The development of the art of the domra playing in Ukraine in the context of the revival of folk musical-instrumental culture at the turn of the XX–XXI centuries
Authors: Daniliuk Ya.V. 
Published: June 2020

Formulation of the problem. The article contains the analysis of the problem of the domra performing development under conditions of strengthening the culture-creating role of folk instrumental art in the late XX – early XXI centuries. The analysis of historical and pedagogical sources ensured the authenticity of the author’s determining the prerequisites for the development of the domra art in the time studied. Among them there are: the deep historical folk and academic traditions of the domra playing, popularity of the amateur and professional domra performing and composer creativity, development of the process of teaching the domra, scientific research in the field of art history, pedagogy and methodology, and the like. It was established that the development of domra performing in the context of the general process of forming Ukrainian organology as an independent scientific and artistic field in the late XIX – early XX centuries was greatly contributed by the scientific and practical proceedings of scholars, such as the art historians, educators and artists P. Demutsky, K. Kvitka, M. Lysenko, S. Liudkevych, H. Khotkevych and others, who substantially studied the properties of various national musical instruments (domra, flute, trembita, kobza-bandura, lira, violin, cymbals, bassolia, tambourine, buhai, drymba, horseshoe, derkach and others). At the same time, there is a lack of elaboration of the problem of the development of domra art in Ukraine both in terms of studying the theory and methodology of modern folk instrumental performing, as well as in historical and pedagogical terms. In particular, the development of questions of the development of domra performing in Ukraine at the turn of the XX–XXI centuries remains not completely exhausted. Proceeding from this, the purpose of the article is to analyze the prerequisites and factors of the formation of domra performing in Ukraine in the context of the dynamics of the national folk musical and instrumental culture in the late XX and early XXI centuries. The appliance of problem-chronological, comparative historical and retrospective methods allowed the author to scientifically substantiate the facts of the national domra performing development in the late XX – early XXI centuries. The study’s results. An important factor in the development of domra performing art at the crossroads of the centuries was the rethinking of the existing and the creation of a new repertoire policy of performing activities. Traditionally, the repertoire basis of domra performing art was drawn from two key sources: the folk repertoire, which developed depending on the historical conditions specific to the folk instrumental genre, and from academic works that inherited the traditions of European and native cultures of the XX century. It was discovered that during the period under study, the development of domra’s performing was facilitated by the stylistic and substantial enrichment of the repertoire for solo and ensemble, the search for new timbre-articulation connections, new ensemble heterophony – co-creation of composers and performers-domrists, who provided the appearance of new original content, form, performing technique of composer discoveries, so that at the turn of the XX – XXI centuries appeared a significant number of modern compositions for domra. In the article it is noted that in the period under study, the musical and performing arts to a certain extent found independent status as a special field of identifying the musician’s artistic and creative abilities in terms of the original interpretation of musical works and masterly performance on the instrument. The development of the domra art was facilitated by the improvement of the process of preparing performers, the publication of teaching and methodic aids built on the fundamental musical and theoretical basis, the appearance of the constellation of new world-famous talented performers on this instrument. The level of professional training of performers on folk instruments had become so high that it allowed not only to widely adapt classical works created for other musical instruments, but also to successfully write and perform new original domra compositions. At that time, in Ukraine, original instrumental schools of folk-instrumental art were preserving and continuing to form, known both, locally and internationally, including the Kharkiv school (М. Lysenko, F. Kоrоvai, B. Mikhieiev, Ya. Danilyuk, N. Kostenko, I. Kononova and others), Donetsk school (V. Ivko, S. Bilousova, T. Lytvynets, T. Setti, I. Maksymenko and others), Kyiv school (S. Bilokoniev, V. Bilous, L. Matvyichuk and others), Odesa school (V. Kyrychenko, S. Murza, A. Oleinyk, D. Orlova, I. Formaniuk and others) and Dnipro school (N. Bashmakova, V. Kikas and others). Each school, while retaining its originality in approaching the repertory basis selection, the expansion of performing techniques, the development of teaching domra performing methods, was marked by significant achievements in the development of domra performance art in Ukraine in the period under study. A significant factor in the rise of the domra performing art was conduction of a wide concert and festival popularization activity aimed at promoting the national Ukrainian art in Ukraine and abroad. Analysis of concert-competitive programs, announcements, booklets, informational messages in Internet sources confirms the conduction in Ukraine at the turn of the XX – XXI centuries of a significant number of competitions of national and international level, where Ukrainian domrists demonstrated high skills in the nominations “Domra” and “Ensemble Performance”. Such as the International Competition of Performers on Ukrainian Folk Instruments named after Hnat Khotkevych, the International Folk Instruments Performers Competition “Art-Dominanta”, the Nationwide Festival-Competition of Performers on Folk Musical Instruments “Provesin”, the Nationwide Open Festival-Competition of Performing Arts and Play on folk instruments “Barvy Poltavy” (Poltava Colors), the annual Forum of performers on folk instruments within the International Festival of Musical Art “Music Without Borders” and others. Conclusion. Identified trends are a guarantee of further academicization of folk instrumental art (publication of teaching and teaching aids and methodical literature, development of research work, enrichment of the system of contests of performers, etc.), as well as the spread of the concert and festival movement aimed at promoting national Ukrainian art, search of its new identity and independence, where the domra music has its rightful place.