Armenian music instruments
Armenian Musical Instruments
One of the most important parts of the country’s culture is its national music. Armenian national music has originated in the second millennium BC. In his works historian Agatangeghos mentioned that in the 4th century Armenians started to teach music in the schools.
Folk music has origins in the Armenian Highlands where people used to sing all the popular folk songs. The most important component of the Armenian national music is musical instruments that are used by local people.
With the help of the sound of these instruments, national music finds a way to speak with people and to tell them the story of Armenia. In this article, let’s talk about some Armenian musical instruments.
Armenian musical instrument #1 Duduk
The magical sound of duduk was the reason that Armenian music became popular internationally. This musical instrument is a hollow pipe which has eight finger holes on the upper part and one thumb hole on the bottom.
The date of the invention of duduk is uncertain as in different sources it varies. In one source it is mentioned that the invention date of the instrument was 8th century BC, another source states that it is 1st century BC. In any case, duduk is a national treasure which helped to represent the story of many generations.
The instrument is made of apricot wood, and the creation process lasts more than half a year. UNESCO declared duduk and its sound one of the Masterpieces of Intangible Heritage.
Armenian musical instrument #2 Zurna
Zurna is an Armenian wind musical instrument. It has eight holes on the upper part and one hole on the bottom. Zurna has a bright and fulgurating tone and very loud sound.
People who play zurna are called zurnachi. The instrument is usually made of apricot wood.
Armenian musical instrument #3 Shvi
Shvi is an Armenian wind instrument. The word “shvi” literally translated is “whistle.” The timber of the instrument is thin. It re Background: The Armenian Kamancha is a four stringed fiddle played with a horsehair bow in the upright position. It is native to the Armenian highlands and originated in the Urartu era (8th century B.C.). The instrument consists of a bowl shaped resonation chamber (the Chanakh) and the sound board is of fish skin which the bridge rests on. The most notable kamancha player is the 17th century Armenian Ashough (troubador), Sayat Nova (Harutyun Sayatyan). Eventually, the kamancha was improved by an Armenian from Tiflis, Sasha Oganesashvili (Alexander Ohanyan) in the 18th century, he raised the number of strings on the kamancha from three to four to improve its technicalities, since kamancha's before this modification had only three strings, thus causing various limitations and difficulties. Tuning: La-Mi-La-Mi Materials: Apricot wood, Walnut wood, or Mulberry wood, and fish skin (soundboard). Background: The Armenian Tar is a 11 stringed lute like instrument held against the chest while playing and utilizes the use of a plectrum. The tar has it's origins in the Urartu/Hittite era (8th century B.C.) and was modified by Sadikjan Asaduryan of Shushi in 1890. Sadikjan raised the number of strings from 6 to 11 and modified the sound chamber. The tremolo technique is usually utilized while playing the tar and the shaking of the instrument to produce some vibrato. Tuning: La, Mi, Mi, La, Mi, La (bottom to top) Materials: Mulberry wood and cow heart skin (soundboard). Background: The Armenian Kanon is a 72 stringed plucked zither with each set of strings arranged in threes and plucked with two index finger plectrums. The instrument is believed to have originated from the multiple lyre/harp like instruments that existed among the ancient Hittites, Hurrians, Urartians, and Sumerians (ancestors of the Armenians). The kanon is distingushed by a western Armenian variant (right) and a eastern Armenian v Advertisements Musical instruments play an important role in the musical lives of people. Each nation has created its original musical instruments. Throughout the years, due to the contacts between nations, these instruments have traveled from country to country. Therefore, often different people and nations made the same instruments. Like all civilized people, the Armenian nation has its own national musical way of thinking, its original melodies, and unique musical instruments which accompany those melodies. Since ancient times, musicians together with their musical instruments accompanied dancers and singer during various holidays and ritual celebrations. At first, they were very simple. They were made of reed, clay, wood, horns, and bones. During the excavations of Garni, a bone reed pipe of 2nd millennium BC was discovered. The historiographical works of the Armenian historians also contain not only information about the ancient dancers and minstrels, as well as accompanying musicians together with their instruments during various rituals. In his “Armenian History,” Khorenatsi mentions the stalk (or Eghegan pogh) and the double reed woodwind instrument made of apricot wood (or Duduk). He also mentions about bandura and drums. Meanwhile, another Armenian historian, Pavstos Buzand describes the murder of the Pap of Armenia. According to him, it happened when the king, with enthusiasm, was listening to the musicians. That’s when the conspirators used the moment and killed him. Over the centuries, as a result of the cultural contacts between different nations, many of these instruments crossed from country to country. The neighboring countries changed and improved them. Many musical instruments mentioned in our wri
- Songs of Armenia
The text and the meaning of the songs determine their theme or genre. The Armenian folk songs are classified in the following genres:- Work songs, including women's work songs and "horovel", that is plowing songs or songs of the field. All work songs describe something of the working process and are sung to accompany work. Songs of the fields are called "horovel". This is a large, many-sided genre, in which the peasant expresses his thoughts, desires and his love for the nature, all combined with a deep respect for his work. (Horovel is also called “gutani yerg,” or, song of the plough. The horovel and gutani yerg are one and the same). Singing helps him, not only during the period of work, but to endure and overcome the trials and difficulties of life. - Ceremonial songs (i.e. for weddings, funerals, etc.) Ceremonial songs are sung at weddings, at funerals (songs of sadness and mourning) and on the occasion of various other holidays and at festive celebrations. Every ceremony or holiday has its particular ceremonial song. The roots of this genre are to be found in pagan times, but with the beginning of the Christian era, they have assumed new meaning and importance, which they have maintained till today. - Epic songs - In Armenian music tradition, epic songs are thematically distinguished into two categories. - 1. The one with the bigger repertory contains mythological themes of pagan Armenia like "Haik and Bel", "Dork Angegh", "Ara and Shamiram"; those are classified as "fables". - 2. The others are the so-called heroic songs telling about the history and the traditions of these people and their heroes, such as e.g. "Sasuntzi Davith" dealing with the adventures of the hero of epics, David of Sasun, in his defense against infidel Arab invaders from Egypt and Persia (today Iran). The epic was based on oral tradition th HISTORY OF THE ARMENIAN MUSICAL INSTRUMENTS
The medieval Armenian musical instruments included the violin, qanun, santur, pkun, blul, parkapzuk. Later, zurna, dhol, duduk, baglama, tar, kamancha, and so forth appeared.