MINIATURES FOR DOMRA SOLO BY B. MIKHIEIEV: GENRE-STYLISTIC AND PERFORMATIVE FEATURES

Abstract

The article addresses the problem of solo repertoire for the domra, which remains the least explored aspect of domra art. The relevance of the topic is determined by the need for a systematic approach to revealing the genre-stylistic and performative features of works for domra solo, based on the cycle «Seven characteristic pieces” by B. Mikhieiev. Previous studies devoted to domra miniatures, in particular the article of I. Formanyuk, L. Babich, S. Bilousova and N. Kostenko are analyzed. Special attention is given to the genre-stylistic diversity, cyclic organization, and specific characteristics of musical miniatures that are grouped into cycles and albums, including folkloric, programmatic, and non- programmatic examples. The concept of «expanded domra technique» is applied, encompassing traditional playing techniques as well as elements borrowed from the performative repertoire of other instruments. Using the examples from the cycle «Seven characteristic pieces», the article analyzes the use of rhythmic asymmetries, metric-rhythmic formulas, various articulations, different types of pizzicato and legato, harmonics and chordal techniques. The interrelation of the pieces within the cycle is highlighted through types of programmatic content, genre affinity, and the expanded domra technique, which enhances the expressiveness of the musical material. The study confirms that B. Mikhieiev’s cycle represents a significant phenomenon in Ukrainian domra art, combining technical versatility with artistic expressiveness. The author proposes further analysis of solo domra works, performance techniques, and the development of the miniature genre in both solo and ensemble contexts.