The sound image of the domra in V. Solomin’s works as a representant of the sound image of modernity

Background. In recent years, 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. The objectives of this study to reveal ways of creative self-identification of V. Solomin as well as of conception of domra’s new sound image in his works. The complex of the analytical methods (analysis, synthesis, comparative studies), as well as the historical-typological approach was used in this research. Results of the research. Specific of world’s modern sound image is marked by conceptualization of a sound, destruction of established hierarchy of means of musical expression and new understanding of statuses of musical instruments. These features transpire in creation of new sonic images of musical instruments, including the domra, whose evolution during XX century was connected with the academic tradition of music. On the verge of XX–XXI centuries ample transformations of instrument’s sound image, related to diffusion, intertextuality and plurality of modern culture, are stamped in the creativity of those connected to the Ukrainian domra art. In V. 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. Classical musical pieces being interpreted for the domra by V. Solomin allow to broaden vistas of perception of this instrument since they represent “known” content in new and somewhat unexpected timbre variant, thus creating re-intonation and re-semantization of content. Personal re-intonation and re-semantization in the interpretation of J. S. Bach’s works, carried out by V. Solomin, relies on modification of articulation and new understanding of source’s timbre characteristics; it is a complex intertwining of pre-Baroque, Baroque and modern performance art, as well as of lute, violin and domra traditions, and of modern and academic layers of musical performing. Innovation of domra’s sound image implies accretion of its repertoire with “modern classics” as well. V. Solomin’s interpretation of A. Schnittke’s “Suite in Old Style” might be seen as “condensed” reincarnation of spiritual values, manipulation with signs of the Past (for instance, Baroque era), crucial for postmodern culture. Another aspect of innovation of the domra’s sound image lies in the fact that V. Solomin adds to its repertoire pieces, not quite traditional for its national and stylistic appeal. In this regard, interpretation of I. Albéniz’s “Asturias” becomes multi-layered combination of signs, typical for different cultures. This transcription manifests stylistic mobility of domra’s sound image as well as its capability to adapt to technical devices, stemming from other instruments. The fact that V. Solomin created two bands, “Solominband” (2004) and “DomRa” (2009), proves ability of the domra’s sound image to undergo drastic stylistic modifications. The activity of “Solominband” (including a project in partnership with the singer Katia Chilly) and “DomRa” demonstrated author’s intentional orientation towards synthesis of authentic tradition and jazz, desire to reveal timbre colors of the domra, special attention to the sound as a carrier of intonation sense, understanding of the domra’s leading role in the context of ensemble performance while simultaneously proclaiming “performer’s equality”, its reflexivity and co-dependence from other participants of the ensemble. Expansion of timbre, articulatory, dynamical and technical “aura” of the domra, achieved by usage of its electric variant, allowed the author to create large-scaled multi-layered synthesis of cultures: authentic (Ukrainian, Celtic, Latin-American), academic, jazz and rock. Electric variant of the domra enriched expressive and technical possibilities of the domra art with now ways of playing, while also added variety to timbre-sonic layers of modern jazz and rock, thus becoming a basis for new stylistic mixes. As an example of such mix, we can regard V. Solomin’s versions of modern pop-music. Program “The Rain”, based on interpretations of songs by Sting (G. M. T. Sumner) is marked by synthesis of folklore, jazz and pop-music (which is relevant to pluralistic foundations of modern multi-culture); by representation of sound image of the domra as of the instrument, capable of recreation of vocal cantilena; by rich palette of technical and expressive devices; by functional versatility of the domra, acquiring both solo and accompaniment roles, as well as status of bearer of a melodic line and stimulus of intonation and rhythmic movement, instigator of jazz-like “improvisatory competition” etc. Conclusions. The present results are significant in understanding that creativity of V. Solomin foreshadows new vectors of the domra art’s evolution and re-semantization of its sound image. The domra’s modulation into spheres of academic musical art, pop and rock culture, authentic performance and jazz results in new, culturally polyphonic sound image of this instrument and its new status of the poly-functional multi-stylistic mediator between cultural dimensions, of concentrated, timbre-sonic expressive, and conceptually flexible carrier of cultural memory. Perspectives of further research lie in examination of features, characteristic for interpretations of the domra’s innovative sound image by Ukrainian musicians who work in the sphere of the domra music, including jazz, pop and rock music.