The Art of Domra Playing in Various Contexts of Musical Composition
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Abstract
The article pinpoints perceptible modifications providing with the presence of the art of domra playing in the registry
of academic music. Special attention is paid to the fact of preservation of distinctive signs of its initial organics.
These two circumstances explain the steady perception of the domra as a folk and academic classical instrument
capable of swaying towards one or the other direction, depending on the repertoire, manner of playing, nature of the
musicians’ thinking. In connection with the discussion of the concept of “academic status” the article expresses the
hypothesis of the interaction of the processes of academization and internationalization, and also briefly recreates,
analogously with the domra, the history of the flute, which became an academic classical instrument only in the
19th century. The angle of reasoning emanating from the theory of Valentina Konen about the three strata of art
– folk, professional and the so-called “third stratum” – made it possible to strengthen the thesis that in various
manifestations and at various stages of development the art of domra playing could pertain to any of these. In
general, the complex history of this instrument led presently to the stage when it stays in one range with professional
academic phenomena and takes up its niche in the musical cultur e of our times.
Keywords: domra, the domra in professional music, the domra in folk music, Russian folk instruments,
academization and internationalization of the art of domra playing.
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