Arman Peshtmaljyan’s “Best Folk Song” nomination at the World Entertainment Awards
I felt immense happiness and excitement when I learned that a composition by an Armenian musician, Arman Peshtmaljyan, was nominated in the “Best Folk Song” category at the World Entertainment Awards. The composition, “Zartir Nazelis,” is a transformation of an Armenian tagh based on Komitas Vardapet’s ethnographic compilations. It is part of Peshtmaljyan’s wider initiative to save forgotten Armenian music from oblivion. He has also researched, rearranged and recorded songs such as “Nstir Im Gyamin” and “Amran Gisher” — the first-ever arrangements of these folk gems.
Peshtmaljyan is a composer, arranger, keyboardist, pianist, songwriter and music producer. Well-known in Armenia, he specializes in jazz, pop, folk and fusion and experiments with innovative genres such as techno, drum and bass, lo-fi hip hop, dream pop and psychedelic soul.
His journey began at Alexander Hekimyan Music School in Yerevan, where he studied multiple instruments. He continued his studies at the Komitas Yerevan State Conservatory, focusing on piano and composition, before earning a master’s degree in jazz composition at the Basel Academy of Music, Jazzcampus in Switzerland.
Over the years, Peshtmaljyan has collaborated with many notable musical groups, including the Armenian Navy Band, the State Jazz Orchestra of Armenia, MVF Band, Goght Band, Yerevan Calling and his own modern jazz project, the Arman Peshtmaljyan Group.
Milena Baghdasaryan (M.B.): What brought you to the world of music?
Arman Peshtmaljyan (A.P.): Music found me before I found it. As a child, it was difficult to reach the piano keys. I would stand on my toes, reaching out blindly, just feeling the notes—rather than seeing them. It was an instinct, almost like the keys were calling me to play. Music was never just sound to me; it was something physical, something I could touch.
M.B.: What inspired you to start working on a project dedicated to preserving forgotten Armenian music?
A.P.: In 2019, I was invited to perform at a concert in Istanbul dedicated to the 150th anniversary of Komitas Vardapet. During the concert, a Turkish rendition of a Komitas composition caught my ear; it was “Zartir Nazelis,” but in Turkish. That moment struck me deeply. Later, I found out that there are so many Armenian folk songs that we don’t know and don’t listen to, but in neighboring countries, many of these pieces were still being performed and even claimed as part of their musical heritage. This made me think — I don’t want to hear Armenian folk music in foreign interpretations. So, instead of making new popular music, I realized I could make Armenian folk music popular again, or at least keep it from being forgotten.
M.B.: What does your research process look like? Where do you start, and which sources do you consult?
A.P.: The process is searching, searching and searching. If I hear a folk melody that’s new to me, whether from musician friends, singers or even random people, I start by asking about it. I try to find out if there are other lesser-known folk pieces they know. Once I discover a song, I begin researching its origins — where it was popular, how people used to sing it and what story it carries.
I always work closely with musicologists and ethnologists to ensure the information is accurate. We dig through archives, search the internet and ask people. Every small piece of information is important. Every time, I find that behind each folk song, there’s always an interesting story. That’s why, when I share these songs, I don’t just share the music. I also share the history and tradition behind it in the song description.
M.B.: What are your criteria for choosing which folk songs to rearrange and record?
A.P.: I focus on songs that have historical or cultural significance but aren’t widely known. I choose songs that are almost forgotten or only exist in old, low-quality recordings. Some pieces have been lost in archives, while others might still be sung in small communities but haven’t been introduced to a wider audience. My goal is to rearrange them, give them a high-quality recording and make them visible to the international music industry, so modern listeners can discover them.
M.B.: What was your reaction when you found out that your piece “Zartir Nazelis” was nominated for the World Entertainment Awards in the “Best Folk Song” category? What do you think contributed to the success of this piece, and which elements in this Armenian folk song do you think resonated most with the international community?
A.P.: The World Entertainment Awards is a prestigious recognition in the United States and to have an Armenian folk song nominated in the “Best Folk Song” category is incredibly meaningful. It’s always seemed to me that in Armenia we are in a cultural occupation — our culture, our music, often struggle to reach international communities. But this kind of nomination shows me that there is a way forward.
This isn’t popular, modern music; this is Armenian tagh from the 17th-18th centuries, sung in Armenian and performed by Armenian artists. The success of “Zartir Nazelis” comes from the uniqueness of Armenian folk music itself. The folk instruments, the atmosphere, the melisma of the vocals and the harmonies all form a sound that is deeply only our own. For international audiences, Armenian folk music is like seeing a new color or smelling a new scent — something that hasn’t been experienced before but is intriguing and beautiful in its authenticity.
M.B.: To what extent are such awards important for an artist?
A.P.: Such awards are critical for artists, even if they don’t win. Just by participating, your work is heard by top-tier professionals, music managers and agents. This exposure is especially important for artists in Armenia. Here, there are no professional artist management companies, art agents or production networks that can help bring our music to the international scene. Productions in Armenia focus only on bringing international artists to the country, rather than promoting Armenian music abroad. There isn’t any program supporting Armenian music, particularly folk music, in Armenia. So, for an artist, participating in events like these is often the only way to be heard in the global music industry․
M.B.: How do you fuse jazz, pop and folk with innovative genres such as techno, drum and bass, lo-fi hip hop, dream pop and psychedelic soul? Can you share specific techniques or examples from your work?
A.P.: This is where the magic of arrangement begins. I’m always experimenting with techniques, harmonies, instruments and grooves — mixing different elements. For instance, I love including folk elements in jazz or using beat grooves specific to rock music. For example, “Amran Gisher” is an old Armenian folk song but I added many harmonic transitions that aren’t typical for folk music, making it feel more modern and dynamic. Or, in “Nstir Im Gyamin,” I included a trumpet, which isn’t a common instrument in Armenian folk music.
M.B.: How did studying and living abroad influence your artistic style and journey?
A.P.: Studying and living abroad gave me the opportunity to meet some of the best professionals and famous jazz artists, including my professor, Guillermo Klein. I had the chance to showcase my work and receive valuable feedback from them. I also organized several concerts and performed my own jazz compositions. It was an incredible experience to see the reactions of international audiences and jazz industry professionals. Having a full concert hall and seeing international audience interest in my music was encouraging.
M.B.: What has collaborating with other musical groups given you as an artist?
A.P.: It’s not just about performing. For example, in the MVF Band and Goght Band, I’m both the arranger and composer, and that’s where I put all my early musical ideas into practice. With the State Jazz Orchestra of Armenia and Yerevan Calling, it is not only about playing but arranging music, which has really expanded my role as an artist. For some bands, I perform only, while in others I’m also composing, arranging and performing all at once. This variety keeps me alive as a musician, giving me the freedom to explore different creative roles. The genres of the bands are so diverse — folk fusion, jazz, avant-garde, folk, and I guess this diversity is visible in my own compositions, as well. That’s why it’s so difficult for me to stick to just one genre. I’m always experimenting and blending different musical styles.
M.B.: What was the main objective behind creating your own modern jazz project, the Arman Peshtmaljyan Group? What gaps in the music industry do you aim to fill?
A.P.: First, I had composed my own jazz pieces over the years, and there was a real need to perform them live. Secondly, I noticed that the jazz scene in Armenia was mostly stuck, focused on 20th-century jazz standards and styles. There was a clear need to modernize the Armenian jazz industry and fill it with more contemporary, modern jazz compositions.
M.B.: Are there any other initiatives you’re currently working on that you’d like to share with our readers?
A.P.: I’m working on a big project focused on one of my favorite genres, dream pop—a subgenre of pop. My goal is to create a unique Armenian style of dream pop and develop this genre in Armenia. The start of this project was my single “Ays Gisher,” and this was the first dream pop music in the Armenian music industry. I’m also planning to release my jazz album soon.
M.B.: What has been the best advice you’ve received as an artist and what advice would you give to your younger self?
A.P.: The best advice I’ve received is not to get too busy with all the ongoing projects but to always keep the bigger goal in mind and focus on that. As a musician, it’s easy to get lost in concerts, tours and everything else, but sometimes you can lose sight of what you’re really working toward. If I could give advice to my younger self, I’d say to stay focused on your vision and not let the small things distract you.
Milena Baghdasaryan
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Great Arman jan, all the best for you and your music