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.