The views of the founder of the Eastern Armenian literary language Khachatur Abovyan about music are based on the ideas of Armenian national identity. Two of his articles, "Armenian Church and Folk Music", as well as an article addressed to the Imperial Russian Academy that has not been preserved to this day, pursued a specific and cognitive goal to identify the characteristic features of the identity of the Armenian people and introduce them to the outside world. In the history of Armenian music, these articles marked the beginning of the formation of a national worldview, the ideological foundations of which were formed under the influence of German Romanticism, and the culmination of which was the formation of the Armenian national school of composers.

KeywordsKhachatur Abovyan Johann Benjamin Gross German Romanticism sacred song traditional musical and poetic art art of ashughs national school of composers khaz Sharakan.

Women's bronze belts are important sources for the study of Urartu culture. We observed the iconography of a woman’s belt No. 4, published by archaeologist Irit Ziffer, dating back to the VIII century BC, and compared the images with the rituals of Armenians as the heirs of the culture. The procession of maid-priestesses is depicted on the belt. A woman (probably a queen/goddess) is sitting in front of the sacrifice table with the crescent shaped ritual bread symbolizing the sun. It should be noted that Armenians also baked ritual bread, for example, “tari hats”.

Keywords celebration dance musical instruments acrobat goddess maid-priestesses ritual bread wine sacrifice.

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.

In the history of Armenian music, certain names endure forever. One of them is the Iranian-Armenian composer, pedagogue, and musical-public figure Nikol Galanderyan (1881–1944). His opera “Parvana”, whose libretto is written to Hovhannes Tumanyan’s legend of the same name, is a unique fusion of folk mysticism. Oriental lyricism and traditions of European classical opera. Galanderyan created the said opera in a historically complicated period (the first half of the XX century), while living and creating in Tehran. “Parvana” is the first and, perhaps, for now the only attempt to bring to the opera stage Tumanyan’s profound national, almost mystical text.

KeywordsNikol Galanderyan Hovhannes Tumanyan the opera “Parvana” musical Tumanyaneana Iranian–Armenian music.