An Attempt at modal Analysis of Sharakans

Abstract

The eight voice system is one of the key areas of Armenian musical thought. The topic has been referred to almost throughout the centuries-long history of Armenian church music. Conceptions of vocal instruments in Armenian reality were formed in the pre-Christian, pagan period (A. Arevshatyan, "The Doctrine of Sounds in Medieval Armenia", Yerevan, 2013, p. 14), then they were reinterpreted in the IV-V centuries according to the new Christian ideology and new aesthetic requirements (ibid). The doctrine of sounds progressed in Cilician Armenia in the XII-XIV centuries, particularly in the famous local monastic complexes (Drazark, Arkakaghin) and elsewhere. Especially notable is the role of 19th-century Iranian-Armenian musicians in the works dedicated to the recording, preservation and research of the eight voice system, which began in particular with the creation of Armenian notation by Father M. Bjshkyan, H. Limontchyan, E. Tntesyan, N. Tashchyan, H. Ayvazyan and others. The topic is also relevant in Armenian musicology of the latest period (XX-XXI centuries): Komitas Vardapet, K. Kushnaryan, R. Atayan, K. Khudabashyan, N. Tahmizyan, A. Arevshatyan, L. Hakobyan, A. Musheghyan, M. Navoyan, G. Amiraghyan, L. Harutyunyan, A. Martirosyan, N. Misakyan. An attempt was made to address the topic within the framework of the course "Armenian Spiritual Music" of the Chair of Armenian Traditional Music Performing Arts. 10 of the sharakans included in the program were subjected to sound analysis according to the following sound features: The article also presents the general description of one of the cantos included in the program, namely "Let the Cart Descend to the Holy Resurrection" by St. Grigor Narekatsi (XIVcentury).