Memories and thoughts

Krenuvši od osobnih početaka u glazbi, vezanih uz komorno muziciranje i pjevanje u obitelji i crkvi te aktivno muziciranje i ples u školskom uzrastu, naglašava se ishodište osobnog interesa za Staru glazbu u kontekstu učenog amaterizma, kvalitetne nastave glazbene umjetnosti u općeobrazovnoj školi te poduke u plesu. Ističe se odlučujući utjecaj tih glazbenih iskustava na kasniji profesionalni razvoj tijekom akademskog studija violine, kao i važnost sinergije kritične mase glazbenika, koji su stekli temelje aktivnog muziciranja u sklopu britanskog sustava glazbene nastave u općeobrazovnim školama, te tako razvili težnju za istraživanjem i eksperimentiranjem, te spontanošću i iskrenošću glazbenog izražavanja. Proizlazi da su pokretačku ulogu odigrale upravo kvalitete, razvijene aktivnim muziciranjem u općeobrazovnoj školi, a ne formalno akademsko glazbeno obrazovanje. Uz to se naglašava i značaj međunarodne razmjene znanja i iskustava među umjetnicima koji su istodobno na raznim geografskim područjima zastupali slične umjetničke stavove. Sve je to rezultiralo, nakon višegodišnjeg ignoriranja, konačnim prihvaćanjem Stare glazbe od strane glazbene struke i akademskih institucija. Time je i iskustvo podučavanja postalo novim snažnim poticajem daljnjeg razvoja, kako na osobnom, tako i na širokom međunarodnom planu. Osnivanjem Međunarodne ljetne škole barokne glazbe i plesa „Aestas Musica“ te suradnjom s Varaždinskim baroknim večerima, taj je razvoj potaknut i u Hrvatskoj. Snažno se zastupa stav da umjetnička naobrazba, temeljena na svestranosti, sinkretizmu i holističkom pristupu, doprinosi razumijevanju glazbe u znatno većoj mjeri nego konvencionalna poduka. Ta je postavka u Hrvatskoj već dala vrijedne rezultate u umjetničkom i pedagoškom radu novog naraštaja glazbenika te se javlja potreba za njenim ugrađivanjem u kurikulum akademskog studija glazbe u Hrvatskoj.Starting from personal beginnings in music, linked to chamber music making and singing in the family and church as well as active music making and dancing at the school-time age, the starting point of personal interest for the Early music has been emphasized in the context of scholarly amateurism, quality education and instruction of musical art in general education and dancing instruction. The decisive impact of these musical experience is emphasized referring to the later professional development in the academic study of the violin, as well as the importance of the synergy of the critical mass of musicians who acquired the bases of active music making in the complex of the British system of musical education in general-education schools, and consequently developed the tendency for research and experimenting, together with the spontaneity and sincerity of the musical expression. The arising result was the fact that the motivating role was actually the quality developed by active music making in the general education school and not the formal academic musical education. The significance of the international exchange of knowledge and experience among the artists is also pointed out as the artists have simultaneously, on different geographical areas, represented similar artistic attitudes. After ignoring it in the course of many years, it finally resulted in the final acceptance of the Early music by the music profession and academic institutions. Thereby the experience of tuition became a new powerful incentive of further development, both on the personal and the wider international level. Following the founding of the International Summer School of Baroque Music and Dance “Aestas Musica” amd the cooperation with the Varaždin Baroque Evenings, this development was initiated in Croatia as well. There is a vigorous attitude represented that artistic education, based on versatility, syncretism and holistic approach, contributes to the understanding of music in a greater measure than resulting from conventional tuition. In Croatia, this assumption has already given valuable results in the artistic and pedagogical work of the new generation of musicians and there arises a need to build it into the curriculum of the academic music study in Croatia