Timbre-articulatory features in the domra performance (on the material of editorial transformations of violin music).
Background. In recent years, there has been an increasing interest in the problem of transcription. In particular, a number of dissertations have been devoted to this problem: studies M. Borisenko, T. Smirnova, M. Parshin, B. Borodin, N. Ivanchej. However, the edition of violin music for four-string domra as an art phenomenon has not yet become the subject of a special study. The urgency of the work is also related to its direct connection with the tendencies of modern performing practice. In the dissertation research by T. Smirnova, devoted to transcription creativity in modern domra art, the specifics of violent transcriptions did not become an object of independent study. Besides, in this scientific work the principles of transcription for three-string domra are considered, in the repertoire of which the creations do not occupy such a significant place as the four-string domra. The wide introduction of violin works into the repertoire of the four-string domra is explained by the identity of its structure with the violin, the breadth of the range of this type of instrument. Hence the more sweeping artistic-style and genre amplitude in the selection of violin originals and the possibility of performing compositions under the condition of introducing editorial instructions. Ukrainian domra can rightfully be called a violin among folk instruments, given the proximity of the instrument to the string and bow instrument not only with regard to the structure and range, but also the wealth of artistic expressive means. Objectives. The objective of this study are to establish the timbre-articulatory features of the domrą performing art, determined by reading the first text in the editions of violin music. Methods. The author of the proposed article relies on the experience of the Kharkov domra school, in particular, the principles of creating a version of violin music for the four-string domra B. Mikheev, whose direct student is E. Lermontova. The application of methodological approaches in the study of text depends both on the material of the analysis and on specific analytical problems. A musical work is viewed from the point of view of its communicative specialty, since the text exists not only as an objective given, but also is passed through filters of individual reception, editorial and performing interpretations. Communicative specificity of the text in the cultural and historical space was considered in the works of R. Bart, M. Bakhtin, Yu. Lotman, who became the methodological basis of the proposed study. Results. The transition of a work to the conditions of the instrumental style of another instrument, carried out during the transcription of the text, implies the re-intonation of the musical material. When the script is edited or edited, a timbre- articulatory re-intoning takes place on the house. The key concepts are timbre and articulation. At the same time, it should be borne in mind that the timbre determines the recognizability of the sound of the instrument, its color, and the strokes embody the enormous potential of artistic expressiveness. It should be borne in mind that the creation of house transcriptions of violin music contributes not only to the academicization of Domra, the mastery of the classical repertoire, but also to the appropriation of a different instrumental style. The multicolored sound is one of the characteristic features of domra. Another of its peculiarities is that each of the domestic methods of sound extraction can create different sound tones (for example, different ways of starting, filing and ending the tremolated sound changes its character). Conclusions. So, for today there is no research where the problem of edition of violin works for a four-string domra is comprehensively analyzed. Meanwhile, this form of artistic practice contributed to the expansion of the repertoire, the instrumentalization of the instrument, the introduction of domrists to the world classical music. Thanks to the introduction of domrists-interpreters of the sound image and instrumental style of the violin, the arsenal of intonational means of the musician expanded. This contributed to the creation of original works for the four‑string domra as an academic instrument, which has the widest range of artistic and expressive means. The editions of violin works for four-string domra are connected with the heuristic searches of the musician, conceivable as the result of the entry of the domrist into the artistic space of the world musical classics, which entails: a cognitive approach, mastering the styles and genres of violin music, entering the field of academic musical art of the age-old traditions, the development of sound-like thinking, artistic-aesthetic taste. It can be argued that the existence of academic music implies its execution both in the original avtor versions, and the creation of transpositions the translation of music into conditions of a different instrumental style.