The latest trends in the cimbalom repertoire of the 21st century

Statement of the problem. Today, cimbalom art is experiencing a new stage of development, the prominent features of which are the use of composition techniques of the 20th century, as well as the development of an arsenal of extended cimbalom playing techniques. Compared to other folk instruments, this stage of enrichment of the cimbalom repertoire begins later and falls mainly on the 21st century, when a number of innovative works appear, both for cimbalom solo and in combination with other instruments. However, at present, this layer of the cimbalom repertoire remains almost unexplored. Objectives, methods, and novelty of the research. The purpose of the study is to identify the principles of implementing the latest trends in the development of the cimbalom repertoire in the work of composers of the 21st century. For the first time, the concept of extended performance techniques and their differentiation is introduced into the scientific circulation of cimbalom studies, and the works by P. Machajdk, J. Huffman, J. Seo, F. van Wijck, D. Lazariev, which were not previously considered by musicologists, are highlighted from this viewpoint. Historical approach, comparative, performance, structural and functional types of analysis allowed tracing the main trends in the development of the latest solo and ensemble cimbalom repertoire. Research results and conclusion. After analyzing a number of musical studies and scores of modern composers, the typical features of the latest samples of the cimbalom repertoire was found. The typical its features are a significant variety of composition techniques, among which we find aleatorics (J. Seo, J. Pereira), microchromatics (J. Seo), sonorics (F. Van Wijck, J. Pereira), dodecaphony (J. Pereira, D. Lazariev). In modern works both, the traditional techniques of playing, which were successful in cimbalom performance even before that (flageolets, playing with a normal beat, pizzicato, glissando), and the various advanced techniques are used. Among the latter are: – non-traditional types of glissando using a finger stick (D. Lazarіev), nails (J. Seo), marimba sticks (J. Pereira); – percussion finger technique (J. Pereira); – imitation of clusters – hitting the strings with the palms of the hands (F. Van Wijck); – playing with non-traditional objects, such as glasses (P. Machajdik); – preparation of the cimbalom (J. Huffman, D. Lazariev). A common feature of modern cimbalom compositions is an active change of different types of sticks during one piece, sometimes in the middle of a part, as well as their alternation with sticks from other instruments (marimba, bells, xylophone), which can be considered as part of an arsenal of extended performance techniques. For example, in the works of J. Seo, J. Pereira and D. Lazariev, playing with marimba sticks and playing with plastic sticks from orchestral bells is assumed. Preparation of the instrument is less often used (J. Huffman used a metal needle for this purpose, and D. Lazariev – two chains and foil). It was concluded that extended performance techniques are at the stage of development and study by musicologists, but despite all the difficulties, the knowledge on them is gradually being introduced into scientific circulation. It should also be emphasized that modern composers show interest in the developing of advanced performance techniques, which certainly inspires hope for writing of new works for cimbalom and its research.