Minas Bzhshkean's 1812 treatise combines Rousseau and other traditions to frame musical notation reform across Mekhitarist Venice, Ottoman Istanbul, and Armenian Enlightenment networks.
Observation of services and interviews in Vakifli document Armenian religious music through solo, choir, and call-response forms used for feasts, saints, births, weddings, and funerals.
The study transcribes nineteenth-century Imperial Archaeological Commission reports about work in Artsakh-Karabakh and assesses their evidence for monuments and regional historical memory.
Comparative analysis traces how three-layer midis masonry evolved alongside structural integrity in Armenian churches from the fourth through fourteenth centuries, linking shell construction to changing architectural form.
Non-destructive ATR-FTIR imaging and X-ray fluorescence characterize pigments and degradation products in five Martiros Sarian paintings dated from 1909 to 1948, including several blue, green, yellow, and red colorants.
The chapter explains seventh-century Armenian church architecture through three converging forces: new Christian building needs, adaptation of Byzantine models, and a dome-centered structural revolution expressed across cruciform, radiating, central, and longitudinal plans.
The study reconstructs the 1872 Constantinople premiere of Tchouhadjian's Arif's Ruse, credits librettist-performer Hovhannes Achemian and Shazik Keuyluyian, analyzes its comic genre and dramaturgy, and introduces the prelude clavier.
In-situ reflectance and Raman spectroscopy identify the mineral and organic palette used across a seventeenth-century Armenian Bible and three Gospel books, while also distinguishing their facial, vestment, and hand-painting techniques.
Ottoman Armenian expatriation photographs made between 1896 and 1908 become material for a 'looking together' method that reveals state purposes while showing emigrants repurposing official portraits of exclusion into resources for belonging.
The study follows a contemporary Turkish public-theatre adaptation of Hagop Baronian's 1868 Armenian drama and analyzes how state-supported performance negotiates Ottoman Armenian history, memory, and political ambiguity.
This multidisciplinary volume ranges from early farming settlements through Bronze and Iron Age societies, joining field reports with studies of ceramics, burials, sacred landscapes, chronology, palaeodemography, and regional social change.
Through Armenian- and Azerbaijani-associated sacred sites, this article studies how shifts in territorial control lead monuments to be reclassified, resacralized, or stripped of earlier meanings.
This political-economy article frames intellectual-property disputes in Karabakh through allegations concerning control, commercial use, and exploitation during the period of territorial conflict.
A 1968 Sion description of a 1311 Artske manuscript is compared with Matenadaran M76, revealing shared colophons, copyist Hovhannes's relatives, and unusual biblical textual variants.
Researchers sampled wild grape populations across Armenia and used genetic markers to characterize diversity, population structure, and variants associated with powdery-mildew resistance.
Сопоставляя Комитаса и Авета Тертеряна, автор прослеживает переход от обработок народных песен и танцев к симфонии и музыкальному театру, связывая обоих композиторов через монодию, тембр и историческую память.
A newly presented seal of Maria, daughter of Gagik of Kars, carries an early assertion that the Bagratuni line descended from David.
Multi-sited fieldwork among Armenian musicians in Milan, Paris, and Yerevan leads the researcher to revise initial assumptions and describe divergent musical identities shaped by memory, mobility, and globalization.
Two parchment flyleaves removed during restoration of a fifteenth-century Armenian Gospel in Georgia are identified as pieces of a larger, multi-column homiletic manuscript through their script, dimensions, margins, and line layout.
An ethnomusicological reading places Alexander Spendiaryan between Russian and European art music, Armenian classical development, diaspora ideology, folklorism, orientalism, and nationalism, arguing that his individual style helped found a national school of composition.
The paper analyzes Eduard Hayrapetyan's piano concerto through its musical material, impressionist and neo-romantic traits, and cooperative rather than competitive soloist-orchestra relationship.
Comparative laboratory work on stone artifacts from Lusakert Cave in Armenia and a Montenegrin site demonstrates how modern handling and ancient deposits can complicate residue identification.
Drawing on archives and field investigation, the author documents Ghazanchetsots Church's foundation, plan, spatial design, and decoration, then analyzes ownership reassignment and vandalism attributed to Azerbaijani authorities.
At the Cracow museum, analysis of aurypigment and realgar degradation across nine icons links the Pantokrator, Deesis, and Last Judgment works to Armenian and south-Balkan painting traditions.
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