Abstract
The improvement and advancement of performance on the four-string prima kobyz have contributed to the development of technical and bowing capabilities in musicians, such as increased agility in the fingers of the left hand. Pieces that were performed exclusively by students of higher educational institutions 50 years ago are now part of the curriculum in specialized music schools. In this context, the aim of this article is to describe the complex performance techniques of the modern prima kobyz and offer recommendations for overcoming the associated challenges. The tasks derived from this aim include exploring the formation of performance art and classifying the bowing techniques found in prima kobyz repertoire. The relevance of the study is underscored by the increasing level of performance on this instrument, the need for a classification system for bowing techniques, and the analysis of general trends in overcoming technical difficulties in playing the instrument. The scientific and methodological significance of this research lies in its practical application, which relates to both the educational process and performance practice. The practical significance of the study’s findings is that they can enhance the content of courses such as 'History of Performing Arts' and 'Methods of Teaching Special Disciplines.' The article applies performance analysis, content analysis, and qualitative methods to develop a grounded theory regarding performance issues with the prima kobyz. The prima kobyz has gradually lost many of the traditional kobyz's characteristic features (such as the open body, leather structure, and inclined neck) and has become a new national instrument. This transformation is due to its structural similarity to the violin, the incorporation of violin techniques, and the establishment of European academic principles in modern prima kobyz performance techniques.