THEME 4.Education of the Whole Musician
“Since I endeavor not only to train a mechanical flute player, but an educated and sensible musician, I must educate not only the lips, tongue, and fingers, but also cultivate taste and sharpen the understanding.”
„Da ich bestrebe... so muß ich... auch Geschmack und Verstand schärfen“
QUANTZ, Versuch einer Anweisung die Flöte traversiere zu spielen, 1752
→ One of the most comprehensive pedagogical visions of the 18th century. Quantz promotes a Bildung-based approach — a total cultivation of musical mind and body.
“He who has not practiced cannot pretend to imitate the voice, nor can he hope to render the passions with truth.”
"Celui qui n’a point pratiqué, ne peut prétendre à imiter la voix, ni espérer rendre les passions avec vérité."
LA BORDE, Essai sur la musique, 1780
→ rendering affect (les passions) requires both technical preparation and emotional maturity. La Borde links physical work with inner expressivity.
“There is no instrument so perfect by itself, that it does not require the artist’s practice to reveal its beauty.”
"Es ist kein Instrument so vollkommen an sich selbst, daß es nicht die Übung des Künstlers bedürfe, seine Schönheit zu offenbaren."
HEINICHEN, Der Generalbass in der Composition, 1728
→ Fantini underscores the twofold work of study and listening — developing technique through effort, and musicality through attentive absorption.
THEME 4. Education of the Whole Musician
Frank
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Transcript
THEME 4.Education of the Whole Musician
“Since I endeavor not only to train a mechanical flute player, but an educated and sensible musician, I must educate not only the lips, tongue, and fingers, but also cultivate taste and sharpen the understanding.”
„Da ich bestrebe... so muß ich... auch Geschmack und Verstand schärfen“
QUANTZ, Versuch einer Anweisung die Flöte traversiere zu spielen, 1752
→ One of the most comprehensive pedagogical visions of the 18th century. Quantz promotes a Bildung-based approach — a total cultivation of musical mind and body.
“He who has not practiced cannot pretend to imitate the voice, nor can he hope to render the passions with truth.”
"Celui qui n’a point pratiqué, ne peut prétendre à imiter la voix, ni espérer rendre les passions avec vérité."
LA BORDE, Essai sur la musique, 1780
→ rendering affect (les passions) requires both technical preparation and emotional maturity. La Borde links physical work with inner expressivity.
“There is no instrument so perfect by itself, that it does not require the artist’s practice to reveal its beauty.”
"Es ist kein Instrument so vollkommen an sich selbst, daß es nicht die Übung des Künstlers bedürfe, seine Schönheit zu offenbaren."
HEINICHEN, Der Generalbass in der Composition, 1728
→ Fantini underscores the twofold work of study and listening — developing technique through effort, and musicality through attentive absorption.