Areni-1 Cave

This article introduces theoretical problems connecting musicology and archaeology and reflects on the features of ancient musical art of the Armenian Highland The primary term "musical landscape" is used to include not only the elements of nature, the natural and human echo/voice/sound, but also the mat erial culture and the context of social developments. In this way, the musicologist and the archaeologist appear to be "impressionists" who try to discern the human trace and rhythm in space and time. Problems concerning musical instruments, musicians, function of music and sound locations in Ancient Armenia are given special consideration. An attempt is made to periodize the ancient musical culture. From this point of view, the most important timespan is supposed to be the end of the 3rd millennium B.C when the first 'case" of separation of folk and elite (musical) culture is known. It turns out that in order to understand the depth of Armenian culture, the archaeologist and the musicologist have the same problem - to expose the relationship between invariant and changeable traits during the longue duree. Thus, an interdisciplinary juxtaposition of musicological and archaeological data can provide new opportunities for the elucidation of various problems.