Musical Armenia

“The Polyphonic and monodic forms of transposition of imitation structures in Komitas' works”

Anahit Hovhannes Baghdasaryan — 2024-08-15

Imitation, which significantly contributes to the melodization of polyphonic musical fabric, and thereby the linearity of its presentation, is a typical feature of Komitas' music - a circumstance that is revealed already at its first auditory perception. Komitas 's appeal to imitations is not accidental, but seems to be one of the key and fundamental positions of the creative method of Komitas-composer, which, in our opinion, is conditioned by various objective and subjective factors. This is an excellent knowledge of classical polyphony, including the imitative one, acquired by the composer during his years of study in Berlin. These are also imitative forms characteristic of Armenian monodic music, its folk (especially peasant) and spiritual branches in particular, polyphonic arrangements of samples of which form the basis of composer Komitas 's creativity. This is Komitas's obvious predisposition to melodize the presentation of polyphonic musical material, associated with his genetic monodic thinking (monody is a musical work (composition), in the formation of which the self-sufficient melody dominates) etc. Imitations appear in almost all of Komitas's works with extremely rare exceptions and in their various manifestations. This compositional technique, equally characteristic of European music and Armenian monody, was considered by Komitas as an acceptable means for polyphonic processing of Armenian monodic music, which does not create stylistic "bilingualism", incompatibility of voices in polyphony, but, on the contrary, organically merges with the melodic and performing features of Armenian monody. Komitas uses classical imitations related to polyphony. These are imitations with melodic opposition (counterpoint to the theme of imitation). Meantime, he prefers the so-called "monodic" imitations, the prototype of which is the imitative forms of Armenian monody, in which opposition is either absent or pedalized. This article is devoted to the consideration of the noted types of imitations in the works of Komitas.

“David Haladjian and his "Missa de Lumine".

Svetlana Koryun Sarkisyan — 2024-08-15

The artistic content of the processes in Armenian music in recent decades in no small part is due to the new names of composers, whose works have influenced on concept of national art. There is a revision of both the stylistics, the system of expressive means and the genres and compositional ideas. Not without connection to the global developments the former aesthetic canons are changing and the new cultural trends are taking shape. The process is noteworthy in the field of vocal music - the most orthodox in Armenia, where texts in other languages are used in addition to Armenian poetry. Foreignlanguage vocal production is clearly formed in the sphere of contemporary sacred, primarily choral, music. Its authors tend to choose spiritual verses and prayerful prose. The expansion of "verbal" interests brings lexical nuances to modern Armenian music, as well as a new interpretation of religious genres. Despite the cases of reference to German and Englishlanguage texts, for a number of Armenian composers the Latin writings (both liturgical and paraliturgical), canonical in the European spiritual tradition, becomes preferable. As before and now, genres with paraliturgical texts are characterized by an individual "textual-musical form" (Yuri Kholopov's term, proposed by analogy with the English version "musico-poetic form"; Musical Encyclopedia. Vol. 5, Moscow, 1981), where the musical constructions proceeds from the textual structure of psalm, monody, Gregorian chant, religious poetry, and other sources. In the light of the above, current article focuses on one of the representatives of the new sacral music, the Armenian-Swiss composer David Haladjian (b. 1962). The author of the article sets two tasks for herself. The first one is to trace the evolution of Haladjian's artistic work since the period of his life in Yerevan (1962-1991), when he studied at the Yerevan Komitas State Consrevatory as a composer in E. S. Hovhannisyan's class and as a conductor under H. M. Voskanyan's supervision and established his individual position; and the period in Switzerland (since 1991), when his stylistic interests has broadened, new music projects and European acclaim were being implemented. The second task is related to the theoretical comprehension and analysis of one of Haladjian's important works, "Missa de Lumine" (1996), which, on the one hand, incorporated the previous experience of the composer, and on the other hand, opened the horizons for composer's future activities.

“Pages of Ashot Zohrabyan S creative life "

Svetlana Koryun Sarkisyan — 2024-08-15

The proposed material is a set of texts of different genres, covering various pages of the life and work of one of the prominent Armenian composers Ashot Patvakan Zohrabyan (1945-2023). The set opens an introductory article by Svetlana Sarkisyan, who dedicated a number of analytical, biographical and musical critical articles to Zohrabyan, as well as personalities in music encyclopedias: Contemporary Composers (London- Chicago, 1992). The New Grove’s Dictionary of Music and Musicians. Revised Edition (London, 2001), Die Musik in Geschichte und Gegenwart Gbr., Bd.17 (Kassel, 2007). The introductory article is followed by two early publications by S. Sarkisyan from the authoritative Armenian newspaper «Azg» (Yerevan), confirming the facts of international recognition of Zohrabyan’s composer art. The first article “Following the Outgoing Year” (December 23, 2000) is devoted to the release of the author’s CD by the French label and Music Publishing House “Le Chant du Monde” (CD-series “Musique aujourd’hui”). The article is supplemented by Sarkisyan’s comments on five works by Zohrabyan published in the CD booklet: String Quartet N 1 “Narcisse”, “Ritual” for three flutes, “Parable” and “Serenade” for thirteen instruments, “Boomerang Games” for the ensemble. From the trilingual booklet, in this case, the English version of the comments is presented. The second article by Sarkisyan, “Ashot Zohrabyan’s Music in the USA” (July 1, 2023), presents composer American visit, which was crowned with the success of performing his chamber works. The trip to the United States was the logical end of Zohrabian’s cooperation with the American avant-garde Kronos Quartet, to which the composer dedicated his String Quartet N 1 «Narcisse» (1994 ) and later by commissioned wrote String Quartet N 2 «Kronos» (1998). Ashot Zohrabyan’s creative work is an important part of not only Armenian, but also world academic music of the late 20th and early 21st centuries. The style created by the composer combines the innovative trends of European school, primarily French and Austro-German, with the original properties of national monodic thinking. In particular, it is an aesthetic perception of music as an object of inner harmony: introspective feeling, compositional proportionality of sections, basic value of diatonic modes, variability of interval and rhythmic structures. Thanks to sophisticated polyphonic technique, variability in texture, Zohrabyan creates an individual writing style that impresses with the complexity of mobile sound forms and, at the same time, with the clarity of the perspective of musical development, the logic of the whole.

“Yerevan State Conservatory after Komitas in the light of geopolitical changes”

Tsovinar Hrayr Movsisyan — 2024-08-15

On April 25-26, 2023, the Gnesin Russian Music Academy hosted a conference titled “Cooperation of CIS Countries in the Field of Music and Creative Education”. It was chaired by GRMA rector Alexander Ryzhinsky, and was dedicated to the problems of education in the fields of contemporary music, the arts, and theater. The problems of education in the arts remains high on the agenda of UNESCO projects, due to their importance and significance. It is a well-known fact that music and arts educational institutions have to lead an unequal “straggle” for being in cluded in the Top Ten List of the world's best universities, competing with the IT sector. This conference was the result of many years of work. This all started in 2011, when the Concept on Education in Culture and Arts of the CIS Member States was signed in Minsk. In 2014, the Gnesin Russian Academy of Music became the base organization for music and education. In 2023, sixteen participants from eight countries were invited to the conference in Moscow. Armenia was represented by the Yerevan State Conservatory after Komitas, represented by vice-rector Tsovinar Movsisyan, and the State Academy of Arts, represented by Nune Minasyan, head of the Center of Education Quality Assurance. The participants were assigned to demonstrate the existing challenges rather than showcase their achievements. In her speech, Tsovinar Movsisyan, PhD in Art History, addressed the problem of academic competition at different levels. She suggested exchanging ideas on the introduction of doctoral studies and sharing participants' experiences regarding the differentiation of academic titles and degrees (e.g., How How will those with the scientific title of "Doctor of Arts" differ if all "PhD"s are going to be called "doctors"? ). An agreement was reached to expand the existing cooperation as well as to carry out academic student exchanges. However, taking into account that teachers motivation seems to be a greater challenge, it was decided to initiate teacher training and professional development programs, to organize joint competitions and festivals, and to create new forms of mutual cooperation using distance technologies. Rector A. Ryzhinsky proposed to organize new specialized courses, in particular on piano tuning and sound design. Tsovinar Movsisyan specified that these qualifications had only recently been included in the curriculum of the Gnesin Academy. The results of this innovation will be understood within a year, with the first graduates of the program. The participants confirmed their willingness to provide the necessary accommodations; along with that, it was planned to use the online education system for theoretical courses while holding practical classes in person on a full schedule. The YSC vice-rector for science emphasized the keen interest in Armenia shown by the conference participants, as well as the general atmosphere of engagement and common interests. Two weeks before the conference, Drs Alexander Ryzhinsky and Dina Kirnarskaya at the highest level were representing the Gnesin Academy at the events marking the anniversary of S.V. Rachmaninov at Yerevan State Conservatory after Komitas. In their speech at the two-day summit, they mentioned the everyday dedicated work of our teaching staff despite the consequences of the war. The conference highlighted the commonality of the aspirations in the cultural space of the CIS countries, the importance of professional cooperation, and the commitment of the participants to support these processes. Dina Kirnarskaya, the vice-rector of the Gnesin Academy and UNESCO representative, is convinced that "we will grow closer, understand each other, and cooperate better. Culture, arts, and education will prevent people from losing the communication bridges.

"The Third... "

Margarita Ashot Rukhkyan — 2024-08-15

Doctor Scince [Arts], Leading Researcher of AI NAN RA Margarita Ashot Rukhkyan. - "The Third... ". In my article on Aram Khachaturians Third Symphony, entitled "The Third", I emphasize the significance of its emergence within Soviet music, although initially the composer called his work "Solemn Poem", then "Symphony-poem"... The composer expressed his profound pride for the Soviet people, who won a victory over fascist Germany. The symphony itself is characterized by its vastness, both in emotional depth and orchestration. Khachaturian envisioned a monumental symphonic structure, with meticulous attention paid to the symphonic sound. A large symphonic orchestra, an organ, harps, a string quartet, and fifteen (perhaps twenty) solo trumpets constituted the instrumental parts of the symphony. Indeed, everything about this symphony was excessive. And it could not have been otherwise. The symphony was a product of the composer's fervent engagement with and exaltation of his era, celebrating its heroes. However, it was the year 1948. In January of that year, the Resolution of the Central Committee of the Communist Party of the Soviet Union (b), chaired by Secretary A. A. Zhdanov, organized a Meeting of Soviet Music Workers. Subsequently, on February 10, a resolution of the Central Committee addressing V. Muradeli's opera "Great Friendship" was issued. Meanwhile, renowned composers who had earned global recognition - such as S. Prokofiev, N. Myaskovsky, D. Shostakovich, and A. Khachaturian - were subjected to loud criticism. The political document accused these composers of adhering to an "anti-national formalistic direction". Among the works subjected to criticism were Sergei Prokofiev's Sonatas and Fifth Symphony, Dmitri Shostakovich's Eighth and Ninth Symphonies, Aram Khachaturian's Symphony-poem (Third Symphony), Cello Concerto, Second Symphony, and even his ballet "Gayane". Khachaturian, in particular, faced sharp criticism as one of the leaders of the Organizing Committee of the Composers' Union. Khachaturian's Symphony-Poem (Third Symphony), composed in 1947, was premiered alongside Prokofiev's Sixth Symphony at the end of December 1947 in Leningrad by the Leningrad Philharmonic Symphony Orchestra under the direction of Ye. Mravinsky. Shortly after, it was performed in Moscow at the Great Hall of the Conservatory. After many years of break, Khachaturian 's Symphony-poem (Third Symphony) was performed in Moscow by the Symphony Orchestra of the Moscow Philharmonic Society conducted by K. Kondrashin. Aram Khachaturian held deep affection for this work, which was so unfairly criticized. He attributed the symphony's excessive resonance to his perception of the heroic reality of a nation constructing socialism and triumphing over the plague of fascism.

“The educational and cultural history of the Opera Training Department of the YSC. Studying and Assessing Conditions”

Arsen Arshaluys Ghazaryan — 2024-08-15

Considering Yerevan Komitas State Conservatory as a unique musical higher educational institution in Armenia, its most important mission being the preservation of Armenian and world musical cultural values, historiographic study, teaching and improvement of creative and performing arts, the author singles out a separate area of research and considers specific cultural and educational issues related to the Department of Opera Training of YSC. The author considers the fact that the Department of Opera Training, as a unique educational-creative, musical-theatrical multi-element system with methodical, theoretical, and practical components of specialized professional subjects, has never been the object or subject of scientific research in its 95-year history. The chronicle and history of the Opera Training Department remain unstudied and unsystematized, posing a serious problem for modern cultural and educational progress. Investigating the problem within the field of historical-cultural theory, the author considers it relevant and urgent to systematically present the practical and creative history of the Department of Opera Training (from its foundation to the present day). This involves elevating cultural-educational, practical, theoretical, and methodological issues, as well as current challenges faced by the Department of Opera Training, to the level of scientific inquiry for further research. Given the extensive nature of the research, the author plans to disseminate the findings across several articles, with this article being the first in the series.

“The First Armenian National Classical Opera is 155 Years Old”

David Garsevan Ghazaryan — 2024-08-15

The author of the article touched upon the 155th anniversary of Tigran Chukhajyan's First Armenian National Classical Opera Arshak II, created in 1868. The article is written in a very relevant way emphasizing the place and role of opera from the point of view of today with the comments it gives. The author of the article addresses both the composer's life, especially his studies and education, as well as the Armenian center and the European cultural environment, which laid the foundations for the foundation of the National Opera. He created not only opera, but also stage and instrumental music, genres that have passed the composer's curation of singing. The author of the article emphasizes the importance of the existence of the opera professional composer school "Arshak II", which has existed for half a century.

“Tsovinar Hovhannisyan - qanun player, composer, teacher”

Anahit Seyran Harutyunyan — 2024-08-15

3rd year student at the Department of Armenian Traditional Music Performing Arts, Yerevan Komitas State Conservatory after Komitas Anahit Seyran Harutyunyan. - “Tsovinar Hovhannisyan - qanun player, composer, teacher”. Tsovinar Hovhannisyan stands out as a highly acclaimed figure among the current generation of Armenian qanun players. She is renowned for her versatility and boundless energy - a talented performer, author of numerous and multi-genre works of the canon, as well as a number of performance innovations for the orchestra, an experienced, multi-skilled, renowned teacher. A number of articles, master's theses, documentary films with different contents have been dedicated to her on different occasions. In this article, an attempt has been made to provide a comprehensive overview of Tsovinar Hovhannisyan's multifaceted and productive contributions to the world of music

"A Hypothesis on Armenian Notation ".

Erik Vardan Aloyan — 2024-08-15

The invention of the Armenian Notation in the early XIX century by a number of musicians from Constantinople (Hambartsoum Limonjian, Fr. Minas Bzhshkian, Hagob Chelepi Tiuzian, Anton Amira Tiuzian) holds a significant place in the history of Armenian Music. Although the invention had a very specific and important purpose, it also brought up a number of problems: what the reasons of the creation of the system were, who the inventors were, how transpositions from the mentioned system to European notation should be done. In the present article an attempt has been made by the authors to bring together the available information and to propose hypothesis about the mentioned disagreements.

Musical Instinct as a Means of Revealing a Person’s Ethnic Identity (following Oliver Sacks’ monograph “Musicophilia”)”

Lilit Karlen Yepremyan — 2024-08-15

The article is based on the author’s report at the 23.02.2023 Yerevan conference “Music in the Context of Interdisciplinary Studies ”, which was organized jointly by the Center for Interdisciplinary Specializations operating at the Department of History and Theory of Performing Arts and the Charents Museum of Literature and Art for the fourth anniversary of the Center. The author develops an extremely interesting hypothesis of the famous American neuroscientist Oliver Sacks that music is not just a form of art that a person has to deal with during his life as something existing outside himself, but that music is an inborn human instinct, immanently inherent in his nervous system and operating through the mechanism of genetic memory. On the example of a whole series of real human destinies, through his own hypothesis on the ethnic component of genetic memory, Yepremyan demonstrates the irrational reaction of a seemingly assimilated individual in a different ethnic environment through a violent emotional manifestation of the instinct of musical ethnoidentification. According to Yepremyan’s hypothesis, when a person listens to nationally colored music, their ethnic identity is immediately and unconsciously manifested. This deep-rooted connection to their heritage forms the foundation of their personality, and even in cases of total memory loss, this ethnic identity retains until the final days of their physical existence.

«Collection of the Scientific Conference of the Foundation “Konrad Adenauer”»

Olya Yuri Nurijanyan — 2024-08-15

The article gives an overview of the collection of materials of the Conference organized by Yerevan State Conservatory together with the "Konrad Adenauer" Foundation. The proposal to publish the reports came from YSC. The collection "Creating in the Soviet Union" is in Russian, translated by Karlen Matinyan, edited by Naira Martiryan, proofread by Gayane Meroyan, with computer layout and design by "TUMO design", published by "Asoghik" printing house. The collection was targeted towards both the academic community and a wider readership due to its scientific and cognitive nature. The collection aimed to cover the complex and controversial historical and cultural processes of the Soviet era, as well as the complex relationship and interplay between culture and politics during that time.

"The Film Music of 2022-2023 by Armenian Composers (A. Berberyan, V. Sharafyan) Depicting the Fate of a Soviet Person under the Totalitarian Regime"

Lilit Karlen Yepremyan — 2024-08-15

The article is based on the author's report at the presentation of the collection of articles by Armenian and German musicologists "Creating Ideologies on Purpose" (Yerevan, 2022), published with the assistance of the Konrad Adenauer Foundation. In the context of interdisciplinary research, film music is considered in the films of the last two years, shot in Armenia and devoted to topics that are still taboo in domestic cinematography, i.e. the life of Armenians under the conditions of the ideology of totalitarianism and the personality cult of Stalin. They served as the subject of analysis. "American" (2022, a full-length feature film directed by Michael Gurjian, composer: Andranik Berberyan) is about mass repressions faced by repatriated Armenians from abroad during the 1940s, killed or thrown into prisons, camps and exiles. "Three Graves of the Artist" (2023, a full-length documentary film, directed by Harutyun Khachatryan, composer: Vache Sharafyan), embarks on an empirical study spanning three decades exploring the theme of emigration and escape from the ideology of Soviet dictatorship, focusing on the example of the tragic fate of the artist Vahan Ananyan, whose ashes were simultaneously buried in three cities: Yerevan, Tallinn, Odessa.

Komitas piano legacy

Areg Villy Sargsyan — 2024-08-15

The article explores the most fascinating realm of the great Armenian composer Komitas' piano work, which, though limited in quantity, is distinguished by an unusual spirit of originality and innovation. To explain this quality, the author, first of all, convincingly unveils the essence of Komitas's creative method. It is on the basis of a clear presentation of the artistic method that the article examines the content of the 6th volume of the Complete Works, encompassing all of the composer's piano compositions. It also highlights the compositional features of his dances and various pieces from his student years, emphasizing the significance of his dances in the context of world musical art. It is also noteworthy that Areg Sargsyan, along with an interesting analysis of the music of this volume, presents the reader with research, compilation and editorial work, giving it due recognition. The article emphasizes the progressive and innovative nature of Komitas 's piano compositions and methodically guides performers in studying them.

«"Msho Shoror (Sway dance of Mush) "by Komitas (some aspects of interpretation) »

Zaruhi David Ghazaryan — 2024-08-15

The article explores the piano legacy of the great composer Komitas through his choreographic suite "Msho Shoror". It presents note examples of individual dances within the suite cycle, which consists of six dances: "Sharan", "Shoror", "Naz", "Trnotsi", "Kokh", "Tchosh". The article gives a descriptive theoretical analysis of all dances, highlighting the features and imagery of various ancient genres. The choreographic suite exemplifies a deep national style and color, reflecting the profound essence of ritual dances

Some Problems of the Specificities of Accompanist Art

Zaruhi Armen Khachatryan — 2024-08-15

The article places significant emphasis on the role of the accompanist, exploring their creative, pedagogical, and psychological functions, as well as their functional connection. It delves into the historical evolution of the concept of "accompanist," distinguishing between the terms "accompanist" and "accompanist" and attributing a broader meaning to the former. Among the numerous professional qualities highlighted, the article underscores several key aspects. These include technical mastery of the instrument, proficiency in sight-reading, transposition, and improvisation. A broad knowledge of other theoretical and performing disciplines is also required.

Poliphonic saturated life

Armen Gevork Budaghyan — 2024-08-15

With interesting polyphonic transitions, layering the speech, the author presents the multi-layered activity of Araksi Sarian, one of the best musicologists, widely known in Armenia and the Diaspora. And in parallel, the paper offers a polyphonic theme as a thesis - topic 1: Martiros Saryan as the owner of the house in his house museum, topic 2: Ghazaros Saryan as husband and YSC Rector-composer, topic 3: YSC Department of Music History, topic 4: Music editor at RA Radio and Television, topic 5. "Armenian Quintet", topic 6: Armenian Hostess, an perfect housewife, topic 7: Public figure. 26 happy years at YSC.

Araksi Sarian (Artist Profile)

Lusine Zaven Sahakyan — 2024-08-15

The article describes the life and creative path of Araksi Artsruni Sarian, a remarkable and bright musicologist of
Armenian history and a prominent public figure. It highlights her role and historical significance in the musical life
of Armenia and the Diaspora. Throughout her life, Araksi Sarian held responsible positions in the musical community:
head of the Department of History of Music at Yerevan Komitas State Conservatory, head of the musicological
section of the Composers' Union of Armenia for decades. Her command of the rhetoric of Armenian speech, extensive
lecturing practice, along with her lifelong dedication to pedagogical activity are noted. At the end of the article there
is a list of A. Sarian 's works.

Levon Sargsyan Armenian Tarist

Nina Vladimir Hakobyan — 2024-08-15

In the article musicologist N. Hakobyan explores the pedagogical and performing activities of the famous Artsakh musician, Honored Artist of the NKR Levon Sarkisyan. In different years, L. I. Sarkisyan taught tar at the Stepanakert musical school named after Komitas, and also headed the department of folk instruments at the musical school named after Sayat-Nova. On L. Sarkisyan's initiative, the first professional orchestra of folk instruments was formed composed of teachers and students from the school. For several decades, the orchestra, led by L. Sarkisyan, performed classical and national music. He is remembered by colleagues and students as an excellent performer, a competent teacher, a disciplined worker. Among his notable students are S. Markosyan, M. Manasyan, L. Sevyan, G. Arustamyan, K. Bagdasaryan, G. Mkrtchyan, O. Ovsepyan, D. Mezhlumyan and others.

Անահիտ Հովհաննեսի Բաղդասարյան — 2024-08-15