Duduk represents the cylindrical type of an oboe which was widely adopted in the territory of

Armenia, Georgia and the North Caucasus (the Northern Caucasia). Duduk is the cylindrical tube
which has !"# playing holes, and is made of apricot, cotoneaster, mulberry and wood nuts.
Appearance of the first duduk consigns to the remote past, howe$er, the concrete historical
proofs of the first playing instrument aren%t present now. &here are sa$ed recordings of the art
critic Curt 'aksa who calls duduk a shawm or an oboe of the cylindrical type, which has a
double cane. (omitas contrary echoed to him, saying that it is nothing more than )Nai), that in
translation from the ancient *ersian means a reed.
&o speak about a place of an origin of the duduk, 'aks suggests paying attention at one of its
names ! )ira+ya) that, undoubtedly, indicates ,ran. -ther $ersion tells that the duduk came from
the .ar /est, namely from 0apan or China, ha$ing passed through *hoenicia, and ha$ing got on
the Caucasian lands.
1owe$er, there is an opinion that the distant ancestor of duduk is the reed clarinet with cut!in
tongue from an Ancient 2gypt. ,t should be noted that analogs of an instrument of this kind in
Armenia are3 pku, p4an, cipuk and p4ik 5 and also it is one of a sort of Central Asian Nie. -ne of
the duduk analogs is the (orean *eary which is known since 6 century. 1owe$er, it is clear that
the ancestor of duduk is a reed with the top flattened part.
7ater with a de$elopment of technologies of 8oiner%s production and spiritual life, the resonator
of duduk began to produce from apricot wood, keeping reed part as the integral mouthpiece
element.
&elling about the duduk instrument name, probably it occurred from articulation sounds3 du, tui,
fu 5 or from words of )dud) and )dod) which in translation from a loriysky dialect means a
mouth and a 8aw. 1ence the duduk is an element of a spiritual instrument which is inserted into a
mouth.
&ill "9# in the territory of all &ranscaucasia the duduk had the same design. 7ater the dudukist
:argar :argaryan decided to impro$e the entrance part of duduk. Now the instrument had a
conic form thanks to what its settings were considerably facilitated. &his change became typical
difference of the Armenian duduk from other types. Creation of its $arious types of low te;tures
became the following step of de$elopment in impro$ement of a duduk. A great influence and
role is gi$en to outstanding instrumentalists <ardan =uni, 2nok (ocharo$ and Georgy :inosyan.
,t is necessary to tell that a duduk, music allows in rela;ing position, and listening to it gi$es an
admirable pleasure which can%t be compared to anything.