It still remains the belief that the study of the music goes directed to the practice of an instrument. Although we don’t undervalue the instrumental practice, our vision is different. We consider that before getting into the study of the sax or the piano, for mentioning some instruments, the true musicality in the kid has to be germinated. In this sense we are followers of Edgar Willems thesis when affirming that “the instrument is the means and the music is the aim”.
The sound, one of the main elements of the music, appears in intrauterine life. The mother’s high-pitched voice stands out among a wrap of deep frequencies and takes a particular and symbolic vital meaning, being the only resonant intern source that goes impregnated of emotional aspects which is exclusively oriented to the baby.
It is also known that during the gestation process, the baby lives constantly accompanied by the beat of the heart of his mother (it is said that the beat of the maternal heart has painkiller effects in the heart of the children for the rest of their lives).
So we notice that when the baby is born, he’s already got the tempo, base of the rhythm, and has an important resounding background, all this impregnated with an intense emotion.
If we understand music as a combination of rhythm and sound for an expressive purpose, we already have in the neonate a substrate which influences him for a whole life linked to the music.
As Maria Montessori explained in his work “The absorbent mind”, from birth until six years old the kid has big interest and curiosity for all that surrounds him, a big capacity to learn and to assimilate the world, without conscious effort. The physical and intellectual potential of the kid does not depends neither on parents or educators; the adults can help if we create a space in accordance with the laws that govern the running of each small human being. From this conviction, Montessori talks about the “sensitive periods”, that are those stages that the kid lives in a determinate period of time, phase in which has big interest in determinate learning and appear instinctively or naturally. It is when the mind of the kid is ready to optimize and internalize some determinate skills and learning.
We support Catherine L’Ecuyer saying: « If a kid is surrounded by incentives that do not adjust to his rhythms and to his inner order, then loses the ability of admiration and turns to expect to be entertained as he should learn from the inside out…». Her work is very revealing for educational world in this moment where the screens and the technological devices have a devastating effect in what it should be a healthy development for the children psychically and physically.
Following Willems, Montessori and L’Ecuyer, we’d like to contribute to these ideas as much as we can. We project a space close to girls and boys, retreat of attentive listening, surprise and discovery of sonority, songs, rhymes and rhythms that adjust to the architecture of their young mind; a laboratory of audible waves, of movement, dance and singers, all framed in the convenient sensory stage.
In conclusion, a place where resonant experiences are not obstructed by any type of technological device, in which the audible vibration, the movement and the adult sharing attitude, loving and humble, are the fuel of his musicality.
Àngels Florit Juaneda