HU Repository
HU Repository serves as an academic and research repository, offering a rich assortment of Haigazian Armenological Review research outputs along with publications from the Armenian Diaspora Research Center (ADRC) and Haigazian University Press (HU Press). Additionally, it hosts a repository of MA and MBA theses.
With a focus to meet the needs of scholars, students, and researchers within and beyond the Haigazian University community, our repository provides seamless access to a diverse range of scholarly materials. Whether you're delving into historical studies, exploring contemporary research topics, or seeking insights from thesis works, the HU Repository stands as a cornerstone for intellectual inquiry and collaboration.
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The Genographic Project Visits Haigazian University
(2010) Mirvat El Sibai
Լիբանանցիներու ծինային ծագումնաբանութեան սերտողութեան ծիրին մէջ, հետազօտողներու խումբ մը 24 Մարտ 2009ին ժամանեց Հայկազեան Համալսարան եւ արեան նմոյշներ առաւ 96 հայերէ, որոնք աւելցուեցան հետազօտող խումբին կողմէ Լիբանանի այլ վայրերէ առնուած շուրջ 100 հայերու նմուշներուն:
Յօդուածը կը հաղորդէ գոյացած նմուշներուն հիմամբ կատարուած հետազօտութեան նախնական արդիւնքը:
Ըստ այդմ, լիբանանցի հայերն ու ոչ-հայերը ունին նոյն հեփլոկրուփի՝ J2 բարձր համեմատութիւնը՝ 28-1% եւ 28.9%: J2 հեփլոկրուփը առաւելաբար տարածուած է Արգաւանդ Մահիկի հիւսիսային շրջանին, Միջերկրականի արեւելեան աւազանին, Իրանի, Կեդրոնական Ասիոյ եւ հարաւային Եւրոպայի մէջ:
Հետազօտութենէն ի յայտ կու գայ նաեւ, որ լիբանանահայութեան 24 առ հարիւրը կը պատկանի R1b հեփլոկրուփին:
Ստեղծագործողի հաւատամքը. Տիգրան Մանսուրեան
(2010) Ծովինար Մովսիսեան
The 1950s marked the unprecedented resurgence of professional classical music composition in Armenia. In this context, for Mansurian and for many of his generation, Komitas and his compositions became their inspirational idol and conceptual framework.
The fundamental changes of the 1960s in the Soviet Union resulted in the tearing of the iron curtain, of the totalitarian system that had prevailed for decades. Armenian music was affected by this broad wave of extensive changes. The Armenian composers of the 1960s tried belatedly to explore and integrate the compositional techniques and methods of the West, which were heretofore unknown to them. In this regards, through modern conceptual and technical skills, Mansurian enlarged the limits of Armenian national music.
Mansurian's sources of inspiration include Armenian medieval music, miniature painting, architecture and poetry (Ketcharetsi to Kuchak) and extend to Komitas, the new Viennese School, and impressionism. They include as well the various schools of literature from symbolism to surrealism, to Lorka, Faulkner, Kafka, Charents, Sahian, Paradjanov, and Malian.
However, the adoption of innovations took an original, national turn through his creation and became his unique manner of expression. Compositions which opposed each other in style and expression and were separated from each other by decades were unified through Mansurian's inherited and revived national sense. These compositions were produced in an excellent manner.
In the works produced in his mature years, one can see the composer's philosophical approach towards temporary phenomena. The composer, who has become wiser due to his life experience, is currently trying to penetrate the world of eternity or the void, which opens new undercoded and uninterpreted horizons.
Աշոտ Ասատուրեան (1937-1999) (Ստեղծագործական Դիմանկար)
(2010) Նազենիկ Սարգսեան
Outstanding choreographer Ashot Asaturyan is definitely one of those whose works can be termed "not for everyone".
Asaturyan was born in Tbilisi in 1937. As a choreographer, he received the best education of his time. He studies in the class of the prominent dancer and choreographer Vakhtang Chabukiani at the Tbilisi Dance School. In 1962 he attended the newly inaugurated Choreography Department of Leningrad (St. Petersburg) Conservatory, where his teacher was Fyodor Lopukhov, groundbreaker in Soviet choreography. Under his tutorship, Asaturyan acquired in-depth knowledge of choreography, theory of music and fine arts. He had a good knowledge of classical literature, philosophy and theosophy. After graduating from the Conservatory, Asaturyan became the main choreographer at the Spendiarian Opera and Ballet Theater in Yerevan between 1973 and 1990 and the principal choreographer of Lysenko Opera and Ballet Theater in Kharkiv, Ukraine, between 1991 and 1997.
A prolific choreographer, Ashot Asaturyan staged as many as twenty-two ballets in St. Petersburg, Saratov, Sverdlovsk, Yerevan, Tbilisi, Chelyabinsk, Kharkiv, Baku. He co-produced numerous operas and dramas, reproduced a number of the classics of the dance on the stages of Saratov and Kharkiv and created numerous choreographic scenes. He is also the author of dozens of librettos, which have not been staged.
Due to his profound knowledge of music, Asaturyan created ballets of "visible" musical intonation and form. He was also a talented artist and was costume designer for many of his productions. He had a perfect sense of light and color and wisely mixed them into his own "light dramaturgy". Asaturyan's ballets are peculiar examples of a philosophical paraphrase with multiple meanings, with some of them, particularly, Stravinsky's "Orpheus" and Rakhmaninov's "Symphonic Dances" presenting autobiographic reflections on his thorny life.
Ակնարկ՝ երաժշտագէտ-մանկավարժ Հեղինէ Քացախեանի կեանքի եւ գործունէութեան
(2010) Նաթալի Յարութիւնեան
The author brings to the limelight the pedagogical activity of Heghine Katsakhian, who had a significant input in the development of a number of musicians and composers in Soviet Armenia and in the promotion of children's music.
Born in Tbilisi in 1908/09, Katsakhian studied in the newly inaugurated Yerevan Musical Studio under the able directorship of Romanos Melikian. In parallel, she attended the piano classes of Anna Mnatsakanian. After graduating from school, she started working as a piano and music teacher in a kindergarten while she continued her studies in the newly inaugurated Yerevan Conservatory.
In 1931 she graduated from the Conservatory and started working in the first professional music school in Armenia. She taught theory and conducted the school choir. Several renowned musicians graduated from this school, including Edward Mirzoyan, Alexander Harutunian, Adam Khudoyan, Ghazaros Sarian, Gagik Hovunts, Edgar Hovhannissian, Robert Amirkhanian, Martin Vartazarian and many others.
The author narrates the dedication of Katsakhian to music and pedagogy and the effort she put into persuading Armenian composers to compose children's songs and music.
Katsakhian's main contribution, however, was in the field of school textbooks. After dedicating herself totally to schoolwork in 1932, she published her methodology textbook, Solfegio in 1959. This was the first musical textbook that includied Armenian compositions. In some fifteen years the book had seven reprints with a total of over thirty-five thousand copies, and it is still being used in Yerevan and musical schools elsewhere.
The author assessed the textbook along with a number of similar Armenian textbooks that were published after 1874 and asserts that Katsakhian approached Armenian music teaching in an innovative way and enriched its traditions.
Ալբանիայի հայերը եւ հայ-ալբանական առնչութիւններ
(2010) Արծուի Բախչինեան
The Armenians have had occasional historical and cultural relations with the smallest of the Balkan countries, Albania. In the early 20th century Armenians from the Ottoman Empire settled in Albania. In 1925 groups of Armenian immigrants lived in various cities of Albania. They totaled 120 in 1935, Mostly craftsmen, some of them owned their own small businesses.
The proclamation of Socialist regime in Albania weakened the local Armenian community and reduced its number. After the collapse of Communism Albanian Armenians made some attempts at unification. In 2002 the 500 or so Armenians founded a cultural association in Tirana called "Armenians of Albania". Currently the community includes some figures like the composer Haig Zaharian and film actress Anica Markarian who are renowned in the Albanian contemporary arts.