UDC 78.082
DOI: 10.36871/hon.202303166
Authors
Maria A. Lebedeva,
Chelyabinsk State Institute of Culture, Chelyabinsk, 454091, Russian Federation
Abstract
The problem of timbre in modern music is particularly relevant nowadays. Until today, composers
who have created works for folk instruments have mainly focused on the development
of orchestral writing, expanding the instrumentation and improving its technique. Now the
authors and performers of academic folk music face new challenges associated with both the
expansion of the genre palette of compositions and the search for special timbre means. In this
context, composers use registers that were previously uncommon to folk instruments, apply
special techniques of sound extraction, experiment in the field of timbre mixes.
The article analyzes the Concert-Symphony for domra and orchestra of Russian folk instruments
by composer A. Tsygankov from the standpoint of the role of timbre, as well as textural
and timbre features. Special attention is paid to the timbre specifics of the domra as a solo
instrument, which becomes the main carrier of the major timbre patterns of the composition.
At the same time, the artistic expressive means of the work, revealing the author's intention,
are investigated. In the course of a detailed analysis of the Concert, conclusions are drawn
about the important formative and meaningful role of timbre in the work.
Keywords
A. Tsygankov, Concert-symphony, domra, orchestra of Russian folk instruments, timbre dramaturgy
