The “History” by Aristakes Lastiversi, like the “Histories” of his pre¬de-cessors and successors, had a promoter, since the presence of a patron-promoter was a stable and repeatable genre feature of historiographical prose. 2. In the “History”, the author’s sympathy was with the Bagratuni dynasty. 3. The translation of the expression «վասն որոյ պատմությունս է» – “who is this story about” – in the second chapter of the “History” is unconvincing, since the “History” of Aristakes does not tell about King Gagik I. 4. Taking into account the ancient Armenian semantic nuances of the word «վասն» (the main meaning: “about”), we prefer other translation options: “thanks to whom this story is”, “for whom this story is”, “through whom this story is”, “through whose mediation this story is”. In all these cases, King Gagik I Bagratuni could be considered the probable promoter of the “History”.

KeywordsAristakes Lastivertsi genre characteristics translation of the text from ancient Armenian into modern Armenian the probable promoter King Gagik I.

The fact of the former presence of Scythian tribes in the east of the Armenian Highland has long attracted the attention of researchers. In all likelihood, the Gandzak plain in the Utik province of Greater Armenia, which the Armenians called Shakashen, was one of the places of concentration of Scythian tribes that penetrated into Transcaucasia. A century ago, it was believed, that some burial mounds in the Artsakh province, bordering this region, were built by the Scythians.

KeywordsArtsakh sepulchre burial ground deceased horse bridle characteristic Scythian arrowhead.

One of the primary and most important objectives in the study of Armenian sacred chant is the comprehensive study of the Ut‘jayn system (the Armenian Eight-mode), including a detailed analysis of the modal structures of sharakans, their scales, functional degrees, characteristic melodic patterns, and the features of intonational development. A comprehensive study of this issue implies its examination within the framework of each chant tradition of Armenian sacred music, followed by comparative analysis. Such large-scale studies in the field of modal analysis may have considerable significance for the interpretation of khaz notation and are directed toward the development of methodological principles for the modal system of Ut‘jayn in Armenian sacred chant, based on the established theoretical tradition of Armenian musicology.

KeywordsArmenian Eight-mode system (Ut‘jayn) mode scale system functional degrees characteristic melodic patterns musical style sharakan comparative analysis research methodology