Professional cimbalom art оf the second half оf the 20th – first quarter оf the 21st century: a stylistic dimension

Statement of the problem. The study of the principles of professional cimbalom creativity covers the issues of its functioning in the systems of individual, instrumental and national styles. The article draws attention to the historical prerequisites for the formation of professional cimbalom performance, from the improvement of the design of the Shunda system instrument and the activities of Gza Allaga to modern forms of concert practice. The contribution of the leading cymbalists of the world is assessed – outstanding performers and teachers Toni Iordache, Valeriu Luta, Viktoria Herencsar, Heorhii Ahratina, Taras Baran, Olena Kostenko and others. Based on the analysis of their activities, the main stylistic directions of cymbal performance are considered. The criteria for this classification are the components of the individual performance style of the artists, their interpretative intentions, socio-cultural factors of the formation of a creative personality, as well as the cymbal stylistics, sound and technical capabilities of instruments and other organological properties. Objectives, methods and novelty of the research. The purpose of the study is to identify stylistic vectors and directions in professional cimbalom art from the second half of the 20th century to the first quarter of the 21st century, using the work of representatives of various national schools. The research employs historical, analytical, comparative, and comprehensive methods. Despite the multi-faceted studying the category of style, such factors as the time distance, the change in environmental conditions and situations in the process of creative activity, and the “vitality” of the processes of musical style formation prompt to make some rethinking and additions when analyzing the stylistic principles of professional dulcimer creativity, which determines the scientific novelty of this study. Results and conclusions. Analyzing the genre system of the cimbalom repertoire, principles of form, and sound production, along with various performance practices involving the cimbalom, allows us to distinguish three primary stylistic directions in professional cimbalom performance: traditional, academic, and non-academic. In most stylistic directions, professional cimbalom performers have academic training. A notable feature is the creative individual’s versatility within a single direction (combining performance, teaching, organizational, compositional, editorial work) and in terms of performance activity (working across various stylistic domains). The analysis of individual stylistic parameters of prominent representatives of national and global cimbalom schools (Toni Iordache, Viktoria Herencsar, Marius Preda, Jen Lisztes, Heorhii Ahratina, Taras Baran, Andriі Voychuk, Mykhailo Kuzhba, and others) has allowed for the identification of distinctive features of their performance styles. Each performer demonstrates dominant traits – emotional or rational execution, intonation precision, pedaling and sound production quality, repertoire choices, and approaches to presenting the instrument. Differences between cimbalom styles are shaped by national and regional traditions, stylistic orientation, and repertoire. However, identifying shared characteristics has made it possible to define the general image of a «cimbalom performer’s style» which includes virtuosity, percussiveness, polytembrality, mobility, and multi-functionality. The most pronounced distinctions appear during the performance process – in the manner of playing, sound production, timbral sensitivity, and intonation.