When we talk about music teaching, be it about music theory or how to play an instrument such as the recorder, we often discuss the curriculum, or the program that must be taught. Is that enough to play well and awe the audience?
During the period that the music student begins his studies until he graduates, too much emphasis is placed on the curricula, but little is taught about the skills or behaviors that make the beauty of the music, touching the heart of the audience, that is, what really makes a difference in the life of a musician.
Components of musicality
Let's think about it: What makes someone a good musician? I know, it is not easy to answer this question in an objective way, and I believe that this question is not related to musical style, but rather with musical practice. When I think of a musician I admire, some things are common in - Leia mais...
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A psicóloga Elizabeth Kübler-Ross formulou, em seu livro "On death and dying" em 1969, um modelo das reações das pessoas à perda e ao luto. Tamanha foi sua precisão que este acabou sendo aplicado, com sucesso, aos mais diversos tipos de perdas. São cinco as etapas típicas. Nem todos as experimentam em sua plenitude, sucessivamente, ou mesmo em ordem específica. No caso da perda da ingenuidade musical, conforme vamos adquirindo conhecimento, assistindo músicos geniais tocando o mesmo instrumento que nós tocamos, e experimentando instrumentos melhores, seria algo assim:
"Ah, mas isso não faz a menor diferença, é frescura."
O flautista, prin - Leia mais...
Tenho tido muitas oportunidades para experimentar diferentes instrumentos, sejam novos ou usados, de fábrica ou de luthiers, de diferentes modelos e madeiras. Assim, desenvolvi um método pessoal para avaliar instrumentos, que tentarei descrever o critério usado aqui, para que possa servir de guia para quem for comprar uma nova flauta.
Temos que ter em mente que ao escolher instrumentos musicais, os critérios mais importantes são os critérios musicais. Vejo muitas pessoas escolherem instrumentos por serem mais baratos, por serem ecológicos, por serem mais resistentes, mais bonitos, por ouvir o vendedor recomendar, por que acompanham o livro ou CD, por - Leia mais...
Continuing the previous article on tuning, it is time to look at some of the theory and science behind how we play in tune. In this issue, we will discuss the harmonic series and some historical aspects of tuning.
To fully understand “how” to tune, it is always good to discuss the principles behind the practical subject of tuning. I have seen many musicians who have great difficulty in grasping the “why” of tuning — and, consequently, “how” to play in tune. This should be of concern to all musicians — but, with many recorder players, what happens is that they assume that using a correct fingering will automatically produce a note pla - Leia mais...
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I remember the first years of my musical studies... The teachers all told the students that we must play in tune and always check the tuner. Watching some really stunning chamber music performances on www.youtube.com, I wonder if these musicians learned to play in tune so well just by studying a tuner, looking at its pointer? Is there something else — something secret about pitch? Can anyone play in tune?
Remembering back to music school, I regret today not having taken classes in this subject when I was very young, just starting to learn to play the recorder at the age of eight. Nowadays, I see very young pupils, who learn to hear intervals in tune from an early age — and who have no trouble tuning their instruments or playing in tune in a group. But even when we are not so young, we can learn some concepts and parameters that help us play in tune - Leia mais...
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