Paruyr Sevak (1924–1971) lived and created during the Soviet years, developed his own theory of art, and took a worthy place in Armenian literature. His name was also heard in the All-Union poetry of that time, the paths of which were determined by Andrei Voznesensky, Robert Rozhdestvensky, Yevgeny Yevtushenko, Joseph Brodsky, Vladimir Vysotsky, Eduardas Mieželaitis, Ivan Drach, and others. He was recognized and appreciated in this literary environment. He translated their works, and they translated his.

KeywordsParuyr Sevak Armenian people motherland Mesrop Mashtots the year of 1915 Komitas folk song Ararat poem.

The 70s-80s of the 19th century was the period of the formation of Armenian musical folkloristics, whose initial stage incorporated the recording and collection of folk songs. Christopher Kara-Murza, Nikoghayos Tigranyan, Makar Yekmalyan, Arshak Brutyan, Stepan Demuryan played a special role in this process. Among these great sons of the Armenian people is the name of Archimandrite Sahak Amatuni (1856-1920), who stood at the very origins of Armenian musical folkloristics.

KeywordsArch. S. Amatuni Komitas Gevorgyan Seminary of Etchmiadzin Sh. Simon M. Abeghyan A. Sedrakyan S. Vratsyan “Lake Nersisyan” Oshakan musical folklore folk song.

Komitas Vardapet’s relationship with the Armenian Apostolic Church has not been studied in depth to this day. During the Soviet era, the attitude towards Komitas was unilateral as he was a member of Etchmiadzin Congregation. Modern studies on Komitas present a new approach to this issue of Komitas’s biography. The present article is another attempt to look at the relationship of Komitas with the Church in a new light, with new perspectives. In the article, Komitas’s relationship with the Armenian Apostolic Church is examined in two directions:․

KeywordsKomitas Vardapet Holy Etchmiadzin Armenian Apostolic Church spiritual heritage music culture.