ABSTRACT
In the preceding chapter it was established that in its most developed form, the Armenian system of notation incorporated two successive systems with very distinct features. There is little doubt that the second, more developed system is the one of greater interest, possessing as it does a rich repertory of songs, chants, melodies which have been notated. In spite of this, the present analysis will concentrate on the first system, according to which, during the tenth-
a) The khaz notation of the Hymnal is simple. b) The finalised notation of the hymns in the 12th century Sharaknots' have remained unchanged to our present times (in reality there is only one authoritative variant while the manuscript copies of the later centuries and the printed versions have been corrupted and need to be corrected). c) As samples of perfectly notated music the hymns of the Sharaknots' are closely related to one another through their modal and intonational structures, forming a uniform system with common features. d) The hymns in the Sharaknots' are canonical and were performed constantly and continuously. This aspect, coupled with the significance of the text, have prevented the text being extensively interpolated.!
