{"id":6659,"date":"2018-09-25T10:10:01","date_gmt":"2018-09-25T10:10:01","guid":{"rendered":"http:\/\/komitasmuseum.am\/en\/%d5%b4%d5%b0%d5%a5%d6%80-%d5%b6%d5%a1%d5%be%d5%b8%d5%b5%d5%a1%d5%b6-2\/"},"modified":"2018-09-25T17:53:51","modified_gmt":"2018-09-25T17:53:51","slug":"mher-navoyan-2","status":"publish","type":"post","link":"https:\/\/komitasmuseum.am\/en\/mher-navoyan-2\/","title":{"rendered":"MHER NAVOYAN"},"content":{"rendered":"

Doctor of Arts, musicologist-medievalist, Honored Worker of Art of RA, Professor, Vice-Rector for Research Affairs of the Komitas State Conservatory in Yerevan, Head of the Folk Music Department of the Institute of Arts of the National Acad\u00ademy of Sciences of RA, Senior Research\u00ader, Chairman of the Scientific Council of the Komitas Museum-Institute, Artistic Director of the Geghard Vocal Ensemble. Navoyan is the author of more than 40 articles and the following monographs: The Origin of the Ta\u0142 Genre and Free Musical Mentality in the Armenian Medieval Profes\u00adsional Song Art <\/em>(2001), Fragments from the History of Armenian Music <\/em>(2009). His re\u00adsearch is focused on Armenian medieval music, the eight-mode system in the Ar\u00admenian music, Armenian art music, etc.<\/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.
\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\u00a0Sasna Cr\u0113r\u00a0<\/em>epic recorded by Komi\u00adtas, and the second one conducted by M. Navoyan and E. Bisesi, which addressed Komitas\u2019s recordings of the\u00a0ta\u0142<\/em>s by St. Grigor Narekatsi.<\/p>\n","protected":false},"excerpt":{"rendered":"

Doctor of Arts, musicologist-medievalist, Honored Worker of Art of RA, Professor, Vice-Rector for Research Affairs of the Komitas State Conservatory in Yerevan, Head of the Folk Music Department of the Institute of Arts of the National Acad\u00ademy of Sciences of RA, Senior Research\u00ader, Chairman of the Scientific Council of the Komitas Museum-Institute, Artistic Director of<\/p>\n","protected":false},"author":5,"featured_media":6561,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[37],"tags":[],"class_list":["post-6659","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\/6659","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=6659"}],"version-history":[{"count":4,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts\/6659\/revisions"}],"predecessor-version":[{"id":6729,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts\/6659\/revisions\/6729"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/media\/6561"}],"wp:attachment":[{"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/media?parent=6659"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/categories?post=6659"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/tags?post=6659"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}