Armenian music of the XVII-XVIII centuries was involved in the movement to master the ancient phenomena of civilization, as well as in an attempt to appeal to the European sources of culture. Proceeding from this, in connection with the growth of national social and political thought, in the 19th century, the activation of the Armenian urban culture started. From the depths of his memory, the Armenian builders even brought to life toys and festive dances, lengthy solos, brilliant melodies, which will later be heard from the lips of freedom battlers.
In the XVII-XVIII centuries, the art of ashugs occupied a prominent place in urban life, social issues and patriotic moods came to the fore. Urban songs of a new type of national-patriotic content circulated in almost all segments of the population.
The whole meaning of the work of ashugs finds a concentrated and generalized reflection of the most important sequence of the Shirin-Jivan and the legacy that they left. It is fully connected with the Armenian national school of ashugs (unlike previous Armenian-Turkish, Armenian-Turkish and Georgian-Armenian schools).
During this period of development, the art of Armenian medieval devotees of medieval minstrels reached its peak. Several performers are creators from Eastern Armenians and others. They enriched eastern classical music with an Armenian national deepening and spread the glory of Armenian art in Turkey, Arab countries, Persia and the Caucasus, as well as in Russia and Europe.
At the beginning of the 19th century, due to the significant progress of school work, the level of teaching songs and music progressed, Armenian and modern European audiovisual materials were distributed, libraries for schools, seminaries, and wider circles were created, and music textbooks were published.
At the same time, the number of Armenian youth studying in music schools and conservatories in Europe and Russia is increasing.
Under these conditions, Armenian music and the social life of a new era are emerging and developing. Armenian music companies have been created, periodicals are published (in Constantinople, Tiflis, Baku). Various ensembles are formed, eastern and western (even small symphonies) orchestras and singing groups. Solo concerts are given by musicians with oriental and modern European instrumental skills. The greatest contribution is made in the field of music creation, and development is being made from mono art to polyphony.
One of the notable phenomena of that time was the revelation of Armenian performers who received higher education in European measure. They were saddled with the European experience of performing arts; its task was to develop new Armenian music. A special place is maintained by vocal art both of Komitas in form and in content.
Concert life took shape in the mid-19th century. Instrumental ensembles and symphony orchestras are being produced, among which the Sinanyan Orchestra (1861-1896) stands out. E. N. Tonomyan, N. Tashchyan G. Korganov T. Chukhadzhyan and G. In the works of Yeranyan, a choir and an individual song, romances of Chukhajyan and Korgananov, as well as the genre of instrumental music were developed.
After creating new Armenian records, the system continued to improve. Hundreds of national church and secular folk tunes were recorded with Armenian recording signs. Numerous compositions enriched Armenian music with spiritual, secular, oriental and melodic reflection, as well as new national-patriotic songs and marches in the European arena.