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SAYAT NOVA
AND
ARMENIAN ASHOOGH MUSICAL TRADITION
by
HASMIG INJEJIKIAN
McGill University, Montreal
Facul ty of Music
A thesis su1:mitted to the Faculty of Graduate SLudies and Research in
partial fulfillment of the requirements for the degree of
t-laster of Arts.
Hasmig Injejikian
March, 1990
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SAYNf NOVA AND ARMENIAN ASHcmtt MUSICAL TRADITIQN
On ne peut boire ainsi mon eau, tout d'une autre source a coul;
On ne peut lire ainsi mes mots, tout d'un autre coeur ont roul;
Hon sol, moi, n'est point de sable, il est tout de pierres moul;
Freine ce torrent qui ne veut tarir, tt ne l'branle pas.
Trad. Leon Hardirossian
TABLE OF CONTENTS
1. ABSTRACT ........................................................ lli
2, INTRODUC"""I'rON ..................................................... iv
3. TRANSLI TE RAT ION KEY ............................................ viii
4. CHAPTER 1. ARMENIAN SECULAR MUSIC TRADITIONS ...................... 1
A. Vlbassan-Koosan Traditlon ln Arrnenian Hlstory
B. The Ashoogh
5. CHAPTER 2. SAYAT NOVA: SOUkCES AND BlOORAPHY ..................... 17
A. Sources
B. Blography
6. CHAPTER 3. ASHUOGH POETIC FORMS .................................. 35
7. CHAPTER 4. IN ARMENIAN MUSIC........ ....... . ............ 62
A. General System
B. Cnaracteristlcs of Armenian Tzayns
8. CHAPTER fi. OF SAYAT NOVA'S MErDDIES ..................... 90
A. Analysls
B. Cadences
C. Intervals
D. Decoratlve Notes
E. Contrast and Balance
F. Ranges
G. Melodlc Contours
H. Form
1. Rhythm and Meter
9. CONCLUSION ...................................................... 134
10 . BIBLIOGRAPHY .................................................... 138
11. APPENDICES ...................................................... 143
12. CHARTS.............................. . ..........................
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ABSTRACf
The maIn obJecth-e of this thesis is to show that the thLrty
melodies ascribed to the Nova are melodically and
rhythmically homogeneous, and that they bear similari ly ta bath
Armenian foH. and sacred SlJ1Ce very l1ttle has Lee". hTItten
on this topic in languages, .it has been necessary to prodde
( 1) a deseripti ve accolU1t of the anCIent Annenian music; narnely,
vi bas san , li>o'?J1, folk and sacred tl'adi tians; (2) a presentation of
ashoogh }X>eLtc fPIns, rhYIn1l1g schemes, and accentuation patterns, whieh
are summarized for the fi rst time in a chart Hl th corresponding sources i
( 3) a ehapter on Armelllan tzayns as a background to the melodic analysis
and codifIcations of Sayat s melodies, h'hich i8 contrary to the
accepted practlce of these melodjes Hith Greek modal nrunes.
Professor Nl.goghos Tahrnizian' s analysis of Sayat melodies "'as
used as a starting JX>int. Furtherrnore, through anal;n,ls based
on a\'ailable secondary surces, certa1l1 cone lus ions hm e been btalned:
such as, the uni ty of rhythm/meter Hl th language conventiolls, presence
of speci fic melodlc patterns, cadential endlllgs, mter\'allic patterns and
ranges in Sayat Nova rnf>lCKlies, as c/mracterised by lndividual tzayTl
codifications. Further research ie; suggested to clar if y codifIcatlOn of
poetic forms, tzayn designations, and specifieally, t solidif;\
accentuation C'onventions of the Arrnenjan language and of its dialects.
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INTRODUCTION
In 1977, a grant from the Secratary of State (named as "Canada-
USSR Universities ExC'hanse Prr:gram") enabled me to conduct research in
tn During my studies l diacovered
that research ln tha koosao-ashoogh traditlon was limited to the poetic
of these poet-musicians, yet relatively little work has been
done in the area of kQQsao-ashoogh music. The musical tradition, unlike
the uritten word, was collectee! and recorded from oral practice only 1
the early decades of this century. The few melod1es entered into
medieval manuscript:.; ([2ag.r.ans) ln neumatic notatlOn are inaccessible,
since the system of neumatic writing is not decipherable. Under these
conditions the A:menian koosao-ashoogh musical tradltion is treated
with reservation as to its authenticity.
rhe Armenian Koosan-ashoQgh tradition with roots in the pre-
Christian Armenian musical culture, could not have survived if it only
relied on borrowed material. Over 400 names have been enumerated in the
Armenian tradition from 1560's to 1900. A considerable
number of them performed for the non-Armenlan public, as a result of
which their poetic output was rarely in Armenian. In short, thL koosan-
ashoogh drew upon both Armenian and non-Armenian poetic and musical
traditions.
Of the numerous Armen1an kQosao-ashooghs, the name and works of
Sayat Nova (Harootioon Sayatian) stand out not only in the sheer amount
of poetry (72 Armenian, 32 Georgian and 117 Azerbaijani poems), and the
number of melodies that have reached us orally, but also (as put by the
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Russian poet; Valerie Prussoy), becal:se Sayat Nova "brought ashoogh
poetry ta an unattalnable height" and "with the strength of his genius
turned the fall{ singer's tracte ta a poet's calling."
In arder to P'3tRbll sh a bacl{ground to the sub,}ect prE'sented in
this theSl">, a hrlef dCCI.JUnt of Armerdan koosal.l-ashQo..,gh tradItIOns is
ghen in Chapter ], within the context of :1l1nenlan muslcal histary. In
Chapter 2, Sayat s biugraphy and various sourees of lus ''',n'ks and
SOllgs are presented along hTl th controverslal lssues conC'erning hIS 11 fe
and \"orl\S. Certain pot::'t lC forms alld con'vent 1')ns USM by AnnenHU1
are df!SCr j hed ln Chapter 3. l hm e presf'nted the poet le form
codi ficatlolls gl\-en by my sources a long hl t.h those armotated by
Nova ln tabula1"' forrn.
The primaIT source matf'rial for my thP.bis is the 19G:l puhl h.'atiorl
of the melodies ascri bed to Sayat Nova, collected durulg the first th'O
decades of t\o/entieLh and t'dl ted by Shal'a DalIan and
Aghayan. Other sources arE' described lmder the sectlon ent! tied Sources
in Chaptf"r 2. Roman numel'als are usee! for meloches in order of their
appearanre in thi s publIcatIOn, Hhile poems (khaghs) are gi vell Arabie
numemls as they appear i Il thp- 198l publ icatl on of the poet' R Armelllan
lillaghs.
Tl'adi tionally, At'menian lTlusicologists have used Armenian chul'ch
!-zaYl} (mode or piteh cOllflguratwnl codifications for melodies.
For me l oches , as h-t>ll as folk melodies, Grt:'ek rr.odal
names, Hhich ha\t> no di beanllg upon the true character of these
lTlelodies 1 havf' been S1('t.=' the SO'"lt.:'tl zat i on of Armenia. PriOI'
to this pt"'r iod , Ciomidas, the ('minent Armenian lTlusicologist, had usE'Cl
d\\lrch l'Ixlifi"ali\llls for buth "lC'r .. d tHld ..,PC'I(l1' mplocllp<:.
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In an effort to achieve a unification and simplification in Armenian
tz.a.m designations, and with a des ire to show the kinship of Sayat Nova
melodies with Armenian melodies in general, l have attempt.ed to use the
existing Armenian codlfications in rny analysis. l am well aware
that sorne of these meladies may not fit within the exact parameters of
these but l hope that in due tirne there will be an exercise of
recodification of al]. Arrnenian folk, and sacred meladies
and will pave the way for a comparative study of Armenian tzams and
M idd le Eastern magg,ulS.
To facilitate reference and comparison, songs in the same
are transposed to t.heir traditional yerchayorogh (principal or final)
note and ln Appendix A. Sangs with deviations within the same
tza.m family are kept in Appendix A. DevIatlOns to other tzaw,s are
gathered under IIU.xed tzayns, ln Appendix B. Vanants of songs, prmted
or unpublished, which are from sources other than the 1963 publication,
are presen ted in Append ix C.
Translitel'atlOn of Armenian names and words is given followmg the
rules of Western Armenian practice, simply because this is the language
l am ta. The only name transcribed in its Russianized form
is that of Dr. Kevork Akhvertlan (Hakhverdian), which has traditlonally
been written jn this forrn. Names of places are given in the form used
tcday offically (for example, Tbilisl; TiflIS was the old name)
Transliterations of Armenian names ln foreign publications, are retained
in footnotes and in the bibliography.
It is an undeniabl'3 fact that without the grant awarded ta me by
the Secretary of State of Canada, l would not have had the means to study
Armenian music ln location. Despite numerous obstacles ruld red tape, l
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was fartLmate enough to get acce'"s ta certain unattainable material,
be Sayat Nova' s nel-Tly recorded melexiies, :'ead a number of archi val
and attend varioLls performances gl\'en by llV1Ilg ashooghs. For
a11 this l am indepted ta my arlvisor, Nrs. AramOVlla Prooclian. l am
also grateful tn her in gUlding me to choost' my thesis tople.
l am most grateful to the Department of The01'y of Cn\erslty
and to Professor Paul Helmer in HL'Ceptillg against aU odds.
l'Iy s incerp gra t i tude should he f:'xt f'nded t 0 my tI1PS i S fu.h l sor, Prof essor
Stevpn Huebner, l.Jho t ook upnn th i s pons i bi 11 ty "'e Il at.Jare (1 f the
difficulty of the task. His C'onst1llt t'ncouragementb, tireless
revisions and mptbodolugi('al guidarK'p !)pcame the dri, lltg force in the
completiofl of this thesis. l am aIso greatly indepted t Pl'ofessnr Hagop
Hacikyan, Kho gave of lus time to lIelp '"lth the editil.g of
my thesls.
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a
p
k
t
yel el ye
z
e

t
j
ee
1
kh
dz
g
h
tz
gh
dj
m
hl yel (or sllent)
n
sh
01 vo
tch
b
ch
rr
s
v
d
r
ts
v
P
k
0
f
arm, far
eaper, l2en
dark, kid
tent, top
TRANSLITERATION KEY
yelll he.irl toy
zebra
heir, pen
term
tent
leis.ure
fe..et, mee!:.
life
as ln Germc:.n "aC"h"

fog, goose
bc.t, bat
mezzo, blltz
Parisian "r"
JOY
man, mat
butl boy! sllent at end of word
noon, no
shoe, sleep
mQrel lrlltlal yo as ln yolley
.church
born, bet
churQ])
sucround, r.oyal
s.ister, seat
yalue, yolJey
dld., deep
r.8OO, rest
bllt,z
arey, QQ after l, except ln
firai posltlon or when followed by a vowel
eet, Qen
park, kid
mQre, Qpera
french
The compound letters
00
u
mQQn, "v" when followed by a vowel
pure, as ln German
Extracted from Zareh Melknian' s Armerllan Made ;:;asv, Vol. l (Detroit,
MlCh., The AGBU Cultural Fund, 1975)
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CHAPTER 1
ABHENIAN SECULAR MUSIC TRADITIONS
A. Vibassan-Koosan Tradition in History
The first pre-Christlan millenium saw the graduaI formation of the
Armenian nation within the orbit of other great cultures. Oorardoo
(ninth ta seventh century B C. ), the first Armenian Kingdom, was in
constant contact wlth the Assyrian-Babylonlan culture. After the fall
of Oorardoo, between 025 and 585 B.e., Armenians were ruled by the
Achaemenid Persians (sixth to fourth centuries B.e.), who continued to
influence Armenian culture even after Armenia had become a self-
governing kingdom under Klnjg Orontes (401-344 B.e.). Under the
Orontides (fourth century B.e.) an exposure to Hellenistic clvilization
on the one hand enriched the local culture, while on the other a strong
political authorit.y guarant.eecl the continuity of Armenia as a nation. 1
An upr15ing agalnst the Orontides was led by two members of the
house of Artaxiads, Artaxlas and Zarladrls of Sophene. During the
subsequent rule of that house, the territories of the country were
expanded in aIl directions and the cultural and llnguistic heritage of
1. For detailed account of the formative perlod of Armenian people
and their home land see, Charles Burney and David M. Lang, The Peoples
of the Bills (New York: Praeger Publishers, 1972), pp. 127-182. See also
David M. Lang, Armenla: Cradle of eiyilizatlon (London. George Allen
and Unwin Ltd., 1870) Interestlng data has been accumulated in
archaeogical flndings, one of WhlCh lS an eighth century B.e. cuneiform
inscription by King Sargon Il of Assyrla, where Oorardian songs of
lamentations, mournlngs and of galet y are mentloned. See, Nigoghos
Tahmzlan, (Yerevan ASSR
of ';r].'n"t"'- l'ilh 1 . 1'1"'" r' : 1
2
Armenians was brought lnto closer orbit of the Hellen1stic culture than
ever before.
2
The historical accounts of period (fourth century
B.C. to first century A.P.) are cruclal ln understanding the
of the dual character. of Armenlar. culture, wlth its Eastern structures
and Western ideology. Geographical location, along >Jlth political
events, played an lmportant role in a s11sLained duality of Armenian
culture throughout subsequent enturies.
Armenia, moreover, went on to become the battleground between
PeLsia and the Roman Empire, and later, between Persia and Byzantium.
Despite those conflicts a national ldentlty and unit y were retained. A
deisive factor in the survjval of a natlonal culture was the adoption
of the Chnstlan faJ.th (301 A.D.) under Kwg Tindates III (r. 286-330
A.D.) of the Arsacid Armenian dynasty (53-428 A D. ).3 The creatlOn of a
un ique alphabet (404-406 A. D.) by Hesrob Hash::.lots (362-140 A. D.) gave
Armenians cultural and religious Independance from dommance by the
Syriac and Byzantme churches. During the fifth century most of the
existing Chnst:an l1terature was traIl;:;lated mto Armenian; onginal
church hterature was encouraged by church authonties, and the history
of Armenian people was for the first time. Thls literary
activity has led hlstorians to call thls period "Vosgetar" or the
2 Burney and Lang, pp. 183-204.
3 In 226 A.D. the puritan Zoroastrian Sassanids took over power
in Persia from the Arsacids, while Armen1a contlnued to be ruled by the
Arsacid dynasty. The Sassanids became a constant threat ta the newly
formed Christian countries. See, Burney and Lang, The PeoplesJ pp. 207-
208.
3
"Golden Century".4
Movses Khorenatsi (e. 410 to c. 490), known as "badrnahayr" (father
historian), Has the major chronicler to collect and transmit pre-Christian
oral and written traditions. In his History of the Annenians Movses
cites fragments of Armenian rnythological tales, epic poerns, fables,
ba.llads and legends deplCting the heroic deeds of Armenia' B ancestors.
In this source we learn that bath male and female rnusicians participated
in court activities; yiba.Jsans (story tell ers or narrators of hlstorical
events) sang and reci ted ve'!?s (staries or narrations), vartzaks (wornen
musicians and dancers) sang and played on instruments and even danced,
yegheramayrs (h
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0men singers of eulogies and laments) koosans (minstrels t
who were singer-reciters and instrumentalists) sang bal]ads accompanying
themsel ves on the pantir Or pampir (a stringed instrument). 5
In his painstaking search to W1cover " the deeds of our
forefathers," Movses Khorenatsi fOW1d and recorded numerous examples of
vibassan-koosan pre-Christian art. Musicians took part in theatrical
performances, such as those given by the artist King Ardavazt (l'. 53-31
B.C.). No war or royal funeral, says Movses, was complete , .... it.hout the
... Burney and Lang, The Peoples, pp. 228-229. It is interesting to
note that these acti vi tiel:l were not only carriecl on "Ior Armenians and
Armenia, both Georgia and Albania of the Caucasus benefi ted from the
enlightenment of Armeman church officiaIs. The former recei ved an
alphabet dedsed by Mesrob and hls disciples, and the latter was
Chistianized by the sarne group. See, Burney and Lang, The Peop]es, p.
229, 235 and Lang, Armenia, p. 16".
5. Noses Khorenats' 1: History of the Armenians, trans. and
annotated by Robert W. Thomson (Cambridge: Harvard Univ. Press, 1978).
Enough evidence has been accurnulated for the last 150 years to prove
that Movses Khorenatsi lived later than the 5th century.
According to sorne Armenian musicologists, P!Yltir or pampir ( ~
rneans the lowest voice) is the bass member of each instrumental
family used in this periode
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koosans, who perfonned in the company of drurruners and trumpeters. Royal
hunting Has also accompanied by trumpet playing. In addi tion, pagan
temples employed their OHn vibassan-h:005an scribes. ln short, the
professional musical culture in anrient Armenia formro an integral part
of the cultural life of the ruling class.
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Nusical instruments playt:x:1 an essential role in ancient Armenia' s
cultural life. or pampir, a three or four-stringed (pinched)
instrument wi th c-f-g or c-f tuning, brass war horns, htUlting horns
and drums and thell' uge royal festinties, batUes, huntl.ng and
funerals are depicted through the Hl' J t of No\ses I\hol'pllab:,i .
Although archapological flndings from Iron Age to the seventh
century A.D. supplement our knOl.Jledge of mUE,lcal l.nstrumpnts both HI
pagan and early Christian centUrIes. Sorne a/'p }xH'Ll'ayal", of OIllsiclans,
such as those hoJding a string .instrument nn a terracuta si atlltte from
the second or first centuries B.C., other mU!:->lcians are depicted on
6. tIoses-.K!)!?.!'enB:!-s' i 1 pp. 78-9 , 80 , A5, 96, 111, 120, 12:3 , H4,
178, 189-90, 192-3, :?30, etc. See also Burnp,Y and Lang, p.
264, and Lang, Armenia, p. 25a.
It has not yet been established whether the rtrt
was 1ni tially an oral trach tion and l.jas rel urded later by pagall temple
scribes or vice-versa. One should not m-erlook the !x,[,<-,ibl 1 l ty thHt
they could have been folk CreaLl(mS, ln tlnJt:' perfe(hd dnrl perf(,rmpcl by
professional muslcians of aJlC' lpnt Al'mt:'Tlll. For mort' on th 1 S l sep,
Tahmizian, DesootJun I1111
Yera,ishdootyan Badmootyan," Lr __ X (Hf/O), p. 20, J (1971), pp. 12-
3, V (1971), pp. To substantiate the e:-.l<::>trU1't' of a nth mus:i('al
li fe in ancient Armf-'nia arclmelogjr'al and <",\lllei funn \.JI' 1 t lgS
from the Iron tn the of hhe e\.aJTIllled hy
specialists. See, TRhrnlzlan, lJp. 1-22. Also A.
Kotcharian, "Miapogh Sdnk," XI (Yerevan: ASSR Ac. of Sc.
Publ., 1962), p.
7. Moses hborenats'i, pp. 80, 114, 123. See also Tahmizian,
"Nertaslmagootyan Henhi Oosmoonke M:i'hnataryan Hayasdanoom," Badma, 1
(1966), pp. 74-92.
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bas-reliefs, or on khachkars (memorial crosses), and in Others
are aetual remnants of instruments from various periods, such as the
yegheherapogh (cornet) found at Ldjashen excavations, at Lake Sevan,
belonging to Iron Age, or a pair of bronze cymbals found at Garmir
Ploor, from VIlc. B. C., and also a sril"! (flute) made of bone with fi ve
holes belongJ.ng to the IIIe. B.C. A bargabzoog (similar to Scottish
bagpIl)E') has been found at Tvin excavations dated seventh to th1l'teenth
centuries A. D. Un fortunatel y , after Hovses I{horentsi, test1mony about
professional musical culture is scaree III the chronicles of Armenlan
church
From the seventh to the tenth centuries Armenia was caught betHeen
the unrestral.ned t'>..-pansion1st tendencies of Islam on the one hand, and
the equally determined imperialism of Byzantium on the other. During
this period Armenians enjoyerl. two centuries of partial freedom under
the Pakradooni dynasty (88E,-1045 A.D.) in the region of Ararat
and the Araxes vlllley, and w1der the Ardzroonis (908-1021 A. D. ), in the
area knm.Jl1 as Vasbooragan. Both kingdorns eventually succumbed to the
treacherous policies of folloHed by Seljuk and Mongol
invasions.
9
Christian Armenians fought yet another battle to safeguard the
neH faith throughout the ('ountry. For once the enem,y Has from within:
the koosan. Armenian ehurch officiaIs t-.Tere hostile to the continuing
ancient art forms, the traditions, and tirelessly
s. For more on Instruments see, Tahmizian, "Knnagan, l' X (1970),
pp. 16, 18-9, 21, V (1971), p. 34, IX (971), p. 29.
9. A branch of the Pahradooni family ruled over Georgia from 780-
1801 A.D. See, Lang, ArmenLa, p. 95.
6
denounced the koosan and his art, as weIl qS expelling his followers
from the church. The animosi ty of the Church tOlvards the koosan, dld
not, however, wipe out this anClent art fom. lndeed, the art of the
koosan gradual1y inflltrated the Annenian church services, festlvities
and singing, thereby pre-Chrh"t;an traditions and culture for
posteri ty.1 0
From as early as the fifth century . D. the &haragan, a liturgical
chant, is beljeved ta have been HI'itten in the vf'rnacular by Hesrob
Mashdots and his disciple&, man,\- of ",hom came wto close contact \-li th
ancient art. Existing mu.,ic-fll understandings formecl the basi& of
the ear ly concepts of music thf'ory w the Armenia!) chuI'ch. For example,
the earliest descriptions of the Armeman sy&tem (c. 600-900)
are full of naturalistic symbolhm, the first tZI:i.1:!} sajd t 0 ha\ e
been derived from earth, the second from watt'r, the tJllrd from air and
the four th from fire, and sa forth. 1 1
As for early Christian Armenian musica 1 t.he funeral
description gi ven by Pavsdos Puzant, a fJ fth century author, of none
other than the Patria1'ch of the Arrnenian chureh, the Great (c.
10. Lang, Armenia, p. 25-l. Tahnnzian, "hJ1I1agan," \ (19,0) 1 p. 20,
X (1971), pp. 42-::\, X (1971), pp. 31-.t. Se" a180 N. Boyce, "The Parthian
Gosan and 11'anian Ninstrel Tradi tion," in Royal ASlatlc
Soc i e1;X , 1957, pp. The po pu lan ty of the i s further
emphaslzed by the fact that the st of t hem receh ecl nl1a,l:!;es as ,!1;.ift S
from their princes. Pre-ChristIan festIve days survl\'t'- undf:'r Chn':ltian
nomenclature. In sorne instances hoth lIames are used (fur e}..runple,
Vartavar-TransflP;urat ion), wIn le anl' lent fpsU \'(O' trad 1 t ions are l\ept.
Church instruments such as and ('ume ta us from Ix'lgamsm.
See, Tahmizian, "I\nnagan," X (1970), pp.
Il. Note that the \-lord meaning chant or song, llE'gan tCJ
be used during the twe1fth century. Talumzm, "Imnagan," X (1970),
pp. 24-28. See a1so Burney and Lang, p. 264.
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329-373), informs us of mourners who, accompanied by the sounds of horns,
pantirs, vins, danced clapping their hWlds.
12
Even more interesting is
thE' depiction of King Bab's assassination, when, ensembles of flutists,
Imar plaYE'rs, horn players and drummers perforrned at the opening ceremony
of palace
The Seljuk-Nongol adoption of Islam created yet another cri tical
situation for the small ChrIstian nations of the Caucasus.
rnigratlom, towarcLa, the Hest and the nort.h became a Hay of life for
Arrnenians. WhilE' migrations towards the north led to the creation of
short livE'd Annenian communities, which \-:ere doomed to become assirnilated
inca larger nations, in the west a new Armenirnl-Cillciru1 Kingdom,
founded by the Roopenid dynasty (1080-1373 A.D.) enjoyed enough temporary
poli tical stability for arts wld sciences ta flourish.
14
Although the Ciliciall period is recognized as the htlal phasE' of
an Anneni8.Il Renai ssance in aIl the arts, the attitude of the church
towards the lwosan remained lU'lchanged. Nevertheless, the koosan Has by
12. Pavstos Puzant, BadmootlOon Hayots (History of the Armenians)
(Venice: [no publ.] , 1914, p. 290.
13. Ibid., pp. 293-4.
14. Due tl) Hs geographical location, Georgia becarne a haven for
CauCflsian Chnstians. Burney and Lang, The People. , pp. 210-211.
Arrnenian cornmunities Here f>stab!i",hed in India, Persia, Georgia,
Roumania, Bu]gada, Po land , the UkraIne, and Russia frum as early as
the slxth centur;v. Leo, (lslory of the Armenla.ns) ,
Vol. II (Yen'van: [no publ. glven], ]94), p. 181. The Armeman
cotnrnlmity ln Georgla, as an e:-"L'eptlon, thrlved from the constant influx
of inunigrants hecause of deterlorat iog conditions ln the motherlwld. It
is estimaled by European tlavetlers that the Armenian population of
T'bilisi, capi t.al of Georg 1 8. , exceeded ha] f of the Cl tles population. 1'1.
Plietkov and G. Natacize,
(Anclent Tlflis in Chronicles) (TI)11:isi: [no publ.J, 1929), p. 30, as
quotP.d by B. Sevag, pp. 130-] 31
8
now entrenched within Armenian cultural life, regarded as performers of
'satanical' songs in some circles, or qualified as 'musical intellectuals'
in others.
Due to his as Catholicos (Patriarch), poet Nerses Shnorhali
(Nerses the Gracious, 1101-1173 A.D.) was obliged to bar the
from entering the church during wedding ceremomes, yet, iromcally
enough, in his extensive reorgamsation of Armenian liturglcal chants
he was directly influenced bath by koosan art and folk traditIOns. 1 5
Moreover, names of instruments, such as; shepor (horn) , snnk (flute),
or double reed instruments, water organs, and instrumental of
string, brass and percssion, are repeatedly described in the ,:lonlCles
of medieval wri ters, and appP.ar in manuscript from the period.
16
The Ciliclan-Armenian klngdom ended in 1375 A.D. wi th iRvon V, and
the political history of an independent Armenia came to a close for
over fivE' centuries until the proclamation of the Armeman Republ le in
1918. Cilicia formed part of the Mamluk domains Wlti l tl1P slxtpellth
centurYr when it I-JaS taken over by the Ottoman Empire. Sb; centuries of
oppressive rule eulmJnated in a preplanned mass de}Xlrtallon and
by the Turkish government of the Armenian peuple 111 1915. Of the estimated
two million Armenians living under Ottoman rule thousanJ
to over a million perlshed I"ithin a fel<J months, and several hundred
thousand more succurn"bed in thefollowing years to the ravagps of
disease, famine, and refugee life. linknown numbers of women and
children were converted forribly to Islam, }.X'!:iSP8sed by Turkish
...
15. Tahnllzian, "l{nnagan,"X (1971), p. 32. TahITIlzian, NeI'ses Shllorhali:
Yerajishd yev Yerkahan (Yerevan: ASSR Ac. of Sc. Publ., 1973). See a180
G.A. Hagopian, Sharaganneri
(V-XV c.) (Yerf'van: ASSR Ac. of Sc. Publ., 1980), pp. 26-245.
16. Tahmizian, "l\nnagan," \' (1971), p. 34, IX (1971), pp. 29-:W.
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9
men, or adopted by Noslem fami li es . "1 7
The destitute survi vors scattered at first in Mediterranean and Black
Sea countries and f'ventually throughout the Horld.
Through the first seventeen centuries of i ts hlstory, the Annenian
church HaS virtually the sole guarantor of a hTJtten tradition in the
arts and music. FeH art forms of non-rel igious nature Here recorded by
the church authorit ies. Of U.e various liturgieal mf'lodies (from reci tation
and developed ove1' maJ):r centuries, it IS the that has closest
affini bes h:ri th !s.Qosar..! and folk traditIons. Odginat ing Hl the li turgical
works of Knkur Naregatsj (951-1003 A.D.), the dagh flourishf'(l Kell
into the eighteenth century. Unlike other li turglcal genres, bath
sacred and secular are recorded ln medieval manuscripts called
dagharan (books contaimng daghs).l 5 Rehgi nus daghs differ from most
li turgical melcxhe<.., becau,=,e nf a compOS1 tIonal style free from restricted
fonns required fur and they have no designated place
in the church service. 1 9 They are, rather, allegorica 1 laudes addressed
to divinity and ta the salllts of the Armeman ehurch. Secular daghs
17. RIchard G. Hovannu'lian, ArmenIa .on the Hoad to IndeJ)endance
(Berkeley: UnI\". of Cal. Press, 1974), p. 49.
18. Secu}ar dalfus are found in from 14-16th c.
manuscript collectIons of di verse songs and anU -relJ glous
parables and pilgrim songs. R. Atayan, "Armenische I\hazen," article
translated from German by Ute Passey. For the Ge:nnan original see,
Essays on Annenlan NUSIC (London: Kahn and Averill, 1978), pp. 131-148.
19. From 8th century onward, Armenian church music was devised into
ganons, each Hi th a speci fIC number of sharagans, and intended for a
specjfic church serVIce; matins, vespers, etc. Each ganon was assigned
a tzayn with predeslgned set of singing instructions. K. A. Hagopian,
Sharag8l1neri, pp. 33-65.
t
10
begin to appear from the thirteenth century. Whereas, the authol'ship of
sacred daghs is often clearly identified., secular authors have
remained largely
As for the1r poetie and melodie language, judging from oral and
wri tten examples have come dmm to us, the ill!sl}s make use of
secular idioms from contemporary and folk repertory. These
beautiful composi t ions, \vhether sacred or secuIar, free of any dogmatic
restrictions, were able to incor}XJrate the existlng mw-;jeal U1rl poetic
forms. The mai n poetic form used by the poets) the
a form unique tu medie\al Armenian Though the neumes
transml t tj ng Illr'l.ny ciaghs are not decoded, a number of sacrt.J and secular
have reached us from oral tradi bon sinee they Here recorded
the nineteenth century. Armenian muslco] ogists have done their
research and forrned their concluslOns on the basis of these examples.
22
20. t'I. Aghayan, "Haygagan Dagheri Yerajshdagan An"este," (\'erevan:
Unpublished Dissertation, 1953). See a1so TahmizIan, "I\nnagan," V
(1971), p. 36 and Atayan, Khazen," p. H.
21. The rhythmlc pat tern alld plJetlc schemf' uf is rliscussed
ln Chapt el' 3, footnote 81.
22. Armenian Utm'Slca] melodies wpre hTll dOlm fro!ll tltP. nLllth
century onward by a lIotational system knm,," W}u le
the system intended primanly for church l'elx'l'Lury, "Iume sPI.'\llar
melcx1ies, narnp]y Qf:l:ghs, \.JI:'!'I' h'ntten dU\.JTl 111 rlalp(l
14-16th C'pntUrlf's. Tahmizlan, "1\Hllagan," V (HIll), Pl), '\ (1:-1,1),
pp. 32-4, Sayat Nova's SOltg "1'oon Pl) l\ll\hen" 0\) has ,-,[tun 1-,1"('11 compared
to a secular h'rJ ttf:>n by the st'vent t'f:>nth ct'ntllr,Y ('anl ur Baghdasar Tt)] r
(scribP). His ln Lurn is close] y re lated to an mp<P\"cll
sacred entItled "1 Gooys Vimen", See, Tahmizian, "Sayat Nu\ayi
Hayeren YerlI'l Yeghanagnen Mas ln , " X (19fi3), p. 4;. Sel"
a1so Tahrnizian, "Imnagan," V (1971), pp.
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B. The Ashoogh
The ashoogh, an Arabie HOrd meaning lover, the most popular poet-
musician of the Islamic peoples, eventually made its presence felt
along h'ith the koosan. Often synonymous with the latter, ashoogh music
became olle of the major forms of Armenlan profes8ional music from the
sixteenth centuZ'y om.;aro.
In Armenian li b"rature the word ashoogh, with an meaning,
18 first mentionecl in a dagJJ by the twelfth rentury poet, Constantine
of Erzinga. The begwning of t radl tion i8 placed ll the early
sixteenth celltun,-, hased ('fi an inscript ion in a Bible dated 1(;37 from
Hharagonis
t
I.;herehy jt is stated that the scribe's great grandfather was
known as Ashugh Koutchag. 2 3
Contrary ta who were pruuarily church figu['es 01' p.clucaLed
people and th us \.Jere able to ",ritE', the ashuogh, often from the lm.;er
ranks of the population, Has gE'nera] l;\' illiteratE'. FUl'thE'l'ffiOl'e, the
ashoogh f'ntertalfled a mixt-'d audience of vanoue nat inalHies, whieh
somE'times furC'ed upon hlm the adoptIon of allen customs and cllltures.
For exa'1lple, dud ng the Ottoman reign Armf'nlanS werf' forbiddf'lJ the Ubt:'
of their language in pubU c, consequently the ashoogh, as a pub] ic
figure, could unly use Turklsh during Jus performance. It 18 important
to note that the art, both sacred and sE'cular, flouriElhed ln thin
the confines of lit urgical ci rc les; in other \-Jords, the gagha&!1s 1,E're
2 3 BaJ'Ouyl' Se\ 'ag, E\, ( YI-' rf>\"an: ASSR t\C. u f S". F'ub 1. ,
1969), pp. 371-3. See also H. "Nahabed Koutchag,"
Nshanavor Kordzi (Yere\ an: Uni v. of Yf>re\'an Pllb1.,
1976), pp. 478-90.
12
not entertainers and their language Has exclusively Annenian. Ashoogh
poetry in Middle Eastern cultures to the contrary was, intended, to he
sung and/or reci ted in public. The a.hoQ@ l.Jas """'.-pected to comply to
three conditions: first, to compose poems accol'duJ.g to certain standard
forma.l, metric alld rh:yming schemes, spcond, ta C'ompptp publicly ""ith
other ashgoghs in a phonal and third, to perform either solo
or in an ensemble, both as a singer and an instl'umE"nta]]st. The
()f ashoogh. art requirPd total of poetic fonns, as
Hell as knoHleclgp of mplodk t;YVes, \,;-ere acquired thl'ough
training.
24
Bec8U8l' 11n8 Has an j mprovisatory art, asl}QulSb poems Here
only in rare casps HrHten do\.m by the poet. ri id not s1l1k into
anonymity, hm.Jever
1
sinee the poet frequently mentioned his Ilame in the
final verse of the poem, or tht' first Jetters of each 1ine of the poern
forrned an acrostic of his Hame. Non'u\el', S]l1('e many (Jf them Here
illiterate, their poems Here '-Titten dOHII Ly others in d
By the elghlepnth and tlw lIineteE:'nth cPlltul'eb art Has \"ell
establ ished among both the urban and l'lll'ai ArmE"nian population. DetaiJed
accounts of tlleir soc Lal ranks, schooling and guiJdf:> have been
24. Along Hi th JX)etic forms there f"xists me 1 odic typps 01' fOlms
with their respectlve terrns. There is sorne oVf'rlap between the
terminology of thesf" tI-,o Sometimes the same terrn is used to
refer ta both a }XJeUe and melodic forme Charlot te F. Farr, "The Nusic
of Professi.onal of ]\;orth v.est Iran," Ph. D. dissertation (Ann
Arbor, m.: Umversily Microfilms InternatIOnal, 1977), \Jp. 9:{-112, K.
Levoman, (Yel'P\'Fl.fl: Haybedhrntl, 194,t),
pp. 47-50, KotchariE, (Yer(>\an: ,\SSH Ac.uf Sc.
Puhl., 197G), pp. 2.t 43.
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preserved. There were three distinct social ranks among the ashoogbs:
court ashooShsi for example, Sayat Nova and his predecessor Naghash
Hovnatan (1661--1722) in Tbilisi, urban ashooghs, and rural-village
asboQgbs. Eacb fulfilled a specific role within his social class. Naturally,
the ashoQgb tailored his poetic language, content and subjcct in accordance
witb bis audience. Similarly, the choice of instruments and per'formance
practice to the social group the asbQoah entertained.
Tbe court ashoogh usually performed during weekly festivities held
at the court for a royal audience.
28
A specifie locale, usually a cafe,
was the regular venue for performance of the urban ashooSb. The latter
often formed instrumental wlth saz, kamani, saotoor and daf.
Some urban ashQoghs aiso travelled ensembles to various cities and
towns to perform. Those who led a sedentary life frequently had a
second trade. As a solo entertainer, the village ashoogh travelled from
one village to the next. Often blind fu,d illiterate, he narrated public
news of interest. The village ashoogb, less of a creator than the court
and urban ashooghs, was destined to perform works by renowned ashooghs,
and acted as the propagator-transmitter of the asboogh art.
Ashoogh training was conducted according to an apprentice system
which was practi5ed in the nineteenth century. The novice ashoogh
learned bis art while accompanying and serving his master; the training
period lasted from four to five years, after which, in compliance with
bis master's decision, the novice gave a publlC performance. The jury
25. Levonian, Ashoogbnere, pp. 7-45. Uniess otherwise footnoted
most of the :information on a,shoogh ranks, schooling and guilds i8
summerized from this source.
29. Barooyr Sevag, Sayat Noya, p. 70.
f
consisted of the headmaster ashoogh, and a11 other mas ter ashooghs of
the city. Following an or<'l l examination pertaining to the art, the
novice sang and performed on h is instrument; a I8IlJantcha, sa_i:! or kamani.
Upon succpssful completlOn of the examinat ion the novice rec'enect a
slap ln thp fRce from the headmaster ashoogh, follO\.;rlrlP: hJhich he \,;as
named master ashough. A certi ficate Slgllf:'d by aIl present was
handed to him and he was accepted ll1to the guild.
2i
guilds exiHted in aIl ma.Jor cities throughout the Caucasus
during the n lne1 eenth cent ury. In Al exandrapul (today Lemnagan) and
Tbill si, gu he Id a lTIono}x>l;v on a 11 local pf'rf ormanc!:'>; the pa;VlDent
of three months' membership in advancE' Has reqlllred from Ft "i si t j ng
ashoogh t }x>rform in thesf' citles.
Arveste, c!pscrHJes the Armenian tradi t ion jn tel'ms of four
major schools. The Persian-Armpl1lan sehoo1 fluurlshed 111 Net.J Julfa
(Iran) from 1620-1780. Tts }X>E'tic lrulguagp WHS pl'Imarily the NpH ,fulfa
Armenian dialect, as \..;ell as Azerhaijalli and Persian. "ith Cunst.antinople
(today Istanbul) as its centre, the 1\.:rco-Armenian school '''as actl\e from
1730-1870. Phi 1 nsophical , as \.Jell as general thE-me8, penMe the }XJetr;r
of this school, the language of \.;1 11 ch 18 exl' lllsi Turku'lh. The
Georgian-Armenian school employed thf::> Thil iSl ArmE'nlan dialed aiong
wi th Azerbaijruli and Georgian, and i t thri ved from 1750-1900. Sayat
CHal'Ootioon Sa;vatHill) was Hs founder; Ashogh Hazir (1815-1922),
27 Farr, "The Music," p. G3. See a180 Raffi,
Vol. l (YprevaI1: HaybE'dhrad, 19(2), pp. Tradi tj unaUy ,\rmeman
ashooghs considered Saint C1arabed Nonabtf'ry ()f thelr Hec:cB. A
visit to this monastery and a blessing of thelr lrl'5trument and tJ1f'I'
art was of utmost importance for a succpbsfu] l'areer.
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the last representative, instrumental in the revival of Sayat Nova's
sangs. By adopting Armenian as its poetic language, and C'laiming ta be
"first citizens, then poets," the Natlonal Ashoogh sehool manifested
i tsel f in mid-ni neleenth celltury ,.,rith Ashoogh Dj i van i (1846-1909) as its
founder. The poetry of the Nat lOnal .\shoogh school reflects the )XlIi tical
and cultural aspIrations uf the Armenian people, ,.,rho \.Jere t:'x-penenC'ing
a national awakeniIlg both under Ottoman Turke;y and Tzanst Russia.
Only artel' arOlmd the sixteenLh century chd instrumpnts Bueh as
Armenian HlstruTIlPntal ensembJes. These ensembles, known
as uflen of a group of three to four
instrumental ists and/or Salltoor and l?-2). Today,
!:')antoor [md IgiD.QQ, tar alld vih de folk vocal ensembJ es mal{e use of
designPd for dancing also Illclude (as an outduurs instrument}
often acC'ompanied "'1 th It is inceresting to note that most of the
instrume/lts usf-'d by ensembles are stringed iustruments,
\-lith the exceptIon of onp percussion instrument, the Other
2S Fol' description, ambltus, and possible onglns of these
instruments "ee, J\:8.1'1 Cielringer,
frQm _th_t--_StolW_8ges (Lonrloli: George AJlen and l;nwJI Ltrl., 19.f0), p. 78.
for yw, gtl19l,!J.1!,
daJ!, (duff) , tar, (lmmanga),
(qanun), Sal}toc.Jr and pU ons of other
anCIent j nstrllment9. vprll\O\,
(Noscm.;: [no. publ.], 19G;I), plCLures on pages 38,1, 11.t-7, 531, .ffj8-9,
or FaIr, "The chaptt->r lU, "Azerbaijaru Instrumentaria", p. 46.
t-lark Slobln daims that the uriglll of tll' is Callcasiall, sep, Farr, p.
46. Of the l\nnenian 30Ul'C'es the follOlHng dif.c:uss musil'al instruments,
--------------------------
16
membrane percussion instruments, sueh as; eymbal-dap, plate-like dap,
vase-like dap, portrayed in me:!:'''''val Arrnenian manuscript pamtings are
not used in today' s ... \rrnenian folk and ensembles. Likei.:rise,
were used in pre-Christian Alrnenia, and rnf'ntioned by medievaJ Armenian
chl'oniclprs, 8.1'(> no longer considered folk instruments. They are more
commonly used in the Armen 1an chur('h service. 2 9
Modern day ashoogh art lS based on tradi tional lwosan-ashoogh
experiences bat.h from the Arrnenlan musical repertory and from other
carry on the old tradi tion lvi th greal vigour.
Anahld Tzitzigian, Haygagan AgheghnaYHl ArvestE' (\erevall: Godet hn tl-'1"
Publ., 1977), pp.17-40. ;;vl_et __ vol. Ill, pp.
319-320,422,459, vol. IV, p. Hl, 229, voL}., pp. 111-2, l8, \ul.
XI, p. 167. A.G. l\otrharian, "Ypra.Jshdagan l\ordzilmerp HayasdanulIlIl," 111
(Yerevan: [no publ.], pp. 16:1-174.
29. For the past decade the interest and red \"a l of Ulese
instruments have culminated in the formation of inslrurnen1al ensemules
comprising of stnnged, wind Rnd percussive instruments, uflf-'II 111
complete familles.
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CHAPTER 2
SAYAT NOYA: SOURCES AND BlOORAPHY
A. Sources
For over one hundred and fort y years Sayat Nova's biography has
been researched by numerous philologists. The pioneer in this field is
Dr. Kevork Akhvertian (1818-1861), the first author-editor of Sayat Nova's
Paftar. Other scholars are K. Levonian, L. Melikset-Beg, N.
Aghpalian, B. and M. Hasratian. A complete publicat1.on of Sayat
Nova'::, }<h::;,ghs in all three languages, A:rmenian, as well as Georgian and
Azerbaijani translated into Armenian, was done by Hasratian in 1959 and
revised in 1963. Hasratian, furthermore, sorted out problematic readings
and in so doing built a unique Sayat Nova dictionary.3o
ln Sayat Nova scholarship, the most centroversial issues have been
his date of birth; love affair and object of his love; the dates and
reasons for his first and second expulsions from the palace; and the
time, place and circumstances of his death. Other miner issues have
aiso occupied Sayat Nova specialists, such as his participation in the
lndian War, his education, his involvement in palace politics, his
marital life, and the period during which he served ilS parish priest
and his celibacy. AlI this created a new branch in Armenian philology,
30. Daftar is a compilation of ashoogh poetry. Hovhan Bendelents,
a contemporary Tbilisi court scribe, was instrlLmental in the preservation
and completion of the poet' s daftar. Bendelent.s left a memoir dated
1765, beseeching the reader to remember the of the above khaghs,
Sayat Nova. Melikset-Beg, "Vratsagan Aghpiurnere Sayat Novayi Masin,"
Badma, III (1963), p. 22.
18
which became known literally as Sayatnovakidootioon of Sayat
Nova) .31
The primary source for aIl this enthusiasm and research is Sayat
Nova's compilation of khagl"!s (poems) , the paftar, which was completed
and sealed by the J.et in 1759. In 1852, Dr. Akhvertian published a
selection of 46 Armenian khaghs by Sayat Nova from the Daftar. Dr.
Akhvertian Has temporari ly gi ven the Qaf1-ar by the }X)et' 8 grandson 1
father Novses S.IL Sayatiants, Hho had come UpOl1 ] t as a farnHy possession.
The Daftar remained in the fami ly unti l the poet Hovhaness Toomanian
(1369-1923) purchased it for the Armenian Writer's Company of the
Caucasus ln 1913. Today, with six pages missing, the DaJj..al2 is at the
Charents Museum of Yerevan, Armenia. The first 5ubstantial account of the
history and organization of the is presented in an important
article "Tldoghootioolllwr Sayat Novay:i \'eraperyal" by H.G.
Bakhtchinian publi shf.,.d ln 197fi. 32
In 1755 Sayat Nova first compiled hi8 ilt a manuscript 1
Bakhtchinian calls the "mother manuscr i pt;" it i s the origHlal
layer of the Dafiar, con5isting of AZE'l'bai,jam and Armenian li!laghs. Even
when the Daftar wa8 still in Sayat Nova' S }xlssession, illit ial
Azerbaijani lihaghs and fwal Armenian khaghs were lost from the original
layer. By 1758 the poet compllpd a separatt:> coJlection of A7.erbaiJru
khaghs in two bindings--which inclucied the lost !thaghs from the original
layer and neH khaghs C'omposed between 1755-17 58--and a t tached them to
31. H.S. Hasratian, Sayat. Nova (\'erevan: HayrJedhrad, 1959), p. 298.
32. H .G. Bakhtchinian, "TidoghootioOlmer Sayat Novayi
Veraperyal, fi .adma, III (1976) 1 pp. 209-210. See also Sevag,
Nova, p. 408.
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the "mother rnanuscript." Likewise, in 1759 Sayat Nova prepared a collection
of his Anmenian khagQs in three bindings and also attached them to the
"mother manuscript." Wi th t.hese additions Sayat Nova closed his Daftar
in 1759. Bakhtchinian believes that Noya reconstructed the lost
pages of the "mother manuscri pt Il from memory. 3 3
In complling his Daftar, Sayat Nova adopted the alphahetical
system of Nid-Eastern Di van collections for his Azerbaijani khaghs. For
his Armenian h:haghs he vreated a simi] al' order based on khagh genres and
dated and annotated many of them.
34
The Alllleran !:\ecUon opens Hith tHO
Di vani khaghs, follol.Jed by a Pa!}r l (t.Iw poet calls it Parital.Joor),
the only one of i ts Id nd in the Armenian t.hen come tMO Q!laze J s,
two Taslills, tlll'ee and, as is tradltlOnally accepted, fjve
ends \<o'} th tHO las,l >s. The second hinchng, Hhich IS 1051.., was composed
of six pages j n "mutilatecl condj tion," accordll"!g to Akhyertian. It
contained tHO one Ootchlama and three The ten pages
of the third binding (t.oday there remain only eight pages) illcl ude
seven Ghazels follOl.Jed by Sayat Nova's onl
!illagh. On the final page (p. 140) of the DaLtar the initial line
33. BaIlt.chinlan, "Tidogootioonner, Il p. 211.
34 It is important to know that the dating system in the )2aftar
is thA Georg] an "kronikon,'f to Hhich 1312 years shou1d he added in
order to comert to our mm Bibllcal dating. After 1760 the poet used
the Annenian dating system, l.Jhkh hens in 551 A.D. and mah:es use of
the Armenian alphanumprIcal values.
-
20
of a song is inscribed.
35
Along wi th the original 1759 incomplete Daftar, a second document
bearing the shelf mark Georgica 222 was located in 1899, in the Asiatw
Museum of Leningrad. Thls document, dated 1823, is a handwritten copy
of the poet's works by his son, Ohan, commissioned by Prince Teymouraz,
the grandson of King Heracle II. Georgica 222 includes 80 songs by the
poet in three languages, aIl written ln Georgian script. It is possible
that some of the lost khagbs from the "mother manuscript" were lnserted
in this document, either from memory or from another source.
3S
There are two other document.s WhlCh serve as primary source
material ln Sayat Nova studies. The of these is a church manusoript
(# 4270 ln Mashdots Hadenataran-Llbrary-of Yerevan) in hlS own handwriting,
dated 1766, wrltten at Gakho of Zakatala district in Georgla. The second
manuscript has been recently to Mashdots Madenataran of
Yerevan (# 10838). Dated 1761, this manuscript is a copy of the
Lamentationii by Kr ikor Naregatsi in Sayat Nova' s own hand. l t was
copied at the Armenian church of Enzeh, port-town of Kilan dlstrict in
Iran.
3
?
35. Bakhtchinlan deducts that the poet reconstructed the lost
pages of the "mother manuscript" from memory and that the presence of this
incomplete page is proof to the very fact that Sayat Nova was unable
(at least ln thlS case, H. l .) to reconstruct a11 hIS ear lier and lost
khaghs. See, Bakhtchmian, "Tldoghootioonner," p. 215.
36 Helikset-Beg, "Vrutsagan," p. 23. See also Sayat
Ma, p. 228.
37 For more details on manuscnpt 1* 4270 see Hasratian,
t1oYa, p. 304. An analysis of manuscnpt # 10838 is done by P.
Tchookaszian in an article entltled "Nor Echer Sayat Novayi Gy an ken ,"
reproduced in Haratch weekly of Paris, France, February 18, 1981, pp.
3-4. The article originally appeared in Lraper VII (1981), pp. 66-77.
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A complete bibliography of Sayat Nova would include over one
hundred articles dealing with aIl phases of his life, poems, vocabulary,
and music written in four languages (Armenian, Georgian, Azerbaijani
and Russian). Ever since the first publication of the poet's Armenian
kbagbs (1852), there have been no less than twenty publications of
these poerns; the Georgian khaghs, however, have been published only
twice and the Azerbaijani once. Sorne of his Armenian kbaghs have been
translated into Russian, Georgian, French, German, Ukranian, English
and even Arabic. Apart from dictionaries and glossaries attached to
each publication of his khagbs, a comprehensive dictionary of his
poetic language was published in 1963.
38
Sayat Nova has been the object of numerous novels, his life was
portrayed in two films (one of them known as "The Color of POlllegranades"
was directed and produced by Sergey Parajanov) and a musical ~ i t h
ballet written by Al. Harootioonian.
Sayat Nova's creative ability as a musician has traditiona1ly been
given less emphasis than his skill as a poet. The interest in Sayat
Nova melodies, which were only transmltted orally, was t r i ~ e r e d b7 a
unique koosao-ashoogh competition organized by Tbilisi Armenian
intellectuals in 1912. On t.his occasion Tbilisi Armenian ashooghs,
headed by Ashoogh Hazir, plrformed the old ashoogb sangs, a11 of which
had been orally transmi tted to their generation. In 1913 already a
38. A. Kotchoyan, Sa.z1li. Novayi Hayeren Khasberi Ampoghchagan
Eara!:aIl (A Complete Dictionary of Sayat Nova's Armenian Khaghs) (Yerevan:
ASSR Ac. of Sc. Publ., 196:3). The most recent and exhaustive publication
of Armen ian khaghs appeareci in 1984 . Bakhtchin ian , ed., SaYat Noya: Hayeren
Khaghs (Yerevan: ASSR Ac. of Sc. Pub 1., 1984).
..
..
22
number of Sayat Nova melodies (X, 'XVII, XXIV, XIV and IV) were revived
and presented to the public j n the form of a concert for the first
time. TIlis movement igni ted the memor1.es of Illany Tbilisi old residents
who carne fOl'I.Jarcl th thei l' mm versions of Sayat Nova 3 9 11ms by
the 1920'8 b.Jo musicians, NooshE'gh Aghayan and Shara Dalian, Hho l'iere
members of the TbHisi Armenian commwty and closely related Hith Hork
done on the Sayat Nova revival, jowed their efforts in selPC'ting,
compiling, and edi ting Sayat No\. a me lad 1. es. Dalian, Hho camE'
from an ashoogh fami ly, E'ventually carnp the forelllost lnterprE'ter of
Sayat Nova songs. 4 0 After many years uf resE'arch and performance, the
two musicians published 22 Sayat NO\1-1 songs in 1946. Continous researC'h
by both artists culminated in yet aJlother publicat:ion of Sayat Nova
songs in 1963, Hhich brou.ght t.he total number of SOI1gS to 27, \.Jith
variants of tHO sangs ( X, VI )
The vpry faet that these l'iere notated from oral traditioll,
after almost 150 years from the bme when they \'iere concelved, has caused.
their authentici ty ta be questioned. '1'hf> ruJing opinion among earlier
scholars was that these Here borrowed Illelodles from Persian a5hoogh
tradi t:ion.
41
There are only three pubhshed articles defending the
39. A. Khatchadrian, "Intchbes Verad7,nVAbnn Sayat Novayi Yerlre"
("How were Sayat Nova Sangs RE'Vlved"), April 13,
1963, No. 88. U,fortunateJy, thesE' puhliC' performances came to an end
due ta Wor ld War l and events. Thf-' numbPr i ng system j
explainPCl jn the 1.ntroductlOn uf lhis thesis.
40. Dalj an '-las Ashoogh DJamal1' s son \.Jho in turn was the grandson
of Ashoogh Kyamah and the C'OUSln of Ashoogh Sheram. See, N. Nooraclian,
Hay YerajshdagB!} t'1shagooyti Badmootioon, Vol. II (Yerevan: ASSR Ac. of
Sc. Pub!., 1970), p. 370
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authenticity of the collected melodies.
42
Tahmizian's article is the
most extensjve and indepth of these. He demonstrates the unit y of
the musical language of the melodies ascri bed to Sayat Nova. Through
analysis of certain melodic contours, cadent ial formuh,s and rhythmic
he establishes that these melodies are ol'gamcaJly Armenian
in style and character and drm-ls comparison between them and sacred and
secular melodies colleeted by Gomidas (1869-1935) in the late nineteenth
and early b-lentieth C'enturies. He concludes that these melodles, although
enriched Georgian, Persian and Turklsh musical elements (Hithout
explaimng '-lhat these are), are probably eomposed by the sarne persan,
sinee they bear certain C'ommon styllstic characteristics Hhich l Hill
discuss later.
In 1935 eight Sayat t-iova melodies al'ranged \,i th piano accampaniment
by composer Sarlns Parkhoutarian \ .. ere publlshed in Yerevan. Of these,
tHO 'llelodies differ ln t,heir entirety from the 1963 \ersions, the l'est,
Hith Rlight variations, are organically the same as theu counterparts
in the 1963 publication. The two melodies , variants of sangs VII and
XX, are prsented in Appendix r, page 159.
Even after two hundred years, melodies attributed ta Sayat Nova
still surface from time 1.,0 tjme. Nine sueh melodies by a certain
Mr. Toorkarian of Leninagan in Armenia, werp recorded by the Folk
Creations Depar tment of Ciomidas Conservatory of Yerevan. Ml'. Toorkarian
had learned these me ladies from an Iranian prisoner while he Has serving
42. Nooradian, "A Numher of Questions Concerning Sayat Nova's
Musical Language" ln Ar"t: (Yerevan: 1963, No. 9). A. Khatchadrian,
the above cited article. N. Tahmjzian, "Sayat Novayi Hayeren Yerkeri
Yeghanagneri Masin," Deghegakir, X (1963), l>p. 35-58.
l
24
in Siberia. As a student researcher, the author assisted in their
transcription in 1977. These melodies have not yet been published,
since their authenticl ty has '1ot belEm put to test by Sayat Nova specialists.
The author has been able ta reconstruct from memory fI ve of the nine
melocHes. They are includPd ln the sect ion of unpublished variants for
their interesi. (Appendix C, pp. 160-2), with a cautlonary Ilote that
definiti ve attribution must be left to further research.
The final unpublished Sayat Nova melody ta he dj scussed in this
thesls is from the author's Ol<ffi collection. Eleven Sayat Nova melodies
were recorded from J'vIr. Kegham Kessenan (1897-1981), once in 1978, and
later ln 1980, in Nontreal. t>lr. hesst="rian hOO learned these melodies,
while he was a st.uclent at lhe Sanasarian 8('hool in Erzeroum (Gari n)
from Nigol Aghpallan, a Sayat Nova speclalist. Of the eleven melodies
'""
sung by Nr. I\esserian, one is indeed unique (see poetk numbering: 29);
in other words, to thE' author's Imowledge no melody has E'\'er en
recorded for this hbagh. Ml'. J\essprjan's improvisations, ornarnplltations
and certain de\ations from the wntten \'ersions of Sayat No\a melodies,
though of great interest, \-lill not he discussed in this paper. Llkewise,
a popular variant of song XXVTl \.Ji 11 be disregarded, because it
does not compare favourably with any of Sayat Nova melodies; rather, it
is reminiseent of the 1 ate nineleenth century melodic borrcl\vings from
non-Armenian musical repert.ory.
By contrast, no melodies of Sayat Nova' '3 Azerbai,jani and or
Georgian have been recevered, ta faei li tate research and comparati ve
analyses and te help form an ove1'a11 opinion of his musical language.
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B. Biography
From the twelfth century onward Armenian emigrants fleeing Seljuk
and Mongol raids settled in Georgia. In time they actively participated
in the Georgian political, cultural and economic life. 'rhe country was
governed by the feudal system, but Armenian merchants and craftsmen did
enjoy considerable freedom in townS.
43
The perlod from 1469-1801 ln Georgian history is marked by constant
warfare, mainly agalnst outslde forces, such as the Ottomans and the
Safavi shahs of Iran, anxious to keep Georgia under their influence,
and aIso, amongst numerous feudal lords. Georgia was divlded into three
kingdoms, Kartll wlth Tbilisi as ItS centre, Gakheti with Grem and
Telav as its centres, and Imeretl with KootaYls as !ts centre; in
addItion, there were five semi-Independent feudal princedoms.
44
In 1744 Teymouraz II (c. 1700-1762) became King of Kartll and his
son Herac le II <.. 1720-1798), KIng of Gakheti. The crown ing of father and
son in 1744 was the culminatIon of a long political alllanee wlth Natir
Shah of Iran (earlier known as Tamas Ghouli, Natlr Shah from 1736), whc
conducted a series of expedltlons from 1738-1744, known as the Indlan
Wars. After the death of hlS father (1762), Heracle inhel'ited his
kingdom and ruled Qver a united kingdom until 1798. In
1801 Georgia was annexed to Russia, and one thousand years of Pakradite
43 Barooyr Sevag, Sayat Nova, pp. 130-1.
44 Arxmroian Encyclopedia, vol. IV, p. 166.
26
ru le ended in the country. 45
Born in Tbilisi, Georgia, of Armenian parents, Sayat Nova's life
was clnsely interwoven with that of king Heracle II and his sister,
princess Anna Pakradion Padonashvili (1722-1772), who married prince
Dimitri Orpeliani in 1744.
46
Sayat Nova's Father, Garabed Sayatian, had emigrated to Aleppo,
Syria from Adana of Cilicia. He had at one point in his life visited
Jerusalem, whence he obtained the nick-name. "matxiessi" (pilgrim).
Later, he settled in Tbilisi and married Sarah, a native of Havlapar, a
suburb (Armenian quarters) of Tbilisi. The family was registered as
kleghi (demi-vassal) in the annals of the royal village, Sanahin.
47
According ta poet Barooyr Sevag, Sayat Nova was born in 1722.
Refuting the dates (1711-1724) proposed by other historians, Sevag
presents 15 arguments, mostly extracted from the poet's works, to prove
45. Barooyr Sevag, Sayat Noya, pp. 20-8. A Georgian contingent
participated in many of Natir's expeditions. See also Burney and Lang,
The Peogles, p. 213, concerning Georgia's annexation to Russia.
46. Sevag, Sayat Noya, p. 52. See also S. Harootioonian, Yarki
Handjare: Sayat Noya (Yerevan: Haybedhrad, 1963), p. 79; V. Nalbandian,
Sayat Noya (Yerevan: Sovedagan Krogh, 1987), pp. 7-8. Although the poet
claims in his Azerbaijani kbagb 48 that his homeland lS Tbilisi, Georgia,
and that his mother is of Havlapar, and hjs father is from Aleppo, sorne
scholars believe that he was born in the village of Sanahin, which was
the domains of crown prInce, later King Giorgi III (1798-1801), and
that Sayat Nova was probably educated in a local monastery, either
Armenian or Georgian. Later, they belleve the family moved to Tbilisi.
Harootioonian, Yer.ki Handjare, pp. 9, 60-61, 79. Of the numerous
explanations given as for the meaning of his name, the most probable
one seems to be "grand son of Sa"at". See, Nalbandian, Sayat Noya, p. 13.
47. Sevag, Sayat Noya, p. 395. See a1so Hasratian, Sayat Noya, p.
302.
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his thesis.
49
Even after this exhaustive there are still dissenting
voices. Bion Hagopian gives 1712, 1717, and 1722 as possibilities for
the poet's birthdate.
49
lmother author, K. Na lband i an , attempts to show
that the poet Has barn in 1711, and he cornes to thl.s conclusion ,.;rith
the help of only one of the poet t s khaghs. 5 0 Thereafter, three articles
reestablish Barouyr Sevag's verSIon, 1722, as the birthdate of Sayat
Nova. 5 l l"lore reeent ly, on the occasion of the poet' s 275th anni versary,
V. Nalbandian, aftel' prpsenting the ';arious dates brought forward by
previous concludes that it is preferable to keep the initial
date, 1712, as prE'sented br K. AldwertIan, sinee aIl the arguments
given for different datings are stIll debatable.
52
From his autobiographical poem (Az. 67) He learn that at the age
of 12 Sayat Nova began to leam the wea'\:er' s li'ade, and that he became
an e:---pert when he was 14. At 19 "1 journeyed to India," Sayat Nova clalms.
Barooyr Sevag clarifies for us the date of his Indian Journey and his
partidpation I the Indian War. Sayat Nova was indeed 19 in 1741, Sevag
claims, when Natir Shah ended the lndian War and began the Qnanj an
48. Barooyr Sevag, Sayat Nova, pp. 13-117. A disserta ti on set to
prove 1722 as the bil'th date of Sayat Nova.
49. Encyclopedia, vol. X, 1984, p. 163. See aiso Sayat
t'Jova (EdiUon Astrid, 1977), B. Hagopian, "Sayat Nova" in
p. 576.
50. K. Nalballdiall, "Sayat Nu\-ayi Dzadzgalr Dagheri Verozanman
Shoorche" ("C0ncerning the Deciphenng of Sayat Nova 's Ciphered Kl}aghs"),
Panper n (1976), quoted by 4.G. Bakhtchinian in
in his article "Sayat Novayi Gensal{rootyan Yergou Hartsj Shoorehe, "
P!mwr, II (1977), 163.
51. H. G. Bakhtehinian, "TidoghoutiolU1Iler," pp. 209-21. 1\.
Bakhtchinian, "Sayat Novayi," pp. 162-175.
52. V. !'.albandian, Sayat Nova, p. G.
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28
expedition, also known as Indian War, which lasted till 1744. Whether
Sayat Nova participated in the first Indian War or the second, is not
clear, maintains Sevag.
53
"Ever since l was 20, l am in love, l sell precious stones to the
merehant" (which figuratlvely means l write poems, Az. 67), says the
poet, and indeed his earliest poem (Az. 2) is dated 1742, June 1. The
biographie'il "information" contained ln Az. 67 brings him to the age of
100. Since Az. 67 is dated 1750, a11 "infonnation" concerning events
after this date is purely speculative.
54
A conversation, which took
place betHeen Yohan Khelashvili (a young rnonk, b. 1772) and Sayat Nova
at the rnonastery of Hakhpad, reveals that Sayat Nova. was appOlnted
court ashoogh, clrca 1746 by King Heracle II, upon performing Georgian
sangs in Iraniall style.
55
His first Armenian khagh (Ar. 7) is dated 17[)2. The inscription of
53. Barooyr Sevag, Sayat Nova, pp, 20-28.
54. There are no poems, in any one of the thref> languages, dated
between 1742 and 1750. Whether the undated }X>ems belong to this period
of the poet' s career will he pure speculat ion on uur part. l t i5
JX>ssible that he simply could not remember the dates thesp lX1ems Here
concieved, sinee he only wrote them dO\<m for the first t ime in 17GG,
and later in 1758 and 1759.
55. The conversation referred to IS recorded by Vohan Pakl'a.JiOIl,
the grandson of King Heraele II, in lus bool\" caUed wd tten
between 1813-28. See, Bion Hagopian, "Sayat Nvayi Haghpa(h Vankoom
Lineloo Hartsi Shoorehp," Badma, III A lrallS lat 1011 of the
conversation lS given by L.N. Ne]tkHPt-Beg ln his ll'tlcll-' "\ll'atsagan,"
pp. 17-44.
Sorne scholars belleve that Sayat Nova entered the cout't lH 17H
(HasraUan), while others bring this date later than 1746. If we aC'cept
1722 as Sayat Nova' s bj rthdate, and consequently, C'. 1712 as tht:-'
beginnings of his ashoogh career, then the date of his entl'y mto the
court should he pushed closer to 1750. For one thing, hl' had t htl\e
established himself as an outst.anding (rnaster) and for another
only one Azerbaijani khagh (llf' clid not wr1te in Arrneman a:s he claims)
is dated befoI'f> 1750.
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anather early Armenian khagh (Ar. 2) reads; "This divani is very good,
if you learn i t, pray for m;\' soult Now l want ta wri te (say) also in
Amenian: Before God, l, son of "mahdessi" (Garabed), Arootin, f0r 30
years haYe been studying all Imaghs, wi th the assistance of Saint
Garabed l learned the the chonkQ..or (saz), and (t) "56
The song has been encj l'cled l',ri th four Georgian Jetters hTi tten on each
side: '00' on top, 'm' at the bottom, 'dj' on the left, and 'n'on the
right. Fol1O\oJing the alphanumerical values of the }eorgian alphabet,
the first tloJO lptters may be decLphered as 1752, and the second two
present his age loJhen he l ...iTote this khagh, 30.
5i
Sayat Nova Has fjrst ex-pelled from the palace no earller than
1752, and was readmitted in the spring of 1754. His Iillaghs (Ar. 20, 21,
22, 24, 25, and Az. 32) "'-Tl tten betl-reen these tloJO dates vi\-idly }XJrtray
his emollOnal upheavals and give arnph-' testimany about this period
of his life. Armeman khaghs 20 and 21 dated 1753 are petitions, the
first one addressed ta the King, and the second ta the lng' 5 !'ust
Anna Padonashvil i, in l4hich her name is ciphered no less than 20 times
as a testimony of his love for her. In Armenian khagh 22, dated 1
1754, the poet tells us that i t has bef-n hoJo years since he has last
56. Although Sayat Nova learned ta play the chonkoor
and tam"boQr:, as he c]rums, Ids favorite instrument was the kamantcha, to
Nhich he dedj('ated an t-'nt He song (I) and I .. hich trach t ionally is placed
at the lJeginlJiug of h i for Sayat No\-a the most
complete Instrument uf aIl stl'llig lnstruments. Sa;vat mentlt::-i'S
instrument names 1 n a Humber \Jf his \awther ) llstruments
are useel for rh,Ymlng pur}X)ses or for cn?atjn.g li j)Up1 ie Image, Sayat
Nova's inclusion of these Instl'uments in his khaghs are Invaluable
sourcps for our portrayal of instrumental ensembles in the 18th cenlury
TbElSi court.
57. Bakhtchinillll, "Tidoghootioonner," p. 220.
30
seen his beloved. The two following khaghs (Ar. 24 and 25) dated 1
April, 1754, are dIalogues between the poet and his beloved in a jovIal
mood, whereby bPloved invites thf' }Xlet ta "nsit us once a Heek, f'
most likely to perform at ]k'llace festJ.vities Hhich \-Jere held regulal'ly.5fi
Sayat Nova' S secono and final expulsion from the palace has heen
accepted unU 1 recenLly ta have taJ\en place between years of 1759-
62. The reasonlnl?: behind t HS was very simple; the I"as closed in
1759, there l,pre no entries aftpI' thi s date d.nd no information on 'the
poet' S \.,Thereabout'3 Crom this date untlJ 17G5. we learn about father Ste}:>an
of Gakho (believed to he Sayat Nova) from inscnptlOns le ft ln the
Daftar by memhers of his fwmly and Hovhan Bendelents, the Tbil1si
court s.)ribe, in 1765.
59
These palace expulslons are attrilJuted by most
Sayat Nova specialist 1.0 poli tieal intrigUf'b ratller tu h is attraction
ta the lng's sisLel, h'hich prohahly Has used br cerlaill palace nobility
to malign thp poet in the eyes of his beloved l\ing.
The recently acquired manuscript # 108:38 '3heds sorne hght on Sayat
Nova' s whereabouts between 1759-Gl. TIle manuscI'ipt is dated 1761 and
written at the f\rmenian church of Enzeli, a port-tm-in il"' the Kilan district
of Iran. Profe<;sor P. Tchuolmszian drah1:;:" tht=' following cOllclusions from
his study of thlS manuscript: Sayat Noya Has expelled frolll the palace for
the second and fi nal lime ln 1759. He was probably ex iJ ed ta this
5 9. Sevag , 1 pp. 68- 71
59. Apart from Hovhan Bendelents' note in the Qa(tal', thert-' are
unintelligable sen bbles by hi s e ldest son, i'"1f' Jlwn, wh() could have l.1E'pn
6-8 years old. The note and the scnbbles are in Geon,uan, rlalro 17fl5,
May 1. In his note Bendelenls staLes thRt \..;ere \-JTitten by
Sayat Nova and plead'3 to thE> lng ta l'f-'lurn father Stepan (l-.1ho is Sayat
Nova) tu tlls family. See, l'lellkset-Bg, "Vratsagan," l-lp. 2L-3. Sep
also HasraUan, p. and SPHl.g, p. :11.
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Iranian port-town soon after by King Heracie II. In the meantime he was
ordained a parish priest. for which he had to have been married and
have had a son.
60
He copied The Book of Lamentations by Krikor Naregatsi
in 1761 at Enzell. He also wrote his three Georgian khaSbs-petitions
(G. 30, 31. 32) addressed ta the King, upon which he was brought back
from exile ta Gakho, Georgia.
81
Sayat Nova married Marmar, an Armenlan girl from the district of
Lori, Armenia, sometime during 1759-60. They had four children, two
sons: Melkon and Ohan, and two daughters: Sarah and Mariam. Marmar died
in 1768, and soon after Sayat Nova accepted celibacy and entered the
Haghpad monastery, or became a member of its order.
62
There are no records concerning Sayat Nova's education, yet judging
from his poetic output, he must have been weIl versed in Armenian,
Azerbaijani, Georgian and Persian. He was capable of using a. rich and
varied vocabulary in all of these languages, either singularly or aIl
in one poem. And this was achieved with great spontaneity. Elements
from Ashoogh tradItions oral or written, folkloric tales, and epic
poetry, both irl Armenian and Persian, are often incorporated in his
khaghs. Furthermore, there are nllmerous folk sayings, biblical personages
80 clerics have two branches; the married and the
celibate. In the old days only the married (with preferably a male
Chlld) the parish, while the celibate lived in
Today the celi0ate also serve as priests.
81. 15 It possible that Sayat Nova was eXlled twice from Tbilisi?
The first tlme around 1760, when the manuscript 10838 was written and
the second time after 1764. He illUst have Deen a priest by 1760, not
8 priest, since hIS wife died in 1768, from whom
he had four children
62
Novayi, "
Melikset-Beg, "Vratsagan,"
pp. 209-225.
pp. 23-24. B. Hagopian, "Sayat
32
and stories, references to cow1tries and peoples, mythological events,
in his kbaghs, which certainly suggest a weIl self-educated person, if
not a formally educated poet. 6:3
One final issue, the date and circumstancL's of his death, has
raised considerable controvergy and still remains unsolved. Those who
accept 1801 as the date of his natural death rely on the meeting, which
took place between Sayat Nova and the young monk Y. Khelashvili,
described in prince Yohan Pakradion's memoirs Galmasopa. Georgian
philologists date this meeting between 1798-80, during the reign of
King Giorgi XII, son of Heracle II. The Armenian version, WhlCh was
initiated by Sayat Nova's first biographer and author-editor, Dr.
Akhvertian, relied on oral lnformation passed on tohim from the poet's
family. Armenian philologists, with the exception of Melikset-Beg, have
accepted Akhvertian s version, which holds that Sayat Nova was killed
-
by Agha Mahmood Khan's soldiers during the destruction of Haghpad
monastery and village in 1795.
64
A detalled descriptlon of Haghpad monastery and nearby villages by
Ohannes of Crimea maintains that the monastery was totally abandoned
after the death of Natir Shah (1749, June 19), because of constant Leksi
raids, and that the friars moved to TbillSi. From 1778-84 efforts to
reconstruct the monastery and reestabllsh rellgious arder met with
further Leksi invaslons, this time not only sendlng the frlars back to
Tbilisi, but also scattering the villagers The restoration of religious
order in Haghpad was not undertaken until 1799 Thus, Agha Mahmood
63 Sevag, Sayat Noya, pp. 390-411.
64 See footnote 1* 55. Sele also Sevag, Sayat Noya, p. 29.
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Khan's soldiers could not have ruined Haghpad, which was totally
deserted in 1795. They did in fact destroy Tbilisi, during which time
three priests from Saint Kevork Armenian church of Tbilisi were martyred;
one of whom was called father Stepan.
65
If, in fact Khelashvill met Sayat Nova in Haghpad, this meeting
could have taken place between 1778-84, when Khelashvili was only 6-12
years old, or, after 1800. A third possibillty, probably the most
likely, is that this meeting could have taken place in Tbilisi about
1794, when the young monk was ln his early 20's, and where in fact Sayat
Nova and the other Haghpad friars lived until the destruction of Tbilisi
in 1795.
66
Apart from legendary accounts of the poet's life, which
have made separating facts from fiotion very difficult, other factors
account for the enormous body of research on Sayat Nova. The
illigibility and the poor condition of the Uaftar itself has created
many problems. Sayat Nova's transliteratlons have a}so presented research
difficulties. He used Georglan scrlpt for his Armenian khagbs and
Armenian script for his AzerbaiJanl ktw,gbs, while Ohan used Georgian
script for aIl three languages. Ohan's verSIons, which at times help
clarify certain undecipherable passages. at other times create problems
due to the extensive changes, additions and mistakes he made. These
errors are the result of both incorrect copylng and the aet of recording
65 B. Hagopian, "Sayat NovaYl," pp. 209-224.
66 There are no records or inscrIptions cnncerning the death of
any friar for 40 years, as stated by chronicler H. Taghiatiants during
his visit to Haghpad in 1823. As for Khelashvili's age, he was a
classmate of Yohan Pakradion, who was born ln 1772. B. Hagopian,
"Sayat NovaYl, " p. 224.
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34
his father's khaibs from memory. Although Sayat Nova used primarily the
Tbilisi Armenian dialect his Armenian khagbs, the existence of
Georgian, Azerbaijani and Persian voc2oulary in these khagbs require
the knowledge of aH languages. Sayat Nova' s Armenian
is not confined t his native 'rbilisi dialect. He makes use of other
Armenian dialects, namely Lori, Ararat, Western and even Cilician
Armenian and also kraRar (the elassical Armenian).
From the mi-nmeteenth century on a number of khaghs were
attributed to Sayat Nova; debates about their authenticity of which have
sparked a considerable amount of research. After lengthy studies, Sayat
Nova specialists have either accepted or refused the authenticity of
these khagbs.
There are still numerous issues concerning Sayat Nova's life
awaiting clarification. Whether these will be solved under the light of
new documents or existing ones, is an open question. It is certain,
however, that "Knowledge of Sayat Nova" is a vibrant and timeless
subject that will continue to attract many new philologists and musicians
alike.
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CHAPTER 3
ASHCXXlli POETIC FORMS
.
As part of the larger Mid-Eastern Ashoogh family, it is important
to note that Armenian ashoogbs draw upon Persian/Arabic poetic and
musical forms. According to the scholar Kareln Levonian (1872-1947),
master ashooghs of dIfferent natlonalitles, among them a certain number
of Armenian altered and enrIched the exist1ng forms
considerably over the centur1es.
This chapter 1S a summary and synthesis of prImarily three
sources: Karekln Levonian's Ashoogbnere vey Nraots Manoog
Apeghian's Hayots Lezyi and Aram Kotcharian's llaY
Koosanagan Yerker.
67
Chart A lllustrates the confl1ct1ng codIfications
of poetic forms, not only ln these three sources, but also among other
authors, who have partially dealt with Sayat Nova's khagbs. Levonian's
work is a revIsed and expanded verSlOn Qf a series of ear 11er
publications, since 1892. His source of information cuncerning
accentuat10ns, metric d1v1sions, caesuras, forms and schemes, is
Ashoogh Djlvani. Apeghlan, Kotcharian and later authors rely on
Levonian as theIr primary source. ApeghIan, whose Inter est lies in
Armenian prosody--its metr1c formulas, rhythmic patterns and
accentuation rules--uses Levonian's wrltlngs as a point of departure to
67 Karekin Levonlan, Ashoogbnere yey Nrants Aryeste (Yerevan:
Haybed hr ad , 1944), Manoog Apeghian, Works. Vol V: Hayots Lezyi
Daghatchapootloone (Yerevan: ASSR Ac. of Sc. Publ., 1971), and Aram
Kotcharian, Hay KOQsaoagan Yerker ,Yerevan: ASSR Ac. of Sc. Publ.,
1976). All other quotations will be clted.
Levonian was Ashoogh Djlvani's son, and Shara Dallan's cousin
(see, fn. 40, chapter 2).
36
prove that Armenian asboogh poetry, generally speaking, does not comply
with Armenian language accentuation and rhythmic patterns. Koteharian
for his part, gives us a historie overview of koosao-ashoogh tradition
in Armenian musical culture, then explains ten of the poetic forms most
commonly used by Armenlan ashoOShs, with meladie examples. The meladie
and rhythmic characteristics presented by Kotcharian will be reviewed
at the end of this chapter. It is of utmost importance to note that the
overwhelming majority of eX8lTll?les has been extracted from nineteenth
century ashoogh pCletry, in which Ashoogh Djivani is given a leading
place.
According to Levonian, ashoogh poetry uses four
main rhyming schemes, which were exclusivaly employed (or formalized)
by medieval Persian poets. Armenian ashooghs adopted these schemes
literally. Only the very exceptional ashoogbs were able to create their
own schemes and forms along with the existing ones .
.Rhyming sche.me...J.: Uses four-line stanzas. ln the first stanza
lin es 1, 2, and 4 have the sarne rhyme, while line 3 is free of rhyme.
The first three line's of the following stanzas have a new rhyme and the
fourth line uses the sarne rhyme as lines 1, 2, and 4 of the first
stanza.
Stanza 1: ------a Stanza 2: ------b
------a ------b
------x
------b
------a
------a, etc.
Khaih 48 by Sayat Nova follows this scheme, whereas 33 other kbaghs by
the poet display a variation of it:
37
Stanza 1: ------a Stanza 2: ------b
------a ------b
------a ------b
------a ------a, etc.
Rhyming scheme 2: Uses four-line stanzas. In the first stanza
lines 1 and 3 share the same rhyme, likewise lines 2 and 4. In the
following stanzas lines 1 to 3 share the same rhyme, while the fourth
line rhymes with lines 2 and 4 of the first stanza.
Stanza 1: ------a Stanza 2: ------c
------b ------c
------a
------c
------b ------b, etc.
Six khaghs by Sayat Nova use this scheme (27, 28, 29, 53, 55, and 58),
and of these the first thl'ee aiso have refrains. !Q1agh 27 differs from
the l'est by using - cac a (a) - rhyming scheme for i ts second verse.
(
There are ] 5 hhaghs l th - x a z a, b b b a - rhyming scheme, no where
presented by Levonian.
Rhyming scheme 3: Uses six-line stanzas. In the first stanza the
srune rhyrne is used for aIl six lines. The following stanzas use one
rhyme for the first fi ve lines 1 whlle the sixth line uses the rhyme of
the first stanza.
Stanza 1: ------a Stanza 2: ------b
------a ------b
------a ------b
------a ------b
------a ------b
------a ------a
This scheme does not appear in Sayat Nova's khaghs. The closest example
in his work is the scheme used in khagh 8 with an - a a a a (a a), b b
(
b b (a a) - scheme, the (a a) standing for the refrain.
BhJlIIlilli scheme 4: Uses four-line stanzas. Although similar to
scheme 1, it also rhymes the penultimate word of each line.
Furthermore, the fourth line of each stanza uses the srune rhyme and
word as lines 1, 2, and 4 of the first stanza.
Starlza 1: ------(i)------a(nazani)
------(i)------a(nazani)
------(i)------x(nazani)
------(i)------a(nazani)
Stanza 2: ------(ii)------b
------(ii)------b
------(ii)------b
------(ii)------a(nazani)
As in the case of rhyming scheme 1, there is an alternate scheme 4 that
applies t0 Sayat Nova' s poetry, wi th aIl four lines of the first stanza
using the srune rhyme. Whereas sorne of Sayat Nova's complete khaghs use
the aJternate rhyming scheme 4, others contaln only a few stanzas that
make use of this scheme. On the other hand repeti tion of rh;Ylned '.Jord i8
very common in Sayat Nova khaghs.
Along with Persian/Arabic rhyming schernes, Armenian ashooghs made
use of poetic forrns, originated in Persian/Arabic ashoogh culture.
Poetic forms stand for the Tlumber of syllables pel' line, phrase
segmentation pattern WI thin parh line (whlCh will be shm-m wi th a
caeslira marl\) and an accentuaU on scheme. In ~ s h o . Q g h puetry a rigorou5
pattern is imposed 1Ip::>n each llne, regardless of whether the accents in
the pattern coinclde with the normal tonie accents of individual words.
Since most Armerllan ashogghs simply adhered to the prefixed metrical
patterns rather thall ta the natural accents of the llTlguag, the
coherence of the poetic line was often disrupted hy breaking up ,,,ords
at frequently inC'omprehensible points. Armenian philologlSts have
cri ticized Armenian ashoogh l'oetry as havu!g improlJer acrentuation
patterns alld unsuitable syllabic groupings which distort the
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language.
68
In other wards, the simple and camplex ward/phrase rhythms
of a language (yamp, anabest, taktil, korey) are not taken into account
by ashooghs. lRt us examine briefly the requirernents of Armenian
prosody as presented by Apeghian, and then compare them wi th ashoogh
poetic forms and their requirements.
In his in-depth analysis of Armenian prosody, Apeghian equates the
study of prosody wi th the study of musical rhythm of a language, both
spoken and written. Rhythm derives from accented and unaccented
syllables of words. w'ords combine to f(lnn phrases, h'hich themselves
have certain accented and unaccented h1onis. It is important ta note
that, theoretioally speaking, although t.here are no long and short
vQIo,Tels in the Armenian language, in pract.ice long/short syllables are
applicable in the formatiOlI of accented and unaccented syllables. Short
and long syllables stern from certain granunatical rules, such as the
Importance gi ven ta the final full sy Il able of the h10rd which h1ealns
the prey ious sy llables, or the presence of the mute vowel wi thin a
cluster of consonants (r:.. =['1]), resulling in a short syllable as opposed
to neighbouring syllables which have complete vowel sounds and
therefore are, in effect, longer. Although there is no fixed rule; the
length of a syllable is based on the position, the formation of the
syllable wi thin a ward, and the duration it takes to annunciate the
syllable. Consequently, long syllables receive stronger accents than
68. G.K. Toorkarian states that only in the works of famous
ashooghs sometimes the musical accent coinclded h1ith ward accents, but
never with rhythmic accents of the language. "Sayat Novayi Hayeren
Khagheri Daghatchapoutioune," !:ladma, 1963/3, p. 67.
40
short syllables.
Apeghian presents three accentuation possibilities in spoken and
written language: (1) word accent
l
which as a general rule falls on the
final syllable, gives the metre, (2) speech accent or intonation as the
sentence is recited, contributes to the register of the spoken and/or
sung syllable, and (3) grammatical accent, where certain grammatical
rules may alter the word accent, creating the agogic (i.e., long-short)
accent. The coordination of these three accents make the accentuation
pattern of a phrase.
In the Armenian lrulguage, as stated above, the accent in
polysyllabic words falls on the final syllable. Note that the article
(the: r :[aJ, for example in hay-ri'g, hay-ri'-g/e), always attached
to the end of a is never accented. Exceptions to this general
rule are few, and they include transliterations of non-Armenian words
and certain names whp.n addressed. Sorne words are accented either on the
first or the last syllable, depending on their in the
phrase. PolysyllablC words may also have a secondary weaker accent.
When two accented syllables follow one another, one of them loses its
accent, unless there is a rest (caesura) in between them. Generally
speaking, it is almost impossible to write poetry ln the Armenian
language with taktil (since few phrases may begin with accented
syllables), unless the phrase begins with a monosyllabic word.
Apeghian gives three criteria essential to create poetry according
to Armenian linguistic-poetic conventions.
1. The rhythmic accents of a poem should coincide with the natural
accents of the language; consequently, they should also coincide with
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41
the strong and weak accents of music.
2. Poetic and meladic (means metric) caesuras, phrase
segmentations, should also coincide.
3. The number of accented syllables in a poem should not exceed
the accented beats in a melody.
If ashopgh poetry had adhered to the ab ove three criteria, says
Apegh.an, then it would have been possib13 for ashooghs to create
poetry suitable to Armenian language accentuation.
Certainly, when the entire body of ashopgh poetry is analysed
according to the rules of Armenian language, there are unnatural and
cross rhythmic groupings, which often break words and phrases and make
the meaning of the text unintelligible for the listener. But it must be
remembered that the prime concern of the ashoogh was the correct use of
the peetic ferms, and the rhythmic patterns and groupings imposed by
them. And above aIl, the ashoogh was the spontaneous performer, never
the desk poet with abundant time to write his poetry.
Having said this, it is important to note while studying the
accentuation patterns and musical accents in Sayat Nova poetry, these
rules are applicable to written and spoken Western and Eastern
Armenian, which were formalized during the second half of the
nineteenth century. There existed numerous Western and Eastern Armenian
spoken dialects until the twentieth century. Each dialect had its
unique accentuation patterns, often far removed from these literary
languages mentioned above. In the Eastern dialects, for exemple, the
penultimate syllable was accented. When this syllable had the mutec=
[a] sound, then the final syllable was accented. Since the Tbilisi
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42
Armenian dialect fell in this category, it is crucial to take this fact
into consideration when analyzing the rhythm and meter of Sayat Nova
melodies, as will be shown below.
s8
Just how closely Armenian ashooghs adhered to these forms, and to
what degree they developed them lS a matter for discussion outside the
scope of thlS thesis. Only the forms most widely used by Armenian
ashooghs, and speclfloally by Nova, wlil be presented here.
Baytavoor: Thls poetlC form has flve-syllable lines. The only
accent falls on the syllable of the first line, and on the flrst
syllable of the second hne alternately. Rhythrrnc pattern: v v v v
,. v v v v
Example: Gv anoghorm yar,
v v v v
should be: v v
kashi modet dar,70
v v v v
should be: v v "
S8. N. Aghpallan, Sayat Noval Hed, in Works: Vol. Il (Beyrouth:
Hamazkain Publ., 1966), p. 44. Apeghian, Hayots Lezyi, Vol. V, pp. 20-
21, 235-236, where he pOlnts out that language accenluatlOI1 ln East.ern
Armenlan dlalects and in folk song lyrics differ conslderably from
Eastern and Western written Armenian. The followlng 18 an example of a
folk s.;;mg lyric and lts accentuatlOn pattern as presented by Apeghian:
Accentuation as per written langu&ges: Chaghatss marn, manl
v v v v
Kouns anoush ge danl
v v v v
Accentuation as per dialect/folk lyric: Chaghatss man l , maIn
A
v v v v
(this is the correct accentuatlon) Kouns anoush ge dan i
v v v v
If we aocepet that folk lyrics are accented according to the
accentuation rules of Eastern Armenian dialects, poetry shouid
aiso receive the same treatment.
70. This kbagb lS by Ashoogh KoorJl Nave.
(
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0'
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43
According to Apeghian it is impossible to ~ i t e poetry with this
metrical pattern in Armenian, since that would require more than one
accent, be it a speech or word accent, per line. Apeghian codifies
Sayat Nova's khagb 30 as baytavoor, while Levonian and Kotcharian
codify it as 15 syllable mookhamaz. There is no baytayoor in the poetic
forms presented by Levonian.
71
Ba,yati: The shortest line belongs t,o bayati poetic form. 72 It has
7.syllable lines with 4-3 or 3-4 groupings, and uses rhyming scheme
number 1. The rhythmlc pattern is, v v " v 1 v V A, which is suitable
to Armenian word/phrase accentuation. Any correct accentuation is
coincidental, says Apeghian.
Example Hin dzar
v v
should be: Hin dzar
v
em a/revelyan
A v/ v v "
em! areve lyan 73
v Ivvv'"
Armenian yeedjag (fate) songs draw upon the same number of
syllables as this poetic form. Contrary to ashoogh poems, the yeedjag
songs have three accents in each line, the most important one of them
always falling on the last syllable of the line, while the other two
vary in strength and position. The rhythmic pattern is as follows: A v
V A 1 v V A, A V V V A / v A, or A v 1 A V V V A. It is not surprising
then, to find bayati khagbs by Armenian ashoogbs, which are closely
71. Although Apeghian cites only Levonian as source of
information, he not only presents other poetic forms, but also gives
contradictory rhythmic patterns, phrase segmentations and form
designations. This leads us to believe that he made use of other
sources which he neglected to cite.
72 Levonian, Ashooghnere, p. 66.
73 This khagb is by Ashoogh Dj ivani.
-
44
related to Armenian veedJag song rhythrnic patterns rather than ta the
actual bayati rhythmic patterns. 74
Sayat Nova has three bayat! khaghs (11, 21, wld 60) but each of
these is combined Hi th another PoetlC form. In khagh 11 a }JOetic fonu
Imown as mookhamaz (5 verses) al ternates wi th 5 verses of Hi th
an additional 3 verses of appellded at the in
21, 5 bayati verses al ternate \ th 5 (quatrain) verses; and 1n
khagh 60, 3 groups of gha_zel, baJ1!ti, g]10hrna poetic forms are
combined.
75
Quhayt: Dubayt can have 3 t 5 stanzas with four eight-8yLlable
(4+4) lines each. It uses rhyrniug scheme number 2.
Rhythmic pattern: line J: v v v / v v v
line 2: A v v v / A V V V
This pattern also works well wlth Armenian Hord/phrase
accentuabon. There are no rumotated actuklly called dtJ.Qayt by
Sayat Nova. Yet sorne of my sourees (see, Chart Al l'efer lo khagh
numbers 4, 7, 9, 10, 23, 38, 61, 70, as " 9, 10, 23,
38, are annotatel as TasliQ by the poet, the l'est. have ther no
armota ti ons , or are gi ven names assodated Hi th technics of poetic
artifice that Hill he explained below. Only iihagh 4 i8 codified as
in most of my sources.
Taslip: Among other eight syllable poetic forms, Apeghian
74 Apegh1an, Hayots Lezvi, pp. 236-239. Talunizian, "Knllagan," X
( 1970), p. Hl. See also Isabel Kapri eli an , "Anuenian Foll{-Bel ier th
Special Emphasis on Vee,Jag," PolyPhony (Toronto: Multicultural Histol'Y
Society of Ontario, 1982). pp. 101-106.
75 Bayall occasionally sung at the end of a often has
something in commun with the poem, when sung alone it is a prajse of a
coffee house patron or a Hedding gUE'st. Farr, The Music, p. 123.
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describes the taslip. Similar to dubayt in its rhythmic patterns,
tas1ip has a refrain between the third and the fourth lines of the
stanza, which consists of 3 or 4-syllables of one to three lines. One
of the main chaL'acteristics of taslip is the repeated phrase at the end
of each stanza.
Sayat Nova tas1ips 7 and 23 adhere to this description, while
khagbs 9 and 10 are khaSbs and are closer to the dubayt
form.
Ghoshma: Ghosbma is one of the most popular forms in ashooih
poetry. It can have 3 to 5 stanzas, each consisting of 4 lines. The
lines have ll-syllables with one of three groupings: (a) 6-5, (b) 4-4-
3, or (c) 3-3-3-2. It follows rhyming scheme 2.
Rhythming pattern: (1) v v v v V A / v v v v for line 1
v v v V A V / v v " v v for line 2
(2) v v '" v / v v ... v / v '" v for lines 1 and 2
(3) v v '" / v v '" v / v A V ... for line 1
v '" v / v '" v v / '" v ... v for liue 2 76
Apeghian gives only one rhythmic pattern for
v v v v " v / v v v V A for line 1
v A V V V " / A V V V A for line 2
Other 11-syllable forms are presented as dastao, sharki, yetaklama,
except for dastao (a long poem usually dealing with historical
and heroic subjects), as codified by Apeghian, the other forros are not
used by Sayat Nova (khagh 18, annotated as gbapia-yarana by Sayat
Nova) .
Rhythmic pattern: v v v '" / v v v '" / v v ... for line 1
v v v " / v v " v / v " v for line 2
76 Levonian, p. 55.
.......
......
.....
46
This rhythmic pattern is rarely used by Armenian ashooihs, ellen
though it is suitable to Armenien language accentuation.?7
Despite the popularity of the form, Apeghian believes that
it is difficult to compose poetry with this rhythmic pattern in the
Armenian language, since ics acoentuation pattern does not comply with
its word/phrase
Sayat Nova khaghs, designa1:ed as ithosbmas by various authors (see,
Chart A), have Ghapja (16), Ghw;,ia-yarana (14 and 18), Gbapja-Okootlama
(15), Shirvaoi (27), Ghapia-yarsWSh (17), Ootchlama (19), Gharaheja
(53, 54 and 55) annotations in the original manuscripts, either in the
poet's or his son's handwriting. Ail of these terms are tecbnical names
to be explained further on.
Mookhamaz: This is the poetic form most Cl)iamOn in Sayat Nova's
works. It may have 5 to 7 stanzas, each with 4, 5, 6 or even 8 lines .
The lines may have 14 (4-3-4-3), 15 (3-4-4-4), 15 (5-5-5), 16 (4-4-4-4)
and 20 (5-5-5-5) syllable groupings. Obviously, the initial metre,
i.e., poetic form, "las 5-5-5, sinee the word mookhamaz means pentagonal
in Persian. 78
MOQkhamag uses rhyming seheme 3. The rhythmie patterns are as
follows: 14 syllables: v v v " / v v '" / v v v " / v v .,
15 sy 11 ab les: v v " / v v v " / v v v " / v v V A
15 syllables: v v v v " / v v v v " / v v v v .-
16 syllables: v v v A 1 v v v " / v v v " 1 v v v .-
20 sy11ables: v v v v " / v v v v " 1 v v v v '" / v v v v '"
?? It should be mentioned that such epic poems were part of the
ancient Armenian yibassao-koosaIl repertory, for example, the epic story
of Prince Jevanshir by Tavtag Kertogh (VIle.), Tahmizian, "Knnagan," l
(1971), p. 43.
78. Levonian, AshoQgbnere, p. 56 .
,
1
1
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47
When the penultimate word is also rhymed, it is also accented.
There are four khai.bs annotated by Sayat Nova as mookhamaz; (11
with a bayati, 12, 13, 57), and two (5, 52) by his son, Ohan. Chart A
demonstrates how my sources are in disagreement in assigning mookhamaz
form to Sayat Nova .kbaghs. Apeghian gives only one rhythmic pattern for
14-syllabic mookhamaz: v " v " / v v ,.. 1 v v v " / v v ". For longer
lines (15, 16, or 20 syllables), called mookhamaz by other sources,
Apeghian uses the terms ghazels and diyaois (15 or 16 syllables) and
semayis (16 or 20 syllables). 78
Mustazat: A poetic form of 4 to 5 stanzas, each with 4 Enes. It
has 14-syllables (5-4-5) for the first and the third lines, while the
second and fourth lines have 6-syllables only. Its rhyming scheme does
not correspond to any one of the rules outlined above: a a a a - for
stanza 1, - x a x a - for stanza 2, or - a a a a , b bec, d d e e
Rhythrnic pattern; '" A V V vi'" v v v / '" v v V A for line 1
" v v v / " v for line 2
The only mustazat marked in Sayat Nova khaghs (8) cornes from
Ohan's manuscript. It lacks the short line, which is characteristic of
this poetic form and instead it has a two-ljne refrain.
The sarne form with the short lines omitted is called Ghalantari,
by Levonian, and Ghazel-ghalaotari by Apeghian. Its rhythmic pattern;
" " .... v v 1 v " v v / v " v "v is not suitable to Armenian word/
78. According to Farr, m o o k h a m a ~ stanzas are ten lines long; the
Unes contain either eight syllables or seven and eight syllables
aiternatively. The rhyme scheme is irregular for odd numbered lines,
but regular for even numbered 11nes. Farr, The Music, p. 122. See aiso
Belaiev, Central Asiao Music (n.p., [no publ.], 1975), p. 143. There
are no ten lined mookhamaz in Armenian ashough poetry, but five-lined
are very common.
48
phrase accentuation. Levonian' s rhythmic pattern: v v v " v 1 v v v vi
v v v " v is likewise unsuitable. Khaih 8, annotated as mustazat by
Ohan, is referred ta as gbaze1-gba1antari by Apeghian. Altbougb this
khaih does not bave tbe characteristic short lines of a mustazat, it
a1so does not fit into the foregoing description of either gba1aotari
or ghazel-gba1antari forms. Tbe rbyming scheme here is - a a a a (a a),
b b b b (a a), - wbich does not compare with the rhyming scheme given
by Levonian, - a a x a, x a x a.
BO
Gbazel: The ghaze1 consists of three stanzas with four 15-syl1able
lines, which are grouped as : (1) 3-4-4-4
Rhythmic pattern: v ~ v 1 v v " v 1 v v ~ v 1 v v " v
(2) 7-8
Rhythmic pattern: v v V v A V v 1 v v v v v '" v v line 1
v v v v v v A 1 v v v v v " v v line 2 B1
Apeghian presents only the first grouping with alternating
rhythmic pattern: V A V 1 v V A V / " v v v 1 A V V v line 1
v v " 1 v V A V / A V V v 1 A V V v 1ine 2
none of wbich is suited to Armenian language accentuation, he claims.
The rhyming scheme given by Levonian (a a x a, x b x b etc.), once
again does not correspond to any one of the four rhyming schemes
presented by him.
According to Farr the gbaze1 is not divided into v e r s ~ s or
Ba. According to Farr ghalantari are the "song of itinerent
dervishes." Farr, The Music, p. 128.
B1. The medieval Armenian poetic form, Hayren, which was the main
poetic form used by both Armenian koosans and d.a.gba.c;ats, bas 7 and 8-
sy1lables to a line, grouped 2+3+2/3+2+3, with the lollowing
accentuation pattern: v " / v v A / V A, V V A 1 v AI v v A
Apeghian, HaYots Lezvi, pp. 226-227. Kotcharian, Hay Koosanagan, p. 21.
Atayan, Haygagan, p. 80.
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stanzas; i t is, rather, a ser ies of bayts (2 Unes), the rhyme scheme
of which should be: -----a -----a -----0 -----a
-----b -----a -----cl -----a 82
Sayat Nova wrote his gbazels in 4 to 5 stanzas with 18-syllable
lines (6, 24. 25, 42) containing irregular groupings, and used rhyming
scheme number 3, often with double rhymes within a line.
Divani: A poeUc form with three stanzas, two or four 15-syllable
lines (4-4-4-3) and a rhythmic pattern suitable for Armenian word/
phrase accentuation: v v v " / v v " v / v v '" v 1 v '" v. Levonian's
rhythmic pattern: '" v v v 1 A V V v / '" v v v / " v v , would not be
suited to Armenian word/phase accentuation.
ea
Sayat Nova has two divanis, which are written in two line stanzas
(khagh 2 and 3) and sometimes with an irregular syllable grouping (4-7-
4, 4-4-3-4). Their rhyming scheme is: -----a -----x
-----a st. 1 -----a st. 2,
Both Apeghian and Levonian present various diyani complex poetic forms,
not all of which are connnon to Armenian asbopgh pot:Jtry. Nakarat=diyani,
the only form suitable to Armenian word/phrase accentuation and with
rhythmic pattern - v v ... v 1 v v " v / v v ~ v / " v ", has not been
used by Armenian asbooghs.
84
Semayi : A poetic form of 16-syllable lines (4-4-4-4), may have 3
to 4 stanzas. Semayi is written in rhyming schenle number li if rhymed
lines end with the sarne word, the preceding words are also rh'ymed
82 Farr, The Music, p. 128.
63 Apegbian, Hayots Lezvi, p. 268. Levon ian, AshoOj1l1ruu:.e, p. 53.
64 Apeghian, Hayots Lesvi, p. 269. In Turkey diyani refers to
poetry written acoording to the rules of aIUZ. Farr, p. 128 (Dicken
1975: 239).
50
(scheme 4). Its rhythmic pattern - v " v v / v ,.. v v / v " v v / v " v
v, is not suitable to Armenian word/phrase accentuation.
BS
S e m ~ s with
six lines to the stanza are called lIl\lSSfiICles-semayi by Levonian.
All 28 of Sayat Nova' s 16-sy1l1ab1e khaghs are labe1ed as semayi
by Apeghian with no explanation, even though the poet has annotated
many of thern as ghazeL taslip, mookhamaz, wssecjes (see, Chart A).
Apeghian also gives 20-sYllable poetic form, which he calls
semayi. The rhythmic pattern of this is: v v v v ... / v v v v "/ v v
v v" / v v v v ", a1so not suitab1e to Armenian word/phrase
accentuation, he states.
Apart from the poetic forms presented above, there are a number of
types which require a specifie technical agility from the ashoogb, or
are required to be recited under certain circumstances or specifie
occasions. A joint presentation of poetic forms and what may be termed
technical forms is very common and their complexity depends on the
mastery of the ashoogh.
Thus, in Gafia or Ghapia rhyming is the prime purposei
es
in Bubayi
each stanza contains one central, often philosophical idea, and aIl
four lines have the sarne rhyme; in Tedjnis the rhymed words are the
sarne but each has a different meaning (a type of word game); in
Bahritawil, the lines and also the stanzas create an undulating effect,
B5, Farr refers to semayi as "a ritual dance tune" genre in the
dervish repertory, Farr, Tbe Music, p. 127.
B6. Often Ghapia poetic form has been referred to as Ghosbma by my
sources, They seern to be synonymous. See, Toorkarian, "Sayat Novayi,"
Badma, p. 72,
(
(:
(
51
they are often long reci tations of admonitions. 8'1 Note lhat Sayat
Nova's Bahritawil 4) is S\.ll),g in a recitative style with free
rhythm: in Varsagh the 2nd and 4th lines of the first stanza and the
final lines of each consecutive stanza are spelled-out wi th their
equivalent alphabetical sounds, Le., tas=ta, ayp, se (see, Sayat Nova
54, 55) ;88 in ZincUirlama the last word of each stanza
(snmetimes the complete final line) is repeated as the first word (or
line) of the next stanza, thus fonning a chain 61 and 11 use
zindJirlama,) ;89 Garahed.ias contain a secret to be deciphered by the
listener or reader, acrostic gharaheclias, usually created during a
competi tion, are constructed on the order of the alphabet names in the
given language (khaghs 53, 54 and 55) ;90 Bass is an oral recitation in
competi tion, where the ashoogh' s answers are govemed by the
eompetitor's questions.
91
Other poems ereated for specifie occasions or that have a specifie
subject matter are: Teyishrna. or Asi-asav, an antiphonal poem in whieh
love is often the subject 27, 65, 66, 67); Yarana also a love
poem 14, 18); Okootlwnas 15, 19, 20, 36, 46), poems of
B 7 Levonian maintains that Bahri tawil are red ted rather than
sung. Levonian, Ashooghnere, p. 64.
BB Levonian, Ashooglmere, p. 75. See also Toorlmrian, "Sayat
Novayi," p. 72.
90 Bakhtchinian, "Tidoghootioonner," Badma, pp. 215-216.
91. Barooyr Sevag, Nova, p. 38. See also Levonian, Works
(Yerevan: [no pub1.] , 1963), p. 188.
52
advice addressed to yotn'lg ashooshs or to a certain indi vidual."
2
In
Ootchlama the ashCX?Sh discusses three subjects 19), i.e., the
earth is governed by brain, power and wealth;t3 Tchavsatnames are
autobiographical poems, such as Sayat Nova's khagh 67 in Azerbaijanijll4
Razi811i 50) means agreement or word of agreement and i ts
antonyme is the fom cailed Ratiani, which means refusal;95 Ilahi is a
prayer, exemplified by Sayat Nova's 56 (written in Armeni811
script in the Azerbaijani section of the Daftar in two languages:
Annenian and Azerba.ijani), and is a dedication to his "moussa", Saint
Garabed. Il e
'Ibere are numerous examples of these technical forms used in
conjunction with the poetic forros described above. Sayat Nova was the
master of combining foI1JlS wi th extreme technicai di fficulti es . His
21, for example, uses rubayi, varsash, and tedjnis technical
forms in tasliQ and yati poetic forros. At first two poetic forma
aiternate, the first sets are 5 stanzas of bayatis, each with 6 lines
of 7- syIIables and wi th a rhyming scheme for verse 1 of - a a x a a a,
and the remaining verses of - a a x a x a. The bayati verses in their
entirety represent one taslip. TIIe alternating verses are varsash,
which taken indi vidually are rubayi quatrains. For this reason Sayat
Nova annolated this as rubayi-ba.yati-taslip. Furthennore, this
92
Levonian, Ashooghnere, p. 78.
93

Levonian, , p. 75.
94

Levonian, Ashooghnere, p. 78.
95
Toorkar i an, "Sayat Novayi, " Badma, 73.

p.
96
Bakhtchinian, Sayat Nova, pp. 204-205.
1
(
(
(
53
lIDYh is also a ted.inis (a ward game) addressed to Anna. 9 7 ~ 11 is
a mookhamaz-bayati in al ternating stanzas. 'nie poet combines these two
poetic fonDS with the technique of zind.iirlama, chaining of stanzas.
'Ihe rhymed penul timate ward of mookhamaz is repeated. as the first word
of bayati stanzas.
An over lap of eodificatio' 1 in designating poetic and musical forma
is presented both by Levonian and Kotcharian. A nunber of poetie forms
are recognized by bath authors as having specifie melodie and rhythmie
fonnulas associated by them. Levonian gives one example each of dubayt,
shazel, divani (Ashoogh Djivani), semayi (Ashoogh Haves)_, shoshma
(Ashoogh Zahri) and mustazat (Ashoogh Shirin), and elaims that sorne of
these poetic/musical fonns have one fundamental melody, while others
also have variants. Furthermore, he suggests that sorne have a specifie
metre. Yet, he does not have the answers to questions such as when,
where and who created these melodies.
Kotcharian, on the other band, gives more details and analyses of
ten of these poetie/musical forros. Of these, dubayt is presented as
having the most varied metrie division and also v8ried musical forma,
frOID simple repeti ti ve melodies of one tetrachord ambi tus to more
elaborate and extensive melodies of over three tetrachords. Of the four
Sayat Nova ~ s eodified as duyt by various sources, only ~ 4
(song II, 63 ed.), annotated as paritavoor-yarana by the poet, compares
closely wi th some of the melodie and rhythmic characteristics gi ven by
Kotcharian. Song II has constantly chan.dng meter (12/8, 314, 6/8, 4/8,
97. Bakhtchinian, Sayat Nova, pp. 169-79.
---------------_. - - - - ~ .. -------_. ---- ---
-
54
5/8, 16/8), and an overall range of a 9th (almost three tetrachords).
The remaining three khaghs (7/VII, 23!XXIII, and 38) are annotated as
tas1ip by the poet. Levoniwl's dubayt from Ashoogh Djivani is best
transcribed in 5/8 metre and Aeolian-Dorian merle (in Armenian
liturgical music this is designated as yergrort tzayn to be discussed
under Tzavns). ee
According to Kotcharian, an interesting characteristic of many
taslip meladies is the alteration of slow/fast tempi within one stanza.
For example Sayat Nova's song VII (khagb 7) has a slow main melody and
fast refrain. Generally speaking taslips may be transcribed as 6/8
metre, although there are some 3/4, 3/8 and mixed metric taslips. The
most common subdivision is short long or long short groupings: r J
J f. It is important to note that Sayat Nova taslips are not
identical in their rhyming scheme, nor do they have the sarne number of
lines per stanza or similar segmentation of lines ( ~ s 7, 9, 10, 22,
23, 38, their lines and groupings are shawn on Chart A). Moreover,
those that have come to us with melodies (songs VII, XX, XXIII, XXVII)
also differ from one another considerably both in their melGdic and
rhythmic formations, even when they share a similar pitch configuration
(as in the case of sangs VI l and XXVI l ) .
Melodies built on ghoshma are generally in free recitative style,
says Kotcharian. Of the five khagbs with meladies recognized as
ghosbmas (ghapia by the poet), aH but one may be transcribed in the
sarne metre throughout. KhaS.h 14 (IX) has mixed metre of 5/8, 3/8, and
ee Kotcharian, Hay KoosanBian, p. 25. Levonian, Ashooghnere, p.
99.
(
55
6/8, number 15 (XI) is in 5/8 dance-like metre, number 27 (XIV) is an
antiphonal love song in 6/8 Metre, number 18 (V) has a fast 5/8 section
followed by a recitative-like refrain in 8/8. Only khBih 16 cm) is in
recitative-like style for the initial stanza, even though it is written
in 6/8 Metre, followed by 5/8 lilting melody for the second stanza.
The Most common metric division of DlQokhamaz is the 6/8 and the
music contains Many repeated patterns suited to danees. Melodie phrases
are primarily syllabie from three ta four bars long for each poetie
line, whieh as a rule are repeated, says Kotcharian. None of the kllagbs
annotated as JnQQ)s.bamaz by Sayat Nova have come to us with meladies.
Those codified as mookbamaz by various authors (see, Chart A) have
insignificant similarities with Kotcharian's description of mookhamaz
meladic and rhythmic eharacter istics. On the contrary, two of these
songs are in 3/4 Metre (s()ngs XVln, III) with melismatie meladie
phrases; song XII alternates between 9/8 (4/8, 5/8) and 6/8 in slow
recitative-like two bar phrases; the remaining four sangs (VIII, XXIV,
XXV, XXVI) although in 6/8 Metre, often alternate between 6/8 and 3/4
groupings. Repeated poetic lines to each Melodie phrase are found in
sangs XXIV and XXVI with variations.
According to Kotcharian there is only one song in mustazat form in
the entire Armenian ashoogh repertory. aa Sayat Nova' s khagh 8 (song
XXV), annotated as mustazat. by Ohan does not compare with the example
given by Kotcharian.
Sayat Nova's ghazels (songs IV, VIn and XIX) vary from one
ee. Koteharian, Hay Koosanagan, p. 42. The Ashoogh Shirin' s
(1827-1856) melody see, Kotcharian, Hay Koosaoagan, p. 239.
. '
56
8llother fundamentally in their melodic and rhythmic pettems. Song IV
is to be sung by an ancient Persian melody, says Levonian. Yet, the
rhythmic and melodic patterns of this same melody are present in
Annenian folk ("Alakyaz"), and. sacred melodies ("Dararlzeal") .100 Of the
other two songs, n1.lliber VIII bas none of the characteristics descr ibed
by Kotcharian. Neither does song XIX, which with its lilting dance-like
6/8 metre, bas a festive mood, rather than the depressed mood of the
tmrequited love or emigre songS, described. by Kotcharian. 'The two other
shazel melodies in the Annenian ashoosl! repertory, pl. -esented by
Kotcharian, belong to Ashoogh Dji vanL1 01
It was customary for ashooshs to begin their concert with a
divani.
102
Various metric divisions are employed in these poetic forros
(5/8, 3/4, 4/4 and even free metres). Those with free Metres are in
recitative-style. They have wide ranges, their initial Jilrases often
beginnins from the uppennost register of the melody, then descending to
the final of the melody. Melismas are very coomon in these melodies.
Sayat Nova's only divani ( ~ 2) which bas come to us with its melody
(song XXI) has close similarities with examples given by Kotcharian.
103
The three remainiDS poetic-musical fonns; sema.yi, dastan, shaki,
discussed by Kotcharian are not present in Sayat Nova songs.
c.
100. For melodic examples sce, Gomidas, Vol. l, p. 60, and
Tahmizlan, Nerses Shnorhali: Yerejishd yev Yerkahan (Yerevan: ASSR Ac.
of Sc. Publ., 1973), p. 88.
101. For music, see, Levonlan, Ashooghnere, p. 99, and l\otcharian,
Hay Koosanagan, p. 123.
102. Kotcharian, Hay Koos81lagan, p. 32.
103. Kotcharian, Hay Koosanagan, pp. 32-35
(
( ~
(
57
Of the 72 Armenian khaghs written and/or ascribed to Sayat Nova
only 5 are in rhyming schernes described by Levonian. Assuming that the
same rhyming schemes were used by eighteenth century ashooshs, i t is
only fair to say that Sayat Nova did not adhere to these schemes.
Rather he created. various schemes or modified the existing ones. Even
more crucial is the application of accentuation rules of the Annenian
written languages upon ashoogh poetic forma and their consequent
rhythmic patterns. For one, Armenian wri tten languages began to he
fonnalized only after the mid-nineteenth century, and for another,
Sayat Nova' s ~ s were concei ved in mid-eighteenth century primarily
in the Tbilisi Armenian dialect. Thus, in comparing textual and musical
accents in Sayat Nova khaghs, it is important to consider the
accentuation rules of the Tbilisi Armenian dialect.
As to the exact characteristics of poetic forms, considerable
controversy among Armenian a.uthors has heen demonstrated here. In
addi tion, certain tenns are used. simul taneously to describe both poetic
and musical forms; in other words, some poetic foI'UU3 are associated
with certain musical patterns or fonnulas (recitative or elaborate
melody types, free or strict rhythmic patterns). Rarely do the
musical designations correspond to Sayat Nova melodies. otherwise,
khaghs in the same poetic forma should have been sung to the same or
similar melody, which certainly is not the case. Even an annotation,
such as "in the same rhyme as 'Tiba. 00 yenki doonia'" by the poet
himself, oes not mean the annotated ~ s are to be sung to the same
melody. This pa.rticular armotation appears in nine khaghs, of which
nl.DIlbers 34 and 45 have melodies distinct from one another (see melodies
58
XII and XXIV). On the other hard, khash 5 which is entitled "Tiba 00
Yenki Doonia"--annotated by the poet "this in the rhyme of the song
'Gozallar ... '" -- bears a melady very similar to kb.aSh 50 which in turn
compares with one of the folk dance meladies, named "Shoashigi,"
collected and arranged for piano by Gomidas. Thus, if poetic fOlms or
even annotations by the poet were any indication as to the type of
melody the khagh is to be sung, then reconstructing the melodies of the
majority of these khagbs would have been simplified.
Unless further research is done on the rhyming schemes an poetic
forms employed by the eighteenth century Armenian ashooghs and compared
with those used by ashoogbs of neighbouring cultures, codification and/
or discussion of these forms applied to Sayat Nova will be
ambiguous. As for rbythmlc patterns, it will be more approprlate to
apply the rhythmic rules of the speci:ic rather than those of
the official written languages. ThlS will be further discussed in
chapter 5, along with meladic and rhythmic formulas.
..
(
. ,
IlVHp.EFm.i llK:lPl1'S
84 5q 35 63
lImen saZI
23 XXI Shad Slroon lB
29
4 6 44 1 l AnkooJ ara1-U

CIW!'U
12-AEItENlAILK1WiHS OF DATES...
E1JETIC.101lHS nll per
5N;U AP il.'
TK
----x Semayi Ghazel
DivlIIli Ghnzel/D Divani Ghazel
Divani Ghazel/D Oivani Ghazel
raritavoorDubaytl
Yarana Taslip
PahritawilDubayt
Zindjirl!llla
Other SI{ BA
59
Gha::e l/D( H) -- 52
GOOze l/l)( H) -- S2
Divani(L)
l'ahrit.al(H)-- 52
Dubayt(L)
7 30 VIII Tlba 00 Yenkltt 'Hookh' Senayi Ghazel Hookho.maz "5 Novayi" 52
6 8 9 XIX :lis mE' ghanb
7 3 33 Vil Blbooll hlt
'Ghazel' Sellayi
.TesllP. Dubaytl Tas)lp
Ttsslip
Tasl1p
S2
'fashp{K) 52
0s1l1J11 11 mooghami
6 46 51" XXV Fahradn IIllradzH Husta:::at. Ghazell
Ghalantan
Hustaz?t Hoosatas<H) -- 53
l1oC'kh!ll!laz( L)
9 12 24 XX HIS koo ghlmetn T3Slip Selllayi Taslip Dubll'lt Tlislip(H)
10 9 10 XXV 11 009::11 gookas !Ta&ltpl Taslip Dubayt
11 13 \1 Khosk i rd 113 Ioon Hookhamaz/Sel13Y il
Sayatl Bayatl
Hookhrunaz Hookhamaz/Hookluma:::/
Beynti Bayati(H)
12 14 17 Esar 111 yann
13 1!, 26 rJooZlm oumbrs
14 17 Z'/ IX Toon en hoonn
15 18 31 Xl Eshkhn vartH
16 19 16 XV Tzend kaghtsr
17 20 12 XXII Shad mart gose
Hooklmmaz ---- Hookhrunaz ---- Hookh(4)
Hookh>lmaz Ghaz/Dlv Hookhamaz ----
Glmpl:V Ghoshma Ghapla
YarWlB or Da5lan
Ghapl!l/ Ghosh!na Gharte
Okootlruna
Ghapia GhOsta'd Ghapie
Ghapiaj Huslezet Ghapia
Varsogh
Ghoshllp
(Okoollama)
Ghoshma Ghapia(H)
Gooshma
(is not

53
53
53
53
53
18 21 1 V Arants klZ Irltch Ghapial Gho!Jhma/ Ghapia -- 53
i'arana Oastan
1I:l 16 3" VI Ari intz ankBdJU Ootchlruna ---- Ootchlena Ootchla(H) 53 -
20 10 X Tooo en klkhenu ----x
21* 11 45 XVIII HIS gantchoom Rubayil
Bayattl
Tsslip
Sellayi (Ghazali) ---- I\Ibay il 53-

HooktllD13::1 Rubay 11 Ghoshm?/ Rc1.\bay il 53-
Ghost1na! BayatIl [lAyatil Bay .. til
Daslan Tsslip T(!Jms Taslip(lI)
also TooJnis and Varsagh (H and 8)
22* 22 40 Tast8lliazd sim Tasllpl Ghazali TBslip Tashp(lI)
Hookhalip or Dl/an l
23 41 XXIII Tchis asoom 'fashp Dubayt
24* 24 16 IV 'Ghaze l' Semayi
25-t 23 19 lnt:: S Helsa llhazel Semayi
26 25 33 AdJ8p kanlU -----x
Tashp
Ghazel
Ghazel
Ta511O'
Ghazel
T"o: l !pl, K)
l1ub/fas(L)
Hookhamaz --
21 26 20 XIV lntch gonlm 5hlfval11 ShlrVanl Shi r'llan 1 f1hoshna(L) 56
28 21 6 XVII Hpchlooml bes +----. Bayat i TasllP
29 28 3" Eshkhpmp'il Pllbros +----t Ghaz/lllV Tasl!p Dubayt
30 29 42" XXVI KlIIli voor d,lllllB 1----. BS)ltavoor ----
of
st.anz:
5
5
1)
SxS
5
5
5
4
5
5
5
5
5
5
5
5
5
5
2x5
5

5
9
5
5
5
('
IQJPINGS AND RH'tHltn.rotm1ES
,.
of .. of 1 ines/ of syllables/ Groupings RhYllling Schel1llS
anzas st,lIIIza line
4 16 4-4-5-3/8-8/3-5-5-3 BBua, bbba, CCIla
2 15 4-7-4/4-4-3-4/4-4-4-3/8-7 Ra. xa. xa,
2 15 4-4-4-3/3-5-7/5-3-4-3 Ba, aa, xa,
2-8-4
5 S-" B* 2-6/4-4/5-3/3-5 R4/4/S-3 a88ltx8, bbbxxb,
t-
4 16 8-5-3/4-4-5-3/4-4-4-4 aaaB, bbb!l, ,-,,-,ca
4 16 4-4-8/4-4-2-6/3-5-8/8-3-5 !laaa, bbba, COCa
31/2* 8 4-4/4-4/4-4/4 11/6/6/3/3/5 aaaa, bbba, ccc a
exceptions 5-4/5-3
4* 14 5-4-5
4 8 5-3/4-4/3-5 xaaa, AlIsa, bbb!l,
4 8 4-4/3-5/5-3 XQI\, '=":>b!'. '='-:'t;'!' ,
5+3 5/4 16/7 3-5-3-5/5-3-4-4, 2-S/4-3
5 14-16'" 7-4-3/7-3-4/4-4-4-3/4-4-4-4
5 15 4-4-4-3/3-5-4-3/5-3-4-3 "gRaa, bbbba.
4 11 5-6/6-5/4-4-3 xue, t:.hhl', CCCIl
4 11 6-5/4-4-3/4-3-4 )".1_11, bl:-
h
".
4 11 6-5/4-4-3 Xala,
4 11 4-4-3/6-5 "-'lia, bbba, ccca
4 11 6-5/4-4-3 xa(!\, bhha, t:'t:'t:'tI
4 11 6-5/4-4-3 :v l'Xi'!, bt'b8.
4 16 4-4-4-4, 4-4-5-3 Baall, I:-oI:>bR, '-'cca
x5 6/4 7/11 4-3/5-2, !'?!lRall, a8x'U<!l/xaxa
5 15 4-4-4-3/5-3-4-3 aaap", bbbl:-a, cC'cca
St 8/3-3-B 3-5/4 4, 3 abo(xx)b. cr.'c(xx)b
4 16 4-4-5-3/5-3-4-4/4-4-4-4 bbba,
4 16 4-4-5-3/3-5-4-4/4-4-4 4 .. aar bb!:>!l, CCC a
4 16 4-4-4-4/5-3-4-4/3-5-6-2 anaa, bbb!l,
"""Po
4+1 11/8 6-5/4-4-3 abIJb(B), coca(a), ddda(a)
4.1(2+ 1, 2+ 1) 8/7-4,8(7-8 4-4/3-4-
M( li )Ab( x), C'CI;'I;.(,:)
4+1. 8/7 3-5/H)" cccb(x)
9t fi IlBR8111"U'''., xu)
(
31 30 4 Voont.sor voor <Hussates SI!I\8yi IJhazel HookhaJllIz
He khosk oon ill <-----x SEmayi Ghazel Hookh"Jll!'z ----
33 34 21 Ankin agn ( .. ----- Sefl3yi Ilhazel HlXlkhamaz ----
34 35 25 XIl TIIIWl ashkhar
<Hussates Sel\8yi Ghazel
35 40 43"
Hodd nsiogm** -----x
36 37 32 Ari haIIov -----x SellaYI Ghazel ----
37 36 22'" Eshkhelled hlvant ----x
36 32 46" KtJnetsoorU Tashp Dubayt/ TasllP Taslip
5
5
5
5
5
5
5
5
Taslip
39 33 14
40 38 38
41* 39 41
424: 57 13
FJ1toor atchks (----- SF.'llayi Hhazel ---- 5
5
5
5
5
5
5
5
5
5
5
Eshkhemed antrulag<-----
SamaYl
Yar kiz isgi < ----- Sell8Y 1
Intz 00 im <Ghaze 1 Semay 1
43 43 28" Adjab koo** -----x SeilaYl
44 44 37 Petas lin voor
45 l 35 XXIV Badgirkd
<----- Semayi
413 53 34
A
1 Il Ashkhars Ille -----x Sellayi
47 47 41 Atchk 00 oonkel Sellayi
48 45 49 GislUlooraz 1\1
49 46 48
Hntoo kaghakcllen Sell8yi
5O( 1 )42 2 XII 1 Tegooz koo Raziani@
51(2)62 58
Hlmkd vers.hn
52(3)52 50
Khllbar knato; Hookhamaz Semayi
53(4)<\9 54
Hda eshkl GharaheJa Ghoshrla
nh8zcl
Ghazel
Ghazel
Ghazel
Ghazel
Gllazel
Ghazel
Gha::el
Taslip
Ghazel
Hookhamaz ---- 58
HookhaJJaz ----
H00khamaz - --- 59
Chazel
Ghazel Hookhamaz(L,59
[lnbaYl( '1) ----
Raziani
3
Ghazel
4
3
54(5)50 52 Ay ip A.rnva tz
liha;aC'ros Ghoshna Gh3/acros Varsggh(L)
en 4
55(6)51 53
56(7)f,O 60
57(6
58(9)83
59( 1)54 55
60(2)65
6l( 3)64
62(4)67
63(5)68
64(6)G6 59
65(7)58 56
66(8)59 57
AypPlm Tedjnis Ghosluna
Ha::lr oonis 11all1
Hsho sool lM HookhRlllaz - ---
Es in tch e la" Uhnpia
Takavoor is ( ----
Soosrun sIlbool
Bayati
Asiootz khlal
A3hkhareKlen pc,an 1----
Ishrar 00
Ke ln 00 tC'hobann
Hakhookln 00
Bay/Tedj
Qhara/ZindJlrlan8
Okoof 5E1

5
5
5
5
Zind/Tas Zifl<lJlr(H'
3
8/<
Ghl1::el
Ghapla
ter 4
3
3
6

l'
5 4 16 8-8/4-4-8
!'!1.IIS, w'e,
CC""
5
"
16 4-4-4-4/8-5-3
aaaa. bbbe. 't'e
5 4 16 4-4-4-4/4-4-3-5
!'!lsa, bbba, ccca
5 4 16 4-4-5-3/3-5-5-3
aBBa, bbbEl, cces
5 4 16 5-3-6-2/5-3-3-5
!li 881'1, bhbe, ecce
5 4 16 4-4-4-4/5-3-4-4
aasEI. bbbto.
'-"-'ce
5 4 1&* 4-4-4-4/4-4-4-3.
!l8BO,
5 6
3/8, 1/7, 2/8 3-5, 4-4/3-4/4-4 lI .... (aaa).
hl;ol;o(!lI
A
!,'
5 4 16
!'!''''', ,="",1"11
5 4 18 3-5-3-5/4-4-8
Baaa, bbt-a. c:'C'ca
5
"
16 4-4-4-4/5-3-4-4
bbba, CC(: a
5 4 16 8-5-3/4-4-5-3
aaaa, bbba, cct'(\
5 4 16 8-5-3/4-4-4-4 BaBa, bbbll, C":'('I!.
5 4 16 4-4-4-4/5-3-4-4 !'9Ba, bbba, c:'C'C8
5 4 16 5-3-4 -4/5-3-3-5 8MlI, I:>bha,
r:"""'R
5 4 16 8-8
I!SnB, bbba, ccca
5 4 18 8-8
sasa, bbba, CCCIl
5
"
8 4-4 !lI9Xa, bbba, ccca
5
"
16 8-3-5/4-4-4-4 sasa, hl:>bEl,
3 7
8/4/8/4/8/5/5::: 5-3/4, 5-3/4
".:o<ax( abb) , bCvb( abb)
3 4 16
Raaa, bbb!l, co:a
4 4 16
4-4-5-3/4-4-4-4 "'33a, bbba. ccc a
3 4
11
6-5/4-4-3 abab, cccb, &.ldh
4 4
11 6-5/4-4-3 )(US, bbba. ccca
4 4
11 4-4-3 abab. ccc!:>, &YIh
5 4
15
8-7/4 -4-4-3 I!asa, hhbA,
5
5 t6
4-4-5-3/3-5-4-4 aall2l' ,
5 4
11 6-5/4-4-3 !bab, cccb, d:Jdb
5 4 16 4-4-8/8-4-4 aaaa, hbb!1..
""""
3 8
16/7/11 4-4-5-3/5-3-3-5/4-3/8-5 !t"/bbltb/ab. cc/ddxd
8/4
412
B/ll 4-4/B-5 X"2!', hbh!!, xa, CCC!!
4 4
16 4-4-4-4
!''''''', bbba.
3
4 16 lrreguJar aa88, bbt>8.
3
5 14 7-7 .. bfJt.l:>!'
5
4 11 5-6/4-43 xan, bbba. C'C'C'I
6 4 11 6-5/4-3-4
""'SA. bbbs, CCCI
(
. :

(
67(9)-- Dghenoo
68( 10)- Yari lzerneren
69(11)- Var koo garOOn
70(2)- Hls Ile llharib
71(13)- BlbooH bes
72( 14)- Atehgud osge
------------
Md i t i onal...ful.t&s
* Ciphers, biographieal informations
, COl{'ared wilh Ohan s variants
** Seven lost khagllS after 1652 publ.
81
Ghap/Tec!j ----
!l9
Ghazel
Taslip ----
Gha/Hookh - ---
Taslip Dubayt(?) ----
*u Okoot.l!lJIa-admonltions, tlus 1'3 aiso a zinjulllJl8 As p .... r Bakhtchini!l/1 they are addressed to
Il nov lce ashoogh (p 144)
. --- Annotated \:Iy Sayat Hova as "ThIS ln the rhYIIe of the song Gozallar yegmaghina bakh
tasda tarpruloor ' a song title wrltten by Ashoogh Dosti (BA p 147)
(--- AnllotsteJ by Sayat Nova" ln the rhymc as T1bs 00 Yenki doorla . H:lSratian con'Jidcrs
these and Gozallar as Il poetlc form erpated by Sayat Nova and ealls th ....m
x--- Annotated by Sayat Nova' as sald (sung?) by Sayat Nova'
)--- 'Tlba 00 liS per HasratIan not Ghazels, but Sayat Ho'lUi
--- Anllotoled by Sayal Nova "thus HI be 11 r ghapl rllYD1c
+---+ Annot.atrd by Sayat Nova' these two khaghs ln the voicI:' (mclody?) nf l:>!h001n '"
vartln ,wrltlcn by Zakarla
@ Annotated by S:lyat Nova 'froll kool 1S ankm in the SR.IIJ" rhyme "
! ---! Annotated by Sayat Nova taSf'fll tclunl 111 the same rl)yme', a [\t'''11\ by
11---11 Annotat.ed by Ohrul 'ULIS good 111 garehli VOlee
/---/ lIutten under the Influence of Haghash Honvatan s "Oo5(h gookas, kaghlser l>lbool" (H p.
218)
Kbaahs B, 47-49, 52-55 were fast publ ln 1903 by K Asadoor froll HS No.222 ahan s HS
Ktwtb 51(62) first plJbl ln 1921-2 by K Asadoor, although il Ilas ln SaY:ll Nova s Oaflar
Kha.i!bs 56-7-8 are multl-lingual khil&hs ln the AzerbaiJani section of th", DaCtar
Khagb 59 fHst. pllbl in 1885 by K Der-Agheksantryantz (H p 231, see a1<;0 BA r 206-7 fnr
detads)
Khasbs 65-66 (58-!.,9) lIere fust publ ln 1912 orally transmltted unlll 1890 s, collected by
koQSllO Sg'lIIdar Nova
Khagbs SO(65), 61(64), 62(67), 63(68) lIere fast pubi In 1908, by K T?rvertlall, orally
transmltted untll 1890 s. 69-70 flrst publ ln 1920 S by K Tarvertl8n
Khagb 64 lias flrst publ in 1924 by K Pashlnchaghlall
Kbagb 67 froll Georglan MS lnstltutp 5-2385 (p 48b)
Khagb S8 fast publ ln H363 by S Khan;:adlan
Dubayt(?) - Toorkanan nrunes 811 8 syllablc khagljS Ouba/t, E'xcept for numb",!'"';1 7 23, uhi>;>h h",
codifies TasllP Toorkarlan, Badma, 1963/3, p. 71
7 4+1
3 4
3 4
3 4
fi !l*
4 4
bdditional NO,I
* These poE'llS
Ms 5 linl
- has 14, 15.
has 1f1 and
The fast v
z The 2nd ver
refrain
. Verse one h
Key to Abbr.e.ll
SN = Sayat Ho
a : ahan, Se
ltP : Hanoog
BA = Bakhtct
Arlleni8l1
rK = Toorkari
Other = a. L
= b H
= c K
.1
11/fI 6-5/4-4-3/, fi XBlA( A), Il)
16 5-3-4-4/8-4-4 uaa, b!-obtl,
16 5-3-4-4
aaaa, bbba, ccca
8 4-4/3-5 Xa:lII, bbba, ceca
16 4-4-3-5/4-4-4-4 aaaa, bbbba. v 5/bl:bbba
8 3-5/5-3
xasa. bbba. ccea
Ils have refrains. The fusl slanza of kha6th nullber 4 has 7 lines and Bach 5th stanza
lnes.
15. IB-syll. lines
Id 16-syll. hnes
verse has 15-syll. wllh 4 llnes in 3-5-4-3/4-4-4-3 groupings
erse has two 6-syll lines plus 4-syll refrain followed by lwo 13-o:;yll
1185 hav(> lines.
Nova
Sayal Nova s son
S Apeghian
tchinian. CrOll BDdma. 1976/3, pp. 209-221, and frOIl 1984 publication of Sayat NovlI S
ian kI:Iagbs
arian. Crom Badma. 1963/3. pp 67-'18
[, = [,evonlan
H = the 1959
K = KotrhrulaJ1. the 19 tG pllbl ieal ion
,.
f-

i'
"
,1'
"
",'
\il'
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c
CHAPTER 4
TZAYN IN ARMENIAN MUSIC
A. General System
Armenian Church music has undergone a complex evo1ution over Many
centuries. Its simplest syllabic style and most elementary form is
found in the Shar8ilDots (the book of SharBgaos-liturgical hymns). Its
more complex forros are found in the music of MaoroosoQm (medieval
Armenian neumatic manuscripts a1so used as instructional books) and
&antzaran (book of treasures), among others.
103
Basing their findings on medieval Armenian music treatises,
Armenian DUlsicologists, such as Gomidas, K. Kooshnarian, R. Atayan, N.
Tahmizian, G. Tchalikian and others, have a11 observed that the JIlUsical
structure of Armenian music is closely connected to the intonational
regulations of the Armenian language. The simplest forros had the
closest relationship with the intonations of the spoken language. As
the spoken language evolved, so did the musical language. In time, a
rich and varied musical system developed, theories about which were
written by medieval Armenian grammarians .104
103. N. Tahmizian, "Les Anciens Manuscrits Musicaux Armeniens et
les Questions Relatives leur Dechiffrement," in Essavs on Armenien
edited by Vrej Nersessian (London: Kahn and Averil1, 1978), p. 31.
104. The works of Medieval Armenian grammarians are not availab1e
in translation, and few have been edited and published separately. Some
which have are: Essayi N'tchetsi (c.1260-e.1338), Verloodzootioon
Keraganootyan (Analysis of Gr8Jl\ll8.l'), edited by L. Khatcherian (Yerevan:
[no publ.], 1966). Hov. Yerzf3ngatsi, XIIIe. (MS # 3505, pp 119 and
676), edited but unpublished by L. Khateherlan. Vartan Areveltsi,
XIIIe., MegnootloQD Kera1ani (Interpretation of Grrunmar), [no
83
The core of Armenian musical the
word literally means sound, musicologists studying Armenian music
have given it three different meanings: eeneric term to refer to
the complete Armenian modal system, for l prefer, the use of the
term heirarchy, (b) the individval within that
system: actually called tzams, iQibms, sdeghis, and tart'nTAn?ks
(henceforth these will be referred to (c)
the function of single notes within a given collection, l.Jhich will be
referred to in this paper by their names. 106
publ.], 1972). Hov. Dzordzoretsi (MS # 6396). Tavit Anhaght, VIc.,
Sabmaok ImAsdasirootyan (Definitions of edited by S
Arevshadian (Yerevan: [no publ.], p. 126.
Armenian musicology virtually uith the works of
Most musicologists relied on the Medieval ta
arrive at their conclusirms. See, Gomidas, Hotuarlzner '7P'\1
oosoomoasirootioormer, edited by R.
1941), p. 139. Komitas (Gomidas) Keworki'3n, "Die
Kirchenmusik," in Sammelbaooe der Internat; "nA len T Hpft T
(1899), p. 54. See also Kooshnarian, Hi<==t",." A.Dd The
n
r'\1 "f
Music (Leningrad: Musical Publications, 1958), in Ru. R. Atayan,
Kbazayin Notakrootioone (Yerevan' ASSR Ac. of Sc. Publ ,
1959), pp. 11-15. N.K. Tahmizian, yev Khazeri
Verdzanootyan Khntire," in Badma-Panasiragan AS<3F Ar::.
of Sc. Publ., 1969/4), pp. 30-1. K. G. TchEl.likian, A"S'lt"hin w>u ArS'l.r::hin
TzayneghamuOleri Garootsvadzkn 00 Khl'l?AVin Hart<==prp
ASSR Ac. of Sc. Publ., 1981), p. 7.
106. collection has also been by musit:'oloeist
Kooshnarian as a "melodie type; whieh May have a specifit:' mode nr
groups of modes, specifie thematic materi?l ?nd forms of
development." A similar explanation is givf;'n by Tahmizm;
as a musieal-performan0e rractiee in is nothine
but traditional melodic standardization, whieh having eonl? throlJgh
variations is articulated in a serles of poems. The primary 8nd
coherent charaeteristic of a is the 'modal' Other
characteristics are: (a) the melodic development within CI lil'litr:'d r8Jl.e1?
of scale degrees of the uam as per traditional (1) the
use of traditional melodie-types, (c) limitE'tion or moot
1
l'3.tion :;lnd
systl3matization of the N. Tarlnizl:3n, !TP." H'='.yots
Hokevor Yerkarves:li Oosoomnasirootyan Hartsp.rp., 00
ASSR Ac. of Sc. Publ., 1969), pp. 205-206
(
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64
The historie development of can only be briefly reviewed
here; not only is it long and complicated but also the medieval sources
were not available for this study. From the twelfth century on Medieval
Armenian grammarians and compilors of various liturgical manuscripts
(for example: Haysmayoork, Mashdots, Sharagnots) credited Hesrob
Maslxiots (362-440 A.D.), the inventor of Armenian alphabet, and
Catholicos (Patriarch) Sahak Bartev (387-439 A.D.) with the
codification of the ten principal collections (four four
gogbms, and two sdeghis) .1Oe An eighth century musician-theoretician,
Sdepanos Sunetsi (d. 735), further developed the heirarchy.107
Armenian neumatic notation first appeared in this period
Initially the neumes emerged in close association with the punctuation
marks of the language; soon it became an extremely conplex and
diversified system, so much so that by the fifteenth and the sixteenth
centuries, its use became obsolete, and created the problem of
decodification for the nineteenth and the twentieth century
musicologists. Complexities in deciphering the neumatic writine were
compounded by the complexities of For exemple, oral
transmission of Armenian professional Melodies created disintegration
and confusion in the heirarchy. Some of these melodies deviated
from their original collection and acquired characteristics of
another tzayn collection. As a result there are Many inconsistancies in
lOB. Gir&gos Kantzagetsi, XIIIe., Badmootiogn (History of
Armenians) (Tiflis: [no publ.], 1909). See also Gomidas, Hotvadzoer, p.
113.
107 Giragos Kantzagetsi, p. 68. See a1so Atayan, Haygagan, p. 73.
------.,-,-.-----.--------------------- -- -- -- ----
..


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f
65
attempts to cod if y and analyse these melodies.
loe
Additional complications were confronted by twentieth century
musicologists, due tO,an unsuccessful revival of neumatic writing in
the late eighteenth and early nineteenth centuries, when two Armenian
church IIlllsicians, G. Kabasakalien (1740-1808) and H. Limondjien (1768-
1839), independently set about to reconstruct the old neumatic system.
Instead, H. Limondjian actually devised a simplified system of writlng
which came to be known as the "new system of Armenian notation. Il Soon,
church melodies end later also folk melodif3s were wri.tten dm.m in
Limondjian's notation. Unfortunately, two different chartu were
prepared by Armenian musicians to provide Armenien note names with
European note equivalents. Transcriptions of these melodies to European
notation often produced different melodies.
loe
An important contribution to understanding the theoretical basis
of Armenien music came from musicologist Gomidas Vartabed (1869-1935),
who insisted correctly that Armenian folk and liturgical music is not
based on the European octave system, but rather on a system of tetra-
chords, in that the final sound of the first tetrachord is the initial
sound of the nextj hence, collections in Armenian musie
formed initially through chains of tetrachords. Gomidas stated that the
tetrachord in this system is 'major' tetrachord,
although the third degree from the yercbayorogh (final) tzsyn (here
note), as compared to the European third, is a natural third,
lOB. Tchalikian, Arachin, p. 44. See also Tahmizian, Essays, p
41. Atayan, "Armenische Chasen," Essays, pp 131-148.
10e. Gomidas, Hotvadzoer, pp. 126-136. See also Tahmizian,
Gomidasagan, pp. 164-180.
c
c
c
68
than the well-teJli)ered 'major' third .110 The initial and final sounds
of this 'major' tetrachord are stationary, while the internaI sounds
are changeable. Thus, the changing patterns create new
(example 1) .1.11
Example 1 (Tchalikian, p. 12)
o
Gomidas's findings were fundamentally accepted by the Soviet
musicologist Kristapor Kooshnarian. He further elaborated the theory of
a tetrachordal system, thus setting forth the fundamental premises of
Armenian structure. Accordins to Kooshnarian, the heirarchy
of Armenian monodic music represents an accoustical structure,
comprised of severai sequences of tetrachords. He labels,
the lowest sequence of tetrachords as Hixolydian.
Following the same analogy to western modes he then labels the second
sequence Aeolian, and the highest Phrygian-Locrian (example 2).112
110 Tahmizian, GomieJasagan, p. 171, 180-1.
111 Gomidas, Hotyadzner, pp. 137-140, 153. Gomidas basod his
theoretical findings on the pretext that Armenian church and folk music
stem from the same parent source. In fact, he insisted that not only
they share the same collection, but also melody-types (Tahmizian,
Gomidasag:m, p. 161).
112. Tahmizian, "Nertashnagootyan Henki Oosmoonke Michnataryan
Hayasdanoom," BadIna" 1966/1, p. 87. As Kooshnarian -s work is written in
Russian, any reference to or quotation from it in this thesis is from
secondary sources. M. Proodian, "Nor Etap Haygagan Joghovrtagan
Yerajslxiootyan Hdki Zarkatsman Mech," Deghegak.ir, No. 9
(Yerevan: ASSR Ac. of Sc. Publ., 1959), p. 90. See also Atayan,
HaviBian, pp. 113.
67
Example 2 (Proodian, p. 17)

The modal nameSj Mixolydian, Aeolian, Phrygian-Locrian (which
complicate the terminology rather than clarify it) May be
with 1 l 1/2 , 1 1/2 1 and 1/2 1 1 intervallic designations, to obtain
the three primary building blocks of the Armenian heirarchy.113
Possibly the clearest explanation of tzayn collection is given by
Robert Atayan:
114
The primary in this heirarchy are 10 in number: four
(voiee), four gQgbms (side), and two sdeghis
(multifaeeted, see, Chart B). The two sdeghis use the name of
teborrort gogbm. They often extend beyond one though
occasionally we find sdeghi melodies within the limits of one
tzayn.115
113. Gomidas on the other hand gives six tetraehordal
permutations; 1 1 1/2 , 1 1/2 l, 1/2 1 1, 1/2 1-1/2 1/2, 1-1/2 1/2 1/2,
1/2 1/2 1-1/2 and states that "all Armenian melodies are formed by the
various combinations of these tetrachords." Gomidas, p. 153.
114. Atayan, Haygagao, pp. 162-163. In a lecture-demonstration
presented in London, England, in 1978, Professor Atayan gave ten
collections as part of the natural system of heirarchy and seven
collections in the altered system (see, Char.t D).
115. Most of my sources mention two Likewise, Professor
Atayan speaks of two sdeghis, yet inexplicably presents three sdeg:his
in his chart (see, Chart B), aIl of which are related to tchorrort
gQghm. He then d iscusses a yergrort goghm sdeghi (see, Haygagao, p.
171). In his Tzernarg Haygagan Tzaynakrootyan (Yerevan: 1950),
Professor Atayan presents two sdeghis, the one derived from tchorrQt1
gogbm, and the other from yergrort goghm. To complicate matters even
more, N. Serkoyan for his speaks of one sdeghi only, the one
derived from .t.ohorrort itOihm. See, N. Serkoyan, "Les Huit Modes de
l'Hymnaire Armenien," in Essays on Armenian Music, edited by Vrej
Nersessian (London: Kahn and Averill, 1978), p. 53.
,
(
(
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68
Armenian musioologists agree that the gQghms are not plagal
versions of modes, as understood in Western European tradition, but
rather independant collections, often with different pitch
configurations from the principal with the sarne name.
118
For each tz.am and gggtuo, there is also a tartzvad,zk (turn) of the
sarne name, which may actually include more than one collection.
'rhe tartzyadzk may deviate considerably from the principal :tza.m and
ltQgbm and even exist as a unique in eSSes where the whole song is
in tartzvarlzk tzayn. In addition to the ten principal :t.z.am.s, then,
there are also a r.umber of tartZYarlzk Professor Atayan explains
the presence of tartzvadzk in terms of mf.!lodic development over the
centuries. In other words, the process of new compositions lead to the
of certain melodic formulas that modulated or deviated from
the principal tzam.
117
B. Outtier accounted for this by remarking that
t.he tartzvac1zk (auxiliaire) "represents Cl modal and esthethic
devEopment, often ti8CI ta the evolution of liturgical forms. "118
The tartzvadzk tzayns may have the f'ollowing relationships with
the principal
a. the tartzysdzk has a different formation as oompared with
its principal .tzam (ex. y8rgI'ort boom and its tartzvadzk).
b. the tartzvadzk has a new scale formation while using the sarne
final note (ex. yerrort gogbm and its tartzvad,zk).
e. the tartzvadzk has the sarne soalo formation with a new final
note (ex. tohorrort tzavn and its Ul1'tzvadzk).
HS Atayan, Haygagan, p. 180. See also his Tzernarg, p. 37.
1:\.7 Atayan, Haygagan, p. 160. See alsa his 'l'zernarg, pp. 166-9.
118 B, Outtier, "Etude Critique deB documents in
Essays, p. 103. Aocording to Tchalikian t.he tartzyarlzk has derived from
a 'major' tetrachordal construction: f g a b fIat. Tchalikian, Arachin,
p. 19.
-- ----l
69
Chart B provides an overview of the major collections in the
In Chart B, note that vergrort gogbm does not have a
tartzvadzk. This is unanimous in my sources. While tuhorrort tzayn has
three .t.ar.t.z.Y.a.d.zli for Atayan and two, for Tahmizian, all the other
and gogbms have only one each. Serkoyan lists only
sevel, tartzvadzk, one for each t.z.ayn and gQgbm except for yergrort
gQgbm,119 It must be stressed that there is no clear explanation or
consistant rule of .10W t&rtzva..dzk tzavns arE. derived from prmcipal
t.z.ayus and
As for the third meanlng of the ward tzayn, it is important ta
note that the notes in each tzavn collection have a spec.cic function.
The most exhaustive explanation of this is given by Prof essor
both in his Tzernarg and in the Haygaggo Khazayin Notakrootioon. The
.....
following discussion is indebted to
Verchavorogb tzayn: The fmal or concluding note, also Irnown as
the principal note of the The yerchayorogb tzayn fails either in
the low or middle register, and at the point where two tetrachords join
(example 3).
Example 3
,
TimQgh tzayn: The supporting note is the second most important
note of the tzayn. This note is often used as a bahvogb (drone) tzayn,
119 Serkoyan, Essays, pp. 54-78.
120 Atayan, Haygagan, p. 164. Tzernarg, pp. 40-1.
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70
known also as aracbnortoah (leading) tzayn, that initiates stepwise
Dlelodic resolution or even leaps directly to the verchayorogh tzayn.
The importance of timogh tzayn is readily apparent, when
differentiating among that have the sarne pitch collection (see,
below) .121
Haoktchogb tzayn: These are notes on WhlCh the melody rests
temporarily, a sort of half cadence point, often the sarne as the timogh
tzayn. At times one of the hanktchogh tzayns of a collection may
acquire more durability, and create a closing cadence. In such cases it
creates its own resolving note, wlth a complete cadential turn.
122
Yerchin yerchavorogh tzayn. Sometimes the concluding note is
different fram the tzayn, this note is produced as an
additional and concludlng melochc phrase, appended after the
yerchayorogb t.zayn.
Tzaynarootiooo orJarachnortogb tzayo: These are leading or drone
not.es held along wlth the melody (see, explanatlon ln timogb tzayo).
Tzkdggb or loodzyogb tzayn. These are ;;otcs, WhlCh are
the second notes above and below the (aoalogous in
m' lochc funct lOn ta the leadlng tone 10 Western tonal theory). A
tzkdogb tzayo ooe semone below the yerchaYQ..tQgh tzayn, \.lhether
diatonH' or chromatlc:, 18 rare ln Armenian folK songs, but quite common
121 See also 'l'ahrrn::ian for more on lhe drone note in
"Nertastmagootyao." liadma, 196/1
122 This lS exp) amed as the al teration of the Y\3rchayorogb
tzayn, whlCh .ln turn Inltlates the emphasis on tjmQgh tzayn and its
melodlc sphere Atayan, p 163.
SLm,larly, thlS is a1so regarded as tzayn alteration. Atayao,
p. 103.
\
71
in liturgical mUSIC. The upper tzkdash tzayn can be ei+'her one
or one whole tone away from the tzayn. The third scale
degrees above and below the yecchayorogh tzayn, sometimes act as a
tzkdogh tzayn. In such instances often t.he second degrees are absent,
and the yerchayorogb is attained by leap.
Correct assignment of collection lS influenced by the role
played by the timogb tzayn. According to Professor while
the tetrachordal formation is the core of the prjncipal
collections, the trichordal and the pentacrordal cells also play very
important role ln the formation of actual 124 'l'he timogb tzayns
may be the third, the fourth and the fifth above the verchayQtQgh
tzayn.125 Thus, certain identlcal collections with the sarne
yercbavorogh tzayn may be ClasSlfled as different tzayns, depending on
the timogb. tzayn The clearest example of thlS phenomenon lS the
following collection with G as its verchayo[Qgb tzayn (example 4).126
Example 4 ( Pro('(han , p. 19 )
a. 'l'cborrort goghm b. Tchorrort tzayn c. Yergrort tzayn
124 Proodian, Deghegakir, p. 91.
125 A tayara, Haygagan, p 161. Tzernarg, p. 41. H. Procx:l ian, l::lay
Jogboyrtagan (Yerevan: Looys Publ.,
1971), pp. 22-5.
126. Proochan, Hay, p. 19. The dIScussIons concernlng non-octayal
formatIon, low snd high varlants of notes, the role of tlmogb tzayns,
etc., are primanly based on Proodian' s aboye-cited text.book, unless
otherwlse mentioned.
72
The collection with 1 1/2 1 tetrachordal formation and G as
(
yercbavorogb tzayn is the basis of each of these :tz.ams, yet the first
one has its third degree as t i m Q ~ b tzayn end is known in Armenien
church music as tchorrort goghm; the second has its fourth degree as
timogb tzayn and is known as tchorrort tzayn, and the last one has i ts
fifth degree as t iIIlOgb tzayn and is Imown as yergrort tzayn.
It is important to realize that the whole system is non-
tempered.
127
ThIS in turn creates certain characteristics in Armenian
Lzayns; the most important of which is the non-octaval formation of
.tzam coll ect ions. In other words, eaeh tzaIDl has on ly one verchayoregb
tzayn, which is loeated at the lower regIster of the formation and is
not repeated (with the sarne functIon) al an octave dIstance. In exarnple
5 note the E in the lower tetrachord and the E flat (marked wlth x) in
the upper tetrachord. The first resolves upward to the ve.,rhavorogh
(
tzayn, while the second resolves downward to the timegh tzayn (sinee cr
in the upper octave does not funcbon as v.e.rchayorogh tzayn). Likewise,
the lower D and 10', as part of the lowest tetrachord, reso Ive upward te
the yerchayorogb tzayn, while the upper D and 10' functlOn as second and
fourtb degrees successively to the timogb tzayn C, and resolve
downward.
Example 5 (Proodlan. p. 21)
)C
~ t 6;2
Il
Tchorrort goghm
127 See also 'l'ahmizian, Gomidasagan, pp. 168-170.
{
".
73
Although the complete formation of Armenian tzmls encompass ten
pitches (decachord: three tetrachords), the entire gamut is used only
in extensive compositions of both church and ashoogh-koQ<::an repertory.
It is rare in folk music.
The presence of low and high variants of tzayns (that is, the
inflection of individual pitches) is another eharacteristic of this
otherwise diatonic heirarchy. The low variant of a tzayn is found
above the yerehayorogh tzayn. While its high variant US1l811"lr appears in
the tetrachord below the yerehavorogb tzayn and is resolved upward tQ
the yerchayorogh tzayn (example 6). Note th8t the low notes are
preceded by a ['] mark. Also note that the presence of low and high
variants of tzayns does not create sinee they
appear in succession, neither do they glve quarter tones, strictly
speaking. The low and high vR.riants of tzayns, when wntten out !:OflE
with the diatonic tzayns, represent the complete pitch collection of
Armenian traditional music (example 7).128
Example 6 (Proodian, p. 20)
h'."h A L.vJ A L ..... J A
$ . , 'r h '=L;7'=::;-==' l, , 10 t, /. &. l
.". # ". T
a. Tchorrort tzayn tartz. b. Arachin goghm c. Tohorrort tzayn
128. Generally speaking, the Armenian (also Middle
diatonlC system has a minor 7th, when cuntE'd from yerchavQrogh
and it is jn this natural form that it differs from the European
diat.onlC system (Tahmizian, Gomidasagan, p. 169).
(
{
74
The majority of the intervals in most tzayn collections are
'minor' or 'diminished'. AlI these intervals resolve inward to the
yerchayorogh tzayn either directly, or indirectly, through the timQih
tzayn. This lnward resolution gives the ~ s a centripetal character
(example 8).
Example 8
Arachin goghm
" h ,
(Proodian, p. 26)
The augmented intervals, the augmented fourth and the augmented
second, which occur in yerrort tzayn, are resolved either to the
yerchayorogh tzayn or ta timogh tzayn. The latter aets as a temporary
yerchayorogb tzayn (example 9). Professor Kooshnarian classified these
tzayns as yergagi tzayns; since two yercbavorogh tzayns are contained
in their formatlon.
128
Example 9 (Proodlan, p. 26)
At cadence points both the tbird degree below or above the
yerchayorogh tzayn may resolve to it. This movement is achieved either
by stepwise motion with the help of 1zkdogh tzayns (a and c), or by
direct leap (b and d) in example 10. When the upper mediant is at the
128 Prood ian, Degbegakir, p. 93.
J
l
75
-
same time the timagh tzayn of the at a cadence point it loses
its stability and takes upon the character of tzkdogh tzayn.
Example 10 (proodian, pp. 26-27)
$
0... b.
e..
d.
IfJ

t
IJ
1
J 1 J
l ,
1
j'

1
, ra


v
Transposition in this system lS only possible at an interval of a
fourth, since a tzayn collection may be identical at every tetr,'lchord
(examples 11 or 2).
Example 11
KQ1.'.dzadz.yogb (used) tzayns: Over the centuries c:rtain tzayns in
the diatonic system were altered. These tzayns bear alteration marks
(#, b). The dlatonlC collectlon, as shown ln examp]es 2 or 11, due to
its basic 1 1 1/2 tetrachordal formation already cont.ains two alterl9Cl
tzayns, E fIat and A flat (the B fIat lS considered a natural tzayn,
see, When tetrachordaJ. formatlOn lS continm>d upward a series
of new flats 15 generated (example 11), while cont inued downward sharps
are obtainecl (example 12). Thus, .tzayns, whose collectlO.'l falls in the
diatonic format. ion , will include the altered tzayns of tbat formation
(B flat, E flat) Other will Include the two varumts of the
sarne tzayn ln their collectlOn; the natural and the aJter,:'CI, SIDce they
contain two different tetrachords ln theu collectlOn. As for example,
the G and G sharp in ru:aclJin tZC:YQ, and the E flat and E Hl yergrort
(
(
{
Such are for example the with augmented seconds. In
the of a raised '7th or a 6th suggests a resolving
func.'tion. The alteration in these cases (as for example when F or G are
the yercha.YQrDib tzayns, t.he raised E sbould not be taken as a full
semitone, but less) are considered
Example 12 (Atayan, p. 45)
Since the tzayn is mostly constant, in uriting
Armenian tzams the kordzaclzvogh tzayns are also constant. Tbir::: f!:l.r:'t
facilitates the identificat.ion of tz..am collections. In th/? folloui!'l-E!
collections the comman altered tzayns are:
Arachin tzam and AnQ.bin goghm have G sharp,
Yergrort tzayn tartzvadzli. has B E in the 'Jpp/?r r1::'gi<3t/?r,
Yerrort tzayn has A flat and B natural,
Yerrort tzayn has 0 sharp in the upper r/?gister,
Yerror
t
gogbm has lowered C,
Tchorrort tzayn/third tartzYadzk has A,
Tchorrort gogtun tartzvedzk has 0 fIat and raised E. 131
It is important to note that the alteration signs used (:il,
h, ) are inaccurate. In a n::Jn-tempered system, such as the Armenian
system is, the between tones and semitones are not
equal. Unless an appropriate system of notatioTI is the use of
European notational signs will deprive Armenicm nf
130 Atayan, TzernarS, p. 46.
131 Atayan, Tzernars, p. 48. See also Tchalikian,
pp. 19-20. ('
-
,
...
77
natural beauty. The characteristics discussed above are to
aIl We turn now to individual characteristics
to each tzayn collection.
B. Characteristics of Armenian
Melodie formulas form an essential factor in the of
collections. Megheties, dagbs, and various other
songs created over a period of ten centuries both within li l
sphere and in the koosan-ashOQih tradition enriched the eXlsting 10
primary Accordingly, the number of tzazns multiplied in
abundanee throughout the centuries. Gomidas claims that the total
number of primary tz.anls and their subdivisions of sharagaos i8
forty.132 Sorne tzayns "'lere direct borrowlngs from the t!'!:l0iti0n
of neighbouring others simply deviated from prim8.rv
tza,ms by means of new or varied meladic formulas, and in time came to
be recognized as separate wlth or wlthout codifications
Nevertheless, Armenlan musicologlsts bring the number of their
immediate and secondary subgroups to around 150.J.33
The findings of Gomidas were confirmed and further elaborated by
many Armen ian musicologists. In general So"iet Armenian
with the exception of one, followed Gomidas's footsteps in almost every
132 Gomldas, HotVadzoer, p. 111. See also Tahmizian, Gomidasasao,
p. 192.
133 Gomidas, HotYadznet, pp. 115-125. See also
Gomidasagan, pp. 191-207.
(
(
78
theoretical aspect.
l34
Yet, the use of old Greek modal names in
designating or cooifying Armenian folk and asboogh melcdies by most of
these musicologists is not comprehensible; Gomidas, however, has
specifically made use of the ~ collection names in writing both
Armenian liturgical and folk meladies, in order to prove the close
relationshlp of the two maJor branches of Armeman music. 1.35
In my analysis of Sayat Nova melooies, l will attempt to classify
them in terms of Armenian t.z.am collections, rather than with Greek
modal names. Melooies, whlCh do not comply wlth the Armenian .t.zam
system, will be explained and discussed separately. For the purposes of
this paper l will bmit the presentation of Armenian tzayus to those
commonly used in Armenian folk and asbQQgb mUSIC, and more specifically
to those used in Sayat Nova melodies.
13s
Group (1) Arachin tzayn and w.:a..,;hin gogbm
Arachin tzayn and arachin goghm are also known as ' minor' Uams,
sinee the third above their yerchayorogh tzayn 18 a 'minor'. For both
134. Sbiri..don Mehklan (1880-1933, a 8tudent of Gomidas), in his
writings on Armeman mUSIC negated his teacher's theories. Contemporary
and next generatlon muslcologlsts critlcized his approach (which was an
attempt to exp laID Armeman music theory as an extension of Greek music
theory), and rE'establlshed GOmldas' duection.
135. The use of Greek mooal names to deslgnate Armenlan tza.m
collectIons was probably Inltlated by Sb Mellklan (H.I.). He used the
term (Les) Gammes' instead of modes. See, Sb. Me likian, J:W.y
Joghoyrtagan Y ~ r ~ Gammanere (The Gammes of Armenian folk MUSIC)
(Yerevan. [no pub,], 1930), pp. 9-10. For more on Gom id as , writings see
Tahnlizlan, Guulldasagan, p 161. See also Gonndas, E.thnographJ.c
Collection, vol l and H (Yerevan' Haybedhrad, 1931, 1950).
136. Unless otherwise StJ8clfled the following dIScussIon is drawn
from Professor Atayan' s and M. Prooolan' 8 aforementioned books. See [n.
115, 125.
1
l
!
1
1
j
..".
79
the arachin tzayn and goalm the vercbayoroeh tzayn is A, whF.:lrF.:ll:\s
timogh tzayn is D for the former, and C for the latter (example 13) 137
The second degree and the fifth degree in these 'minor'
'diminished' consecutively ln relation to the verchavorogh tzayn (in
this paper degree numbers are determined by their relai: ion to the
yerchayorogh t2:ayn). Whereas, arachin tzam is extensively llSOO in
church melodies along with arachin goghm; in folk melodiec:: the of
arachin tzavn is rare, but arachin gQgbn is (]uite abuno:l8..T1tly lY3eO The
seventh degree in both tzayns may appear in its natural and s1tered
form. In its altered form an augmented second below the
tzayn is obtained (example 14). A common melodic formu18 lS frOID the
lower 6th to the root of what would be termed in Western music as an
arpeggiation of the major triad, FAC (ex8.lTl[l1e 15). In sharae:WlC:: the F
frequently appears as the initial tzayn of the melody) while in folk
songs it is prevalent in most meladie formt
l
hs of these !.Z8;"1
collections (example 16). As mentioned earlier, in thec::e the
fourth degree is lowered, WhlCh is often followed by a fifth
degree. This alteration, with its augmented second interval, between
the fourth and the fifth degrees, makes for a new tzavn. known
arachin goghm tartzyadzk (example 17). Melodies in gogtun in
Armenian chUl'ch music 'Tlake use of tzayns in both the upper and Iower
137. Although in arachin tzayn D is accepted to be 8'3 the timoph
tzayn by most of my sources, Tchalikian explains the formation of
arachi,n tzavn thus:
The modal formaiton of arachln tzayn is such that its third degree
(the foundation of phrygian tetrachord) A, appears as having the
prime and rnling function of the .tz.a;m.. l t is both the
verchaVQrogh and the timQgh tzayn, wi th C'8nt.ripetal C'h8.r8C'ter
flat-c-d,
Tchalikian, Ar.acllin, p. 25.
.,/
f::...__
80
( registers of verchavorogh tzayn.
Example 13
j , (1), f _
, 1
..., T
j
Arachin goghm Arachin tzayn
Example 14
*i f J: G te la fl$t r J nia: 1;1) !J ml r! u
Example 15 djampen toaz a4- (GO:llldas, E.t.l::lnQ., l, p.
(
Example 16 (Tchallkian. p. 78) (Tchalikian, p. 182)
$ad cl J yi &1 ... =JI:
J r 0
;:;;>'
Arachin tzayn Arachin goghm
(Tchalikjan, p. 28)
i J ) 1 J 1 J J 1 t J IJ tJ 1 r
Il
Arachin goghm
Example 17 (Tchalikian, p. 57)
1
Arachin goghm Arachin goghm tartzvadzk
(
.\V +'J
J trtd[UVI& F ( PCEJ;rr Ir , ([J Igr:lil j
Il N 0. 11/1."S l'u:J .. / i"!J( lf.",jJa.s, Elia .. 0, f 'f, 1)
....,..
--
81
(2) Yergrort tzayn, tchorrort tchorrort gogbm
These are also recognizeG as 'minor' tzayns. All three
share the sarne yerhayorogb tzayn, G, and have the sarne pltch
collection. \Ilhat differentiates them primarily is their timQgh tzayn.
Thorrort gQgbm uses the third, tQhQIrort tzayn the fourth, and
yergrQrt tzayn the fifth degree above yerchayorQgh tzayn as timQgh
tzayns (example 4). The third degree in thQrrort gogbm is often
approached by the lower seventh degree (F-B fIat), and the latter plays
the role of the lower 5th for the third of the (example 18). When
the melody revolves around the timogh tzayn, the latter takes over the
function of yerchayorogh tzayn, and it creates its own cadential
formula (see, Chart B). The third degree acts as a tzkdogh tzayn and
consequently is raised closer to C. In such cases a yergagi tzavn
is created (see a1so aracbin gogbm Both ln
and thQrrQrt tZ8YD the notes be low l,he yerchayorogh tzayn are used
extensively. Slmllar]y, ln both the ]owe1 Unrd i8 t<nsed (Eq),
while the upper E remums lowered The use uf the low seventh degree
(the tzayn be low the Y.eI..chavQrogh tzayn) sphere gl ves a m8J or
co1oring (lo borrow, onr,e agaln, a concept from Western music) to a
rather minor melocly, FAC (examph 18). 'l'he emphasls on the second scale
degree sphere leads to modulatIon to (example 20). In
tzavn the flfth degree lS always em9haslzed, as is the 10wer
natura1 tzkdQgb tzayn. A 1 though, the lower third (E) lS constantly ln
its natural farm, the upper E can be elther natural or flat within the
same melody (example 21). In these three tzayns alteration is achieved
by a lowered fifth degree, D flat, which is fol1owed by a raised sixth
82
(
E, thus creating the augmented second between the fifth and
the sixth degrees from the verchayorogh tzayn (tQhorrort tzayn
tartzyadzk H, Chart B). In sorne cases t.he lowered fifth degree gives a
Locrian (sic) c:olor, especially when melody has a descending line
(example 22). Another characteristic of yergrort tzayu is the omission
of the sixth degr8e E in Armenian folk meladies. This is accepted to be
a variant of the saroe (example 23). The tzayns between the third
and the fifth degrees are extensively used, while tzayns below the
yerchavorogh t.zayn are rarely used. Since these tzayns share the same
yerchavorogh tzayn and the saroe collection, the shift from one .tzayn ta
the other is slmplified as saon as the emphasis changes froID one timogh
tzayn to the other (examp le 24).
Example 18 "Akh, yar, Melikian, l, No. 50)
{
-El
Example 19 ami. (Gomidas, Etl:JnQ , 1, No 33)
L-Ifll V
EY::mlp le 20 em, kal tchem EtbnQ., l, No. 2)
Arachin goghm Tchorrort.. tzayn
Example 21 "DZHam dzar" (Gomldas, ltfux.ks, V. I. p. 38)
(
.....
83
Example 22 "Djan aghper, djan'" (Gomidas, Etlmo., l, No. 217)
+VI -v
qn mer Ir I['(lr rPI) lOir 1
Example 23 'Khorod er, golod er" (Gomidas, E.t.lJnQ., l, No. 54)
Example 24 yela (Gomidas, l, No. 60)
, l' id.. , .-'f.
l
,.--,
';1 1 j J tl'rttDfllJA (( IID' ifillmGJ
Tchorrort goghm Tchorrort tzayn Yergrort tzayn
Group (3) tlrort tzayn and 1 ts tartzvadzk, yerrort goghm and i ts
tartzyadzk
These set of have been ealled 'major' Sinee the
third abve their tzayn is 'maJor'. Wlth G as its
v.e.r.cllaYQrQ&.b tzayn, and r:, as .t.J.nllgb tzayn. )Ferrort tzayn collectIon
includes the ilugJnented second in !tE; mitia.l tetrachord (exo.mple 25),
hence i ts second nrone: . ho.rmornc':t.zQ.YIl This is no longer a diatonic
tzayn, sinee the pitch A fIat IS not part of the diatonic system (in
Middle Eastern lS commonly known as Hjdiaz.
138
138. A comparison belween MIddle Eastern IIla.9.aJDS and Armenlan
tzayus WIll not only be tedious, but also out of line, considering the
length of th1S paper. In Chart C, where one of these tzayns, Uldjaz, is
shown, demonstrates how varied the presentatIons are from one source to
the other.
l
-
Example 25
84
(Proodian, p. 45)

The resolution of the augmented upward emphasizes the
timogb tzayn, whieh, in turn, aets as verehavorogh tzayn. In sucb cases
the melody modulates to one of the 'minor' tzayns, sinee the third
aboya the yerchayorogb tzayn is minor (example 26).
Example 26 'Sareri vrov knats' Etbno., l, No. 134)
As mentioned earlier, Professor eoded these
yergagi tzams for using two verehavorQgh It sho1.11d be notE'd
that yergagi tzayns are often present in extended meladies (example
27) .138
Example 27 'Groong' (Kooshnarian, History ... , p. 238)
In tzayn the fifth scale degree is lowered to arrive at
alteration. The tartzYadzk of this :tzam is 'major' and has C as its
yerchayorOS:h tzayn, and E as its tjmogh tzayn (example 28).
138. Yergagj tzayn is a tzaln, whose includes
augmented second tetrachord; double yergagi is then a witb two
harmonie tetraehords; such as Tcbargah (see, Proodian, Deghegakir,
p. 93).
85
Example 28 StnJorb:.lli, p. 115)
Yerrort gogbm has an entirely different 0011ection from
tzayn. Its verchayorogh tzayn is G, as presented by or C,
presented by Atayan. The timogh tzayn in bQth cases is the minor third
above the yp.rchayorogh tzayn (example 29) .140
Example 29 (Tahmizian, Chart B) Chart B)
,.,,6671 1.
,
." .' 0 i
1r' "li-
(
Yerrort goghm tartzvadzk is very to yerrort tzayn in i ts
pitch collection. With G as yerchayorcgh tzayn and C as timogh tzayn it
differs from the former with the extensive of notes below the
tzayn. :::n such cases D below yercbayorogh tZ!:IYI1 is raised
and aets as tzkdogh tzayn (examp le 30).
Example 30 (Tahamizian, Chart B) 'Yeranki' (Gomidas, Panees, No. 1)
140 TRhmizian, Yerai strlootyan, p. 185. In Ru.
-
86
Group (4) Tehorrort tzayn tartzvadzk, tchorrort gogbm tartzvaclzk
These known also as 'major' tave F as YBrchayorogb
tzayn, and A and C, consecutively, as timogh tzayns as presented by M.
Proodian. Professor R. Atayan glves ::Jne 'major' .tzayn ln hlS Tzernarg,
namely, tchorrort tzayn tartzyadzk hi', which uses B flat as
yerebayorogh tzayn and D as timogb tzayn, 141
As exp !ained ear lier verrort tzayn tartzyadzk is a1so ' maj or' ,
with C as tzayn and E as timogh tzayn. Altbough, verrort
tzayn tartzYadzk is given by Professor TahlTllZian as , In8,Jor ' tza,m, no
otber 'maJor' :tzam is presentro in his chart (see, Chart 8).142
Mixolydian-Ionian (sic) 'majors' are presented oy Proodlan with
three variants. Ali have F as yerchayorogh tzayn, and A (tcborrort
.tz.a.m tartzya.d.z.k), 8 flat (not named, probably yergrort gogbm) and C
(tcborrort gogbm tartZYadzk) tlmQgb tzayns conseeutively (example 31).
Example 31 (Proodian, pp. 40-43)
, ,
... v ,. -1-' V l' +'
Teh. tzayn tartz. YerS'rort goghm tch. gogbm tartz,
In teborrort tZayn tartzvacizk the upper fiftb is outlined
by the use of a raised fourtb: C-B-C, or F-E-F. Tbe fifth degree sphere
141. In a lecture presented at "Music Armenia '78", Professar
Atayan gave four possibilities of 'major' in Armenian music
(see, Chart D, 6a, 6b, 7, 8). It should be noted that Gomidas notated a
number of meladles ln this tzayn collection as presented by Atayan and
coded them (except for number 55) tchorrort tzayn, whlle Atayan coded
them as tchorrort tZayn tartzvacizk. (See, Gomidas, Ethnographie, Vol.
1, songs 23, 28, 37,44, 49, 50, 51, 55, 58, etc.).
142. Tahmizian, Yerajshdootvan, p. 185.
--
87
(
thus emphasized may form separate entities (or collections) (example
32). Notes below yercbayorogh tzayn are extensively used in tbis
whicb circ les around the lower sixth degree and gives the melody a
'minor' coler (example 33). Likewise, the lower and upper fourt.b
degrees: C, B fIat, are present in meladies with larger ambitus, and
"
act as arrivaI points for the entire melody (example 34).
Example 32 "Mayrig, yes \moom em (Gomidas, E.t.,bnQ., II, No. 37)
Example 33 kare dashaclz "" (Gomidas, E.t..l:ll:m., l, No. 240)
j
E.tl:JnQ') l 1 p. 25tj )
(
Despite existing similarities, tchorrort goghm tartZVadzk differs
from tcborrort tzayn tartzvadzk in its triaclic construction (example
35). The 'major' t.z.a.m with fourth degree as timogb tzayn, B flat, is
rarely used in Armenian folk music (example 36).
Example 35 "Yarin yar tchouni" (Gomidas, EthnQ., l, No. 171)
,
Example 36 fSarerin karoun gou ka" (GoIDldas, Etllr.lQ., l, No. 39)
(
1
88
Alteration in these oeeur on the sixth degree: D. An
interplay between 'major-minor' is obtained with the alteration of the
third degree (exarnple 37). Apart from the three variants of 'major'
Proodian presents a Lydian (sic) major, as a rare oeeurenee in
Armenian folk mUSIC, once aga in without its Armenian equivalent.
This probably corresponds to 6b as presented by Atayan in Chart D
(example 38).
Example 37 h Yela katsi
9
(Gomidas, Ethna., l, No. 114)
Example 38 Shorora anotlsh " (Gomjdas, E..tho.Q., 11, p. 40)
Il
Generally speaklng shifts are more common among Armenian
than modulatIons. The most corumon shifts among tzayns oceur when
verchavorogh tzayns are the sarne but thelr collections are different
(example 39). Shlfts also are common wlth tzayns of sarne collection and
different tzayns (example 40),
-
(
(
(
89
Regardless of its function, the note 0 is the MOSt commonly
altered note aside from tzkdogh tzayns. Note that D is the initial
tzayn of the third tetraehord: 0 E fIat F G.
An exhaustlvE"> diseusslon of Armenian tz.a,ms is beyond the scope of
this thesis. The explanations given above will suffiee to form an
overall opinion on the subject matter, and aiso to eomprehend analysis
of Sayat Nova melodies in the following ehapter. For further
the sources cited in this ehapter should be referred to.
CHAPTER5
ANALYSIS OF SAYAT NOVA'S MELODIES
A. Tz.am Analyo:;is
a. Songs Primarily in Single Collections: Although
organically Sayat Nova melodies are generally Armenian in their tzam
collection, as well as rhythmic and melodic contours, certain
deviations from traditional meladic types warrant a closer study.
First, meladies which clearly remain in one of the principle
collections discussed will be briefly survE'yedj follOWlilg this,
tnelodies with deviations, mojulations and other alterations will be
examined in detail.
To atachin gogbm belong songs III, VI and XVII (appendix A, pp.
143-4). The raised seventh is present in aIl three songs at cadence
points (in song number VI the raised aplears only in the
instrumental section), and the third degree in each is the
tzayn. Furthermore, their registers cover the upper sixth F (o:;ongs VI
and }rvII) and the seventh G (song III) of the not very common in
Armenian folk sangs. The meladies make use of the altered fifth sc ale
degree along with the natural fifth scale degree 41).
Example 41
XXI (m. 6-7) III (!n. 3-4) T
91
(. Two other songs (XIV and XXI), although with deviations, are
classifiee! in arachin goa:hm. Song XIV (Appendix A, p. 144), arachin
iiQihm in its entirety J may be said to de', :'ate to .t.QhorI'ort gOihm in the
final phrase. Note the contour of the fmal phrase J which unlike aH
other Sayat Nova arachin gQgbw melod1es, first use of the raised
seven th and s ixth notes be 10\.1 the yerchavorogh tzayn, t.hen rests on A*,
the yerchavorogh tzayn of the ongmal tzavn J and f inally ends on the
yerchin-wrehayorogh tzayn G (example 42). It ffilght be added that
deviation lS ineVltable tJhen a song, sueh as song XXI. makes use of a
vocal ambitus of four tetrachords. The song begms on th8 altered fifth
degree J expands ta a high 1:$ flat, then rests on the seventh scale
degree G WhlCh aets as the yerchavorogh tzayn (example 43)
Example 42 Example 43
(
v yy
XIVC.fillCl.1 pl,WI.) XXI (m, 1-2)
W i th downward mot lon the me lody rests on the verchavorogh tzo.yn A
(phrase b). Then fo llows a condensed vers ion (bar one of phrase c) of
this downward motion. SA far the mUS1C adheres ta the norms of arachin
gogbm. Phrase (c) lS in two t.zavn spheresj the fust measure (m. 8),
which has A as yerchavorogh tzayn, wlth lowered fourth and raised fifth
degree is in aracbin gogbm tartzYad.7.k. The next measure (m. 9) is in
gogbm, with a new yerhayorQg) tzayn G, and A flat, acting as
second degree tzkdogh tzayn. Here, once more the song ends in the
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principal but wlth a new yerchm-yerchavoIogh tzayn (example 44)
1
92
J
Example 44
"
la g 1 @ Il rt; .1. ". .. ;
With their fourth scale degree lowered and consequently the fifth
scale degree raised, sangs XII and XIX (Appendix A, p. 145) may be
classified in arachin gogtnn tartzvadzk. In these sangs the emphasis on
the tzayn outllnes tzayn characteristics (example 45).
The raised seventh scale degreH lS present in song XII at cadence
points. Unllke the alternatlon between A and A flat in the upper
reglsterof sonli!XXl (m. 2,4), onlyAflat lSUSed ln song XIX, which
acts as the second degree t or the uppermost tetrachord ( examp le 46).
Example 45
""" fj' rJ'
1 ri il fti [l ItH 1
XII (m.2) T XIX (m.8)
T
\
-r
Example 46
XIX (m.5)
Sangs VIII, XI, XIII, XXIII, XXIV. XXVI, have a11 the
characteristics of group (2) of Lzayns. Due ta the fact that their
timogh tzayn is constantly changmg wlthin a given melody. a strict
ccdification of individual t.z.am lS not feasable in each of the sangs .
..
( 93
Rather, the shift oE tzam,s within same ,;roup is derlOnstrated
(Appendix A, pp. 147-150). The majority of the melodic phrases of these
songs may be codified as yergrort tznyn, they most of the
characteristics of that for they make use 0f
the register above the tzayn, the raiseG sixth saale
degree, when there is an upward rnovement in the melodie line, as well
as the use of the fifth scale degree as it'3 t imogh tzayn Occasionally,
intermittent phrases deviate to with the fourth degree,
as th(;Iir timogh tzayn, or to tchorrort goghm with the third degree, as
their t.im.oSh tzayn (example 47).
Example 1.,\7
(
Further deviations take place in songs XI and XXVI to tchorrort
tzayn tartzvad,.k. Verse three of song YN temporarily de-viates to
arachin goghm, as the second scale degree is strongly emphasized, then
it returns to the principal (example 48).
Example 48
r &( f41! 1 Efi5--q a IDI J'" 1
.-v' .."..
xv Arachin goghm
A total of five songs (II, IV, V, XVla, XVIII, Appendix A, pp.
(
151-3) are in the tzayns listed under group (4). Song XVIa makes use of
94
altered third scale egree, thus deviating to yergrort tzayn The
raised second scale degree in measures 5 and 9 leads (he phrase
to atRchio gaghm at cadential points 49).
Example 49
'l'he remaining fOll!' strongly the yerjayorogh and
t.zkdogh tzayrls. They a11 make use of their lower register, incillding or,
their way raisE'd seventh (or lower t.z.kdQijlh) tzayn, whereas the
t1['rer seventh degree, when used, is le ft lowe-red 50) With the
--
fifth dGgree as their timogh tzayn and triadic formations their
meladic lines, these sangs may be classified as tchorrort
tartzvadzk,
50
l '
.".
II, IV. XVIII V, XVla
Melodies classified in group (3) are most unified group of
songs in Sayat Nova meladies (l, XVI, XX, XXII, XXV, Appendix A, pp.
154-6), Sangs l and XVI are while song XXII, although
identical in i ts first verse, the second 'Terse deviates ta yerrQrt
gQgbm tartzvarizk by mea-.3 of the extensive use of the register below
the yerchayorogh tzayn (example 51), Strong similarities among these
95
(
me loclies, such as the of the fourth sc alE' degt-ee as timogh tzayn in
most meloclic phrases, frequent caden0ing on the fourtr. degree
which outlines the minor sphere of the and the presence of
yergagi tzayn (example 52), account for thelr unity. lt shoDld be noted
that despite similarities, these SOT"'.es do sc:'.nnd rather differl;?nt in
performance, due to a number of other factors, includine metl;?r/rhythm
Example 51
1 r
1
xxn
Example 52
(
XX l, XXII, XVI
IL
C
f
a
]
-..r
Whereas varlOUS tchargah (Chart Cl) scales include two augmented
seconds in their formation, SaY8t Nov'e. sang Xa (Appendix A, p 158) 8Ild
its improvised version, Xb, encompass three augmented seconds (pxample
53) In the initial two phrases the melody on G, coverine the
range of a sixth above the verche,yorogh tZ8yn G. The third
descends from the second degree and on the sixth E below the
verChayorogh tzayn. The song, thus far, is yerror
t
From here
on, the lower sixth degres acts 89 the timngh tzayn to "",,..,...h:morogb
tzayn C on which the melody culminates (ex8mple 54).
(
, 1
....
Example 53 Example 54
b. Songs in Mlxed ~ s : Sangs which do not comply stricly to any
one of four groupIngs are considered to be in mIxed ~ s . These songs
(VII, IX, XXVII, Appendix B, pp. 157-158) may be classified primarIly
in group (2) They have in corrunon a unIque ~ derivatloll; the fourth
degree (C#) is ralsed to form an augment.ed second, unusual ln Armenian
meladies (example 55), in their lnltlal phrases (example 56). Each song
then develops lOto varlOlJS ~ s .
Exarnp le 55 'Ororotsl yerk' (H Harootloonlan, Manyag, No. 51)
Exarnple 56 Example 57
Il
VII XXVII
In song Vl l, the first two bars of phrase (b) are in t.chorrort
gogbm tartzvadzk, then the augmented second phrase resumes for two more
bars The 'major' color returns in the refrain ta be concluded ln
tchorrort gQgbm, with the third degree as tlIDOgh tzayn.
While song VII deviates frOID one tzayn ta another wJthin 20 short
(
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97
measures, song IX is in two distinct segments. The initial
six measures (two melodic phrases) are in the above described harmonie
formation, and the remainder of the song (eighth measures for two
melodic phrases) is ln
Song XXVII is similar to song VII in its harmonie formation and
tchorrort Interludes. Here too, the song culminates iD
tchorrort goghm, though with a new yerchayorogh tzayn, E natural,
instead of G (example 57).
AlI three melodles have ralsed seventh degrees ,Jower tzkdogh
tzayn). For lack of bette) terminology, these codifications are
used arbitrarlly. For one thing, these songs do not portray all the
characterlstlcs of these tzayns, and for another, thoy deviate or
modulate one collection ta anather at such short distances
that it is almost futile ta attempt to cod if y them with existing tzayn
codifications.
c. Printed Variants of Sayat Nova Melodies: Although, prirnarily in
yerrort tzayn, the variant of song number VII as arranged by
Parkhootarian and published in 1935 (Appendix C, p. 153), deviates in
its third phrase from the original collection to the fifth degree
of the tzayn, ta form a second yerrort (example 58). The variant
melody for song number XX presented in this publication, is closely
related ta the melodies of the sangs classifled under mixed
Compare the (a) and the (b) phrases of song VII with this variant
-
(example 59).
Example 58 Example 59
98
~ ~ ~ J .1, .tJ ..
, ~ O [ L ; (
lE ID
Il.jt 71 f ~ r 1 ~ (f $1 Il It ~ ( 1 p'"" 1
VII (original)
)
X)( (Variant)
d. Unpublished Variants of Sayat Nova Melodies: A verification
with the originals is in order before any attempt is made to analyze
the five melodles reconstructed from memory. The onginals are at the
Ethnographie Cablnet (section) of the Gomldas Conservatory of Yerevan,
and have not yet been authorized for open inspection (Appendix C, pp.
160-162) .
The only other unpllbl1shed variant lS from my collection; namely
kbagn 29 sung to a unique melody by Hr. K. Kesserian. This unique
melody (Appendix C, p. 162) begins in yergrort gogbm wlth the fourth
degree as its timogh tzayn. At cadence point the first phrase ends in
tchorrort gogbm, with a lowered medlant and a not-so-common raised
seventh. The second phrase of this melody 1S in arach1n gogbm with A as
its yerchavorogb tzayn and C as 1ts timogh tzayn (example 60). In its
tza.yx], collection this melody compares with Sayat Nova melody XVIa
(Appendix A, p. 154).
(
99
Example 60
1
1
Il
It is interesting to note that Mr. Kesserian sang l the
same .t.zam as song X (tcbarSab) in 1978, when he presented them one
after another, whereas in 1980 he sang each one of thp.m as in
the 1963 publication.
B. Cadences
(
As a general rule, final cadences in Nov!:I !Ilelodies are
approached from above, with the of those few uhich include
the high or low variant of the seventh de2ree below thp.
tzayn in their contour.
In arachin Soghm and arachin goghm tartzuadzk l'lE'lodies, fina.l
cadences are formed by a descending line (C-B flat-A) the
yerchavorogh tzayn A, ornamenting it p.ither from or beloH !:Incl
resting on it (example 61). In the of sone VI,
the flattened third degree exhibits 8. CI1TT!.On practicp. b!,
(instrumental ensembles), where through the use of a mordp.nt (trill)
the mediant is brought closer ta the yerchayorogh tzayn In other words
thiC3 note is the low variant of C and acts !:1_C3 tzkdogb tzayn
( 132) .
100
Example 61 Example 62
l' r ln if" 1 (1!J J) (J l'E ')" 1 fi" 8t.
1
1
III, XVII, XII III, XIX, XV XIV, XXI VI
Likewise, the final cadence in yergrort tzaVL meladies is
l
approached froID above (B flat-A-G), often repeating the yerchayoroSh
tzayn G at cadence points. Here, the seventh degree F, encompassed in
the meladic contour, is always the low variant (example 63). As an
exception, the seventh degree in XVIa lS the high variant. It
should be noted that the seventh degrees of mixed are also the
high variants.
Example 63
VIII, XI, XXIV, XXVI VIII, XXIII, XXVI, XV XIII XVlo.
The high variant of the seventh degree is characteristic of aIl of
Sayat Nova's 'major' tzayn meladies. Here, too, the final cadence is
approached from above (B flat AG F), except in song number 11, where
the lower tetrachord of the (C D E F) dommates; as a result of
this the final cadences are approached from below (example 64).
Example 64

,
Fei t
,
;
;
1
, -- -
II, IV, V, XVIII IV, XVIII II
....
(
l01
With minor 8011 cldenoes i!"! v/:>rrQrt tU,yn
melociies employ one pattern, C B A fll3.t G (exl3.mple 65).
Exemple 65
Il
l, XVI, XX, XXII, Y;Y;Y
The mljori ty of hl3.1f c!:ldences (Western terminoloi}T \.1sed by
Armenian musicologists to denote incomplete cadences) are on the
third desreE's from the yerchavorogh tzayns of a11 .tz.ams. Theil" meladie
contot'r i8 simi lar ta that of the final cadence contQur, in
the third is by of ? third (example 88). CadE'nces
(
on the fourth and fifth degrees almost involvE' a of fi.
third, foul'th '::or fifth (examplt:> 87) Arachin d;Qghm CIne! gOihm
tartzvadzk, as well as CI.ll do not form h!:llf cedences on
their fourth 8nd fifth degrees, but rather on their third degrees. This
i1'1dioates the primary role played by the tilT!.nch tzayn in these tzayns.
'Fxs;I..mple 66
Ar. goghm tartz. Yergrort Yerrort tzayn Mixed tzayns
67
Tchorrort goghm YE'rrort tzayn Yergrort t ZfI.yY1
(
102
Example 07 cont'd
c. lntervals
Sayat Nova meladies proceed predominantly by stepwise motion,
major and minor seconds. Apart from seconds, thirds (both major and
minor), fourths and fifths (pnmanly perfect) form the core of these
melocl1es. There are no sixths, sevenths or octaves in their contours.
Seconds are a natural outcome of stepwise motion, and the remaining
intervals are the result of varlOUS musical mannerisms and
characteristics of ~ formations.
a. Augmented Seconds: Are found only ln yerrort tzayn and arachin
gQgbm tartZVadzk meladies and phrases (example 68).
Examp]e 63
0... 1
1 ~ ~ 1 H ~ M
l, Y e r r o r ~ tzayn XIX, VII, Arachin goghm tartzvadzk
b. Intervals Creating Contrast: In predominantly stepwise
ascending and descending line an interval of a third, a fOl1rth, or a
-
fifth temporarily creates a contrast, or rather a tension, to culminate
(
{
{
103
eventually in a cadence (exemple 69).
Example 69

EflIJi( G J

J, 'f lU n f
1
XIX, VII (phrase b) see a1so XXVII (phrases a', b)
c. Intervals Emphasizing the Tirnogh Tzayn: Often the presence of a
third, a fourth or a flfth interval outlines the tinQgb tzayn sphere,
thus bringing the melodlc line closer to its tzayn centre. ThlS
centrifugaI character of Armenlan meladies is the result of having one
yerchayorogb tzayn (example 70).
Example 70
PL!'
*.1 (0
XIX (m. 7)
... ;
Il i' l' Q (' ". r1 lm IX!.A
'T
III (m. 7-8, 16-17)
d. Intervals as a Result of Ornamentation: While the timogh tzayn
is being emphasized, an added ornamental tzayn or tzayns will change
the melodic contour to create a leap of a fourth, a fifth or even a
diminished fifth (example 71).
Example 71 Pot
'fil .
nfl1aJ -9 r fOl 1:J k Il
...,... T
VI XVII XXI
e. Cadential Intervals: As opposed to the more common stepwise
1
104
half and final cadences, sorne half cadences are formed by a leap freill
the yerchayorogh t3ayn upwards to its fourth ur fifth tlmogh tzayn. The
fourth and fifth leaps oeeur ln yergrort tzayn, tchorrort tzayn and
tohorrort goghm meladies, while a leap of maJor or minor third is more
eharacteristic of yerrort tzayn (example 72).
-3 3
Il'Hr ttJf,d
1
c !
't T r( T
Yergrort tz., Tchorrort ., Tchorrort tz. , Yerrort tzayn
f. Initial Larger Intervals: Leaps of thirds, fourths and fifths
ooeur in lnitial phrases for a faster rlse to a climax as opposed to
those, whioh start from a cllmax pOlnt and resolve downward. Once aga in
this is governed by characterlstics of tzayn collectlon. Thlrds are
located in yerrort tzayn melodles in an ascending form, avoiding the
ascending form of the augmented second lnterval. The maJor' tzaYQs
begln with a perfect fourth lnterval from the tzayn to the
lower timogh tzayn, or from the timogh tzayn to the tzayn.
The perfect flfth lnterval decorates the initial of yergrort
melodies <.examples 73, '/4, 75).
xx Xa/Xb

(
(
Example 74
IV XVIn
Example 75
, t S'
If fH 1)
VII VIII XlII
105
N
'-:,
1."lrrt"
XVI a
U
IX
1Er
XXVII
g. Intervals In-Between Phrases: Although these can not be
considered meladie intervals, it is important to note that even here
intervallic leaps do not exceed the perfect fifth (example 76).
]
]
h. Intervals Due ta Phrase Extensjons and Repetitions: In a number
of songs the first meladie line is extended either at the consecutive
phrase repetition or at the start of the second verse. These extensions
create larger Intervals such as in phrase repetitions of songs XXIV and
XXVI (Appendix A, p. 149-15U). An exceptIon to this is the
achieved ln the second poetlc line of the first verse of song XIII.
Hers, the melady encompasses the lower seventh of the makes a
leap of a major sixth (the only one in aIl of Sayat Nova songs),
continues yet with another leap of a third and then ornamenting the
sixth degree, descends clown to the yerchavorogh tzayn (example 77).
. .,.
1
1
106
XIII
D. Decorative Notes
143
Although Sayat Nova sangs are primarily syllabi0,
decorative notes, such as grace notes, trills,
passing notes, etc., are tightly knit in their contours Often more
than one type of decorative note is in one song
of anticipations occur at final cadences, uith only one at a hRlf
cadence (XIV) and with some in (ex!:I!!Iple 78) MordentS!
found in almost every song, with the exceptions of sone II, IV, XIV
and XXIV. The most commonly used (in 22 mordent the 8S!cending
second (example 79), then follows the cadenti81 mordent 80:. in
six sangs. A descending mordent (example 81) is used in three
and a mordent involving an interval of a third (example 82) is used i'1
two sangs.
143. It is important ta stress the fact that these decorative
notes appear in the 1963 publication of these songs. In
they may considerably even when editor is the rerformer
for example Shara Dalian's rendition of XVIa). Furthermore, the
decorative notes vary between a performer of the old generation the
new generation, since the source of their is not the The
performance of these sorgs, as art, is aD intriglling
tapic worthy of further ltudy.
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107
Examples 78-82
1
There are 92 grace notes ln this publication, of which 47 are H2
descending, 9 are ascending M2, 71m2 141m2 deEcenJing, 2
descending and 2 ascending M3, 7 descending m3, and 4 descending
augmented 2nd. The overwhelming m3Jor1ty of deseendlng grace notes (74)
correspond to the descending contours of these melod1es. In six songs
grace notes oeeur after the note rather than before, although one of
these is a mordent, they all dlsplay a slnging mannerlsm <slur,
portamen to , etc., examp le 83).
Example 83
\ (:. 1
Trills have been indicated as tr in 11 songs, as b ln 15 songs and
IN
or in 3 songs. Apart from these markings the trill has been
written out in song XV (example 84).
Example 84
Nine types of turns oceur in these meladies. A descending turn
(example 85) is used in five songs. An extended deseending turn oeeurs
108
in two songs (example 86). The remaining turns are found in one song
each (example 87).
Examples 85-87
XII. XIVa VIII VII Xa
RiO
.'Th k
,...,

1
Il
'1
PGe( Il
XXI XXI m
Contrary ta t.heir Middle Eastern caunterparts as ashoogh
improvisatory melodies, melismas are rare in Sayat Nova songs.
Primarily syllabic ln thelr constructIon, oceasJonal melismas oeeur on
single vowels often in final verses. Mellsma-like measures can be
located in song II, III, V, Xa, XV, XXIV, aIl of WhlCh caver a space of
one bar or less (examp le 88). Me llsmas of over one bar ooeur in song
IV-IVa and in the final verse of song XXV (example 89).
Example 88
0/ V J 1 c v-le 1 & @ 1 H J Il
II Uo-va------------ III Kha-ghe-roo-men------ be-za-------ril im
Example 89
5! 1
li Q
IV roa-mess-------------- IV shi-----------------
-
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109
Example 89 cont'd
f'T\ r.s--
( (fI ut rLi tI1 P'
xxv Lal ki-zi la----- yigh---------------------------------,
E. Contrast and Balance
Various musical such as descending sixteenth notes in
groups of four ta seven notes, decorate phrase endings NeighbC1..1ring
tones or passing tone triplets, syncopations, becorne of
(
construction rather than AlI of the Dove
embellishments and mannerisms contribute to cantrast 8nd in
otherwise syllabic setting of these (example 80).
Example 90
,\ rn, 1 pt, mm 1 f' Il fi( Ir I.rgggg 1 j
l xx VIII XIX Xa
Example 90 00nt'd
III XXIII XXVI
Among other mush .. ttl mannerisms creatine t:'ontrast '::Ind !:'xe'
(
Irregular phrase lengths, as in songs IV!:,., V, XVII (example 81);
l
,
110
rhythmic achieved either by elimination of a
(example 92) or by the reduetion of the number of bars, as reguired by
a shorter text 93); by the insertion of a melisma on one
syllable or Dy doubling the rhythmie value, rhythmic is
achieved (example 94); metric changes, Hbich occur within 8. song, t.7hen
two beat pulse alternates with three beat pulse at f;?very two alc.:o
eontribute ta eontrast and balance (ex8mple 95); another of
eontrast oceurs, when two almost melodies sound entirely
different with metrie change from 6/8 to 6/4 (songs 1, XVI); in 8.
variety of ways motivie variations contribute ta contr8st and balance--
of these are: (a) the addition of or the abandonlllent 0f
,
tzayns in songs II, III, V, VI, VII, XVI, XX 96), (b) the uc.:e
of and or the omission of passjng or nelghbouring in sangs II,
v, XXI, XXII, XXVII 97), (e) the diminution or the extension
of an interval in songs VII, XIII, XIX, XXI, XXIV (exaIDple 88)
Exa.mple 91
TVa (3+2) ({+2}2+{-}2)
Example 92
Il
IVa (phrase c) (phrase c.')
-

111
Example 93
XI (phrase a/poetic line 1) (ph. b/p. line 2) (ph. ab'/p. line 4
Example 94
nl'@' lwu@Ifl:;J hn Ir*' dt 1
Looo-t .........
III (song IV phrase b and b', song XXI phrases b' and c)
Example 95
XXIV + B 4
Example 96
. (
mi mm Iqtlwih,ir lv( ]
VI (poetic line 31 repetition)
ExamplE 97
XXII XXI
F.xample 98
1
VII (repetition)
(
-
112
F. Ranges
(
As i t is common wi th vocal music, the overall rangl'l' of these
melociies never exceeds the twelfth. Certain rl;lnges JIlEI.y be assot:'iated
with particular tzayns. In araohin gogbm and yerrort tzavns m6 and m7
ranges are very common (example 99); the wider ranges arl? found in
altered and modulating melodies (XIV, XXI, Xa). YergrQ,..t tZfI:y!l !:Incl
, maj or' t2a,ms have a compass of an octave or more (mostly m9 or M9,
example 100).
Example 99
61111 "" _, .:f '"
I;;P
The breakdown of ranges by .t.zam is rr:.>pr,="sented irl t\.ppendix A,
II
first, the overall range is shown in the ll?ft hand COrTII?r of song,
then the range within each phrase is given the end of
phrase. Of the 103 phrases examined in these melodies 33 hfl.ve !:I r!:lnge
of PS, 21 have mB, 11 have m? and 10 have M6 ranges, the remfl.ining "ary
from m3 to m9. All the above observations have taken into
the primary melody notes, and not the grace notes, in T.lhich the
ranges may somewhat differ. In other words, the maximum range (d12, in
song XXI) stays intact, while ranges of individual may differ
by a semitone or a tone. Song XXI has the widest range d\.1e to
1
113
(
oonstantly shifting tetraohords. Phrase (a) covers the UIlI:lermost
tetrachord of the tnm, while phrase (b) adds on th' tt.
1
0 lou'r or the
second and first tetrachords of the tZl:I;vn, f::'nding on thf::'
tzayn (example 101). Phrase (b') is in the first and sef:'ond
tetrachordal sphere of the tza,m. So far 1 the song is in l:I,rR,f:'hin "n"hm,
The modulation begins with phrase (0), at first to
tartzyadzk, with the same yerchayorotl;h t za,yn, A*, then, in thE:' se('ond
bar, the melody extends to the lowest tetra,f:'hord below thE'
tzayn and finishes on a new tzayn, 0**, re!na,iniP.e l
the initial uavn (example 102).
Example 101
1
(:
,
, ,
d
Il
l "
, 1 1 e Il
If in song XXI individual phrases CQVE:'r a range of OVE'r o('taVE:',
in song X i..t"l.dividual phrases have a limited range of 6th, E:"7'n
thE:' overall range of the song is Pli The spans the M6
rang above the yerchayorogb tzayn (example 103), while
phrase extends downward to include the louer 6th and 7th
(example 104). With the third phrase the melody uses the lower
tetrachord, thus cadencing on the third dE:'eteE' of thE:' nE:'U v"'l"ohRvnrosh
tzayn C to finish the melody (example 105).
(
<0-
,\. f,

"
114
Examples 103-105
Sayat Nova meladies have wider overall ranges compared to
Armenian folk melodies. It should be noted that the in
ranges is due to instrumental accompaniments, which were common
practice in ashoogh music, whereas, folk mF.."lodies were sune T.1ith
instruments, except in song-dances. Another for extensive
in these melodies is the fact that they were rublicly performed pnd
required a more cultivated voice than did folk songs. It should be
stressed that the wide range is applicable ffiostly to the song,
not to individual phrases, where the remain within a
of a 6th.
G. Me lodic Contours
a. General' Tzam spheres, tetrachordal superimpositions and or
overlappings, and furthermore, the of tones
within a gbren tzayn affect the formation of .144
Verbal intonation also plays an raIe in the format ion of
melodie contour (see, section Rhythm and meter). The Iogic of melociic
development then is closely related to modal logic. Consequently, the
144 Proodian, The Folk, pp. 58-60.
(
(
(
115
maladie turns, which appear at the baginni.J'1g of melodie9, E'gt!:!blish !:Ind
underline the stable notes of the encircle the spheres of
yerchayorogh and timogh tzayns, and culminate on the
yerehayorogh tzayn with a final cadential bJrn. Thus, me lodies mfl.y be
said to have initial meladie turns or contl')lJrS, which c-rE'!:!.tf';' thE' Imot;
the middle melodie contours, unbind the knot; and the fin!:!l
contours complete the melody.
Despite a variety of melodic contours in Sayat Nov!:!. song9, thE'
majority can be codified as descending contours.
b. ThE' Most Common Contours: Constantly descending !l'lelCY.lic
contours are characteristic of arachin gQghm, axachin c:1nc:1hm h:, ..
and yerrort tzayns, where the rnelody begins from the highest ritc-h of
the (the seventh or the sixth) and descends either to thE' timOc:1h
tzayn or thE' yerchay.orogh tzs.yn (exarnple 106). Descending lines OCC1.lr
in aIl sangs, within individual meladic phrases 10
7
).
Declamatory songs, as an entity are non-exi9tent amone S!:I.Y!:It
meladies, though there are sorne examples of straight-linE' melodit:'
contours, which also culminate in eithel' thE' timogh or th.:-
verchayorogh tzayn (example 108). A more ('ommon phrl:lEe 19
the wave-like c-ontour, where the rnelady the timnc:1h or
the verchayorogh tzayn spheres 109)
----- -1
116
Exemple 106
T "V'
XII Arachin Jo,hm tartz. l Yerrort tzayn
Example 107
l Yerrort tzayn XI Yergrort tzayn
Example 108
1
l Yerrort tzayn II Tchorrort tzayn
Example 109
1
IV Tchorrort tzayn tartz. XIX Arachin j O j h ~ tartz.
Curved-line contours are common in yergrort tzayn meladies, where
the melcdy begins with a leap of a flfth, from the yerchayorogh tzayn
to tiroogh tzayn ana then descends to the yerchayorogh tzayn (example
110).
Example 110
XIII Yergrort tzayn
(
(
117
Only eight songs begin on the tzayn, out of which
four make a leap ta their timogh tzayn in their initial contour; the
others (exrunple 111) build a straight-line contour around the
yerehayorogh tzayn, and (example 112) ascend stepwise to the timogh
tzayn. Once aga in , not only initial melodie contours are governed by
modal loglc, but aiso the starting notes. Nine out of eleven melodies,
which begin on the sixth degree are in araehin gogbm, arachin goghm
tartzvadzk and yerrort tzavns, while yergrort tzayn and 'major' tzams
primarily employ fifth degree starting notes.
Example 111

$#298 fu f PJ 1
VII
Example 112
XIX
xxvu
xx
II
In a group of meladies, where tightly-knit modal construction is
ob l igatory, repeated or similar maladie contours are inevitable. One
such contour was pointed out by one of the editors of Sayat Nova
meladIes, Mooshegh Aghayan.
145
This contour, which we will label
phrase (example 113), was further studied by Professor N. Tahmizian in
145 See, introductory note of 1963 publication of Sayat Nova
meladies.
118
his article "Sayat Novayi Hayeren Yerkeri Yeghanagneri Masin." 148
Prof essor Tahmizian includes three more songs beyond the ini Hal five 1
which were pointed out by M. Aghayan, to contain this melodie contour.
These are songs II, IV, V, VII, XV, XVIII, XXIII and XXVII RS they
appear in the 1963 publication" A c1osE'r sh,dy of a11 meloo.iE'':: rE'veal
that not only the eight, but as many as tlilenty songs this
phrase (which will be labeled here as "A' phl"s:lse), eithE'r in its
complete form, or a slight variant of it (Ch!:lrt - "Ali PP.rase)"
Professor Tahmizian rightly considers this phr!:l.se a llOifyine link in
Sayat Nova songs, and consequently them as songs of first
grou!? (example 114)" 147
Examp1e 113
*

(?
l' ,
1
on).
,
o ,
, ,
1

0

,

{I1
t>

tJ
Examp1e 114
Il
II (see a1so song XVIII)
It should be pointed out that the liA" phrase, initia.ted in the
major Lzams, appears in 'major' form, or as a.
phrase in an overall 'minor" .t.z.ams (songs XV, VII, XXIII, XXVII), and
in 'minor' form in songs VIII and XIII" ThE' variants of liA" phr"'SI;? EI.re
found mainly in yerrort. tzavn songs (examplE' 115)"
148 Tahmizian, "Sayat Novayi," p" 52"
147 Tahmizian, "Sayat Novayi," pp. 52-3.
( ~
119
Example 115
Il
This is not the on1y unifying meladie phrase in Sayat Nova sangs.
An initial meladie eontour--a meladie motif eomprised of aseending
three notes, with the third note repeated in reeitative style--labeled
as SBark (example 116) by Professor TahmizIan, has ItS eounterpart in
various Armenian folk songs, espeeially those reeognized as andooni's
(homeless) (example 117). Seven of the twenty seven sangs begin with
this meladie contour (III, XI, XIV, XV, XXI, XXIII (2nd verse), XXVII
(2nd verse).
(
Example 116
ft "t'"
$i ~ li P ~
Example 117 (Gomidas, SQngs, p. 37)
Ir 9 ~ , F r
III Dzi -ra-ni dzar,
A second subgroup of initIal melodic contours, whieh may be
labeled as having ~ beginnings (example 118), are represented by
nine songs (VII, VIII, XI, XIII, XXVII (repeat of first verse), IV,
XVIII, XVla, XX). While the fjrst five of this group leap from the
yerchayorogb tzayn to the fifth degree of the ~ , the leap in the
{
next three songs Involve the lower fifth (or fourth, examplz 119), and
120
the last song leaps from the yerehayorogh tzayn ta its fourth degree
aboye (example 120). Note that the first flye songs are in group (2) of
~ s , the following three are in group (4) of tza2ns and only the
last one is in yerrort tzayn.
Exarnple 118 "Shooshigi" (Gomidas, Dances, p.5)
"""
1 E r q J1l J 1 J )' m
VIII XIII
Exarnple 119 "Alakyaz" (Gomidas, Soogs, p. 60)
4 j LtlJ.> I ~ J I J r ~ [t,eJ9r; 1 L} fl J ~
IV XVIII XVla "Daradzyal" (Tahmizian, Sbnorhali, p. 88)
Example 120
xx
The third subgroup of inltial melodlC contours may be classified aE
recitative (example 121) includes sangs l, II, V, VI, XII, XVI, XVII,
XXIV, XXV, XXVI). FIve of these melodles begin on the sixth degree of
the tzayn, three on the fifth, one on the fourth and one on the
yerchayorogh tzayn. Their prlme charactenstic lS the repeated note, or
a turn around the sarne note. Recitative contours oeeur both ln initial
and Middle phrases (example 122).
-
,
(
('
121
Example 121
;
.
,1
Exemple 122
l XXIV II
VI
The only two melodies which do not have initial melodi0
as those classified above are songs XIX and XXII. Sone )(TX, in
a different :tz.am, has the exact sarne initiBl phrase BE sone XXVII, '!lE
it appears the first tiroe (example 123). This phrase to the
second group of initial melodic contours, otherwise !moral!! B.S
SOI1,e XXII is organically unified with all '1r"'''''Qrt tZ8'm sones, not only
in its t.zam collection, but also in its meladic contours of middle l:Ind
final phrases.
Example 123
1
XXVII XIX
Of a11 the Sayat Nova songs the only melody is "Toon en
klkhen" (X). This tune, known as tchargah, h!:t'3 its origin in Bn eB.rlier
medieval mel(dy, an ecclesiastical song dedicated to
entitled "1 gooys vimen" (example 124) _ This song has not only
influenced Sayat Nova, but also Bagtrlasar Tbir, a seu,="nt,="enth t:''nt1.1ry
122
-
cantor from Constantinople, in his song entitled "1 nnchmanet 1 (excutlplF.'
125), and later, in nineteenth century, Ashoogh Shirin in his "Aykeban"
(example 126). This phenomenon is observed as the musical continuity of
\
Armenian ashoogh traditions. 148
Example 124 "Toon en klkhen"
Example 125 "1 gooys vimen"
1
Example 126
"1 nnchmanet" (Kooshnar ian, p. 249) " Aykeban" (Kooshnar lan ) p. 285)
Even stronger than the initial contours are the cadential endings
as unifying factors, as shown under Cadences. Ali these cadent
contours sound the sarne, once ~ differences are eliminated.
c. Contours Due ta Verbal Intonation: ln Armenian folk music
certain melody types and intervallic patterns have been associated with
certain emotlonal states:
148 Kooshnarian, p. 285.
-----------------------------------------.
"
(
123
(1) a comon pattern associated with pleading 127)'
Example 127 (Proooian, fQ.lk, 1:'. 58)
XI XXVI
(2) a descending sequential pattern d'monstratine sorro
u

128):
Example 128 (Prood ian) Eclk} p 59)
XVIII IX
(
In song XIV the final melodic line brings about a
contrast, resulting in the dramatic change of mood and of tzayn
in song III the final melodic line remains in the same tzam by th'
of the thematic material of phrase (b).
(3) use of grace notes ta indicate a sieh (example 129)'
Example 129 (Proooian, Eclk, [1.
Rm
--,
III HmT-----
(4) onE'-note or one-beat intonational 'ntities
exclamations (example 130):
(
124
Example 130
Il
EQIk, p. 60) Akh, IV (m.4) XVIII (m. 3)
Despite the fact that the of SElyat Nova IDE'looiE''3 Eire in
the 'minor' and his t-etic language is satur8tl?d. t.Tith SQrrOl"
and grief, exclamations such as 'akh', 'vay', are rare. Furthermore,
they form a composite part of a melodie phrase rather than an
intonational entity.
To sUDlml:!.rize, Sayat Nova meladies are interwoven t.:rith r.C'Ir.roon
thematic material, be it initial, middle or cadential contours. lmd
this unit y is nresent even when the sangs are in contrl:!_stip.e
H. Form
The majority of musical forms in these !Ilelodies are I:dpl:!.rtite AB,
or AB: Il, or A 11 B: \\ . Often each part ml:! kes use of on l-y one [lOE'tir.
line, which necessitates the rE'petitlon of thE' musical fOr!! f0r linE's :3
and 4 of the stanza (Sangs IV, V, VIII, X, XVIa). In somE' sones (IX,
XX) the A part makE's use of poetic lines 1 !;Incl 2, whilE' the B lS
used for lines 3 and 4. Repetition of a pC'eUr. line to the sl:I.me ITlelrxlir.
phrase is also (songs VI, XXIV, XXVI). Of the 27 melodies and
two vT..t.riants only three may be considered ternary in form. Of these
(
(
125
sone XI has A \\B: \\ A' form, the A' being the diminution of A. An AABA'
form is used for song XIX, where each poetic line corresponds to each
of the musical sections. Song XXV ABA' form, A' is by
addition of 8. third (a) phrase. The remaining tripartite songs have ABC
the C sometimes standincr for a refrain, in songs VII,
XIII, XXIII, or for the third section of the complete melody, as in
sangs II, XVIII (which in addition also has a refrain), XXI, XXIV,
whose form is completed by a second extended B section. The form of
song II is complicated even further, since for every 5th stanza a new
meladic section is attached. This section, which is similar to the
phrases (a) and (b) combined in parts A and B, yet beeins a 5th above
the original. Furthermore, the "A" phrase
middle phrase of this meladie section.
It shc
l1
.lld be stressed that in no way '3.re these forms repetitivt:'
and/or static. They are varied from by the mwber of
measures each section covers and also by the number of This
may aiso be considered one of the characteristics th8t !!l.8.kt:' thest:'
melodies so unique and interesting.
1. Rhythm and Meter
Tt::rnary maters are dominant in Sayat Nova meladies
in the 1963 publication. Fifteen songs have 6/8 meter, three
in 3/4, and one in 6/4. Of the remaining tt:.>n songs, tt.10 l:Ixe in 4,14
128
time, two in irregular meter, 5/8 and 5/4; the rest have t:'h!:'ngeable or
mixed meters.
The meters use primarily duple or triple t:'ompound
signatures (6/8, 9/8, 12/8), as well as irreg.Jlar Ume (5,18,
5/4, 7/8, example 131)
Example 131
R
J
IX Taon en hoa- rin is, voor/ke-mi Soo zau-te
Tchoon-ki intz zav-te- tsir/kha-pov, na- za- ni
f Ifi F J' 1 , ft i ft!" 1: Hy'l
A-re-vilk, ha-rav 00 hu-sis,/tch-ga ki-zi n-mJ;ln, /tcha-pov na-za-ni
Apart from changeable meters, meters r.lith varied metric-
sutxiivisions l:Ixe encountered, Le.; 3+3, 2+2+2 in 6/13 or 6/4 meters
(exemple 132). Metric phrases may vary from one ta six bJ;lxS eat:'h
(exemple 133). Furthermore, phrase overlaps eliminate any possibility
of monotony (sangs III, XVII). There are with phrases alternatine
between changeable and regular meters (example 134) 1 ot hers wi th
irregular metric phrases (example 135), and yet those where ehageable
meter is combined with changeable metric lengths (ex8mple 136).
Example 132
XVI (m. 1-4) (m. 5-8) XXIV
127
(
Example 133
Xa ONE measure phrases XIII TWO measure phrases
XVIII FOUR measure phrase SIX measure phrase
Example 134
t1) V (two bars of 5/8, two bars of 8/8 -recitative section)
U :) t r t I ; J: 1 ,t) \\ y r l' t ID \ D t f l ) \l
(2) XII (two bars of 9/8 (4/8, 5/8), two bars of 6/8)
1 H ,FU 1J 1)' f7 Pl h P LI fJ) 1 r n,l J1fJ Il
IJ '- Si U;
( 3) XVII (two bars of 6/8, 7/8 and two bars of 7/8)
(1) XV (ONE bar overlap) 1
,.. -;'1 r: r:- 1
1 J If l r L fIt t t , f r. ,(3 t B \ J [. tG.O -t 'l,If 31,.
(2) III begins 2+2+2+3, then
1" .3 t .,. 't .,. 2 l' l +If t 2 + 1. + If + '1 + S' Il
4' L---I '-' '---1 f........' 1....--1 -.J l--I
(3) represents half a poetic line with 8 syllables each).
1 t rI} nJ Irf'lJ \ !:l 1 V J' J.-,! OJ'J Id.
(4) XIV 11/2 + 11/2 + 1 + 2
,
128
1) H. p.p;a rZ! [LI 1 fi [J. 1)') III f CI'D J'tfl
1 r,g rtl." nJ J' @ t 1 ,1." Il
(5) VII
Example 136
.-::,'IIU r .. ,
1
r
l'
"1
l
r--,
1

.,
1
, It
, .l + 1, "t
5 1
r)' r 1 + 1 1
1 s ,

f
r B J A
(1) II
,
l'
1
U 7" li i .. " li "
Il
.1
, J L
}
:t+2-
S j
1
(2)
Y.)J
The :5lbove metric markings ln no way do justice ta the wealth of
metric and rhythmic intricacies of these meladies. A closer study of
metric units and phrases, patterns and formulas is essential
to better appreclate the rhythm in these m31oclles.
Basic rhythmlc formulas in Armenian music derIve from the word and
grammatical accentuatIon of the language. In one of the earilest
publications of Armenian folk sangs, Gomldas gives specific directions
as ta the rhythmic executian of these songs.
Dans la musique populaIre armenlerme, l'accent et le temps sont
absolument independants l'un de l'autre; 11 faut donc chanter ces
chansons en se guidant seulement par les paroles et par les signes
indiqus sur les notes, et non point en SUlvant les rgIes de
l'accent de la mUSIque OCCIdentale. Les barres --;-: et 1
n'indiquent que l'unit et le pied de la mesure.
149
Later, ln one of his research papers he further elaborates on this
idea by emphasising that "Armenian mUSIC lS based on beats rather than
on the regular arrangement of accents." And speaking of accents, he
149. Kom i t Wardapet, La Lyre Armen ienne (Par is : E. Demers, [no
date]), p. 4.
{
(
(
129
equates the succession of weak and strong in to that of
short and long syllablef; of poetl1' .150 The er13.mmatical !:Ina
accent:.lations, in other words, wOlro accent a1d accent per
are closely affiliated accent in Armenian music Thus, in
Armenian music is goveml9d by the inflection 0f words rather than
metric patterns. Furthermore, word accent its c10se to the
basic note (pitch) of thE! melcx:ly, yet accent l:l.'S per 0r loeic i'3
one or several not.es higher than the basic note 151 Thus 1 T.7hE'n
the above rules are followed & concordance between word their
accentuation, and musical accentuation of the melody is achieved.
Rhythmic formations in Armenhm f01k S0!1..eS, then, lre g0"erned l)y
the textual C'0ntent, as as word and phrase accentuation of the
songs. It is important to note that word phrase accentuati0n i.1
Sayat Nova SOTlgS, since they are primarily ,rritten in the Tbilisi
Armenian dialect, differ somewhat from word l:lno phr8se
tuation. In the Armenian language the final complete of a
is accented, and phrase accent is govE'rnE'd not only by the me8nine of
the text, but also by word and grammatical Accents in Sayat
Nova melcx:lies, mainly word accents, should. f8.11 on a penultimate CO!!l.['-
lete syllable, 0r pre-penultimate syllable in the of a complete
pemlltimate syllable as explained by Nieol "in ordE'r to
150 It has already in Ch8.pter 3, Poetic forros,
that there are no short and long vowels 8nd consequently no short or
long syllables in Armenian The length of syllables is decided
on the number and order of consonants and vm'lels in each sy1l8ble !:Ind
on certain er8.!!'l..!!l.8.t i<.:>al rules,
151, Shahan Berberian "Gomias Vartabed; the Man and His Work" in
Gomidas Yartabed (New York: Publ. by the of the Armenian Church
of America, 1868), pp. 100-101.
130
fully comprehend the rhythm of these songs. "152
The following ru1alysis of rhythmic patterns in Sayat Nova songs
will attempt to reveal the impact of the aooentuation characteristic of
the Tbilisi Armenian dlalect. For the purpose of this ffi1alysis l have
chosen the two most frequently used rhythmic formulas: (a) 1 J'lf.,l \J 1'J J ,
(b) #r.1) J. l, to follow their variations aooording to textual
requirements. Before we study the variants of these formulas, let us
see which acoentuatlon pattern in the poetry suits the musical
accentuation best. The flrst two lines of song number V are ohosen at
random to study; (a) ashoogh poetic accentuation (ghoshma-dastan poetic
form, annotated ghw;)ia-yarana by Sayat Nova), (b) Armenian language
accentuation, (c) the Tbilisi Armenlan dlalee:t accentuation, and (d)
musical accentuation.
5/8
Ashoogh poetie ace. #1
Ashoogh poetic ace. #2
Ashoogh poetlc ace. #3
A.P.A. by Apeghian #4
Armenian lang. aco.
Tbilisi Arm. dlalect
Musical accentuation
l
,1.
A-rants
..
,
,/
r
kiz
')
.,
1
'1
7
:t
r ,l,
:)

J
, , ,
,
""
Intch go-nim, soy-patn
t. 1
,
).J
1
t)
1-
o 1
'1
- -
, ,
v'. II"
V
>
l'"
(
r
.\
: 1
,

1
'-
ou sa-zn
L
,
)
t)

_ .. -
,
v' v'
J '1 1

',r J' J' : f ,\ J J') J : J J Il
Tzer-ne-mes ver go-dzlm tchan-kl-rn me-meg,
:
..
Ashoogh poetic ace. #1
Ashoogh poetic ace. #2
Ashoogh poetic ace.
A.P.A. by Apeghian #4
Armenian lang. ace.
Tbilisi Arm. dialect
Musical accentuatIon
.J.
>
1
0 lf eo
1
.x JI
-- --
'1 .r
,
v v.- ,/
* grammmatlcal accents
152 Aghpalirul, p. 44.
,
L
) 1
iJt:L ..d
Y
_.x_ l(
..
-
, ,
v v' v
(
(
131
The second song (XV) is chosen since it was used by
Aghpalian to introduce the Tbilisi Armenian dialect accentuation. Here
are the two first lines
, l'}
B Tchim
of the second verse of this song. > 1
,.,. ,. ,. 'J "'r
t J f.l :) J f 11 : 1 J J f J : J, 71
kash-vi 1 Ra-ghi-bi d-vadz'a-he-men,
Ashoogh poetic acc. : .l > >
EE!t :==:-L---If ::=:=:-L..-.l....-I =-'------l!1 i
> tchim- here the grammatical accent predominates,
diminshing the accentuation of the next syllable-
Let us consider once more Aghpalian's explanation of Tbilisi
Armenian dialect accentuation "As a general observation l have to say,
that as in the other Armenian dialects the words in
Tbilisi dialect have their accents on the penultimate or pre-
penultimate syllables; that is, ..... so as not ta read or recite
as:
Kiz kou yareme'n, parepareme'n,
but, Ki' z kou ya' remen, parepa' remen ,
and, E'gadz ma'hemen, deva'dz a'hemen, etc.
This observation should always be considered to comprehend fully
the rhythm of these songs. It 15 natural that each syllable
accented in its turn deprives the following syllable from being
accented. "153
Thus, in the light of the above observation the closest
accentuation pattern to musical accentuation in Sayat Nova's sangs is
that of the Tbilisi dialect accentuation.
Now, the rhythmic pattern (a) appears in nineteen sangs and (b) in
153 Aghpalian, Sayat Noyayi Hed, p. 44.
---------------------------------------------------
132
twenty. The majority of these songs are in 6/8 meter, in other words
compound meter, except for songs V, Xa, and XI. Although, the (b)
pattern is often heard at phrase endings, it also appears in phrase
beginnings (XIV), or middle phrases (XV, XXI). On the other hand phrase
pattern (a) is almost always heard at the beginning of phrases.
Let us now examine, at random, some of the variants of these
rhythmic patterns in the light of textual requirements of Tbilisi
Armenian dialect.
Pattern (a)
Dialect accent:, v "v "
gr' Col r \(, , (
Song l : A-men sa-zi me-tchn ko-vadz
> ., ,
Dialect accent: y y v
{,. {, \ t Yi
Song V A-rants kiz lntch go-nim
, '7J
Dialect accent: \' v "
, 1 t-, C: 1 Cl t '(
Song XIV :' Koo d-va-dzn oo-rish tigh\.
> '> "
Dialect accent: v v
t ( r r \) 1. c.. r ,"
Song XVI : + Mi khosk oo-nim -ti-ma-zov
') '>
Dialect J' '" J lJ l' t ,9,1,
Song XIX : His me gha-rib bel-boo-li bes
..... .J..-'
Dialect accent: ., ."...t r-:l J
''1 i f r1J.r J f J \ fI ). J '
: 8 Chad mart go-se, his ya-re-men has-ra":. im
___ L> __ > >
Song XXII
Pattern (b)
. ,,"
Dlalect accent: y J S,t Jffl \ fl ,t J
Song l : 8 Toon n-ra basn is, ka-man-tcha
> '7
(.
'1
{
(
Oialect accent:
,
Song VII : J
,r.-:) J J J n r J . r1 r )
., '" "'" l
Kiz n-man, \ kiz n-manJ toon is an-n man
,...... ........... ........
) ,>
Oialect accent: .., l") lv) V'
.r. J) ,,t i f. J J ,t
Song XII : f. Tch-to ghi Ha-bash, na-za-ni
'> ,
Oialect accent: l ,,) v '"
,7 J' f l J I,r) r J.,I
Song XX : 8 His koo ghi-me-tn tchim ki-tj
:> '> '>
133
Oialect accent: 1 v "\ t v v rJ
, 1 f J m , ),t l' m),r.=)
Song XVI 1 :Moad bagh-tchen na-zov, kiz ko-vim sa-zov, yar
., (.)
v
f !
il-ti-ma-zov
'>
In all the examples chosen above, the majority of word accents
(following Tbilisi Armenian dialect accentuation) and musical
accentuations coincide as printect and performed in recardlngs. In few
exceptions, such as in songs XIX (with consecutive musical accents),
and XX (without a word accent), and in song number l (with an accent on
the final syllable in bath ward and musical accentuation), may not
disprove the theory that the best accentuation suited ta musical
accentuation in Sayat Nova sangs is the Tbilisi Armenian dialect
accentuation.
Relatively free rhythmic accentuation, bath metric and phrasing,
in Sayat Nova meladies should be attributed more ta the word/phrase
accentuation and phrase constructions of the Tbilisi Armenian dialect,
rather to Ashoagh poetic-metric accents and rigid phrase
constructions. Any changes or corrections thereof, should be conducted
in the light of the above observations.
. .,
,
134
CONCLUSION
The koosao-ashoogh tradition has an important place in the history
of Armenian music, and consequently, it A
tradition with roots at the dawn of the history of reorle
and with influences from various neiehbouring cultures, over
period of five centuries contributed greatly to the musical
cu lture of Armen ia and i ts ne ighbours. Today, there are a numbp.r of
instrumental and vocal professional ensembles, spart frOID individual
performers, who perform works by renowned koosans and ashooghs
Contemporary koosaos and ashoOihs are often the first rerformers of
their creations.
Many KQnSaoS and ashoOihs have contibuted to this art form, yet,
none has attained the high esteem of Sayat Noua, from performers and
audiences alike. His name, like his kbagbs, has been analoeous to Love;
Love towards fellow man and homeland. The melodies of his khagbs did
not enjoy the sarne admiration and attention for a long period of timp..
The interest in them was first kindled durine the first two decades of
the twentieth century, and has won numerOL1S oomirers l?"l?r
Due to the tragic events the World War l and after, it
almost impogsible to record the oral tradition of Armenians, whose
homeland remained within Turkish bOlmdaries The melodies
collected so far are primarily from the Eastern Armenm
Those orally retained by Western Armenians were either 10s1: TJith time,
or regarded as dubious. Furthermore, the possibility of and
comprehensive study has been limited to the Soviet Armenian
(
135
since most archivaI material and data have been compiled in Soviet
Armenia. This situation has not changed ta this date. The lJork of
researcher would be greatly simplified and fruitful, if to
archives were facilitated, source materials were circulated in
form, and willingness to assist wp.re
The anp.lysis presentee! in the precee!ine C'hapter thl?se
melod: 3 bear the stamp of a single Except for one
melody (X), the remaining are organically l.1Difi.ed in
Despi te melodic and and differenC'es in
overall configurations, these melodies are easily identifi8ble
h';l."Ting come from a single sourC'e Furtheormore, they ('
parallels to Armenian sacred, folk and to other
(
melodies. In short, as stated by N. Tahmizian, these melodies
do, without doubt, belong to the ArmeniaD herit8se.
Still, there is tremendous amount of ta be done in this
field. First, a C'omplete comparative study (preferably in Occidental
of aH branches of m.usic i<:: long .'\TeMI.:\r:-. Thr:-rr:-
certainly more such as "Toon en Klkhen," whose eoes
far back as the twelfth century 8nd its influences re8C'h TJell into
the mid-n:ineteenth C'entury. Such exhaustive studies T.Till the
for similar researches to comp8.re the of Armenia of its
ned.ghbours .
Second, it was pointee! out in MY analysis of rhythm/!I'!eter of the
melodies that the Tbilisi Armenian dialect 8C'C'entuation the
accentuation patterns of ashoogb poetic forms, was best ta the
rhythm and meter of the music of these melodies as printecl in the 1863
136
publication. Certainly, a more detailed 8na1ysis, from point of
view of exceptions and deviations from accentuation, uill
further justify this theory. Likewise, a r.hrification of
patterns in ArrnF.lnian languages and its dialects will not only help the
modern performer of these songs, but 8.1so to correC't or edit
incorrect aC'centuations of Sayat Nova lyriC's and melodies. Moreover)
accentuation conventions, both grammatical rhetoriC'a1, ui11 great1y
aid the modern COInl?oser in setting Arrnenian poems to m
1
}siC'
Third, a comprehensive study of forms eDl[11oyed by Armeniw.
and non-Armenian ashooghs, especially by those in the eiehteenth
century, whould shed sorne light on the forms by S8-Y8.t ..
Clarification and codification of these forms, rhymif1..e 8nd rm
r
tn
n
1iC'
reeulations will further facilitate rhyth.miC' 8nalysis
The performanC'e practice, although not dealt with LD this thesis,
is an issue deserving attention. Until a ago, No'r8.
melodies were performed exactly as printed. Deviations the
note were so rare that improvisation, so essential to ashoogh
tradition, tJas entirely absent. A changed tO
TJ
8rdS
improvisation is noticeable in reC'ordines and live
It is hoped that, Hithout distorting the essence and tr80ition81
of these songs, instrument8l 8nd vocal ensem.bles TJill
continue ta explore the ahundant possibilities of improvisatory
performance practice in bringing these meloclies to wider
Finally, although it is a gigantic task to recodify the
reorgan ize their suberoups a'1d 8.0d or name net.l me lody types, i t
should nevertheless be the prior:ty of the ArITlenian musicoloeist
(,
(
137
Without this it is futile to attempt comparative resel:'xC'h to
Armenian mLlsiC'al branches and its neighbours.
Besides the above mentioned E'h
1
C'idl:'.tions, it is horE'd thl:'.t thi'S
thesis, throueh the analysis of Sayat Nova melodies, hl:'.s e;bTE'n a'1
insight into the Armenian kOQsan-ashnneh mu'Sit:'al traditionc:;, T.Thil"?
underlining their important rightful place in the ArmE'nil:'n
repertoire, after enduring centuries of inflt..1E'nC'E's !:Ind
evolution.
......
138
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(.
139
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... .,.
J
140
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(
{
(
141
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an
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. - - - - - - - - - - - - - - - - - - - - - ~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
-
142
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(
(
APPENDIX A
SONGS IN ARACHIN TZAYN
(Verchavorogh tzayn - A)
VI "Ad intz ankadj gal'
143
144
XVII "Hedjloomi bes gorav yars"
...,. "Il -) t. -/u -
1
.......
-
(
(
145
SDNGS IN ARACHIN GOGHH WITH DEVIATIONS
XIV "Intch gonim hekimn"
XXI "Shad siroon es Shakhatayi"
m ~ - - --
0/"'0 ,.
10'1' ... . A 6 C.
~ ~ I . , , - t .. '1
_.fL., .. 1 1. tJ ~ of' 1 h 1-
P J;" ;R: 1 2.
------------------------------ - -------
o
......
146
SONGS IN ARACHIN GOOHH TARI'ZVADZK
XIX "His m gharib blbooli bs"
J ----=-----
F ... IIII A 8 b
r;:;r 1 "
1./ .. m .1-+ 1.+ .t .. 3 l. +"
'c.; 11 j


.. sa ''''' ". - ..... , ... "., .1 __ ,1.' _ ......
,,- j ffi4 i tttf tii lEi fi G tiPD!; 1
A. J,A-1'P s .. r, If, rll.ft.lt. i ...
1
c
c
147
SONGS IN YERGRORT TZAYN, TCHOIOOR'I' TZAYN, TCHORROR'l' GOOHM
(Verchavorogh tzayn - G)
VIII "Tiba 00 Yenkidoonia"
1
Xl "Eshkhn var grag "
1.",,: A f!J A'
t e+c,,1 i ( .. 6),'
'1'-m .ft 3
: &: "
J +3
J
3

4
1
.' 1&4 1
----------------

, .
......




-1
148
o
XIII "Tegooz koo kastm"
Jif;,
l
,
XV "'rzend kaghtsr oonis"
1\" ....
rb

.. "
d:
'l" ... cI+d'+ ...
N 'J'AI,:
"-1'1 J.. tl

1
,.
3
of J J
.,
-
l----. .... iii
L ,1: lv)
,'''1,

(
(
1 C
149
XXIII '''fchis asoom t Il
'--""
i (")
i - 1" t. - e.-....
XXIV "Badgirkd ghalamov kashadz"
FM ... A , 13 1 C. 1 J)
. r--: r:--t 1'---' r,---t 1 r--::t 1 r--T r-:-;;1
Il .. t+J' tH',t-4d. t' +110
'.l'am t+t Ut 1 S.1. Ifl :.a. u ,.LtJ. z.+ 1.
.. j: 1. 1 3 .,.
150
o
XXVI "Rani voor djan im"
ft ;3 A 6
F ~ "'It1 \ r:-;-:1 r;-1 r-:-:-1+ A. rr:-n+,
jl-f IL .. ~ . A
'ri J,U' 1 AI + ". ""If '1 +" I l , . ~
P, .. /it l,'",: " 1 z. , 3 '# Il
(
{
151
SClNGS IN TCHORRORI' TZAYN, TCHORRORI' GOOBH TARI'ZVADZK
(Verchavorogh tzayn - F)
v "Arants kiz intch gonim"
For", 1 rA.:'"
.1 .. 1 +J. tlti. .a Cf
i /3 2./1f J l 3 'f 1/
XVIII
~ -
153
(
YERRORT TZAYN, YERRORT GOOHH
(Verchavorogh tzayn - G)
l "Amen sazi mechn"
XVI "He khosk oonim"
154
155
xx "His koo ghimetn"

F' ..... M\ . ,.'
1'-.1': ;l,.1
".I,' .. /i .. : 1.
XXII "Shad mart gos"
(
c
1tt..
J .,
o
XXV "Fahradn miradz"
A
F " , , ~ , A"'. '
-
-
-,--
(
(
(
SONGS IN HlXED TZAYNS -APPENDIX B
(Verchavorogh tzayn - G)
VII "Blbooli hit"
Ft"", ,
157
158
o
1
(
(
VARIANTS OF SONGS - APPENDIX C
(from 1935 publication)
xx "His koo gimetn"
VII "Blbooli hit"
159
=
160
o
(Unpublished variants of melodies)
VIII "Tiba 00 yenkidoonia"
=
XII "Tamam ashkhar b dood ga"
...
. .
(

1
!
,
1
,


Il.
",
,
(
(
161
xv "Tzend kaghtsr oonis"
K.hagb 48 "Gisamooraz mi sbani"
$.T,t1 J [ilL Init, j 1
'n G'f Irl &.J InagiJ 1
----------------------------- ------ ----
182
1
XlII "Tegooz koo kashn"
-
-
. " ,
KhaSh 29 "Eshkhemen enbes"
,
-
1
. ;
IC
!
1
i
1
1
!
,
'C
" .
,
1
1
.
.
.. .1.
,

Il
L
f:

163
CHART B
R. Atayan, Haygagan (162-3) N. Tahmizian, Yers.jstrlootY80 (185)
.
1i"'l"
""lot
li
1i.,.!"
': ... ,L .
'_UI

1:'3'


,
, ,
ii.",
V"f.l.
l .1. , .,J.L-#-IJ. 1
Ii ... ,t Vu.t
, ,
.1

,
7;"",l Vt,J.

1; ... ,t

,
i,"'1
A V"J..
J....A., "

1:.,&
,
L
'r" 1i ..
j
(
V"J.
,
1
r. .


1 ..
1
,_ lor
1
,g,

1
11 ......
.L ......
,.1-.,." 1
.R.

1
.JL....
1
..L.
..l. 1
A -
fa"_ 'Ut-
c
JlI:!fl)
1"
h. r.,1 ...
.. I. )


J,
(

. ";rI .

", .. t:Ic)
"}4
r,J",1 r..., ..
Id '1";)
(
1.
.

.1
(

(
""".,iT...,
H,'Ji"i.) (
. " ",. 1.. ";,1-.
U ... ')
:1,,.,. .. 1(',( ..
(l.J.h)
'il". ,. Ttllt .

1,1
: '
1
-,.
Chal't B cont' d
I
'171
l'
J
tf'll
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