The study aims to identify the main criteria for the performance adaptation of Baroque music in the process of its performance on the modern domra. The article raises questions about the correctness of creating arrangements of early music for the domra, preserving the stylistic features of the original, and whether it is acceptable to make changes to the author’s text. The scientific novelty of the research is determined by the contradiction that has developed between performance practice and its theoretical understanding: many Baroque works in arrangement for this instrument have become established in the modern domra repertoire, but there is no analysis of them from a performance point of view. As a result of analyzing arrangements of Baroque music for the domra, the following important criteria for its performance adaptation are identified: stylistic correspondence of the arrangement to the original, adequate recreation of the stroke and dynamic palette of the work, features of its texture, preservation of the figurative and semantic integrity of the original source, as well as the performer’s comprehensive knowledge of the specifics of the musical performance art of the Baroque era.
Elena Ivanovna Zabavskaya (Mon,) studied this question.