Table of Contents

Part 1 Acknowledgments Part 2 Part I: Folk Music Chapter 3 1: General Works of an Introductory Nature Chapter 4 2: Context Chapter 5 3: Gussans and Ashughs (Minstrels) Chapter 6 4: Songs Chapter 7 5: Epics, Legends, and Other Forms of Narrative Songs Chapter 8 6: Ancient Armenian Music Chapter 9 7: Dance Chapter 10 8: Musical Instruments Chapter 11 9: Komitas and Other Collectors of Folk Music Chapter 12 10: Diasporan Armenian Music and Musicians Chapter 13 11: Foreign Influences on Armenian Music Chapter 14 12: Collections of Folk Songs/Pieces Chapter 15 13: Miscellanea Chapter 16 14: Folk Music: A Discography Part 17 Part II: Classical Music Chapter 18 15: Aram Khachaturian Chapter 19 16: Khachaturian: Scores/Sheet Music Chapter 20 17: Alexander Spendiarian Chapter 21 18: Kara Murza Chapter 22 19: Other Composers Chapter 23 20: Performers and Performances Chapter 24 21: Studies and Criticisms of Particular Works, Entire Genres, or Compositional Trends Chapter 25 22: Works of a General or Miscellaneous Nature Chapter 26 23: Classical Music: A Discography Part 27 Part III: Armenian Sacred Music and Liturgical Context Chapter 28 24: Works of a General Nature Chapter 29 25: Liturgical Context Chapter 30 26: Works Pertaining to Liturgical Hymnals (Sharagan) Chapter 31 27: Armenian Neumes (Khaz) Chapter 32 28: Armenian Manuscripts and Colophons Chapter 33 29: Armenian Sacred Music: A Discography Part 34 Part IV: Armenian Popular Music Chapter 35 30: Armenian Popular Music: A Discography Part 36 Name Index Part 37 General Index Part 38 About the Authors

About the Author

Andy H. Nercessian began his musical career as a pianist playing in venues throughout Europe as recitalist or as soloist performing with orchestras. He is currently lecturer in ethnomusicology at the University of Durham, UK. Jonathan Ray McCollum is a lecturer in ethnomusicology at the University of Maryland. As the former assistant curator of Collections at the Armenian Library and Museum of America and as consultant for the Smithsonian institution, he has had the opportunity to cultivate interest in a variety of fields and to perform fieldwork throughout Japan, North America and Europe. In addition to his academic activities, he is an active performer, specializing on the trombone, sakbut, world flutes, kinko-ryu shakuhachi, and ikuta-ryu koto.

Reviews

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