Sistematización de método y estrategia en el aprendizaje musical

Abstract

A MUSICAL PERFORMER HAS SEVERAL RESPONSIBILITIES: LEARNING AND PERFOMING EFFICACY; STYLE AND STRUCTURE CLARIFICATION; ARTISTIC (AESTHETIC-EMOTIVE) RENDERING. LEARNING IS PROBABLY THE LEAST TRANSCENDENTAL, BUT THE ONE THAT TAKES THE LONGER IN THE STUDIES AND PREPARATION. MANY MUSICAL PERFORMERS USE VERY PRIMITIVE METHODS FOR LEARNING WITH SUCH PROBLEMS AS THE FOLLOWING, ESPECIALLY IN THE INITIAL STAGES * LEARNING WITH MISTAKES: MENTAL CONFUSION. *MECHANICAL PRACTICE: EXPRESSIONLESS. *LEARNING OF ISOLATED NOTES, NOT SETS, WITH EXCESSIVE REPETITION: INEFFICACY AND INSECURITY. *TOO SLOW TEMPO: UNREALITY OF THE CHARACTER AND APPROACHES THAT WILL NOT WORK AT THE REQUIRED SPEED. THE PROPOSED METHOD NOT ONLY PREVENTS THOSE AND OTHER DEFICIENCIES, BUT ALSO TENDS TO DEVELOP THE LEARNING SKILLS: A)OPTIMIZATION OF LEARNING EFFICIENCY, AT ANY REAL LEVEL OF DEVELOPMENT, AND B)DEVELOPMENT IN A DYNAMIC MANNER OF THE CAPACITY FOR LEARNING- THE ANALYTICAL AND INTELLECTUAL SKILLS; THE KNOW- HOW AND DISCIPLNE TO CARRY OUT A SYSTEMATIC PROCESS; THE CAPACITY TO MASTER EVER MORE COMPLEX AND LARGER FRAGMENTS WITH GREATER CELERITY, SECURITY, AND PERMANENCE, ALL WITH THE SAME OR LESSER EFFORT.