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Kamancha


Arpa

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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.

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Kamancha, Sayat Nova.

http://armenianpoetry.com/arm/1723.html

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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?

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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

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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

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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

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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!

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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".

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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 by Iran01
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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 by Arpa
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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 by Iran01
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  • 6 months later...

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

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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 :)

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  • 2 weeks later...
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 by Arpa
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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.

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  • 11 months later...

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.

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  • 2 years later...

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 by Arpa
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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 :disgust:

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 by Arpa
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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 :disgust:

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

 

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