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Journal articles on the topic 'Folklore, armenia'
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1
Jivanyan, Alvard. "Christianization of Fairies in Armenia." Armenian Folia Anglistika 3, no. 1 (3) (April 16, 2007): 147–51. http://dx.doi.org/10.46991/afa/2007.3.1.147.
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The Armenian church was quite intolerant towards any expression of pagan faith in the early periods of Christianity. Pagan gods and spirits (fairies) were either rejected or labeled as “evil” or were simply “Christianized” acquiring the necessary features to be able to survive in the realm of the new religion. This phenomenon can be observed in various folklore narrations, namely in national tales. The article draws parallels between similar phenomena in other cultures.
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Amirkhanyan, Mikhail, Larisa Pavlova, and Irina Romanova. "Reconstruction of the «Armenian» Text in the Russian Poetry of the XX Century (Computer Research Experience)." Izvestia of Smolensk State University, no. 2(50) (July 2, 2020): 5–21. http://dx.doi.org/10.35785/2072-9464-2020-50-2-5-21.
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The article describes a study on the reconstruction of the so-called «Armenian » text in Russian poetry. Russian folklore and ancient Russian literature have already mentioned Armenian literary portrait that was finally formed in Russian literature
only in the ХХ century, after the tragic events in the history of Armenia in 1915. Through applying the software complex «Hypertext search for companion-words in
author's texts» to the representative corpus of the Russian language poems on the Armenian theme (65 works of different poets), lexemes marking the minimal themes
of the «Armenian» text have been identified. These lexemes act as dominant components of the «Armenian» lexical combinations presented in the poems of Russian poets («Ararat», «Yerevan», «mountain», «sky», «ground», «blood», «heart», «soul»,
«flame», «eternal») and optional ones («hostile», «to rot», «myopic», «book», «child», «Komitas», etc.). The common lexical combinations will allow the authors to establish intertextual links, which form the basis of the «Armenian» text in Russian
poetry. However, in most cases poems have no intertextual links that could signal the influence of one text on another. The coincidence of vocabulary in the texts is usually
explained by geographical and historical realities, as well as a poetic tradition.
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Bayadyan, G. "RABIZ: THE UNINTENDED CHILD OF 1960S' URBAN CULTURE." UKRAINIAN CULTURAL STUDIES, no. 2 (5) (2019): 67–70. http://dx.doi.org/10.17721/ucs.2019.2(5).12.
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The article discusses the ideological, social and cultural conditions that made possible the formation and development of "rabiz," a form of ur- ban musical folklore, in the 1960s. Rabiz is described as an undesired result of the Socialist modernization process. It had received certain im- portant aspects from the preserved forms of pre-Soviet urban culture but for some of its key features owes to the soviet cultural policy of the 1930s and the socio-cultural tendencies of the Soviet Armenia of the 1960s and 1970s. Rabiz was a side effect of the industrialization and urbanization of the 60s and was then radically transformed and degraded during the process of post-Soviet deindustrialization.
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Petrosyan, Armen E. "EVOLUTION OF THE HEROES OF ARMENIAN EPIC." Folklore: structure, typology, semiotics 4, no. 3 (2021): 97–106. http://dx.doi.org/10.28995/2658-5294-2021-4-3-97-106.
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The purpose of this article is to show the downward evolution of the epic heroes, from the gods to the heroes of joke. The great heroes of the first Armenian epic – ethnogonic tradition, Hayk, Aram and Ara, are obviously epicised images of ancient native gods, who, after changing the religious system of people – the introduction of Iranian pantheon, moved to a lower level of epic heroes. The same phenomenon is observed after the adoption of Christianity: the god Vahagn in the second ancient epic “Vipasank” appears as the son of King Tigranes, and a variant of the name of the god Mihr (Mher) are worn by two heroes of the third epic “Daredevils of Sasun” (“David of Sasun”). Some gods and heroes, especially after Christianisation, were demonised, and some passed into a fairy tale. In the Hellenistic era, in Armenia, as in some other countries, kings were deified: e.g., Tigranes the Great was deified as Vahagn. Strangely enough, this phenomenon was repeated in the USSR: Lenin and Stalin, one might say, were deified. Аt the same time, they became the heroes of epic works and fairy tales. However, the era of Khrushchev and the condemnation of Stalin’s “cult of personality” put an end to the Soviet heroic epic: Stalin was demonised and then another genre of folklore became relevant – political joke (anecdote). The new leaders of the USSR were its main target, but Lenin and Stalin continued to stay as important characters.
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Амбарцумян, А. А. "The Armenian-Iranian epic Rostam Zal and the epic David of Sassoun." Эпосоведение, no. 3(23) (October 27, 2021): 19–25. http://dx.doi.org/10.25587/x7599-6864-5954-u.
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В статье представлена история записей, публикации и исследования вариантов эпоса«Ростам Зал», также обозначены ареалы и пути распространения данного эпоса. Анализируются жан-ровые особенности эпоса «Ростaм Зал»; рассматриваются жанровые признаки классического эпоса иих соотносимость с эпосом «Ростам Зал», в частности, национально-исторический фон, характер геро-изма, структурная целостность и идеологическое единство отдельных частей. Основные мотивы эпоса«Ростам Зал» сравниваются с соответствующими мотивами армянского народного эпоса «Давид Сасун-ский». Устанавливается характер общности и возможные взаимодействия. Частично рассматриваются ми-фологические мотивы и вопрос их отношения с индоевропейской мифологией.В статье впервые в фольклористике предпринята попытка систематизировать и классифицироватьвсе существующие варианты эпоса «Ростам Зал», представить особенности их распространения и ло-кализации. Хотя в прошлом проводились некоторые сравнения с армянским эпосом «Давид Сасунский»и с иранским «Шахнаме», наличие небольшого количества вариантов не позволяло исследователям про-вести полное и тщательное изучение. В данной статье же проводится всестороннее сравнение «РостамЗала» с эпосом «Давид Сасунский», также анализируются ранее опубликованные исследования. Хотя эпосбыл очень популярен в Армении и сказывался до 1970-х гг. прошлого века, он мало изучен. Большая частьисследований проводилась в начале XX в., в советское время исследований проводилось очень мало.Изучение этого эпического произведения важно не только с точки зрения фольклористики, но и с точ-ки зрения изучения многовековых армяно-иранских культурных связей и различных взаимодействий. Этои обуславливает актуальность исследования вариантов эпоса «Ростам Зал».При исследовании использовались историко-сравнительный, географический и структурно-типоло-гический методы. Мы использовали исторический метод при изучении распространения и бытования“Ростам Зала”, определили время, место и обстоятельства записей вариантов эпоса. С помощью структур-но-типологического метода выделены общие структурные единицы для всех вариантов – мотивы. Срав-нивая их, мы указали средства, объемы и возможности их реализации в тексте. The article presents the history of the recording, publication and research of variants of theArmenian-Iranian epic Rostam Zal, as well as the epic’s geographical range and spreading ways. The genrefeatures of Rostam Zal are analyzed, along with the genre features of the classic epic and their relevance to theRostam Zal epic are highlighted and discussed, in particular, the national historical background, the nature ofheroism, structural integrity, and ideological unity of the separate parts. The main motifs of the epic Rostam Zalare compared with the similar motifs of the Armenian folk epic Sasna Tsrer and fairy tales. The nature of thecommonalities and possible influences are also discussed. Mythological motifs and the question of their links withIndo-European mythology are partially considered. For the first time in folklore studies, the article makes an attempt to systematize and classify all the existingversions of the epic Rostam Zal, and to present the features of their distribution and localization. Although somecomparisons with the Armenian epic David of Sassоun and with the Iranian Shahnameh were made in the past,the limited number of variants did not allow researchers to conduct a complete and thorough study. The articleprovides a comprehensive comparison of Rostam Zal with the epic David of Sassoun, as well as a review of theprevious studies. Although the epic was very popular in Armenia and was narrated until the 1970s, it has not beenstudied enough. Most of the research was carried out in the early 20th century, with very little investigated in theSoviet period.The study of this epic work is important not only from the point of view of folklore studies, but also from thepoint of view of studying the old Armenian-Iranian cultural ties and various interactions. Therefore, the relevanceof the study of variants of the epic Rostam Zal is great.The study used the historical-comparative, geographical and structural-typological methods. We used thehistorical method when studying the distribution and existence of the epic Rostam Zal, determining the time,place of the recordings of the epic variants. Using the structural-typological method, we identified commonstructural units for all variants – motifs. Comparing them, we indicated the means, scope, and possibilities of theirrealization in the text.
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Djurslev, Christian, and Daniel Ogden. "Alexander, Agathoi Daimones, Argives and Armenians." Karanos. Bulletin of Ancient Macedonian Studies 1 (November 8, 2018): 11–21. http://dx.doi.org/10.5565/rev/karanos.3.
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Intriguing and complex traditions are preserved about Alexander and the agathos daimon house-snakes of Alexandria by Phylarchus, the Alexander Romance, ps.-Epiphanius and the Chronicon Paschale. These bear upon both a foundational myth and upon a related cultural practice. New light is shed on these traditions by some striking comparative folkloric evidence gathered in Armenia at the end of the nineteenth century. In primis, the Armenians’ practice of addressing their friendly house snakes as ‘Armenians’ suggests that the Alexandrians’ practice of addressing their own friendly house snakes as ‘Argives’ entailed a notion that they were themselves, somehow, ‘Argive’ in origin, a notion that can be evidenced in several further ways.
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Haroutyunian, Sargis. "Armenian Epic Tradition and Kurdish Folklore." Iran and the Caucasus 1, no. 1 (1997): 85–92. http://dx.doi.org/10.1163/157338497x00049.
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Shestopalova, Evelina Y. "Alagir Gorge of North Ossetia-Alania: in the footsteps of archaeologist E.G. Pchelina." Vestnik of North-Ossetian State University, no. 4 (December 25, 2021): 78–88. http://dx.doi.org/10.29025/1994-7720-2021-4-78-88.
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E.G. Pchelina (1895-1972) belongs to the galaxy of outstanding scientists who laid the foundation of Soviet Caucasian studies. She had a multi-faceted talent as a researcher and left a bright mark in archeology, religious studies, ethnography, folklore studies of the Caucasus, Armenia, Azerbaijan, and Central Asia. Most of her works, including those ready for publication, were not published during the scientist’s lifetime. The archive, bequeathed by her to the Academy of Sciences and transferred to LOARAN in 1973 by her daughter-in-law, the highly respected M.L. Pchelina, remained inaccessible until 2019. But the results of her research, reflected in published works and available from Reports of archaeological expeditions and documents in the archives of scientific institutions of North and South Ossetia, Moscow, St. Petersburg, Yaroslavl, were known and highly appreciated by archaeologists, ethnographers, historians. References to the materials of her archaeological collections from the Hermitage and museums of North and South Ossetia are often found in the works of modern researchers of the Caucasus. The name of the talented scientist has not been forgotten all these years. However, only now, with the beginning of work on the study of its archival heritage, it became clear what a wide scope of scientific problems is reflected in the unpublished works of the scientist, what global themes of the history of Ossetia have been studied and reflected in the monographs and articles of Evgenia Georgievna. In 2019-2021, scientific events “Bee Readings” were held in St. Petersburg, dedicated to the problems of studying the archival heritage of E.G. Pchelina and timed to the 125th anniversary of her birth. Thanks to the long-term efforts of the staff of the Archive of the Russian Academy of Sciences, the staff of the Hermitage, the Museum of Ethnography of St. Petersburg, the staff of SOIGSI, the grandchildren of Evgenia Georgievna, Nikolai and Mikhail Pchelin, as well as many people who are not indifferent to the fate and discoveries of Evgenia Georgievna, work with the archive is currently being successfully conducted and gradually reveals the great importance of the research conducted by Evgenia Georgievna in the Caucasus, which will now undoubtedly be known to a wide range of researchers.
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Sahakyan, H. A. "Fairy Tale “Stones of Mteulety” by A. Remizov and The Image of Mountain Spirit-Giant." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 89–103. http://dx.doi.org/10.25205/2410-7883-2020-1-89-103.
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The fairy-tale “Stones of Mteulety” by A. Remizov is an author’s fairy tale created on the basis of a folklore plot recorded in the Caucasus in the in 1915, and was first published in 1916 in the magazine “Ogonek” (“Spark”). A. Remizov related this fairy-tale to Georgian fairy- tales. Despite the noticeable influence of literary legends, A. Remizov retained the folkloric basis that reveals the ideas of the primitive man about the process of the soul’s transition “to that world”, to “the other world”. The image of a crystal mountain is often found in Russian fairy tales. The mountain is inhabited by a snake, whose name “Gorinich” (means “son of the Mountain”). The entrance to the “other kingdom”, which continually opens for several minutes, is in this mountain. In the tale “Stones of Mteulety” by A. Remizov the mountain-spirit acts as the master of the mountain. It is this mountain spirit that controls the rockfall and shuts the door between the kingdoms. Both the motif of matchmaking and the motif of death, as the kidnapping of the soul, can be revealed in an abduction. The motifs of abduction are disclosed both in world folklore and in the religious beliefs of different peoples. In early folkloric texts, the function of abduction is assigned to representatives of the animal world, chthonic and supernatural beings, which do not have a human appearance, and still preserve the nature of the animal-glutton. When analyzing the motif of abduction, the characters of the “hero snake-fighters” Artavazd and Amirani from Armenian and Georgian mythology, chained in the mountain caves, were also analyzed. It is established that the functions of the Snake are typical of the characters of Armenian and Georgian mythology, of vishaps and devs, in particular, whose appearance and multi-headedness also draws obvious parallels with the Snake. The analysis of the Snake-eater and its appearance leads to the notions of the Snake-abductor and of death as abduction. When analyzing the topic of the rockfall in the mountains in Remizov’s author fairy-tale, one reveals the features of a love abduction, which is one of the types of death in folklore and mythology. In the final scene of A. Remizov’s fairy-tale “Stones of Mteulety”, the mountain spirit-giant, who fell in love with the shepherdess Nina, kills her in order to connect with her in the world of the dead. Thus the features of the motif of the abducted beauty are revealed in A. Remizov’s author fairy-tale “Stones of Mteulety” and this motif genetically goes back to the most ancient notions of death.
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Morkoç, Ayvaz. "On the novel “Armenian Named Letters” of the Mevlüt SüleymanlıMevlüt Süleymanlı’nın “Ermeni Adındaki Harfler” romanı ve tarihi gerçekler." Journal of Human Sciences 13, no. 3 (December 8, 2016): 5290. http://dx.doi.org/10.14687/jhs.v13i3.4278.
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Mevlüt Süleymanli, born in 1943, is one of the significant living representatives of the contemporary Azerbaijan novelism. He is a bright person who combines talents of a novelist, short story writer, scriptwriter, radio and television producer. He entered Azerbaijan literature in 1964 with his poem “Ellerim” (“My Hands”) which was published in the newspaper “Azerbaycan Gençleri” (“Azerbaijan Youth”). Süleymanli who was living in a village, enriched his literary works with his observations of those years. He successfully used elements of folk literature and folklore. In his works he masterfully showed his love to Azerbaijan people, language, culture and literature. In his works he mostly criticized social and ethic aspects and Soviet system.In this work, the novel “Armenian Named Letters” which expresses the view of Süleymanlı on Armenians in the form of novel, was crticised, analysed and evaluated. Özet1943 yılında dünyaya gelen Mevlüt Süleymanlı, çağdaş Azerbaycan romancılığının yaşayan önemli temsilcilerindendir. Romancı, hikâyeci, senaryo yazarı, radyo ve televizyon yapımcısı gibi çok sayıda niteliği bünyesinde barındıran bir aydındır. Edebiyat dünyasına 1964 yılında Azerbaycan Gençleri gazetesinde yayımlanan “Ellerim” şiiri ile adım atmıştır. Köyde yaşayan Süleymanlı, bu yıllara ait gözlemlerini edebi eserlerinde zengin malzeme halinde sunmuştur. Halk edebiyatı ve folklora ait unsurları başarıyla kullandığı görülür. Azerbaycan halkına, diline, kültür ve edebiyatına olan sevgisini eserlerinde ustaca dile getirmiştir. Kaleme aldığı ürünlerinde toplumsal ve ahlaki tenkitlere ağırlık vermiş, Sovyet sistemine eleştiriler yöneltmiştir. Pek çok ünlü roman ve hikâyenin yazarı olan Süleymanlı, son eseri Ermeni Adındaki Harfler adlı romanıyla edebiyat dünyasında adından çokça söz ettirmektedir. Türklerle Ermenilerin kaotik ilişkilerinin gündemden düşmediği günümüzde Ermeni Adındaki Harfler romanı üzerinde çok yönlü yorumlar yapılmaktadır.Çalışmamızda Mevlüt Süleymanlı’nın Ermenilere bakışını roman formu içinde dile getiren Ermeni Adındaki Harfler romanı incelenmiş, üzerinde tahlil, yorum, açıklama ve değerlendirmeler yapılmıştır.
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Garmel, Oksana. "Luciano Berioʼs “Folk Songs”: Reconstruction of the Idea in the Context of Creativity." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 112–24. http://dx.doi.org/10.31318/2522-4190.2022.134.269624.
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Relevance of the study. Luciano Berio’s vocal cycle «Folk Songs» for mezzo-soprano and seven instrumentalists (1964) was considered for the first time in Ukrainian musicology. The relevance of the research is determined by the imbalance between the high degree of performance demand of the work in the modern cultural space and the insignificant activity of its musicological study. The purpose of the study. The purpose of the article is to reconstruct the creative idea of the vocal cycle «Folk Songs» by Luciano Berio in the context of the composer's searches, their mutual influences and interaction. Methods. The article uses historical, cultural and biographical methods (to study the stages of the formation of the idea of the work in the context of the composer’s creative biography), source studies (to find the sources of multinational folk songs that became the basis of the vocal cycle), methods of comparison and analogy (to propose a hypothesis about the origins of the creative idea of «Folk Songs») and the method of theoretical generalization. The results and conclusions. The biographical context and stages of creation of Luciano Berio’s «Folk Songs» are studied in detail, the sources of folk songs from five countries of the world (USA, France, Italy, Armenia, Azerbaijan) used by composer in the vocal cycle are determined. The main features of the formation of the unity of the cycle are considered: the general logic of the construction, the content of the texts, the composition of the instrumental ensemble, metro-rhythmic features. A hypothesis is proposed about the combined influence of the performing skills of Cathy Berberian and the linguistic and stylistic features of John Cage’s «Aria» (1958) on the formation of the idea of Luciano Berio’s «Folk Songs». The manifestation in the vocal cycle of Luciano Berio’s interest in the linguistic (phonological) aspect of creativity, which became active in his work from the 1950s, is emphasized. Based on the results of the research, it is proposed to perceive and realize «Folk Songs» as a link of two «lines» of Luciano Berio’s creative interests, manifested in his work — interest in multinational folklore and phonological features of different languages. Vocal cycles created in the 21st century based on the model of Luciano Berio’s «Folk Songs»: «Ayre» by Osvaldo Golijov, «Worksongs» by Samuel Blaser and «Chanzuns Popularas Romanchas» by Oscar Strasnoy were identified. These works indicate possible prospects for the continuation of the research topic.
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MANYUKAN, N. "Interrelations between Scholarship and Folklore in Medieval Armenian Culture." Le Muséon 110, no. 1 (January 1, 1997): 81–89. http://dx.doi.org/10.2143/mus.110.1.525801.
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Sahakyan, Heghine A. "Characters of Legends about a Demon Harming Potential in Armenian, South Slavian Traditions and in the Author’s Text of A. Remizov." Studies in Theory of Literary Plot and Narratology 16, no. 2 (2021): 90–102. http://dx.doi.org/10.25205/2410-7883-2021-2-90-102.
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In the South Slavic Sisinia legend (SL) and in the author’s adaptation of the legend by A. Remizov, Veshtitsa (Veshitsa) acts as a Demon harming women in labor, in Armenian folklore this function is assigned mainly to the demons Al and Tpkha. Gog and Magoga, trying to save the last, seventh, surviving child from the Devil, built ‘a tower of marble, bound it with an iron nail and filled it with tin’. They decided to hide the Qeen in the tower until the child grows up. In connection with this episode, of interest is a belief widespread among many peoples, according to which, in order to protect a woman in labor from the Als, she was surrounded by iron objects during childbirth. For example, the ancient Armenians pinned a pin to the clothes or bed of a woman in labor or a child, hung a sword over the cradle, etc. The texts note the weather conditions – storm, winter, downpour, blizzard, which contribute to letting Sisinia into the house. The connection between bad weather, in particular, storms with demons can be clearly traced in both Armenian and Slavic traditions. The sea is the abode of the devil both in the Armenian and Aramaic and in the Greek traditions: only in Ethiopian texts, instead of the sea, does the garden appear as the habitat and refuge of Verzilla. In East Slavic prayers, shakers come out of the sea, while it rises. Instead of the traditional for the Slavic versions of catching a demon from the sea with the help of a fish-ing rod / net, A. Remizov presented a meeting of a saint and a demoness in the desert, which is more typical of Armenian legends. We have established the similarity of the Thing with the demons Als from the Armenian folklore, which are described as anthropozoomorphic creatures with burning or glass eyes. For a comparative and comparative analysis of the lists of the names of demons, we examined the mythonyms identified in the Slavic (more precisely, in the South Slavic branch of interest to us), Armenian and Remizov’s versions of the texts of the Sisinia legend. The first group – demon mythonyms, consists of the names of demons, witches and sorcerers. The second group is mythonyms derived from words indicating the wrecking of demons (formed mainly from verbs). A special place is given to mythonyms with the meaning of “harming children”. The third group of names indicates the connection between Veshtitsa and atmospheric phenomena. The fourth group – mythonyms, indicating werewolf and the ability of demons to transform. The fifth group is the names of diseases and their symptoms. The sixth group is evaluative names. The list of demon names in the text of A. Remizov consists of thirteen mythonyms, which are more reminiscent of the names of shakers or sinners / sins, and all of them are exclusively feminine.
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Matevosyan, Armine, and Manana Dalalyan. "Armenian Culture from the Semiotic Perspective." Armenian Folia Anglistika 12, no. 2 (16) (October 17, 2016): 133–38. http://dx.doi.org/10.46991/afa/2016.12.2.133.
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The present paper goes along the lines of Semiotics, a branch of linguistics. It studies the system of signs which takes the form of words, images, sounds, gestures and objects. Through the usage of signs we represent the linguocultural aspect of our knowledge, ethnic traditions and folklore.
The interest we take in the paper is the study of signs and symbols in Armenian culture. Culture, including miniature paining, singing, dancing, architecture and cuisine, may involve any sphere of Armenian identity. Signs and symbols that constitute language and culture are constructed through verbal and non-verbal interactions and are arbitrary.
The purpose of our analysis is to specify what why, whom questions in a specific context of situation, as well as in a large context of culture, such as social community, media and communication.
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Sargsyan, Armen. "Echoes of the Armenian Genocide in Folk Calendar." Ցեղասպանագիտական հանդես 9, no. 2 (February 12, 2022): 127–37. http://dx.doi.org/10.51442/jgs.0024.
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The transmission of the memory of the Armenian Genocide has been reflected not only in a number of types of Armenian folk epic-lyrical folklore, but also in various memoirs, one of which has been the folk calendar. In the latter case, the person directly or through the mediator allegedly presents the atrocities of the perpetrators of the Armenian Genocide. Calendar reflections on the transmission of the memory of Genocide realities are made through oral inquiries. Dialogical-interrogative structures expressed in these folk sayings come in various thematic manifestations: a. with a calendar description of birth dates, b. with the argument of the calendar time of marriage, c. with survey of the age of an eyewitness during the Genocide, reflecting the deportation/exile, d. pointing to the self-defense heroic battles, e. through episodes related to the heroes of the national liberation movement. The folk calendar is original, eloquent fragments of memory. They are presented through eyewitness-survivors’, their relatives’ or other persons’ accounts, as a unique historical and documentary material certifying the Armenian Genocide.
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Davidjants, Brigitta. "Identity Construction in Armenian Music on the Example of Early Folklore Movement." Folklore: Electronic Journal of Folklore 62 (December 2015): 175–200. http://dx.doi.org/10.7592/fejf2015.62.davidjants.
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Sargsyan, Lusine, and Davit Ghazaryan. "Armenian Amulets from the Collection of Armenian Orthodox Diocese in Baghdad." Incantatio. An International Journal on Charms, Charmers and Charming 9 (December 2021): 42–79. http://dx.doi.org/10.7592/incantatio2020_9_sargsyan_ghazaryan.
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This study is dedicated to the Armenian manuscript and printed Amulet1 of the Armenian Diocese of Baghdad (DAOB). In this collection of early printings, there are two printed Amulets in scroll (Pr. n. 14, second half of the 19th century and Pr. n. 15, A.D. 1716). The third Amulet is a manuscript written in 1736 in the city of Erzrum (Karin) for a certain Ohan (Ms. n. 13). The scanned copies of these amulets are currently available through the website of Hill Museum and Manuscript Library (HMML).2 Since this paper is the first study of these amulets, it presents them in terms of codicology and bibliographical study and discusses their decoration. The study of some iconographic details will help to reveal the practice of using amulets and their meaning, considering them as a representation of Armenian “folklore-art”, since scribes and miniaturists were partly free to choose texts and decorate them, even they were mostly works of the priesthood.3 It should be noted that as artifacts of the same genre, having a purpose of protection of their owners using incantations and prayers, very often the content and decoration of these three Amulets have similarities. From this point of view, Ms. n. 13 (A.D. 1736) and Pr. n. 15 (A.D. 1716) are more relevant to each other both in content and, accordingly, in decoration. A selection of prayers and illustrations to them show almost the same structure, and for the printed Amulet, we can certainly argue that such structure was typical (but not limited) for the printed Amulets in the Armenian tradition from the 18th to 19th centuries. Despite some similarities with two previous Amulets, the Pr. n. 14 (19th century) represent another structure of content and its decoration. It is enriched with prayers and illustrations which does not exist in mentioned above two examples of the 18th century. E.g. engravings depicting the life of Christ (Annunciation, Birth of Jesus Christ, Baptism, Resurrection, etc.), or portraits of the evangelists, accompanied by the passages from their Gospels. Our research shows that the publishers of this Amulet had an eighteenth-century prototype and took an innovative approach using Western art engravings.
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Sliužinskas, Rimantas. "Folklore Life in Multicultural City of Klaipeda (1990-2015)." English version, no. 10 (October 22, 2018): 200–216. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.200.
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The fatal social disasters have taken place in the city of Klaipėda by the end of the Second World War. After 1945, very few local bilingual (Lithuanian and German speaking) people could be found in Klaipėda. Almost all of the survivors had moved to Germany to escape the Soviet occupation. Soviet authorities created favourable social conditions for skilled volunteers, who came to deserted city from other regions of Lithuania, and from all over the Soviet Union, to work in Klaipėda port and to restore the entire marine industry in the 1950s–1960s period. The Russian, Belorussian, German, Jewish, Ukrainian, Polish, Latvian, Tartar, Armenian, Azerbaijani, and other national minorities have become an integral part of the social and cultural life in contemporary Klaipėda. In the light of these historical facts, the goal of the article is to discuss the possibilities of the most representative national societies to maintain and promote their ethnic roots, traditions and the authentic folklore in the city at present times.
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Bodurian, Agota. "Komitas – An Icon in Armenian Music." Musicology Papers 35, no. 1 (November 1, 2020): 82–92. http://dx.doi.org/10.47809/mp.2020.35.01.07.
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Although the 150th anniversary of the birth of the great Armenian composer, Komitas – celebrated with great respect in Armenian communities everywhere – took place last year, we believe that the importance of the work of this icon in Armenian music deserves and must be mentioned in any period. The author of this study has been concerned with the issue of Armenian music for a long time. During the in-depth studies in the field, the conviction of the need to talk about Armenian music – very little known in Europe – and about its famous representatives, of which the most important was and still is Komitas, was strengthened. At the same time, studying the life and work of this outstanding composer, the similarity of his life and career with that of Bartók Béla, sometimes even surprising, arose several times, despite the great geographical distance that separated them. In this article we will try to briefly present the biography and creation of the great Komitas, as well as some parallel elements in terms of life, research and works of the two composers, musicologists and ethnographers. Belonging to the same generation of musicians, they dedicated their lives to collecting, researching and processing authentic folk music, being concerned not only with the folklore of their own nation, but also with the music of neighbouring peoples. The activity and research of the two present remarkable similarities, and through their compositional activity they both succeeded in opening new perspectives, decisive for their descendants, the generations of composers of the twentieth century.
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Gasharova, Aida R. "Non-ritual lyrics of the peoples of Dagestan: collection, study and publication." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2022): 29–36. http://dx.doi.org/10.20339/phs.1-22.029.
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The folklore of the peoples of Dagestan is distinguished by high artistic merit and diverse cognitive information. It has acquired special significance in recent years in connection with the increased interest of peoples in their historical and cultural origins, in ethnic traditions, as well as in connection with those ethnopolitical and ethnocultural processes of our time, which, as you know, are most intensively and ambiguously manifested in the Caucasus. The folklore monuments of the peoples of Dagestan vividly illustrate not only the closest interethnic ties within this region, but also the relationship and mutual influence with the oral and poetic creativity of other ethnic groups of the Caucasus: Abkhazians, Adygs (Adyghes, Kabardians, Circassians), Azerbaijanis, Armenians, Balkars and Karachais, Vainakhs (Chechens and Ingush), Georgians, Ossetians, Russians.The article deals with the issue of collecting, publishing and scientific analysis of one of the most developed and widespread areas of oral and poetic creativity of the peoples of Dagestan — non-ritual lyrics. Songs performed outside the rite belong precisely to that area of folklore, which among the peoples of Dagestan gives an uneven picture of development. The commonality of the poetic tradition and the figurative system of non-ritual lyrics does not exclude the originality of the oral poetry of a particular ethnic group, the presence of shades that highlight the originality of the folklore of the Avars, Dargins, Lezgins, Kumyks, Laks, etc.
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Sahakyan, H. A. "The Embodiment of the Myth about the Woman-Snake in A. Remizov’s Story “Melusina” and Armenian Legends." Studies in Theory of Literary Plot and Narratology 16, no. 1 (2021): 26–39. http://dx.doi.org/10.25205/2410-7883-2021-1-26-39.
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In world folklore, both the Myth of the Snake-woman and the motive of the birth of “wonderful children” from half-humans-half animals are widespread. Melusine is a fairy, a heroine of a folk tale of Celtic origin. Often depicted as a female-snake or female-fish from the waist downwards, sometimes with two tails. The Legend of Melusine goes back to the mythological motif of the “sacred marriage” of a chthonic being with a celestial deity, which was then transformed into the fabulous motif of the “wonderful spouse” (AaTh 400-459). The folk legends we have considered about mermaids and other travesty of female characters in snakes reveal a direct connection with the cult of the goddess of love and fertility. All similar characters, like Melusine, reveal a connection with lunar symbolism, as well as with the other world. The moon and stars have a sacred symbolic meaning in the work of A. Remizov and accompany fragments of Melusine’s appearance, and are also present at all important and fateful events, such as the death of Emery, the Meeting of Raymond and Melusine at the source, and the Wedding. We have revealed the similarity of Melusine’s image with fish-like and snake-like characters in Armenian folklore and mythological texts. The large luminous stone on Melusine’s forehead echoes the motif of the magic stone on the head of the king of snakes or frogs. In the beliefs of the people, snakes personify spirits, the souls of ancestors. They live in their old homes and protect them. Both the serpent and the spirit of the ancestor are interested in the fertility of the clan and the fertility of the fields. Structurally A. Remizov’s Story consists of three parts: “The Story of the Story”, “Melusine”, “Kolovorot”. In his treatment of the legend of Melusine A. Remizov introduced psychological motivations for the actions of the heroes. As a result of the study of the Legend of Melusine in the literary processing of A. Remizov, we can conclude that Melusine reveals the closest connection with the pagan deities of fertility, as well as all three fairy sisters are in one way or another connected with the Armenian Kingdoms and Armenian mythology.
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Charchian, Tadevos, and Diana Hovhannisian. "Łaradałi hayer∂ [Armenians of Gharadagh], vol. 1. Azgagrut'yun [Ethnography]; vol. 2. Banahyusut'yun [Folklore]." Iran and the Caucasus 14, no. 1 (2010): 190–91. http://dx.doi.org/10.1163/157338410x12743419189865.
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MAKARYAN, Albert, Astghik SOGHOYAN, and Haykanush SHARURYAN. "Nikolay Gogol and Raphael Patkanyan: The Philosophy of Horror." WISDOM 3, no. 2 (August 15, 2022): 112–23. http://dx.doi.org/10.24234/wisdom.v3i2.784.
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The article is dedicated to the study of the artistic impact of the Russian writer Nikolay Gogol (1809-1852) on the creation of the Armenian author Raphael Patkanyan (1830-1892). The object of the research is the horror stories and their philosophy. From this perspective, Patkanyan appears as a student of the Gogol school of horrors by masterfully using the artistic technique of his teacher. The first parallel is the place and time of the action. Night becomes the time axis of the stories, and the plot turns around national holidays - Russian Navi day, Ivan Kupala, Christmas, Armenian Carnival, etc. Actions take place in a cursed or enchanted place (a scary house, an old church, hell, a mortuary, a cemetery, etc.), which allows the two realities to collide, as a result of which extramundane forces penetrate into our world. By taking the national folklore as a basis, both authors set the plot of mythical characters in motion portraying witches, demons, spirits, zombies and other terrible creatures as antagonists. The works of both authors are similar in terms of some functional motifs like the sale of the soul to the devil, metamorphoses, dance and laughter of death, implying specific rituals.
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Sliužinskas, Rimantas. "Folklorni život u multikulturalnom gradu Klaipeda (1990-2015)." Bosnian / Croatian / Serbian, no. 10 (October 22, 2018): 177–93. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.1.177.
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Krajem Drugog svjetskog rata u gradu Klaipėda došlo je do fatalnih društvenih katastrofa. Poslije 1945.godine, u Klaipėdi se moglo sresti vrlo malo lokalnih bilingvalnih ljudi (koji govore litvanski i njemački). Gotovo svi preživjeli odselili su u Njemačku da bi izbjegli sovjetsku okupaciju. Sovjetske vlasti stvorile su povoljne društvene uslove za kvalifikovane volontere, koji su došli u napušteni grad iz drugih regija Litvanije i iz cijelog Sovjetskog Saveza, da rade u luci Klaipėde i obnove cijelu brodogradnju u periodu između 50-ih i 60-ih godina. Rusi, Bjelorusi, Nijemci, Jevreji, Ukrajinci, Poljaci, Latvijci, Tatari, Armenci, Azerbejdžanci i druge nacionalne manjine postali su sastavni dio društvenog i kulturnog života savremene Klaipėde. U svjetlu tih historijskih činjenica, cilj ovog članka je da razmotri mogućnosti najreprezentativnijih nacionalnih društava i promoviše njihove etničke korijene, tradicije i autentični folklor u današnjem gradu.
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Grover, Manish. "Pistacia integerrima (Shringi)- A Plant with Significant Pharmacological Activities." Journal of Phytopharmacology 10, no. 5 (September 5, 2021): 323–30. http://dx.doi.org/10.31254/phyto.2021.10508.
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Pistacia integerrima is an important medicinal plant belongs to the family Anacardiacea. It is commonly called as Crab’s claw in English and Shani/Shringi in Hindi. It is a single-stemmed, dioecious tree widely distributed in countries like Nepal, China, Afghanistan, Pakistan, Armenia, North-west and West Himalayas. The plant has significant applications in the traditional systems of medications such as Ayurveda, Unani and Siddha. In addition, the plant is also used in many folkloric cultures around the world to treat a vast array of human ailments such as diarrhoea, dysentery, fever, vomiting, skin diseases, respiratory ailments and psoriasis appetizer, hepatitis and liver related disorders. The characteristic feature of the plant is its essential oil content comprised of many important phytochemical constituents such as alpha-pinene, camphene, di-limonene, 1:8-cineol, caprylic acid, alpha-terpineol and aromadendrene. However, the plant contains many other important secondary metabolites such as steroids, flavonoids, tannins, saponins and phenols which are associated with important pharmacological activities such as anti-bacterial, anti-oxidant, anti-inflammatory, cardio-protective, anti-cancer, antidiarrhoeal, anticonvulsant and muscle relaxant. The aim of the present study is to summarize the recent pharmacological activities of Pistacia integerrima along with its utilization in traditional medication systems
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Вртанесян, Г. С. "The depiction of the St. Elijah’s Day in epic and folklore texts." Эпосоведение, no. 3(23) (October 27, 2021): 43–57. http://dx.doi.org/10.25587/m2885-1284-3790-o.
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Цель работы – выявление роли и места Ильина дня в опоэтизированной календарнойкартине мира у некоторых народов Передней Азии, Европы, лесной полосы Северной Азии и сопредель-ных областей. Основным методом исследования является сравнительный анализ эпических и фольклор-ных текстов, соотнесенный с экологией. Работа представляется актуальной в связи с близостью главныхчерт образов эпических героев почти во всей Евразии – указание на устойчивость структуры исходноймодели мифа, что, на наш взгляд, объясняется происхождением из общего источника. Вероятнее всего,это календарный миф и его узловые точки – переломы погоды в середине сезонов. Показано, что первыетексты, свидетельствующие о важной сакральной роли событий середины летнего сезона, относятся кначалу II тыс. до н. э. (древние хетты, праздник Пуруллия). В основе ритуала лежал «основной миф» оборьбе Бога Грозы со Змеем, общее наследие народов индо-европейской языковой семьи. Выявлены при-родные маркеры Ильина дня. В текстах, относящихся к лесной полосе Северной Евразии («Калевала»,«Карельские эпические песни», обско-угорские тексты и др.), события Ильина дня – проливные грозовыедожди начала августа, сменяющие жаркую сухую погоду июля, отражены как преодоление героями «ог-ненной» преграды (река, потоп) на пути к северу («стране» прохлады и влаги). Доминирование числовогокомплекса 6-7 в «Калевале» и карельских эпических песнях являются свидетельством в пользу начала от-счета календарного времени с событий Ильина дня. Высказано предположение о структуре календарногомифа, в котором новый цикл начинается с событий Ильина дня (древнеармянский языческий календарь,календари селькупов и др.). Противоположная картина наблюдается в обско-угорских текстах с абсолют-ной доминантой числового комплекса 7-6, что служит доводом об отсчете «летней дороги солнца» с датызимнего солнцестояния. В текстах, относящихся к Малой Азии, Кавказу, события Ильина дня облечены вформу борьбы героя с драконом, Змеем или Гидрой – мифологизированными причинами летней засухи.Рассмотрены описания особенностей зачатия и рождения героя в контексте календарного мифа. В текстах,относящихся к лесной зоне Евразии, а также кельтских, зачатие героя соотнесено с Ильиным днем. Време-нем активной деятельности героев (символы яркого света) является летний сезон, по завершении которого(то есть «жизни»), они уходят в «камень-тьму». The aim of the work was an attempt to identify the role and place of the St. Elijah’s Day in thepoetized calendar picture of the world. The main method of research was a comparative analysis of epic andfolklore texts, correlated with ecology. The work was relevant due to the proximity of the main features of theimages of heroes in almost all of Eurasia – an indication of the stability of the structure of the original model ofthe myth. This can be explained only by the origin from a common source. It is a calendar myth, and its nodalpoints are weather fractures in the middle of the seasons. It is shown that the fi rst texts testifying to the importantsacred role of the events of the middle of the summer season belong to the beginning of the second millenniumBC (ancient Hittites, the holiday of Purulliya). The ritual is based on the “main myth” about the struggle ofthe Thunder God with the Serpent, the common heritage of the peoples of the Indo-European language family.Natural markers of the Elijah’s Day were identified. It was revealed that in the texts related to the forest zone ofNorthern Eurasia (Kalevala, Karelian epic songs, Ob-Ugric texts, etc.), the events of Elijah’s Day – torrentialthunderstorms of early August, replacing the hot dry weather of July, are reflected as the heroes overcoming the“fiery” barrier (river, flood) on the way to the north (the “country” of coolness and moisture). The dominance ofthe 6-7 numerical complex in the Kalevala and Karelian epic songs is an evidence in favor of the beginning of thecalendar time from the events of the Elijah’s Day. An assumption was made about the structure of the calendarmyth, in which a new cycle began with the events of the Elijah’s Day (the ancient Armenian pagan calendar,Selkup calendars, etc.). The opposite picture is seen in the Ob-Ugric texts, with the absolute dominance of the7-6numerical complex, the argument about counting the “summer road of the sun” from the date of the wintersolstice. In the texts that relate to the southern regions (Asia Minor, the Caucasus), the events of the Elijah’s Dayare clothed in the form of a hero’s struggle with a dragon, a snake or a hydra – mythologized causes of the summerdrought. The descriptions of the features of the conception and birth of the hero, in the aspect of the calendarmyth, were considered. In the texts related to the forest zone of Eurasia, as well as Celtic, the conception of thehero is correlated with the Elijah’s Day. The summer season is the time of intense activity of the heroes (symbolsof bright light), at the end of which (i. e. “life”), they go into the “stone-darkness”.
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Alikberov, Alikber K. "Royal Epithets in the Historical Onomastics of the Caucasus." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 6 (2022): 191. http://dx.doi.org/10.31857/s086919080023345-6.
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his article completes the intermediate stage in a series of publications by the authors on the topic of the origin of the ethnonyms “Alans” and “Albans” and the corresponding polytonyms “Alania” and “Albania’, the toponyms “Alan and Albanian gates”, "Al-burz”, "Elbrus". The accumulated new data are well-corresponding to the interpretation proposed by the authors in previous articles. In some cases, there are trivial explanations basing on the original semantics of the Caucasian root with the meaning 'king, prince, ruler'. Traces of the original meaning are found in the manuscripts of Armenian chroniclers when they try to interpret the source of the name of Caucasian Albania. Also the original meaning is truly seen in epithets characterizing famous aristocratic surnames. The folklore material of the Ossetian epic Nart Saga is also significant. There were found several toponyms in Kakheti which have a direct connection with the topic of this article. The Arab geographer al-Mas’udi gives an extended description of the meaning of the Ossetian derivative from the name 'king, prince'. The dominant peaks on the terrain, as well as significant passages called "gates" gain the epithet composits "King-Mountain" and "King's Gates". The article is of interest to linguists, historians and ethnographers and it allows to exclude unnecessary ethnic correlation of specific toponyms and epithets in many concrete cases.
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Vdovychenko, H. V. "CULTURAL AND PHILOSOPHICAL ORIGINS AND ATTITUDES OF THE EARLY WORKS OF P. TYCHYNA: "THE LAST SUPPER, GUILLOTINE DAYS"." UKRAINIAN CULTURAL STUDIES, no. 2 (7) (2020): 28–37. http://dx.doi.org/10.17721/ucs.2020.2(7).05.
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The article explores cultural and philosophical origins and attitudes of the early works of P. Tychyna, namely defining the ones events and phenomena of domestic and foreign ethnocultural and professional cultural life, cultural and philosophical ideas and teachings, as well as P. Tychyna's own cultural and philosophical views, revealed mainly in his poetry books of 1918 – 1924. One of the most important, but still little- known pages of the biography and ideological and artistic evolution of P. Tychyna is the formation during the first third of the twentieth century, fundamental for his entire life cultural and philosophical guidelines of early creativity. The study of this problem is closely connected with the long overdue need for unbiased systematic classification and consideration of the whole spectrum of cultural and philosophical sources and guidelines of ideological and artistic evolution of the poet of ideologically contradictory poems-myths of Ukrainian national renaissance and enslavement – "Golden Homin" as a sacred figure-symbol of modernism and, at the same time, social realism in Ukrainian literature, the most famous and, at the same time, the most criticized domestic artist-model of evaluative polarity of official and public myth-making in the USSR and, later, in Ukraine. In light of the assessment of the main achievements of tychynology, a cultural-philosophical-literary analysis of the three stages of the ideological and artistic evolution of P. Tychyna of this period was carried out. These stages are: 1. formation (Kyiv-Chernyhiv): 1906 – 1916; 2. creative rise and blossoming (Kyiv): 1917 – 1921; 3. decline and crisis (Kyiv-Kharkiv): 1922 – 1929. Two groups of origins of the poet's early works were examined. The first one is represented by domestic and foreign ethnocultures and consists of three subgroups of folklore: 1. Ukrainian; 2. foreign (of other Slavic peoples); 3. foreign, mainly of the peoples of the Near and Middle East (Armenian, Turkish and Indian). The second group is represented by domestic and foreign professional cultures, the last of which is divided into three subgroups: 1. Russian; 2. European and North American; 3. Eastern (the Near, Middle and Far East). P. Tychyna was a symbol and myth of modernism and Socialist realism in the literature and culture of the Ukrainian SSR, and the early stages of his cultural and philosophical credo's evolution from the neopagan-Christian Ukrainian national-patriotic myth to the national-communist pantheistic-materialistic cosmogony.
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Kulova, Irma I. "Orthodox Singing Culture of the Ossetians in the Context of the Christianisation of the Ethnos." Scientific and analytical journal Burganov House. The space of culture 18, no. 5 (October 10, 2022): 52–59. http://dx.doi.org/10.36340/2071-6818-2022-18-5-52-59.
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The article is devoted to the study of the state of Orthodox liturgical singing practice at various stages of the Christianisation of the Ossetians. Christianity penetrated into the Alans’ lives due to their political and economic contacts with the states in which it was the official religion. The adoption of Christianity contributed to the expansion of international trade, political and cultural relations of the Alans (Ossetians) and the enrichment of the material and spiritual culture of the ethnic group itself. A new stage of Christianisation, which began in the 18th century, largely contributed to resolving the issue of Ossetia joining Russia. Information on the Christian singing culture of the Ossetians is scarce. The earliest of it, recorded in one of the periodicals, dates back to the 19th century and allows us to judge its condition for a specific period of the designated century, the methods and the nature of transmission, as well as some related sources accompanying it (chant books and manuals). On their basis, we can conclude that close attention was paid to the dissemination and the quality of liturgical singing. The analysis of Obikhod in the Ossetian Language (1864-1889) indicates the orientation of the Ossetian church singing culture towards the liturgical singing practice of the Russian Orthodox Church. However, due to the presence of the Acolouthia in different languages ??in the churches in Ossetia, one cannot exclude other possible influences (for example, Georgian, Armenian, etc.), as well as the existence of their own traditions. At present, the chant range of Orthodox religious service is being updated through poetic texts (they are being translated into the Ossetian language), and through the musical and intonational component. The need to transform the latter is seen not only in the desire to give a religious service a national character. It is also connected with the search for ways to overcome the problem that arises when using the principles of chanting generally accepted for the Russian Orthodox Church in relation to texts in the Ossetian language. At the moment, the musical and intonation sphere of Ossetian religious service includes folklore, on the musical texts of which canonical chants are sung, as well as original author's compositions, often based on the intonations of Ossetian folk songs. However, there are also connections with the Georgian singing tradition.
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Madyar-Novak, Vira. "Fields of Activity of Volodymyr Goshovskyi (Dedicated to the Centenary of the Scientist)." Problems of music ethnology 17 (November 17, 2022): 16–26. http://dx.doi.org/10.31318/2522-4212.2022.17.270895.
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In the conditions of the Russian occupation, when Ukraine is fighting for independence, the commemoration of the centennial anniversary of one of the “titans” of Ukrainian ethnomusicology, Volodymyr Hoshovsky (1922–1996), acquires special national significance.
The article reviews the spheres of activity of the scientist throughout his life starting from his childhood. The diverse upbringing and education of the European level formed V. Hoshovsky’s interest in the exact sciences and humanities, as well as in art, even in his childhood. This diversity of interests allows you to respond to changing life circumstances and master a new profession.
After receiving a doctorate in philology and ethnography at the Charles University in Prague (1944), V. Hoshovsky prepared to become a scientist and became a polyglot. His main linguistic studies fell on the Prague period: work at the Institute of Slavic Studies, teaching at the Modern Languages Club, brilliant proposals and scientific prospects for the future.
Ethnographic studies took place in Uzhhorod in 1946–1948. V. Hoshovsky headed the ethnographic department of the Uzhhorod Historical and Ethnographic Museum, began an in-depth survey of the folk culture and lifestyle of the villages of the Transcarpathian region, and organized a number of large exhibitions.
The strengthening of ideological pressure and the closing of the ethnographic department led to the search for a new field of activity and realization as a professional musician. V. Hoshovsky obtained a second higher education – this time – in music. He graduated from the Lviv State Conservatory named after M.V. Lysenko (1953), as in Prague, having chosen two specialties. As a result, he became the first professional guitarist and the first professional conductor of an orchestra of folk instruments in Transcarpathia. A passion for musical aesthetics and musicology was added to the performances. His musical activity was very intense.
Since 1955, V. Hoshovsky entered the field of ethnomusicology, which turned into his life’s work. His research on folk music evolved, delineating three periods. In the early period (Uzhhorod, 1955–1961), the scientist focused on regional studies: he carried out numerous field surveys of Transcarpathian villages, began the study of the history of musical folklore of Transcarpathia, studied the kolomyika in the context of Slavic studies, and engaged in the discovery of the musical dialects of Transcarpathia.
In the mature period (Lviv, Yerevan, 1962–1986) V. Hoshovsky significantly expanded the range of scientific interests, reached the level of Carpathian studies, Slavic studies and cybernetic ethnomusicology, completed studies in the field of musical dialectology, significantly updated the research methodology by involving the methods of linguistics, semiotics, genetics, cybernetics, etc. The main his works were the anthology “Ukrainian Songs of Transcarpathia” (1968), the monograph “On the Origins of Folk Music of the Slavs” (1971), the two-volume collection of Klyment Kvitka’s works “K.V. Kvitka. Selected Works” (1971, 1973), development of UNSACAT (on the basis of Lviv analytical maps, and in cooperation with Armenian programmers), computer research of Ukrainian, Slovak, Armenian and Azerbaijani folk music. In the later period (Lviv, Uzhhorod, 1986–1996) he focused on the coverage of certain ethnomusicological issues and memories.
The review made it possible to come to the conclusion that the realization of V. Hoshovsky in the field of linguistics and ethnography laid an interest in scientific work. The switch to the musical sphere made it possible to wait out the ideological pressure. Fascination with ethnomusicology marked a return to the bosom of science, but at a new level: with the unification of all previously acquired knowledge and experience. The breadth of scientific interests, familiarity with modern methods of research in various fields of science, the possibility of studying the latest European specialized literature in the original language distinguished this scientist among contemporary ethnomusicologists and provided space for bold experiments.
As for pedagogical and social work, they formed a supporting line to the philological, musical, and ethnomusicological spheres of V. Hoshovsky’s activities. On the one hand, they stimulated public interest in certain issues, and on the other hand, they contributed to the education of followers who formed the musical, performing and ethnomusicological future of Ukraine.
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McCollum, Jonathan. "Armenian Music through the Ages, by Richard Hagopian. Center for Folklife and Cultural Heritage, Smithsonian Institution, Washington, D.C., 1993. 14 pages of notes in English. 1 map. One compact disc, 13 tracks (56.03). US$15.00 Smithsonian/Folkways Recordings SF 40414." Middle East Studies Association Bulletin 40, no. 1 (June 2006): 126–27. http://dx.doi.org/10.1017/s002631840004966x.
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Свазлян, Вержине. "Устное народное творчество переселившихся в Пятигорск арцахских армян." Journal of Armenian studies, November 23, 2021, 129–45. http://dx.doi.org/10.52853/18294073-2021.3.27-130.
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The subject matter of the research are of epic, lyric and saying nature. My personal ethnographic recordings and observations among the Artsakh-Armenians of Pyatigorsk provide grounds to conclude: the folklore of the Artsakh-Armenians is identical by its roots to the cultural precepts of the Armenians of Historic Armenia and Cilicia, a circumstance which testifies to the identity and Armenianness of their traditional, national origins.
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McDowall, Robert, and Hasmik Matikyan. "Childlore And Children’s Folklore In The Uk And In Armenia (Historical and Current Perspective)." Գիտական աշխատություններ, 2021, 218–28. http://dx.doi.org/10.52971/18294316-2021.3-218.
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This paper provides a retrospective view of Childlore and Children’s Folklore, the major themes in its history, developments and concludes with reflections on the current environment in the UK and Armenia. The survey provides a guide for future research on aspects of childlore outlined in this paper. The first part of the paper is presented by Robert McDowall, former president of the Folklore Society (UK). Hasmik Matikyan, researcher at Shirak Center for Armenological Studies of NAS RA, studies Children’s Folklore in Armenia.
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Haroyan, K., and M. Soghomonyan. "ԺՈՂՈՎՐԴԱԿԱՆ ԲԱՆԱՀՅՈՒՍՈՒԹՅԱՆ ԿԱՊԸ ԳՐԱԿԱՆ ԵՐԿԵՐԻ ՈՒՍՈՒՄՆԱՍԻՐՈՒԹՅԱՆ ՀԵՏ / CONNECTION OF FOLKLORE WITH THE STUDY OF LITERARY WORKS." SUSh Scientific Proceedings, September 15, 2021, 261–73. http://dx.doi.org/10.54151/27382559-2021.1b-261.
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Հոդվածում ներկայացվում է ժողովրդական բանահյուսության և գրական - գեղարվեստական երկերի միջև եղած սերտ կապը: Գրականության դասերին ուսուցիչ-աշակերտ համատեղ աշխատանքի արդյունքում տրվում է «Սասունցի Դավիթ» էպոսի և Խաչատուր Աբովյանի «Վերք Հայաստանի» վեպի հայրենասեր կերպարների համեմատական բնութագիրը, նրանց բարոյական արժեհամակարգի նկարագրությունը: Առանձնակի նշվում է «Վերք Հայաստանի» վեպի՝ ժողովրդական վեպին հատուկ ոճական հնարքները, խորիմաստ առակ-ասացվածքների տեղին օգտագործումը: Այդ ամենը բանահյուսության ժողովրդական կենսունակ արմատների շնորհիվ է, որ հարուստ նյութ է մատակարարել գրական երկերին: Միայն բանահյուսության առասպելահեթանոսական շրջանի իմաստնությամբ կարելի է հասնել գրական գեղարվեստական երկերի վառ հայրենասիրության ակունքներին, ըմբռնել ժողովրդի պատմությունն ու գեղարվեստական գրականությունը: Վերոբերյալը ամրապնդելու համար առաջարկվում են նաև դասը աշխուժացնող խաղ-առաջադրանքների ստեղծում և անցկացում: / The article represents close connection between folklore and fiction. During literature classes the joint work of teacher and pupils results in forming the comparative description of patriotic characters in the epos ―David of Sassoun‖ and the novel ―Wounds of Armenia‖ by Khachatur Abovyan, as well as in describing the system of their moral values. The article makes a special emphasis on use of special stylistic devices in the novel ―Wounds of Armenia‖, which are characteristic of a folk novel. Appropriate use of profound proverbs and sayings in the novel is also stressed. All this is due to viable roots of folklore, representing rich basis for literary works. Only study of the legend and pagan period of folklore can lead to the brilliant patriotic sources of literary works and to perception of the nation history and fiction. For stating the above-mentioned, it is proposed to create and implement game tasks, promoting the lesson.
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TADEVOSYAN, TADEVOS. ""THE ESSAY “SPHINXES AND VISHAPS” BY V.BRUSOV: FISH-DRAGONS OF ARMENIA AND CAUCASIAN FOLKLORE"." Brusov Readings, October 30, 2018, 580–90. http://dx.doi.org/10.31377/brus.v0i0.196.
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"Common cultural space of nations having inhabited different areas since the II millennium BC is confirmed not only by historical and archeological investigations, but also by the data of folk and mythological character. So vishap-stones found in the Armenian mountains, are similar in content to analogous monuments of other nations. At the same time, the Vishap-dragon functioning in various mythological systems also detects invariant identity."
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STEPANYAN, HASMIK. "ARMENIANS IN BITLIS AND ARMENIAN KURDISH HANDWRITTEN AND PRINTED LITERATURE." COUNTRIES AND PEOPLES OF THE NEAR AND MIDDLE EAST, 2018, 232–38. http://dx.doi.org/10.52837/18291422-2018.31-232.
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Bitlis is an ancient city where the Armenians were one of the oldest inhabitants. In 1878-79 the population of province was nearly 400.000, of which Armenians were 250.000. The population of Bitlis was 30.000, of which Armenians were 10.000. The Armenians had a great investment on the economic, trade and cultural life of the province as well as on the development of crafts and the penetration of the capitalistic relations. Armenians lived mainly with Kurds and Yezidis. During the Genocide the Armenians were forced to leave Bitlis. One of the main cultural ways of Armenians was Armenian Turkish literature. There was also handwritten and printed literature in Armenian as well as in Kurdish. It was made by the Armenians for the Kurds keeping Kurdish folklore, philosophical and literary heritage. We could find published textbooks in Kurdish, the authors of which were Armenians. Armenian Kurdish Bible, Gospels and other religious books were published by American missionaries.
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Arakelyan, Siranuysh. "ԱՐՑԱԽԻ ԵՎ ՍՅՈՒՆԻՔԻ ԱՎԱՆԴԱԶՐՈՒՅՑՆԵՐԸ «СБОРНИК МАТЕРИАЛОВ ДЛЯ ОПИСАНИЯ МЕСТНОСТЕЙ И ПЛЕМЕН КАВКАЗА» (СМОМПК 1881-1915) ՌՈՒՍԱԼԵԶՈՒ ՄԱՏԵՆԱՇԱՐԻ ԷՋԵՐՈՒՄ / TRADITIONS OF ARTSAKH AND SYUNIK ON THE PAGES OF THE RUSSIAN-LANGUAGE BOOK SERIES "COLLECTION OF MATERIALS FOR THE DESCRIPTION OF LOCALITIES AND TRIBES OF THE CAUCASUS" (SMOMPK 1881 – 1915)." Աշխատություններ Հայաստանի պատմության թանգարանի / Transactions of the History Museum of Armenia, 2022, 68–76. http://dx.doi.org/10.56653/18290361-2022.10-68.
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From the second half of the 19th century to the first decade of the 20th century, in the context of its cultural policy for the "spiritual rapprochement" of the peoples living in the Caucasus and the eastern part of the Armenian highlands under its rule, Tsarist Russia undertook the publication of the Russian-language cultural series SMOMPK, which was printed in Tiflis. The bibliography mainly includes materials relating to various genres of folklore of different peoples: Armenians, Georgians, Tatеs and others, archaeological and ethnographic reviews. In 10 of the 46 volumes of the series, Armenian folklore materials and archaeological and ethnographic reviews were published. Most folklore materials were recorded in the Artsakh-Sunik region, where foreign folklore collectors also made business trips. A large amount of folklore material consists of Armenian folk tales and traditional legends, which have never been studied or republished. The purpose of the study is to rescue from oblivion and introduce into scientific circulation traditional talks and conversations that are part of the intangible cultural heritage of Artsakh and Syunik, translated and published in SMOMPK - in Russian, some of which have parallels in their content and types in collections we already know, and some are unique to Armenian folklore.
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Брославская, Татьяна. "Прошлое в настоящем – связь поколений (стилистика Комитаса и ее осмысление в творчестве Авета Тертеряна)." Journal of Art Studies, February 13, 2023, 40–49. http://dx.doi.org/10.54503/2579-2830-2022.2(8)-40.
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Предлагаемая многоаспектная тема занимает важное место как в вузовском историческом курсе, так и в деятельности Кабинета истории национальных музыкальных культур Санкт-Петербургской государственной консерватории имени Н.А. Римского-Корсакова. При изучении культуры Армении было проведено немало научных заседаний, посвященных творчеству избранных композиторов на разных площадках Петербурга. Комитас и Тертерян – художники, принадлежавшие к разным временным периодам истории Армении, отдаленным друг от друга на весьма заметную дистанцию. Это этапы творческой зрелости культуры: рубеж XIX – начала XX века, время становления композиторской школы, и вторая половина XX столетия (эпоха бурного развития и расцвета). Такая дистанция обусловила обращение к иным музыкально–выразительным средствам и различные жанровые приоритеты: обработки народных песен и танцев у Комитаса, симфонии и музыкальный театр – в творчестве Тертеряна. Комитас обозначил грань нового подхода к фольклору, к корневым народным традициям. Он решал многие проблемы: фольклорного многоголосия фактуры, её полифонизации и сонорности (фонизма). Продолжая традиции классика, Тертерян обращался к различным формам монодии, ее архитипам, активно переосмысливая выбранные варианты при яркой тембровой динамике. Творчество музыкантов объединила энциклопедическая широта деятельности. Художников подобного «двуединства» характеризует особое ощущение звука, насыщенного содержательностью тона, чуткостью слышания протяженного «дама». Их объединяют содержательность сочинений, обращенных к истории страны, прошедшей через многие испытания. Они оба – уникальные провидцы, обогнавшие свое время, и в этом их величие! The proposed topic of numerous aspects occupies an important place both in the university’s history course and in the activities of the Cabinet of the History of National Musical Cultures at the N.A. Rimsky-Korsakov State Conservatory in St. Petersburg. When studying the culture of Armenia, many scientific meetings were held dedicated to the work of selected composers at various venues in St. Petersburg. Komitas and Terteryan are artists who belonged to different periods in the history of Armenia, quite noticeably distant from each other. These are the stages of the creative maturity of culture at the turn of the 19th - early 20th centuries, the period of the composer school formation and the second half of the 20th century, the era of rapid development and prosperity. Such a distance led to an appeal to other musical and expressive means and various genre priorities: arrangements of folk songs and dances by Komitas, symphonies and musical theatre in Terteryan’s creative work. Komitas designated a new approach to folklore, and the fundamental folk traditions. He solved many problems: folklore polyphony of texture, its polyphonization and sonority (phonism). Continuing the traditions of the classic, Terteryan turned to various forms of monody, its archetypes, actively rethinking the chosen options with bright timbre dynamics. The encyclopedic breadth of activity united the creative work of these musicians. A special feeling of sounds, saturated with the content of the tone, and the sensitivity of hearing the extended dam, the background music accompaniment, characterize the “double-unity” of the artists. They are united by the pithiness of the works addressed to the history of the country, which has gone through many trials. Both of them are unique visionaries, ahead of their time, and this is their Greatness!
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"Armenian folklore bibliography." Choice Reviews Online 32, no. 08 (April 1, 1995): 32–4213. http://dx.doi.org/10.5860/choice.32-4213.
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Հարությունյան, Հասմիկ. "Ողբերգի ժանրը Շիրակի արդի երաժշտական բանահյուսության մեջ." Գիտական աշխատություններ, December 13, 2022, 210–20. http://dx.doi.org/10.52971/18294316-2022.25.2-210.
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The article is devoted to the study of modern records of one of the most important genres of Armenian musical folklore, the dirge or mourning songs, which were performed in the Shirak region. Not only genre features were examined, but also those important compositional components that have maintained vital stability over time.
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Տիգրանյան, Մարիաննա, and Լինդա Սարգսյան. "Արցախյան հոռովելներ." Journal of Art Studies, December 2, 2021, 123–34. http://dx.doi.org/10.52853/25792830-2021.2-123.
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The paper examines the peasant songs – horovels of Artsakh; it aims to cover the peculiarities of the musical linguistic language of the region. Work songs are one of the oldest layers of Armenian folk music. Our study is based on the notes made by Komitas Vardapet, Robert Atayan and Matevos Muradyan, in which horovels of the historical Varanda (present-day Martuni) region predominate. Back in the dawn of Christianity, Artsakh was one of the most important spiritual centers of the Armenian world with its folklore, unique dialect and song-making tradition. Presumably, this was the reason why Komitas Vardapet took a keen interest in music folklore of Artsakh (10 out of 20 peasant songs, recorded by him, are Artsakh horovels). As a result of comparative analysis of the musical material, we have identified several typological principles of structure and evolution of the musical language of horovels of the region under review (presence of metro-rhythmic, intonational and melodic patterns, prevalence of Phrygian scale with a tertiary secondary support). This, in turn, attests to the existence of traditional modular thinking in the peasant songs of Artsakh. “Horovel”, recorded by R. Atayan during his first expedition to Karabakh in 1957, when historical Artsakh was part of the Azerbaijani SSR, is published in the article for the first time.
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Khemchyan, Ester. "The Female Fidelity and Infidelity in the Shah Abbas Plots of the Armenian Folklore." Journal of Armenian studies, December 21, 2022, 158–68. http://dx.doi.org/10.54503/1829-4073-2022.3.158-168.
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Հայ վիպական բանահյուսության հեքիաթային սյուժեներում առանձին խումբ են կազմում կնոջ հավատարմության և անհավատարմության մոտիվներով սյուժեները, որոնք աղերսվում են Շահ Աբասի վիպական կերպարին: Սյուժեն բաղկացած է երկու միմյանցից անկախ պատումներից։ Պատումի առաջին մասում ի ցույց է դրվում կնոջ անհավատարմությունը, իսկ երկրորդ պատումն առաջինի հակադրությունն է, որտեղ հանդես է գալիս նվիրված կնոջ կերպարը։ Այս ինքնատիպ սյուժեում պահպանված են հնագույն սովորույթներ, հավատալիքներ և ծիսական գործողություններ, ինչպես օրինակ` արյան վրեժի սովորությունը, որի իրագործման գործառույթը ստանձնում է կինը: Պատումները բարոյախրատական որոշակի նպատակ են հետապնդում, դրանց եզրակացությունը պայմանավորված է դեպքերի շղթայում կնոջ վարքագծի ու բնավորության հակադիր դրսևորումներով: Սյուժեն նպաստում է բացահայտելու Շահ Աբասի բնավորության ու վարքագծի այն կողմերը, երբ նա հանդես է գալիս որպես հասարակական կյանքի կարգավորող ու անարդարությունները վերահսկող, որի գործողությունները, սակայն, ոչ միշտ են արդարամիտ և կարող են հանգեցնել բնական կարգի խաթարմանը: В сказочных сюжетах армянского эпического фольклора отдельную группу составляют сюжеты, построенные на мотивах женской верности и неверности, соотносящиеся с эпическим образом Шаха Аббаса. Сюжет состоит из двух независимых рассказов. Первая часть посвящена неверности женщины, а вторая часть являет собой противопоставление первой, где повествуется о верности и преданности женщины. В этом своеобразном сюжете нашли отражение древнейшие обычаи, верования и обрядовые действия, к примеру, обычай вендетты, которую осуществляет женщина. Рассказы однозначно имеют морально-дидактическую направленность. Сюжет способствует выявлению скрытых черт характера и поведения Шаха Аббаса, когда он пытается упорядочить общественную жизнь и пресечь несправедливость, однако его действия не всегда справедливы и могут привести к дисбалансу естественного порядка.
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Vardanyan, N. "Symbolic Semantics of Broom in Armenian Folk Beliefs (Based on Ritual and Folklore Traditions)." Etnografia, no. 4(18) (2022). http://dx.doi.org/10.31250/2618-8600-2022-4(18)-175-193.
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Մկրտչյան, Նունե. "Ավետիք Իսահակյանը աֆորիզմների վարպետ." Գրականագիտական հանդես=Literary Journal, September 13, 2022, 39–58. http://dx.doi.org/10.54503/1829-0116-2022.1-39.
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There are few writers in the world literature who, through their aphorisms, would be able to penetrate into the deep layers of the psyche and consciousness of the people and present the philosophical results of their creative work and worldview, thereby turning aphorisms into an inseparable part of thought and speech. Aphorism is a rare genre in the Armenian literature, it is almost not studied. Av. Isahakyan a philosopher, a poet and a writer, was one of the rare writers, whose thinking was inherent in aphorism. Moreover, the Master is an exception: “not a single Armenian writer created so many aphorisms.” The purpose of our study is to present the theme of aphorisms of Avetik Isahakyan: from the native land to the Cosmos, from the history to the reality, from an illusion of the past to a dream of the future - which discusses the themes of the native language and folklore, the Armenian and world literature, art and science, man and nature, life and death, love and suffering. “The first steps of a person’s spiritual development are associated with the poetry, the middle of the path should pass through science and the solution of secrets, and the last steps will again begin with poetry,” Avetik Isahakyan wrote.
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Тигранян, Марианна, and Линда Саргсян. "Земледельческие песни Арцаха." Journal of Armenian studies, September 26, 2022, 130–43. http://dx.doi.org/10.54503/1829-4073-2022.2.130-143.
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The present work is dedicated to the Artsakh horovels; it aims to cover the peculiarities of the musical linguistic thinking of that region. Agricultural songs are one of the oldest layers of Armenian folk music. Our study is based on the notes of Komitas Vardapet, Robert Atayan and Matevos Muradyan, where Varanda region (present-day Martuni region) dominates. Back in the dawn of Christianity, Artsakh was one of the most important centers of the Armenian world, with its very unique dialect, ancient folklore and traditional composition. Probably this is the reason why Komitas Vardapet wrote the Artsakh horovels with special attention (10 out of 20 recorded horovels are from Artsakh). As a result of our comparative analytical work, we have come to the conclusion that almost all the horovels in that region have melodic-grammatical original formulaic expressions, the vast majority of them develop in the Tertiary-based Phrygian scale system. The expedition conducted by R. Atayan in Artsakh in 1957, during which a horovel was recrded, is getting published for the first time in the present article: (The decipherment is ours).
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Տիգրանյան, Մարիաննա. "Երկու վարդապետ. Սահակ Ամատունի և Կոմիտաս." Historical-Philological Journal, July 20, 2022, 201–15. http://dx.doi.org/10.54503/0135-0536-2022.2-201.
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70–80-е гг. XIX столетия – период становления армянской музыкальной фольклористики, первоначальным этапом которого была запись и собирание народных песен. Особую роль в этом процессе сыграли Христофор Кара-Мурза, Никогайос Тигранян, Макар Екмалян, Аршак Брутян, Степан Демурян. Среди этих великих сынов армянского народа – имя Саака архимандрита Аматуни (1856–1920), который стоял у самых истоков армянской музыкальной фольклористики. Под руководством известного музыканта-теоретика Н. Ташчяна, который занимался записью армянских духовных песнопений, С. Аматуни собрал и записал новоармянской нотописью множество церковных гимнов-шараканов, которые вошли в состав «Шаракноца» (сборник гимнов). Он одним из первых стал записывать армянский музыкальный фольклор и составил сборник народных песен (1884). Научные труды С. Аматуни очень высоко оценила армянская интеллигенция. По свидетельству современников, Аматуни был любимым преподавателем Комитаса, и именно его творческие воззрения имели большое значение в становлении великого композитора. Свои первые записи народных песен Комитас сделал после знакомства с Аматуни – в 1884 году. Два архимандрита – Аматуни и Комитас – были не только духовными отцами, но и просвещенными сынами своего отечества, оставивши- ми неоспоримый след в становлении и развитии армянской музыкальной научной мысли. The 70s-80s of the 19th century was the period of the formation of Armenian musical folkloristics, whose initial stage incorporated the recording and collection of folk songs. Christopher Kara-Murza, Nikoghayos Tigranyan, Makar Yekmalyan, Arshak Brutyan, Stepan Demuryan played a special role in this process. Among these great sons of the Armenian people is the name of Archimandrite Sahak Amatuni (1856-1920), who stood at the very origins of Armenian musical folkloristics. Under the guidance of the prominent theoristmusician N. Tashchyan, who was engaged in recording Armenian spiritual chants, S. Amatuni collected and recorded numerous church hymns-sharakans in the new Armenian notation, which were included in the “Sharaknots” (collection of hymns). He was one of the first to record Armenian musical folklore and compiled a collection of folk songs (1884). The scientific works of S. Amatuni were highly estimated by the Armenian intelligentsia. According to contemporaries, Amatuni used to be Komitas’s favorite teacher, and it was his very creative views that were of great importance in the development of the great composer. Komitas made his first recordings of folk songs after meeting Amatuni in 1884. The two archimandrites – Amatuni and Komitas were not only spiritual fathers, but also the enlightened sons of their fatherland, who left an indisputable mark on the formation and development of the Armenian scientific musical thought.
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Margaryan, Narine. "Tun Pupils’ Magazine of Jbeil Orphanage։ an Attempt of National Reconstruction." Ցեղասպանագիտական հանդես, January 30, 2021, 42–75. http://dx.doi.org/10.51442/jgs.0002.
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The three-year issues of Tun [Home] pupils’ magazine of the Near East Relief’s Jbeil (Lebanon) orphanage have been researched and analyzed in this paper. The article has studied the papers written by orphans sometimes based on emotions, patriotism, and sometimes on realistic approaches. By analyzing and summarizing the papers this article aims at better understanding the nationalistic atmosphere in the orphanage, the feelings of the children and the steps undertaken to overcome the consequences and hardships of the Genocide. Summarizing the content of the papers published in 34 issues of the journal, the article concludes that Tun with its articles on literature and national feelings, pieces of evidence about homeland and the years of Genocide had a special meaning for the orphans. Through the articles the orphans of Jbeil made unique attempt of national reconstruction, which contributed to their eff orts to overcome the trauma of Genocide. Among the papers were articles about the events of April 24 and dedicated to the memory of martyrs, articles on the Armenian language, literature and folklore, and the Armenian spiritual values sharing them with the younger generation through reading and reciting.
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TIGRANYAN, MARIANNA, and LINDA SARGSYAN. "MATEVOS MURADYAN’S SCHOLARLY EXPEDITION «KARABAKH-58»." Scientific Artsakh, 2022, 230–41. http://dx.doi.org/10.52063/25792652-2022.2.13-230.
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The contribution of musicologist and folklorist Matevos Muradyan (1911-1987) to the process of collecting and recording the musical folklore of Artsakh is undeniable. During 10 scholarly expeditions, organized in the Soviet period and carried out under the leadership of M. Muradyan, more than 1800 folk and ashugh songs were recorded, which are now carefully stored in the A. Kocharyan Audio Library at NAS RA Institute of Arts. Among M. Muradyan’s expeditions, “Karabakh-58” – the first musicological expedition to Artsakh, organized by the Institute of Arts of the Academy of Sciences of the Armenian SSR – is worth highlighting, during which a total of 52 songs and instrumental samples were recorded. Folk music of Artsakh has not been studied to date, although rich musical folklore of the region once attracted Komitas, S. Demuryan, G. Syuni, as well as R. Atayan. One of the major problems during the work was difficulty understanding the audio material (the Artsakh dialect), which was due to the limited technical capabilities of the recording devices of the period (the 50s). From M. Muradyan’s “Karabakh-58” expedition, a remarkable example of a rustic lullaby “Sleep, my baby” is presented in the article for the first time. Drawing parallels with the traditional peasant songs, recorded by Komitas (“Dzig tu, kashi”) and R. Atayan (“Karabakh Horovel”), as well as conducting comparative analysis with other song examples of the region, we have come to the conclusion that musical folklore of Artsakh possesses distinctive features, one of which is the Phrygian scale with an auxiliary tertian base and lowered 4th degree.
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Քումունց, Մհեր. "Ոսկրի խորհրդապաշտությունը Ա. Բակունցի «Կարմրաքար» վեպում." Գրականագիտական հանդես=Literary Journal, September 13, 2022, 330–43. http://dx.doi.org/10.54503/1829-0116-2022.1-330.
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In the novel “Karmrakar” of A. Bakunts are mystic not only village Karmrakar, but also bone. Author speaks much of bone’s symbol and strength in the novel’s different parts. It is possible to discover objectives of A. Bakunts by investigating means and formations of word bone in Syunik-Artsakh dialectical vocabulary. From this it is important the expression of past values lost idea, which author completed in bone and it’s spiritual and physical means. Through linguistic and ethnographic topic and literary parallels mystery of bone is discovered, which also completes the range of values of the novel “Karmrakar”. It is among the native Armenian words bone, the initial versions of which are: * ost (h) -, * ost (h) i-, * ost (h) r (g) - etc. The semantic forms of the word bone have been preserved in the languages of the Indo-European language family. There are also many beliefs and rituals associated with bone. For example, items made of bone magic are very common. With the help of bone, according to beliefs, people were able to control the forces of nature. Episodes expressing the mystical phenomena related to bone have been preserved in different genres of Armenian and foreign folklore. In Syunik-Artsakh there are curses, blessings, proverbs, the origin of which is ancient և related to bone beliefs. Some of the human beliefs about bone are found in the Bible. The great Armenian writer Axel Bakunts was able to bring prose to the popular notions related to bone by means of artistic, stylistic, word-formation and semantic means and to breathe new life into the content of the artistic work.
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"Բինգյոլի ժանրը և Կոմիտասի «Մշեցոց Բինգյոլ»-ը." Journal of Art Studies, August 18, 2021, 48–69. http://dx.doi.org/10.52853/25792830-2021.1-188.
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Ինչպես Արարատ լեռը, Վանա ծովը, այնպես էլ Բինգյոլը, որպես կորուսյալ հայրենիքի սրբազան մաս՝ միշտ հուզել է հայ մարդուն. այն գովերգել են բոլոր ժամանակների գուսան-աշուղներն ու բանաստեղծները (Ջիվանի, Շահեն, Ա. Իսահակյան, Հ. Շի¬րազ): Այդ «Բինգյոլ»-ների շարքում իր բացառիկ դերն ու արժեքն ունի Կոմիտասի ձայնագրած «Մշեցոց Բինգյոլ»-ը, որն իր բոլոր տվյալներով արժանի է դասվելու կոմիտասյան ֆոլկլորային խոշոր հայտնագործությունների շարքին: Այն մեզ հասած նշված տարեթիվ ունեցող ամենավաղ գրառումն է (հոկտեմբերի 13, 1891 թ.), և ինչպես բնութագրում է Ռ. Աթայանը՝ նվագարանային բնույթի վոկալ իմպրովիզացիա է, որն աղեսներ ունի քնարական-էպիկական, վիպական, պանդխտության, ալագյոզլուների և աշուղական երգերի հետ: Like the Mount Ararat and the Lake Van, the image of Bingyol as a divine part of the lost fatherland has always been haunting Armenian minds; it has been praised by gusans and ashooghs and poets of all times (Jivani, Shahen, Avetik Isahakian, Hovhannes Shiraz). In that row of Bingyols Komitas’ “Mshetsots Bingyol” is a remarkably valuable sample of Armenian folk songwriting tradition, and qualifies for being classified among Komitas’ most notable findings in folklore studies. It is the earliest dated recording to have persevered to our days (13 October 1891); Robert Atayan described Bingyol as a vocal improvisation, which is essentially instrumental, and pointed to its possible connections to lyrical and epic traditions of songs of the pilgrims, alagyozlus, and ashooghs.