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<\/p>\nI was just over eight years old when I began studying music. There was no family predisposition, no talent that might have prompted me to approach the art of music. Yet that spark was lit in me, marking the beginning of a great adventure.<\/p>\n
I remember the joy I felt when I opened my first music book as if it were yesterday. I was particularly struck by the first sentence: MUSIC IS THE ART OF SOUNDS. My eyes lit up as I immediately thought of the great journey ahead: the world of the seven notes awaited me, that world I longed for, full of sounds, chords and satisfaction, which would finally allow me to play an instrument.<\/p>\n
Unfortunately, this was not the case! From the very first lessons, I was reading dry exercises that had nothing to do with the reality of sound. It is clear that only today can I realise how much time I wasted studying that so-called spoken solfeggio.<\/p>\n
But what does \u201cspoken\u201d mean if you read symbols that express a sound? Why do many teachers still not realise that spoken solfeggio mis-educates the ear? When I hear someone say that a pupil is good at music because they are good at solfeggio, it makes me shudder; is reading a difficult rhythm or a whirlwind exercise really the test to discover musical talent?<\/p>\n
How many children have turned away from music because they were considered tone deaf or musically challenged? Many. Therefore, it would be wise not to overlook the opportunity to provide preschool children with an adequate basic musical education by teaching them sight-singing based on the study of intervals. By doing so, precious years will not be lost, precisely those in which the psycho-intellectual abilities of the individual are most receptive.<\/p>\n
I would also like to point out that music theory cannot be taught through boring readings that are detached from any logical reference. Consider this example:<\/p>\n
<\/p>\n
According to the rules of spoken solfeggio, the altered sound must be read by pronouncing the syllable fa as if the sharp did not exist. In short, I read a sound different from the one written. I leave it to your imagination to picture what kind of musical ear a pupil who follows these absurd theories will develop. It is as if in verbal language we could allow ourselves to read one syllable instead of another.\u00a0 In countries that are more musically advanced than ours, spoken solfeggio has never been known or practised, with rhythmic reading being used instead.<\/p>\n
Interpreting a symbol with its true meaning (sound) highlights the expressive content of a melodic line based on singability. Only the practice of sung solfeggio can revive Guido D'Arezzo's methodology based on the syllables of the diatonic scale and intervals. Those who are preparing to study a wind or string instrument must first of all train their ear by studying intervals, learning to sing them and transposing them into different keys. If this daily practice is neglected, either through negligence or because it is considered a waste of time, the instrument will never be accurate in its intonation.<\/p>\n
According to musicologist Edgar Willems, poor musicians do not hear what they are playing; mediocre musicians may hear it but do not listen to it; only good musicians hear what they are about to play.<\/p>\n
<\/p>","protected":false},"excerpt":{"rendered":"
IL SOLFEGGIO PARLATO: UNO STUDIO INSIGNIFICANTE Avevo poco pi\u00f9 di otto anni quando iniziai gli studi musicali. Nessuna predisposizione familiare, nessun talento che possa avermi spinto ad avvicinarmi all\u2019arte musicale. Eppure si accese in me quella scintilla che determin\u00f2 l\u2019inizio di una grande avventura. Ricordo come fosse oggi la gioia che provai quando aprii il […]<\/p>\n","protected":false},"author":265,"featured_media":299,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,14],"tags":[],"class_list":["post-296","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-musica","category-teoria-musicale-e-armonia"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/posts\/296","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/users\/265"}],"replies":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/comments?post=296"}],"version-history":[{"count":0,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/posts\/296\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media\/299"}],"wp:attachment":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media?parent=296"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/categories?post=296"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/tags?post=296"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}