Comparative Analysis of the Performance of Tchaikovsky’s Violin Concerto in D Major, Opus 35 on Prima Kobyz and Violin
Análise comparativa da execução do Concerto para violino em ré maior, Opus 35, de Tchaikovsky, sobre Prima Kobyz e violino
Shugay A. Bultbayeva A. Ganikhanova S. Kazybekova Z. Shegebayeva N.
2025Universidade Federal de Goias
Musica Hodie
2025#25
The purpose of this study was to investigate the specifics of performing classical violin repertoire on the prima kobyz using the example of Tchaikovsky’s Violin Concerto in D major, Opus 35. The research methodology included a musicological analysis aimed at comparing the technical, timbral, and performance features of the two instruments, as well as the influence of aesthetics and the way the instruments produced sound on the interpretation of a musical work. Additionally, a survey was conducted among 50 professional performers, comprising 25 women and 25 men, at the Kurmangazy National Conservatory of Kazakhstan and the Kurmangazy State Orchestra of Kazakhstan. The study found that 40% of respondents considered the technical differences between playing the prima kobyz and the violin to be significant, and another 40% considered these difficulties to be moderate, indicating the need to adapt performance techniques. Fifty percent of respondents noted the prima kobyz’s high ability to convey lyrical timbre nuances, and sixty percent – its potential to create a new interpretive aesthetic in the performance of classical works. The analysis of the concerto’s performance on the prima kobyz revealed that the unique timbre of this instrument contributed to the enrichment of the work’s artistic and emotional content, as well as the expansion of its interpretive possibilities. The theoretical analysis revealed that the prima kobyz, as an instrument, along with the violin, had the potential to expand the performance repertoire by adapting classical works, such as Tchaikovsky’s Violin Concerto in D major, Opus 35.
aesthetics of musical instruments , female musician , folk performance , gender equality , musical adaptation , musical culture
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Department of Kobyz and Bayan, Kurmangazy Kazakh National Conservatory, Almaty, Kazakhstan
Faculty of Vocal and Conducting, Kurmangazy Kazakh National Conservatory, Almaty, Kazakhstan
Department of History of Music and Criticism, State Conservatory of Uzbekistan, Tashkent, Uzbekistan
Department of Traditional Musical Art, Temirbek Zhurgenov Kazakh National Academy of Arts, Almaty, Kazakhstan
Department of Kobyz and Bayan
Faculty of Vocal and Conducting
Department of History of Music and Criticism
Department of Traditional Musical Art
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