[16][17] Among the main (vocal, instrumental, mixed) genres and types of ancient Armenian folk music, according to the nature of their applied functions (religious and social significance), one can distinguish ritual, calendar, work, wedding, military, epic, dance, party, lyrical- love, lullaby, household, game, funeral and other categories of songs.
In particular, ancient Armenian authors of the 5th century such as Agathanghegos, Pavstos Buzand, Movses Khorenatsi, Yeghishe and others report about Gusan songs.
[21] At first, the servants in the temple of God Gisane were called gusans, and in the Hellenistic era, the participants of farcical and satirical representations.
Many Armenian historians, writers, philosophers[22] and music theorists,[23] since ancient times to one degree or another, have been engaged in researching the aesthetic characteristics of Armenian folk and spiritual music[24] of artists such as Mesrop Mashtots,[25] Sahak Partev, Hovhannes Mandakuni, Stepanos Syunetsi (senior), Komitas Aghtetsi, Barsegh Tchon, Sahak Dzoraporetsi, Stepanos Syunetsi, Davit Anhaght, Davit Kerakan, Hakob Sanahnetsi, Grigor Narekatsi, Khachatur Taronatsi, Nerses Shnhorali, Hovhannes Imstaser, Hovhannes Yerznakatsi, Arakel Syunetsi, Hakob Krimetsi,[26] Grigor Narekatsi, Frick, Hovhannes Tlkurantsi, Mkrtich Naghash, Minas Tokhatetsi, Petros Kapantsi, Baghdasar Dpir, Arakel Syunetsi, Mateos Dvugayetsi, Grigor Khlatetsi, Arakel Baghisetsi, Avetik Pakhtasaryan, Zenne Poghos, Khachatur Erzrumtsi, Mkhitar Sebastasi, Grigor Dpir Gapaskalyan (of four musicological treatises author) and others.
[30] From the beginning, Armenian folk music was monodic, but enriched with various elements of polyphony (stretched tones, use of some types of antiphonal singing, etc.).
[31] Komitas discovered the tetrachord structure of the fundamental sounds of Armenian folk music and the typical ways of connecting tetrachord-cells in it.
[30] All the historically evolved forms of Armenian folk music, from simple peasant songs, melodies of novelists, gusans and hirelings to hymns, poems and troupes, are based on the wide use of various tricks of tone-thematic development,[36] distinguished by melodic simplicity, honest balance and external factuality, with restraint in the use of various musical expressive means and a great inner expression of its deep-compositional structure.
[39] Other famous duduk players include Margar Margaryan, Levon Madoyan, Saro Danielyan, Vache Hovsepyan, Gevorg Dabaghyan, Yeghishe Manukyan and others.
Armenak Shahmuradyan, Vagharshak Sahakyan and others have gained recognition among author-gusans, as well as virtuoso musicians who play keman, shvi and other folk instruments.
Many urban songs that have become popular were created by the words of famous Armenian poets G. Alishani, A. Isahakyan, H. Tumanyan, R. Patkanyan, G. Aghayan, M. Peshiktashlyani and H. Hovhannisyan, S. Shahaziz and more.
In 1938, the state ensemble of Armenian folk song and dance was organized in Armenia, which was later named after its founder, Tatul Altunyan.
[40] The department of folk music composition has been actively working for decades at the GA Art Institute of Armenia.
[43] Komitas demonstrated with great conviction the direct connection of the three branches of Armenian national music (peasant, Gusan and spiritual).
This instrument was used by Armenians during military campaigns, and it is also used in an ensemble with zurnas, for the musical accompaniment of various dances, solemn ceremonies, holiday processions, etc.
During the excavations of Dvin, one of the capitals of Armenia, a violin-like instrument with the image of a musician on his shoulder was found, a variant of which is the bambir.
культурой древних народов Передней и Малой Азии...Since Armenia was the first country officially to adopt the Christian faith (A.D. 303), the history of Armenian sacred literature and music has attracted much attention.