Good points from all sides.  However, I think it's useful to differentiate 
between what someone teaches and what someone else learns.  Thus, I can try to 
teach musicality, but it could be that the person I'm trying to teach doesn't 
learn it right then and there.  All I can do is wait until his/her brain is 
able to accept it or his/her body memory translates it into musicality.

I find that with most people the most effective way for me to teach musicality 
is by building it into the timing of the vocabulary I'm teaching.  But I don't 
consider it teaching musicality.  Primarily they are learning a step.   
Watching them learn, I see people add in the musicality themselves, but only 
after they're comfortable with the step.  That's when I might hear them say "I 
am having trouble with the musicality".  More experienced dancers may say that 
before they learn a sequence, but not newer dancers.

I also have people who change the timing to suit their ability to execute a 
step.  For example, I may be teaching a QQS timing, but they'll do it as SSS.  
That tells me that the vocabulary comes before the musicality for them.  

In January, I experimented with a visiting instructor on teaching musicality 
using choreography to a set musical phrase.  The experience showed that people 
fluctuate back and forth between learning the step versus learning the music.  
In the beginning, they used the choreography to hear things in the music that 
they were unaware of (or didn't know what to do with) - a case of the step 
coming first and the music second.  In another part of the phrase, they needed 
to understand the music before the vocabulary clicked with them (in this case, 
a decoration).

I think that underlying any of these learning processes for someone is the 
thought "why am I learning/doing this?"  That "why" can be answered differently 
at different times.  Dancing tango is a process, and people find their own path.


Trini de Pittsburgh 




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