Kazakh Dombra of the Arka Area in the Past and Present: A Studying Experience

The dombra is a two-stringed plucked chordophone widely used in the traditional musical culture of the Arka area (Central Kazakhstan), that is dominated by the shertpe style. This style of playing is characterized by advanced melody, free rhythm, and expressive sound plasticity. The study presents the first comparative analysis of dombras used by traditional kuishi of the late 19th and early 20th centuries, such as Abdi Rysbekuly, Sembek Aidosuly with instruments of contemporary performers Dauletbek Saduakasov, and Kalken Kassymov.This article is based on materials collected in the Karaganda region and aims to identify sequence and transformations in the instrument’s morphology and ergonomics. It describes dombra samples and compares their form, material, frets number, and string quality. The study applies a comprehensive methodological approach, including comparative-typological, comparative-historical, and systemic-ethnophonetic methods (Igor Matsievsky). The empirical basis consists of interviews with dombra artisans Kalken Kassymov (b. 1949) and Yerdos Rakhimbekov (b. 1976), as well as materials from folklore and ethnographic fieldworks (Karaganda, August 2023, July 2024).Comparative analysis of the instruments revealed morphological differences: forms of the instrument include trapezoidal, pear-shaped, and rounded, along with variability in the frets number (from 12 to 14). The dombras of Sembek, Dauletbek, and Kalken show similarities in body shape and volume. The popularity of the trapezoidal form (k̦alak̦ dombra) in the studied area apparently has connection with the comfortable positioning of the right hand on the side parts of the body, as well as specific features of the plucking technique. The results indicate that the Arka dombra school is associated with the widespread use of the trapezoidal k̦alak̦ dombra, which is optimal for the shertpe technique and stable sound production. Contemporary types of the k̦alak̦ dombras undergo constructive changes, adapting to stage requirements. They are widely used in practice and preserve the ethno-organological heritage, playing a significant role in the performance of sherpe kui.