Musicology Annotation << Back Domra in Russia: the reasons for creating the four-strings domra and the fight between three-strings and four-strings domra in the 1920-30s Vera V. Makhan The article examines the reasons behind the creation of the four-strings guint tuning domra, and the subsequent split in the ranks of the performers on the domra. The fi ght between supporters of the quart and quint domras was provoked by the creator of the four-strings quint domra G.P. Lyubimov in 1919, very intensive it was fought in 1920–30. The activity of G.P. Lyubimov cannot be assessed unambiguously. On the one hand, he tried to improve the domra and expanded its range, but the instrument of his construction is not a better three-strings «Andreev’s» model. On the other hand, he tried to discredit the work of his predecessors – V.V. Andreev and his associates, who revived and improved the domra and balalaika – he contrasted his domra against three-strings «Andreev's» domra as the only proper and deserving the existence. The task of this article is to refl ect the stages of the fi ght between supporters of species of the domra, and to highlight insuffi ciently explored pages in the history of the domra. The object of the research are the views Andreev, Lyubimov and their followers on the domra, as well as historical facts and events related to the fi ght between three-strings and four-strings domra players. The purpose of the research is to establish the true reasons and motivations of parties to the confl ict, the impact of these events on the development of the domra performing art in general. Keywords: the history of domra, Andreev, Lyubimov, three-strings domra, four-strings domra, the fi ght between supporters of species of the domra. Contacts: E-mail: vera@makhan.ru Pp. 25-37.