The teaching of musical arts, especially instrumental teaching, has often been based on great schools and charismatic masters. These "founders" have trained generations of musicians, transmitting not only technical knowledge but also an interpretative vision and an approach to music.

But this model, as effective as it is, carries an inherent risk: the crystallisation of the method into a rigid and immutable system. If emulation of the master becomes the sole objective, there's a risk of stifling the student's perception and individuality, turning them into mere replicants.

The crucial question is: to what extent can we accept that students perpetuate the criteria received from the master, without encouraging critical reflection and personal development?

Let's analyse some key points:

• The value of great schools and masters: It's essential to recognise the importance of tradition and the transmission of consolidated knowledge. Great schools and masters are an invaluable cultural heritage that must be preserved and valorised.
• The risk of homogenisation: Excessive adherence to a method can limit individual artistic expression. The student risks becoming a mere performer, unable to develop their own voice and interpretation.
• The importance of critical reflection: Students need to be encouraged to develop independent thinking and question dogmas. Only then can they grow as artists and contribute to the evolution of musical culture.
• The evolution of the method: Teaching must adapt to the needs of the present without denying its roots. Music is a living art in constant evolution, and teaching must be able to accompany it on this journey.
• The role of the teacher: The teacher must promote a pedagogical approach that allows him to be a guide, a mentor, but also a facilitator of research and individual growth.

The teaching of the musical arts must find a balance between the transmission of consolidated knowledge and the promotion of artistic individuality. Only in this way can we guarantee the training of complete musicians, capable of interpreting the past, living the present and imagining the future of music.

It's crucial to emphasise the distinction between the general rules of a method, applicable to all students, and the unique ability of the master to adapt and personalise these rules for each individual. This second part, which cannot be codified into a set of norms, is what makes a master truly exceptional. The ability of a master to grasp the specific characteristics of each student, to intuit their potential and their difficulties, is an art that goes beyond the simple application of rules. It requires a deep sensitivity, a capacity for acute observation, and an almost "omniscient" intuition that allows the teaching to be adapted in a unique and original way.

S.Severini