Տարբերազատման խնդիրները հայ ավանդական երաժշտա-բանաստեղծական արվեստի ժողովրդապրոֆեսիոնալ ճյուղում

Abstract

In traditional Armenian music-poetry, the manifestations of Gusan and Ashugh art very often are not differentiated. The lack of clarity on this issue is a consequence of disregarding the main characteristics of these expressions of traditional art, along with the lack of research on Gusan art in general. The absence of a clear distinction between the folk and folk-professional (secularprofessional) branches of Armenian traditional musical-poetical art is also important, due to its relation to the differentiation between Gusan and Ashugh art, representing two areas of folk-professional branch. As for the study of the specific features of Gusan and Ashugh art, there is less difficulty regarding the latter, since today it is still in use. Whereas, when speaking of Gusans, we are dealing only with some surviving musical-poetical examples, most often exclusively the poetic texts, and ancient and medieval references, illustrative material, and current research findings. A study of references about Gusan art by ancient and medieval authors demonstrates its syncretic character. For the differentiation between Ashugh and Gusan art, in particular, the defining presence of theatrical elements is highly significant.