Shorosheva L. The kobza phenomenon in the system of academic folk-instrumental art of Ukraine

In the thesis the process of genesis and evolution, stagnation and renaissanse of fret kobsa as an indivisible art-aesthetic phenomenon of Ukrainian music culture is considered for the first time. Using multiple examples the ways of historical migration of Ukrainian kobza and its transformation into Russian domra are shown as well as the contemporary revival of the instrument and its return from the nonexistense. An influence of kobza on the development of historical instrumentology in its Ukrainian mentality is determined. The definition is given and scientific conception of classical kobsa is determined as solo, timbre, folk instrument having quint line-up, corresponding to line-up peculiarities of Ukrainian folk music and allowing to interprete the folclore, academic and modern opuses. The methodical generalizations of the process of kobza constraction and perfoming-pedagogical experience at the department of folk instruments of P. I. Tchaikovsky Ukrainian National Tchaikovsky Academy Music have been carried out. It is proved that classical kobza in comparison with four-string domra has its own performing and pedagogical specifics in spite of common methodical approaches that help in forming of academic status of both instruments.