The dissertation is dedicated to a comprehensive ethnomusicological study of the
performance activities of folk-professional fiddlers from three generations within the
Kosmach-Brustur tradition. This tradition encompasses eight villages in the Kosiv district
of the Ivano-Frankivsk region, situated in the upper reaches of the Pistynka, the Brusturka,
and the Richka rivers, and connected by a shared musical and stylistic dialect, manifested
in the playing of instrumentalists and their ensembles.
The music of fiddlers from this area vividly and uniquely represents the
folk-instrumental culture of the Hutsuls, which today is undergoing active functional,
ritual, and stylistic changes. The aim of this work is to define the genesis, development
and current state of the Kosmach-Brustur fiddler tradition by means of identification,
audio and written documentation (transcription), and analytical research from all
ethnomusicological perspectives of the performance practices of its notable folkprofessional bearers across multiple generations.
For the first time, the peculiarities of individual playing styles of the finest
Kosmach-Brustur fiddlers are revealed, their role in the affirmation and evolution of the
local musical dialect is determined. New transcriptions of dances "Arkan" and "Hutsulka"
are introduced into scholarly circulation, audio-recorded from the 1940s to 2019 (by other
researchers and the author of the dissertation) within the tradition's context. The research is
conducted according to the methodological requirements of modern
ethno-instrumentology, aiming for a comprehensive study of the triad "instrument –
performer – music". The research continuum comprises four consecutive stages:
expeditionary (1), transcription and systematic-classificatory (2), musical-analytical (3),
and comprehensive-validation (4).
The significance of the violin as the leading musical in the traditional Hutsul culture
is justified based on information about this instrument and its music across various genres
found in verbal and visual examples of oral and applied folk creativity, scientific and
artistic literature from the late 18th to the mid-20th century. The interpretation of the
violin by the Hutsuls is tied to legends of a mystical nature, while fiddlers ("skrypnists",
"muzyk" (musicians)) are associated with divine gifts or supernatural powers that explain
the extraordinary abilities of certain musicians to master it. The participation of Hutsul
fiddlers in important ritual and domestic ceremonies has led to the establishment of
specific requirements and criteria for evaluating their playing skills.
Violin music in the Hutsul region operates in amateur and folk-professional forms,
with the latter involving the creative and organizational capacity of fiddlers to properly
serve wedding and other ceremonial events while receiving material compensation. It has
been established that amateur fiddlers, without aiming to compete with professional
wedding fiddlers, create a music-critical environment conducive to both forms of music.
Among the various responsibilities of a professional fiddler, the following can be
highlighted as the most crucial: 1) mastery of ritual and occasion-specific repertoire; 2)
knowledge of local traditions regarding ceremonial services; 3) organization and
leadership of instrumental ensembles; 4) communication with listeners/dancers.
Traditional Hutsul fiddlers from the late 19th to the early 21st century play
instruments of classical design, either crafted by local artisans or imported from factories.
Differences in construction, manufacturing methods, and timbral-acoustic adjustments of
Hutsul violins are driven by the artisans' focus on acoustic norms and regional sound
aesthetics, which have been formed through the practice of traditional music in wedding
ensembles. In the Hutsul region, there exist dynasties of renowned traditional instrument
makers, as well as celebrated first-generation masters. The violins they craft fall into two
categories: a) Hutsul violins – violins of classical design but with a locally accepted
specific timbre; b) classical violins – violins by masters V. Knyshuk (Kosmach village)
and V. Martyschuk (Kovalivka village), intended for academic performance. As an
exception, several reconstructions of "dovbanky" – a nearly lost violin construction type,
carved from a single piece of wood, played "for oneself" or "to sing along" – made by a
famous master M. Tafiychuk can be mentioned.
