Instagram images of Yerevan’s 1967 Mother Armenia statue were reworked during the 2020 Nagorno-Karabakh war by users in Armenia and the diaspora, linking monument memory with visual appropriation.
Practice-led painting research treats visual translation as a method for retrieving a displaced aesthetic, bringing Armenian Genocide loss and denial into dialogue with thirteenth- and fourteenth-century manuscript images, postmemory, line, structure, and colour.
A privately owned eighteenth-century Armenian prayer scroll is studied through textual and miniature interpretation plus non-invasive spectroscopy, photography, X-ray fluorescence, and Raman analysis.
The dissertation places Sayat-Nova's multilingual songs inside Armenian and wider Near Eastern bardic traditions, then follows his twentieth-century scholarly and popular afterlife.
An orchestral dissertation responds musically to the Armenian Genocide through inherited survivor memory, loss, resilience, revival, and an appeal for peace.
A comprehensive study of Alan Hovhaness surveys his large catalogue, musical language, biography, reception, Armenian period, and engagement with non-Western traditions.
A catalogue of Kayseri’s Armenian churches and monasteries reconstructs religious architecture from the mid-nineteenth century through 1915 and records destruction, neglect, and transformation after the Ottoman period. Demographic evidence places the buildings within the city’s changing Armenian presence.
The study maps folk-song, dance, lament, ritual, and natural imagery in Tumanian's Anush onto Tigranian's completed opera and Komitas's surviving score fragments.
Thirty Sayat-Nova melodies are tested for rhythmic and melodic unity through Armenian folk, sacred, and ashoogh traditions, tzayn codification, poetic meter, and cadential patterning.
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