PoliArtGlazbena vizualizacija - Likovna sluaonica

GORAN SUI

Split, 2013.

POLI ART, Glazbena vizualizacija - Likovna sluaonica

Autor: dr. sc. Goran Sui

Nakladnik: Synopsis, d.o.o.,Vlade Gotovca 4, Zagreb Synopsis, d.o.o.,Marala Tita 32, Sarajevo

Sunakladnik: Agencija za odgoj i obrazovanje, Donje svetice 38, Zagreb

Za nakladnika: Ivan Pandi, Vinko Filipovi, prof.

Izdava DVD-a: Cantus d.o.o. Zagreb ISBN 978-953-7530-04-4Za izdavaa: Mirjana Mati

Organizator: Hrvatsko drutvo glazbenih i plesnih pedagoga, Zagreb

Osvrti, kritike i recenzijeGlazba: prof. dr. sc.Ivo Josipovi, pof. dr. sc. Mirjana Babi Sirievi, maestro, Silvio Foreti, prof.,

Massimo Brajkovi, prof., eni Dekleva- Radakovi, dr. sc. Snjeana Dobrota

Likovnost: prof. Ivica iko, Branka Brekalo, prof., dr. sc.Marija Braji, dr. sc. Dubravka Kuevi, prof. dr. sc. eljko kuljevi, Vojislav Vujanovi, Blaga Petreski, prof.

Uredniko vijee: prof. dr. sc. Mirjana Babi-Sirievi dr. sc. Goran Sui Josip Burjan, prof.

Lektura: dr. sc. Sreko Liste

Korektura klavirskIh dionica: Jadranka Garin

Notograija: Goran Sui

Izbor slika: prof. Ivica iko

Likovno rjeenje naslovnice: Goran Sui

DeSign: Tomislav Bogovi

Prijevod na engleski jezik. Ana Peri, mag.

Snimatelji i ton majstor: eljko parmajer i Dado Marui

Realizacija: M.G.S. d.o.o. Split

Supervizor projekta: dr. sc. eljko Poega

Multimedija: Denis Dijani

Tisak: Dalmacijapapir

ISBN 978-953-7035-94-5 Synopsis (Zagreb)ISBN 978-9958-587-75-7 Synopsis (Sarajevo)ISBN 978-953-7290-34-4 Agencija za odgoj i obrazovanje (Zagreb)CIP zapis dostupan u raunalnome katalogu Nacionalne i sveuiline knjinice u Zagrebu pod brojem 839719.

Goran Sui i nakladnici Nijedan dio ove knjige ne smije se umnoavati, fotokopirati ni na bilo kojii nain reproducirati bez pismenog doputenja autora i nakladnika

Dr. sc. Goran Sui

PoliArtGlazbena vizualizacija - Likovna sluaonica

I svezak

Bolje da me kude kritiari nego da me nitko ne razumije.It is better to be criticised than not being understood.

Sadraj

Uvodna razmiljanja autora / 1Osvrti, kritike i recenzije / 7Umjesto predgovoraIvo Josipovi / 7Zato Poli-Art? Milica Andevski / 9Ivica iko / 11 Branka Brekalo / 13 eljko kuljevi / 17 Marija Braji / 21Dubravka Kuevi / 23Vojislav Vujanovi / 25Blaga Peterski / 31

Likovna sluaonica / 33Temeljni ton / 34 Bijeli um / 35 Pasa / 36 Gudaki diptih / 37Serija tonova / 38-39 Crvena harmonika / 40Klavijatura / 41Dvodjelnost / 42-43Vizualizirani punktializam / 44 Alikvotni niz / 45 Triptih na poznatu temu / 46-47Augmentacija / 48-49I Varijacija na poznatu temu / 50-51 Kromatika / 52 Imitacija / 53 Organizirana tonalnost / 54A tema / 55 uti um / 56-57 Varijacija na nepoznatu temu / 58

Proireni motiv / 59 II Varijacija na poznatu temu / 60 Intervali / 61 Proireni tonalitet / 62 Polifoni odnosi / 63 Motiv - razrada motiva / 64 Transpozicija / 65 Retrogradno kretanje / 66Dal capo Fine / 67 Imitacija na poznatu temu / 68Improvizacija na poznatu temu / 69Invencija na djeju temu / 70Plavi um / 71 Varijacija na zadanu temu / 72 Prvi dojam / 72 Vivo / 73Arioso / 74Varijacija na poznatu temu / 75Varijacija / 76Obojeni um / 76Asocijacija / 77Coda / 78-79

Glazbena vizualizacija / INaputci autora / III Stvaralatvo u funkciji doivljaja / VOsvrti, kritike i recenzije / VIIUmjesto predgovora, Ivo Josipovi / VIIMirjana Babi - Sirievi / IXSilvio Foreti / XI Massimo Brajkovi / XIIeni Dekleva - Radakovi / XVISnjeana Dobrota / XVII

Skladbe za solo instrumente / XIXFranina / XXIIza sna / XXVIIKlavirska minijatura / XXXIIIMala invencija / XLIMoja elja / XLVIIMali interludij / LIIIIgra u valceru / LIX Norina / LXV Sunce za sve nas / LXIX

Skladbe za komorne sastave / LXXVIIKlavirski trio / LXXIXNo / LXXXVIIRibar / XCV Akvarel / CVJesen / CXIIIKia / CXXIIIIgra na vodi / CXXXIIntermezzo / CXXXVIIMjeseina / CXLIIIBlagdanska / CLIBoje proljea / CLIXUspavanka - klavirski trio / CLXVII Jutro gospodnje / CLXXV Balada o ribaru / CLXXVIIOdlazak / CLXXXIIIPosljednja / CXCVII

Dodatakivotopis Kritiki osvrti na raniju fazu stvaralatva Gorana Suia Zahvale

Umjetniko djelo je jedinstveni razultat jedinstvenog temperamenta. Oscar Wilde

Umjetnost je elja ovjeka da izrazi sebe, da zabiljei reakciju svoje osobnosti na svijet u kojem ivi.

Amy Lowell

Umjetnik pripada svom djelu, a ne djelo umjetniku. Novalis

Jer u umjetnosti mi nemamo posla s nekakvom jednostavnom, ugodnom I korisnom igrakom, nego s razvijanjem istine.

Hegel

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Uvodna razmiljanja autora

Valja se zapitati jesu li kreativni koncepti glazbene i likovne umjetnosti zaista tako bliski. U opernoj predstavi spoj likovne umjetnosti, scenografije, rijei, glume i glazbe stavljaju ih u odnos doivljaja, spoznaje, zakljuivanja, usporeivanja i kritikoga razmiljanja. Mogli bismo govoriti o novom pojmu, poli-kognitivnosti (gdje se nazire ideja o Poli-Artu), pri emu se znanje, kao i razumijevanje, integriranje, analiza, sinteza i evaluacija, proiruje na niz aspekata interdisciplinarne i multidisciplinarne sfere. Povezivanje sadraja u umjetnosti ne smije zanemariti i zapostaviti autonomnost bilo koje umjetnosti.

Svaki od njih zahtijeva odvojen pristup rije je samo o traenju dodirnih toaka i kvalitetnijih doivljaja. Razmiljamo, dakle, o onomu to je u sintezi pozitivno te gdje glazba mora ostati samo glazba, a likovna umjetnost samo likovna umjetnost.

Traenje razliitih mogunosti stvarnoga interdisciplinarnog povezivanja likovne i glazbene umjetnosti, dovodi nas i do skladatelja koji su svojim glazbenim djelima davali likovni izraz. Interdisciplinarne veze se uzajamno prirodno nadopunjavaju, a ne zamjenjuju, tako da ne poseemo u teoretska i struna objanjenja druge umjetnosti, da ne pokuavamo na sve mogue naine nai suodnose i tamo gdje ih nema.

Nije namjera ovog projekta Poli-Art stvaranje novog programa koji e obuhvatiti poneto iz svakoga umjetnikog podruja i obvezati pojedince i ustanove u obrazovanju i kulturi na njihovu realizaciju prema nekim metodikim uputama tek onda ne bismo nita novo napravili jer to ve postoji kao zatvoreni i potroeni model. Otvoreni model Poli-Art zagovara i preporuuje leksibilnost u odreivanju programske orijentacije i koncepcije te odabiru sadraja koji e potaknuti kreativne i aktivne metode stvaralatva, prema sklonosti i interesu svakog pojedinca. Dakle, u procesu otvarati prostor i okvir jednakih ansi, kao humani pristup cjelovita razvoja mlade osobe.

Umjetnost, kao i poruka koja proizlazi iz umjetnikog djela, obogauju i humaniziraju ljudsku stvarnost, provociraju ovjekovu matu, dotiu i njegovu podsvijest. Ona potiu transkulturnu i transvremensku komunikaciju, pobuujui kod recipijenata estetsko doivljavanje.

ovjek je uvijek imao potrebu glazbeno i likovno se izraziti, od poetaka ovjeanstva pa do danas. Promatrajui igru svjetla i sjene, izraze lica te predmete u svojoj okolini, ui se opaati, analizirati zvuk, um, amor, ton time bogati svoj likovni i glazbeni rjenik. Tako je glazba i likovnost prostorna umjetnost. Spoznaja da je okruen prostorom i elementima koji taj prostor sainjavaju, motivira ga na istraivanje novih mogunosti, igrajui se crtom, bojom, plohom i prostorom, umom, zvukom, motivom, tempom, dinamikom.

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Preustrojem unutarnjih veza meu zvukovnim i vizualnim znakovima i znaenjima u osobnom iskustvu stvaralakih procesa, nastaje glazbeni i likovni govor. Programski sadraji potiu slunu i vizualnu znatielju, od doivljajnih do spoznajnih funkcija.

Je li mogue usporeivati i umjetnost staviti u kontekst multidisciplinarnog s multidimenzionalnim? Ovdje emo iznijeti neka razmiljanja o takvim odnosima. Naime, kao to je multidisciplinarnosti svojstveno povezivanje vie disciplina (predmeta, sadraja), tako je ovjeku svojstvena multidimenzionalnost. Sloene jedinice, poput ljudskog bia ili drutva, multidimenzionalne su. Tako je ljudsko bie istodobno bioloko, psihiko, socijalno, kulturno, afektivno i racionalno. Drutvo sadri povijesne, ekonomske, socioloke, vjerske dimenzije... Ne samo da nije mogue izdvojiti jedan dio iz cjeline, nego ni dijelove jedne od drugih. Kako se promatra suodnos dijelova u odnosu na cjelinu, tako moemo promatrati suodnos znanosti u odnosu na umjetnost i obratno.

Ukaimo na razliitost pristupa u znanosti i umjetnosti usporeujui fenomen umjetnikog doivljaja (spoznaje) s fenomenom znanstvene spoznaje. Razlike ne postoje kako bismo ih odvajali, nego spajali, jer e jedino tako dati prirodnost i iskrenost koja se nalazi u njihovu izvoritu, kao i izvoritu umjetnosti. Umjetnost se, za razliku od znanstvenog pristupa, temelji i zadrava na osjetilnom doivljavanju produktivnog i reproduktivnog. Spoznaja u umjetnosti ne bi bila mogua da se osjetilno ne moe uopiti budui da osjetila pruaju nepregledno mnotvo razliitih doivljaja. Dok znanost miljenjem utvruje ope i izraava ga pojmom, umjetnost intuicijom u konkretnom pronalazi ope i izraava ga duhom i tijelom.

Umjetniki doivljaj (spoznaja) je, kazali smo, osjetilna, konkretna i sugestivna, a znanstvena je apstraktna, misaona i logina. Znanost zahvaa misaono, a umjetnost osjetilno. Misaono izvoenje smisla iz umjetnikog doivljaja nije umjetnost, ali ne mora biti ni znanost. Istinitost miljenja u znanosti se logiki i empirijski provjerava, a u umjetnosti se istinski doivljaj javlja ili ne javlja. U umjetnosti intuicija vodi do umjetnike poruke i istine, a u znanosti ona vodi do hipoteze. Budui da samo dobre hipoteze vode do istinitih spoznaja, intuicija ima golemu vanost i u znanosti. Meutim, ona u znanosti nije jedina, a nije ni dovoljna da se doe do istinske spoznaje. Dakle, ono to su miljenje i pojam u znanosti, to je intuicija, kao izvorite duha, u umjetnosti. Znanost spoznaje na teoretskom, a umjetnost na estetskom, emocionalnom i doivljajnom naelu. Kao primjer navodimo C. Debussyja koji je doivljaj glazbenog djela opisivao na sljedei nain: (...) elim znati koje e ice u meni zatreperiti kad ujem odreenu glazbu i kakvu e mi sliku svijeta ona prenijeti.

Meutim, umjetnost i znanost ne mogu i ne sniju biti sredstvo ideologije. im to postanu, prestaju biti ono to jesu. Navedene komparacije znanosti i umjetnosti navode na potrebu novih

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istraivanja, koja e pokuati pribliiti i pomiriti znanstveno-spoznajno, umjetniko-spoznajno, apstraktno, misaono, duhovno, doivljajno, intuitivno, osjetilno, stvaralako-produktivno, reproduktivno, apstraktno, konkretno, modularno, predmetno...

Radi li se o zahtjevu za interdisciplinarnim povezivanjem u nekoj novoj paradigmi, o trajnoj potrebi diferencijacije ili o jednoznanosti znanja o umjetnosti, s razvojnom i pragmatinom komponentom, kako bi se mogle zadovoljiti potrebe ili skup razliitih doivljaja pomou umjetnikog djela kao univerzalne vrijednosne kategorije. Pritom emo posebnu pozornost posvetiti modernim multikulturalnim/interkulturalnim poticajima za osvjetavanje rasprava o spoznajnoj i doivljajnoj vrijednosti interdisciplinarnosti/multidisciplinarnosti/transdisciplinarnosti u sjedinjenom umjetnikom modelu Poli-Art. U tom pogledu, moe se rei da ulazimo u dio filozofije, to nam nije namjera, ali je i ne moemo u potpunosti izbjei jer je potrebna kontinuirana kritika misao prema rascjepkanosti spoznaja, doivljaja i drugih osjeaja koji proizlaze iz tvorbenih i izraajnih sredstava umjetnosti kao fenomena.

Iz navedenog razloga, procesi modernizacije dovode sve vie do sukcesivnog nastajanja i nestajanja (pod)kulturnih raznovrsnosti, ali i do kulturnog ujednaavanja. Iako se proces kulturnog ujednaavanja sve vie iri pod utjecajem racionalizacije, tehnizacije, formalizacije, standardizacije, unifikacije i depersonalizacije, to ne znai da kultura i umjetnost u potpunosti gubi svoje stvaralako obiljeje. U ovom projektu ponuen je spoj ali i sudar dvaju paradigmi u umjetnosti. S jedne strane tradicionalnog glazbenog razmiljanja i suvremenog likovnog jezika i sadraja kroz ponuene apstrakcije. Dakle, dva leksika u suodnosu i kontekstu prema iskrenoj umjetnikoj poruci i doivljaju.

Ako smo ponuenim otvorenim modelom otvorili mnoga pitanja i put za nova istraivanja u ovim podrujima, ovaj e projekt biti opravdan, koristan i uspjean.

Autor

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Authors Introductory Thoughts

One should ask oneself whether the creative concepts of music and visual arts are actually that close. In an opera the liaison of visual arts, set, words, acting and music puts them in a relationship of experience, cognition, deduction, comparison and critical thinking. We could discuss a new term, poly-cognition (in this term the idea of Poly-Art appears in outline) which expands knowledge, as well as comprehension, application, analysis, synthesis and evaluation to an array of aspects of interdisciplinary and multidisciplinary sphere. Association of content in art should not neglect and ignore the autonomy of any art.

Each of them requires a separate approach it is actually only about the search of common ground and experiences of higher quality. Therefore, we think about what is positive in a synthesis and where music must stay only music and visual arts only visual arts. The search of different possibilities of an actual interdisciplinary association of visual and music arts leads us towards the composers who gave their musical work a visual expression. Interdisciplinary relationships complement and not substitute each other. That is why we do not go into theoretical and expert explanations of other arts without trying to find relationships in every possible way even where there are none.

The intention of this Poly-Art project is not to create a new programme which would somehow encompass parts from every artistic area and oblige individuals and institutions in education and culture towards its realisation according to certain methodical instructions then we would not do anything new because such already exists as a closed and spent model. Open Poly-Art model advocates and recommends lexibility in determining the programme orientation and conception as well as selection of contents which would stimulate creative and active methods of creation in accordance with the preferences and interests of each individual. Therefore, to open a space and a framework of equal chances in the process, just like a humane approach to development of a young person as a whole. Art, just like the message that derives from the work of art, enriches and humanizes human reality, it provokes human imagination and touches his subconsciousness. It encourages transcultural and transtime communication, actuating aesthetic experience in the recipient.

A man has always had the need to express himself with music and art, from the beginnings of humanity until today. By observing the game of light and shadow, facial expressions and objects in his environment, he learns how to notice, analyse...., the audio, hum, noise, tone, colour thus enriching his artistic and music vocabulary. That is why music and visual arts are spatial and temporal arts. The knowledge of being surrounded by space and elements of which the space is consisted motivates him to explore new possibilities by playing with the line, color, surface and space, hum, sound, motif, tempo and dynamics. By restructuring the internal

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relationships between the sound and visual signs and meanings in the personal experience of the creative processes, the music and visual discourse comes into existence. The content of the programme encourages audio and visual curiosity, from experiential to cognitive functions.

Is it possible to compare and put art into a context of multidisciplinary with multidimensional? Here we introduce some thoughts on such relations. Multidimensionality is a characteristic of men just as multidisciplinary is a characteristic association of multiple disciplines (subject, content...). Complex units, such as human beings or society, are multidimensional. That is how the human being is at the same time biological, psychological, social, cultural, affective and rational. The society consists of historical, economical, social, religious dimensions... Not only it is impossible to select a part from a whole but it is also impossible to separate parts from each other. We can observe the correlation of parts in relation to art and vice versa in the same way the correlation of parts in relation to the whole is observed. Let us point out the heterogeneity in the approach to science and art by comparing the phenomenon of artistic experience with the phenomenon of scientific cognition.

The differences do not exist to be singled out, but merged because that is the only way they will produce naturalness and honesty which resides in their source, just like in the art source.Unlike the scientific approach, art is based and preserved on the sensory perception of the productive and the reproductive. Cognition in art would not be possible without the generalisation of the sensory because the senses provide vast multitude of different experiences. While science establishes the general through thinking and expresses it with a concept, art finds the general in the concrete through intuition and expresses it with the mind and the body.

As discussed, the artistic expression (cognition) is sensory, concrete and suggestive while the scientific expression is abstract, relective and logical. Science encompasses the relective while art encompasses the sensory. The deduction of meaning from an artistic expression is not art, but it does not have to be science. The truthfulness of meaning in science is logically and empirically examined, but in art the true experience does or does not occur. In art intuition leads to artistic message and truth, but in science it leads to a hypothesis. Since only valid hypotheses lead to true cognition, intuition has great importance even in science. However, intuition is not the only one, and it is not sufficient for true cognition. Therefore, what thinking and concept are to science, intuition, as a source of a spirit, is to art. Science conceives on theoretical, while art on aesthetic, emotional and experiential principle.

C. Debussy is an example of a person who described the experience of the work of art as follows: (...) I want to know which strings inside of me will jitter when I hear certain music and what image of the world they will transfer.

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The listed comparation of science and art states the need for new research which will try to bring closer and reconcile the scientific-cognitive, artistic-cognitive, abstract, relective, spiritual, experiential, intuitive, sensory, creative-productive, reproductive, concrete, modular, subjective, figurative...

Is it about the demand for interdisciplinary connection in some new paradigm, or a permanent need for differentiation or uniformity of knowledge in art with a developmental and pragmatic component is in question in order to satisfy the needs or set of different experiences through the work of art as a universal value category. In doing so, we will pay special attention to modern multicultural/intercultural incentives for raising awareness for discussion and experiential value of interdisciplinary/multidisciplinary/transdisciplinary in the united Poly-Art area.

In that view, it can be said that we are approaching philosophy, and that is not our intention, but it cannot be completely avoided because a continuous critical thought towards the fragmentation of cognition, experience and other feelings which derive from formative and expressive means of art as a phenomenon of approaching, finding the meaning in a mutual and clear communication. Therefore, the processes of modernisation lead more and more to a successive emergence and disappearance of sub(cultural) diversity as well as cultural standarization. Even though the process of cultural standardization has been spreading under the inluence of rationalization, technology, formalization, standardization, unification and depersonalization, that does not mean that culture and art are completely losing their creative mark.

A liasion and a clash of two paradigms in art is evident in this project: traditional music thinking on the one hand and contemporary visual language through the offered apstractions. Therefore, two lexis in correlation and context towards sincere artistic message and experience.If with this model we succeed in raising many questions and a path to new research in these areas, this project will be justified, useful and successful.

Author

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Osvrti, kritike i recenzije

Prof. dr. sc. Ivo Josipovi

Poli-Art Umjesto predgovora

Goran Sui, glazbenik, slikar, doktor znanosti, nastavnik na Filozofskom fakultetu Sveuilita u Splitu i istaknuti drutveni djelatnik, ponudio nam je nesvakidanji, ambiciozan projekt. Multimedijski projekt pod nazivom Poli-Art, Glazbena vizualizacija-Likovna sluaonica, sinkretiko je i sintetiko autorsko djelo dr. Suia koje ga predstavlja kao svestranog umjetnika zvuka i slike. Sinteza njegovih skladbi za solo instrumente i komorne sastave i njegovih likovnih djela rezultirala je projektom koji obuhvaa knjige, audiozapise, partiture i dionice, uz to i likovna djela. tovie, skladbe su popraene vizualizacijom, a likovni su radovi na temu glazbe popraeni zvukom. Projekt ima i naglaen pedagoki element. Kao prvo, mnoge su od skladbi nastale upravo iz potrebe da se uenicima i studentima glazbe ponudi odgovarajua literatura. Drugo, zanimljivo, i audiozapis skladba dan je u razliitim tempima, primjereno mogunostima uenika. Ukupno 25 skladbi, od toga 9 za solo instrumente (klavir, trombon, lauta, violina, violonelo, klarinet) i glas te 16 skladbi za razliite komorne sastave, od klavirskog trija do mandolinskog orkestra, predstavljaju autora kao skladatelja koji poznaje tehniku instrumenata i sklada senzibilitetom koji se esto moe povezati s podnebljem u kojem autor ivi. Tonalnost je vana znaajka Suieva stvaralatva. Prekonzervativno? Moda za odreenu estetiku, nebitno za izvoae koji biraju repertoar i njihove sluatelje. Projekt je unikatan, ne mogu se sjetiti da je neki autor napravio ita slino, imajui pri tome podrku brojnih istaknutih glazbenika splitskog kruga. Neoptereenost Novim zvukom, melodioznost, povezanost glazbe i likovnosti i veza s pedagogijom, najvanije su karakteristike glazbenog dijela projekta. Siguran sam da e projekt izazvati interes umjetnike javnosti i publike. Usto, vjerujem da e vei broj glazbenika dobiti informaciju o stvaralatvu Gorana Suia i posegnuti za njegovim partiturama prilikom kreiranja svog repertoara, a netko od publike moda i neku njegovu sliku staviti na zid svoje sobe. I siguran sam, sluajui glazbu, vidjet e sliku, gledajui sliku, ut e zvuk.

Uvodno slovo ovom multimedijskom projektu teko moe itatelju doarati bogatstvo i izazove koje nudi Sui skladatelj i slikar, majstor multimedije. Zato, uzmite projekt u ruke i krenite u avanturu!

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Ivo Josipovi, Ph.D.

Poly-Art / Instead of Preface /

Goran Sui, a musician, painter, Ph.D, a teacher at the Faculty of Philosophy of the University of Split and a notable public worker has offered us noneveryday and ambitious project. Multimedia project named Poly-Art, Music Visualization-Visual auditorium is a synchretic and synthetic authorial work of Sui that represent him as a versatile artist of sound and image. Synthesis of his compositions for solo instruments and chamber orchestra and his visual arts works has resulted in the project that comprises books, audio records, scores and parts as well as visual arts works. Moreover, compositions are accompanied by visualization and visual arts works on the topic of music are accompanied by sound. The project also has an emphasized pedagogic element. First of all, many a composition were created exactly because of the need to offer pupils and students of music education appropriate textbooks. Secondly, even the audio record of compositions is given in different tempos, adapted to the pupils abilities. There are 24 compositions in total, 9 of which are composed for solo instruments (piano, trombone, lute, violin, violoncello and clarinette) and voice, and 15 various compositions for different chamber orchestra, from piano trio to mandoline orchestra; all present the author as a composer who knows the technique of instruments and composes with a sensibility often associated with the climate of the authors place of living. Tonality is a significant feature of Suis creation. Over-conservative? Maybe for the specific aesthetics but insignificant for the performers who select repertoire and their audience. This project is unique, I cannot think of anything alike, having in mind the support of various renowned musicians of the Split circle. The most important characteristics of the musical part of the project are being unburdened with the New sound, melodiousness, connection of music and visual arts and connection with pedagogy. I am of the opinion that the project will call for attention of art public and audience. In addition, I believe that many artists will get the information on creativity of Goran Sui and reach for his scores while creating their own repertoire, and someone might put one of his paintings on the wall of his room. And I am sure that while listening to music he will see a painting, and by observing the painting he will hear a sound.

Introductory note to this multimedia project can hardly depict abundance and challenges that Sui, a composer and a painter, a master of multimedia offers to the reader. So, take up the project and start an adventure!

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Prof. dr. sc. Milica Andevski

Zato Poli-Art?

PoliArt model je jedan od aktualnih, suvremenih i atraktivnih pristupa vanom podruju naeg drutvenog razvoja odgoju i obrazovanju. Goran Sui u osnovi svojim tezema zagovara definiranje i redefiniranje temeljnih inilaca nastavnog procesa s fokusom na promjenu paradigmi - od stare, tradicionalne paradigme u odgojno-obrazovnom sustavu u novu, drugaiju, otvorenu, leksibilnu organizaciju nastave u kurikulu i to s posebnim naglaskom u umjetnikom podruju.

Svojom tezom G. Sui. eli afirmirati umjetnost u ivotu mladih. U nastavi je dolo do propusta u razvoju smisla za razvoj estetskih, umjetnikih vrijednosti kod mladih. Mladi danas ive u svijetu medija, multimedija, stvaraju sliku svijeta videom, filmom, glazbom, raunalima. kola naalost ne prati ove trendove, nasuprot, nudi dosadnu, neaktivnu nastavu posebno u podruju umjetnikih predmeta.

U tom smislu autor zagovara novu koncepciju, novi kurikul u umjetnikim predmetima, novi pristup umjetnosti, kroz module Poli-Art modela, gdje se u prvi plan stavlja doivljaj, suodnos, interaktivan pristup, gdje se ne inzistira na rezultatu, koliko u prvi plan stavlja proces. Nadalje, autor zagovara novi pristup umjetnikim predmetima (podrujima) kroz integriran pristup srodnih predmeta glazba + likovnost + vizualna komunikacija + ples, pokret + sve to praeno medijima + slikom - jedinstveni, integralni, razvojni kurikulum u umjetnikom podruju POLI-ART.Poli-Art integrira kulturno-umjetnike i duhovne dimenzije, afirmira kreativne i aktivne metode rada i objedinjava vie predmeta u umjetnika podruja.

Cjelokupnu viziju ovog projekta dr. Sui je kroz respektabilan uzorak znanstveno potvrdio potrebu o prihvaanju ovog modela i hipoteze o potrebi promjena u umjetnikom podruju i afirmativnom odnosu prema Poli-Artu kao novom, integriranom pristupu umjetnikim predmetima u odgoju i obrazovanju.

Model Poli-Art u sredite stavlja svako dijete, a ne samo talentirano dijete. Nitko se ne udi to u glazbi, slikarstvu, umjetnosti, poeziji, nailazimo na udesno nadarenu djecu, ali ih treba ponuenim leksibilnim i otvorenim modelom pronai mnogo vie, smatra doktor Goran Sui.

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Milica Andevski, Ph.D.

Why Poly-Art?

A PolyArt model is one of the actual, contemporary and attractive approaches to an important area of our social development education.With his thesis Goran Sui basically advocates defining and redefining the basic factors of the teaching process with the focus on the change of paradigms from an old, traditional paradigm in the educational system - to a new, open and lexible the organisation of teaching in a curriculum with a special emphasis on the area of art.

Goran Sui is trying, with his thesis, to affirm art in the life of young people. The teaching process has failed to develop the sense for the development of aesthetic and artistic values among young people. Nowadays the young people live in the world of media, multimedia, they take pictures of the world through video, movies, music and computers. Unfortunatelly, the school system does not follow these trends, on the contrary, it offers boring and inactive classes especially in art subjects.

With this in mind the author advocates a new conception, a new, integrated, developmental curriculum of art subjects, a new approach to art through Poly-art modules, which emphasise the experience, correlation, interactive approach; which do not insist on the result as long as the process is in the foreground. Furthermore, the author advocates a new approach to art subjects (areas) through an integrated approach to related subjects Music + Art + Visual communication + Dancing, Move + media coverage of the above-mentioned + Image a unique, integrated, developmental curriculum of art area POLY ART.

PolyArt integrates cultural artistic and spiritual dimensions, it affirms creative and active methods of work and unites several subjects into artistic areas. Sui has, on a respective example, scientifically confirmed the need to accept this model and hypothesis the need for changes in the area of art and for affirmative attitude towards Poly-art as a new integrated approach to art subjects in education.PolyArt model focuses on every child and not just the talented ones. No one is surprised that in music, painting, art, poetry we come across amazingly talented children, but the offered lexible and open model should be able to find even more such children, says Goran Sui.

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Prof. Ivica iko

Gesta Slikarske geste grubo donesene na platno u jednom trenutku kada glazba ulazi u sve pore slike, stvarajui cjelinu usmjerenu prema gesti, koju autor tog trenutka usmjerava nudei suptilnost tonova instrumenta ojaanu bojom orkestra, ini sveani in stvaranja, stapajui boje s oblicima crtea.

Anatomija slike Tekstura i nain komponiranja te boje, linije stvaraju neto to je autor mogao jedino vidjeti osjetiti u krajolicima Jurkievih slika, osjetiti glazbu koja odjekuje u kronjama ljetnih omorina, zelenim tonovima osvjetljenim zrakama sunca, pretvarajui sve to u zlatnu sinfoniju boja i zvukova.

Sui dobro oslukuje; uje i vidi. Iako slikar Sui koristi sasvim novi nain, daleko od Jurkia, ali ono sakralno u glazbi Sui osjea i dobro gradi svoj slikarski svijet dajui time novo, i vrijedno u umjetnosti.

Drugi dio Suievih slika moemo staviti u red gestualnih uradaka.

Autor oslobaa svoju misao u trenu, pretvarajui potez u znak s jasnim elementima koji na platnu ine igru kroz strukturu kompozicije, koju pretvara u ton-zvuk, instrumenata u velikom orkestru ugoenom prema kompoziciji koja e stvoriti sliku.

Suieva obrazovanost i nadarenost za glazbu, daje mu veliku prednost u likovnom stvaralatvu (slikanju), tako da ta dva leksika znalaki proima u jednu cjelinu.

Sui koristi (sasvim) novi nain izraza u likovnom govoru, spajajui ga s jezikom glazbe s kojom uspijeva dobiti tu sakralnost. To je uistinu vrijedno panje, vrijedno umjetnike percepcije i doivljaja.

Osjetiti sliku u svojoj punini, isto je to i osjetiti glazbu.

Napetost koju stvara glazba u svome isekivanju, u proimaju sa slikom, teksturama, koloristinom snagom, daje ono najbolje to Sui znalaki radi, usmjereno ka likovnom i umjetnikom dogaaju.

Slikarstvo, preobraenje prirode iskonski je nagon slikara. U gibanju prirode Sui unosi krepost reda, proimajui glazbom uzvienost stvaranja novog izraza, spremnog na novu avanturu.

Poelimo muzici i slici dug ivot zajedno.

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Ivica iko, Ph.D.

GesturePainters gesture roughly applied on the canvas in the moment when a music enters into all pores of a painting thus creating a whole oriented towards gesture which is being directed by the author who offers a subtlety of the instruments tones strengthen with the colour of orchestra, makes a ceremonial act of creating by merging the colours with the forms of the drawing.

Anatomy of the painting Texture and the way of composition and colours and lines create something that the author could only see-feel in the landscape of the Jurkis paintings, feel the music that echoes in the tops of summer spruces, green shades illuminated by the sunrays, transforming all this in the golden simphony of colours and sounds.

Sui listens attentively; he hears and perceives. Although a painter Sui has a completely different style, far from Jurkis, he senses the sacral in the music and creates properly his world of paint thus making a valuable contribution to the art.

Second part of Suis paintngs can be classified as works of gesture.

The author releases his thought in a moment, transforming brush-stroke into a sign with clear elements that play the game on the canvas through the structure of composition, that he creates in a tone-sound of the instruments in the great orchestra arranged by the composition that will create a painting.

Suis education and a talent for music present a great advantage in the visual arts creativity (painting) so he professionally pervades these two lexis into a whole.

Sui uses a completely new way of expression in visual expression merging it with the language of music thus resulting in the sacral. This is really worthy of an attention, artistic perception and experience.

Sensing the painting in its totality is the same as sensing the music. Intensity that music creates in its anticipation while merging with painting, texture and the power of colours is the best that Sui professionally makes, oriented towards visual and art experience. Painting and transformation of nature is primeval instinct of a painter. Sui brings a virtue of order in the movement of the nature, pervading by music the sublimeness of the creation of a new expression prompt to a new adventure.

Lets wish music and painting a long life together.

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Branka Brekalo, prof. povjesniarka umjetnosti, Split

Slikarstvo je Goranu Suiu vrutak uitaka i kreativne slobode. Ne udi autorova sklonost likovnome, profesionalni glazbenik zarana je upoznao snagu neverbalne komunikacije, razumljivost univerzalne poruke. Bez velikih optereenja i oekivanja, Sui je darovao sebi slobodu prijenosa notnih zapisa u drugi, drukiji medij, u kompoziciju slike.

Likovni razvoj poeo je, oekivano, u figuraciji, meu vrstim, prepoznatljivim formama i motivima to se prirodno nude i nameu umjetnicima roenima izmeu obala Mediterana i slikovitih livanjskih breuljaka. Nakon vie godina, boja se na Suievim platnima rasprila, razigrala, autor je osjetio ljepotu slobode pokreta ruke, uslijedile su brojne likovne varijacije, koloristike i stilske, nadahnute glazbom i njezinom raskoi.

Skladba i likovnost imaju mnogo zajednikoga, formu, ritam, boju, ton, kompoziciju, stil. Temeljna je razlika ve u nastanku djela, kasnija i u recepciji. Dok glazba ivi u izvedbama, i svaka je jedinstvena, slikarstvo nastaje u neposrednom odnosu jedan na jedan umjetnika i djela. U takvom je neometanom zanosu Sui stvorio uistinu dojmljiv niz likovnih varijacija.

Autor je izabrao akrilik, tehniku manje obvezujuu od ulja, teu od akvarela, taman po mjeri vlastitih notnih zapisa. Kistom autor varira svoje tonove, melodije, nijanse, pikturalne i prtave forme, ekspresivan je na gotovo svim kompozicijama. Glazbeni naslovi odreuju ugoaj likovnih djela, tek je na malobrojnima, kao u Gudakom diptihu, Sui eksplicitan pa je naziv slike ujedno i njezin motiv dok bi Harmonika i Klavijatura, primjerice, isto zvuale i da su drukijim imenom nazvane. Na tim je slikama boja preuzela primat formi, a glazba se stopila s vizualnim. Suiev koloristiki izbor razliiti je, neke slike prte od obilja boja, dio ih je priguen u monokromnosti dok na nekima, grafizmu i pokojem teem namazu unato, vidljiva je vitalna protonost likovne melodije koja se nastavlja s platna na platno. I kada svoje kompozicije autor umiruje jaom linijom i tamnijim namazima, ili kada pokuava vizualnim medijem objasniti glazbene pojmove, slike ostaju zasebne cjeline, iskrene i svjee likovne ekspresije.

Sui se odluio za vee formate slika, tim je izborom zajamio sebi prostor koloristikih iznenaenja, oslobodio je likovnu gestu i poteze kistom pa se opustio osnaen iskustvom i zvucima glazbe.

Iz ponekih radova autor izdvaja ulomke varirajui likovno-glazbenu temu na dvije ili tri dimenzijama nejednake cjeline i tako jo jae istiui jedinstvo sluanja i gledanja, sinergistian doivljaj umjetnosti, proimanje ivota.

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Sam Sui svoj je monografski projekt objavljivanja glazbenih i slikarskih djela radno nazvao Glazbena vizualizacija-Likovna sluaonica iskreno izjednaavajui znaaj i vrijednost razliitih medija.

Digitalna kultura sjajno je podrala sinergiju multimedijalnim konceptom prezentacije. Suieve umjetnosti obraene tehnolokim alatima dananjice mogu se usporedo uivati, gledati i sluati. Autor pri tom ne zaboravlja na davne obiaje pa ve na poetku, kako i prilii, zaziva svoju Muzu bez ije pomoi nikada ne bi osjetio blaenstvo sudjelovanja u stvaranju Umjetnosti.

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Branka Brekalo, art historian, Split

For Goran Sui painting is a mixture of pleasure and creative liberty. The authors inclination towards the visual arts does not surprise, the professional musician has met the strength of nonverbal communication from early on as well as the understanding of the universal message. Without great expectations and any burden Sui has given himself the freedom to transfer music notation into another, different medium, into an image composition.

As expected, the art development has begun, in figuration, among solid, recognizable forms and motives which are offered as a matter of course and asserted to artists born in the area between the shores of the Mediterranean and the picturesque hills of Livno. After a number of years, the colour on Suis canvas has scattered, heated, the author sensed the beauty of the freedom of the hand movement, many art variations followed, both colouristic and stylistic, inspired by music and its luxuriance.

Composition and art have a lot in common: the form, rhythm, colour, tone, composition, style. The main difference between the two is in the origin of the work, and later in the reception. While music lives in its performance, and each is unique, the painting is created in an immediate relation one on one of the artist and the work. In such undisturbed trance Sui creates truly impressive set of artistic variations.

The author has chosen acrylic, a technique less binding than oil, heavier than watercolour, suitable for his own music notation. With his brush the author varies his tones, melody, nuance, picturesque and sparkling form, he is expressive in almost all of his compositions. The music titles determine the mood of the art works. Only in few, such as String Diptych, Sui is explicit, thus the title of the painting is also its motif, while for instance The Accordion and The Piano would sound the same even if they were called differently. In these painting the colour has assumed primacy over the form, and the music emerged with the visual.

Suis colouristic expression is different, some of his paintings burst with abundance of colours, some of them are muted with monochrome, while some, in graphics and some other heavier layers, such low of artistic melody continuing from canvas to canvas is visible. When the author tries to soothe his compositions with a stronger line and darker layers, or when he tries to explain music terminology with visual media, the paintings remain separate wholes, honest and refreshing art expression. Sui has decided to use larger formats of paintings, and with such a choice he has secured a space of colouristic surprises, he has freed the artistic gesture and brush strokes and then he has relaxed, strengthened by the experience and the sounds of music.

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He chooses paragaphs from certain works thus varying art-music theme in two or three dimensions of an unequal whole by which he even more stresses the unity of hearing and observing, a synergistic art experience, a penetration of life. Sui alone gives his monographic project of publishing works of art and music a working title Music visualisation Visual auditorium openly equalizing the significance and value of different media.

Digital culture has endorsed splendidly the synergy via a multimedia concept of presentation. Suis arts treated with technical tools of the present can be at the same time enjoyed, observed and heard. The author does not forget the bygone customs and he, at the beginning invokes his Muse without whose help he would never feel the bliss of participating in the creation of art.

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Prof. dr. sc. eljko kuljevi

Akrilina simfonijta Likovno-glazbeno stanovanje Gorana Suia

Zato u naslovici akrili i simfonija (gr. symfnia suglasje, glazbeni sklad), odnosno simfonijta kao mala simfonija, kada se hoe neto (za)pisati o kreativnom habitusu Gorana Suia. Kako je, uope, mogue da ta dva, ipak razliita, umjetniko-kreativna izraza stanuju zajedno? Ne ukljuuje li to nuno i ona tzv. govorenja izmeu kao neku vrst nevidljive umjetnike priopljivosti izmeu glazbenosti i likovnosti koju je, istina, teko detektirati, ali smo nekako svjesni njenog nevidljivog bivanja.

Niti Sui rabi samo akrilik kao slikarsku tehniku, tu su jo pasteli, ulje na platnu, te akvareli iz ciklusa Korijeni, na primjer, niti je per se (samo) simfoniar. Najee su to komorni glazbeni uradci koji svojom intimnou i molskom mekoom vie komplementiraju, upravo, akriliku, a ne nekoj drugoj slikarskoj tehnici u kojoj se autor okuavao. Ne bez razloga upozorava, stoji u Optimistikim nemirima, odnosno zapisima na marginama knjige Odraslo djetinjstvo dr. Toni itin, na krucijalnu ulogu likovne i glazbene komunikacije... Kao da Suieva notwendige Zweideutigkeit, kazano heideggerovski, govori o njemu kao o profesionalnom glazbeniku i angairanom pouavatelju u glazbenom odgojno-obrazovnom procesu, ali i kao o afirmiranom slikaru (amateru ???) osobena senzibiliteta.

Doivljaj muzike (gr. mysik ono to je u vezi s harmonijom i Muzama; glazba, ali i pjesnitvo) je subjektivan i koliko god ga ne treba sputavati verbalnim interpretacijama, mi to uporno inimo: Subjektivni glazbeni doivljaj ne treba sputavati verbalnim interpretacijama ili ga podvrgavati sloenim estetskim odrednicama. Intimni razlozi i ekspresije skladatelja koji su svoj odraz nali u tonovima, ritmu, harmoniji, tempu i dr., sasvim su osobni izraz univerzalnih shvaanja i njihova recepcija nesumnjivo je subjektivna i pobuuje razliite emocije kod sluatelja.

Estetika recepcije, u ovom sluaju, ne znai puki subjektivizam i relativizam vrijednosnog rasuivanja i prosuivanja. Sjetimo se samo sudbine grkih sofista (misli se na Stariju, a ne na Mlau sofistiku ili, bolje, eristiku), prema kojima je, sve do izlaska Hegelovih Vorlesungen ber die Geschichte dere Philosophie, uinjena velika (h)istorijska nepravda. Trebalo je saekati (samo) dva milenija da se uvidi njihova zasluga za duhovni preobraaj Helade i opi razvoj kritikog duha. Nije samo filozofsko-sofistiko umijee uoavanje ove Suieve dvostrukosti, gdje glazbeno i likovno ine dvije strane njegovog jedinstvenog, jedincatog i nedjeljivog kreativnog bia. Zanimljivo je da i akademski slikar uoava tu glazbenu zapretenost u skladanju akrilika ime se slike, paradoksa li, mogu notno uitavati i uitati. Autor, po njemu, ushieno osjea ivot kroz glazbu, to izraava kroz sjajne zvukove koloristikih harmonija.

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Poto sliku gradi od raznobojnih snopova svjetlosnih zraka i kontroliranog poteza kista, to je temeljni princip pristupa apstrakciji, one ipak nisu liene nagovjetaja figuralnosti. Naime, ukoliko je u pitanju simboliki jezik, za Suievo slikarstvo se moe rei da se nalazi na granici (granica shvaena dinamiki u smislu njenog stalnog pomjeranja) izmeu apstrakcije i figuracije. Boje i oblici zdrueni su u jednu zvunu harmoniju punu energije, kae slikarski profesionalac, koja neposredno djeluje na osjeanja gledaoca i prenosi mu duhovni sadraj slike u svoj njenoj bogatoj gustini. Radi se o nekoj vrsti sinestezije (gr. synaisthnomai), odnosno pojave da zvuk izaziva kod sluatelja osjeaj boje, svjetla i slino. Drugim rijeima, osjeaj zvuka izaziva osjeaj vida, gledanja, to je na izvjestan nain sluanje bj ili, pak, muzika bj.

I na kraju, ona Krleina da je glazba lirska pauina izmeu razuma i srca odnosi se i na akrilino komponiranje Gorana Suia.

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eljko kuljevi, Ph.D.

The Acrylic SinfoniettaThe art musical occupancy of Goran Sui

Why use acrylic and symphony (greek symfnia agreement, music harmony), i. e. sinfonitta as a little symphony in the title when someone wants to write down something of Goran Suis creative habitus? Does it not involve those so-called talkings in between as some sort of invisible artistic communication between the music and art which is, truthfully difficult to detect, but we are somehow aware of its invisible existence.

Not even Sui uses only acrylic as an artistic technique, there is pastel, oil on canvas, watercolour, for instance from The Roots cycle, nor he is only a symphonist per se. Most frequently those are chamber music compositions which, with their intimacy and softness of the minor, complement the acrylic more than the other art painting techniques which the author tried to use. He warns against, and not without a reason, as it is said in The optimistic turmoils i. e. the writings on the margins of the book Grown-Up Childhood by doctor Toni itin, the crucial role of the communication between art and music...It is like Suis notwendige Zweideutigkeit, if we put it in Heidegger terms, discusses him as a professional artist and an engaged tutor of music education, but also as an affirmed painter (amateur) with distinctive sensibility.The music experience (greek mysik related to harmony and Muses; music and poetry as well) is subjective and it should not be shackled by verbal interpretations, and that is what we are persistently doing: The subjective music experience should not be shackled by verbal interpretation or subjected to complex aesthetic determinants. The intimate reasons and expressions of the composers which have found their relection in tones, rhythm, harmony, tempo et cetera, are quite a personal expression of the universal understandings and their reception is, without a doubt, subjective and invokes different emotions in listeners.

The aestetic of reception, in this case, does not mean raw subjectivism and relativism of value judgement and consideration. Let us remember the faith of greek sophists (by which the Old sophism, and not the New sophism, or even better, eristics is implied) who faced great historical injustice until the publication of Hegels Vorlesungen ber die Geschichte der Philosophie. It took two thousand years to recognize their contribution to spiritual transformation of Hellas and the development of spirit of criticism. The skill to gain insight into Suis doubleness, where music and visual arts are two sides of a unique, sole and indivisible creative being is not only philosophical sophistic artistry.

It is interesting that an academic painter can point out that music entaglement in the composition of the acrylic, with which, paradoxically, the paintings can be loaded with notes.

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According to him, the author enthusiastically expresses life, i. e. music, that is expressed through splendid sounds of colouristic harmonies. Because the painting is composed of multicoloured beams of light rays and the controlled strokes of the brush, which is the basic principle of an approach to abstraction, it is still not deprived of the inkling of figuration. It can be said for Sui painting, when symbolic language is in question, that it resides on the boundary (boundary in terms of dynamics, its constant movement) between abstraction and figuration.

Colours and shapes are joined into a sound harmony full of energy, says the professional painter, which affects directly the viewers feelings and transmitts the spiritual content of painting in all its rich density. It deals with some kind of synthesis (greek synaisthnomai), that is the phenomenon of sound producing the feeling of colour, light, et cetera in a listener. In other words, the feeling of sound causes the sense of vision, viewing, that is in a certain way listening to colours or else music of colours.

In the end, Krleas saying that music is a lyric spiderweb between the reason and the heart refers to acrylic composition of Goran Sui.

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Dr. sc. Marija Braji

Da bismo umjetniku sliku razumjeli kao znak, moramo zaboraviti njezinu povrinsku sliku i misliti o onome to stoji iza nje: ne o izvornoj percepciji u kojoj se raskono kupa sama povrina, ve na tijelo ija je djelatnost kako kod slikara, tako i kod promatraa uvijek i samo preobrazba materijalnih znakova.

Virlio tvrdi da postmoderna logistika slike ukazuje na kulturnu amneziju i gubitak, pa o tome kae Ono to se vidi trenutni su djelii zarobljeni u kiklopskoj pei. Neko sutinski, vid postaje sluajan.

Apstrakcija danas vie nije karta, dvojnik, zrcalo ili koncept. Vie ne stvaramo simulacije prostora, bia ili materije, nego modele stvarnog bez podrijetla ili stvarnosti stvaramo hiperstvarnost.Hiperstvarnost Gorana Suia je stvarnost zvukova i tonova koje on preobraava u vizualne oblike. Otuda i naziv same izlobe Glazbena vizualizacija. Po vokaciji glazbenik, svoj je izlet u slikarske vode zapoeo znatno ranije, ali uglavnom na tragu figuracije. Najnoviji opus apstraktnih slika nastao je iz pokuaja da objedini svoja umjetnika htjenja i tako zvuku dodao boju, a boji zvuk.

Zbog toga su njegove slike, raene u tehnici akrilika, nazvane uglavnom glazbenim terminima Kosonantni intervali, Polifoni odnosi, Varijacija na nepoznatu temu itd. Igrajui se bojama i mrljama, ponekad na tragu Jacksona Pollocka, a ponekad inspiriran kolorizmom Murtia, korelativno povezuje glazbeno i likovno, sluno i vizualno, a ono se na slikama pretae u ekspresiju oblika uz zvuke glazbe. Sluajmo gledajui!

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Marija Braji, Ph.D.

To understand a painting as a sign, we must forget its surface image and think of what is behind that image: not the original perception in which the very surface luxuriously bathes, but the body whose activity as in the painter, as well as in the observer - is always just a transformation of material signs.

Virlio states that the postmodern logic of the painting points to cultural amnesia and loss, and he claims that what is seen are only partial moments trapped in a cyclopean stove. Once essential, the sight becomes random.

Abstraction nowadays is no longer a map, a double, a mirror or a concept. We no longer create simulation, entities or matter, but models of the real without origin or reality we create hyperreality.

The hyperreality of Goran Sui is a reality of sounds and tones which he transforms into visual forms. That is why the very exhibition carries the title Music visualisation. By vocation a musician, he started his journey as a painter much earlier, but mostly on a trace of figuration. The latest opus of abstract painting is a result of an attempt to unify his artistic aspirations thus adding colour to sound, and sound to colour.

That is why his paintings, done in acrylic, carry music terms as names such as Consonant intervals, Polyphonic relations, Variations on an unknown theme et cetera. By playing with colours and splatter, sometimes on a trail of Jackson Pollock, and sometimes inspired by colourism of Murti, he links correlatively music and visual arts, the auditory and the visual, and in paintings it transfuses into an expression of shapes. Let us listen with our eyes!

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Dr. sc. Dubravka Kuevi

Do sada smo Gorana Suia poznavali uglavnom kao dugogodinjeg glazbenog pedagoga, meutim likovna izloba pod nazivom Glazbena vizualizacija predstavlja nam ga u novom svjetlu, kao autora i kao likovnog interpretatora, to vie, gotovo kao sinesteta koji uspjeno povezuje osjetila razliitih modaliteta. Osjetilima percipiramo, doivljavamo i spoznajemo svijet. Svako osjetilo pretpostavlja razliitu senzaciju i daje raznolike informacije koje detektira iz okruja.

Prikupljajui informacije razliitim osjetilima, percepcija postaje bogata i slojevita, a razumijevanje pojedinih situacija, pojava i fenomena postaje osobno i proivljeno. Snano preplitanje razliitih opaajnih registara nazivamo sinestezijom (lat. synaesthesia, suosjet). Upravo, sinestezijska veza auditivnog i vizualnog potaknula je autora da sluno diktira vidljivo, no u istome trenutku vidljivo postaje nevidljivo i pretvara se u istu likovnu apstrakciju. Zanimljivo je kako povezujui razliite doivljaje iz ujne oblasti autor postie slikovitost i likovnu stilizaciju izraza. Zvuni podraaji dakle, postali su prostori Suievog likovnog izraavanja u kojima prepoznajemo vre i mirnije poteze kista, poteze koji u gustom nizu ispisuju povrinu platna razigranim snanim bojama.

Kada pogledamo estinu kolorita koja isijava iz predoenih slika, ne moemo ne zamijetiti autorov razvijeni sluh za boju te moemo s pravom zakljuiti da je njegov smisao za boju muzikalan i senzibilan. Svaki umjetnik kao to kae H. Reade trai nain izraavanja u materijalu koji e mu pruiti osjeaj sigurnosti, osjeaj trajnosti i ivotnosti. Sui je svoj smisao pronaao u boji i zvuku, tako da s pravom moemo rei kako autor glazbu uje u svim bojama spektra.

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Dubravka Kuevi, Ph.D.

Until now we have known Goran Sui as a music pedagogue of many years standing, however, his Music visualisation presents him in a new light, as an author and an artistic interpreter, even more, almost as a synaesthetist who successfully connects senses of different modality. With the help of the senses we perceive, experience and understand the world.

Every sense presupposses different sensation and gives different information which is detected from its surroundings. By collecting information with different senses, the perception becomes rich and multi-layered, and the understanding of certain situations, occurrences and phenomena becomes personal and experienced. The strong interweaving of different reception registers is called synaesthesia (lat. synaesthesia, co-sense). The synaesthetic connection of the auditory and visual has encouraged the author to dictate the visible with auditory, but at the same time it becomes invisible and transforms itself into a pure art abstraction. It is interesting how, by connecting different experiences from the auditory area, the author achieves the vividness and art stylization of expression.

Therefore, the sound stimuli have become spaces of Suis visual arts expression in which we recognize firmer and calmer brush strokes, strokes which in a dense row write on the surface of canvases in strong playful colours.

When we look at the intensity of colours which shines from the paintings presented we cannot but notice the authors developed hearing sense for colour and we can rightfully conclude that his sense for colour is musical and sensible. Every artist, just like H. Reade claims, is looking for a way to express oneself with a material which would give him the feeling of security, the feeling of permanence and vitality. Sui has found his meaning in colour and sound, and we can rightfully state that the author can hear the music in all the colours of the spectrum.

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Vojislav Vujanovi, likovni kritiar

Slikarstvo satkano od boje zvuka i zvuka boje

Boja je govor unutarnjeg bia ovjekova, glazba egzaltacija toga govora. Ono to je ostajalo iza njih jeste duhovna parabola, oblikovanje svijeta od lirskih treperenja, tananih, poput snova. To su poetne odredbe likovnog djela Gorana Suia u iji temelj su ugraena tri gradivna elementa: unutarnje bie ovjekovo, otvoreno za poticaj, za stvaralki agon, boja koja svoje osmiljenje nalazi u emocionalnim kondenzatima i glazba koja na sebe preuzima gradbenu funkciju osiguravajui slici unutarnju arhitektoniku, sintaksiku sreenost. S druge strane, glazba proiava materijalnost boje, emocije se uzdiu za itavu oktavu u svojoj izraajnosti da bi se oblikovanom svijetu osigurala ona lirska tananost u koju se smijeta autorova spoznaja svijeta koji se oslobaao iskustvenosti svakodnevlja i bio pronosilac onog iskustva koje se proivljavalo jedino u duhu kao njegova parabola. To je iskustvenost unutarnjeg bia koja se, dakle, razvija kroz emotivnu puninu boje i kroz strukturalnu organizaciju glazbenih akorda. Emotivni kondenzati poprimaju razliite oblike, ovise od karakterologije bojenih odredbi: emocije se razvode itavom skalom bojenih raznolikosti i ta raznolikost postaje nositeljem morfolokih odreenja slike koje glazba, svojom unutarnjom organizacijom, svojim zvukovnim spregovima, prevodi u likovnu cjelinu, u sliku koja poinje isijavati iz sebe ono znaenjsko bogatstvo, onu duhovnu ponesenost i onu spoznajnu irinu koju nam nudi umjetnik Goran Sui.

Djelo Gorana Suia jeste izrazito autobiografsko, iskazano kroz dvije umjetnike forme kroz glazbu i kroz slikarstvo. U svojoj umjetnosti on spree luidnost glazbenog treperenja uhvaenog u materijalnosti slike, u njenoj bojanoj sadrajnosti. To nije nonsens: glazbeni luid je kod svih glazbenika traio svoga referenta u odreenoj materijalnosti, u mogunosti da se svaki glazbeni akord prevodi u neku moguu materijalnu datost. Te materijalne datosti ne proistjeu iz iskustvenosti ovjekova svakodnevlja pa ni iz ovjekove povijesti kojom je, ipak, vezan za donje slojeve ovjekove egzistencije, za zemlju, ve proistjeu iz duhovne predestiniranosti ovjekove, iz boanske iskustvenosti koja ovjeka izdie u vie sfere duhovnih datosti. To je onaj stvaralaki podvig koji je izveo Musorgski u svojoj sviti Slike sa izlobe. Glazba i slika ive u moguoj sintezi, u moguem amalgamu iz kojega se oslobaa tvoraki agon. Slika ako se u njenom biu ne moe doslutiti glazbeni faktor proienja materijalnih naslaga kojih se boja nije u stanju osloboditi sama sobom, ona postaje neprozirna, optereena materijalnim naslagama, misao postaje nerafinirana, bez potrebne uznesenosti umjetnikog govorenja i, na kraju, bez svojih estetikih premisa, ak i onda kada se poela proteirati i estetika runog! S druge strane, ni glazba se ne moe uzdii do takvih visina apstrahiranja u kojoj se ne bi osjeala nikakva mogunost proziranja ovjekove egzistencijalne biti (egzistencijalna bt ovdje ima sve pozitivne karakteristike ovjekove opstojnosti u svijetu), jer bi bila prazna, suvie astralna, nespoznatljiva.

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Goran Sui je, u svojoj slici, pokuao jasno objaviti na koji nain se glazba i likovni govor uspijevaju usuglasiti, da manifestiraju svoje sfere aktivizma u graenju jedne slike. Materijalne impulse je potraio u samome sebi, u osobnim emotivnim kondenzacijama u kojima je pronalazio bojeno odreenje i u glazbi kao gradivnom faktoru slike, ali i kao faktoru u proiavanju emocionalnog kondenzata u boji. Pri tom su podjednaku unutarnju transformaciju doivljavali i glazba i boja. Boja se, uglavnom, manifestirala u svojim valerima, u kristalima polutonova i upravo u tim kristalima polutonova, u valerskim formulacijama glazba je nalazila svoju melodijsku skalu, pledirajui na dinamici bojenih linija na kojima se, istovremeno, zasnivala i organizacija slike. Linije, bilo da su osamostaljene, ili se ugraivale u ire bojane premise, organizirale su tijelo slike koje je, u svojim valerskim skladovima, isijavalo iz sebe lirski sklad, sklad koji je odavao i nain autorove spoznaje svijeta, svijeta kao bistre kategorije intimnog. Goran Sui ne poznaje drugi svijet osim onoga koji se oformljivao u njegovoj intimi, istoj osobnosti.

Osnovni ton u kojem se realizira likovno glazbeni svijet Gorana Suia jest plava boja u irokoj skali svojih valera koji se kreu od blagog nanosa u kojem se osnovni ton istanjuje do magliasto sive na jednoj strani, i do gotovo grimizne boje na drugoj strani. To nije sluajno i moe se lako zapaziti iz cjelovite nae analize njegova slikarstva. Istaknuli smo lirsku transparenciju njegove slike, sada toj transparenciji moemo pridruiti jo jedan kvalitet kvalitet iste astralnosti. Njegovo slikarstvo egzistira izvan svijeta povijesnih determinanti, predestiniran za takvo doivljavanje svijeta, ipak, nekim realnim determinantama: Mediteranom s njegovom mekoom i svjetlinom i livanjskim nebom. To je ono podsvjesno to se oslobaalo dok se predavao svome stvaralakom zanosu, dodatna energija koja se ugraivala u njegov glazbeni vor iz kojega se, potom, u slapovima, izlijevala u njegovu stvatalaku magiju. Bez te magije ne bi se razbuktavala ni emocionalna kondenzacija bojanog faktora, niti bi glazbeni in poprimao onaj svoj egzaltirani polet od ega je slika Gorana Suia stjecala svoj urbanitet, svoju arhitektoniku. Ovakvim pristupom u otjelovljivanju slike, umjetnici su predisponirani da grade odreene cikluse, da se stvara niz slika koje dolaze iz zajednikog inspirativnog vrutka. I kod Gorana Suia se, u nekoliko navrata, osjetila takva tenja. Takve tenje on naziva varijacijama ili improvizacijama: varijacijama na zadane teme, improvizacijama na poznate teme, varijacijama na djeju temu itd. Moda se, na fonu magijskog, najsnanije oliuje slika Varijacija na Murtievu temu. Slika ima formalna odreenja Murtievog platna, ali je ono tvorako magijsko bitno drukijeg karaktera: obznanjeno je u tonovima kompozicije koja je razvedena u pet latiastih formi ispunjenih gradacijama plave boje sa jednim, gotovo jedva primjetljivim tonom zelene, sa pjegama bjeline i sa linijama smee boje, umjetnikovim light motivom koji se provlai kroz gotovo sve njegove slike, ija je funkcija u slici viestruka: one ne daju, ipak, da se slika izgubi u svojoj astralnosti, one ritmiziraju uoblieno polje, one ouvavaju prisustvo voljnog faktora umjetnikova koji bi htio obznaniti svoje prisustvo u slici. Nanesene boje imaju

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svoju gustinu i imaju u sebi neto himnino ime se i obznanjuje umjetnikovo htijenje: on nee preuzimati tematski sloj Murtieve slike, nee da svoju invenciju ugrauje u filozofiju Ede Murtia i njegovo poimanje tragike povijesti. Goran Sui eli izraziti svoj ushit umjetnikim dosezima Murtievim, da mu ispie svoj likovni sonet. Murtieva slika nije referencijalna prema Suievom likovnom sonetu, ona jeste povod Suiu da izrazi svoj himniki ushit Murtievoj umjetnosti. Tome, moda, najvie pridonosi bijeli krug iza obraenog motiva: bjelina je blagotvornost sunca koje objavljuje bjelinu dana ili bjelinu raanja jednog i glazbenog i likovnog pogleda na lijepi svijet, onaj svijet koji se uzdigao do apoteoze u eksponatu sa zagonetnim nazivom Gustoso. Tu je lirska rasko dostigla svoj krajnji domet u svojim valerskim tonovima plavetnog tonaliteta, koja bi se mogla uglazbiti samo sa tonovima durske Cis skale.

U takvom tonskom registru bismo mogli govoriti i o nizu drugih njegovih slika. Takva je slika Intervalski odnosi, slika sa izrazitom glazbenom organizacijom fuga sa razuenom morfologijom, satkanom od plavih, crvenih i utih bojenih tonova razvedenih u arhipelag vidnog polja izmeu kojih tee glazbeni ushit koji se iri u nedogled. U taj spektar se ukljuuje i slika Boja zvukova lirska transpozicija, podignuta za oktavu i sva u plaviastim prelivima i ritmikom organizacijom linija koje formuliraju unutarnju dinamiku doivljaja. Samo nekoliko slika ima u kojima nije dolo do evidentnog rafinmana bojenog pigmenta, iz kojega nije, u dovoljnoj mjeri, iilila materijalna komponenta, kao u slici Invencija na djeju temu.

Slike Gorana Suia sadre u sebi i izvjesnu asocijativnu energiju, koja moe biti i komunikativna veza sa gledalitem. To su, uglavnom, slike koje imaju jasno odreeno svoje jezgro iz kojega polijeu silnice poteza kistom u slobodni prostor i time asocijraju na odreene cvjetne bukete ili na slobodno organizirane okvirne forme.

Goran Sui, glazbenik po svome profesionalnom odreenju, slikar po unutarnjoj vokaciji, oblikuje likovno djelo koje se, svom silinom, opire svoenju u jezike formulacije za koji treba traiti one lekseme koji i sami sadre u sebi bojenu mekotu i glazbeni ushit. Njegovo slikarstvo jeste govor unutarnjeg bia, govor koji se obznanjuje egzaltacijama glazbenih spregova!

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Vojislav Vujanovi, art historian

Painting created through colour of sound and sound of colour

The colour is a speech of inner human being and music is the exaltation of that speech. What is left after that is a spiritual parable, the molding of the world of lyric lickering, delicate, like dreams.

Those are initial provisions of the art work of Goran Sui in whose foundations lie three construing elements: the inner human being, open for encouragement, for artistic drive, colour which finds its rationality in emotional condensates and music which takes upon itself the construing function securing an inner architectonics, a syntactic order for a painting. On the other hand, music purifies the materiality of colours, emotions rise for a whole octave in their expressiveness in order to secure to the formed world that lyric delicacy entailing the authors cognition of the world freed from the experience of everyday life and the world which was the carrier of the experience of the experience that finds its parable only in a spirit.

That is the experience of the inner being which develops through an emotional fullness of colour and through structural organisation of the music accords. The emotional condensates take different shapes, dependant of characterology of colour provisions: emotions are transmitted via a whole scale of a painting transformed into visual unity through music and its inner organization, and the painting starts to radiate the rational wealth, the spiritual enthusiasm and that cognitive latitude which is offered to us by the artist Goran Sui. The work of Goran Sui is strongly autobiographic, expressed through two artistic forms through music and painting. In his visual arts he unites the luidity of music lickering caught in the materiality of the painting, in its colour substantiality. That is not a nonsense: with every musician a music luid has been looking for its referent in certain materiality, in a possibility that each music accord can be translated into a possible material givenness. Those material givennesses do not come from the experientiality of human everyday life nor from his history which links him to the lower layers of human existence, to earth, but from spiritual predetermination, from divine experience which raises the human into higher spheres of spiritual givenesses.

That is the creative achievement Musorgski speaks of in his suite Pictures at an exhibition. Music and painting live in a possible synthesis, in a possible amalgam which sets free the artistic drive. The painting, if in its being the music factor of purification of material layers, from which the colour cannot free itself, cannot be grasped, becomes opaque, burdened by the material layers, the thought becomes unrefined, without the necessary elation of the art speech and, in the end, without its aesthetic premises, even when the aesthetics of the ugly starts to be favoured!

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On the other hand, even music cannot rise to such levels of abstraction in which the possibility of penetrating the sense of human essential being cannot be felt (the essential being can have all the positive characteristic of human viability in the world), because it would be empty, too astral, unknowable.

Goran Sui has, in his painting, tried to explicitly disclose the way in which the music and visual arts speech are managing to agree, to manifest their spheres of activism in construing the painting. He searched for the material impulses in himself, in his own emotional condensates in which he found colour determination, and in music, as a construing element of a painting and a factor of purification of an emotional condensate of colour. Thereby, both music and colour go through the same inner transformation. The colour has mostly manifested itself in its value, in half-tone crystals and it is in such half-tone crystals, in such value formulations that music used to find its melodic scale, pleading the dynamics of colour lines in which, at the same time, the organization of painting is founded. The lines have, whether independent or incorporated into wider colour premises, organised the body of the painting which has, despite its value tunes, radiated its lyric harmony, the harmony which gave away the authors cognition of the world, the world as a clear category of the intimate. Goran Sui does not recognize any other world but the one which he has formed in his intimacy, pure individuality.

That is not accidental and it can be easily noticed through our whole analysis of his painting. We have pointed out the lyric transparency of his painting and now we can add another quality - a quality of pure astral. His painting exists outside the world of historical determinants, predestined for such experiencing of the world, nevertheless, with some real determinants: the Mediterranean with its softness and light and the Livno sky. That is what subconsciously has been set free in his submission to his creative fervour, the additional energy construed into his musical knot out of which it poured, like a waterfall, into his creative magic. Without that magic the colour factor emotional condensate could not blaze, nor would any act of music gain its exalted zest which would enable Goran Suis painting to gain its urbanity, its architectonics.

With such an approach to embody the image, artists are predisposed to construe certain cycles, to create a set of images which would originate from the common inspirational mix. In Goran Suis case such tendencies can be sensed on several occasions. Such tendencies he calls variations or improvisations: variations on set subjects, improvisations on known topics, variations on child themes et cetera. Perhaps, in the phone of magic, the painting Variation on Murti themes is personified the strongest. The painting has all the formal determination of Murtis canvas, but the creative-magic part is of substantially different character: it is announced in the composition stretching in five petalled forms filled with gradiations of blue with a berely noticeable tone of green, with five freckles and brown stripes. That is the artists

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light motif which though almost all of his paintings and whose function is multiple: these tones do not allow, the painting lose itself in its astral, they give rhythm to the formed field, they are maintaining the artists will factor who would like to reveal his presence in the painting. The colours used possess their density and contain something hymnic in themselves thus revealing the artists will: he does not want to accept the thematic layer of Murtis painting, he does not want to build in his invention into Edo Murtis philosophy and his notion of tragic history. Goran Sui is trying to express his enthusiasm for Murtis artistic achievements, he is trying to write out his artistic sonnet. Murtis painting is not referential towards Suis artistic sonnet, it is the Suis inspiration to express his hymnic enthusiasm for Murtis art. Perhaps the white circle behind the processed motif contributes the most to that: the whiteness is beneficence of the Sun which announces the whiteness of a day, or the whiteness of the birth of a music and art view of a pretty world, the world arisen to apotheosis in a showpiece with a mysterious title Gustoso. Such lyric luxury has reached its final range in its value tones of blue tonality, which could only be turned into music with major mode cis-scale tones.

In such tone registry we could discuss his other paintings. Interval relations, a painting with a distinct music organization of the fugues of indented morphology, made of blue, red and yellow colour tones indented into a visual field archipelago among which music elation lows spreading into infinity. Such spectrum involves the painting Colour of the sounds, a lyric transposition, raised for an octave and covered all in blue low and rhythmic line organisations formulating inner dynamics of the experience. Only several paintings which do not show evident subtlety of colour pigment, out of which the material component did not disappear sufficiently, like in the painting Invention of childrens theme.

Goran Sui paintings contain in themselves certain associative energy which can also be a communicative connection to the audience. Those are mostly the paintings which have a clearly specified core out of which the powers of brush stroke burst into free space and with that they associate it with a certain lower bouquet or a freely organized frame forms.Musician by vocation, a painter by inner vocation Goran Sui forms the art work which, with its power, resists to being narrowed down to linguistic formulations for which one needs to search those lexeme containing in themselves the softness and music zest. His painting is the language of his inner being, the language that can be announced with the exaltation of his music union.

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Blaga Petreski, prof. via savjetnica za likovnu kulturu i umjetnost

Likovni stvaralaki opus sveuilinog profesora, glazbenog pedagoga, kompozitora i likovnjaka Gorana Suia odlikuje snaan kreativni naboj ije forme oblikuje potezima boje bogatog koloristikog raspona. Autor nas sugestivno uvodi u svoj individualni i subjektivni, idejni i slikarski zahvat koji poziva na razmiljanje. Poput glazbenika i slikara istrauje kompoziciju, harmoniju, dubinu i raznolikost likovnog doivljaja koje prua osjet vida i sluha.

Umjetnik Goran Sui je ostvario kreativnu interakciju izmeu likovnosti i glazbe, vlastitog unutarnjeg subjektivnog svijeta boja, ploha, linija, svjetlosti i glazbe. Unutar slikarskih kompozicija u kontrastima otkriva atmosferu dramatinosti, poetinosti i sanjarenja. U likovnim radovima direktno istrauje slikarsku materiju te svojim iskustvom otkriva bogat spektar slikarskih mogunosti i nove dimenzije.Trag na platnu je zvuan, spaja razliitosti i kulture, a slikarev kist kreira atmosferu ivotnog optimizma, nade i lirske harmonije. Koloristiko slikarstvo ivih boja Gorana Suia prenosi snane i pozitivne poruke ljudima sklonim svim umjetnostima, naroito glazbi i slikarstvu.

Blaga Peterski, prof. senior instructor in visual arts

The creative visual arts work of the university professor, music pedagogue, composer and artist Goran Sui is characterized by a creative charge whose forms are shaped by colour strokes of rich colour scale. The author leads us suggestively into his individual and subjective, notional and artistic grip which invokes thought. Like a musician and a painter he explores the composition, harmony, depth and diversity of artistic experience that is provided to us by the sense of sight and hearing.

The artist Goran Sui has accomplished a creative interaction between music and visual arts, his own inner subjective world of colours, surface, lines, light and music. The contrast in his visual arts compositions explores the atmosphere of drama, poetics and daydreaming. In the work of visual arts he explores directly the art mattery and with his experience he discovers a rich spectrum of artistic possibilities and new dimensions. The trail on the canvas is acoustic, it connects differences and cultures, and the painters brush creates an atmosphere of life optimism, hope and lyric harmony. Goran Suis colour painting in vivid colours transmitts powerful and positive messages to people inclined to all arts, especially to music and visual arts.

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GLAZBENA VIZUALIZACIJA

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III

Naputci autora

Ovaj projekt je nastao kao produkt razmiljanja o procesu glazbene adukacije mladih koji ele i osjeaju vie, uz umjetniki doivljaj kojeg nesebino dijele s drugima.Ova knjiga nije samo notno izdanje skladbi za solo instrumente uz pratnju klavira i skladbi za komorne sastave nego je i sama glazba na CD- u odnosno DVD u na kojem se nalaze snimljene spomenute skladbe u izvedbi najeminetnijih glazbenika instrumentalista, a kao zvuni predloak, zatim pored notnog zapisa note (partiture i dionice za sve instrumente) koje se nalaze na DVD u u PDF- formatu kako bi ih mogli koristiti. Nadalje na DVD u se nalaze snimljene matrice svih skladbi kako bi na njih mogli vjebati i to matrice nainjene u dva tempa sporijem za vjebanje i onom drugom zadanom tempu u kojem je skladba napisana. To je prireeno iz razloga da uz pomo i upute nastavnika moete i sami vjebati kod kue uz kvalitetan zvuni predloak i muzicirati razvijajui doivljaj svih izraajnih glazbenih elementa.

Takoer se prua mogunost prireivanja, transponiranja i prilagodbe skladbi za druge instrumente tako da imate notni zapis u PDF- formatu za instrumente koji mogu svirati odreenu skladbu. Slina mogunost i leksibilan pristup se moe koristiti prireivanje za bilo koju vrstu orkestra.

Kako je poznato da doivljaj ne dolazi samo preko jedne umjetnosti u ovom sluaju ovaj projekt nosi u sebi jedan suodnos glazbe i likovnosti koji zasigurno moe poticati i ojaati doivljaj - rije je samo o traenju dodirnih toaka i kvalitetnijih doivljaja.

C. Debussyja je doivljaj glazbenog djela opisivao na sljedei nain: (...) elim znati koje e ice u meni zatreperiti kad ujem odreenu glazbu i kakvu e mi sliku svijeta ona prenijeti Razmiljamo, dakle, o onomu to je u sintezi pozitivno te gdje glazba mora ostati samo glazba, a likovna umjetnost samo likovna umjetnost, itd.

Ponueni glazbeni primjeri obogauju slunu glazbenu literaturu za mlade u kolama, preko kojih, pored doivljajnog moe ui i u spoznajnu sferu upoznavjui razliita glazbala, kao i izraajne i tvorbene glazbene elemente, kao i glazbene oblike.

Jo jedan razlog je vie koji me ponukalo pisati ba ove i ovakve skladbe je dugogodinja prisutnost, sudjelovanje i praenje mladih u procesu natjecanja uenika i studenata glazbe gdje se brzo moglo uoiti nedostatak manjih glazbenih formi skladbi domaih autora za odreene instrumente i za mlau dobnu skupinu.

Kako ni sam nisam sklon teoretskim pojanjavanjima, prepustio bih vas samoj glazbi i doivljajima.

IV

Authors Note

This project is a result of thinking on the process of musical education of young people who want and sense more with the artistic experience altruistically shared with the others.This book is not only an edition of note compositions for solo instruments accompanied by the piano and compositions for chamber orchestra but it is also music itself on a CD, that is a DVD with the above mentioned compositions performed by the distingushed musicians and instrumentalists as an audio template, as well as notes (scores and sections for all instruments) that are saved on the DVD in the PDF format and intended for use. Furthermore, there are recorded matrices of all compositions made in two tempos and intended for practice-the slow one for practice and the other one in which the composition is written. The reason for this is to give the reader a possibility of practicing alone at home with the quality music template and playing music while developing experience of all expressive music elements.

Also, a note record in the PDF format for instruments that could play a certain composition offer a possibility of arranging and adjusting compositions for other instruments. Similar possibility and lexible approach can be used for arrangment for any kind of orchestra. It is known that experience does not come only through one art, in this case this project has a correlation of music and visual arts that can certainly incite and strengthen experience-it is only about looking for points of contact and quality experience.

C. Debussy described the experience of the work of art as follows: ()I want to know which strings inside of me will jitter when I hear certain music and what image of the world they will transfer. So, we think about what is positive in a synthesis and when music must stay only music and visual art just visual art.

The offered pieces of music enrich music literature for young people in schools that help them to besides an experiencing element enter into a cognitive sphere by getting familiar with various instruments as well as expressive and formative music elements and music forms.

A reason more for writing such compositions is my longtime presence, participation and monitoring of young people in the process of competing, pupils and music students where a lack of music forms-compositions of native authors for certain instruments and young people is present.

Since I have no affinity towards theorethical explanations, I would let the music and experience to speak for themselves.

V

Stvaralatvo u funkciji doivljaja

Svako glazbeno zbivanje predstavlja proces koji se odvija u nekom prostoru i vremenu. U tom procesu sudjeluju tijesno meusobno povezane i uzajamno isprepletene razliite komponente, koje ine izraajni i tvorbeni glazbeni elementi. Vaan i nezaobilazan dio unutar glazbe je dakako oblikovanje glazbenog djela koje nazivamo glazbeni oblici a koje nije mogue upoznati bez same glazbe, a izraz oblikovati znai postaviti glazbene zamisli u odreen odnos, koji mora poivati na preglednosti, skladu u povezivanju pojedinih ulomaka i veih cjelina.

Upoznavanje zvunog materijala glazbene umjetnosti (zvuk, ton, um) ili njezinih organizacijskih tvorbenih elemenata, manje je zahtjevno jer se radi o statinim pojavama i pojmovima, koji su osim toga izvan sfere umjetnikog. Upoznavanje oblikovanja glazbe ukljuuje razumijevanje njezine strukture. Kao i svaka umjetnost, tako i glazba podlijee povijesnim mijenama na koje utjeu razne kulturoloke, drutvene i psiholoke promjene. Tako i glazbeni oblici, nastaju, razvijaju se mijenjaju, usavravaju i pretapaju se jedni u druge. Analizirajui ponuene glazbene primjere navedene postavke bit e potvrene. Naime, sve vrste oblika kao i uvjeti za njihovo uspjeno unutarnje ureenje mogu se svesti na osnovni zajedniki princip i nazivnik: jedinstvo, raznovrsnost i komplementarnost.

Danas, na poetku 21. stoljea, glazba je ponovo u jednom razdoblju zatija s pogledom unazad - kroz razne varijante neostilova i razliitih pozivanja na prolost, gdje glazbena umjetnost jo uvijek naalost robuje golemom materijalu postavljenom i poloenom u prolosti sa posebno upadljivim koritenjem citata iz tradicionalne glazbene batine u novoj vizuri i okruenju, s ponovnim njegovanjem veeg sklada, vrstine i odreenosti u oblikovanju svih elemenata glazbenog tkiva. Ona jo jednom dobiva istije i jednostavnije - katkad i namjerno vrlo pojednostavljene vidove, koji u nekim sluajevima ne zaziru ni od sasvim klasinih asocijacija. Takva stanja u glazbi i openito u umjetnosti moemo jednim dijelom smatrati posljedicom svojevrsnog praroditeljskog grijeha.

U ovom projektu vidimo spoj ali i sudar dvaju paradigmi u umjetnosti. S jedne strane tradicionalnog glazbenog razmiljanja i suvremenog likovnog jezika i sadraja kroz ponuene apstrakcije. Dakle, dva leksika u suodnosu i kontekstu prema iskrenoj umjetnikoj poruci i doivljaju.

Autor

VI

Creativity in the function of experience

Every music experience represent a process that is in progress during a certain period of time.Different mutually closely connected and entangled components that are made of expressive and formative music elements participate in this process. An important and indispensable part of music is certainly a formation of a music work that is called music forms and is not possible to know without knowing music itself. The term to form means to put music ideas into a certain relation that has to be based on clearliness, harmony and connection of certain parts and larger units.

Getting familiar with hearing material of music art (sound,tone,noise) or its organizational and constitutive elements is less demanding because it is about static phenomenon and terms that are after all, out of the sphere of the art. Also, getting familiar with the music formation implies understanding the structure of music. Music, just like every art is subjected to historical changes that affect its various cultural, social and psychological changes. In the same way musical forms appear, come into existence, transform, perfect and merge mutually. The mentioned postulates get confirmed by analysing the offered musical examples. In fact, all kinds of forms as well as conditions for their successful interior organization can be reduced to a common principle and denominator: unity, diversity and complementarity.

Nowadays, at the beginning of the 21st century, music is again in the period of calm with the view back-through different variants of neo-styles and different relections on the past, where music art is still a slave to a vast material, set and laid in the past with particularly prominent use of quotations from traditional musical heritage in the new view and surrounding with recultivation of greater harmony, firmness and determination in forming all