Extended Harp-playing Techniques: in Search of a «New Euphony»
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Abstract
In the Russian specialized literature, affecting the issues of playing the harp, in fact, the only example of the development of the problem of new techniques in a practical aspect is still one of the sections of the book by V.G. Dulova “The Art of Playing the Harpˮ (1975). The absence of a generalizing study devoted to the systematization and typology of extended performing techniques, both in relation to individual instruments and in general, determines the relevance of any appeal to this topic.
This article analyzes a number of non-traditional methods of sound production and playing the harp, which enrich the palette of sonorous technique and expand the musician’s performance capabilities, first of all, different types of glissando and cluster playing. The material of the study is the musical composition of the last third of the 20th – the first decades of the 21st centuries: solo and ensemble pieces by Russian and foreign composers mainly focused on post-avant-garde trends.
Keywords: harp, extended playing techniques, sonorous effect, glissando, cluster.
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