Bora Dugić: Traktat O Fruli (1

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Bora Dugić: Traktat O Fruli (1 PRIKAZI/REVIEWS Nice Fracile UDC 78.071.1:929 Dugić B.(049.32) Univerzitet u Novom Sadu 681.818.5(049.32) Akademija umetnosti Prikaz Katedra za muzikologiju i etnomuzikologiju Srbija Bora Dugić: Traktat o fruli (1. izd. – Beograd: Zavod za udžbenike, 2015) Instrumentarijum tradicionalne muzike Srbije predstavlja impozantan, raznovrstan i veoma zanimljiv simbol nacionalnog identiteta i istinsko svedočanstvo svoga vremena, podneblja i kulture. Uporedo sa razvojem instrumentalne muzike, javljala se i potreba da se pojedini tradicionalni muzički instrumenti usavršavaju i tako produžavaju svoj životni vek. Povećavala se njihova sonornost, ambitus, usavršavala se tehnika sviranja, intonacija, obogatio se i osavremenio repertoar, oplemenila boja tona, kao i ergološki aspekt samog instrumenta. Tako su izvođači mogli znatno lakše da pokazuju svoje muzičko umeće, nadarenost, virtuoznost, a da sam instrument i dalje živi i uživa veliko popularnost među stručnjacima, poštovaocima i ljubiteljima tradicionalne muzike. Jedan od takvih instrumenata je i pastirska svirala, poznata u narodu još i kao sviralica, svirajka, sviraljčica, svirajče, duduče, dudučik, drevni muzički instrument kome je pripisivano božansko poreklo, a danas savremena – koncertantna frula. Ime Bore Dugića, renomiranog izvođača na fruli – koji je, u najboljem svetlu, promovisao i afirmisao bisere tradicionalne i koncertantne muzike inspirisane i prožete balkanskim melosom u mnogim koncertnim dvoranama Evrope, Azije, Amerike i Australije – poznato je i visoko cenjeno i među instrumentalistima i među stručnjacima. Ovoga puta, upoznaćemo B. Dugića kao autora knjige pod nazivom Traktat o fruli u kojoj je uspeo da sumira svoje znanje i dugogodišnje iskustvo, minucioznost i upornost, osećaj i dar za inovacije, te da u zaista izuzetnom poduhvatu, jedinstvenoj knjizi o fruli i frulašima nekada i sad, ovaj istrument predstavi iz različitih aspekata, pokazanih i kroz naslove devet poglavlja, ili kako ih autor naziva, glava, ovog rada: I Istorijski i mitološki aspekti nastanka frule, II Uvod u formu i suštinu frule, III Frula u Srbiji nekada i sad, IV Frula i kaval u okruženju, V Evolucija frule, VI Gradnja i materijal za gradnju frule, VII Projektovanje, dimenzionisanje i štimovanje frule, VIII Održavanje frule i IX Osnovi lepote sviranja. Već na prvi pogled se može uočiti da je reč o veoma instruktivnoj i korisnoj, zanimljivoj i sveobuhvatnoj knjizi koja frulu i frulaše u Srbiji posmatra sa dijahronijskog i sinhronijskog stanovišta, potom prikazuje frulaše, frulu i kaval u susednim zemljama 205 PRIKAZI/REVIEWS (Rumunija, Bugarska, Makedonija, Bosna i Hercegovina), te objašnjava funkcionalne razlike između nekadašnje i današnje frule. Posebnu vrednost knjige predstavljaju analitički prikaz i inovativna rešenja koja se odnose na gradnju frule. Kako je želeo da na fruli izvodi čak i najsloženije kompozicije koncertantne muzike inspirisane balkanskim melosom, kao i pojedina dela umetničke i filmske muzike, B. Dugić je – za razliku od mnogih frulaša koji su bili, a i danas jesu, graditelji svojih instrumenata – tragao i za novim akustičnim i tehničkim rešenjima. Njegova prednost u odnosu na druge graditelje je i ta što ima solidna znanja iz matematike, fizike, a time i akustike, te specifičan i kvalitetan alat, koji se ne može naći na tržištu. Na osnovu sopstvenog iskustva B. Dugić kazuje da je za gradnju frula potrebno izraditi odgovarajući „kopirni profil od lima debljine do 2 milimetra i na kopirnom strugu obraditi spoljašnost frule“; da u gradnji kvalitetnih frula, pored glavnog projektanta treba da učestvuju i metalostrugar, graver i povremeno alatničar; da gradnja trajnih frula zavisi i od kvaliteta drveta, načina njegovog sušenja i impregnacije; da je posle impregnacije potrebno da se drvo ponovo osuši „ovog puta zbog viška ulja“; da su od izuzetnog značaja „do perfekcije“ razrađene dimenzije i štimovanje instrumenta. Autor, takođe, smatra da je od velikog značaja održavanje instrumenta, te preporučuje ulje koje može da čuva drvo od truljenja, ali i sam kvalitet tona i ukazuje na važnost održavanja čistoće frule. Baveći se u poslednjem poglavlju osnovima lepog sviranja, B. Dugić analizira pretpostavke koje ga uslovljavaju: disanje, vežbanje, artikulacija, ambažura i povreda usana, originalnost u interpretaciji, psihologija scene, trema i nastup, frula i zavičajna muzika, sviranje frule i drugih instrumenata, tehnika kružnog daha, tehnika i vežbe izdržavanja tonova, frula i mikrofon, pušenje cigareta i sviranje frule. Nakon navedenih 9 poglavlja, ovu publikaciju prate sledeći odeljci: O knjizi, u kojem je objavljena recenzija autora ovog prikaza, zatim, tekstovi Dragane Stojanović Bora Dugić: frula za savremeno doba i Milana Mladenovića Svirač, Galerija, u kojoj su objavljene kvalitetne fotografije u boji o gradnji frule na veoma savremen i precizan način - moblikovanje danca u trapez; dimenzionisanje mostića i kanala; gradnja glasnika pomoću glodalice; alat i mikroalat za gradnju frule; podešavanje prozora i glasnika; solarni izmenjivač za impregnaciju gotovih cevi specijalnim uljem; kuvanje danca u vosku; sušenje frula lakiranih šelakom, na stativu; bušenje rupica na specijalnom alatu sa odvođenjem prašine; štimer sa tonovima harmonike iz 1976. godine – ideja i izrada autora Bore Dugića; led lampa za unutrašnju inspekciju; deo kolekcije frula Bore Dugića i drugo. Sledi odeljak Sve frule sveta Katje Milošević Pupovac, u kojem su sažeto i uz odgovarajuće fotografije prikazani mnogi aerofoni muzički instrumenti iz raznih krajeva sveta (frule, dvojnice, pinkiljo, anata, atenteben, kloj, švi, fujara, jedinka, kena, šao, kuraj, kaval, didžeridu, nej, sopilka, tilinka, raznih vrsta panovih frula i drugi), potom, biografija priređivača, literatura, poreklo fotografija i pogovor. 206 PRIKAZI/REVIEWS Pored mnogih korisnih saveta, originalnih i inovatnih rešenja u vezi sa gradnjom i sviranjem na fruli, koje je izložio u ovoj knjizi, treba istaći da je autor uspeo da napravi jedan nov prototip frule koji je od izuzetnog značaja kada instrumentalista na sceni menja dve frule različitog štima kako bi svirao melodije iz različitih tonaliteta: „Rumunska muzika mi je bila od velike pomoći u formiranju izvođačke tehnike, ali i muzičkog izraza. To mi je mnogo pomoglo da istražujem i dođem do senzacionalnog otkrića: dve frule različitog tonaliteta (h i c) uspeo sam da objedinim u jednu, na kojoj se može svirati veliki dijapazon tonaliteta, a da se pritom ne menja instrument.“ Publikacija je štampana na vrlo kvalitetnom papiru, ističe se nadahnutim dizajnom i velikim brojem zanimljivih i kvalitetnih fotografija različitih tipova svirala, savremenog i specijalnog alata, strugova, stega, svirača i graditelja. Knjiga Traktat o fruli, nastala kao plod bogatog i dugogodišnjeg iskustva, upotpunjava i zaokružuje jedan značajan segment materijalnog i duhovnog kulturnog nasleđa Srbije i pokazuje da će frula i ubuduće biti neodvojiv deo njenog nacionalnog bića i identiteta. Ona će ostati kao instruktivno i zanimljivo delo sadašnjim i budućim generacijama frulaša i graditelja, te kao dragocen doprinos etnomuzikološkoj nauci. 207.
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