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 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.

This book investigates the place of music in Soviet society during the eras of Lenin and Stalin. It examines the different strategies adopted by composers and musicians in their attempts to carve out careers in a rapidly evolving society, discusses the role of music in Soviet society and people's lives, and shows how political ideology proved an inspiration as well as an inhibition. It explores how music and politics interacted in the lives of two of the twentieth century's greatest composers - Shostakovich and Prokofiev - and also in the lives of less well-known composers. In addition it considers the specialist composers of early Soviet musical propaganda, amateur music making, and musical life in the non-Russian republics. The book will appeal to specialists in Soviet music history, those with an interest in twentieth century music in general, and also to students of the history, culture and politics of the Soviet Union.

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 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.