Stylistic properties of music in the light of current requirements for the repertoire of a modern domra player

The relevance of the study is determined by the unique characteristics of the intonation of the modern domra in its timbre articulation, timbre facture peculiarities and special renaissance madrigal colouring of the sound with its philosophy of inclusion in the spiritual, ‘permeated with theurgy’. These qualities have proved to be in demand in the composer's work of recent decades. The domra is an instrument directly resembling in its expressiveness the sound of bouzouki and mandolin, which represent the continuation of the ancient Greek tradition of stringed plucked instruments such as lyre and kiphara.The subject of this article is the speci city of domra instrumentalism, its connection with the symbolic emblematic worldview in art. For the rst time the issues of the theory of domra performance are considered in compari son with the general theory of performance, stylistic and speci c features of the expressiveness of domra playing are de ned. The article uses historical cultural and musicological methods, as well as performance and analytical approaches.The methodological basis of the article is formed by the works of Kh. Besseler, L. Ginzburg, N. Goryukhina, V. Konen, E. Kruglov, V. Cirkus. I. Yampolsky. The materials of the study can be useful in the courses of history and theory of performance, in teaching string and plucked instruments in higher educational institutions.