Bisesi\u2019s academic track is multidisci\u00adplinary: PhD in mathematics and phys\u00adics, MA in piano interpretation and MMus in music theory and analysis (in progress). She works as a postdoctoral researcher in cognitive science at the In\u00adstitut Pasteur in Paris. She taught music cognition at the Universities of Bratisla\u00adva and Graz (Austria) and at the Con\u00adservatory of Udine (Italy). She has been involved in several projects on musicol\u00adogy at the Royal Institute of Technology in Stockholm, the Center for Systematic Musicology in Graz, and has been in col\u00adlaborating with universities and conser\u00advatories in Armenia, Canada, Finland, Ita\u00adly 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 en\u00adsembles.<\/p>\n
THE THEORETICAL BASES OF ONE OF KOMITAS\u2019S CONCEPTS CONCERNING ARMENIAN SECULAR AND SACRED MUSIC<\/strong><\/p>\n 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 re\u00adsult of several fundamental principles presented by Komitas. One of his musi\u00adcal-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 seem\u00adingly simple definition was of great sig\u00adnificance then and continues to be such today. Bisesi\u2019s academic track is multidisci\u00adplinary: PhD in mathematics and phys\u00adics, MA in piano interpretation and MMus in music theory and analysis (in progress). She works as a postdoctoral researcher in cognitive science at the In\u00adstitut Pasteur in Paris. She taught music cognition at the Universities of Bratisla\u00adva and Graz (Austria) and at the Con\u00adservatory of<\/p>\n","protected":false},"author":5,"featured_media":6672,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[37],"tags":[],"class_list":["post-6589","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-participants-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts\/6589","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/comments?post=6589"}],"version-history":[{"count":3,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts\/6589\/revisions"}],"predecessor-version":[{"id":6730,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts\/6589\/revisions\/6730"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/media\/6672"}],"wp:attachment":[{"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/media?parent=6589"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/categories?post=6589"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/tags?post=6589"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nUntil the second half of the XIX century the Armenian language, along with the other branches of Armenian culture, in\u00adcluding music, were still considered as phenomena within the other Oriental cultures, often considered as having de\u00adrived from the latter or lacking their own typical characteristics. The concept pro\u00adposed by Komitas is extremely important for revealing the main features of the Ar\u00admenian musical thought as well as the fundamental unity of the various areas of the Armenian music culture. The \u201cSister and Brother approach\u201d primarily consid\u00aders various branches of Armenian music culture as manifestations of a unified system of musical thought, therefore, ex\u00adcluding the assumptions about the latter having been borrowed or having a for\u00adeign origin.
\nKomitas played an exceptional role in the history of Armenian music also because of his ability to use the results of his musico\u00adlogical and theoretical research as an es\u00adsential foundation for putting forward and developing new concepts. Addressing those concepts with contemporary meth\u00adods of theoretical research can provide additional arguments proving the funda\u00admental nature of Komitas\u2019s principles.
\nFor the sake of revisiting that issue we present a comparative study of two re\u00adsearch works of equal value: the first one conducted by T. Shakhkulyan and E. Bise\u00adsi, who examined the singing fragments of the Sasna Cr\u0113r <\/em>epic recorded by Komi\u00adtas, and the second one conducted by M. Navoyan and E. Bisesi, which addressed Komitas\u2019s recordings of the ta\u0142<\/em>s by St. Grigor Narekatsi.<\/p>\n","protected":false},"excerpt":{"rendered":"