M.M. Bernabé Villodre

Universidad de Valencia (SPAIN)
The prevailing didactic tradition in music conservatories has been characterised by a tendency towards imitation, ignoring the need to reason out the interpretative process which, like music, has its logical and not only emotional side. A review of legislation, of previous experiences and of textbooks for the wind instrument classroom, shows how a reformulation of the didactic procedures is necessary in order to improve the interpretative quality of wind instrument students.

The research presented here, although on the margins of the theoretical-qualitative, includes different feasible activities for the classrooms of Music Conservatories, attending to the shortcomings detected after the analysis carried out, as well as new approaches to instrumental teaching focused on the attention to the ever-increasing diversity of the students who access these teachings.

As a result of the theoretical review carried out and after attending different sessions with teachers of different specialities of wind instruments, different activities were proposed oriented towards the large blocks of general content for wind instrumentalist students: postural-body control, concentration, breathing and socio-emotional attention. In this way, highly effective practical activities were developed to deal with very specific problems, but which could not be generalised to all wind instrumentalists. It was also considered necessary for the instrument teacher to accompany the students, as a tutor, in order to establish a relationship of comfort for the students with less interpretative "ease".

Despite the considerable increase in interest in instrumental didactics, music conservatories still need to promote classes in which didactics prevails over imitation. Mainly, there must be a change of educational paradigm in this direction, having to take place from the conviction that talent can also be educated because Music is not only Art, but Science and, therefore, it can be learnt. So, for the latter to be possible, we must start talking about instrumental didactics in the classrooms of our Music Conservatories, and not about the traditional "imitative pedagogy".