Աստղիկ Մուշեղեան2026-05-222026-05-222018Մուշեղեան, Ա., «Հայոց հնագոյն տաղարանը», «Հայկազեան հայագիտական հանդէս», 2018, Պէյրութ, էջ 155-180https://haigrepository.haigazian.edu.lb/handle/123456789/1283Armenian medieval taghs (canticles) are one of the richest components of the art of sacred chanting. The poetry of Grigor Narekatsi was the main reason for their growth in the 10th century. His poetry was immediately included in the miscellanies called Gandzaran (Book of Festive Chants), constituting, with gandzes (festive chants), pokhs and meghedies, the content of the book of sacred chanting. The paper examines the most ancient manuscript of these books of chanting. It consists of a separate Gandzaran (written in late 13th–early 14th century) and a separate Tagharan (written in 1241 in Drazark, Cilicia by scribe Hovhannes). The manuscript is kept in the National Library of France, N 79. The author focuses on the Tagharan, which includes some of the best samples of toghs, dating from the Golden Age to the most famous authors of the 13th century. The paper details and analyses the structure of the Tagharan, the system tagh + pokh + meghedi and relevant issues. The most ancient layer of the manuscript consists of the taghs attributed to Sahak Parthev and Movses Khorenatsi. The poems of Grigor Narekatsi and Nerses Shnorhali constitute its major part, alongside a number of poems from Nerses Lambronatsi. Nonetheless, a great part of the taghs included come from unknown authors. Some names of poets-musicians are revealed through acrostics and titles (Christosatur, Hovhannes, Kostandin, Gevorg, Barsegh). Furthermore, very few of these Taghs have preserved their musical component. These were written down in new Armenian notation. The author examines the place and time of their creation, their authors, melodic relations with other samples of sacred chanting, their style, modal features and means of expression.