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“Art, and music in particular, is what makes people human. It is an inexplicable magic gift, a magical language ”

Nikolaus Harnoncourt


A wide range of musical, artistic and pedagogical experiences and skills allows Francesca Canali to offer her students an individualized and learner-centered pedagogical approach and to map out individual paths and methodologies suited to their different personalities, goals, strengths, and talents.

As a passionate musician and pedagogue her main purpose is to make the ‘magical language’ of music accessible to everyone, enabling them to discover, understand and enjoy the ‘inexplicable magic gift’ of music.

Her teaching is therefore characterized by a sensitive, empathetic and welcoming approach which allows the more strictly artistic and musical aspects to merge with her pedagogical and scientific expertise and her personal qualities.

Competent, creative and critical enthusiasmis her pedagogical credo.

Enthusiasm is a very powerful inner force that is able to motivate and give students the confidence, strength and tenacity necessary to overcome themselves and go beyond their limits, thus allowing them to develop and achieve high musical goals.

A sensitive, appreciative and constructively enthusiastic pedagogical approach has therefore significant effects not ‘only’ for the purpose of achieving a high level of music, but also on the self-confidence, motivation, joy of playing, and creativity of each individual student.


Music is a ‘bodily’ art that involves all the bodily senses at the same time and that allows the musician to express contents that are at once artistic, aesthetic, emotional and intellectual.

The own body is the musician’s first and main instrument to make music. Posture, breathing, gestures and the way of moving and holding the instrument can enhance or inhibit the musician’s technical and expressive abilities and thus strongly influence her/his musical performance.

The results of Francesca Canali’s interdisciplinary research have shown with unequivocal evidence how different emotional, mental and bodily attitudes and predispositions influence each other and correspond also to different qualities of sound and different forms of musical expressivity.

In that sense the sound we hear is the ‘end product’ of complex physiological processes that are integrated at both the bodily and mental/emotional levels and represent a ‘bridge’ between the mind and the body of the musician as well as the musician’s outer and inner worlds.


“Music opens a door in the human body through which the soul can step out into the world to bring joy and make friends”

Yehudi Menuhin

In no other art is the relationship between mind and body so close as in making music: even if the musician materially produces the sound through an instrument and using her/his own body, it is however her/his mind that must create, imagine and ‘feel’ the sound she/he wants to have, before it can be materially heard and produced.

The work on the body and on the psycho-physical management of the musical performance, i.e.  the perception and awareness of oneself, both from a bodily and emotional/mental point of view, plays a decisive role.

Therefore, the sound we hear is on the one hand the medium by which the musician makes music, and on the other hand also the manifestation of the individual personality, as well as of the musician’s momentary psycho-physical state and self-awareness.

In this sense, the musician herself/himself is, in the totality of mind (emotion, feelings, intellect) and body, the main instrument for making music.


The act of listening is a physical and at the same time psychological process that puts the person who produces the sound and the person who listens to the sound in deep contact, thus establishing a profound communication that involves both the corporeality and the psyche (mind, emotions, feelings, intellect, sensations) of the listener and the player.

Music teaching creates a deep and multi-level relationship between teacher and learner through listening and playing and therefore always presupposes a respectful and responsible personal and emotional involvement and a willingness on the part of both teacher and learner to build a constructive dialogue based on respect, sensitivity, esteem, empathy, and trust.

As a teacher, it is therefore of primary importance, to foster and create a stimulating, joyful, accepting and also non-competitive atmosphere in lessons, which allows each student to feel appreciated and at ease, so that they can authentically show their personal emotions and feelings, give their best and fully develop their own musical personality and potential.


In the light of all these considerations, Francesca Canali has developed a methodology and a holistic pedagogical approach focused on the person playing, seen in the complexity of the whole physical, emotional and mental being.

Her teaching approach is process-oriented and centered on the individuality of the learner, so that individual strengths and potentials are valued and supported and the specific needs, aims and personality of each learner are considered.

In addition to an in-depth work on flute technique and on the main technical and interpretative aspects related to the different pieces of the repertoire, her teaching dedicates particular attention to all the issues related to the body and vocality of the flutist as well as to all those emotional and mental aspects of playing related to the musical performance.

The development of the instrumental technique goes therefore hand in hand with the development of a conscious use of the body, the conscious perception of different acoustic qualities of sound and with the formation of the musician’s entire musical and artistic personality.

Her methodological approach combines an in-depth knowledge of the anatomy and physiology of the respiratory and audio-vocal system with a comparative study of both instrumental and vocal didactics and pedagogy and the current experiences, needs and demands of interpretative and teaching practice.

She uses techniques and exercises of body proprioception and awareness, breathing, voice/singing and mental concentration, drawn from the many courses she has attended, such as, among others, Alexander Technique, Feldenkrais Method, Hilde Langer-Rühl’s Breath- Voice and Movement Education, EVTS-Voice Craft of Jo Estill, Vocal Anthropology of Ulrike Sowodniok, La voix libérée by Yva Barthélémy, Body-Resonance and flow, Tai-chi, Qi Gong.

Furthermore, Francesca integrates into her teaching skills and knowledge gained from her studies in the fields of music and art education, science of musical performance, musician’s physiology and medicine, giftedness, creativity and other disciplines related to the development of personality and human potential.

Francesca attaches great importance to an appreciative, professional and joyful learning atmosphere in her class and between her students in which each learner feels accepted, appreciated and welcomed.