The Architecture of Music

Abstract

Composer, teacher at the P. I. Tchaikovsky Secondary Specialized Music School Anna Omik Simonyan. - "The Architecture of Music ".
This article employs ancient Armenian music to demonstrate a method for exploring the distinctive internal structure of Armenian melodies. The methodology is based on well-established architectural principles along with music theory concepts developed by Komitas. It allows one to identify the unique architectural characteristics inherent in Armenian music. The author draws parallels between musical and architectural concepts, supported by music examples and the analytical notions introduced by Komitas. Consequently, it can be concluded that melodies form lines, with their main tones resembling the supporting columns in architecture. According to Komitas' terminology, those are the first and fourth notes of a tetrachord, while the seamless progression of sounds connecting these main tones resembles the lines of a drawing. The article further explores the concepts of internal gravity within the ancient Armenian eight-mode system (Utdzain). The author also explains the reason for the scales being called dzayn (authentic mode) and koghm (plagal mode). Consequently, the author concludes that ancient civilizations possessed a distinct musical theory, where musical notations and letters were assigned numerical values and were meticulously organized. Pasted text