Вісник Київського національного університету культури і мистецтв. Серія: Музичне мистецтво (Jun 2018)
Domra Tremolo in Terms of the Performance Techniques Rhetoric Context
Abstract
The article is devoted to an original concept of a performance technique which is based on the personal performance experience and on domra play experience in general. It relies on the unity of the logical and spontaneously emotional, the scientific and ontologically religious, the theoretic and performative. It should be considered, that nowadays, instead of a steady hierarchy of artistically independent persistent influence the new changeable influences or even transparent diffusions of directions and levels of artistic expressiveness have been proposed. That determines the academic process of a whole bunch of popular music performance compartments such as playing folk instruments that were historically formed in the national art of various countries and it has been only achieved the new artistic context during the last decades, gradually becoming a member of the academic art and performance. Among them domra plays a special part, being an instrument of argue regarding its heritage, as well as its role in the modern music art relative to the artistic dimensions of its expansion and the newest performance settings. Tremolo is suggested to be the basic term in the music “expressiveness vocabulary” of domra play and one of the key techniques that allow to achieve such a wide range of the instrument’s sound palette. It has based on the personal performance and pedagogic experience, we distinguish the specific instrumental features of domra tremolo in connection with the artistically rhythmic settings in different types of tremolo. We highlight the imagery variety of the tremolo types. In the context of the rhetoric side of domra expressiveness the specific domra legato has been displayed through domra tremolo and that becomes an absolute freedom of instrumental “breathing” that resembles vocal cantilena.
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