FEATURES OF THE SPATIAL AND TEXTURAL ORGANIZATION OF COMPOSITIONS FOR DOMRA WITHOUT ACCOMPANYING

Abstract

Aim of the work. The article explores the principles and methods of texture formation in music for solo instruments (unaccompanied) in the historical, structural and functional, instrumental and specific aspects. The research methodology includes the use of aesthetic and cultural, historical, structural and functional musicological methods, which form a single methodological basis. The scientific novelty of the article is expressed in the identification of the formative, intonational and melodic, spatially-shaped functions of the texture in the compositions for the solo instrument. The specificity of the domra instrumental texture in the indicated functions is revealed. Conclusions. In the music of the XX century, the actualization of solo instrumental forms for strings and wind instruments, traditionally accompanied by a piano, ensemble or orchestra is observed. Over the centuries of its existence, this genre has developed its own textural forms of a mixed type. Their naturallinear development principle gradually absorbed various types of polyphonic musical texture (hidden and explicit polyphony, homophonic and harmonic elements, sonoristics), which is based on the immanent intonation properties of the complicated melody, and also created its own specific ones. The mentioned above requires special performing hearing and methods of embossing in a holistic linear-vertical-deep spatial development of solo instrumental texture. The specifics of domra instrumentalism (the location of all strings in one plane, the possibility to simultaneously use different methods of sound extraction, specific instrumental methods) provides significant opportunities for differentiated performance and combinatorics of homophonic and polyphonic textural formations. This allows to deploy complex drama in various genre and style forms of solo domra instrumentalism.