional and contemporary elements in its musical material but also by the unexpected combination of classical ballet and modem choreography.
Through interesting musical-theatrical solutions, the emotions of the ballet's characters are dramatized and psychologically deepened. The composer employs modem compositional techniques in the musical language. In this article, some thoughts and insights from a personal conversation with Vache Sharafyan regarding the ballet "Gravitation" are also presented, which are documented for the first time.

Arthur Akshelyan: "Three Pieces for Orchestra"

Mane Melkon Svazyan — 2025-03-07

The article presents the creative path of the young composer Arthur Akshelyan, who received his education in the Composition Department of Yerevan State Conservatory under the supervision of Professor V. Ajemian. In 2007, he continued his studies at the Geneva Univesity of Music in composer Michael Jarrell's class. Upon graduating from the conservatory, he wrote the composition "Sound for Orchestra" as his diploma work. The author highlights Akshelyan's creative interests, stylistic features, and preferences. An interesting characteristic of the composer's style is his exploration of musical tone. His catalog of works predominantly features chamber compositions, one of which is "Three Pieces for Orchestra", written in 2020. With this piece, he participated in the 3rd International Composition Competition held in Basel, Switzerland, and secured 2nd place. As a result, "Three Pieces for Orchestra" was performed by the Basel Symphony Orchestra under the baton of conductor Francesco Prati. The composition is analyzed in the article.