Despite the severe threats to plant habitats and high levels of extinction risk for plant species in many parts of the world, plant conservation priorities are often poorly represented in national and global frameworks because of a lack of data in an accessible and consistent format to inform conservation decision making. The Important Plant Areas (IPAs) criteria system offers a pragmatic yet scientifically rigorous means of delivering these datasets, enabling informed national-or regional-scale conservation prioritisation, and contributing significantly towards global prioritisation systems including the International Union for Conservation of Nature Key Biodiversity Areas (KBAs) Standard. In this paper, we review the IPA rationale and progress on IPA identification to date, including the perceived limitations of the process and how these may be overcome. We then present a revised set of criteria for use globally, developed through the combined experiences of IPA -017-1336-6 identification over the past decade and a half and through a recent global consultation process. An overview of how the revised IPA criteria can work alongside the newly published KBA Standard is also provided. IPA criteria are based around a sound, scientific, global framework which acknowledges the practical problems of gathering plant and habitat data in many regions of the world, and recognises the role of peer reviewed expert opinion in the selection process. National and sub-national engagement in IPA identification is essential, providing a primary route towards long term conservation of key sites for plant diversity. The IPA criteria can be applied to the conservation of all organism groups within the plant and fungal kingdoms.

The contribution of NAS RA Institute of Arts to the formation and development of academic Spendiaryan Studies is outstanding. It includes publication and research of the creative legacy of the prominent representative of Armenian classical music, the founder of Armenian symphonic music, the composer, conductor and musical-and-public figure Alexander Spendiaryan (1871-1928). In the field of Spendiaryan Studies, NAS RA Institute of Arts carried out its works in the following directions: academic publication of complete “Collected Works of Alexander Spendiaryan” in 11 volumes (1951-1988); scholarly research: Knarik Grigoryan’s “Alexander Spendiarov. Life and Ouevre” (1952), Georgi Tigranov’s “Alexander Spendiarov. Based on Letters and Recollections” (in Rus., 1953), collected scholarly papers “Alexander Spendiarov. Articles and Researches” (in Rus., compiled by Gevorg Geodakian, 1973), and many other scholarly papers; publication of the composer’s literary legacy: “Collection of Letters” (compiled by Knarik Grigoryan, 1962); compilation and publication of the chronicle of the composer’s life and oeuvre (compiled by Maria Spendiarova, 1975); organization of anniversary academic conferences (1951, 1971, 2021); compilation and publication of the collection “Contemporaries about Al. Spendiaryan” (compiled by Alexander Tadevosyan, 1960), etc.

The article is dedicated to the problems of the creative heritage of the famous Armenian troubadour Sayat Nova. The poetic legacy of this great singer of man, love, beauty and justice is one of the most striking revelations of the Armenian (and not only Armenian) creative genius. Thanks to its universal human character, nationality, social richness and unique poetic art, the word Sayat-Nova still sounds today with the same force, in tune with the most intimate feelings of the human soul. The popularity of Sayat-Nova's poetry, in particular among the peoples of the Caucasus, is absolutely exceptional. Sayat-Nova is an outstanding musician-inventor and there is a regular need to reflect on new developments in the study of his song heritage.

Ashugh art is a pan-Eastern tradition that stems from the cultural origins of the peoples of the Middle East and the Caucasus. The stages of formation and development of Armenian troubadour art are still of great interest today. It should be noted that even today new facts and materials are discovered that need to be observed and studied. In the XVIII century we should already talk about the activities of the Armenian troubadour centers. In this article we have touched upon the important features of the centers established by the Armenian ashughs in Tiflis and New Julfa.