Domra’s sonorous possibilities in the pieces by O. Oliinyk

Background. Domra expressive means today are meager than many other instruments. This is due to the fact that domra is a relatively young instrument in the academic environment, which is why it is limited by the variety of performing techniques. However, modern domra composers and performers are constantly looking for new ways to expand the capabilities of the instrument. In domra music, sonorics is presented in the works of O. Oliinyk, L. Matviichuk, V. Matriashin, M. T. Lysenko. Special attention should be paid to the pieces for domra solo by O. Oliinyk, which trace the features of sonority, in particular “Shimmering sound” (1996) and “Chimes” (1984) for domra solo. Despite the fact that O. Oliinyk is a bright domra player, well-versed in the capabilities of the instrument, and actively fills the coffers of domra repertoire with own pieces and arrangements, researchers of domra modern art almost do not pay attention to him in their writings. The only exception is article of I. Formaniuk (2017), which researches the features of the domra sound image in “Chimes” by O. Oliinyk, while the author does not bring to light the effect of sonorics on the specifics of interpretation of the instrument. Objectives. Determine the means of implementing the sonoristic capabilities of the instrument in the pieces of O. Oliinyk for domra solo “Shimmering sound” and “Chimes”. Methods. The research methodology is based on the unity of genre-style, organological and historiographical analysis, which helps to identify the means of realizing the sonorous potential of domra. Results. Coloristic techniques in the pieces “Shimmering sound” (1996) and “Chimes” (1984) are systematized depending on the method (trills, glissando, beats) and the place of sound extraction (behind the stand, on the bow, not on the instrument), and also considered their expressive potential. In addition to the various techniques of playing in the “Shimmering sound” by O. Oliinyk, attractive is the actual compositional side and internal image contrast, which demonstrates various sound ways of implementing the program idea of “shimmering”. The composer freely uses a twelve-tonality with a noticeable attraction in G. The composition of the work is a complex three-part form. In the first part, the gradation of the figurative state ranges from light sound shimmering to expressive disconcertingly sonorous sounds in a dense texture. The effect of “shimmer” is created through the use of half-tone trills. The second part contrasts with the first transparent texture, large rhythmics and sustained pedals, which are aimed at embodying a meditative-contemplative image. The reprise (third part) consists of three phases. The first phase begins with the key intonation of the first part, and the “flashing” light effect reappears. In accordance with the chosen range of means, the ownership of the pieces of O. Oliinyk to a specific sonorics type is defined. Thus, in “Shimmering sound” the idea of shimmering is realized by O. Oliinyk with the help of special techniques of sound extraction, beyond temperation (non-tremolo glissando by pulling and lowering the strings, glissando with pulling the strings with the finger of the left hand), sound effects (“slap”, beat the strings behind the stand, with the mediator on the bow, with the mediator on the stand and beat with foot or heel on the floor) that allows us to consider the play in the context of sonoristic. In contrast to the “Shimmering sound”, in the “Chimes” the sound image of “ringing” is embodied, primarily, by rhythmic complex and non-standard sound production methods only give coloristic shading and complement sound representing palette. Specific author’s techniques that have enriched the genre palette of sound extraction tools are revealed. The main motif of the bells is the quarto-quint moves in the melody and the “ringning” rhythm formules against which the harmonious plan of the O. Oliinyk’s piece looks quite traditional and as simple as possible. Here dominate the tonic-dominant constructions. The main tonality of the work is D Major with a constant gravitation to the fifth degree. The stability of the harmonic plan is also facilitated by the form of strict variations, in which the piece is written. Domra in the works by O. Oliinyk is presented as an instrument that is capable not only of displaying physical phenomena (sound and light), but also of imitating other instruments, in particular guitars and bells, and borrowing techniques from their armory (“slap”, beats on the instrument bow, imitation of bells with flageolets). After analyzing the “Chimes” for domra solo by O. Oliinyk, it should be noted that he manages not only to adapt the idea of ringing for a plucked instrument, but also to show the diversity of domra’s expressive potential. Non-standard methods of sound extraction are aimed at reflecting different types of bells. Conclusions. In comparison with the “Shimmering sound”, “Chimes” are inferior in the variety of ways of playing the domra, but the work is interesting in the idea of representing “ringing” in the domra version, which brings the work closer to coloristics. Thus, in the works of O. Oliinyk, domra is presented as an instrument that is able to imitate other instruments, sound images of objects, natural phenomena and physical phenomena (sound and light). All these ideas are realized and revealed through a range of sonoristic means, which encourages composers to expand the performing armory of domra at the turn of the XX–XXI centuries and constantly enrich its visual palette, the diversity of which confirms the growing potential of domra in the field of modern academic performance.