Sezione Video

   

Teaching

"Get in the hall early to try to" fill it with sound "before you start, and when you sit on the piano, imagine being within a circular space where you look for energy and concentration, and find" just inside the keyboard Calm of the hand and of the heart ". "The technique is musical fantasy"; Only through the imagination and the inspiration one can find the suitable gesture to play. "(A.B. Michelangeli)"

The performer and the musical text in the phenomenological approach

Determining and configuring the musical image and gestural correspondence. Expectations, reflections and achievements.

Introduction to work

Through the work of deepening the music, we try to know and experience the conditions for living the musical act freely.

In this regard, we will try to probe and describe what is happening in the relationship that exists between the world of sounds and the man who perceives them.

In fact, the phenomenological experience is not intended to be limited to the passage of some information from the master to the student but rather to be a conscious experience of an "intersubjective place".

In this dimension the teacher tends to stimulate the student's associative and creative abilities in his correspondence with the sounds.

The fruit of this work will be recognized, valid, or invalid, both of which result from a form of objectivity and awareness that, in addition to recognizing the guidelines of the musical structure, feels similar to a corresponding inner reality, thus showing a dynamic relationship Between subject and object.

In this regard we will refer, above all, to the experience gained from the participation in the seminars of "Phenomenology of Music" held by the great conductor of S. Celibidache orchestra.

Phenomenology was born as a method of philosophical inquiry, or "descriptive psychology", based on E. Husserl's thinking (who developed some themes of Hegel, Brentano and Frege's thoughts).

She has been able to apply in the field of scientific and psychological research (Gestalt Theory and Existential Analysis), but has also provided valuable support, including musical research, as well as teaching Romanian conductor S. Celibidache, Albeit integrated with other experiences such as Heidegger's thinking and Buddhism.

Objective of work

By refining perceptual faculties and awareness in listening, the courses aim at:

• To represent a moment of reflection on the meaning of doing music today.
• To have adequate means of understanding the musical structure.
• To achieve greater effectiveness in rendering an execution.

Along with work on the songs, you can ask about:

What is the sound?

• The sensation

From the acoustic phenomenon in its physical characteristics to the analysis of the auditory activity and the properties of the relative sense organ

• Perception of sound and perception of self

Perceptual Activity Considerations 

• The sound and its double membership

From sound to melody

• Representation of a musical structure

Imagination, Inspiration and Intuition

The concepts of:

• Articulation
• Rhythm
• Phrasing
• Voltage and Intensity
• Priority Orders
• Structure
• Form
• Time

In addition, the course intends to give participants the opportunity to experience a new approach to the study of piano technique through:

• Psycho-body self-awareness techniques
• Refinement of perceptual faculties
• Theoretical exposures and subsequent reflections, never dissociated from the musical content and the self-knowledge.

The result of these experiences can be of great help to the piano student by providing him with the tools for greater effectiveness in rendering a musical performance.