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The Armenian lullaby is significant for its historical, cultural, and linguistic aspect beyond its purpose of comfort and serving as a bridge to sleep. Influenced in part by their region of origin, Armenian lullabies are characterized by a lightness in melody and the rhythm of simple, repeated phrases that mimic the sound of the rocking cradle.
Oror (Lullaby) for mezzo-soprano, harp and cello (also in a choral version) [3] Sweet is the night, mélodie; Ledjag, mélodie; Lamento, complaint of an orphan [3] Nocturne, fugue; Es Kechir, dance for voice, chorus and orchestra; Ninam—Niman, dance for voice, chorus and orchestra; Dark Sky for chorus and orchestra
The music of Armenia (Armenian: հայկական երաժշտություն haykakan yerazhshtut’yun) has its origins in the Armenian highlands, dating back to the 3rd millennium BCE, [1] [2] and is a long-standing musical tradition that encompasses diverse secular and religious, or sacred, music (such as the sharakan Armenian chant and taghs, along with the indigenous khaz musical notation).
Lullabies of the World (Russian: Колыбе́льные ми́ра; tr.:Kolubelnyye mira) is a Russian animation anthology project that begun in 2005, with goal to create animated music videos to musical performances of lullabies (in their original languages) from countries around the world. Author of idea and producer: Arsen Gottlieb.
The song is stylistically similar to other traditional Armenian lullabies, but with the purpose of a wake up call. The mother is the central character. She tells her son about the miserable conditions of Armenians and calls him to a military struggle against the genocidal Turks.
Stephanie Betjemann, as "Բոլոր Գեղեցիկ Ձիերը", arranged by Karenn Presti, on the 2017 album My First Armenian Songbook, in Western Armenian translation; Olivia Newton-John; Peter, Paul and Mary, as "Hush-A-Bye", for their 1963 album In the Wind; Charlotte Church, "The Little Horses" on her album Enchantment released October 9 ...
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The history of the Armenian duduk music is dated to the reign of the Armenian king Tigran the Great, who reigned from 95 to 55 B.C. [20] According to ethnomusicologist Dr. Jonathan McCollum, the instrument is depicted in numerous Armenian manuscripts of the Middle Ages, and is "actually the only truly Armenian instrument that's survived through ...