SOCIAL AND AESTHETIC FUNCTIONS OF STRINGED AND PLUGGED INSTRUMENTS IN THE ART OF THE XVI–XVII CENTURIES

Abstract

The purpose of the work is to understand the socio-ideological determination of the rise of string-plucked instruments, including the guitar, to the leading position in European instrumentalism of the Renaissance era, which corresponded to the leading position in the cultural schedule of Spain and France among a number of European countries and nations of the named historical period. The methodological basis is the hermeneutic aspect of the intonation approach to the specificity of stringed instruments of the heirs of the B. school. Asaf’ev in Ukraine in the person of D. Androsova, G. Volkova, O. Kozarenko, T. Levytska, O. Markova, O. Roschenko, A. Sokolova with their reliance on historical-descriptive, stylistic-comparative analysis, on the interdisciplinary principle of correlation of cultural layers and ways of thinking, as it happens in the works of V. Vernadskyi, O. Loseva, Yu. Kristeva and other outstanding scientists of the cultural direction in cognition. The scientific novelty of the research results is as follows: for the first time in Ukraine, a hypothesis was put forward to explain the natural meaning of the predominance of string bows in the Renaissance, in contrast to the resistance of bows in the stages of the Gothic and Baroque periods; for the first time, the guitar was conceptualized as a sociallyprivileged instrument of the Renaissance society, with parallels to the instrumentalism of the knightly layer of the Cossacks of the Ukrainian “golden age”. Added additions regarding the meaning of adopting the guitar as the national instrument of Spain, with an accentuation of the sacred load of guitar sound creation with origins in the early Christian practice of Old Western Orthodoxy. Conclusions. Stringed and plucked instruments, first of all the lute and guitar, formed the foundation of the instrumental equipment of the Renaissance, which openly drew from the traditions of Antiquity, first of all of Ancient Greece – and this corresponded to Catholicism’s search for contacts with Orthodoxy in opposition to the Protestantism of the German cultural area. The Byzantine tradition in the conditions of Gallican France, Byzantine Spain, Jagiellonian Great Poland, of which Ukraine was a part, Hussite Bohemia, etc., organically developed Greek Byzantine scholarship and artistry, relying on the traditions of early Christianity and the culture of spiritual music of string-plucked detection. A sharp change in the ecclesiastical policy of Catholicism from the middle of the 17th century with the development of the “German cultural idea”, the secularized music of the Viennese school removed the instruments associated with the Byzantine tradition, namely the lute group and the guitar, from participating in the formation of the musical classics of the Italo-German core. The rise of the Restoration and Biedermeier based on it revived the “Celtic wave” of cultural revival of the culture of Old Western Orthodoxy, giving rise to Biedermeier’s flowering of guitar art, which actively entered artistic and academic-musical use.