Abstract
The sound image of the domra in V. Solomin’s works as a representant of the sound image of modernity
Highlights
There has been an increasing interest in research of global and pivotal changes of world’s sound image in musical art, this shift being incarnated in a tendency towards conception of new sound images of music instruments, which would be simultaneously relevant to new sound realm and being capable of “encapsulating” culture’s memory and experience
The domra, which is one of the carriers of this cultural memory, has its sound image transfigured in dimensions of academic, folklore, jazz and stage types of performance traditions in the works by V
Solomin’s creativity the sound image of the domra is characterized by universality, as in different forms of performance this instrument appeals to stylistic layers of folklore, classical academic heritage of various cultural epochs as well as to new kinds of art, the one of stage and jazz
Summary
There has been an increasing interest in research of global and pivotal changes of world’s sound image in musical art, this shift being incarnated in a tendency towards conception of new sound images of music instruments, which would be simultaneously relevant to new sound realm and being capable of “encapsulating” culture’s memory and experience. Solomin’s creativity the sound image of the domra is characterized by universality, as in different forms of performance (such as solo, ensemble, orchestral) this instrument appeals to stylistic layers of folklore, classical academic heritage of various cultural epochs as well as to new kinds of art, the one of stage and jazz.
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