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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 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
Being the first ever scales and exercise book published for Armenian traditional and extended range duduk (invented by Georgy Minasyan himself) Duduk Virtuoso has been written having the future of duduk in mind. While the traditional duduk has limited playing range of around one octave, extended range duduk allows performance across two octaves and in all twelve keys, significantly increasing the instrument's repertoire. Therefore the book has dual purpose: to help aspiring musicians to increase playing proficiency of the traditional instrument, and to bring to light the full potential of the instrument through mastering the improved instrument. The material, therefore, is designed in a way that will help both curious students and professional performers to further develop the flexibility and agility in all the fingers across the scales previously unfamiliar to traditional duduk. The scales and exercises are sequenced from easy to complex, so that each successive exercise increases the performance challenge and builds the mastery.
The Duduk For Beginners is specifically created for beginner duduk players in mind who are just entering the mystical world of this beautiful Armenian instrument. The first edition includes scales, studies, and etudes to improve beginner duduk player performance, as well as plenty of material to build your first playing repertoire. Specific attention was paid to include works of Armenian, Russian and Western European composers in addition to traditional Armenian spiritual, folk music, gussan songs and dance melodies. The book is divided into three parts: - Introduction to duduk, basic scales, exercises for each scale, as well as various melodies to make things more interesting.- Duduk solo repertoire arrangements from variety of genres, including classics adaptations (Mozart, Bach, Marcello.)- Duduk repertoire with piano arrangements, including beautiful pieces like Lullaby by Johannes Brahms, etc.
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.
God thinks the world is worth saving. When we are close to God, we too will want to save the world. For anyone who dismisses Lent as a seemingly endless time of self-sacrifice and introspection, this 6-week study for Lent offers a breath of fresh air. It connects prayer and other inner spiritual practices with outward actions of mercy and compassion. George Donigian guides you to grow in your prayer life by praying about daily news reports, discovering the needs around you, and responding with love and compassion. You will discover ways to: serve others feed the hungry seek justice and fight injustice offer healing extend friendship The author's conversational style and use of well-known hymn texts will engage you in this energizing Lenten study. This book includes exercises for spiritual growth, questions for reflection, and a Leader's Guide for small groups
Based on actual events, this novel in verse relates the tale of siblings Sosi, Shahen, and Mariam who survive the Armenian genocide of 1915 by escaping from Turkey alone over the mountains.
Byron's English translations of Armenian texts, historical and biblical; with anonymous Armenian translations of his letters and poetry, accompanied in each case by the original text.
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.