In the heart of Armenia’s spiritual heritage lies a unique musical notation system that has captured the essence of the country’s ecclesiastical melodies for centuries. This system, known as khaz, emerged in the 8th century and served as a pneumatic method to immortalize the sacred hymns of the Armenian Church. The khaz notation, comprising approximately 24 symbols, was ingeniously designed to convey the nuances of vocal music, indicating the rise and fall of pitch, the subtle inflections of the voice, and the precise duration of each note.
The origins of khaz can be traced back to the poetic and scientific endeavors of Stepanos Syunetsi in the 7th-9th centuries, who is presumed to have played a pivotal role in its development1. The term ‘khaz’ itself is thought to have been derived from Caucasian languages, translating to ‘line’ or ‘inscription’. Over the span of ten centuries, this notation system flourished, particularly in the Armenian Kingdom of Cilicia, where it evolved into three distinct styles. However, by the 16th century, the complexity of khaz notation had escalated to such an extent that it became increasingly challenging for church musicians to interpret, leading to its gradual obsolescence by the 18th and 19th centuries.
The revival of Armenian musical notation in the 19th century can be attributed to the efforts of Hampartsoum Limondjian, who introduced a new, simplified system. This modern notation retained elements of the old khaz while eschewing the European five-line staff system, allowing melodies to be written between lines of liturgical poetry, thus facilitating vocal performance1. It was this system that Father Komitas, an esteemed musicologist and priest, utilized extensively during his travels to document Armenian folk music.
The modern polyphonic arrangements of the Armenian Divine Liturgy, which resonate in churches today, are the masterful creations of C. Kara-Mourza, M. Yekmalyan, and Father Komitas. These composers have woven the threads of Armenia’s musical past into rich tapestries of sound that honor the traditional monophonic chants while infusing them with the harmonious complexity of polyphony. Their work represents a bridge between the ancient and the contemporary, a testament to the enduring power of music to convey faith and tradition across generations.
As we delve into the history of khaz and its impact on Armenian liturgical music, we not only uncover the technicalities of a musical system but also the cultural heartbeat of a nation. The khaz notation system, with its deep roots in Armenia’s ecclesiastical history, continues to be a subject of fascination for scholars and music enthusiasts alike, symbolizing the resilience and adaptability of Armenian sacred music throughout the ages.
