VIOL INSTRUMENTATION IN THE SOCIO-CULTURAL DIMENSION OF FREEDOM AND NON-FREEDOM

Abstract

The article explores the transformation of Baroque instrumentation through the prism of shifting historical, sociocultural, and philosophical paradigms. The central theme concerns the coexistence and subsequent competition between the
viol and violin families. The study analyzes the phenomenon of the viol's «heraldic» nature as a symbol of Renaissance
intellectual elitism, alongside the factors leading to its displacement by the violin family in the context of political
centralization and the Baroque concept of megalomania. Furthermore, it examines the dialectics of freedom and non-freedom
within the Baroque score, treated as a «sketch» for performance interpretation.
Significance of the Research. Projecting the concept of Historically Informed Performance into the interaction of
philosophical categories of freedom and non-freedom is highly relevant to contemporary socio-cultural discourse. A
novel aspect of this work lies in applying these concepts to the instrumental sphere, specifically the viol family.
Investigating the shift in instrumental priorities during the Baroque era allows for a deeper understanding of the origins
of the modern hierarchical structure of musical thought. To achieve this, an understanding of the genesis, social
demand, and historical realities of the period is essential. Amidst the modern revival of Early Music, a reappraisal of the
viola da gamba's status serves as an impetus for recognizing how political centralization and changing acoustic
environments determined the transformation of musical language. The tension between the polyphonic dialogue of the
consort and the «rhetorical manifestation» of the soloist resonates with current discussions regarding the individual's
role in modern socio-cultural space and the limits of creative and social freedom within specific ideological
frameworks.
The issues surrounding HIP are central to the discourse of the global musicological community. Researchers
such as Daniel H. Chitwood, Myrna Herzog Feldman, John Romey, and Fred E. LaBarre have addressed the study of
string instrumentation. Within the Ukrainian musicological community, however, this subject remains under-researched
and requires particular attention, which underscores the relevance of the present study.
Analysis of recent research and publications. In contemporary Ukrainian musicology, the theme of HIP and
Baroque interpretation is addressed in the works of O. Katrych, N. Kliuchynska, N. Fomenko, and others. Olga Katrych
explores the interaction between musical and extra-musical factors influencing stylistic formation. We project her idea
of the extra-musical nature of «style-forming triggers» onto the paradigm shift in Baroque instrumentalism. N.
Kliuchynska focuses on the specifics of rhythmic interpretation in Ukrainian Baroque vocal music; these issues are
equally pertinent to instrumental performance, particularly regarding the interpretation of musical texts in European
Baroque string music. N. Fomenko’s work is dedicated to the interpretation of Baroque keyboard art. Drawing on the
idea of Baroque universalism as a stylistic «sign», her findings are projected onto the violin and viol segments of the
instrumental landscape. The aim of the study is to conceptualize the displacement of the viola da gamba by the violin
family from the perspective of shifting philosophical and socio-political foundations of European culture in the 17 th
and 18 th centuries. Accordingly, the study addresses several tasks: identifying the reasons for instrumental renewal,
tracing the decline of viol performance, and arguing for the relevance of reviving this tradition within the contemporary
performance continuum.
The theoretical framework is comprised of works by foreign and Ukrainian scholars: Olga Katrych (the concept of
«triggers» in musical style formation), Nataliia Kashkadamova (history of keyboard art), Ian Woodfield (history of the viol),
and Nikolaus Harnoncourt (musical rhetoric), as well as the treatises of Leopold Mozart and Johann Joachim Quantz. The
philosophical vector draws upon ideas of the mimetic nature of thought and the theory of affects.
The comprehensive methodology combines historical-cultural, musicological, comparative, and hermeneutic
methods, as well as discourse analysis. The methodology adopts an interdisciplinary approach, integrating musicology,
philosophy, and cultural studies.
Scientific novelty. Unfortunately, the current institutionalized format of music education in Ukraine does not provide
opportunities for mastering Baroque instrumentation, making this study particularly timely. The scientific novelty lies in the
interdisciplinary approach to instrumental analysis, where the shift in priorities between the viol and the violin is viewed not
merely as technical evolution, but as a reflection of the transition from a dialogic-polyphonic to a hierarchical-centralized type
of consciousness. The results of this research have been tested through the author’s own performance and luthiery activities.
The author is actively involved in constructing historical instruments (notably, a viola da gamba d’amore, successfully
completed in collaboration with luthier Dmytro Matsidon and premiered at the concert «L’évident et le latent» on January 25,
2026, at the Lviv National Academy of Arts Gallery).