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Elementa
Intersections between Philosophy, Epistemology 
and Empirical Perspectives

2 
(2022) 

1-2

Transitions

Edited by Tommaso Sgarro

First Section

Tommaso Sgarro
Editorial I – Transitions: New and Different Perspectives 9

Tommaso Sgarro
The Human “Historicity” as a Permanent Transition 13 
in the Philosophy of Ignacio Ellacuría

Luis Roca Jusmet
François Jullien: The Double Transit of Human Life 27

Jordi Riba Miralles
The Event, beyond the Permanent Crisis 37

Alessia Franco
For an Epistemology of Transition: Paul B. Preciado, 51 
Psychoanalysis and the Regime of Sexual Difference

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Elementa. Intersections between Philosophy, Epistemology and Empirical Perspectives

Second Section

Tommaso Sgarro
Editorial II – Governing Transitions 67

Pierpaolo Limone - Maria Grazia Simone
Becoming Support Teachers at the University of Foggia 71 
During the Pandemic. An Exploratory Survey

Francesca Finestrone
Music: For a Sustainable Community and the Promotion 85 
of Well-being

Gennaro Balzano - Vito Balzano
Educating for Transition in Work Contexts 101

Giuseppina Maria Patrizia Surace
The Future We Want: The Transition to Adulthood 111 
of Unaccompanied Minors

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Music: For a Sustainable Community 
and the Promotion of Well-being
Francesca Finestrone
Learning Science hub, Università degli Studi di Foggia (Italy)

doi: https://dx.doi.org/10.7358/elementa-2022-0102-fine
francesca.finestrone@unifg.it

Abstract

This contribution aims to offer food for thought on the ancestral role of music for 
mankind, considering its potential, transversal to different areas of interest, including 
psycho-pedagogical, clinical and didactic, as a heterogeneous expression of cultures, 
communities and characters. In spite of the fact that music education is compulsory in 
secondary schools, not in all contexts the activities are structured and carried out taking 
into account the positive implications on pupils’ psycho-physical well-being, rehabilita-
tive potential and increased motivation to learn. Just as the possibilities for dynamics 
and time in music are manifold, so too is the horizon of options that looms over the sky of 
educational action, intersecting also with the world of technology, which puts innovative 
tools such as serious games at the service of education.

Keywords: gamification; inclusion; music and learning; serious game; well-being.

1. Introduction

Since ancient times, music has played a significant role in the life of man, 
sometimes assuming a cathartic and thaumaturgical value, others a more 
deceptive and feral one. It is equally true that in the Greece of Socrates 
and Plato the dialogue on music has become denser and more articulated 
and we recognize precisely in the works of the latter the formative value 
of music in the education of young people, a value that goes beyond mere 
aesthetics and transcends ethics, which orients to the καλὸς καὶ ἀγαθός.

The art of the Muses dear to poets and cicadas (Plato, Phaedrus, 259) 
is understood as an art capable of promoting education, culture, training 

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Francesca Finestrone

and that favors the composition of the καλόι λόγοι, in a context of harmony 
of thought and form; in fact, often a speech was considered well orches-
trated in the presence of rhythm, agreement between the parties, dynamics 
and blooms.

At a time when knowledge is entrusted to oral tradition and music 
becomes the depository of memory, the music-word-memory synod 
appears very evident: the same aedi, artisans of the word, accompanied the 
verses with the sound of the zither, which marked the prosody of poetic 
texts and it was the task of the singer to remember the founding works of 
a civilization, covering not only an amateur role, but also a political and 
social one. The story was always supported and punctuated by chords and 
melodies, evoking the past, emotionally involving the listener, an involve-
ment linked to the sense of identity and community. Quoting a thought 
of the master Ezio Bosso “Music, like life, can only be done in one way: 
together”, it is appropriate to underline how one of the main functions 
of music is collective and communitarian: that of bringing individuals 
together by establishing a bond between them.

If to live music as a social activity we used ἀγορά (from ἀγείρω = gath-
ering, gathering) or θέατρον (from θεάομαι = I observe, I look), today this 
is no longer configured in the same way and the mass media, as well as 
social media, in the illusory perception of sharing, actually trap us in a 
substitute for the community, which is the network and the ever-increasing 
individualism is fluidly alienating us from a social fabric, (unconsciously) 
hungry for sociality.

2. A question of rhythm

Anthony Storr, in his book Music and the mind emphasizes precisely the 
community value of music and how among the participants in the same 
musical event a sort of “neurogamy” is established and this link is sanc-
tioned precisely by the rhythm, which makes listening an active and motor 
process and produces in the participants a sense of collectivity and shared 
emotionality, it creates a sense of belonging, induces prosocial behavior, 
and strengthens cohesion. Ensemble music is born precisely from the need 
to participate in the community.

In addition, recent research shows that the text is remembered more 
easily and for a long time, if accompanied by music, this is because the 
brain areas responsible for music are adjacent and different from those of 
language, but the modular paths follow similar and partly communicating 

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Music: For a Sustainable Community and the Promotion of Well-being

ways and the right temporal upper lobe, implicated in memory, operates 
an important music-language association.

Therefore, what was automatically implemented and sine studio, today 
finds a scientific and empirical explanation, teaching children nursery 
rhymes set in a defined rhythm or administering songs considered pleasant 
by them, in order to favor the memorization and internalization of new 
words. And if these activities are carried out in groups, with others, the 
development of social skills will also be positively invested. The usefulness 
of music in storing large amounts of information and in being able to draw 
memories from our brain (es. singing the nursery rhyme of the months to 
remind us how many days one of them is composed of ), especially in oral 
cultures, has certainly favored the flowering of the musical abilities of our 
species, as well as the only species able to replicate, reproduce and imagine 
the rhythm (the monkeys, from which we descend, are not in possession 
of such abilities) and this is reflected in the brain, observable through 
neuroimaging techniques and concerns the activation of subcortical areas 
in the basal ganglia and cerebellum, in addition to the activation of the 
motor cortex and subcortical systems. This “simulation of action for audi-
tory prediction” (ASAP) would be based on the connections that the dorsal 
auditory pathway possesses with the regions of motor planning through 
the parietal cortex. Patel and Iversen (2014) hypothesize that these connec-
tions are stronger in the human species than in the other primates due to 
the evolution of the phono articulatory capacity, strictly based on rhythm 
and this could explain the ability of tapping, which characterizes man. On 
the other hand, the practice of putting words into music has played an 
important role in the lyrical, liturgical and narrative tradition, just think 
of the Iliad and the Odyssey, for centuries recited and handed down orally 
thanks to the rhythm marked by the zither and the metric of the verses.

In fact, the correlation between rhyme and rhythm not only unites 
language and music but is also sanctioned by a common Greek root -ρυ 
which indicates precisely the flow, the movement, the articulated flow of a 
melody, of a prosody.

According to Piaget’s theories of emotional learning. Vygotsky, 
Bruner and Bloom, affectivity proceeds in parallel with the development 
of cognitive functions, affects learning processes and, experiences without 
emotional appeal will be perceived as less engaging and motivating, will 
not promote curiosity, which is the driving force of learning and this will 
be less significant. In addition, the strength of memories is closely linked 
to the degree of emotional involvement that characterizes them: it is more 
likely that a very sad / very happy event will be remembered, this is because 
an important involvement of the brain structures that are part of the limbic 

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system, such as the amygdala and the orbito-frontal cortex, has been high-
lighted. 

That music was a vehicle of emotions, an expression of feelings 
and movements of the soul is a widespread and shared opinion (Strollo, 
2011), but that it could even be preparatory to the improvement of skills 
apparently distant from it, is a recent theory and for which only in recent 
years research and resources are being employed. And this new approach, 
more scientific and empirical, is well intertwined with a type of relational 
and laboratory teaching, in which learning is transversal, multimodal and 
emotional.

Since ancient times the word-music relationship has always been 
problematic, and language was a musical instrument of ideas. The poet, the 
speaker and the philosopher composed and played grammatically. Music, 
as ars combinatoria, allows the production of a great cosmic network of 
equivalences and correspondences and manages to convey the truth beyond 
the logic of linguistic experience, in its essence of meta-knowledge, because 
it creates a gap of spontaneous communication between sensitivity and 
reason (Brancacci, 2019).

The question has often been asked: was music or the word born first?
Darwin leaned towards giving primacy to music (singing), Spencer 

to speech, Mithen, more democratically believed that they had developed 
simultaneously.

Patel, in a 2006 article, did not believe that music was a side product 
of the word, but that it had followed an independent development process 
and demonstrated this by analyzing a common aspect, both to music and 
to speech: rhythm.

The rhythmic pulsation of music is regular, and this regularity of 
perception and synchronization are not shared by the linguistic rhythm, 
which is an artifice of words, accented irregularly and subject to the 
socio-cultural context. Therefore, it is much more likely that music, more 
natural, has used a fast track.

It is believed that Homo neanderthalensis sang before it even spoke and 
created wind instruments with the bones of animals, such as the famous 
flute found in Divje Babe, Slovenia.; it was unable to speak due to the 
baseness of the larynx (as in newborns).

According to the protolinguistic theory of Steven Mithen (2005), 
hominids communicated holistically, modulating tone, duration and 
prosody of certain sounds, and musical phrases differed in height and 
rhythm. From an evolutionary point of view, therefore, the ability to sing 
precedes the ability to speak, so our brain is shaped on this expressive 
ability; in fact, in patients with Broca’s aphasia (they cannot articulate a 

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Music: For a Sustainable Community and the Promotion of Well-being

period fluently), as well as people with stuttering or other disorders in the 
articulation of language, they are still able to sing or show less difficulty in 
this activity (Merrett et al., 2019). This is due to precise reasons related to 
the neural circuit underlying the language, which differs in part from the 
one dedicated to the control of singing, set in a very complex way. 

3. Music, as a tool of fragility

During the last decade, there has been a growing interest and progress in the 
adoption of music as a therapeutic tool in neurological rehabilitation and 
many new music-based methods have been developed to improve motor, 
cognitive, linguistic, emotional and social deficits in people suffering from 
a debilitating neurological disease, ranging from childhood-adolescence as 
in cases of autism (Geretsegger et al., 2014) and dyslexia (Flaugnacco et 
al., 2015), up to adulthood with cases of stroke patients (Bradt & Dileo, 
2010; Rodríguez-Fornells et al., 2012; Altenmüller & Schlaug, 2015; 
Särkämö et al., 2016), Parkinson’s disease (Nombela et al., 2013; Bloem 
et al., 2015) and dementia (Baird & Samson, 2015). In healthy patients, 
listening to music improves neuronal connectivity, while musical activities, 
such as learning to play an instrument, promote brain plasticity and induce 
changes in gray and white matter in different brain areas and especially in 
frontotemporal ones.

Numerous studies support and demonstrate this thesis, according to 
which neuroplastic modifications due to musical practice can occur, espe-
cially if the onset of musical studies was early (Nakada et al., 1998; Gaser 
& Schlaug, 2003; Musacchia et al., 2007; Yang, 2015).

Recent studies have shown that hearing is the first of the five senses 
to develop during gestation; in fact, the fetus is able to perceive noises 
and sounds through the amniotic fluid (e.g. heart rate) and here we can 
see a primitive form of communication, which should be processed and 
developed from the first years of life, educating the ear to listen and, 
subsequently to musical practice, fundamental in cognitive, motor, but 
also affective development, for reasons that will be addressed below and 
in which we see the close correlation between music and psycho-physical 
well-being.

The pedagogist Rosa Agazzi has often reiterated the importance 
of singing and voice education in motor and language development, 
confirmed by the studies of T.R. Miles, improving reading skills in chil-
dren suffering from dyslexia, according to which the positive outcomes 
achieved are directly proportional to the precocity of musical training.

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In addition, it raises the level of people’s emotional life (Sloboda, 1988) 
and promotes the integration of all personality components (perceptual-
motor, cognitive and affective-social) contributing to the psycho-physical 
well-being of all students; music also favors the acquisition of rhythm and 
grace in movements, both in body and soul in order to obtain a beautiful, 
strong and well-shaped body that becomes an emblem of physical well-
being and at the same time of the harmony of the psyche (Barker, 2005).

Some research has shown that participation in musical activities also 
has positive effects in people’s health and well-being (MacDonald, 2013) 
and the creation of a positive and relational climate also positively affects 
the motivation to learn (Cottini, 2017). 

Music is open to interactions, contaminations and different languages 
(being itself a symbolic language free from contextual limits), finding 
ourselves in the era of pluralism. Music teaching acts as a guarantor of 
freedom, equality and equity in respect of the differences of all and the 
identity of each one, promoting a condition of general well-being, which 
invests in particular students with disabilities and with BES.

In line with what is established in the 2030 Agenda, music is a 
common good, a universal language that connects people and creates 
generational and cultural cohesion, acting as a glue and as a “bridge” 
between the individual and the community and, for this reason, access 
to music should be promoted to minorities and subjects in a situation of 
economic and socio-cultural disadvantage to avoid cases of early school 
leaving, emotional alienation and depression (Fancourt & Finn, 2019). 
Being a form of intelligible language without the need for any translation 
or mediation, it places itself in an elitist communicative condition, tran-
scending aesthetics and investing ethics, while remaining, in fact, free from 
education, history and society and, therefore, transversal. As the American 
ethnomusicologist Alan P. Merriam says, music performs ten primary 
functions, which relate both to the personal sphere of the individual and to 
the social sphere of the community, as a symbolic element capable of short-
ening the distances between the personal ego and what is Other, tuning 
them to the same frequency, which has much deeper and ancestral origins 
than a consonance of ideas and values. 

Musical thinking can help to recover the ways in which we listen to 
the living environment and, consequently, the ways in which we produce 
sounds.

In the study by Cajola, Rizzo and Traversetti (2017) we highlight 
the possibility, in this regard, to structure interdisciplinary playful-musical 
laboratories and design them as a space or a didactic strategy that supports 
the inclusive processes in the class curriculum and the presence of a special 

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Music: For a Sustainable Community and the Promotion of Well-being

needs teacher-musician contributes, bringing his expertise, to the realiza-
tion of a sustainable development of the school community, specifically 
within the class.

As revealed by recent research, the musical activity determines a devel-
opment of various areas of the person: motor, cognitive, social and adaptive 
and therefore the executive practice stands as a facilitator of learning, but 
also as a promoter of social skills and soft skills, facilitating communication 
and emotional expression. It is no coincidence that among the brain areas 
that are activated during listening to music there are not only auditory 
areas, but also motor ones (Proverbio, 2019) and that musical training is 
involved in the processes that slow down cognitive decay and that support 
people with neuroevolutionary and neurological disorders and this high-
lights the preventive and sometimes therapeutic function of music, used 
with patients suffering from various forms of dementia, Parkinson’s, 
autism, as well as an elitist tool in case of specific learning disorders and 
patients suffering from Williams syndrome, in whom the strong reactivity 
to music is associated with a spontaneous pro-sociality, a marked talkative-
ness and an unusual mastery of language (Sacks, 2014).

What’s more, listening to music for two to three hours a day in the 
aftermath of a stroke facilitates the recovery of verbal memory, stimulates 
the ability to concentrate and improves mood by preventing depression 
(Särkämö et al., 2016).

According to Dalla Bella et al. (2015) these effects of rehabilitation 
would be due to compensatory brain mechanisms involving the cere-
bellum-thalamo-cortex circuit.

Since music manages to permeate different aspects of human life, 
detecting its function as a facilitator, both in the conquest of verbal and 
paraverbal communication skills, and in the cognitive sphere, it is an inclu-
sive medium and promoter of well-being, useful above all in a didactics of 
laboratory imprint.

The democratic component of music allows each student to take 
part in it according to their personal possibilities; it also leaves room for 
self-expression, which connotes artistic activity, supporting motivation for 
learning, personal exposure and socialization. The learning of the musical 
language also promotes the learning process understood in a global sense, 
facilitating a functional development in accordance with the principles of 
health and well-being (Fontana, 2020). In particular, the process of learning 
musical skills allows to exercise and enhance cognitive, emotional, social 
and relational skills and competences of all students. These skills, learned 
in the course of musical workshops, can be transferred beyond the school 
walls, in everyday life, in a chain reaction of improving processes also in 

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spatial and motor skills. Creating ensemble music workshops, in which the 
teacher assumes the role of “director” promotes the acquisition of musical 
skills, but also prosocial, relational and emotional. To play together it is 
necessary to listen to each other, be in tune, follow the rhythm and adapt 
one’s own to that of others, to be all at the same time and produce a fluid 
and harmonious syntax. In this setting the anxieties are amortized and the 
weight of the error is felt in a less oppressive way and therefore increases 
the perception of well-being and self-confidence and the perception of self-
efficacy, which are, in fact, the objectives that the educational action aims. 
Playing together in the orchestra or in musical workshops in the school 
environment, allows children to grow while having fun and developing 
skills, feeling an active and significant part of a group, offering opportuni-
ties for maturation in a plurality of dimensions.

In addition, the possibility of learning to play an instrument and 
establishing a significant bond with it, which becomes an alter-ego, an 
extension of the personality, takes on very interesting connotations about 
self-expression: one has the possibility of communicating one’s emotional 
experience to others, through a non-verbal code, but one can also subli-
mate negative emotions, a sort of instrument-mediated catharsis. 

Taking up a quote from E.T. Hoffmann, he wrote about instrumental 
music “it is the most romantic of all the arts: one could even say the only 
romantic art”, precisely because it is an intangible art capable of expressing 
melancholy, burning passions and walks through the paths of interiority, 
sublimating them.

Emotions and moods, common to all cultures, as demonstrated in a 
study by Paul Ekman in 1971, which is why, listening to one of Chopin’s 
twenty-one Nocturnes, one is overwhelmed by a universal and sensitive 
poetry, regardless of one’s geographical location.

According to this principle, schools in which the use of a multicul-
tural repertoire, known to all and close to the experiences of the students 
and the use of composition to convey shared emotions and meanings, has 
been envisaged, has resulted in a greater level of inclusion and affective 
attunement and therefore a condition of psycho-social well-being. 

In recent times and especially in the last two years, harassed by the 
Covid-19 health emergency, adolescents have manifested a psychological 
discomfort that has conditioned their existence and social relationships 
with the peer group and has strongly impacted on communication, coop-
erative and socio-emotional skills. For this reason, it is even more urgent 
to promote an inclusive and generative dimension of welfare (Fancourt & 
Finn, 2019) in an ethically and aesthetically usable multimodal experience 
to rediscover the pleasure and usefulness of playing together.

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Music: For a Sustainable Community and the Promotion of Well-being

The pandemic, however, has also accelerated a process of techno-
logical transition in educational institutions, forcing the school world 
to interact with innovative teaching strategies and novel devices in order 
to continue to guarantee the right to education, armed with digital (not 
always adequate) and psycho-pedagogical skills.

Although this parenthesis seems to have come to an end, returning 
to a purely traditional didactics would be anachronistic and counter-
current. In fact, various doors have been opened to different frameworks 
of learning, especially with regard to the gamification of learning through 
the use of serious games, which Gunter, Kenny and Vick describe as games 
that set educational objectives with a fun background. 

Serious games and game-based learning contribute to a variety of 
learning outcomes (Behnamnia et al., 2020; Sailer & Homner, 2020; van 
Gaalen et al., 2021), most of which are cognitive in nature, especially in 
children with frailty, who require support from the special needs teacher-
musician. Precisely for these children, the syncretism of music, play and 
technology could prove to be very fruitful and enable an improvement in 
deficits.

4. Serious game and rhythm training

The special needs teacher-musician succeeds in combining disciplinary 
skills with psycho-pedagogical skills and would be a valuable tool in the 
service of didactics and the most fragile students in the school environ-
ment.

Training and informing special needs teachers-musicians of the 
potential of music on neural plasticity and its consequences would be a 
resource for the school institution, but it would also be a real asset for indi-
viduals with disabilities, specific learning disorders and neurodevelopment 
disorders (es. dyslexia or ADHD). Setting up music workshops in each 
school could bridge the gaps in the inclusion process and thus in achieving 
well-being at school.

Current trends bring together therapeutic and rehabilitation value 
with the digital transition that has affected not only our society, but also 
educational programming. 

Indeed, incorporating ICT in the school environment has proven to 
be a real possibility for promoting inclusion, autonomy and motivation.

Technology has pervaded many spheres, not even leaving behind the 
arts (often eclipsed) and leading to the creation of serious games centred 

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on the music-therapeutic potential of music training and, in particular, 
rhythm training that takes place in a fun, playful but educational way. 
Interestingly, the ability to track rhythm has been associated with other 
cognitive abilities such as working memory, sustained attention or language 
and reading skills in children (Tierney & Kraus, 2013; Woodruff Carr et 
al., 2014).

5. Special education transition

Current trends bring together therapeutic and rehabilitation value with the 
digital transition that has affected not only our society, but also educational 
programming. With today’s rapid developments in technology, mobile 
devices, including the iPad and related software applications, are gaining 
popularity as an educational tool.

Has been found Rhythmic deficits are associated with poor perfor-
mance in language, attention and working memory tasks. The retraining 
of rhythmic skills may therefore provide a promising avenue for improving 
these associated cognitive functions (Begel et al., 2018). Reflections on the 
implications of such educational tools on students with ADHD and DSA 
appear spontaneously, even though the educational terrain is still rather 
immature in this regard (Goh et al., 2021). Since rhythm training appears 
to cause improvements in several areas not exclusively related to musical 
performance skills, devising and testing a new rhythm training protocol, 
implemented as a serious game exploiting new mobile technologies in the 
school environment, could open up several scenarios for educational inter-
vention.

Serious games can involve the use of commonly used mobile devices, 
but also have visors or consoles to play in virtual reality (VR) to make the 
experience even more immersive and the game even more engaging. 

Two very interesting and multi-sensory 3-D serious games were 
developed using state-of-the-art VR: Rhythm Workers and ADDventurous 
Rhythmical Planet.

In virtual reality (VR) of ADDventurous Rhythmical Planet, players 
use a drum to create a rhythm, which is then transformed into a game 
action visually represented in VR space. In the game, the protagonist is 
an alien who can only continue his journey with increasing difficulty if 
the player correctly plays a rhythm. The levels become increasingly diffi-
cult and can be played either in single player or multiplayer mode. The 
game’s storyline encourages children to play with each other and to switch 
from single to multiplayer mode. When playing in multiplayer mode, the 

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rhythm is created together, all players collaborating in playing the correct 
rhythm. This game requires VR headsets, a drum module capable of trans-
mitting information to the VR system, and computer systems capable 
of running the VR system. Children, students are encouraged to create 
music in order to overcome the mission and receive an immediate reward, 
provided by the game’s narrative.

Rhythm Workers is a serious game that has two modes and the game 
objective to be achieved is to construct a building.

When the musician accurately beats the rhythm (tapping version) 
or correctly detects whether the percussion sounds are aligned with the 
rhythm (perception version) the building components appear better struc-
tured (e.g. more symmetrical), richer and more aesthetically appealing than 
when the player’s performance is not good.

In the proof-of-concept pilot study by Bégel et al. (2018), high partic-
ipant motivation during the game was found to be maintained throughout 
the two-week training protocol. This finding is very encouraging because 
the players’ motivation attests to the fact that the game is engaging and 
thus stimulates users to achieve satisfactory scores and thus to achieve posi-
tive rhythmic skills.

The interest of policy and educational institutions could provide an 
incentive for researchers to want to develop the game using less expensive 
and more readily available equipment (Davis-Temple et al., 2021).

6. Conclusions

Strengthening the interaction between technology, music and education 
provides an opportunity to concretely help pupils with special educational 
needs, as the results produced using serious games in environments away 
from school are encouraging and deserve more attention and experimen-
tation in the familiarity of the school context. In the light of the prom-
ising results of the recent research, it is plausible to hope for a future in 
which didactics, music and technology are intertwined, providing school 
professionals with significant expertise capable of addressing the special 
educational needs of pupils from an inclusive perspective, where making 
class means making community and music is no longer a niche art or a 
sideline discipline, but a real resource for personal and cognitive growth, 
connecting all the actors involved.

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Riassunto

Questo contributo intende offrire spunti di riflessione sul ruolo ancestrale della musica 
per l’uomo, considerando le sue potenzialità, trasversali a diverse aree di interesse, tra 
cui quelle psicopedagogiche, cliniche e didattiche, in quanto espressione eterogenea di 
culture, comunità e caratteri. Nonostante l’obbligatorietà dell’educazione musicale nelle 

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Music: For a Sustainable Community and the Promotion of Well-being

scuole secondarie di primo grado, non in tutti i contesti le attività sono strutturate e svol-
te tenendo conto delle implicazioni positive sul benessere psico-fisico degli alunni, sulle 
potenzialità riabilitative e sull’aumento della loro motivazione all’apprendimento. Così 
come sono molteplici le possibilità di dinamiche e tempi in musica, altrettanto ampio è 
l’orizzonte di opzioni che si staglia lungo il cielo dell’azione didattica, intersecando an-
che il mondo della tecnologia, che mette al servizio dell’istruzione strumenti innovativi 
quali i serious game.

Copyright (©) 2022 Francesca Finestrone 
Editorial format and graphical layout: copyright (©) LED Edizioni Universitarie

 This work is licensed under a Creative Commons 
 Attribution-NonCommercial-NoDerivatives 4.0 International License.

How to cite this paper:
Finestrone, Francesca (2022). Music: For a sustainable community and the promotion of 
well-being. Elementa. Intersections between Philosophy, Epistemology and Empirical Perspectives, 
2(1-2), 85-99. doi: https://dx.doi.org/10.7358/elem-2022-0102-fine

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	Elementa_2-2022-1-2_00b_Sommario.pdf
	First Section
	Editorial I
	Transitions:
New and Different Perspectives

	The Human “Historicity”
as a Permanent Transition
in the Philosophy of Ignacio Ellacuría
	François Jullien: The Double Transit
of Human Life
	The Event, beyond the Permanent Crisis
	For an Epistemology of Transition:
Paul B. Preciado, Psychoanalysis
and the Regime of Sexual Difference

	Second Section
	Editorial II
	Governing Transitions

	Becoming Support Teachers
at the University of Foggia
During the Pandemic *
	Music: For a Sustainable Community and the Promotion of Well-being
	Educating for Transition in Work Contexts
	The Future We Want:
The Transition to Adulthood
of Unaccompanied Minors
	An Exploratory Survey


	Sommario.pdf
	First Section
	Editorial I
	Transitions:
New and Different Perspectives

	The Human “Historicity”
as a Permanent Transition
in the Philosophy of Ignacio Ellacuría
	François Jullien: The Double Transit
of Human Life
	The Event, beyond the Permanent Crisis
	For an Epistemology of Transition:
Paul B. Preciado, Psychoanalysis
and the Regime of Sexual Difference

	Second Section
	Editorial II
	Governing Transitions

	Becoming Support Teachers
at the University of Foggia
During the Pandemic *
	Music: For a Sustainable Community and the Promotion of Well-being
	Educating for Transition in Work Contexts
	The Future We Want:
The Transition to Adulthood
of Unaccompanied Minors
	An Exploratory Survey





