INSTRUMENTAL UNIVERSALISM IN MODERN ACADEMIC DOMRA PERFORMANCE

The article examines the tendency of instrumental universalism presupposing a performer’s excellent three- and four-stringed domra skills and simultaneous inclusion of these instruments in concert and educational activity. The authors discover historical backgrounds for the origin of each type of domra, identify their advantages and shortcomings. The paper focuses on the period of original domra repertoire formation, analyses the rapprochement process of the two types of instruments, which manifests itself both in the choice of repertoire strategy and in the development of comprehensive teaching methodology.