PEDAGOGICAL TRADITIONS OF DOMRA PERFORMANCE INKHARKIV IN THE 21ST CENTURY
An essay on the modern history related to the domra has been offered in the light of the jubilee event – the 95th anniversary of the Department of Folk Instruments of Ukraine of Kharkiv National University of Arts named after I. P. Kotlyarevsky. The aim of the research is to assess the current state of the domra art in Kharkiv on the basis of systematization of scholarly and methodological materials. Among the tasks of the research there is a description of the activities of modern teachers-domrists, who represent the Kharkiv Domra School; to systematize historical periods and provide a generalization of the events of the modern history of the domra performance. The presentation of the main material requires the involvement of historiographical, biographical and systematic methods of modelling. The object of the research is academic folk-instrumental art; the subject is domra art in the cultural spacetime of Kharkiv. The material is the historiography of the modern domra research and the experience of concert-performing and pedagogical activities of the staff of the Department of Folk Instruments of Ukraine at Kharkiv National University of Arts named after I. P. Kotlyarevsky. The presentation of the main material. On the basis of historiography and systematization, an assessment of the events that have taken place in the domra performance and science over the past 20 years is provided. Historical periods in the system of higher education of Ukraine and personalities of domrists who played a significant role in the cultural life of Ukraine are identified. The current state of the domra performance, competition and festival events, methodological and pedagogical resources are highlighted. In the process of updating the repertoire of the domra players of the 21st century an important role belongs to the compositions of a large form accompanied by a symphony or folk orchestra, arrangements from the repertoire of other instruments (the flute, the violin, and the saxophone). The repertoire is traditionally based on original compositions by Kharkiv composers. Conclusions. We have provided essays on modern teachers who are the successors of prominent figures of the domra art of the Department of Folk Instruments of Ukraine at KhNUA named after I. P. Kotlyarevsky. The most complete list of recent data has not previously been provided. A characteristic feature of the new period in the history of the domra class is the involvement of promising young people in the work. Their achievements in the creative, scientific and organizational-educational plane are quite significant and form the foundation for the future glory of the domra performance.