The technique of glissando in the modern cimbalom repertoire

Statement of the problem. Cimbalom performance has entered a new phase of development, marked by the expansion of traditional techniques and the emergence of new ones. While isolated examples appeared in the late 20th century, the 21st century brought a surge in innovation and the development of notational methods. These extended techniques often result from close collaboration between composers and performers. However, the boundary between standard and extended techniques remains unclear, complicating their classification. This issue is further exacerbated by the lack of precise terminology in Ukrainian cimbalom studies, particularly for techniques such as pizzicato and glissando. This calls for deeper analysis and clarification of their function in contemporary repertoire. Objectives, methods, and novelty of the research. The purpose of the research іs to differentiate between standard and extended glissando techniques within the contemporary cimbalom repertoire. These techniques are vividly represented in the works of Marti Epstein, Misha Salkind-Pearl, Darcy Copeland, Golnaz Shariatzaden, Bahar Royaee, and Niloufar Shiri, and are analyzed in this article for the first time. The study employs historical method to analyze the specifics of the development of the cimbalom repertoire in the late 20th and early 21st centuries performance-based method to identify innovative playing techniques in cimbalom works and the peculiarities of sound production comparative method to compare different compositions in terms of the application of various techniques semantic method to determine the expressive meaning of performance techniques and their role in realizing programmatic intent and organological method to explore the methods of executing glissando on the cimbalom in relation to its structural features. The novelty of this research lies in the comprehensive classification of new types of glissando. Research results and conclusion. This article examines traditional glissando performance techniques and develops their typology based on several categories, reflecting current trends in contemporary cimbalom repertoire. The typology was developed according to the following criteria: the playing implement or body part used, the location on the instrument (register / zone), and the direction of the glissando (horizontal, vertical, lateral, multidirectional, converging). This analysis made it possible to identify about thirty types of glissando types, underscoring the significance of this technique in modern repertoire. It not only illustrates the active exploration of cimbalom sound possibilities but also highlights the pursuit of nuanced articulation of the composer’s intent.