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ИСКУССТВО АШУГОВ В МУЗЫКАЛЬНОЙ ЖИЗНИ АЛЕКСАНДРАПОЛЯ
Арутюнян А.Г.
Центр арменоведчесских исследований Ширака НАН РА, г. Гюмри
Кандидат искусствоведения, доцент
THE ART OF ASHUGH IN THE MUSICAL LIFE OF ALEXANDRAPOL
Harutyunyan H.
Shirak Centre for Armenian Studies of NAS RA, Gyumri PhD in Art, Associate Professor DOI: 10.5281/zenodo.6579808
АННОТАЦИЯ
В контексте динамично развивающейся городской культуры Александрополя музыка играла особую, жизненно важную роль. В жизни горожан сочетались уникальные проявления фольклорного музыкального творчества и многочисленные жанры профессионального творчества устной традиции-произведения сазандаров и ашугов. Эта же среда способствовала расцвету композиторского творчества. В городской среде бурно развивались межкультурные связи, которые способствовали взаимообогащению и, что очень важно, расцвету концертной жизни города.
Благодаря традиционности, многие проявления музыкальной жизни Александрополя сохраняют свои жизненные функции до сих пор в культурной жизни современного Гюмри.
ABSTRACT
In the context of the dynamically developing urban culture of Alexandropol, music played a special, vital role. The life of the townspeople combined unique manifestations of folklore musical creativity and numerous genres of professional creativity of the oral tradition - works of sazandars and ashugs. The same environment contributed to the flourishing of composer creativity. Intercultural ties developed rapidly in the urban environment, which contributed to mutual enrichment and, which is very important, the flourishing of the city's concert life.
Thanks to traditionalism, many manifestations of the musical life of Alexandropol retain their vital functions to this day in the cultural life of modern Gyumri.
Ключевые слова: Александрополь, музыкальная жизнь, ашуг, жанр, традиционная музыка.
Keywords: Alexandropol, musical life, ashug, genre, traditional music.
Shirak is one of the repositories of the musical culture of historical Armenia. The rich archeological material suggests that from the time of the formation of the Armenian tribes, the original songs of the Armenian monody and the original style of instrumental art were crystallized here. with ritual U household functions.[1, p. 12]
Among the ancient ritual songs created in Shirak are those related to the myth of Shataker Shara.
The musical traditions of medieval Shirak are more tangible. Early feudal was the period of development of various manifestations of both folk and cow songs, instrumental music. The culmination of that development was the urban culture of Ani. Armenian-foreign historians have described with admiration the various magazines and festivities of the Bagratuni capital. Their witness and participant was the famous Grigor Magistros Pahlavuni, in whose numerous papers literally separate fragments of those songs are heard. [2, p. 137]
After the fall of Ani, its inhabitants were deported, carrying in their souls the unforgettable songs of the once magnificent city. The Shirak world of Greater Armenia lost its famous capital U until the 19th century. He waited for the new awakening of the national
culture in another city, in the course of new geopolitical fermentations. The new Armenian culture flourished centuries later in Kumayri-Alexandropol near Ani.
The urban culture of Alexandropol, which was formed in the XIX century. in the first half, at first it resembled a multicolored mosaic. The inhabitants were predominantly Armenians, with large-scale immigration of Western Armenians from Kars, Erzurum, Bayazet, as well as from Basen, Mush, and Alashkert, which began after the famous events of the war.
On the one hand, the absolute dominance of the multifaceted Armenian national image, on the other hand, the unique cultural expressions of national minorities and their relations gradually formed a new unique Armenian urban cultural life, which dates back to the 19th century. the latter was characterized by its stable and original traditions. Gradually, the multigenre system of song and music in the city life was stabilized. initially acquiring local stylistic features. In general, Alexandropol lived a full musical life. Here, all sections of society had special requirements for music and aesthetics, which stimulated the development of this art. [3]
The context of urban folk music includes performances by various peoples (Georgians, Turks, Per-
sians, Arabs, Russians), as well as various works by the author, troubadour, and composer. However, despite their performance-stylistic features, they bore a very specific local Alexandropol stamp.
Alexandropol folk songs prepared fertile ground for the development of the professional music of the oral tradition, the art of troubadour and sazandar. Ashugs were an integral part of the musical life of the city. They were regular participants in family gatherings, such as parties, weddings, and other celebrations. The most famous ashughs were Zahri, Heyrat, Bave, Haves, Malul, Zulal-oghli, Shirin. Many of their songs were played in cafes. Here, too, traditional competitions took place, which sometimes turned into a unique performance. However, it happened that the ashughs competed in spontaneous circumstances. Thus, K. Kostanyan remembers the unforgettable performance of the troubadour Hrtiz and his rival, which took place in the houses in different parts of the gorge, their alternating singing filled the peace of the night city. Traveling ashughs also performed in the city. They were invited to private houses, where troubadour romances and tales were played, accompanied by saz, santur, and bagpipe.
One of the famous cafes in Alexandropol belonged to Hovhannes and Karapet Talyan. They were the sons of the ashugh Kamali, who emigrated from Kars, and soon turned their cafe into a famous place for troubadour concerts. Gradually famous regional ashughs Malul, Sazaji, Jamal, Fizahi, Fahrat, Pay-tsaren and others gather here. They were soon joined by the ashugh Jivan, to whom about thirty ashughs were soon to choose a master (ustabashi). The protocol testifying to that has been preserved to this day. St. Garabed was the sponsor of the troubadour union in Alexandropol since the 1880s.
The troubadour union of Alexandropol eventually developed into a special school, fulfilling its historic mission. Ashugh music had its own traditions. They forced the Armenian ashughs to write mainly in Turkish and Persian. In the cultural atmosphere of Alekpol, however, that tradition was transformed. As early as the 1850s, the ashugh Shirin composed Armenian songs here.
The decisive step, however, was reserved for Jivani. He urged all ashughs to compose Armenian songs. Contemporaries testify that Jivani supported the great Armenian writer J. in that case. Aghayan, who was teaching in the city during those years.
In addition to the linguistic component of the songs, Jivani gradually turned his attention to the composition of the melody. Traditional troubadour melodies served as unique templates. For Jivanik, who came to Alexandropol from Javakhk, Alexandropol was the fertile creative arena, which was destined to become the renewed school of Armenian national troubadour music with its high flights of urban music, the unique peak of which was the song of troubadour Sheram.
For a long time, the ashugh writes in his autobiography, "I sang in Persian, then, at the dictation of the people, I began to sing in Armenian and write poems. Then there were Asian evenings at the city club,
and many people from nearby towns came to hear Gogor play and sing". [4, p. 105]
Each of his songs was unique in its melodic composition, simply imbued with the spirit and expressiveness of urban folk songs. Due to these qualities, the great artist Komitas praised the troubadour's music and invited him to perform for the students of the Georgian Seminary.
Many Alexandropol ashughs enjoyed great fame in the Caucasus. That is why famous troubadours came to the city, often not only for concert-competitions, but also for long-term, interactive contacts: "Considering the Armeniam art music as an in-dispenable part of an all-Eastern culture, we have demonstrated in our work the conditions for the genres sxistence, the social foundation and status of Armenian musical epic art in different stages of its develop-mentuptothe present. Of special interest are the activities and legacy of Armenian musicians in various countries of the Near and Middle East and their historical mission in the development and preservation of musical traditions, and in the transfer of these traditions to further generations.Due to the efforts of Armenian ashughs Jivani, jamali, Sazayi and others, this genre, one more time exhibited its viability and development abilities. The sagas by these authors have an Armenian reverberation, they reflect the Armenian nations life, religious perceptions and beliefs, and have an Armenian as well as distinctive to thegiven authors approach characterdescription. These works are noteworthy in therms of viewing the development of the romantic love in the Armenian literature".[5, p.229-230]
The constant companions of the ashughs were groups of musicians, who were called musicians. These were professional bands with traditional instruments and a rich repertoire. Composer Nikoghayos Tigranyan, who was one of the brilliant connoisseurs of the mentioned art, provides detailed information about the Alexandropol composers. Ordinary orchestras consisted of two zurnas and a dhol. They sang and played in unison in groups consisting of saz, kaman-cha, santur and dahira. In groups consisting of tar, chongur, dap or dumbuk, only the solo singer sang, interrupting the daf while making a gaff. [6]
From the middle of the 19th century, holidays and rituals became especially important in the life of Alexandropol, and not only was the ritual regulated, but all the musical material played during the ritual was clarified. Thus, many popular songs, regularly played during various ceremonies, have been ritualized and strengthened to become the ritual songs themselves.
Interestingly, some pieces taken from popular fairy tales and other works in the urban environment were also arranged, got a melodic character and turned into ritual songs, becoming an integral part of the wedding ceremony.
Alexandropol sazandars and zurnachis were honorary and desirable participants not only in the festivals of local and neighboring villages, but also in the festivities of Armenia and many other cities outside its borders. The famous Irish traveler-Armenologist Hen-
ry Lynch in 1893 He writes in his notes about his trip to Armenia that the pleasant music of Alexandropol sazandars can be heard not only in their city, but also in Vagharshapat, Tbilissi and elsewhere.
In the early twentieth century, the context of Ale-xandropol's musical life was complemented by other important factors. One of the most influential was the interaction with Russian cultural values. Of course, due to its historical-political role, the Russian cultural element, along with other foreign manifestations, had special emphases, which came not only from the nature of Russian activity here, but also from the cultural system, which differed significantly from the local Asian, Middle Eastern context. Music had a brilliant expression in the complex of Armenian-Russian intercultural relations. Certainly, the most important factor contributing to this was the more communicative nature of music, which brings us closer even to communities of distant cultures.
The general outline of the Armenian-Russian musical relations in Alexandropol was as follows:
Russian military bands first entered Alexandro-pol, which sacredly preserved and developed all the traditional manifestations of urban folk, troubadour and carol music. Their repertoire included anthems by Russian-Western European composers, which were performed not only in military units, but also in the city streets and squares during various city celebra-
tions. Gradually, brass music became not only acceptable to the people of Aleppo, but also desirable to the extent that the city eventually developed its own tradition of playing its own wind instruments, which flourished and flourished, especially in the Soviet era, in many clubs, Pioneer palaces and educational institutions.
References
1. Ter-Martirosov F., Pan's stone pipe of the 5 th century BC from Draskhanakert, Musical Armenia, No. 2, Yerevan, 2004.
2. Stepanyan H, Apinyan H. RESEARCH PAPERS Shirak Centre of Armenian Studies Institute of Archeology and ethnog raphy National Academy of Sciences Republic of Armenia, N1, Gyumri, 1998.
3. Brutyan A., «Rramkakan mrmunjner», Yerevan, 1985.
4. Harutyunyan H., RESEARCH PAPERS Shirak Centre of Armenian Studies Institute of Archeology and ethnog raphy National Academy of Sciences Republic of Armenia, N10, Gyumri, 2007.
5. Yemjakyan L., Ashoogh Love Romance in the Context of Neareastern Musical Interrelations, Yerevan, 2009.
6. Гумреци, Николай Фаддеевич Тигранов и музыка Востока, с предисловиями Н.Я. Марра и композитора А. А. Спендиарова, Ленинград, 1927.
