top of page
Music and Dyslexia

Dyslexia is a learning disorder better known as DSA

  • Dyslexia

  • dysorthography

  • dysgraphia

  • dyscalculia

it is a very complex disorder that strongly influences the mood and deeply affects its relationship with itself and others. Teachers unaware of the consequences of dyslexia and aware of its existence, stimulate with abrupt and negative ways: DEVASTATING ERROR.

A good teacher:

  • Serene curiosity and affection

  • Fit the job

  • Learning should not be a mortification, but a joy, a patient job

It is easier for dyslexics to study music than school subjects:

  • It is a multisensory activity (a weak sense replaces another sense)

  • Reading through the instrument

  • Early learning can be limited to the acquisition of automation


  • Visual: the eyes don't work together

  • auditory: one ear hears more than the other

  • Right and left laterality: confusion

  • Spatial and temporal organization: proprioceptors (Proprioception (also known as kinaesthesia) is the ability to perceive and recognize the position of one's body in space and the state of contraction of one's muscles , without the support of vision . It is considered a sixth sense in what is regulated by a specific part of the brain. Proprioception assumes a fundamental importance in the complex movement control mechanism, so it is also used effectively in recovery physiotherapy and sports training.)

The proprioception is already present in the seven-month fetus, which begins to distinguish the stimuli

external from internal.

  • Short-term memory: slowness in reasoning

  • Phonological: confusion between the letters and the pronunciation of the words or invert the words


  • Large photocopies

  • Coloring the staves

  • Place the music on a colored sheet

  • No blackboard

  • Help holding the sign

  • Rhythm through the body with decisive and snappy exercises

  • Approach by imitation

  • Note associated with a position

  • Rhythmic reading

  • Fast reading

Music is a real cure from an early age. The musical rhythm with steps and songs and other body movements could alleviate the symptoms of dyslexia.

Selective Mutism

Selective mutism is a little known and apparently rare disorder that affects children. It is characterized by the inability to speak in some social contexts, despite the development and understanding of language being normal.


Children cannot speak outside the home or in the presence of strangers. Conversely, dumb selective children at home and in family environments and with people with whom they feel comfortable, express themselves normally and are sometimes very talkative.


They are children:

  • Hypersensitive and introverted

  • The causes are to be found in the child's temperament and his tendency to feel embarrassed

  • DIAGNOSIS: the child does not communicate only in certain precise circumstances

  • It is transitory: it resolves over time, but they remain confidential

  • CARE: patience, understanding and tolerance

  • Accept the child as he is

  • He is not to be blamed for his silence

  • BET ON: rewards, praise, gratifications avoiding any punishment and reproach or coercion  

Soridity, blindness, hearing implant and cochlear implant

Soreness and music (hearing aid or deafness)


Music therapy is a powerful way to improve the communicative sphere and to initiate or deepen a therapeutic and rehabilitative path, both with people with hearing loss and with deaf people.

We all perceive sounds with the body: vibrations affect our tissues, bones, muscles, the nervous system ..

However, we are used to perceiving only those vibrations that are very powerful, such as the low frequency ones that "hit" the stomach. In reality our natural resonators are always active, the fact is that having shifted our attention almost exclusively to the ears, which allow us to have a more precise and detailed listening, we are almost unable to "hear" with the body.

And it is precisely in this capacity of ours that all the work of the Music Therapist with deaf patients begins.

Our first sensory experiences were tactile-auditory, the sense of hearing is the first to be formed and our most archaic and primitive experiences are in fact tactile-sound.

Think of a child still in the amniotic fluid, in this sea that protects and still isolates from the world, sounds arrive both from the inside (the mother's body with the beating of the heart, the intestinal noises, the voice of the mother, etc.) and from the 'external.

All the sounds that the child perceives are filtered by the liquid in which he is inserted and it is thanks to the vibrations that he can experience them, he has two stimuli therefore the auditory and the sensory one that occur simultaneously.

When it is born, in addition to light, sound will be the most important element that will connect it to reality. All the stimuli we receive are fixed in our deep memory and form our musical heritage, the so-called ISO .

The sounds and the maternal voice (but also that of the father, albeit with different beneficial "functions") are therefore fundamental for the child in this early evolutionary period.

In the case of children who are born deaf or with severe hearing problems, then we can ask ourselves how to intervene, how to create a therapeutic alliance in order to improve their quality of life.

As mentioned above, the starting point is body perception and the use of the body as a tool; through this the subject can hear the sound vibrations and therefore all the musical parameters: rhythm, accentuation, pitch, intensity and duration.

Music therapy becomes the way to put the person in contact with a world  expanded sound that goes beyond listening with the ears; 

Through music we will try to connect to those vital states lived in the womb, we will contact those more ancestral and archaic parts formed by the fundamental pre and post natal experiences, then we will implement tactile-sound "performances" that leveraging the emotional sphere will use the non-verbal communication that having been developed before language is more profound and effective.

Furthermore, all those that Stern (world-renowned psychiatrist and psychoanalyst) defines as "vital affects" will be implemented, or those non-verbal affective categories that we already perceive in the womb, but of which we do not have a clear definition even at a linguistic level given their nature purely non-verbal.

We are talking about emotional gestures such as: floating, fading, passing, exploding, crescendo, decrescendo, swollen, exhausted etc ..

Vital affects affect the entire span of human existence but in the first years of life they are of fundamental importance for the formation of identity. (the topic is obviously much more extensive and complex but this is not the place to talk about it).

Add to this the ability inherent in human beings, but more developed in children, to transpose information from one sensory channel to another, (from touch to sight, from hearing to touch, etc.) this is a excellent resource as it allows us to use musical parameters making them perceive through channels other than the auditory one.

Of course we are not talking exclusively about receptive music therapy but also about active one and therefore the person will be able to act on the instrument and play according to their preferences and how they perceive sounds, so everything will take place within the framework of clinical improvisation, and dialogue. sound .

We will try to give the person a “new” harmonic sense, make him experience rhythm, give him the opportunity to find new means of expression and to discover his own deep inner musicality and harmony.

Helping her to improve her gestures and to deal with the social and mental discomfort that her particular condition entails, in short, improving the quality of her life in many respects.




One of the challenges that remain in the audiological sector, which nevertheless appears increasingly refined and technologically advanced, is the achievement of high quality of life standards for prosthetic or implanted patients. For example, listening to music is still a goal to be crossed.

If you think about the rehabilitation of a hearing deficit, the first benefit that comes to the mind of trying to conquer is undoubtedly communication with others, or the acquisition of the ability to hear words and participate in a conversation. The second, however, is already something that is destined to significantly improve the quality of life of the prosthetic or implanted hearing aid: that is, to learn or relearn to enjoy the sounds that enrich life, among which music undoubtedly stands out.

It is for this reason that scientific and technological research still works deeply on the details necessary to perfect the nuances of listening that allow a hearing aid or cochlear implant wearer to adequately appreciate a concert or a piece on the radio. This kind of listening, in fact, still presents evident difficulties in current daily practice.

Conferences, analysis laboratories, hospital departments and development and research departments continue to deal with the subject as one of the future commitments on which to concentrate efforts. Because musical perception with various types of hearing aids - confirmed in clinical rehabilitation circles - is still lacking, despite the evident progress made to date.

In particular, it is in patients who have undergone cochlear implant that this ability is impractical: the reason lies in the low number of electrodes, equal to twenty-two, which are inserted into the inner ear during this type of surgery; very few, if compared with the high number of pitches, equal to eighty-eight, attributed instead to a piece of music. Scientists who have studied the subject affirm that it is therefore impossible today for a single electrode to discriminate and recognize a melody based on different notes.

Another interesting aspect to evaluate, in this regard, is the concept of auditory memory: in the case of an adult who has experienced normal hearing in part of his life, the so-called auditory memory can help him to benefit from music later on. to a rehabilitation with technological aids; the most important problem concerns children, who have no auditory memory of the musical experience and therefore cannot even benefit from help in this sense. Rehabilitation training, therefore, must also take these factors into consideration.

In conclusion, however, and pending new developments in technological research, it only remains to admit that music remains, unfortunately, the great limitation of cochlear implants.


"Musical deafness" and cochlear implant.


Musical deafness (or "amusia" or "tone deafness") is  the inability to "understand" the music. For those who are "amusico" (or "tone deaf") it is problematic to understand if two pieces of music are identical or different; whether a note is higher or lower; whether a music is slow or fast.

Amusia has no relation to classical deafness, since whoever is affected by it is able to "hear" all the music, but without "understanding" any of it. About 5% of the population suffers from it.


And for the cochlear implant ... how do we put it? The speech is very interesting: how does artificial hearing behave with music?

Is there a test, a test, that tells us if the cochlear implant wearer can not only hear, but also "understand" the music? 

Of course it exists (even if it is not designed for the cochlear implant), and you can find it for free online at the address below (clearly you must have headphones or speakers connected to your PC)

In this test, only in English - attention, it lasts about ten minutes, arm yourself with time and patience! - you will be shown a small piece of music of about 5 seconds; and immediately after another identical song ... or very similar? You will be the one to say it! The two songs that  did you hear they were the same song, or were there very slight differences? One more note, one less note? Slower or faster music? Were the notes higher? Or more serious? Was there a note out of place?

Or did they play you the exact same song?

There are 2 tests of 30 trials each. If you have an ear, you should get 20/30 or greater on each test. (15/30 means to have "gone randomly").

If you have never really "listened" to music, like most deaf people, obviously don't expect a great result. 

ATTENTION: If you get a low result it does NOT mean automatically  that you are "amusici", but, more likely, that you have never really trained yourself in listening to music.

Let's face it, this is a really difficult exercise: take it as a starting point, then, after a few weeks or months, repeat the experiment and check your progress.


But after all, what is the use of training with music? This is precisely the important thing: it serves to pay attention to sounds, which is a process of FUNDAMENTAL importance that those who are deaf probably have never done.

PS: it is an extraordinary test also for the normal hearing, to verify their abilities.

bottom of page