Musicologist-medievalist, PhD in Arts, researcher at the Institute of Arts of the National Academy of Sciences of RA and at the Komitas Museum-Institute, a member of Verein zur Erforschung der Monodie (Austria). Amiraghyan has graduated from the Department of Musicology of the Komitas State Conservatory in Yerevan and has undertaken her post-graduate studies at the Institute of Arts of the National Academy of Sciences of RA. She defended her dissertation thesis in 2012 at the Institute of Arts. She is the author of a monograph entitled The Eight-Mode System in the Armenian Chant of New Julfa or the Indian-Armenian Chant (2016), published volumes, a number of articles, as well as radio programs on music. The scope of her musicological interests includes issues related to the history and theory of the Armenian sacred music and comparative medieval studies.
THE FUNCTIONS OF FINAL TONES IN THE THEORETICAL CHARACTERISTICS OF THE ARMENIAN EIGHT-MODE SYSTEM
This presentation is dedicated to the theoretical descriptions in the field of the Armenian medieval music studies of the XIX-XX centuries and our days of the two main functional degrees of the eight-mode system: verǰavoroł jayn (Arm: final tone) and verǰin verǰavoroł jayn (Arm: last final tone) that is the basis of Armenian sacred music: I will examine the differences between the theoretical descriptions of the mentioned functions in the studies of Y. Tntesyan, N. Tashchyan, Komitas, R. Atayan, N. Tahmizyan, A. Arevshatyan. Considering Komitas’s opinion regarding the observed question as a starting point, I offer a methodological approach, which may contribute to the clarification of the theoretical definition of final and last final tones.