Arpa Posted March 24, 2005 Report Share Posted March 24, 2005 I chose to post this under the subject topic of "culture" as it goes beyond linguistics, music and poetry. It is a subject that encompasses all of the baove and more. =========== Kamancha, Sayat Nova. http://armenianpoetry.com/arm/1723.html ======== Som time ago we had a big discussion about the origin and etymology of "kamancha". Not to metion that we also had a debate about the origin and etymology of "jutak". Neither debate came to a clear conclusion. After a long and inconclusive debate as to if "kamancha" was Armeniian, Persian, Turkish or what have you, I suspected that the word may have a Chinese flavor, just from the sound and composition of it (the word). At one time I had a colleague, a young lady of Chinese origin and I asked her if "kamancha" meant anything to her. She did not recognize the word until I described the instrument, at which point she did recognize it as the "violin held vertically on the knee". I parsed the word to her as "kam-an-cha". She promised to ask her father, and she came back with this answer. She gave me the Chinese word for "violin". I forget the word but it was composed of three elements- "string-bow-finger". Upon further questioning as to any of the syllables of "kam-an-cha" meant anything. She did recognize "kam" and said that it meant "instrument" as in "musical instrument", and further added that the Chinese word for piano is "gong-kam". "gong" is obvious, it stands for "strike/hammer", and "kam" to mean (musical) instrument. So! Could it be that "kamancha" is in fact a Chinese word with "kam/instrument" and whatever the "an" and the "cha" may mean? We do know that the Chinese also play that "knee-violin". They may even be the best players therof. I have heard them, and they do play it verrrrry goooood! What do you say Ananhit? Quote Link to comment Share on other sites More sharing options...
MosJan Posted March 24, 2005 Report Share Posted March 24, 2005 http://www.worldmusicalinstruments.com/Uploaded/ekts.jpg Ektara KTS Ektara, Soprano Soprano Ektara is 5 inches x 23 inches, simple and fun to play, one string can be made to give a range of tones by applying pressure at various points along the neck. Simple and fun to play. Made in India http://www.worldmusicalinstruments.com/Uploaded/ektb.jpg EKTB Ektara, Bass Bass Ektara has 2 strings. The strings can be made to give a range of tones by applying pressure at various points along the neck. Simple and fun to play. Made in India http://www.worldmusicalinstruments.com/Uploaded/rebc.jpg Rebec with Hard Case Rebec has 3 gut strings with bow and hard case. Made in Pakistan http://www.worldmusicalinstruments.com/Uploaded/kemt.jpg KEMT Kemence, Turkish Rebec, Small Kemence, Turkish Rebec has 3 strings, 15" length. Includes bow, resin and soft case. Made in Turkey Quote Link to comment Share on other sites More sharing options...
MosJan Posted March 24, 2005 Report Share Posted March 24, 2005 Spike Fiddle The spike fiddle is considered a rebab, which is part of the lute family, and typically has 2 or 3 strings. The word rebab is an Arabic term translated as bowed string instrument. It is closely associated with Islamic culture, and dates back to at least the 8th century. Its roots are probably in Arabia or Persia, and its influence has reached from Indonesia to Europe and Africa (it is thought to be the earliest ancestor of the violin). There are two basic types of rebab: wooden fiddles with pear-shaped bodies, and spiked fiddles, named for the spike on the bottom of the instrument on which it stands while being played. Spiked rebabs typically have no frets, but instead, the fingers of your left hand become movable bridges. http://www.worldmusicalinstruments.com/Uploaded/spkf.jpg http://www.worldmusicalinstruments.com/uploaded/spkf_small.jpg http://www.worldmusicalinstruments.com/Uploaded/spkt.jpg Quote Link to comment Share on other sites More sharing options...
MosJan Posted March 24, 2005 Report Share Posted March 24, 2005 Qyamancha - Might of been invented by some other nation - but The fact is our Armenia Qyamancha - Or Qyamani - Are the Best http://duduk.com/Arm-music-ins/Qyamancha/1850-55Van/Mvc-001f.jpg http://duduk.com/Arm-music-ins/Qyamancha/1850-55Van/Mvc-006f.jpg This is a 1850-1855 Armenian Qyamancha Made in VAN Armenia Quote Link to comment Share on other sites More sharing options...
Azat Posted March 24, 2005 Report Share Posted March 24, 2005 here is a small piece that NPR did on Iranian music the other day http://www.npr.org/dmg/dmg.php?prgCode=ME&...Pref=RM&getAd=1 here is the story http://www.npr.org/templates/story/story.php?storyId=4542396 check out the name of the singer Quote Link to comment Share on other sites More sharing options...
MosJan Posted March 25, 2005 Report Share Posted March 25, 2005 Azat jan see - >> http://www.narek-store.com/shop/SearchResu...exid=6X3IFWKRIF BTW - Pic's on the CD cover are of the same Qyamancha ( One above your post) MY Qyamancha Quote Link to comment Share on other sites More sharing options...
Anahit Posted March 25, 2005 Report Share Posted March 25, 2005 Could it be that "kamancha" is in fact a Chinese word with "kam/instrument" and whatever the "an" and the "cha" may mean? What do you say Ananhit? style_images/master/snapback.png Arpa jan, I am afraid to disappoint u, but NON of my colleagues (all REAL chinese) understood or could make out anything from the word kamancha. We all speak mandarin Chinese, and I am sure your friend’s father explained everything in Cantonese or some other dialect. For example, Piano in Chinese is “gang qin” standing for “steel-musical instrument”, violin is “xiao ti qin” meaning “small-bring up/lift-musical instrument”. But yes, they have instruments looking like kamancha. And I think it is not a good idea to dig into the origins of something that has been used by so many cultures: they could have simply made it at the same time in different places! and chinese DO love being the inventers of everything! Quote Link to comment Share on other sites More sharing options...
Stormig Posted March 27, 2005 Report Share Posted March 27, 2005 and chinese DO love being the inventers of everything! style_images/master/snapback.png Rallied by whom? Quote Link to comment Share on other sites More sharing options...
Iran01 Posted March 27, 2005 Report Share Posted March 27, 2005 Dear Arpa "Kamaan" in Persian means arc,bow. The "che" is a affix which means small. As bagh ( big garden) -> baghche ( little garden). Quote Link to comment Share on other sites More sharing options...
Arpa Posted March 27, 2005 Author Report Share Posted March 27, 2005 Dear Arpa "Kamaan" in Persian means arc,bow. The "che" is a affix which means small. As bagh ( big garden) -> baghche ( little garden). style_images/master/snapback.png Thank you Iran. You're right. You beat me to the punch. After I wrote that lengthy item searching the word in the Chinese, I still think there may a link, I decided to follow the Persian line. By any chance the Persian "kaman/bow" would not be from Chinese influence? I looked up my Eng-Pers dictionary and, irony of ironies, it showed that in modern Farsi they use the French word violin, i.e. violon. The I went to the Pers-English volume and looked up "kaman", and as you say it gives "bow" as the English. I already knew that the "che" suffix means "small" just like the Armenian "uk/ik/ak" etc. Speaking of "uk" I just thought of an ironic case of the use of "uk" and "ik" suffixes. Go to Language and read "Manuk". Quote Link to comment Share on other sites More sharing options...
Iran01 Posted March 27, 2005 Report Share Posted March 27, 2005 (edited) Dear Arpa Mr Jean During is a French researcher on Iranian instruments. According to him kamanche has its root in middle east. In Iran its known as Kamanche, kamane, ghichak ( I guess here we go by ik/ak/uk ! ) By the way, kamanche is very popluar among Iranian Turkmen. What goes for Chines connection! I would not be surprised. There are several things in Iran which have its root in China. I guess minyatur is one of them. Edited March 27, 2005 by Iran01 Quote Link to comment Share on other sites More sharing options...
Arpa Posted March 27, 2005 Author Report Share Posted March 27, 2005 (edited) What goes for Chines connection! I would not be surprised. There are several things in Iran which have its root in China. I guess minyatur is one of them. style_images/master/snapback.png Chinese influence in the Persian may best be illustrated by this. That beverage made with tea leaves is divided into two. Those who first saw it through the Chinese call it "cha/chai". Even the Arabs who don't have the sound of CH call it "shai". Those who saw it first in India (the British/French) call it "tea/the". The Armenian is "tey/they" (th as in theory). BTW. "minyatur" is from the Latin miniature. Look at Manuk/mini. I have a sneaking suspicion that the Persian affix "che/cha" to mean diminutive is from the Chinese as well. So, at the risk of being even sillier, does "kaman-cha" mean "bowed tea"? Won't be surprised as many dried/cured tea leaves are bow shaped. :) Don't mind me!! I like word games. You never know, sometimes facts may emerge from shear silliness. :) Edited March 27, 2005 by Arpa Quote Link to comment Share on other sites More sharing options...
Iran01 Posted March 28, 2005 Report Share Posted March 28, 2005 (edited) Don't mind me!! I like word games. You never know, sometimes facts may emerge from shear silliness. :) style_images/master/snapback.png Acrually not att all. Many times your silly games take you (us) to new highs and discover new things. And not always the games are far away from truth. At least they help you to remember things! Anyway : Read this ( In Persian, last section of the article ) http://www.artmusic.ir/news/show.asp?Id=3745 It says there is still an instrument in Iran called Rabab . And guess what ! It has two strings. It has been mentioned by Farabi : http://en.wikipedia.org/wiki/Al-Farabi Who created and played many instruments. Edited March 28, 2005 by Iran01 Quote Link to comment Share on other sites More sharing options...
Harut Posted October 1, 2005 Report Share Posted October 1, 2005 while we are at it... (well, we are not anymore, but still...) Arpa, do you have any comments (historic, linguistic, etc.) on another commonly used string (ksmitavor) instrument in armenian folk music, քանոն [qanon]? thanks Quote Link to comment Share on other sites More sharing options...
kakachik77 Posted October 1, 2005 Report Share Posted October 1, 2005 Thank you Iran. You're right. You beat me to the punch. After I wrote that lengthy item searching the word in the Chinese, I still think there may a link, I decided to follow the Persian line. By any chance the Persian "kaman/bow" would not be from Chinese influence? I looked up my Eng-Pers dictionary and, irony of ironies, it showed that in modern Farsi they use the French word violin, i.e. violon. The I went to the Pers-English volume and looked up "kaman", and as you say it gives "bow" as the English. I already knew that the "che" suffix means "small" just like the Armenian "uk/ik/ak" etc. Speaking of "uk" I just thought of an ironic case of the use of "uk" and "ik" suffixes. Go to Language and read "Manuk". style_images/master/snapback.png Arpa, the other day I had a "revelation" too. The word "Qani", "Qanak" is Latin "Quantity". But perhaps everybody else already knew this Quote Link to comment Share on other sites More sharing options...
Arpa Posted October 16, 2005 Author Report Share Posted October 16, 2005 (edited) while we are at it... (well, we are not anymore, but still...) Arpa, do you have any comments (historic, linguistic, etc.) on another commonly used string (ksmitavor) instrument in armenian folk music, քանոն [qanon]? thanks ՈՒՇ ԼԻՆԻ ՆՈՒՇ ԼԻՆԻ (Btw. Why can’t I find any reference to the above. Can someone refresh our memory about the operetta?) Harut you may be a litte disappointed yet it does not take away from the fact that Armenians may be of the best players of the instrument. First about the word kanoun/qanon. Literally it means standard/rule, or even law. Armenian sources say very little about the subject. The SAE primarily describes the instrument asserting that it is extensively and professionally played in Armenia as well as in most of the neighboring countries. Which brings us the the word itself. Ajarian treats Քանուն/Քանոն in the instrument sense, but dwells on its meaning as standard/rule. In fact, and I did not know this, he uses the word to mean a standard of measure(of length) , the ruler which we have known as gtsaqash/քծաքաշ describing it as the carpenters tool to draw straight lines with. Soukiassian confirms this as Քանոն=գծափայտ, գծոց, տողաքաշ. This is where the “standard/rule” comes in. The jury is still out as to where the word kanon/qanoun/canon comes from. Of course many people use it including us, the Arabs, the Persians and other European languages. The evidence does however point to the Greek. We also use the word in another spelling, kanon/կանոն as in կարգ ու կանոն. Just as well to mean ecclesiastical law, church canon. The Muslims use the word in that sense as well. Coming back to its meaning standard/rule, the instrument ha been recognized as the standard of pitch, like the tuning fork, or better yet, like the oboe which sets the pitch of orchestras. Once again, as to the origin of the instrument, you be the judge Assyrian, Arabic, Persian, or, dare I say? Turkish. One name does pop up every time one searches the subject. Al Farabi who seems to have further developed the instrument and given it its modern form. Once again, there is virtual war about his ethnicity. Many place him all the way to Turkestan, but of course the Persians try to own him just as the Arabs. http://www.furatmusic.com/qanoon.htm Also enjoy the beauties here. I mean the girls as well :) http://www.vanadzor.net/horovel.asp Edited October 16, 2005 by Arpa Quote Link to comment Share on other sites More sharing options...
Zartonk Posted October 17, 2005 Report Share Posted October 17, 2005 One name does pop up every time one searches the subject. Al Farabi who seems to have further developed the instrument and given it its modern form. Hmm, very interesing. Once again, there is virtual war about his ethnicity. Many place him all the way to Turkestan, but of course the Persians try to own him just as the Arabs. When Molana Rumi turns ino a Turk, expect anything. Quote Link to comment Share on other sites More sharing options...
Arpa Posted September 18, 2006 Author Report Share Posted September 18, 2006 http://nasehpour.tripod.com/peyman/id51.html Hear the Kamancha played. All we need now is an Armenian version. http://www.dovesong.com/MP3/tonbak_-_Kaman..._Nassehpoor.mp3 KAMANCHEH BY PEYMAN NASEHPOUR Persian Mirror The Persian Bowed Musical Instrument Kamancheh is the chief Persian bowed instrument and is played both in Persian art and folk music. The aim of this article is to offer a historical introduction to this important Persian spike fiddle. Kamancheh before Ghajar Period Kamancheh is an ancient instrument. According to different books that the author has considered, Ebn-e-Faghih is the first who mentions to this instrument in 10th century. Also some Persian poets such as Masoud-e-Sa'd, mentions to the name kamancheh in his poems. Allameh-Ghotb-al-Din Mohammad Shirazi, in his famous encyclopedia, Dorrat-al-Taj, mentions to this instrument by the name komajeh that should be a dialect of kamancheh. The very famous Azerbaijani musician/theorist/poet, Abd-al-Ghader Maraghi, describes this instrument in his famous book, Jame'-al-Alhan and says that the sound of kamancheh is more beautiful than ghezhak that is another Persian bowed instrument and today ghezhak (with the name gheychak) is played in Sistan-Baluchistan of Iran and is related to Indian bowed instrument called sarangi. In the book Kanz-al-Tohaf by Hassan Kashani that is maybe the only historical book on making Iranian instruments, it has been written about kamancheh of that time and describes how to make a kamancheh and its accessories. It is very interesting to notice that the author of the book mentions to this instrument with the name gheshak (another dialect of ghezhak). Maybe some object us what he describes is not the kamancheh but fortunately he has painted the shape of kamancheh in his book and it is wonderful that he mentions that bow (he calls it mezrab. It should be mentioned that mezrab today is used for plectrum of Persian plucked instruments) of gheshak is called kamancheh. The author believes that etymologically Hasan Kashani was right and it is better to say that kamancheh is more suitable to mention to the bow of this bowed instrument than the instrument itself. The reason is that the word kamancheh is the combination of the two words, 'kaman' that means bow and 'cheh' that is diminutive suffix in Persian language. Anyway, to apply kamancheh for this Persian bowed instrument is error allowed by usage and it seems there is no better choice to offer. Another book the Behjat-al-Ruh, mentions to kamancheh as a perfect instrument. Fortunately there are some historical Persian paintings (called in the West as Persian miniatures) that show the kamancheh. Some famous kamancheh masters of Iran before the Ghajar Period are: Mirza Mohammad Kamancheh'i, Ostad Ma'sum Kamancheh'i, Molana Ahmad Kamancheh'i entitled to Amir Ghazi, Ostad Zeytun, Malek Mahmud, the brother of the author of the famous book, Tarikh-e-Sistan. Kamancheh in and after Ghajar Period According to different books in Persian language, it seems kamancheh had only two strings. Though we don't know when the third string had been added to this instrument, but we know that in Ghajar period, kamancheh had three strings. Different books mention to the completion of this instrument. For example, one of the famous kamancheh players of Ghajar Period, Agha Jan, the father of Mirza Habib Sama' Hozur (very famous santoor and tonbak player) had invented a kind of kamancheh that had strange strings and keys and it had a long neck and he was used to play that while was standing up and he had named that kamancheh, Majles-Ara! Some famous kamancheh players in and after Ghajar Period are: Khoshnavaz Khan, Agha Motalleb, Esmail Khan, Hossein Khan Esmail-zadeh, Gholi Khan, Musa Kashi, Mirza Rahim, Javad Khan Ghazvini, Bagher Khan Rameshgar, Alireza Changi, Mirza Gholamhossein, Safdar Khan, Hossein entitled to Karim-Kur and his daughter, Vajiheh, Farmanfarma the Uncle of Naser-al-Din Shah, Jamileh (the female student of Esmail Khan), Ali Khan, Reza Khan Nikfar, Hossein Yahaghghi and his sister Keshvar Khnum entitled to Farah-Lagha, Haig (Armenian kamancheh player and at last, Asghar Bahari. According to some books that we brought some parts of them here, we see that kamancheh was very popular and important in Persian art and folk music. After the introduction of Western violin to Iran, unfortunately everything changed! Though the forth string was added to kamancheh after the introduction of violin to Iran, but many instrumentalists put the kamancheh down and started playing violin. It is interesting to mention that even most of the students of Hossein Khan Esmail-zadeh such as Reza Mahjubi, Rokn-al-Din Mokhtari, Abu-al-Hasan Saba, Ebrahim Mansuri and so on were violin player. The reader may consider what Ruh-al-Allah Khaleghi, the famous historian/composer/theorist says about kamancheh in his famous historical book, Sargozasht-e-Musighi-ye-Iran: 'The sound of kamancheh is nasal, while the sound of violin is closer to nature! When the violin was brought to Iran, since it had four strings, another string was added to kamancheh for imitating the violin and since it was very similar to kamancheh, many kamancheh players became violin instructors. Since violin was similar to kamancheh, portable and its shape was more beautiful, therefore gradually replaced by kamancheh and today nobody plays kamancheh. It is always natural that the more complete instruments will be replaced by non-complete ones. Similarly flute was replaced by ney and oboe by sorna.' Anyway, there were some compassionate artists such as Aref Ghazvini that was not happy for what was happening to Persian art music and warned about the danger of abolishing the Persian art music and its important instruments like kamancheh, santoor and tar. One day Hasan Mashhun, Persian art music researcher, asked from one of the most famous kamancheh players of his time: 'Why did you put down the kamancheh? We have lots of violin players, but kamancheh players, one after another, are becoming old and disabled.' That the master replied: 'There is no student of kamancheh. People have become modern and play violin!' It is obvious that using western instruments instead of Iranian instruments is not necessarily a smart idea. As some ethno-musicologist believe that there should be a difference between modernization and westernization. Violin is violin and kamancheh is kamancheh. It is clear that every instrument has its own value and there is no need to discuss about that more. As historians mention, the late Asghar Bahari, gave a new life to kamancheh by playing this instrument in many concerts, gatherings, radio and TV. It is fortunate that today we have many kamancheh players in such a way that today there is no need to be anxious about the abolishment of the art of kamancheh playing. ABOUT THE AUTHOR Peyman Nasehpour was born in Teran, in 1974. He is a musician and plays the Persian hand drums, including the tonbak, the ghaval and the daf. He lives in Germany. Quote Link to comment Share on other sites More sharing options...
Arpa Posted December 17, 2008 Author Report Share Posted December 17, 2008 (edited) Քամանչա, Սայաթ Նովա Էսպես Արութինի ասած. Ամեն սազի մե՜չը գոված՝ դուն թամամ դասն իս, քամա՛նչա, Նաքաս մարթ քիզ չի կանա տե՛սնի, դուն նրա պասն իս, քամա՛նչա, Ղաստ արա՝ է՛լ լավ օրերու էդիվը հասնիս, քամա՛նչա, Քեզ ինձնից օ՞վ կանա խըլի, աշուղի բասն իս, քամա՛նչա։ Անգաճըդ էրծաթեն պիտի, գըլուխըդ ջավահիր քարած, Կութըդ շիրմայեմեն պիտի, փուրըդ սադափով նաղշ արած, Սիմըդ օսկեն քաշած պիտի, էրկաթըդ փանջարա արած, Օչ օվ ղիմեթըդ չի գիդի, լալ ու ալմասն իս, քամա՛նչա։ Ճիպուտըղ վարաղնած պիտի, թահր ունենա հազար ռանգով, Ձարըդ ռռաշի կուդեն պիտի, վուր դուն խոսիս քաղցըր հանգով, Շատին զարթուն կու լուսացնիս, շատին կու քընեցնիս բանգով, Անուշահամ գինով լիքը՝ դո՛ւն օսկե թասն իս, քամանչա։ Ածուլիդ էրկու կու շինիս, առաչ շահիր ղափա գուզիս, Կու մեձըրվիս այվընումը, պարապ վախտի ռափա գուզիս, Յիփ վեր գու քաս մեջլիսումը՝ քաղցըր զող ու սափա գուզիս, Բոլորքըդ գոզալնիր շարած՝ մեջլիսի կեսն իս, քամա՛նչա։ Շատ տըխուր սիրտ կու խընդացնիս, կու կըտրիս հիվընդի դողը, Յիփ քաղցըր ձայնըդ վիր կոնիս, բաց կուլի հիդըդ խաղողը, Խալխին էս իլթիմազն արա՛ ասին՝ «ապրի քու ածողը», Քանի սաղ է Սայաթ Նովեն, շատ բան կու տեսնիս, քամա՛նչա: --- Aaahhh! Verrry interrresting! Below, an article from AZG talking about a 27 minute documentary film about traditional Armenian musical instruments. We read that the kamancha is featured in many ancient manuscripts and that at times it was called JNAR/ՋՆԱՐ: Indeed. The Armatakan does corroborate that the ՋՆԱՐ is an Armenian musical instrument that some have tried to tie it with tavigh/տաւիղ and QNAR/harp. It goes further to say that in Hebrew the violinn is called “kinor”. I had known that. http://www.websters-online-dictionary.net/...ated%2529/kinor Kinor English Translation: kinor Language Expression English Translation or Definition Hebrew (Transliterated)kinor-violin. http://palm.azg.am/?lang=AR&num=2008121816 Ֆիլմաշար հայոց նվագարանների մասին Տխուր սրտեր խնդացնող, հիվանդի դող կտրող ... մեջլիսի կես նվագարանը՝ քամանչան թեման ու հերոսն է «Հայ-ART» մշակութային կենտրոնի նկարահանած 27 րոպեանոց «Քամանչա» գիտահանրամատչելի ֆիլմի: Այն երեկ ներկայացվեց Մոսկվա կինոթատրոնի հիմնականում երիտասարդներով լեցուն դահլիճում: Հայոց հնագույն նվագարանների մասին պատմող ֆիլմաշարում «Քամանչան» երկրորդն է եւ հաջորդվելու է, ինչպես վստահեցրեց ֆիլմաշարի հեղինակ եւ պրոդյուսեր Ռիտա Շառոյանը: Պատմական տվյալներից մինչեւ մերօրյա պատրաստում ու հնչողություն... Քամանչայի մասին հիշատակումները դեռեւս հայոց պատմահոր՝ Խորենացու գործում կան: Գործիքն այն ժամանակներում ջնար է կոչվել եւ միայն 9-10-րդ դարերում արաբական արշավանքների ժամանակաշրջանում կոչվել է քամանչա, որ թարգմանաբար նշանակում է ջնար ոտքի վրա: Քամանչայի հնագույն պատկերումը 8-13-րդ դարերով թվագրվող գավաթի վրա է պահպանվել, որը հայտնաբերվել է Դվինի պեղումների ժամանակ: Հացառատ գյուղի պեղումներից հայտնաբերված 15-րդ դարի հարսանքապատկերում էլ քամանչան, սազը, դափն ու եղեգնափողը պատկերված են նվագածուների ձեռքում: Մոքսում հայտնաբերված 16-րդ դարի Ավետարանում էլ քամանչան պատկերված է, բայց արդեն որպես անսամբլային հնչողության ու նվագակցության կրող: Նաղաշ Հովնաթանի մանրանկարչությունում եւ հայոց դամբանաքարերի վրա էլ քամանչան առկա է: Ազգային պատկերասրահում պահպանված 19-րդ դարի անհայտ հայ նկարչի գեղանկարն էլ փաստում է, որ քամանչա նվագել են նաեւ կանայք: Թվարկված տվյալները ներկայացվում են ֆիլմում: Ու թեեւ քամանչահար Վահան Գասպարյանն ու քամանչագործ Օնիկ Գալստյանը ֆիլմում իրենց համար նորություններ չէին գտել, սակայն փաստեցին, որ դիտել են հաճույքով եւ վստահ են, որ ֆիլմի լինելիությունն անհրաժեշտ է: Վերջինը փաստեցին եւ ոչ մասնագետ հանդիսատեսները: Ֆիլմում հնչում են Սայաթ-Նովայի գործերից մինչեւ Ավետ Տերտերյանի ստեղծած երաժշտությունը քամանչահար Նորայր Դավթյանի կատարմամբ: Միհր պարային պլաստիկ թատրոնն էլ իր ներկայությամբ լրացնում է տեսաշարը, որ միահյուսված է պատմական հուշարձանների, որոնց դիմագիծն անհայտ է թողնվում, բնապատկերի ամբողջությամբ: Հերոսը քամանչան է, գործող անձինք՝ երաժիշտն ու քամանչագործ վարպետ Ալբերտ Զաքարյանը, որը անխոս ցուցադրում է նվագարանի պատրաստման ընթացքը, ինչն էլ հնարավոր պարզությամբ ներկայացրել է բեմադրիչ Արմեն Ռոնովը: Նա ֆիլմի ձայնաշարն ամբողջացրել է ոչ միայն քամանչայի հնչողությամբ՝ օգտագործել է ամենատարբեր ձայնային հնարքներ, որոնք զուսպ են, բայց նպաստել են քամանչայի պատրաստմանն անհրաժեշտ գործիքներին էլ կենդանություն հաղորդելուն: Իսկ քամանչագործ վարպետը հավաստիացրեց, որ քամանչան, գոնե իր պատրաստած, հասել է Կանադա, Ավստրալիա, Միացյալ Նահանգներ, Ֆրանսիա, Արգենտինա, սակայն բացառապես հայ երաժիշտների պատվերով: Բացառություն է եղել 1978 թվականին Միջին Ասիա ուղարկվածը, որ պատվիրել էր տեղի մասնագետներից: Ներկայում վարպետը երիտասարդ երաժիշտներից պատվերներ չի ստանում, բայց եւ վստահ է, որ առավելագույնը 10 տարուց կլինեն քամանչայի երիտասարդ վարպետներ: Ապացույցն էլ դահլիճում ներկա տասնյակից ավել պատանի քամանչահարներն էին, որոնք Ջիվանու անվան աշուղական դպրոցի քամանչայի դասարանի սաներն են: Նրանցից երկուսը՝ 15-ամյա Հրանտ Թումասյանն ու 16-ամյա Երջանիկ Մարկոսյանը Ջավախքից են. վերջինը գուսան Հավասու ծոռն է նաեւ: Ֆիլմի ստեղծմանն աջակցել են Մատենադարան ինստիտուտ-թանգարանը, պատմության, գրականության եւ արվեստի թանգարանները: Ֆինանսական աջակցությունը ցուցաբերել է «Վիվասել-ՄՏՍ» ընկերությունը: ՆԱՆԱ ՊԵՏՐՈՍՅԱՆ Տաւիղ ջնար եւ քանոն: Տես թէ մի այլ լեզուի davul /տաւիղ բառը որտեղից է առաջացել: Ի բաց Հայերէն ԴՀՈԼ բառից: http://armkanon.com/main_kanonarm.htm Edited December 18, 2008 by Arpa Quote Link to comment Share on other sites More sharing options...
Arpa Posted December 21, 2008 Author Report Share Posted December 21, 2008 (edited) Why can’t I find a good version of Yerevan Bagh Em Arel/ Also known as Sari Sirun Yar that some have converted to “sari gelin/Sari Siroun Yar”.? http://www.youtube.com/watch?v=0eWrE2ioRY4...feature=related And watch this old Hamshentsi geezer, wait till minute 4 and see him play Sayat Nova's Kamancha Except this disgusting http://www.youtube.com/watch?v=Xu5BnshfCwM Look what this shunshanordi is playing. http://www.youtube.com/watch?v=YHsopADjCQ8...feature=related And look what these fe,male dogs are playing http://www.youtube.com/watch?v=ti4gJqn7GgE...feature=related Compare.Vagharshapati Par by Komitas as developed by Arno Edited December 22, 2008 by Arpa Quote Link to comment Share on other sites More sharing options...
garmag Posted December 22, 2008 Report Share Posted December 22, 2008 Why can’t I find a good version of Yerevan Bagh Em Arel/ Also known as Sari Sirun Yar that some have converted to “sari gelin/Sari Siroun Yar”.? http://www.youtube.com/watch?v=0eWrE2ioRY4...feature=related And watch this old Hamshentsi geezer, wait till minute 4 and see him play Sayat Nova's Kamancha Except this disgusting http://www.youtube.com/watch?v=Xu5BnshfCwM Look what this shunshanordi is playing. http://www.youtube.com/watch?v=YHsopADjCQ8...feature=related And look what these fe,male dogs are playing http://www.youtube.com/watch?v=ti4gJqn7GgE...feature=related Compare.Vagharshapati Par by Komitas as developed by Arno Dear Arpa, Copying and mimicking is the best form of complement and attestation, for the originality and loveliness of the work ! Even if they try to pass it as their own, IT STILL REMAINS PLAGIARIZED COPY! The more they do it, the more it shows their creative poverty... Best wishes Garo Quote Link to comment Share on other sites More sharing options...
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