Bisesi’s academic track is multidisci­plinary: PhD in mathematics and phys­ics, MA in piano interpretation and MMus in music theory and analysis (in progress). She works as a postdoctoral researcher in cognitive science at the In­stitut Pasteur in Paris. She taught music cognition at the Universities of Bratisla­va and Graz (Austria) and at the Con­servatory of Udine (Italy). She has been involved in several projects on musicol­ogy at the Royal Institute of Technology in Stockholm, the Center for Systematic Musicology in Graz, and has been in col­laborating with universities and conser­vatories in Armenia, Canada, Finland, Ita­ly and Switzerland. Her research focuses on music cognition, the anthropology of music, music theory and analysis, music performance, expression and emotion. She regularly performs as a pianist, both as a soloist and in chamber music en­sembles.


At the end of the XIX and beginning of the XX centuries the Armenian musical thought became a part of the Armenian national self-identity paradigm as a re­sult of several fundamental principles presented by Komitas. One of his musi­cal-aesthetic and theoretical definitions suggests that the relationship between traditional Armenian secular and sacred music should be seen as relationship a between sister and brother. This seem­ingly simple definition was of great sig­nificance then and continues to be such today.
Until the second half of the XIX century the Armenian language, along with the other branches of Armenian culture, in­cluding music, were still considered as phenomena within the other Oriental cultures, often considered as having de­rived from the latter or lacking their own typical characteristics. The concept pro­posed by Komitas is extremely important for revealing the main features of the Ar­menian musical thought as well as the fundamental unity of the various areas of the Armenian music culture. The “Sister and Brother approach” primarily consid­ers various branches of Armenian music culture as manifestations of a unified system of musical thought, therefore, ex­cluding the assumptions about the latter having been borrowed or having a for­eign origin.
Komitas played an exceptional role in the history of Armenian music also because of his ability to use the results of his musico­logical and theoretical research as an es­sential foundation for putting forward and developing new concepts. Addressing those concepts with contemporary meth­ods of theoretical research can provide additional arguments proving the funda­mental nature of Komitas’s principles.
For the sake of revisiting that issue we present a comparative study of two re­search works of equal value: the first one conducted by T. Shakhkulyan and E. Bise­si, who examined the singing fragments of the Sasna Crēr epic recorded by Komi­tas, and the second one conducted by M. Navoyan and E. Bisesi, which addressed Komitas’s recordings of the tałs by St. Grigor Narekatsi.