Домра та її роль в контексті вітчизняної культури XX століття

Abstract

У статті розглянуто історичні аспекти побутування домри в контексті культури XX століття. Визначено основні етапи, пов’язані з формуванням музичної культури, – зародження професійної освіти, становлення оркестрового виконавства. Наголошено на трансформації ролі народних інструментів у музичній культурі наприкінці століття. Підкреслено значення розвитку камерного домрового виконавства та розширення репертуару, призначеного для даного інструменту.

В статье рассмотрены исторические аспекты бытования домры в контексте культуры XX века. Определены основные этапы, связанные с формированием музыкальной культуры – зарождение профессионального образования, становление оркестрового исполнительства. Отмечена трансформация роли народных инструментов в музыкальной культуре в конце века. Подчеркнуто значение развития камерного домрового исполнительства и расширения репертуара, предназначенного для данного инструмента.

Domra is an instrument that has a fairly long history. Although there is no reliable information about ways of occurrence in the domestic space, but there are many other instruments that were similar to it. This is the Kazakh domra, West European lute and others. There was information that the domra was used by skomorokhy. In 1648 were prohibited the use of this instrument, as well as many others and prohibited from playing them. A similar factor influenced the fact that the tradition of the game on the domra was interrupted, and after the revival of the instrument, it began to relate only to folk music. At the end of the ХІХ century there is a revival of the instrument. Quickly, domra becomes a part of musical culture. There is a formation of a new construction of a domra. The modification of the domra, from the three strings to the four-stroke, had both positive and negative consequences. In particular, the addition of another string was the factor that allowed the “equalize” domra with violins. The range of four-seater domras was larger than those of the trister ones, that is, the performers were able to play the work, with the coverage of different registers. At the same time, certain losses were noted on the topic of timbre and dynamic nature. That is, changes in the construction of the domra have influenced the fact that they were now not only possible, but even need to be connected in an orchestra to a separate group. However, the possibility of its sound in the solo presentation was reduced. The orchestral performance, firstly amateur, included an appeal to folk songs and dances that were studied by hearing. This repertoire did not require much mastery and the requirement to know musical literacy. However, the conditions are gradually beginning to lay down for the fact that the most skillful teams begin to demonstrate opportunities for further development. All this contributes to the practice of opening classes of folk instruments in musical schools, technical schools, colleges, and then – conservatories. Extremely important role is played not only by the internal aspiration of the performers to self-improvement and professional growth, but also the policy of the culture of the Soviet government. During the XX century there were significant transformations associated with the positioning of folk instruments in the context of culture. The process of gradual evolution from amateur to professional performing, which took place in domestic culture, was accompanied by the institutionalization of the art of playing the domra. The emergence in the educational institutions of the artistic direction of the professional training of the domristers, contributed to the formation of professional orchestral formations, which would include the appropriate instrument. At the end of the XX century, there were conditions for the inclusion of the instrument in other spheres of performance, as folk, academic, and variety direction. The problem of treating the domra as an instrument that could be used in chamber and solo presentation and being deprived of the “authenticity” instructions, be universal in figuratively aesthetic dimension and reproduce the ideas of “absolute music” was actuated.