Transcriptions and their Varieties. The Inclusion of “Second-Rate Compositions” into the Repertoire of the Domra
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Abstract
The author examines the existent deinitions of such conceptions
as transcriptions, arrangements, adaptations, settings, as well
as the unifying category of “secondrate
composition.” Not
presenting alternatives to each other, they may complement
themselves and even replace each other mutually. Transcriptions
do not present artistic conceptions that were manifested for the
irst time, but are results of adaption, reworking, and sometimes
even partial or radical revision of the original musical
composition. Research is made of approaches to the examined
phenomena of such scholars as A. Sokolov, B. Borodin,
I. Ivanchey, N. Davydov, N. Rezheninova, N. Prokina and
O. Devutsky, who had researched this topic from the positions
and types of activities. The disclosed scholarly positions are
utilized upon apprehension of “secondrate
compositions”
for the domra. Relying on her own experience as a performer
and arranger, the author highlights the speciic challenges for
musicians in their practical work. This refers to the choice of
material, coordination of strokes, textures, aesthetic and artistic
parameters realized in a new manner in a different milieu of
timbre and sound. The author shows that a transcription for the
domra can be cognized as a “written interpretation” of a musical
composition, allowing for modiication and transformation of
the text of the musical source. The level of transformation is
determined by many circumstances – the artistic intentions
of the transcriber, the possibilities of the instrument and the
technical limits of the domra performers of various levels of
skill (pupil, student, mature artist).
Keywords: transcriptions, arrangements, domra, secondrate
composition
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