During the first three centuries of the existence of the Armenian sacred art of singing a mass of various spiritual songs were created that were dedicated to each holiday of the Church. Starting from the 8th century, the spiritual songs for the same holiday have been united in a series of eight songs. Each of those songs is called sharakan, and the whole series is called canon, karg, or sark.  Each canon has eight different sharakans, each of which has its name. The two broadcasts of the program dedicated to the explanation of the sharakans.

During the first three centuries of the existence of the Armenian sacred art of singing a mass of various spiritual songs were created that were dedicated to each holiday of the Church. Starting from the 8th century, the spiritual songs for the same holiday have been united in a series of eight songs. Each of those songs is called sharakan, and the whole series is called canon, karg, or sark.  Each canon has eight different sharakans, each of which has its name. The two broadcasts of the program dedicated to the explanation of the sharakans.

The program is about psalmody which presents the oldest layers of the Armenian spiritual art of singing, with its various genre manifestations, among which psalm holds central position.

The song "Crane" ("Krunk"), created in the late Middle Ages, is a masterpiece in the genre of an-tuni or Armenian songs of wandering. During its existence, it has become a symbol, an artistic generalization of the historical fate of the Armenian people. This song has come down to us in numerous versions transmitted by oral tradition and recorded in the 20th century, four of which are discussed during this episode of our program.

The episode is dedicated to the musical-poetic activities of Sahakadukht and Khosrovidukht, female Armenian sharakan writers of the 8th century.

Today's episode presents the feasts of the Holy Cross in the Armenian Apostolic Church and their sharakans.

This episode is dedicated to the epic song "Karos Khach" (Celery Cross), which is one of the unique and valuable manifestations of the veneration of the cross in Armenian folk music culture.

The two parts of this episode are dedicated to the musical folklore of the region of Balu or Balahovit,  Tigranakert province of historical Armenia. They are based on Bedros Alahaydoian's book "A Musical-Ethnographic Collection of Palou (and the Region)" (in Armenian, Glendale, 2009). During the broadcast, you'll listen to songs recorded in the two CDs attached to the book (performer Maro Nalbandian, native of Balu).

The two parts of this episode are dedicated to the musical folklore of the region of Balu or Balahovit,  Tigranakert province of historical Armenia. They are based on Bedros Alahaydoian's book "A Musical-Ethnographic Collection of Palou (and the Region)" (in Armenian, Glendale, 2009). During the broadcast, you'll listen to songs recorded in the two CDs attached to the book (performer Maro Nalbandian, native of Balu).

The epic poem “Daredevils of Sassoun” is a generalization of the age-old wisdom of the Armenian nation, the artistic quintessence of patriotism, courage, justice, honesty, and generosity which form the basis of the national character. The program is devoted to the discussion of some sung episodes of the epic.
 

Tagh is one of the main genres of the medieval Armenian professional music, which manifested itself in fields of folk and sacred music. The flourishing of the spiritual taghs comes on the X century, receiving its perfect expression in the works of st. Gregor Narekatsi. The program discusses the Resurrection Taghs of st. G. Narekatsi.

The episode is dedicated to the main musical and poetic parts of the Divine Liturgy, the central rite of the Armenian Apostolic Church.

The episode is dedicated to the main musical and poetic parts of the Divine Liturgy, the central rite of the Armenian Apostolic Church.

The creator of the Armenian alphabet and the founder of Armenian literature, St. Mesrop Mashtots is also the forefather of the Armenian sacred music. This episode is dedicated to Mesrop Mashtots's musical activity, which in the preservation of the national culture has played a role that is not less important than that of Armenian literature.