MODERN STATE OF ACADEMIC PERFORMANCE ON DOMRA
UDC index:
780.6
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Information about authors: Lopatova Ekaterina Sergeevna, Applicant of an Academic Degree of the PhD in Art History, Saratov State Conservatoire (Saratov, Russian Federation). E-mail: rina.cotter@gmail.com
Annotation: The relevance of the theme is conditioned by the originality of the artistic phenomenon, which is the modern academic performance on domra. This phenomenon of the XIX-XX centuries has become one of the unique branches of modern academic art, in which the most striking features of the Russian national character: a special melody and characteristic elements of Russian musical folklore. The purpose of the article is to reveal the main tendencies of development of modern academic performance on domra. Research methods: observation, collection and analysis of facts, study of musical and audio materials, synthesis of historical information related to the stages of the formation of domestic performance on domra. The research centers on work of contemporary composers, domra players, materials of competitions, as well as own observations. The result of the research is the fixation of the main trends in the development of modern academic performance on domra: early professionalism, repertoire (domra) universalism, appeal to domra professional composers. One of the main conclusions is that, despite not quite a favorable information environment, academic performance demonstrates a high level and continues to develop. In many ways this is facilitated by the holding of all-Russian and international competitions of performers on folk instruments, which cover all levels of music education from school to university. Competitive requirements assume the inclusion in the program of works of various styles and historical epochs, which helps domra players develop repertory universalism. Also, the tendency of universalism manifests itself in the aspiration of the performers to master both the three-string and four-string varieties of the instrument. At the present stage, the technical and squeaky features of Domra disclose a highly artistic original repertoire, which was created by the recognized master of folk instrumental genre A. Tsygankov.
Keywords: music, domra, performance, academic, professionalizing, universalism, Andreev, Tsygankov
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Lopatova Ekaterina Sergeevna, Applicant of an Academic Degree of the PhD in Art History, Saratov State Conservatoire (Saratov, Russian Federation). E-mail: rina.cotter@gmail.com
Annotation: The relevance of the theme is conditioned by the originality of the artistic phenomenon, which is the modern academic performance on domra. This phenomenon of the XIX-XX centuries has become one of the unique branches of modern academic art, in which the most striking features of the Russian national character: a special melody and characteristic elements of Russian musical folklore. The purpose of the article is to reveal the main tendencies of development of modern academic performance on domra. Research methods: observation, collection and analysis of facts, study of musical and audio materials, synthesis of historical information related to the stages of the formation of domestic performance on domra. The research centers on work of contemporary composers, domra players, materials of competitions, as well as own observations. The result of the research is the fixation of the main trends in the development of modern academic performance on domra: early professionalism, repertoire (domra) universalism, appeal to domra professional composers. One of the main conclusions is that, despite not quite a favorable information environment, academic performance demonstrates a high level and continues to develop. In many ways this is facilitated by the holding of all-Russian and international competitions of performers on folk instruments, which cover all levels of music education from school to university. Competitive requirements assume the inclusion in the program of works of various styles and historical epochs, which helps domra players develop repertory universalism. Also, the tendency of universalism manifests itself in the aspiration of the performers to master both the three-string and four-string varieties of the instrument. At the present stage, the technical and squeaky features of Domra disclose a highly artistic original repertoire, which was created by the recognized master of folk instrumental genre A. Tsygankov.
Keywords: music, domra, performance, academic, professionalizing, universalism, Andreev, Tsygankov
