The study of the fret-scale structure of dombras Bоkey tradition as a mechanism of the educational process

Abstract

In recent years a series of research works have been performed, which allowed forming of an idea
of the harmony and sonority structure of the Kazakh dombra. However, their /vowels/ regional specificity has
not been studied. The purpose of this article, based on the research of dombras of Zhetysu by B. Muptekeev, is to
reveal the peculiarities of the sound-order system of dombras of Bukeyev tradition. The article uses a systematic
approach to studying the harmony-sound system of the dombra, first proposed by Bolat Karakulov, and also
continued in the description of the names of the ladkas-pernet in the article by T. Asemkulov. Bolat Karakulov
was the first to compare the order of perne on the dombra, concluding that the system of fret-perne has regional
peculiarities. In the study of B. Muptekeyev’s study of the perne dressings on the fingerboard of the dombra
from the East Kazakhstan has acquired a systematic character. The task of the offered article is to compare and
analyze the specificity of dombras of Western Kazakhstan. The dombra of the Bukeyev school is characterized
by the fixed perne a, h, d, e, while the harmonies: c and f remain movable. Composers who paid special attention
to the system of the fret-strings dombra, due to the sounding of the fixed fret, all the above musical instruments
have the movable perne b-saryarka, typical for Kurmangazy’s cue «Sary Arka». Then, we can conclude that this
phenomenon is characteristic of Bukeyev dombras