SOME FEATURES OF CONTEMPORARY PERFORMANCE ON THE MARIMBA IN THE CONTEXT OF ENSEMBLE MUSIC-MAKING

Abstract

This article is devoted to researching the specifics of contemporary marimba performance in ensemble music-making, which underwent active development in the second half of the 20th century and early 21st century and became one of the key trends in percussion art. Despite the growing interest of composers and performers in the marimba, there are still few scientific works in Ukrainian musicology that comprehensively analyze its role in collective performance. The aim of the study is to identify and characterize the main performance and artistic-stylistic features of contemporary marimba playing in an ensemble context, as well as to clarify its role in the formation of new sound and communicative possibilities of a percussion ensemble. The research methodology is based on a comprehensive approach: the historical and cultural method is used to trace the evolution of the ensemble use of the marimba; the systemic and analytical method is used to generalize the performance techniques and structural features of the instrument; and elements of semiotic analysis are used to interpret timbral and expressive means. The article shows that the marimba occupies a special place in modern percussion ensembles due to its wide range, rich timbral nuances, and ability to integrate into both traditional and experimental forms of music-making. The article shows that the marimba occupies a special place in contemporary percussion ensembles due to its wide range, rich timbral nuances, and ability to integrate into both traditional and experimental forms of music-making. The article examines the problems of interaction between performers in an ensemble, the specifics of the repertoire, and innovative sound production techniques. It is proven that contemporary ensemble practice with the marimba is characterized by a synthesis of acoustic and electroacoustic solutions, the expansion of spatial models of instrument placement, and the use of intergenre and intermedia means. The results of the study allow us to outline the prospects for further research on the domestic school of ensemble performance on the marimba against the backdrop of the international musical context.