{"id":11413,"date":"2016-11-15T00:00:00","date_gmt":"2016-11-14T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/vom-gluecksgefuehl-im-flow\/"},"modified":"2023-02-03T12:27:06","modified_gmt":"2023-02-03T11:27:06","slug":"vom-gluecksgefuehl-im-flow","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/basis\/2016\/11\/vom-gluecksgefuehl-im-flow","title":{"rendered":"La sensazione di felicit\u00e0 nel flusso"},"content":{"rendered":"<img decoding=\"async\" class=\"size-full\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/head_logo_4.jpg\" alt=\"\" \/>\n<div class='text-section'>\n<p><i>SMM -<\/i> Come si fa oggi a distinguere tra musicisti professionisti e dilettanti? J\u00fcrg Kesselring, neurologo di Valens, ha ricordato al pubblico dell'Aula Magna dell'Universit\u00e0 delle Arti di Berna (HKB) che i confini sono fluidi. La competenza musicale e la possibilit\u00e0 di guadagnarsi da vivere vanno di pari passo nei modi pi\u00f9 diversi. C'\u00e8 il professionista preparato che fa musica solo a titolo accessorio, cos\u00ec come l'esecutore tecnicamente piuttosto modesto che tuttavia si guadagna da vivere interamente con la musica. In realt\u00e0, come \u00e8 emerso dalla conferenza, la differenza pi\u00f9 evidente sembra risiedere nell'atteggiamento verso la musica: \"Solo con il dilettante\", ha detto Kesselring citando Egon Friedell, \"l'uomo e la professione coincidono\". <\/p>\n<p>La musica come attivit\u00e0 del tempo libero sta diventando sempre pi\u00f9 un luogo di desiderio. Andreas Cincera, responsabile degli studi presso la HKB Continuing Education in Music, ha inoltre sottolineato che la domanda di lezioni per adulti \u00e8 in aumento. Gli ensemble semiprofessionali, che attualmente stanno vivendo un boom, soprattutto per quanto riguarda la musica folk e world music contemporanea, potrebbero essere importanti modelli di riferimento. Le scuole di musica non stanno ancora realizzando il loro pieno potenziale e stanno iniziando solo ora a riflettere su quali dovrebbero essere le forme ideali di insegnamento. Forse, secondo Cincera, la natura esperienziale e a bassa soglia dell'educazione musicale per gli adulti dovrebbe essere prioritaria rispetto alla formazione tecnica intensiva che \u00e8 importante e utile per gli adolescenti. <\/p>\n<p>Presso l'HKB, le conoscenze in materia vengono trasmesse ai futuri insegnanti sotto forma di CAS (Certificate of Advanced Studies):  Gli studenti vengono istruiti da esperti rinomati e informati sulle opportunit\u00e0 e i limiti dell'apprendimento musicale per gli adulti fino a un'et\u00e0 molto avanzata.<\/p>\n<p>\u00c8 indubbiamente un privilegio dei dilettanti il fatto di potersi abbandonare, nello spirito di Friedell, al cosiddetto \"flusso\", uno stato di trance di completa unione con la musica, senza alcuna restrizione. La teoria alla base di questo fenomeno \u00e8 stata presentata al simposio dal musicista e psicologo di Brema Andreas Burzik. Essa risale allo studioso americano della felicit\u00e0 Mih\u00e1ly Cs\u00edkszentmih\u00e1lyi. Burzik ha evidenziato gli aspetti della pratica del flusso: Il senso del tatto percepito consapevolmente crea un contatto con lo strumento, l'ascolto attento crea un contatto con il suono e il senso del movimento, o meglio la sensazione di assenza di sforzo, crea un contatto con il corpo; infine, l'approccio consapevole al materiale di pratica risveglia il desiderio di esplorare, investigare e scoprire. La \"disinvoltura inconscia del bambino\" rimane il modello da seguire.<\/p>\n<p>Quando si tratta di tecnica e di sforzo fisico, i professionisti e i dilettanti ambiziosi devono affrontare le stesse sfide. I contributi al simposio su voce, postura e fisicit\u00e0 ne hanno tenuto conto. Salome Zwicky del SingStimmZentrum Z\u00fcrich ha esplorato i limiti dello sforzo vocale in una presentazione; l'insegnante di respirazione, parola e voce Nicole Martin Rieder ha dedicato un workshop alla teoria e alla pratica della respirazione e in un altro workshop le fisioterapiste Marjan Steenbeek e Sibylle Meier Kronawitter hanno esaminato l'interazione delle parti del corpo quando si fa musica.<\/p>\n<\/p>\n<p>14\u00b0 Simposio SMM, Il musicista dilettante - tra ambizione malata e sano piacere, 29 ottobre 2016, Universit\u00e0 delle Arti di Berna, Aula Magna. <\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>In occasione del suo 14\u00b0 simposio a Berna, la Societ\u00e0 Svizzera di Medicina Musicale ha esplorato le esigenze speciali degli amanti della musica.<\/strong><\/p>","protected":false},"author":30,"featured_media":10243,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[31,50],"tags":[],"class_list":["post-11413","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basis","category-smm"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Vom Gl\u00fccksgef\u00fchl im Flow - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/it\/basis\/2016\/11\/vom-gluecksgefuehl-im-flow\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vom Gl\u00fccksgef\u00fchl im Flow - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"An ihrem 14. 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