There is perhaps no name more ubiquitous or discursively powerful in Armenian musical culture than Komitas (1869-1935). Born Soghomon Soghomonyan in the Ottoman city of Kütahya (in what is today Turkey), Komitas has come to embody "Armenia"—or rather, the possibility of Armenia. He has become synonymous with and emblematic not of the homeland bounded by the confines of the nation state, but a symbolic, imagined homeland. In Komitas, there is a possibility of a wholeness denied by geography and by history—a possibility clung to by the widespread Armenian diaspora. But how easy it would be to stop the story there. For what would happen if one were to poke at the borders of the sonic world that has come to be associated with Komitas and interrogate the sonic alignments these borders facilitate? What would happen if one were to seek out vestiges of the Ottoman world from which he had come? To do so would be to interrogate the very home that has made wholeness possible—to see it for its possibilities and impossibilities, its inclusions and exclusions. For although, through Komitas, there is the possibility of an “us,” after all, there can be no “us” without “them.” In this sonically boundaried home, who belongs? Who does not? Where, in the Komitas that has come to mean "Armenia," is Soghomon?