This is a comprehensive bibliography of Armenian music dealing with not only the music itself but also issues of context and culture that will be of interest to ethnomusicologists working in the area of Armenian music. It also includes a discography that spans from classical music to pop and folk.

Survivors of the Armenian genocide of 1915 and their descendants have used music to adjust to a life in exile and counter fears of obscurity. In this nuanced and richly detailed study, Sylvia Angelique Alajaji shows how the boundaries of Armenian music and identity have been continually redrawn: from the identification of folk music with an emergent Armenian nationalism under Ottoman rule to the early postgenocide diaspora community of Armenian musicians in New York, a more self-consciously nationalist musical tradition that emerged in Armenian communities in Lebanon, and more recent clashes over music and politics in California. Alajaji offers a critical look at the complex and multilayered forces that shape identity within communities in exile, demonstrating that music is deeply enmeshed in these processes. Multimedia components available online include video and audio recordings to accompany each case study.

Translated by E. Gulbekian, edited with introduction by N.V. Nersessian. Komitas Vardapet was the giant of Armenian sacred and folk music. Eight of Komitas's principal musicological studies have been selected from his Collected Works published in Yerevan in 1941.

This book has grown out of the author's research about Iraq and Palestine 1932-41, written in Tel Aviv University.

The Third Edition of Armenian Duduk Method is the only trilingual comprehensive and easy-to-use guide designed for anyone interested in playing Armenian Duduk from the complete novice just learning the basics to the more advanced player. Using his prominent performance and pedagogy background Georgy Minasov takes an all-in-one approach by combining theory, scales and technique into a single volume. For those who want to enrich their repertoire the book features over 250 songs from different music genres including such duduk standards as Hovern Enkan, Machkal, Eshkhemet and much more. The book is divided into four sections. The first section aims to teach the beginners to perform smoothly and correctly read the notes. Section II fixes and further builds on the skills gained in Section I, adding competence of correct performance of folk and gussan songs, dance melodies, and spiritual music. Sections III and IV include ensembles and mughams - the pearls of Eastern culture along with their audio tracks accessible online. More information about the book can be found by accessing book's official website at www.minasovduduk.com

The book is an outline of the Armenian duduk, a cylindrical double-reed aerophone made of apricot-wood, and its relation to the Armenian identity. It attempts to deepen our understanding of musical instruments not only through an examination of musical and constructional features, but also through the application of a sociocultural framework which allows a theorization of the idea of the instrument as social being. The discussion is centered on the different contexts in which the duduk is played. These are divided into two categories: solo and ensemble. Solo duduk performance includes the remarkable phenomenon of Armenian funeral music activity. Other contexts include special celebrations of national culture, duduk competitions, the recording studio and the film music studio. The main ensemble contexts of duduk performance are the Armenian folk orchestras. These are essentially Soviet creations designed to "advance" folk music. Their impact on folk music and folk musical life on Armenia is discussed with special attention to the "adjustments" which were necessary for the success of this institution. Folk ensembles have long been emblems of Armenian national culture which might explain how they have survived the collapse of the Soviet Union and its Marxist-Leninist policies which were these orchestras' very raison d'être. The book will appeal to anyone with an interest in organological theory, Armenian culture, or world music.

The study of the Armenian system of notation called Khazs (Neumes) is of significance both for Armenian and Byzantine music from a historical and aesthetic point of view. Over the centuries the Armenian people have created a musical culture which is largely inaccessible because of the fact that to this day the medieval notation of this music has not been deciphered. Prof. R.A. At'ayan's unique study based on the abundant manuscript sources of the Institute of Ancient Manuscripts (Erevan) not only traces the origin and development of this notation system convincingly, but also re-creates the tunes of the numerous chants and songs composed over the centuries.

The SAGE Encyclopedia of Music and Culture presents key concepts in the study of music in its cultural context and provides an introduction to the discipline of ethnomusicology, its methods, concerns, and its contributions to knowledge and understanding of the world's musical cultures, styles, and practices. The diverse voices of contributors to this encyclopedia confirm ethnomusicology's fundamental ethos of inclusion and respect for diversity. Combined, the multiplicity of topics and approaches are presented in an easy-to-search A-Z format and offer a fresh perspective on the field and the subject of music in culture. Key features include: Approximately 730 signed articles, authored by prominent scholars, are arranged A-to-Z and published in a choice of print or electronic editions Pedagogical elements include Further Readings and Cross References to conclude each article and a Reader’s Guide in the front matter organizing entries by broad topical or thematic areas Back matter includes an annotated Resource Guide to further research (journals, books, and associations), an appendix listing notable archives, libraries, and museums, and a detailed Index The Index, Reader’s Guide themes, and Cross References combine for thorough search-and-browse capabilities in the electronic edition

From genocide, forced displacement, and emigration, to the gradual establishment of sedentary and rooted global communities, how has the Armenian diaspora formed and maintained a sense of collective identity? This book explores the richness and magnitude of the Armenian experience through the 20th century to examine how Armenian diaspora elites and their institutions emerged in the post-genocide period and used “stateless power” to compose forms of social discipline. Historians, cultural theorists, literary critics, sociologists, political scientists, and anthropologists explore how national and transnational institutions were built in far-flung sites from Istanbul, Aleppo, Beirut and Jerusalem to Paris, Los Angeles, and the American mid-west. Exploring literary and cultural production as well as the role of religious institutions, the book probes the history and experience of the Armenian diaspora through the long 20th century, from the role of the fin-de-siècle émigré Armenian press to the experience of Syrian-Armenian asylum seekers in the 21st century. It shows that a diaspora's statelessness can not only be evidence of its power, but also how this “stateless power” acts as an alternative and complement to the nation-state.

The Concise Garland Encyclopedia of World Music comprises two volumes, and can only be purchased as the two-volume set.To purchase the set please go to:http://www.routledge.com/9780415972932.