{"id":6642,"date":"2018-09-25T09:38:58","date_gmt":"2018-09-25T09:38:58","guid":{"rendered":"http:\/\/komitasmuseum.am\/en\/%d5%a1%d5%ac%d5%ab%d5%bd%d5%ab%d5%a1-%d5%a9%d5%a5%d6%80%d5%a6%d5%b5%d5%a1%d5%b6\/"},"modified":"2018-09-25T18:00:05","modified_gmt":"2018-09-25T18:00:05","slug":"alicia-terzian","status":"publish","type":"post","link":"https:\/\/komitasmuseum.am\/en\/alicia-terzian\/","title":{"rendered":"ALICIA TERZIAN"},"content":{"rendered":"

Composer, musicologist, academic and Director of the Encuentros <\/em>Group, Alicia Terzian studied in the National Conserva\u00adtory of Music of Buenos Ayres. She stud\u00adied Armenian music at the Monastery of San Lazaro (Venice) with Dr. Leoncio Dayan. She offered lectures on this sub\u00adject at the University of Yale (USA), at the Great Hall of UNESCO in Paris, at sever\u00adal universities in the United States and throughout Europe. Several of her works were awarded by the City Government of Buenos Ayres and the National Fund for the Arts. In 1982 she won the National Music Grand Prize.
\nShe participated in various commissions on composition: Gulbenkian <\/em>Foundation of Lisbon, Ices <\/em>Festival of London, Festival of Zagreb, Aspekte <\/em>Festival Salzburg, Sym\u00adphonic Orchestra of Grenoble, Museum of Modern Art of Buenos Aires, Banco Mayo Foundation, Radio France, etc. Ter\u00adzian was the President of the Argentine Council of Music (CAMU), Vice President of the International Council of Music (CIM, 1990-93), General Secretary of the Music Council of the Three Americas (COMTA). Among her titles: \u201cMember of the Acad\u00ademy of Fine Arts\u201d of Chile; \u201cMember of the Music Academy\u201d of Valencia, Spain; Knight of the Order of the Academic Palms by decree of the Government of France; Medal \u201cSaint Sahak and Saint Mesrop\u201d, as well as the \u201cPapal Bull\u201d grant\u00aded by the Catholicos of All Armenians Vazgen the First, the \u201cPiccaso-Miro Med\u00adal\u201d, granted by the General Secretary of UNESCO for her support and dissemi\u00adnation of Latin American composers. In 2013, Terzian was awarded as \u201cOutstand\u00ading Personality of Argentine Culture\u201d by the Argentine Parliament.<\/p>\n

THE POLYCHROMATICISM IN THE NOTATION OF THE ARMENIAN MUSIC<\/strong><\/p>\n

My research concerning this subject be\u00adgan in 1954, in Alberto Ginastera\u2019s course on composition at the Superior National Music Conservatory in Buenos Aires (Ar\u00adgentina). I was 20 years old, but I was al\u00adready familiar with Armenian music and the folk and religious melodies of Komi\u00adtas Vardapet, because my mother used to sing them. During this first year of composition I had the chance to receive a journal of the Mekhitarist Congregation of Venice, in which there was an article by Reverend Dr. Leoncio Dayan that made a reference to the Armenian folk music collected by Komitas Vardapet and the very clear and defined presence in the latter of microtonalism in the form of \u201cquarter-tones\u201d. I immediately communi\u00adcated to Dr. Dayan and, throughout the years, we maintained correspondence, full of his love for the in-depth studies of the Armenian religious and folk music collected by Komitas and the “discov\u00adery”, through his work, of the existence of quarter-tones.
\nThe quarter-tones were very clearly indi\u00adcated in the religious texts studied and analyzed by Dr. Dayan, as the Library of the Mekhitarist Religious Congregation of Venice possessed numerous very im\u00adportant ancient documents. The first im\u00adportant discovery for me were the quar\u00adter-tones that oriented me, in the same year, towards composing the “Three Pieces for Strings” based on Armenian folk melodies, where I had recourse to quarter-tones. That is to say, grace to Fa\u00adther Dayan I had discovered a new scale, where there was a new sound within and between each semitone, and I under\u00adstood that this new quarter-tone sound was what gave the melody its very spe\u00adcial color and spatial projection.
\nThroughout our entire communication Dr. Dayan sent me many books on this discovery written by him and published in Venice, in which there was a huge amount of Armenian melodies with quar\u00adter-tones occurring at different points, which was connected to some of the “modes” of the Armenian liturgy. Almost at the same time, I learnt that Armenian folk instruments, in a common tradition followed by folk performers, had incorpo\u00adrated the quarter-tone into the melodies in a very clear manner.
\nBut at a certain moment I decided to inte\u00adgrate my knowledge on the quarter-tone directly into my musical activity, and it is in the year 1969 that I wrote my first piece in quarter-tones “Shantiniketan” for solo flute. A year later, in 1970, I continued working with the quarter-tones creating a piece for solo horn, the vibraphone and string orchestra entitled “Carmen Criatu\u00adralis”, which had been commissioned to me by composer and conductor Fried\u00aderich Cerha for his presentation with the Philharmonic Orchestra of Buenos Aires at the Colon Theater. That is how I contin\u00adued composing, always using the micro\u00adtones I learnt about \u201cby chance ” in 1954, in a book by Dr. Leoncio Dayan, to whom I dedicate this presentation.<\/p>\n","protected":false},"excerpt":{"rendered":"

Composer, musicologist, academic and Director of the Encuentros Group, Alicia Terzian studied in the National Conserva\u00adtory of Music of Buenos Ayres. She stud\u00adied Armenian music at the Monastery of San Lazaro (Venice) with Dr. Leoncio Dayan. She offered lectures on this sub\u00adject at the University of Yale (USA), at the Great Hall of UNESCO in<\/p>\n","protected":false},"author":5,"featured_media":6679,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[37],"tags":[],"class_list":["post-6642","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\/6642","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=6642"}],"version-history":[{"count":3,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts\/6642\/revisions"}],"predecessor-version":[{"id":6741,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts\/6642\/revisions\/6741"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/media\/6679"}],"wp:attachment":[{"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/media?parent=6642"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/categories?post=6642"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/tags?post=6642"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}