Аңдатпа
The significance of the Kurmangazy Kazakh National Orchestra of Folk Instruments for the culture of Kazakhstan is immense, and the local cultural community celebrates its 90th anniversary this year. In 1934, the task of academizing the Kazakh Folk Orchestra, following the model of Andreyev Russian Folk Orchestra, necessitated innovations. Specifically, the reconstruction of certain Kazakh musical instruments was undertaken by a group of Kazakh musical instrument artisans, including Kamar Kassymov (1893–1966).This article aims to highlight the historical contribution of K. Kassymov to both the reconstruction and development of Kazakh orchestral instruments. The article addresses four key tasks:1. Familiarization with sources: This includes exploring personal information about K. Kassymov, his life and creative path, as well as the reconstruction of Kazakh musical instruments.2. Characteristics of parameters: Specifically, the methods for making strings and attaching frets to the dombra neck.3. Determining component dimensions: Comparing the body construction of the West Kazakhstan dombra with its East Kazakhstan variety.4. Introducing dombra parts’ designations: K. Kassymov’s unique terms related to dombra components.The study employs complex and systematic approaches, including the systemic-ethnophonic method (developed by Igor Matsievsky) and comparative-typological analysis. Morphological and ergological analyses were conducted while studying the West Kazakhstan dombra body and its Eastern Kazakh variety.The results of the study not only shed light on K. Kassymov’s innovations but also contribute to the revival of traditional Kazakh music terminology related to dombra components. Additionally, it highlights the challenges faced by Kazakh musical instrument state workshops, considering the achievements of both K. Kassymov and his contemporaries.