The musical competence

The music education, from the rhythmic experience that we can experiment in our body in motion, proceeding with its applications in vocal and instrumental eventually, leads as a result to a progressive development of musical competence.

First, the same rhythmic ability can develop from simple to more complex procedures, in which the overlap of different events can be practiced by one person, or by more people in interaction.

Vocality can develop from monody to polyphony, ie the superimposition of many voices in mutual independence.

The musical competence will develop later in the discovery of the wealth of harmonic procedures, in the variety of musical forms (in analogy with literary forms, until the discovery of the autonomy of the musical language), in the knowledge of scales and modes that do not necessarily correspond to those more familiar to the dominant cultural context. We will then arrive to grasp the historicity of musical language and to take a critical relationship with the contemporary.

It will also come to understand that some contemporary phenomena, that the market wants to impose as a "genius", are not even remotely comparable in artistic quality and skill level, with other personalities, also contemporary to us, who are other things caliber.

Certainly, music education, as every human competence, is favored if it develops from childhood. But the fact remains that the musical competence can develop in every person, and in all stages of life. Surely also count attitudes, the bent; but I would not put too much emphasis on these aspects, which can become a convenient alibi for both the teacher hurried, both for the lazy learner. What interests me more stress the potential that each person can grow, at any time of life, for their own welfare; a being that, again, involves the body, emotions, intellect and spirituality, all vital functions harmoniously stimulated by this wonderful experience.