European Lutherie and Ukrainian Guitar Culture of the Mid-19th to Early 20th Century: Figures, Instruments, Interaction

Section 2. Ukrainian and World Musical Culture

Abstract

Statement of the problem: The development of Ukrainian guitar culture in the 19th and early 20th centuries remains insufficiently studied from an organological perspective. While certain biographical and pedagogical aspects have been addressed, the role of instrument makers, technical innovations, and material culture in shaping national performance practices is still underrepresented in scholarly discourse. An analysis of recent research and publications shows, that international guitar scholarship provides a substantial foundation for the study of historical lutherie and instrument construction. In Ukrainian musicology, however, the studies specifically devoted to the guitar organology are scarce, with only a few exceptions. Most available literature focuses on repertoire, performance figures, or general historical narratives, without in-depth attention to instrument typology or design. Objectives, methods, and novelty of the research. The purpose of the study is to examine the influence of selected European luthiers – especially those linked to Johann Georg Stauffer – on the development of Ukrainian guitar culture during the mid-19th and early 20th century. It seeks to identify specific figures, instrument models, and forms of collaboration between performers and makers. The article introduces into scholarly circulation a range of little-known sources, including rare iconographic materials, archival documents, and privately held instruments. It presents new information about the activities of Franciszek Niewczyk in Lviv, as well as the presence and circulation of guitars by Johann Georg Stauffer, his followers, and makers such as Andreas Jeremias. The research combines historical-cultural, organological, biographical, and source-critical methods. The analysis relies on primary visual and textual evidence, including materials from private collections and periodicals, as well as a comparative study of instrument construction. Research results. The study confirms that the Ukrainian guitar tradition developed through active engagement with European instrument-making practices. It identifies specific models and structural innovations that influenced the aesthetic choices of Ukrainian guitarists and points to dynamic performer-maker interactions as key drivers of technical and artistic development. Conclusion. The findings demonstrate that the organological factor played a significant role in shaping performance practice and artistic identity in the Ukrainian guitar culture of the examined period. The study opens perspectives for further research into the regional diversity of instrument use, undocumented makers, and transnational material exchanges.