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Musical continuity in the Armenian hymnal: an analysis of the Ayb-Koghm mode in Khaz and Limonjian notations

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Musical continuity in the Armenian hymnal: an analysis of the Ayb-Koghm mode in Khaz and Limonjian notations

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MUSICAL CONTINUITY IN THE ARMENIAN HYMNAL:
AN ANALYSIS OF THE AYB-KOGHM MODE IN KHAZ AND LIMONJIAN NOTATIONS

by

Marina Hovhannisyan

A Thesis Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(EARLY MUSIC PERFORMANCE)

August 2023

Copyright 2023 Marina Hovhannisyan

II
ACKNOWLEDGEMENTS
I would like to extend my appreciation to Professor Adam Knight Gilbert for his exceptional
supervision and guidance throughout the entirety of my thesis research. Professor Gilbert's
extensive knowledge and expertise in musicology have been instrumental in shaping the direction
and methodology of my study. In addition, I would like to express my heartfelt gratitude to
Professor Aram Kerovpyan and Professor Haig Utidjian for their invaluable guidance and support
throughout the development of my thesis research topic. Professor Kerovpyan's expertise and
insightful feedback, and Professor Utidjian’s comments and consultation have been vital in
shaping my research journey. Finally, I would like to express my sincere gratitude to Jennifer
Kampani and Professor Scott Spencer for their valuable contributions and support as members of
my thesis committee.

III
TABLE OF CONTENTS

ACKNOWLEDGEMENTS .......................................................................................................................................... II
LIST OF TABLES ....................................................................................................................................................... IV
LIST OF EXAMPLES .................................................................................................................................................. V
LIST OF FIGURES ...................................................................................................................................................... VI
ABSTRACT .............................................................................................................................................................. VIII
INTRODUCTION .......................................................................................................................................................... 1
CHAPTER I. ARMENIAN MUSICAL HISTORY ....................................................................................................... 2
HISTORY OF ARMENIAN MUSICAL NOTATION ............................................................................................. 2
TYPES OF SACRED ARMENIAN CHANTS ......................................................................................................... 3
CHAPTER II. THE ARMENIAN MUSICAL MODAL SYSTEM .............................................................................. 6
MUSICAL MODES & OCTOECHOS ACCORDING TO A. KEROVPYAN ......................................................... 6
MODAL EXAMPLE AND ANALYSIS ................................................................................................................. 11
CHAPTER III. ARMENIAN MUSICAL NOTATIONAL CONVENTIONS ............................................................ 13
THE KHAZ NOTATION ......................................................................................................................................... 13
AN INTERPRETATION OF KHAZ NOTATION ACCORDING TO ATAYAN .................................................. 18
LIMONJIAN NOTATIONAL REFORM ................................................................................................................ 21
CHAPTER IV. CASE STUDY .................................................................................................................................... 25
AK HYMNS IN KHAZ ............................................................................................................................................. 25
AK HYMNS IN LIMONJIAN ................................................................................................................................. 28
CASE STUDY CONCLUSIONS ............................................................................................................................ 31
CONCLUSION ............................................................................................................................................................ 32
REFERENCES ............................................................................................................................................................. 33
APPENDICES .............................................................................................................................................................. 34
APPENDIX I: ASTUACATUR HYMNAL EXAMPLES ...................................................................................... 35
APPENDIX II: DINDESYAN & TASHJIAN HYMNAL EXAMPLES ................................................................. 51

IV
LIST OF TABLES
Table 1: AK mode tetrachords and semitonal breakdown. .......................................................... 11
Table 2: Signs of the Limonjian notation. ..................................................................................... 22
Table 3: Duration marks in Limonjian notation. ........................................................................... 23
Table 4: The Etchmiadzin and Istanbul Readings of the Limonjian notation. .............................. 24
Table 5: Neume & Pattern Breakdown of the Nine Hymns in the AK Mode ............................... 27
Table 6: A comparison of Khaz and Limonjian outliers over text across the nine hymns. .......... 29
Table 7: A comparison of Khaz and Limonjian patterns and classification into Groups. ............ 30

V
LIST OF EXAMPLES
Example 1: (Left) Manuscript & (Right) Hand-written neumes indicating melisma ..................... 4
Example 2: Edouard Hakobean’s rendition of the ode ‘Havoun, Havoun.’ ................................... 5
Example 3: Example of a hymn in the AK mode ........................................................................ 12
Example 4: Musical example with Limonjian and Staff notation. ................................................ 23

VI
LIST OF FIGURES
Figure 1: Semitone ratios and tetrachord species used in composing Armenian musical modes. .. 8
Figure 2: Lines from melodies of GDz and DDz modes with semitonal breakdown ..................... 8
Figure 3: Pythagorean Tetrachord (3 species) ................................................................................. 9
Figure 4: Diatonic Tetrachords (4 species) ................................................................................... 10
Figure 5: Chromatic Tetrachords (3 species) ................................................................................ 10
Figure 6: Ayb-Koghm (AK) Mode, its tetrachord species (II.1-II.3, III.2), and tonal qualities. .. 11
Figure 7: Armenian neumes resembling Armenian letters. ........................................................... 13
Figure 8: Spiral neumes indicating a full cycle. ............................................................................ 14
Figure 9: Neumes used in combination ......................................................................................... 14
Figure 10: The same content by the same scribe but added neumes in the right hand side. ......... 15
Figure 11: Example of Manrusumm. Yerevan, Matenadaran, MS 7157 fol 205-206. ................. 16
Figure 12: Reminders of articulation through pictures of animals. ............................................... 17
Figure 13: Repeating ē and i vowels to specify articulation. ........................................................ 17
Figure 14: Basic Khaz sings and their names. ............................................................................. 18
Figure 15: Staff Notation of Khosrovayin ..................................................................................... 19
Figure 16: Staff Notation of Shesht. .............................................................................................. 19
Figure 17: Staff Notation of Bout. ................................................................................................ 19
Figure 18: Staff Notation of Poush. .............................................................................................. 20
Figure 19: Staff Notation of Khoontj ............................................................................................ 20
Figure 20: A combination of diatonic tetrachords with Limonjian symbols. ............................... 22
Figure 21: Inferior Octave (Left) & Superior Octave (Right) in Limonjian symbols ................... 22
Figure 22: Demonstration of erkar in scalar example. .................................................................. 22

Figure A - 1: Fragment: Աշակերտք Քրիստոսի [Disciples of Christ]. ..................................... 35
Figure A - 2: Typed version of Աշակերտք Քրիստոսի [Disciples of Christ]. ........................... 35
Figure A - 3: Fragment: Որ Յառաջ Քան Զյաւիտեանս [Before all Ages, Eternally]. ............. 36
Figure A - 4: Typed version of Որ Յառաջ Քան Զյաւիտեանս [Before all Ages, Eternally]. . 37
Figure A - 5: Fragment: Այսօր Կանգնեցաւ [ Today He Stood in The Basin of Baptism]. ...... 39
Figure A - 6: Typed version of Այսօր Կանգնեցաւ [Today He Stood in The Basin…]. ........... 39
Figure A - 7: Fragment: Որ Խոնարհեցար [That You Were Humbled]. ................................... 40
Figure A - 8: Typed version of Որ Խոնարհեցար [That You Were Humbled]. ........................ 41
Figure A - 9: Fragment: Անճառելի Բըղումն [The Unspeakable Emanation]. ......................... 42
Figure A - 10: Typed version of Անճառելի Բըղումն [The Unspeakable Emanation]. ............. 42
Figure A - 11: Fragment: Որ Ի Սկզբանէ [Who from the Beginning]. ...................................... 44
Figure A - 12: Typed version of Որ Ի Սկզբանէ [Who from the Beginning]. ........................... 44
Figure A - 13: Fragment: Զանճառելի Խորհուրդ [Unspeakable Mystery]. ............................. 46
Figure A - 14: Typed version of Զանճառելի Խորհուրդ [Unspeakable Mystery]. ................... 46
Figure A - 15: Fragment: Փառք Սուրբ Խաչիդ [Glory to Your Holy Cross]. .......................... 48
Figure A - 16: Typed version of Փառք Սուրբ Խաչիդ [Glory to Your Holy Cross]. ................ 48
Figure A - 17: Fragment: Աղաչեմք Զքեզ, Տեր [We Beseech You, Lord]. ............................... 49
Figure A - 18: Typed version of Աղաչեմք Զքեզ, Տեր [We Beseech You, Lord]. ..................... 49
Figure A - 19: Fragment: Աշակերտք Քրիստոսի [Disciples of Christ]. ................................. 51

VII
Figure A - 20: Fragment Որ Յառաջ Քան Զյաւիտեանս [Before all Ages, Eternally]. ........... 51
Figure A - 21: Fragment: Այսօր Կանգնեցաւ [ Today He Stood in The Basin of Baptism]. .... 51
Figure A - 22: Fragment: Որ Խոնարհեցար [That You Were Humbled]. ................................. 52
Figure A - 23: Fragment: Անճառելի Բըղումն [The Unspeakable Emanation]. ....................... 52
Figure A - 24: Fragment: Որ Ի Սկզբանէ [Who from the Beginning]. ...................................... 53
Figure A - 25: Fragment: Զանճառելի Խորհուրդ [Unspeakable Mystery]. .............................. 53
Figure A - 26: Fragment: Փառք Սուրբ Խաչիդ [Glory to Your Holy Cross]. ........................... 54
Figure A - 27: Fragment: Աղաչեմք Զքեզ, Տեր [We Beseech You, Lord]. ................................ 54

VIII
ABSTRACT
The medieval Armenian musical notation system, known as khaz notation, originated in the ninth
century and was in use until the 1800s when the Limonjian reformation replaced this tradition.
Despite extensive study by musicologists, there are no specialists in khaz notation today. However,
scholars such as Yegya Dindesyan, Komitas, Robert Atayan, Haig Utidjian, and Aram Kerovpyan
have examined individual odes, hymns, and the Armenian liturgical modal system, offering
conjectures on the meaning of neumes. The Limonjian notational system serves as an intermediary
between the khaz system and the contemporary Western staff system. While the decipherability of
khaz notation is uncertain, insights from past and present Armenian musical practices can inform
hypotheses on musical continuity across the centuries. This paper includes a brief history of
Armenian liturgical music, a discussion on the Armenian musical modal system, an examination
of scholars' works analyzing khaz and Limonjian notations, and a case study. Based on these
findings, hypotheses on musical continuity suggest that there is indeed a conserved tradition in
musical notation over several centuries within the Armenian Hymnal.

Keywords: Armenian Musical Notation, Khaz Notation, Neumes, Limonjian Notation, Armenian
Musical Modes, Armenian Octoechos, Liturgical Music, Musical Continuity, Tetrachord Species.

1
INTRODUCTION
The system of medieval Armenian notation, known as khaz [neume-խազ] notation, has
its earliest roots in the ninth century. It was used until the 1800s, when a reform of musical
notation occurred. Its decipherability is currently unknown, and despite extensive study of this
notation system by musicologists over the last two centuries, no true khaz specialists exist today.
However, musicologists from the nineteenth, twentieth and twenty first centuries, such as Yegya
Dindesyan, Komitas, Robert Atayan, Haig Utidjian, and Aram Kerovpyan, have examined
individual odes and hymns as well as the Armenian liturgical modal system and have provided
conjectures on the meaning behind the neumes.
The nineteenth-century notational reform, known as the Limonjian notational system,
serves as the intermediary between the khaz system and the contemporary Western staff system. It
employs the use of neume-like symbols yet ascribes specific pitches and rhythms to individual
syllables. Although the precise discernability of khaz is uncertain, insights from past and current
Armenian musical practices can inform hypotheses on musical continuity across the centuries.
This paper presents a brief history of Armenian liturgical music in Chapter I, discusses the
Armenian Musical Modal System in Chapter II, examines the works of scholars who have analyzed
details of the khaz and Limonjian notations in Chapter III and applies these ideas to a case study
in Chapter IV. Based on these findings, as well as an examination of the role of oral tradition, the
paper discusses hypotheses on musical continuity over ten centuries.

2
CHAPTER I. ARMENIAN MUSICAL HISTORY
HISTORY OF ARMENIAN MUSICAL NOTATION

Armenian musical neume notation, also known as khaz notation, has been explored by
scholars and musicologists starting from the early 1800s. Some notable names include H.
Limonjian (19
th
century), Y. Dindesyan (19
th
), Komitas (19
th
-20
th
), R. Atayan (20
th
), H. Utidjian
(20
th
-21
st
), and A. Kerovpyan (20
th
-21
st
). Although the khaz notation remains illegible, the studies
conducted by these scholars have shed light on the possibilities of the rhythm, pitch, and
articulation that these neumes may indicate.
The earliest known manuscripts of Armenian khaz notation date back to the ninth century.
The eighth century marked the beginning of the writing of sharagans [hymns-շարական] from
poets and composers such as Sahakaducht and Chosrovaducht
1
. The tenth through fourteenth
centuries brought the development of folk music composed and performed by gusans [traveling
musicians-գուսան], whose music tradition was solely oral. The folk songs presented themes of
daily peasant life, exhibiting a distinct complexity of intonation and rhythm. The genre of tagh
[odes-տաղ] developed between the twelfth to fourteenth centuries.
2
This practice began by setting
poetry to music, both in sacred and secular settings. The most notable sacred taghs are from St.
Gregory of Narek.
3
The characteristics of these include enhanced emotion, enthusiasm, free verse,
improvisation, and musical complexity.
4

1
Agota Bodurian, “The Evolution of Armenian Liturgical Music,” Bulletin of the Transilvania University of Braşov.
Series VIII: Performing Arts 13(62), no. 1 (2020): 43.
2
Bodurian, “The Evolution of Armenian Liturgical Music,” 46.
3
Aram Kerovpyan, “Prayer in Song. A Brief History of Armenian Liturgical Chant.” Akn: Armenian Modal Chant,
2013.
4
Kerovpyan, “Prayer in Song.”

3
The University of Gladzor was a medieval Armenian learning center, founded in 1282,
offering high education in the seven liberal arts: grammar, rhetoric, logic, arithmetic, geometry,
music, and astronomy.
5
Students at this university devoted seven to eight years of study, were
expected to defend a thesis, and obtained the title of Vardapet [Doctor of Sciences-Վարդապետ]
upon completion. This university was different from other European institutions for several
reasons: learning was conducted in the national language (Armenian), while those in Europe were
taught in Latin. In addition, it placed heavy emphasis on copying and preserving Armenian works
over the centuries.
6
The rich intellectual heritage brought by this university inspired twelfth
through fourteenth-century hymn composers such as Nerses Shnorhali, Konstandin Srik, Grigor
Chul, Gevorg Skevratsi, and Thoros Thaphrots, among others. The musical novelties that these
composers brought included versification taken from secular poetry, as well as melodic
expressivity.
7
The notation of khaz began to be fully implemented in the thirteenth and fourteenth
centuries and developed into the eighteenth century.
8
In 1815, an Armenian musical notational
reform, known as the Limonjian reform, retained the fundamental principles of khaz notation,
while also integrating the representation of tones and semitones within the diatonic scale.
9

TYPES OF SACRED ARMENIAN CHANTS
Sharagan [Hymn-Շարական]. The sharagan is the most popular form of music in the
Armenian church. The collection of sharagans, known as the Sharagnots [Hymnal-Շարակնոց]
contains hymns grouped in canons for every feast in the church calendar. Sharagans are written in
classical Armenian, mainly set in prose, and are distinguished by the modes in which they are

5
Bodurian, “The Evolution of Armenian Liturgical Music,” 44.
6
Bodurian, “The Evolution of Armenian Liturgical Music,” 45.
7
Kerovpyan, “Prayer in Song.”
8
Bodurian, “The Evolution of Armenian Liturgical Music,” 45.
9
Bodurian, “The Evolution of Armenian Liturgical Music,” 46.

4
composed. The Sharagnots is organized cyclically, beginning with the birth of Theotokos (The
Mother of God) and ending with her Assumption. It includes specific hymns for all liturgical feasts,
totaling around 1300 hymns. Each sharagan verse consists of one sentence, and some can be
acrostics, spelling the name of the author or other themes in the composition. The themes of the
sharagans encompass Resurrection, Penitence, Pentecost, the Cross, Rest of the Souls, Theotokos,
and Martyrs. Each sharagan belongs to a single mode and is sung exclusively in that mode.
10

Tagh [Ode-Տաղ]. Taghs are additions to the liturgy but can also be standalone sacred
pieces. They are more melismatic and improvisatory than sharagans (see Example 1). Taghs can
be sung during the Divine Liturgy or performed as separate sacred songs. Additionally, taghs can
have secular themes rooted in epic poems (e.g., composer Konstandin Srik).
11
Utidjian discusses
the melisma in the tagh genre by presenting the example, Havoun Havoun both in manuscript
neume notation and in contemporary staff notation. Both instances showcase extended melisma
and suggest a need for improvisation.

Example 1: (Left) Manuscript & (Right) Hand-written neumes indicating the melismatic nature of ‘Havoun, Havoun’
12

10
Bodurian, “The Evolution of Armenian Liturgical Music,” 41.
11
Bodurian, “The Evolution of Armenian Liturgical Music,” 45.
12
Haig Utidjian, “Sweet in Melody and V oice: Words, Neumes & Music in the Odes of St. Gregory of
Narek,” University of Southern California Musicology Forum, Lecture, 2021.

5

Example 2: Edouard Hakobean’s rendition of the ode ‘Havoun, Havoun.’
13

Meghedi [Melody/Canticle-Մեղեդի]. A meghedi holds a specific place within the
Divine Liturgy and can vary on different Sundays. It is not as melismatic as a tagh but more so
than a sharagan. A meghedi is a generalized liturgical song that aligns with the theme of the
Sunday liturgy.
In addition to hymns, odes, and canticles, there are other sacred types of music such as
chants and psalms, typically sung by the clergy and the congregation.

13
Utidjian, “Sweet in Melody and V oice.”

6
CHAPTER II. THE ARMENIAN MUSICAL MODAL SYSTEM
MUSICAL MODES & OCTOECHOS ACCORDING TO A. KEROVPYAN
The Armenian musical modal system, known as Armenian Octoechos [oot-dzayn ութ-
ձայն] (eight-voice), consists of eight modes subdivided into two sections: main modes and
auxiliary modes. The main mode is called Dzayn [Voice-Ձայն] and its auxiliary mode is called
Koghm [Side-Կողմ]. The modern Dzayn and Koghm have no relationship in terms of modulation
or transposition. Thus, the Armenian Octoechos comprise eight different, unrelated modes.
14

Instead of a scale system, the sound system of the Armenian Octoechos is created by a
combination of basic intervals. When new pitches are added to the mode, the intervallic
relationships, and hence the modes themselves, also change.
15
An aspect of the modes which is
not addressed in strictly theoretical examinations of the topic is the emotional state created by the
sound combinations. Certain sound combinations are reserved only for given times of day to
convey a desired affect.
16

The Armenian Octoechos serve two functions: Liturgical and Musical. The Liturgical
Octoechos define a choice of hymns, odes, and sermons based on the Sunday of the Divine Liturgy,
organized according to the liturgical calendar.
17
On feast days, the emotional resonance of the
appointed mode yields a more energetic and boisterous performance style, while on ordinary
Sundays, the singing style is rather calm and meditative.
18

Each mode within the Armenian Octoechos is named by one of the first four letters of the
Armenian alphabet (A [Ayb-Այբ], B [Ben-Բեն], G [Gim-Գիմ], D [Da-Դա]). The primary modes

14
Aram Kerovpyan, “Musical Modes and the Armenian Eight-Mode System.” Music with Aram and Virginia
Kerovpyan, Lecture, 2020.
15
Kerovpyan, “Musical Modes.”
16
Kerovpyan, “Musical Modes.”
17
Kerovpyan, “Musical Modes.”
18
Kerovpyan, “Musical Modes.”

7
(Dzayn) are indicated by a Dz [Ձ] suffix, while the auxiliary modes (Koghm) are indicated by a K
[Կ] suffix. Thus, the eight modes break down into the following:
1. ԱՁ [ADz] – Pronounced Ayb-Dzayn
2. ԱԿ [AK] – Pronounced Ayb-Koghm
3. ԲՁ [BDz] – Pronounced Ben-Dzayn
4. ԲԿ [BK] – Pronounced Ben-Koghm
5. ԳՁ [GDz] – Pronounced Gim-Dzayn
6. ԳԿ [GK] – Pronounced Gim-Koghm
7. ԴՁ [DDz] – Pronounced Da-Dzayn
8. ԴԿ [DK] – Pronounced Da-Koghm
Each hymn in the Sharagnots is classified under a specific Octoecho and is sung in only
that mode. Although regional variants may exist, they do not exhibit any fundamental differences;
thus, the songs maintain the same melodic patterns due to modal preservation.
19

Kerovpyan presents the ratios of the modal intervals and their respective appearance in
tetrachord species (Figure 1). These ratios are based on powers of two and three, five, and seven.
Figure 1 illustrates the tetrachord series in Pythagorean, Diatonic, and Chromatic tetrachord
species, which consist of Major tone + Minor semitone, Major + Minor tone + Major semitone.
20

19
Kerovpyan, “Musical Modes.”
20
Kerovpyan, “Musical Modes.”

8

Figure 1: Semitone ratios and tetrachord species used in composing Armenian musical modes.
21

Figure 2: Lines from melodies of GDz and DDz modes with semitonal breakdown
22

21
Kerovpyan, “Musical Modes.”
22
Kerovpyan, “Musical Modes.”

9
Instead of being composed of scale degrees, the modes exhibit intervallic relationships that
may recur throughout the song. As a result, the modes are a combination of microtonal intervals.
Furthermore, they cannot be defined by a scale, which has a concrete beginning and end. Thus, if
two modes begin on the same pitch, what will differ is the intervallic progression between the
subsequent tones. There are seemingly infinite sound combinations, but only eight of these
combinations have evolved into the modern Armenian Octoechos.
Kerovpyan categorizes the interval tetrachord species into three types: Pythagorean (with
3 subtypes), Diatonic (with 4 subtypes), and Chromatic (with 2 subtypes). Figures 3-5 provide a
breakdown of these tetrachords. Within each mode, Kerovpyan assigns functions to individual
pitches and labels them accordingly. The Appealing Degree serves as a focal point around which
the melody revolves – similar to a reciting tone. A mode can have multiple such degrees;
Kerovpyan indicates these with A and A’. The Intermediary Final Degree marks the ending of a
verse. Different melody types may have distinct degrees for this purpose, denoted by f and f’.
23

The Final Degree, denoted as F, is the one with which the chant concludes.
24
This often aligns
with the same degree as the Intermediary Final, but can vary in certain melody types.

Figure 3: Pythagorean Tetrachord (3 species)
25

23
These naming conventions are originally used by A. Kerovpyan
24
Aram Kerovpyan, Manuel de Notation Musicale Arménienne Moderne, Tutzing: H. Schneider, 2001, 16.
25
Kerovpyan, Manuel de Notation, 14-15.

10

Figure 4: Diatonic Tetrachords (4 species)
26

Figure 5: Chromatic Tetrachords (3 species)
27

26
Kerovpyan, Manuel de Notation, 15.
27
Kerovpyan, Manuel de Notation, 15.

11
MODAL EXAMPLE AND ANALYSIS
Kerovpyan presents an interpretation of the Armenian modes using intervallic
relationships, along with the following classifications: Appealing Degree (A), Intermediary Final
Degree (f), and Final Degree (F).
28
These interpretations are grounded in the Limonjian system,
while also being rooted in more ancient practices. Kerovpyan reinterprets the medieval modal
system based on nineteenth-century notational practices. This section will examine the one of the
eight modes, the AK, due to its relevance in the case study discussed in Chapter IV.
The Ayb-Koghm (AK) Mode

Figure 6: Ayb-Koghm (AK) Mode, its tetrachord species (II.1-II.3, III.2), and tonal qualities.
29

Table 1: AK mode tetrachords and semitonal breakdown.
30

The AK mode occurs as a combination of the four tetrachords listed in Figure 6. These
encompass three types of the Diatonic tetrachord species 1-3 (II.1, II.2, II.3), as well as one type
of the Chromatic Tetrachord species (III.2). Apart from the pitch combination, the AK mode is
also characterized by its Appealing Degree, which is a D pitch, a Final Degree, a B pitch, as well
as a less frequent Appealing Degree, an A pitch.

28
Kerovpyan, Manuel de Notation, 28.
29
Kerovpyan, Manuel de Notation, 17.
30
Kerovpyan, Manuel de Notation, 44.

12
Kerovpyan further dissects the articulation of each pitch within the mode by categorizing
it as one of the following: invariable (inv.), vibrating (vibr.), or variable (var.). He defines
invariable as a completely unmodified, straight-tone; vibrating as a slight flutter or vibrato; and
variable as a pitch subject to improvisation. In each instance, the D pitch remains invariable, while
the B pitch is vibrating. This is because the D pitch serves as the tonal center and remains constant
without microtonal variations. In contrast, given that the B pitch is the Final Degree, it typically
exhibits a vibrating articulation, as it belongs to a group of final cadential ornaments.
31

Kerovpyan presents an example of a hymn in the AK mode with the Limonjian symbols
placed over staff notation (see Example 3). In this example, he demonstrates a combination of all
four tetrachord species, along with the usual Appealing and Final Degrees of the AK mode.
Example 3: Example of a hymn in the AK mode
32

31
Kerovpyan, Manuel de Notation, 16-17.
32
Kerovpyan, Manuel de Notation, 45-46.

13
CHAPTER III. ARMENIAN MUSICAL NOTATIONAL CONVENTIONS
THE KHAZ NOTATION
The system of Armenian neume notation, also known as khaz notation, encompasses
neumes that are unique to the Armenian khaz system, as well as neumes which are shared by other
Christian neume traditions, like grave and acute accents.
33
This section of the paper will examine
various shapes of the khaz signs and delve into their potential implications for pitch, rhythm, and
articulation.
Letter Shapes. Certain khaz signs are altered iterations of Armenian letters, wherein the
form of the neume mirrors the initial letter of its name. For example, the neume Benkortč takes the
shape of the Armenian letter B, the neume Dzaykorč adopts the appearance of letter Dz, the Ērkoč
resembles Ē, and the Menkorč imitates an M (refer to Figure 7 for visuals from Tahmazyan’s
Manrusumm study).

Figure 7: Armenian neumes resembling Armenian letters.
34

33
Bodurian, “The Evolution of Armenian Liturgical Music,” 46.
34
Arusyak Tamrazyan, “The Art of the Manrusumm Neumated Codices in Medieval Armenian Sacred
Chant.” Association for Central European Cultural Studies [Clavibus Unitis] 7, no. 2 (2018): 17.

14
Motif Indications. Some neumes depict a complete cyclical motif, symbolizing a return
to the initial pitch. These neumes take on a spiral shape, with the end connecting to the beginning
(refer to Figure 8).

Figure 8: Spiral neumes indicating a full cycle.
35

Articulation. Furthermore, certain neumes signify a manner of performance and vocal
articulation, like kmazad [‘embellished from the larynx’] or huhai [indicating the incorporation of
aspirated ‘h’ before vowels].
36

Combinations. In certain instances, neumes are used in combination with each other,
placed over a line of text, signifying the simultaneous presence of motif, rhythm, articulation,
stresses, and intonation (Figure 9). Minor variations can be found among manuscripts with the
same content, even within copies by the same scribe, implying artistic liberty and improvisation
(Figure 10).

Figure 9: Neumes used in combination
37

35
Tamrazyan, “The Art of the Manrusumm Neumated Codices,” 18.
36
Tamrazyan, “The Art of the Manrusumm Neumated Codices,” 18.
37
Tamrazyan, “The Art of the Manrusumm Neumated Codices,” 18.

15

Figure 10: The same content by the same scribe but added neumes in the right-hand side.
38

Melisma in Manrusumm. The eleventh through twelfth centuries witnessed the
emergence and compilation of manuscripts known as Manrusumm [Minute-Study Մանրուսում]
(Figure 11). These are medieval Armenian liturgical codices containing excerpts from the
Breviary, the Vespers, and the Divine Liturgy, marking the pinnacle of Armenian neume notation
development.
39
The khaz notation in these codices features intricate melisma and meticulous
integration of text and music, showcasing a remarkable level of refinement in monophonic
singing.
40
The practice of Manrusumm is mainly attributed to St. Nerses Shnorhali in Cilician
Armenia, with the oldest known manuscript dating back to 1193 in Jerusalem.
41
Figure 11 presents
an illustration of this intricate style (MS 7157 fol 205-206, as published in Tamrazyan).

38
Tamrazyan, “The Art of the Manrusumm Neumated Codices,” 22.
39
Kerovpyan, “Prayer in Song.”
40
Kerovpyan, “Prayer in Song.”
41
Kerovpyan, “Prayer in Song.”

16

Figure 11: Example of Manrusumm. Yerevan, Matenadaran, MS 7157 fol 205-206.
42

Programmatic Indications. Beyond featuring articulation markings, certain hymns were
accompanied by programmatic notes and precise indications of vowel pronunciation. These
instances include the integration of names of noisy animals and insects into the compositions, such
as hornets, wasps, and singing birds. These elements are supplemented by depictions of these
creatures in the margins of the manuscripts (Figure 12). Additionally, the letter neumes
representing sounds ē and i were further combined into the khaz notation over the vowel ē of the
text. This amalgamation created a nearly vibrato-like effect, resulting in an extended rendering of
words like tiēzērq expanded to tiēzēiēiēiēiēi…rq (Figure 13).
43

The thirteenth through sixteenth centuries witnessed the introduction of heightened
complexity into khaz notation, while simultaneously retaining a substantial oral tradition for
musical transmission.
44

42
Tamrazyan, “The Art of the Manrusumm Neumated Codices,” 28.
43
Tamrazyan, “The Art of the Manrusumm Neumated Codices,” 29.
44
Kerovpyan, “Prayer in Song.”

17

Figure 12: Reminders of articulation through pictures of animals.
45

Figure 13: Repeating ē and i vowels to specify articulation.
46

45
Tamrazyan, “The Art of the Manrusumm Neumated Codices,” 32.
46
Tamrazyan, “The Art of the Manrusumm Neumated Codices,” 23.

18
AN INTERPRETATION OF KHAZ NOTATION ACCORDING TO ATAYAN
In his book Armenian Neume System of Notation: Study and Analysis, Robert Atayan, a
twentieth-century Armenian musicologist and composer, conducts a thorough analysis of khaz
notation. This section will delve into Atayan’s exploration of eight specific neumes: khosrovayin,
shesht, bout, poush, zark, khoontj, parouyk, and vernakhagh which will be discussed further in
later sections of the paper. These neumes do not directly imply specific pitch indications; instead,
they convey intervallic relationships, articulation nuances, and a general melodic direction.

Figure 14: Basic Khaz sings and their names.
47

Erkar & Khosrovayin. The erkar is a “designated prolongation of the reading voice (vowel
or syllable) when it is necessary to specifically stress any part of the sentence.”
48
It serves a
cadential role and is associated with the elongation of duration, rather than a change in intonation.
Like the erkar, the khosrovayin serves to prolong the duration of a syllable and transposes the
melody to the higher register, moving toward the upper limit of the mode.
49
It is positioned on the

47
Robert Atayan, Armenian Neume System of Notation: Study and Analysis. Routledge, 1999. 89.
48
Atayan, Armenian Neume System of Notation, 29.
49
Atayan, Armenian Neume System of Notation, 261.

19
accentuated syllable of the phrase (Figure 15). These two neumes fulfill similar functions and are
sometimes indistinguishable.
50

Figure 15: Staff Notation of Khosrovayin
51

Shesht. The shesht is a “gradual raising of the voice on the preceding syllables of the
word.”
52
If the shesht is placed on a monosyllabic word, that syllable is performed in a high tone.
According to Komitas, this khaz leads to a leap of two melodic tones and a decrease by a semitone
(Figure 16).

Figure 16: Staff Notation of Shesht.
53

Bout. The bout, translated to gravis, has a cadential role, which “indicates that the passage
of the voice (high or low) must reach half-cadence and accordingly the voice should be suspended
(possibly pause).”
54
By selecting a tonic of F or B flat, the bout concludes the phrase on an A pitch
(Figure 17).

Figure 17: Staff Notation of Bout.
55

50
Atayan, Armenian Neume System of Notation, 211.
51
Atayan, Armenian Neume System of Notation, 211.
52
Atayan, Armenian Neume System of Notation, 33.
53
Atayan, Armenian Neume System of Notation, 33.
54
Atayan, Armenian Neume System of Notation, 36.
55
Atayan, Armenian Neume System of Notation, 36.

20
Poush. The poush is “most readily to free improvisation […].” It indicates a single
movement upwards in the melodic line.”
56

Figure 18: Staff Notation of Poush.
57

Zark. The zark, also known as schläg in German, is translated to “blow” and serves the
role of an accent, rather than having an intonational connotation.
58

Khoontj. The khoontj can be divided into four main groups, depending on the syllable over
which it is placed. Its principal form, however, is seen in Figure 19.
59
The basic function on the
khoontj is a lowering one, with the syllable divisible into quarter, eighth, or sixteenth notes.

Figure 19: Staff Notation of Khoontj
60

Parouyk. The parouyk indicates the raising (sharpening) of a voice and the subsequent
lowering (levelling) of the voice.
61

Vernakhagh. The raising of a tone with elongated duration.
62

To summarize, the following list attributes these simplified functions to each khaz sign:
khosrovayin/ erkar: elongation of duration and a raise in pitch.
shesht: a raise in the note by two scale degrees and lowering by semitone.
bout: a semi-cadential function.
poush: a one-step leap and eventual completion of the melody.
zark: an accentuation, emphasis or beat.
khoontj: a two-step lowering function in a melody.
parouyk: raising then lowering function on a syllable.
vernakhagh: raising and elongating a syllable.

56
Atayan, Armenian Neume System of Notation, 207.
57
Atayan, Armenian Neume System of Notation, 207.
58
Atayan, Armenian Neume System of Notation, 111.
59
Atayan, Armenian Neume System of Notation, 205.
60
Atayan, Armenian Neume System of Notation, 205.
61
Atayan, Armenian Neume System of Notation, 19.
62
Atayan, Armenian Neume System of Notation, 205.

21
LIMONJIAN NOTATIONAL REFORM
In the early nineteenth century, musicologist Hampartsoum Limonjian created a new
notation system for Armenian music that incorporated elements of Armenian, Middle Eastern, and
European musical traditions.
63
The system was neumatic and allowed for the transcription of
microtonal features unique to Armenian melodies. Limonjian's system was particularly suitable
for monodic music and played a crucial role in preserving thousands of pieces of folk and spiritual
music.
64

The system facilitated the revitalization and modernization of Armenian sacred musical
culture by enhancing precision in musical legibility. The revived written practice standardized
performance practices of sacred music across different regions of Armenia.
65

In contrast to the European five-line staff system, the new notation system was neumatic,
making it easier for musicians to transcribe music orally, without the need for staff paper. Melodies
were written over the lines of the text, facilitating the vocalization of the text. This system was
heavily employed by Komitas during his travels to study and document Armenian folk music.
Even in the present day, this notation system continues to be utilized and studied in various musical
institutions, contributing significantly to the preservation of numerous melodies, chants, and
sharagans.
66

The symbols of the Limonjian system derive their shapes and names from the medieval
khaz shapes, a deliberate choice made to prevent a jarring departure from the traditions familiar to
the church cantors. The principal symbols correspond to the seven scale degrees, which are
summarized in Table 2.

63
Seda Stamboltsyan, “A Brief Guide to Armenian Musical Notation.” Yerevan, 2019, 2.
64
Stamboltsyan, “A Brief Guide to Armenian Musical Notation,” 2.
65
Stamboltsyan, “A Brief Guide to Armenian Musical Notation,” 1.
66
Stamboltsyan, “A Brief Guide to Armenian Musical Notation,” 2.

22

Table 2: Signs of the Limonjian notation.
67

The combination of these principal degrees represents two diatonic tetrachords (Figure 20).

Figure 20: A combination of diatonic tetrachords with Limonjian symbols.
68

Differences in octaves are indicated by dashes at the bottom of the neumes in the lower octave and
dots at the bottom of the neumes in the higher octave (Figure 21).

Figure 21: Inferior Octave (Left) & Superior Octave (Right) in Limonjian symbols
69

The Limonjian symbol erkar, a tilde, augments the scale degree by a semitone (Figure 22).

Figure 22: Demonstration of erkar in scalar example.
70

67
Kerovpyan, Manuel de Notation, 20.
68
Kerovpyan, Manuel de Notation, 21.
69
Kerovpyan, Manuel de Notation, 21.
70
Kerovpyan, Manuel de Notation, 22.

23
In addition to representing pitches, this notation also clarifies duration. Each neume is
accompanied by a duration sign beneath it. The standard unit of measurement is a quarter note.
71

Table 3 provides a list of the duration symbols, while Example 4 demonstrates a musical line with
quarter and half notes.

Table 3: Duration marks in Limonjian notation.
72

Example 4: Musical example with Limonjian and staff notation.
73

Two interpretations of the system exist: the Etchmiadzin reading, which assigns the pitch
of C to the first scale degree, and the Istanbul reading, which assigns it a pitch of D.
74
Table 4
illustrates the corresponding pitches.

71
Kerovpyan, Manuel de Notation, 22.
72
Stamboltsyan, “A Brief Guide to Armenian Musical Notation,” 6.
73
Kerovpyan, Manuel de Notation, 24.
74
Stamboltsyan, “A Brief Guide to Armenian Musical Notation,” 3.

24

Table 4: The Etchmiadzin and Istanbul Readings of the Limonjian notation.
75

75
Stamboltsyan, “A Brief Guide to Armenian Musical Notation,” 3.

25
CHAPTER IV. CASE STUDY
This case study focuses on the analysis of nine hymns in the AK mode from the Astuacatur
Hymnal (1654, University of Chicago Library, The Goodspeed Manuscript Collection) in order
to identify shared characteristics associated with this Octoecho (please refer to Appendix I for
these hymns in the khaz notation). To investigate any potential link to the Limonjian tradition,
the study further examines the same hymns found in a nineteenth-century hymnal that employs
the Limonjian system (please refer to Appendix II for these hymns in the Limonjian notation).
This section culminates by discussing the shared patterns discerned between the two distinct
notational systems, ultimately leading to conclusions about the musical continuity bridging the
medieval and nineteenth-century traditions.
AK HYMNS IN KHAZ
Based on the observations drawn from the khaz notation of the nine hymns, the most
frequently encountered neumes in the AK mode are khosrovayin, bout, and poush. The endings to
the individual stanzas and overall hymns generally conclude with a khosrovayin-khosrovayin or
bout-khosrovayin cadence. Additionally, several prevailing patterns include bout-poush, poush-
bout, khosrovayin-khosrovayin, poush-bout-poush, khosrovayin-khosrovayin-khosrovayin.
According to Atayan, bout and poush are among some of the most frequently used neumes
in the hymnal.
76
This is indeed evident in the majority of the hymns in th AK mode, as they are
predominantly notated with bout, shesht, and khosrovayin. These findings also validate Atayan’s
assertion that two bout neumes never follow each other and two consecutive poush neumes are
rare.
77

76
Atayan, Armenian Neume System of Notation, 152.
77
Atayan, Armenian Neume System of Notation, 152.

26
Drawing from these observations, in its most basic structure, the AK mode is characterized
by khosrovayin patterns that undergo modulation through bout and poush. Nevertheless, the nine
hymns do exhibit variations, primarily in the extent to which they conform to these patterns
involving the three neumes.
Hymns No. 2, 4, 5, 6, and 9 have regular AK neume patterns that are primarily dominated
by khosrovayin and bout patterns, occasionally showcasing atypical AK neumes such as zark,
parouyk, and khoontj, albeit in brief instances. Hymns No. 1, 3, 7, and 8 present some consistent
khosrovayin patterns, though not extensively. The prevalence of zark, parouyk, khoontj, is higher
in these hymns compared to the others.
The commonalities among the hymns allow for their classification into two groups: the
simple group (Group 1) and the complex group (Group 2). Within these, Group 1 comprises hymns
No. 2, 4, 5, 6, 9 and Group 2 encompasses No. 1, 3, 8. Given that hymn No. 7 demonstrates a
mixture of patterns, it could potentially fall into either of the aforementioned groups.
Even though the hymns in Group 2 continue to rely predominantly on the khosrovayin,
bout, and poush neumes, they exhibit additional patterns, particularly involving the less common
neumes khoontj, vernakhagh and zark – features not present in Group 1 hymns. Moreover, certain
hymns within Group 2 also feature isolated instances of atypical neumes like benkorch, karkash,
and houhay occurring sequentially (see observed hymn No. 2 on Table 5). This could possibly
signify a melisma of greater complexity in contrast to the more straightforward khosrovayin, bout,
and poush neumes.
Both groups showcase similar cadential patterns, including khosrovayin on its own, a
khosrovayin-khosrovayin pattern, or a khosrovayin-bout pattern. For more specific information
about each hymn, please refer to Table 5.

27
NO. 1 NO. 2 NO. 3 NO. 4 NO. 5 NO. 6 NO. 7 NO. 8 NO. 9
FINAL
NEUME
(STANZA)
Khos Khos
Bout
Khos Khos
Bout
Parouyk
Khos Khos Khos Bout
Vernakhagh
Parouyk

Khos
Bout
FINAL
NEUME
(HYMN)
Khos Khos Khos Khos Khos Khos Khos Parouyk Khos
MOST
COMMON
NEUMES
Khos (11)
Poush (17)
Bout (13)
Khos (61)
Poush (52)
Bout (51)

Khos (9)
Poush (20)
Bout (10)
Khoontj (8)

Khos (71)
Poush (32)
Bout (16)
Shesht (14)
Parouyk
(12)

Khos (53)
Poush (27)
Bout (17)

Khos (30)
Poush (33)
Bout (19)

Khos (58)
Poush (21)
Bout (13)

Khos (13)
Parouyk
(12)
Khos (35)
Poush (21)
Bout (17)
COMMON
PATTERS
(2-NEUME)
B-P (14)
P-B (7)
B-P (29)
P-B (23)
P-K (20)
K-K (23)
K-B (20)

B-P (9)
P-B (7)

B-P (12)
P-K (18)
K-K (30)
S-B (10)

B-P (13)
P-K (17)
K-K (15)

B-P (19)
P-B (8)
P-K (14)
K-K (8)

K-K (28)

K-K (8)

B-P (9)
P-K (11)

COMMON
PATTERNS
(3 TO 4-
NEUME)
B-P-B-P
(5)
K-B-P (6)

B-P-B-P (7)
K-K-B (12)

B-P-B-P (3)
P-B-P (7)
P-Kj-P (4)

K-K-K (14)
S-B-P (8)

P-K-K (8)
S-B-P (6)
B-P-K (6)
B-P-P (5)
K-V-K (6)

B-P-P-B (4)
P-B-P-K (5)

K-K-K-K
(6)
P-K-K (7)

K-K-Pa (3)
K-Pa-Pa (3)
K-K-K (8)
P-K-K (7)

APPEARA
NCE OF
UNUSUAL
NEUMES
Khoontj
Zark
Erkar
Benkorch
Karkash
Houhay
Vernakhagh
Khoontj
Zark
Benkorch

Vernakhagh

Vernakhagh

Vernakhagh
Zark
Benkorch

Extended
melisma
combining
multiple
neumes
N/A
NOTES Patterns
Khoontj
and Zark.
Fewer
khosrovayi
n neumes
than in
others.
Mostly
khosrovayin
with one
location
where there
is an
extended
melisma.
Patterns of
Khoontj
and Zark
with fewer
Khosrovayi
n neumes
present.
Mostly the
khosrovayin
neume
determining
the pattern
and a
melisma in
one place.
Simple
patterns of
khosrovayin
, bout and
poush.
Simple
patterns
with
khosrovayin
as the main
neume.
A mix
between
complex
and simple
neumes
patterns.
Complicate
d and unlike
the other
hymns.
Simple
patterns.
GROUP Group 2 Group 1 Group 2 Group 1 Group 1 Group 1 Group 2 Group 2 Group 1

Table 5: Neume & Pattern Breakdown of the Nine Hymns in the AK Mode from the 1654 Astuacatur Hymnal
Key: Khosrovayin = Khos/K • Bout = B • Poush = P • Shesht = S • Vernakhagh = V • Parouyk = Pa • Khoontj = Kj

28
AK HYMNS IN LIMONJIAN
In the Limonjian notation utilized in the Tashjian and Dindesyan hymnals (published in
1875 and 1934, respectively), the text is segmented into syllables, and each syllable is assigned its
own pitch.
78
Utidjian highlights that Dindesyan’s hymnal features an indicated meter and level of
melismaticity, possibly representing a simplification of more intricate melodies.
79
Additionally,
instances arise where a single syllable is assigned multiple pitches, denoting the presence of a
melisma.
Once again, based on their unique characteristics, these hymns can be further categorized
into two groups. The classification aligns with that of the khaz system: Group 1 encompasses
straightforward hymns that conform to regular Limonjian AK modal patterns, while Group 2
comprises hymns that exhibit deviations from these patterns.
Hymns in Group 1 adhere to the customary combinations of AK sub-modes, standard AK
reciting tones, and traditional AK cadences. In contrast, those falling within Group 2 display greater
deviations from the AK mode and, at times, show minimal correlation with the tonal attributes of
AK. Similar to the khaz notation, the hymns within the Limonjian notation also display outliers in
terms of pitches and cadences.
Within this analytical framework, hymns No. 2, 4, 5, 6, and 9 are positioned in Group 1,
while hymns No. 1, 3, 7, and 8 are classified within Group 2 (as indicated in Tables 6 & 7).
Remarkably, these classifications align precisely with the groupings in the khaz system. A
thorough examination and cross-comparison between khaz and Limonjian can be observed in

78
Yegya Dindesyan, Sharagan Dzaynagreal [Recorded Hymns], Vagharshapat [Echmiadzin], Armenia: St.
Echmiadzin Printing House, 1934. 250.
79
Haig Utidjian, “Tntesean and the Music of the Armenian Hymnal.” Červený Kostelec: Pavel Mervart, 2017. 79-
109.

29
Tables 6 & 7. These tables juxtapose the exceptional khaz neumes of the AK mode (khoontj, zark,
parouyk, vernakhagh), alongside uncommon Limonjian pitches, with the aim of discerning
potential relationships between the two notations.
TEXTUAL OUTLIERS KHAZ [ASTUACATUR (1654)] LIMONJIAN (1875 & 1934)
NO. 1 ԱՇԱԿԵՐՏՔ Khoontj 6 pitches and a grace note
ԱՄԵՆԱՅՆ Modified khosrovayin 8 pitches, 4 on the first syllable
ՎԱՍՆ Khoontj Regular
ՄԵՐ Cadential word, khosrovayin over it Cadential, has 4 pitches
NO. 2 ԾՆԵԱԼ Ի ՀՕՐԷ Melisma on ի & հօ Melisma on ի & հօ
ԱՍՏՈՒԱԾ 3 khaz on the word 2 pitches per syllable
ՈՐՈՎ Khoontj D# on the first syllable
ԵՒ ԵՐԿԻՐ 3 khaz (normal) 9 pitches (unusual)
ԶՔԵԶ 2 khaz and parouyk Grace note
ՀԱՐՑՆ Zark has bout 3 pitches (1-syllable word)
ՄԵՐՈՑ 1 khosrovayin (normal) 6 pitches (cadence)
NO. 3 ԱՅՍՕՐ Khosrovayin and zark 6 pitches (2-syllable word)
ԹՈՂՈՒԹՅՈՒՆ Khoontj Grace note, accidental on B
ՄԵՂԱՑ Parouyk Accidental on B and C
ԱՅՍՕՐ NO. 2 Khosrovayin and zark 6 pitches (2-syllable word)
ԱՇԱԿԵՐՏԱՑՆ Khoontj Accidental on B
ՊԱՏՈՒԻՐԷՐ Khoontj Accidental on B
ՈՐՈՇԻ Khoontj Accidental on B
ԼՈՒԵԱԼ Zark 6 pitches (2-syllable word)
ՅՈՎՀԱՆՆԵՍ 3 neumes, one of which is vernakhagh Grace note
ՀԱՐՑԱՆԵԼ 2 neumes, one of which is khoontj Grace note
ԶԱՇԱԿԵՐՏՍՆ Khoontj Grace note
ԽՌՈՎԵՑԱՆ 2 neumes, one of which is khoontj Accidental on B
NO. 4 ԵԿԵՂԵՑՒՈՅ Parouyk 9 neumes, (a 4-syllable word)
ԶՔԵԶ 2 neumes, 1 parouyk Regular
ՀԱՐՑՆ 2 neumes, 1 khoontj Regular
NO. 5 ԱՅՍՕՐ Zark 5 neumes (a 2-word syllable)
ԽՈՐՀՐԴՈՅ Parouyk Divided into 4 beats, (a 3-syllable word)
ՀԱՐՑՆ 2 neumes, one is a zark Divided into 3 beats (a 2-syllable word)
NO. 6 ԼՈՒՍԱՎՈՐԵԼՈՎ 3 neumes, has parouyk 8 neumes (5-syllable word)
ԱՍՐՈՒԾՈՅ 3 neumes, has parouyk 8 neumes (3-syllable word), melisma
ԱՆԵՂԻԴ 3 neumes, has parouyk 6 neumes (3-syllable word)
ՀԱՆԴԸՍՏԵԱՆ 3 neumes, has vernakhagh 8 neumes (3-syllable word), melisma
NO. 7 ՀԱՐՑՆ Zark Regular
ԱՌԱՔԵԼՈՑՆ 3 neumes, 1 parouyk 12 neumes (4-syllable word)
NO. 8 ALL WORDS Ալելուիա very ornate Ալելուիա very ornate (11 pitches)
NO. 9 NO OUTLIERS Typical AK khaz patterns Typical AK Limonjian patterns

Table 6: A comparison of Khaz and Limonjian outliers over text across the nine hymns.

30
CHARACTERISTICS KHAZ [ASTUACATUR (1654)] LIMONJIAN (1875 & 1934)
NO. 1 PATTERNS Not many khosrovayin patterns Many grace notes, Strong presence of F and
F# (not a pitch in this mode)
CADENCE Cadences on khosrovayin B has accidental on it, not part of AK
GROUP
CLASSIFICATION
Group 2 of Khaz Group 2 of Limonjian
NO. 2 PATTERNS Mostly khosrovayin (usual), Unusual
khaz of khoontj, parouyk, zark but brief
Combines AK II.1, II.2, II.3, and III.2, Mostly
pitches and progressions within the AK mode,
with occasional D#
CADENCE Verse cadences on Bout (Regular) Verse cadence on D-C-B-A#-B (Regular)
GROUP
CLASSIFICATION
Group 1 of Khaz Group 1 of Limonjian
NO. 3 PATTERNS Neume order almost consistent per line,
few instances of khosrovayin, large
presence of zark and khoontj
Neume order the same per line, The B pitch
has an accidental over it throughout the piece,
C has an accidental, Ornate and has grace
notes
CADENCE Cadences on khoontj-parouyk-
khosrovayin (Regular)
Regular AK cadences with the D-C-B-A-B
progression
GROUP
CLASSIFICATION
Group 2 of Khaz Group 2 of Limonjian
NO. 4 PATTERNS Regular progression of khaz with few
outliers
Regular AK modal progression
CADENCE Cadence on khosrovayin (Regular) Cadence D-D-C-B (Regular)
GROUP
CLASSIFICATION
Group 1 of Khaz Group 1 of Limonjian
NO. 5 PATTERNS Cadence on khosrovayin (Regular) Cadence of D-D-C-B-A#-B (Regular)
CADENCE Regular neume progression for the AK
mode in khaz, few outliers
Regular pitches that fall within the AK mode
in Limonjian
GROUP
CLASSIFICATION
Group 1 of Khaz Group 1 of Limonjian
NO. 6 PATTERNS Regular sequence of neumes, few
outliers
Regular pitches that fall within the AK mode
in Limonjian
CADENCE Cadences on khosrovayin (Regular) Cadences of D-C-D-D-C-B (Regular)
GROUP
CLASSIFICATION
Classified in Group 1 of Khaz Group 1 of Limonjian
NO. 7 PATTERNS Not as many khosrovayin neumes as
usual
Irregular reciting tones and cadences
CADENCE Cadences on khosrovayin (Regular) Regular Limonjian cadence
GROUP
CLASSIFICATION
Classified as a Mixed group of Khaz,
could be 1 or 2 of Khaz
Classified as a Mixed group of Limonjian,
could be 1 or 2 of Limonjian
NO. 8 PATTERNS The neumes above every word are
different, not part of regular sequence
Pitches are within the AK mode but many
deviations (E#-E combinations which are
atypical), progression of E to G, which is
atypical, No reciting tones within the AK
mode
CADENCE Different cadences, very atypical Final cadences atypical to AK
GROUP
CLASSIFICATION
Group 2 of Khaz Group 2 of Limonjian
NO 9 PATTERNS Typical AK mode with khosrovayin
and bout progressions
Typical AK mode
GROUP
CLASSIFICATION
Group 1 of Khaz Group 1 of Limonjian

Table 7: A comparison of Khaz and Limonjian patterns and classification into Group 1 or Group 2.

31
CASE STUDY CONCLUSIONS
Whether analyzed at the level of individual words, phrase structures, or the broader
incorporation of AK modal patterns and outliers, both the khaz and Limonjian notations reveal
strikingly similar patterns across the hymns. Tables 6 & 7 present a direct comparison of all the
outliers found within both notations.
In a general sense, instances of multiple khaz neumes on a single syllable correspond to the
presence of multiple Limonjian pitches on the same syllable. Furthermore, the occurrence of
atypical neumes in the khaz notation mirrors the presence of Limonjian pitches that fall outside the
AK mode. Hymns demonstrating adherence to AK modal patterns in the khaz notation also maintain
this consistency within the Limonjian system.
Although the precise pitches of the khaz notation remain elusive, the overarching patterns
demonstrate remarkable harmony between the Limonjian and khaz systems.
These observations permit the extrapolation of these patterns to the entirety of the hymnal,
substantiating a strong connection between khaz patterns and Limonjian pitches within the neumes.
Consequently, we can firmly conclude that a melodious continuity undoubtedly persists
throughout several centuries of Armenian musical tradition.

32
CONCLUSION
Although illegible at a precise level, the system of medieval Armenian khaz notation serves as a
transitory guide between musical practices prior to the eighteenth century and today. The parallel
patterns revealed between the khaz and Limonjian notations allow us to understand phrase
structure, articulation, and outlying modal tendencies of past practice. Despite facing significant
societal challenges throughout its history, the Armenian musical tradition has managed to endure,
thanks to the courageous efforts dedicated to preserving and safeguarding manuscripts and
document traditions. As a result, it stands as one of the few remaining musical traditions that offer
valuable insights into the crucial role of transcription and notation in the preservation and
continuity of cultural heritage.

33
REFERENCES
Astuacatur Hymnal. Ms. Constantinople, 1654. Goodspeed Manuscript Collection, Ms. 275. The
University of Chicago Library.
Atayan, Robert. Armenian Neume System of Notation: Study and Analysis. Routledge, 1999.
Bodurian, Agota. “The Evolution of Armenian Liturgical Music.” Bulletin of the Transilvania
University of Braşov. Series VIII: Performing Arts 13(62), no. 1 (2020): 39–48.
https://doi.org/10.31926/but.pa.2020.13.62.1.4.
Dindesyan, Yegya. Sharagan Dzaynagreal [Recorded Hymns]. Vagharshapat [Echmiadzin],
Armenia: St. Echmiadzin Printing House, 1934.
Kerovpyan, Aram. “Musical Modes and the Armenian Eight-Mode System.” Music with Aram
and Virginia Kerovpyan. Lecture presented at the Armenian Institute, London, United
Kingdom, 2020.
Kerovpyan, Aram. Manuel de Notation Musicale Arménienne Moderne. Tutzing: H. Schneider,
2001.
Kerovpyan, Aram. “Prayer in Song. A Brief History of Armenian Liturgical Chant.” Akn:
Armenian Modal Chant, 2013. https://akn-chant.org/en/chant.
Kerovpyan, Aram. “The Sharagan.” Akn: Armenian Modal Chant, 2013. https://akn-
chant.org/en/charakan.
Stamboltsyan, Seda. “A Brief Guide to Armenian Musical Notation.” Yerevan, 2019.
Tamrazyan, Arusyak. “The Art of the Manrusumm Neumated Codices in Medieval Armenian
Sacred Chant.” Association for Central European Cultural Studies [Clavibus Unitis] 7, no.
2 (2018): 13–34.
Tashjian, Nikoghayos. Sharagnots [Hymnal]. Vagharshapat [Echmiadzin], 1875.
Utidjian, Haig. “Sweet in Melody and Voice: Words, Neumes & Music in the Odes of St.
Gregory of Narek.” University of Southern California Musicology Forum. Lecture
presented at the Hosted by the Early Modern Studies Institute 2020-2021 Early Music
Series in partnership with Early Music America, 2021.
Utidjian, Haig. “Tntesean and the Music of the Armenian Hymnal.” Červený Kostelec: Pavel
Mervart, 2017.

34
APPENDICES
Appendices I and II display the primary sources and analysis methods behind the case study in
Chapter IV.

For each of the nine hymns, Appendix I displays the following:
1. An English translation of the hymns written out by phrase and verse.
2. The fragment of the manuscript from which the hymns were extracted.
3. A typed version of the hymn with the khaz symbols over the text, written out by phrase
and verse.
4. The extracted khaz symbols written out by phrase and verse.

Appendix II displays the fragments out of the modern Dindesyan and Tashjian hymnals which
served in the Limonjian analysis portion of Chapter IV.

35
APPENDIX I: ASTUACATUR HYMNAL EXAMPLES
NO 1. ԱՇԱԿԵՐՏՔ ՔՐԻՍՏՈՍԻ – DISCIPLES OF CHRIST.

[Disciples of Christ and apostles to the entire universe,
intercede with the Lord for our sakes.
You who received the commandment to fearlessly preach the Word of Life to the world,
intercede with the Lord for our sakes.
You who were worthy to see with the body the Son of God manifest,
intercede with the Lord for our sakes.]

Figure A - 1: Fragment: Աշակերտք Քրիստոսի [Disciples of Christ].
80

Figure A - 2: Typed version of Աշակերտք Քրիստոսի [Disciples of Christ].

NO. 1 – ISOLATED NEUMES BY LINE OF VERSE

1. KHOONTJ, POUSH, BOUT, POUSH, KHOSROVAYIN, BOUT, POUSH, BOUT, POUSH, KHOSROVAYIN
2. [REPEAT] BOUT, KHOSROVAYIN, BOUT, POUSH, KHOONTJ, KHOSROVAYIN
3. BOUT, KHOSROVAYIN, POUSH, KHOSROVAYIN, BOUT, POUSH, BOUT, BOUT, POUSH, ZARK, KHOSROVAYIN
4. [REPEAT] BOUT, KHOSROVAYIN, BOUT, POUSH, KHOONTJ, KHOSROVAYIN
5. POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT, POUSH, BOUT, POUSH, ZARK, BOUT, POUSH, KHOSROVAYIN
6. [REPEAT] BOUT, KHOSROVAYIN, BOUT, POUSH, KHOONTJ, KHOSROVAYIN

80
Astuacatur Hymnal. Ms. Constantinople, 1654. Goodspeed Manuscript Collection, Ms. 275. The University of
Chicago Library, fol 50r.

36
NO 2. ՈՐ ՅԱՌԱՋ ՔԱՆ ԶՅԱՒԻՏԵԱՆՍ – BEFORE ALL AGES, ETERNALLY

[Before eternity, born of the Father,
unspeakable God, Who made heaven and earth,
let us bless You, Lord.
Who adorned the first emerald in the image of Your Godhead,
and not keeping the commandment, he became a king of land and death.
let us bless You, Lord.
That effort of creative love did not turn you into Adam,
but gave him the grace to come back to life,
by which Enoch transformed immortality,
let us bless You, Lord.

Bless the Lord.
exalt Him forever.
On the eve of sorrow,
from which he rose from heaven,
accept the sorrow of repentance,
because at the resurrection of Christ, the dignity of the Church will enter heaven.
exalt Him forever.
And to the patriarch Enos,
who trusted to call on the name of the Lord God,
trust in the resurrection of Christ,
to enter His life forever.
exalt Him forever.]

Figure A - 3: Fragment: Որ Յառաջ Քան Զյաւիտեանս [Before all Ages, Eternally].
81

81
Astuacatur Hymnal, fols 63r-63v.

37

Figure A - 4: Typed version of Որ Յառաջ Քան Զյաւիտեանս [Before all Ages, Eternally].
NO. 2 – ISOLATED NEUMES BY LINE OF VERSE

1. KHOSROVAYIN, BOUT, POUSH, BOUT, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT
2. POUSH, BOUT, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, BOUT, POUSH, KHOONTJ,
KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT
3. [REPEAT] POUSH, BOUT, POUSH, PAROUYK, KHOSROVAYIN, ZARK, BOUT, KHOSROVAYIN.

4. POUSH, BOUT, POUSH, BOUT, POUSH, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN,
KHOSROVAYIN, BOUT
5. BOUT, POUSH, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, PAROUYK, POUSH,
BOUT, KHOONTJ, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT, POUSH
6. [REPEAT] POUSH, BOUT, POUSH, PAROUYK, KHOSROVAYIN, ZARK, BOUT, KHOSROVAYIN.

7. POUSH, BOUT, POUSH, BOUT, POUSH, BOUT, SHESHT, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN,
BOUT
8. BOUT, POUSH, BOUT, POUSH, KHOSROVAYIN, BOUT, KHOSROVAYIN, KHOSROVAYIN, BOUT
9. POUSH, BOUT, POUSH, KHOONTJ, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT
10. [REPEAT] POUSH, BOUT, POUSH, PAROUYK, KHOSROVAYIN, ZARK, BOUT, KHOSROVAYIN.

_

11. BOUT, POUSH, KHOSROVAYIN
12. [REPEAT] ERKAR, BENKORCH, KARKASH, HOUHAY, PAROUYK, POUSH, KHOSROVAYIN, BOUT, POUSH, BOUT,
KHOSROVAYIN.

13. POUSH, BOUT, POUSH
14. POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, BOUT
15. BOUT, POUSH, BOUT, POUSH, KHOSROVAYIN, BOUT, KHOSROVAYIN, KHOSROVAYIN
16. BOUT, POUSH, BOUT, POUSH, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN,
BOUT,
17. [REPEAT] ERKAR, BENKORCH, KARKASH, HOUHAY, PAROUYK, POUSH, KHOSROVAYIN, BOUT, POUSH, BOUT,
KHOSROVAYIN.

38

18. PAROUYK, BOUT, POUSH, BOUT,
19. BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, BOUT
20. SHESHT, KHOSROVAYIN, POUSH, POUSH
21. BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, BOUT
22. [REPEAT] ERKAR, BENKORCH, KARKASH, HOUHAY, PAROUYK, POUSH, KHOSROVAYIN, BOUT, POUSH, BOUT,
KHOSROVAYIN.

39
NO 3. ԱՅՍՕՐ ԿԱՆԳՆԵՑԱՒ – TODAY HE STOOD IN THE BASIN OF BAPTISM

[Today, a baptismal pool was erected for the forgiveness of our sins.
Today, our Lord washed the feet of his disciples and commanded saying this.
Some of my brothers and students betrayed me to death.
Peter was referring to John to ask who it is.
When Jesus said this, his disciples were saddened, and they were all upset.]

Figure A - 5: Fragment: Այսօր Կանգնեցաւ [ Today He Stood in The Basin of BapCsm].
82

Figure A - 6: Typed version of Այսօր Կանգնեցաւ [ Today He Stood in The Basin of BapCsm].
NO. 3 – ISOLATED NEUMES BY LINE OF VERSE

1. KHOSROVAYIN, ZARK, POUSH, BOUT, POUSH, POUSH, KHOONTJ, POUSH, KHOSROVAYIN
2. KHOONTJ, KHOSROVAYIN, ZARK, BOUT, KHOSROVAYIN, POUSH, KHOONTJ, POUSH, SHESHT, KHOONTJ, POUSH,
KHOSROVAYIN
3. KHOSROVAYIN, BOUT, POUSH, BOUT, POUSH, BOUT, POUSH, KHOONTJ, POUSH, KHOSROVAYIN
4. POUSH, ZARK, POUSH, BOUT, POUSH, BOUT, POUSH, VERNAKHAGH, SHESHT, KHOONTJ, KHOSROVAYIN
5. POUSH, BOUT, POUSH, BOUT, POUSH, KHOONTJ, BOUT, POUSH, KHOONTJ, POUSH, KHOSROVAYIN.

82
Astuacatur Hymnal, fol 123r.

40
NO 4. ՈՐ ԽՈՆԱՐՀԵՑԱՐ – THAT YOU WERE HUMBLED

[Humbled and glorified, Your Immortal and Heavenly Bridegroom,
for the love of the bride of Your Church, who was cleansed in the basin by the rebirth,
let us bless You, God.
Who, with your new resurrection, repaired the sin of my soul,
with which the Church rejoiced today with the renewal of our nature,
let us bless You, God.
Today, with the splendor of a childish sail,
celebrate the salvation of our mighty angelic fleet.
let us bless You, God.

Bless the Lord
and exalt Him forever.
Renew your life today with the resurrection of Christ, new people,
and exalt Him forever.
New Israel called in Christ, let's send our new blessing to the Restorer in the universe,
to raise him from the dead.
and exalt Him forever.]
\\\
Figure A - 7: Fragment: Որ Խոնարհեցար [That You Were Humbled].
83

83
Astuacatur Hymnal, 144v-145r.

41

Figure A - 8: Typed version of Որ Խոնարհեցար [That You Were Humbled].

NO. 4 – ISOLATED NEUMES BY LINE OF VERSE

1. SHESHT, BOUT, POUSH, POUSH, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN
2. SHESHT, BOUT, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, PAROUYK, BOUT, POUSH, POUSH,
KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT
3. [REPEAT] SHESHT, BOUT, POUSH, PAROUYK, KHOSROVAYIN, KHOSROVAYIN, KHOONTJ, KHOSROVAYIN.

4. POUSH, BOUT, POUSH, POUSH, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN
5. SHESHT, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, PAROUYK, POUSH, KHOSROVAYIN,
POUSH, KHOSROVAYIN, PAROUYK
6. [REPEAT] SHESHT, BOUT, POUSH, PAROUYK, KHOSROVAYIN, KHOSROVAYIN, KHOONTJ, KHOSROVAYIN.

7. SHESHT, BOUT, POUSH, SHESHT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN,
SHESHT, BOUT
8. SHESHT, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, PAROUYK, POUSH, KHOSROVAYIN, POUSH,
KHOSROVAYIN, PAROUYK
9. [REPEAT] SHESHT, BOUT, POUSH, PAROUYK, KHOSROVAYIN, KHOSROVAYIN, KHOONTJ, KHOSROVAYIN.

_

10. SHESHT, BOUT, KHOSROVAYIN.
11. [REPEAT] KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, BENKORCH, ZARK, KHOSROVAYIN,
ZARK, KHOSROVAYIN, PAROUYK, KHOSROVAYIN.

12. SHESHT, BOUT, POUSH, POUSH, SHESHT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN,
KHOSROVAYIN, BOUT
13. [REPEAT] KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, BENKORCH, ZARK, KHOSROVAYIN,
ZARK, KHOSROVAYIN, PAROUYK, KHOSROVAYIN.

14. KHOSROVAYIN, POUSH, BOUT, POUSH, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN,
SHESHT, POUSH, KHOSROVAYIN
15. KHOSROVAYIN, KHOSROVAYIN, PAROUYK, POUSH, KHOSROVAYIN, ZARK, KHOSROVAYIN, KHOSROVAYIN
16. [REPEAT] KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, BENKORCH, ZARK, KHOSROVAYIN,
ZARK, KHOSROVAYIN, PAROUYK, KHOSROVAYIN.

42
NO 5. ԱՆՃԱՌԵԼԻ ԲԸԽՈՒՄՆ – THE UNSPEAKABLE EMANATION

[The unspeakable emanation from the Father,
Today in the heavenly home of the humble mystery
You reposed the apostles, our God.
In your unfathomable depths, the Son of God, and the Father united,
Today with your arms bowed to you humbly,
You reposed the apostles, our God.
Inexhaustible source of light, Holy Spirit,
Today with a tongue of fire,
You reposed the apostles, our God.

Bless the Lord,
make the Spirit true.
That the apostle came with unspeakable humility,
wearing a glorious crown of glory,
exalt the Spirit to be true.
The indisputable mystery of the Trinity revealed to us,
the fountain of wisdom living in us,
make the Spirit true.]

Figure A - 9: Fragment: Անճառելի ԲըղSﬓ [The Unspeakable EmanaCon].
84

Figure A - 10: Typed version of Անճառելի ԲըղSﬓ [The Unspeakable EmanaCon].

84
Astuacatur Hymnal, fols 189v-190r.

43
NO. 5 – ISOLATED NEUMES BY LINE OF VERSE

1. SHESHT, BOUT, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT
2. ZARK, BOUT, POUSH, POUSH, PAROUYK, SHESHT, KHOSROVAYIN
3. [REPEAT] POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT, POUSH, KHOSROVAYIN, ZARK, SHESHT, KHOSROVAYIN.

4. SHESHT, BOUT, POUSH, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN
5. KHOSROVAYIN, BOUT, POUSH, POUSH, KHOSROVAYIN
6. [REPEAT] POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT, POUSH, KHOSROVAYIN, ZARK, SHESHT, KHOSROVAYIN.

7. BOUT, POUSH, SHESHT, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN,
8. ZARK, KHOSROVAYIN, POUSH, PAROUYK, KHOSROVAYIN
9. [REPEAT] POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT, POUSH, KHOSROVAYIN, ZARK, SHESHT, KHOSROVAYIN.

–

10. SHESHT, BOUT, POUSH, KHOSROVAYIN
11. [REPEAT] KHOSROVAYIN, KHOSROVAYIN, VERNAKHAGH, KHOSROVAYIN, BOUT, KHOSROVAYIN, VERNAKHAGH,
KHOSROVAYIN.

12. POUSH, BOUT, POUSH, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN
13. SHESHT, BOUT, POUSH, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN
14. [REPEAT] KHOSROVAYIN, KHOSROVAYIN, VERNAKHAGH, KHOSROVAYIN, BOUT, KHOSROVAYIN, VERNAKHAGH,
KHOSROVAYIN.

15. SHESHT, BOUT, POUSH, SHESHT, KHOSROVAYIN, KHOSROVAYIN
16. SHESHT, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN.
17. [REPEAT] KHOSROVAYIN, KHOSROVAYIN, VERNAKHAGH, KHOSROVAYIN, BOUT, KHOSROVAYIN, VERNAKHAGH,
KHOSROVAYIN.

44
NO 6. ՈՐ Ի ՍԿԶԲԱՆԷ – WHO FROM THE BEGINNING

[Who from the beginning established the wisdom of the Father in the church.
With a powerful foresight, Moses pointed to the two-part tabernacle on Mount Sinai.
illuminating the glory of God.
That is the advice of your incorruptible directorship from your sacred virgin.
tying the rope of the divine covenant to the covenant of God.
to the resting place of your glorious daughter.
That in my life I would return to my nature and be an example of Jordan.
and the destruction of death and hell on the cross of the tomb of Jericho, the miracle of the new
Israel.
Bless you Lord from childhood.]

Figure A - 11: Fragment: Որ Ի Սկզբանէ [Who from the Beginning].
85

Figure A - 12: Typed version of Որ Ի Սկզբանէ [Who from the Beginning].

85
Astuacatur Hymnal, fols 210v-211r.

45
NO. 6 – ISOLATED NEUMES BY LINE OF VERSE

1. SHESHT, BOUT, POUSH, POUSH, BOUT, POUSH, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN
2. POUSH, SHESHT, KHOSROVAYIN, BOUT, POUSH, SHESHT, POUSH, KHOSROVAYIN, POUSH, BOUT, POUSH,
KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN
3. SHESHT, BOUT, POUSH, PAROUYK, SHESHT, KHOSROVAYIN, PAROUYK, KHOSROVAYIN
4. SHESHT, BOUT, POUSH, BOUT, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN
5. SHESHT, KHOSROVAYIN, BOUT, POUSH, POUSH, BOUT, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN,
KHOSROVAYIN
6. SHESHT, BOUT, POUSH, PAROUYK, KHOSROVAYIN, VERNAKHAGH, KHOSROVAYIN
7. SHESHT, BOUT, POUSH, SHESHT, BOUT, POUSH, POUSH, BOUT, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN,
KHOSROVAYIN
8. POUSH, BOUT, POUSH, SHESHT, KHOSROVAYIN, KHOSROVAYIN, PAROUYK, BOUT, POUSH, POUSH, BOUT, POUSH,
BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN
9. BOUT, POUSH, KHOSROVAYIN, BOUT, POUSH, KHOSROVAYIN, VERNAKHAGH, KHOSROVAYIN.

46
NO 7. ԶԱՆՃԱՌԵԼԻ ԽՈՐՀՈՒՐԴ – UNSPEAKABLE MYSTERY

[The unspeakable mystery of Your Holy Trinity appeared today on the mountain to Your disciples,
Lord.
Our God.
With the great admiration of Your transfiguration, Lord, the mission seen today, was a tabernacle
for You,
Our God.
Sheltered from the light above the cloud, and a fatherly voice from heaven to say: "That is My
beloved Son"
Our God.

Bless the Lord
and exalt Him forever.
Praise the light, seen on Mount Tabor,
and exalt Him forever.
Reconcile the appearance of God, revealed to the disciples,
and exalt Him forever.]

Figure A - 13: Fragment: Զանճառելի ԽորհSրդ [Unspeakable Mystery].
86

Figure A - 14: Typed version of Զանճառելի ԽորհSրդ [Unspeakable Mystery].

86
Astuacatur Hymnal, fol 211v.

47
NO. 7 – ISOLATED NEUMES BY LINE OF VERSE

1. POUSH, SHESHT, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT, KHOSROVAYIN, BOUT,
POUSH, POUSH, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN
2. [REPEAT] KHOSROVAYIN, ZARK, KHOSROVAYIN.

3. SHESHT, POUSH, SHESHT, POUSH, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, BOUT, POUSH,
KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, PAROUYK, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN,
KHOSROVAYIN, BOUT
4. [REPEAT] KHOSROVAYIN, ZARK, KHOSROVAYIN.

5. SHESHT, BOUT, POUSH, KHOSROVAYIN, SHESHT, KHOSROVAYIN, KHOSROVAYIN, BOUT, ZARK, KHOSROVAYIN,
BOUT, POUSH, POUSH, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN
6. [REPEAT] KHOSROVAYIN, ZARK, KHOSROVAYIN.

_

7. POUSH, POUSH, KHOSROVAYIN
8. [REPEAT] KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, BENKORCH, ZARK, KHOSROVAYIN,
PAROUYK, KHOSROVAYIN.

9. SHESHT, BOUT, POUSH, VERNAKHAGH, POUSH, PAROUYK, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN
10. [REPEAT] KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, BENKORCH, ZARK, KHOSROVAYIN,
PAROUYK, KHOSROVAYIN.

11. SHESHT, BOUT, POUSH, SHESHT, PAROUYK, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN,
KHOSROVAYIN, KHOSROVAYIN, BOUT, KHOSROVAYIN.
12. [REPEAT] KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, BENKORCH, ZARK, KHOSROVAYIN,
PAROUYK, KHOSROVAYIN.

48
NO 8. ՓԱՌՔ ՍՈՒՐԲ ԽԱՉԻԴ – GLORY TO YOUR HOLY CROSS

[Glory to your holy cross, alleluia,
Glory to your innocent betrayal, alleluia
Glory to your passion, alleluia.
Glory and worship to Father and Son and Holy Spirit now and always and unto the ages of ages
amen.
Glory to your holy cross, alleluia,
Glory to your holy betrayal, alleluia,
Glory to your passion, alleluia.]

Figure A - 15: Fragment: Փառք ՍSրբ Խաչիդ [Glory to Your Holy Cross].
87

Figure A - 16: Typed version of Փառք ՍSրբ Խաչիդ [Glory to Your Holy Cross].

NO. 8 – ISOLATED NEUMES BY LINE OF VERSE

1. KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, PAROUYK, PAROUYK, ZARK, PAROUYK, BOUT
2. KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, PAROUYK, PAROUYK, ZARK, PAROUYK, BOUT
3. KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, POUSH, PAROUYK, [MELISMA]
4. POUSH, VERNAKHAGH, POUSH [ABBREVIATION]
5. PAROUYK, KHOSROVAYIN [ABBREVIATION]
6. VERNAKHAGH, POUSH, PAROUYK [ABBREVIATION] BOUT.
7. KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, PAROUYK, PAROUYK, ZARK, PAROUYK.

87
Astuacatur Hymnal, fol 230v.

49
NO 9. ԱՂԱՉԵՄՔ ԶՔԵԶ, ՏԵՐ – WE BESEECH YOU, LORD

[We beseech You, Lord, through the intercession of the holy Atovmans,
who were martyred in the battle, found victorious against the enemy,
through your intercession, Christ, spare us.
Those who took the armor of resistance from the heart of faith
and took the sign of salvation, the cross, the sword and the true
through your intercession, Christ, spare us.
Who cleansed their temples in the name of the Holy Spirit
and smelled the fragrance of their holy blood
in the place of their holy blood,
through your intercession, Christ, spare us. ]

Figure A - 17: Fragment: Աղաչեմք Զքեզ, Տեր [We Beseech You, Lord].
88

Figure A - 18: Typed version of Աղաչեմք Զքեզ, Տեր [We Beseech You, Lord].

88
Astuacatur Hymnal, fols 244v-245r.

50
NO. 9 – ISOLATED NEUMES BY LINE OF VERSE

1. KHOSROVAYIN, BOUT, POUSH, POUSH, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN
2. KHOSROVAYIN, KHOSROVAYIN, POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT
3. [REPEAT] POUSH, BOUT, KHOSROVAYIN, KHOSROVAYIN.
4. SHESHT, SHESHT, POUSH, POUSH, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN,
KHOSROVAYIN, BOUT
5. SHESHT, BOUT, POUSH, KHOSROVAYIN, SHESHT, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN,
PAROUYK, BOUT, POUSH, BOUT, POUSH, KHOSROVAYIN-KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN, BOUT
6. [REPEAT] POUSH, BOUT, KHOSROVAYIN, KHOSROVAYIN.
7. SHESHT, BOUT, SHESHT, POUSH, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, BOUT
8. POUSH, BOUT, POUSH, KHOSROVAYIN, SHESHT, BOUT, POUSH, KHOSROVAYIN, KHOSROVAYIN, KHOSROVAYIN,
KHOSROVAYIN, PAROUYK
9. POUSH, KHOSROVAYIN, POUSH, KHOSROVAYIN, KHOSROVAYIN
10. [REPEAT] SHESHT, BOUT, KHOSROVAYIN, KHOSROVAYIN.

51
APPENDIX II: DINDESYAN & TASHJIAN HYMNAL EXAMPLES
NO 1. ԱՇԱԿԵՐՏՔ ՔՐԻՍՏՈՍԻ – DISCIPLES OF CHRIST

Figure A - 19: Fragment: Աշակերտք Քրիստոսի [Disciples of Christ].
89

NO 2. ՈՐ ՅԱՌԱՋ ՔԱՆ ԶՅԱՒԻՏԵԱՆՍ – BEFORE ALL AGES, ETERNALLY

Figure A - 20: Fragment Որ Յառաջ Քան Զյաւիտեանս [Before all Ages, Eternally].
90

NO 3. ԱՅՍՕՐ ԿԱՆԳՆԵՑԱՒ – TODAY HE STOOD IN THE BASIN OF BAPTISM

Figure A - 21: Fragment: Այսօր Կանգնեցաւ [ Today He Stood in The Basin of BapCsm].
91

89
Dindesyan, Sharagan Dzaynagreal, 87.
90
Dindesyan, Sharagan Dzaynagreal, 110.
91
Dindesyan, Sharagan Dzaynagreal, 250.

52
NO 4. ՈՐ ԽՈՆԱՐՀԵՑԱՐ – THAT YOU WERE HUMBLED

Figure A - 22: Fragment: Որ Խոնարհեցար [That You Were Humbled].
92

NO 5. ԱՆՃԱՌԵԼԻ ԲԸՂՈՒՄՆ – THE UNSPEAKABLE EMANATION

Figure A - 23: Fragment: Անճառելի ԲըղSﬓ [The Unspeakable EmanaCon].
93

92
Dindesyan, Sharagan Dzaynagreal, 286.
93
Dindesyan, Sharagan Dzaynagreal, 435.

53
NO 6. ՈՐ Ի ՍԿԶԲԱՆԷ – WHO FROM THE BEGINNING

Figure A - 24: Fragment: Որ Ի Սկզբանէ [Who from the Beginning].
94

NO 7. ԶԱՆՃԱՌԵԼԻ ԽՈՐՀՈՒՐԴ – UNSPEAKABLE MYSTERY

Figure A - 25: Fragment: Զանճառելի ԽորհSրդ [Unspeakable Mystery].
95

94
Dindesyan, Sharagan Dzaynagreal, 496.
95
Dindesyan, Sharagan Dzaynagreal, 498.

54
NO 8. ՓԱՌՔ ՍՈՒՐԲ ԽԱՉԻԴ – GLORY TO YOUR HOLY CROSS

Figure A - 26: Fragment: Փառք ՍSրբ Խաչիդ [Glory to Your Holy Cross].
96

NO 9. ԱՂԱՉԵՄՔ ԶՔԵԶ, ՏԵՐ – WE BESEECH YOU, LORD

Figure A - 27: Fragment: Աղաչեմք Զքեզ, Տեր [We Beseech You, Lord].
97

96
Dindesyan, Sharagan Dzaynagreal, 540.
97
Nikoghayos Tashjian, Sharagnots [Hymnal]. Vagharshapat [Echmiadzin], 1875. 888.

Abstract (if available)

Abstract The medieval Armenian musical notation system, known as khaz notation, originated in the ninth century and was in use until the 1800s when the Limonjian reformation replaced this tradition. Despite extensive study by musicologists, there are no specialists in khaz notation today. However, scholars such as Yegya Dindesyan, Komitas, Robert Atayan, Haig Utidjian, and Aram Kerovpyan have examined individual odes, hymns, and the Armenian liturgical modal system, offering conjectures on the meaning of neumes. The Limonjian notational system serves as an intermediary between the khaz system and the contemporary Western staff system. While the decipherability of khaz notation is uncertain, insights from past and present Armenian musical practices can inform hypotheses on musical continuity across the centuries. This paper includes a brief history of Armenian liturgical music, a discussion on the Armenian musical modal system, an examination of scholars' works analyzing khaz and Limonjian notations, and a case study. Based on these findings, hypotheses on musical continuity suggest that there is indeed a conserved tradition in musical notation over several centuries within the Armenian Hymnal.

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Asset Metadata

Creator Hovhannisyan, Marina (author)

Core Title Musical continuity in the Armenian hymnal: an analysis of the Ayb-Koghm mode in Khaz and Limonjian notations

School Thornton School of Music

Degree Master of Arts

Degree Program Early Music Performance

Degree Conferral Date 2023-08

Publication Date 08/16/2023

Defense Date 08/08/2023

Publisher University of Southern California. Libraries (digital)

Tag Armenian musical modes,Armenian musical notation,Armenian octoechos,Khaz notation,Limonjian notation,liturgical music,musical continuity,Neumes,OAI-PMH Harvest,tetrachord species

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Gilbert, Adam Knight (committee chair), Spencer, Scott (committee member), Kampani, Jennifer (committee member)

Creator Email mh_095@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113298183

Unique identifier UC113298183

Identifier etd-Hovhannisy-12260.pdf (filename)

Document Type Thesis

Rights Hovhannisyan, Marina

Internet Media Type application/pdf

Type texts

Source 20230816-usctheses-batch-1085 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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Repository Name University of Southern California Digital Library

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