ABSTRACT
I n the preceding chapter it was established that there existed for prosody signs a clearly defined but false theory concerning their origin. As regards musical khazes there is total confusion. As a result of the lack of firm historical evidence, many diverse
and conflicting theories have been proposed about the origin and nature of the khaz system. The majority of scholars have ascribed khazes with unprovable definitions and concluded the question as being exhausted without even making attempts to verify their conclusions by transcribing any melody. Those who did transcribe the odd melody (Schroder, Peterman) were never aware that the melodies they selected were never in their essense (modalintonation) close to Armenian musical tradition.
