The given thesis is devoted to research of musician-domra player’s personality in the aspect of creative psychology and to examination of universal artistic experience of Kharkiv domra school. Borys Mikheyev embraced such fields as musicology and composition, conducting and teaching, organization of higher education and enlightening. Special attention is paid to B. O. Mikheyev’s practice of edition; these principles allowed to create “golden fund” of repertoire, intended for four-strings domra. His editions are a valuable pathfinder, showing how to create with appropriate level of “new” musical language, semantics of performance and poetics of genre. Domrology is a quite developed branch of Ukrainian musicology, devoted to domra as sonorous image of world and to performers’ interpretation of works for this instrument (original works as well as transcriptions). However, psychological discourse has not yet become leading for this field of performance theory. Growing relevancy of psychological dimension, through which musical performance is studied, became on the verge of XX—XXI centuries a researchers’ reflection on transfiguration of thinking with sonic images, which occurred during the last century. 7 The research of musicologists is dominated by traditional approach to composer’s art and to domra performance as to different sides of a single process. Be that as it may, the conscience of musician-performer is neither a “mirror” of historic time (such as postmodernity), nor of composer’s thinking. It serves a function of tradition’s guardian, in a system “teacher – pupil”; it becomes an instrument to acquire professional traits in accordance with multiple laws: mental, technological, theoretically-methodological, historical ones. Thus, it is difficult to overestimate role of psychology in the process of musician-performer’s education. The examination of psychological premises of musician’s activity regarding synthesis of different disciplines and inclination to understanding of a human as unique personality is desired, due to fundamental interest of modern humanity to the experience of arts, due to need for tools for its flexible correction, related to specifics of given spheres of creative activity. Self-identification of a musicianperformer inclined to creative universalism nowadays can be seen in domra art. The phenomenon of a musician-domra player, who is not merely a virtuoso and artist-interpretator, who plays in concerts (as well as a conductor of folklore instruments orchestra and a pedagogue for young talents), but is the one who is capable to create his own compositions for his instrument, is typical for Ukraine in XXI century in the light of our findings in the sphere of the performance on traditional instruments. Thus, it is an interesting subject for domra performance studies. But nowadays domra is located on a periphery of psychological knowledge on specifics of creativity of bearers of this art (unlike piano, saxophone or violin performance, with scholars’ dissertations devoted to it).
