The book has 16 short stories. Each one comes with a piece of classical music and a philosopher’s perspective. It is fiction that makes you think.

A taste of The Neighbor’s Tiles

Jorgy’s neighbor comes over for coffee, but soon they’re sharing a glass of good wine. After a few refills, the neighbor relaxes and starts telling the story of his recent vacation mishap, only a little embarrassed, probably thanks to the wine. He always goes to the same place. Years ago, he set up his mobile home in the Ardennes and is still grateful for it.

Twenty-four centuries at one table: the range behind Jorgy’s Shorts

Put all sixteen stories of Jorgy’s Shorts next to each other and a long span of time shows up. The pages cover only a handful of ordinary weeks in one person’s life, but the composers and philosophers who keep them company come from many centuries.

Two and a half centuries of music

The music in Jorgy’s Shorts runs from Bach’s Goldberg Variations, written around 1741, to Philip Glass’s score for The Hours, from 2002. That is about 260 years, and it covers a good part of the history of Western classical music. Haydn and Mozart bring the poise of the late 18th century, Schubert and Mendelssohn the Romantic ache of the 19th. Ravel, Stravinsky, Bartók, Shostakovich, Janáček, and Prokofiev bring the 20th century’s irony, fracture, and reinvention, and Satie and Glass add minimalist stillness.

Each piece was chosen because it fit a story. Stravinsky’s Petrushka really does sound like a fairground puppet whose dignity collapses in public, and Haydn’s “Surprise” Symphony behaves like a polite chord landing exactly where a locked garden gate would. Choosing music story by story still ended up sampling about 260 years of composition, almost by accident. Maybe that shows the feelings behind these stories (embarrassment, tenderness, quiet defiance, the ache of a farewell) have not changed much since Bach’s time, even if the music that describes them has.

Twenty-four centuries of philosophy

The philosophy spans even more time, and it is stranger to hold in your head all at once. The first story is paired with Aristotle, who wrote in Athens in the 4th century BC, and the last with Ludwig Wittgenstein, who wrote in Cambridge in the 20th century AD. That is a gap of roughly 2,300 years. Socrates, who has a story of his own, is older than Aristotle, so counting him the span grows to about 2,400 years.

Between them, the sixteen stories cover many of the major currents in Western philosophy. Aristotle and Socrates bring classical ethics. Epicurus, Seneca, and Epictetus come from the Hellenistic schools, and they cared more about how to live than about building abstract systems. Hume, Kant, and Spinoza stand for Enlightenment rigor. Schopenhauer and Nietzsche, the 19th century’s great unsettlers, each argue in their own way that reason runs the show less than we would like to think. Then comes a cluster of 20th-century voices, Bergson, Arendt, Camus, Beauvoir, and Wittgenstein, who wrote in the shadow of two world wars and tried to work out what freedom, judgment, or meaning could still look like afterward.

Each thinker reads the same kind of small, ordinary moment differently. Aristotle sees a garden dispute as a question of timing and self-restraint. For Beauvoir, a dance floor is about who is willing to risk being seen. Under Socrates’s questioning, a stolen pile of tiles becomes a small test of what someone actually believes about justice, once his excuses are taken away one at a time. The readings sit side by side without canceling each other out, which is what happens when twenty-four centuries of serious thinking get pointed, one at a time, at the same unassuming man going about his week.

Why the range matters

The questions these stories ask are not new: how to handle an insult, when to intervene, what is owed to a stranger, how to live with disappointment. People have been turning them over for as long as anyone has written things down, in every century on this list, with whatever music happened to be new at the time.

If you read each story with its music and its philosopher, you may notice that continuity. You may also feel a little less alone in whatever ordinary, unresolved moment made you look for the book in the first place.

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For many of us, certain songs are the soundtrack of growing up. They hold memories of teenage hopes, fears, rules, rebellion, confusion, and longing. Davies helped create that kind of music, especially with Roger Hodgson in Supertramp. Two songs, “School” (1974) and “The Logical Song” (1979), always come to mind when I think of high school, not just the classes and exams, but the search to understand who I was, beyond what I was supposed to become.

“School”  Rules, Rebellion, and Seeking Something Beyond

The song “School,” the opening track of Crime of the Century, captures that moment in adolescence when you see both the structure and the cracks within it. (Wikipedia)

In school, I remember rushing to class in the mornings, carrying heavy backpacks, hearing the school bell, and feeling like I was being shaped, told what to believe, what to do, and how to act. But what about all the other lessons, the ones they never teach? What about creativity, intuition, and identity? “They don’t really prepare us for life in terms of teaching us who we are on the inside.” (Wikipedia)

There was a hallway in our school that always felt like a doorway between childhood and something bigger. Friends joked around, and we whispered questions to ourselves, like ‘What do I want?’ The fear of looking foolish was a lesson that mattered more than anything in a textbook. School taught me that asking questions is part of growing up.

“The Logical Song”  Identity, Labels, and the Search for Self

Five years after School, Supertramp released The Logical Song on Breakfast in America. This became one of their biggest hits. (Wikipedia)

Roger Hodgson wrote it from a deeply personal place, about being sent away to boarding school, about being taught to be “logical, responsible, clinical…” but not always shown how to be sensitive, emotional, or truly yourself. (Louder)

When I hear “The Logical Song,” I’m taken back to those moments after class, sitting under a tree or walking home, and asking myself: Who am I, outside of those labels? The smart kid, the quiet one, the one who obeys, the one who laughs too loud, which of those is really me, and which are just expectations?

That line in the song, “Please tell me who I am,” feels universal. We all carry it, especially when we’re young, trying to balance what people tell us to be with what we feel inside.

Rick Davies’ Legacy & What It Means Now

With Rick Davies gone, we haven’t just lost a musician, we’ve lost someone who gave voice to the struggle between fitting in and being yourself. He played, wrote, and sang music that made room for both structure and questions. School and The Logical Song aren’t just nostalgic; they still matter because the issues they explore, never really go away.

Reflecting on Davies, I feel grateful for the music he created with Hodgson and the rest of Supertramp, particularly the piano, harmonies, and sharp lyrics. He reminded us that what matters isn’t just what school teaches or what society expects, but what we truly believe inside.

My School Self, Now

I never expected to become a music blogger or someone who looks back at those years with both fondness and a critical eye. But here I am, listening to School again or humming The Logical Song, and realizing something important: those songs were my first teachers. They showed me that rules matter, but they can’t define who we are. Labels can help, but they can also hold us back.

Thank you, Rick Davies, for the music, the questions, and your voice. Your songs will echo far beyond classrooms and hallways, in everyone who ever wondered who they were beyond what they were taught.

Supertramp’s School and the Spirit of Prokofiev

When I think about Supertramp’s School from Crime of the Century (1974), it takes me back to my own high school days, the long hallways, the rules, the quiet questions about who I was supposed to become. It also reminds me of someone unexpected from the classical music world: Sergei Prokofiev.

At first, it might seem like a stretch. What could a Russian composer from the 20th century have in common with a British rock band from the 1970s? But if you listen closely, you start to hear the connection.

Sergei Prokofiev

• Known for sarcastic, playful, yet serious music.
• Works like Peter and the Wolf or Classical Symphony mix innocence and satire, much like Supertramp’s ironic view of school and society.
• The sharp, percussive piano style in Supertramp recalls Prokofiev’s biting piano writing.

Irony in Sound

Prokofiev’s music often has a sharp, satirical feel. His Classical Symphony sounds playful at first, but there’s something biting underneath. In the same way, School starts with a child’s harmonica and playground sounds, but soon shifts to a strong, percussive piano that hints at tension and rebellion. Both Prokofiev and Supertramp use irony, sounding playful while asking serious questions about authority and fitting in.

Structure and Rebellion

Supertramp’s School is built almost like a mini-symphony, with a slow, moody start, tight rhythms, a big climax, and a thoughtful ending. Prokofiev did something similar in his piano concertos, mixing beautiful melodies with sudden bursts of rhythm and dissonance. Both show us that while structure matters, breaking free from it can be just as powerful.

The Lesson Beneath the Lesson

School isn’t just about school. It’s about what society teaches us to be, and what it leaves out, the unspoken lessons of obedience, labels, and expectations. Prokofiev, who wrote music under Soviet rules, also understood what it was like to balance what you’re supposed to say with what you really want to express. His music often has two voices: the official and the personal.

Why This Matters

Linking School to Prokofiev isn’t just about making a comparison. It shows a timeless struggle: how do we balance the rules we’re given with our own inner voice? Whether it’s the sarcasm in Prokofiev’s symphonies or the strong piano in Supertramp, music helps us push back against being seen as just another logical, responsible, clinical person.

When I listen to School now, I don’t just hear memories from my teenage years. I also hear hints of Prokofiev, reminding me that questioning authority, using irony, and music have always been their own kind of art.

Sound. Sense. Soul.

The post How to Analyze Irony in Supertramp’s School and Prokofiev appeared first on MusikRoel.

“Without music, life would be a mistake.”
— Friedrich Nietzsche

Welcome to MusikRoel, a space where music and philosophy meet, interact, and resonate.

This site has grown from a simple curiosity — how music moves us — into a deeper investigation:
Can we think through music? Can a piece of music express an idea as clearly as a line from Plato or Nietzsche? And what happens when we listen, not just for melody, but for meaning?

Why Music and Philosophy?

At first glance, music and philosophy might seem worlds apart. One is emotional, wordless, abstract. The other — rational, structured, and concept-driven.

But look closer, and you’ll find they’ve always been connected:

• Pythagoras believed the cosmos was structured by musical ratios.
• Plato saw music as essential for shaping the soul.
• Nietzsche — philosopher and composer — called music “a universal language of the will.”
• Even modern thinkers like Adorno or Susan Sontag have wrestled with music’s power to reveal truths we can’t always say.

Here at MusikRoel, we’re not choosing sides. We’re asking better questions.

What You’ll Find Here

MusikRoel is an ongoing journey. Expect:

• Blog posts that explore music with a philosophical lens — from classical to experimental, jazz to ambient.
• Travel notes that share experiences and new learnings.
• Philosophical profiles of musical thinkers (like Nietzsche or Coltrane)
• Listening guides that teach you how to listen deeply and reflectively
• Playlists designed to inspire contemplation and dialogue
• Occasional audio essays, community submissions, and more

Whether you’re a musician seeking meaning, or a thinker seeking a soundtrack, you’ll find something that resonates here.

The post How Music Inspires Deep Thought: The Philosophy of Sound and Storytelling appeared first on MusikRoel.

I never imagined that music would have such a significant impact on children. It plays a crucial role in their learning and development in various ways. Ignoring this influence would be a missed opportunity, so let’s explore it in more detail.

For a long time, I have believed that music can enhance studying. When chosen thoughtfully, it can help improve focus and create a positive mood, making absorbing new information more straightforward and enjoyable.

TIP
You won't believe your ears! We've created a playlist to help you learn. Feel free to give it a try!

Music and language development

Wouter Schenke, Edith van Eck, Eke Krijnen, and Margriet Heim argue that musical and language development are closely linked. While no definitive scientific figures support this, there is substantial evidence from practical experience. For example, incorporating music in schools can help alleviate language disorders. Different musical elements such as pitch, rhythm, tempo, structure, and changes in volume aid in sound recognition. Singing songs, in particular, helps recognize words and sentences. Rhythmic patterns also stimulate language processing and comprehension.

Listening to music assists children in processing auditory cues and distinguishing between various sound types. Additionally, it positively impacts reading skills and vocabulary building. The authors suggest that listening to music has a beneficial influence, and active participation in making music further enhances children’s language development.

Furthermore, as Mark Mieras extensively discussed, music plays a role in brain development. Unfortunately, despite its significance and the growing understanding of its benefits, less teaching time is allocated to music education. This trend is regrettable, as music has a profound positive impact. American researchers even argue that a lack of music education at a young age could negatively affect academic performance later in life.

In the past, people claimed that listening to composers like Mozart and Schubert would enhance children’s intelligence, leading some parents to play these compositions for their unborn children. Some scientists casually suggested that Mozart’s music improved intelligence. However, no solid evidence supports claims about specific composers—only short-term benefits can be observed immediately after listening.

Music and brain development

Brain activity shows a strong connection between music and language processing. The thalamus is a significant nucleus in the brain that channels words and text to the left hemisphere and spoken language to the right. Young children’s auditory systems require stimulation for effective development and listening learning. The more effectively we train students, the better the thalamus functions, indicating that music is a form of auditory training.

Research indicates that children who receive musical training tend to listen better than those who do not. This training helps them manage noise and extract meaningful information, even amidst background sounds. The authors also discuss how music can assist children with language difficulties and note that children with dyslexia process sounds differently. Interestingly, composers often have a stronger connection between the brain’s two hemispheres; musical training enhances integration between these brain areas. This effect becomes even more pronounced when a child learns to play a musical instrument.

TIP
What can humming children do for your class? 
When your students enter the classroom humming a song, it's a positive sign. 

You can use this moment to kick off the lesson. For instance, encourage the class to sing the song together if they all know it. If they don't, you can quickly look up the lyrics (for example, on azlyrics.com) or find a karaoke version to play.

Media for teachers

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There are eight reasons to use music in the classroom.

Music possesses a unique ability to unite people, stimulate creativity, and elevate emotions. In an educational setting, it serves as more than background noise; it can be a powerful tool that enhances learning, fosters a positive environment, and supports students’ emotional and cognitive growth. Here are several important reasons to incorporate music into the classroom:

1. Enhances Focus: Music undeniably sharpens concentration and enhances information retention during tasks.
2. Encourages Creativity: Music is a powerful tool for self-expression, driving students to think innovatively through singing, instrument playing, and composing their own pieces.
3. Supports Emotional Well-being: Music effectively calms anxiety, uplifts spirits, and aids in processing emotions, significantly contributing to emotional intelligence.
4. Builds Community: Group music activities foster teamwork and strong social connections, establishing a vital sense of belonging in the classroom.
5. Improves Discipline: Mastering music demands practice and perseverance, instilling focus and productive energy in students.
6. Promotes Cultural Diversity: Music is a gateway to various cultures, fostering deep appreciation and respect for diversity among students.
7. Boosts Confidence: Performing or creating music enhances students’ confidence, motivating them to take on and conquer new challenges.
8. Supports Inclusivity: Music delivers powerful therapeutic benefits for students with special needs, enhancing communication and social interaction in an inclusive environment.

Practical Ways to Integrate Music into the Classroom:

• Morning Music Rituals: Begin the day with a calming or energizing song to establish a positive tone.
• Educational Songs: Utilize songs to teach various subjects, such as math, science, or history.
• Brain Breaks: Introduce short musical breaks to help re-energize students during long lessons.
• Creative Projects: Encourage students to compose their own songs or create musical interpretations related to their lessons.
• Instrument Exploration: Provide opportunities for students to play instruments, promoting hands-on learning experiences.

Conclusion

Music in the classroom is not just an extra feature; it is an essential part of a well-rounded education. It nurtures the mind, body, and spirit, helping students excel academically, socially, and emotionally. Educators can help students reach their full potential by incorporating music into everyday learning and creating a classroom environment filled with harmony and joy.

The post Why is music in the classroom essential? appeared first on MusikRoel.

A concert at a special location

Relaxed, I sit in the rehearsal room of an award-winning harmony and listen to a beautiful combination of music that briefly revives my images and feelings of life in the Mediterranean. It wasn’t that long ago that I lived on a pearl on the Adriatic coast and walked with the sea air in my nose along the shore where the waves were breaking apart. The birds were busy fishing their food out of the water. Over the years, I have adopted a Mediterranean lifestyle and still see the atmospheric evenings and beautiful sunsets before me just as much as I smell the delicious scents from the kitchen and the land.

Maastricht as a radiant starting point for many emotions

I am in Maastricht, the city of my alma mater, where my passion for classical blossomed. In recent years I have traveled through Europe and am back again. It is pleasant to find a musical connection between all my travels. With compositions by the wandering pianist Albeniz, the impressionist Faure, the Spanish fury of Bizet (do you know his Symphony in C?), and my favorite, Mozart. His overture from ‘Die Entführung aus dem Serail’ was played with beach sand between the toes and served as an intro full of enthusiasm for what was to come. The concert felt like a barefoot beach walk in the setting sun, where you occasionally stepped on sharp pebbles. The enthusiasm of the conductor and the university orchestra was invigorating, the selection of works a proper one, and the collaboration with the Ravelin marching band a surprising one.

The music the orchestra played

• Isaac Albéniz – Serenata Espagnola
• Georges Bizet – Carmen Suite (‘Toreadorlied’, ‘Segeduilla’ and ‘Habanera’ )
• Gabriel Fauré – Masques et Bergamasques
• Gabriel Fauré – Pavane in F-sharp minor (a slow processional dance)
• Wolfgang Amadeus Mozart – Overture from Die Entführung aus dem Serail. (In other words: Turkish percussion in a Spanish setting)

Funnily enough, this music made me strongly desire to travel again to Estonia, which I jokingly call the Monaco of the East Sea.

It is nice to note that people working and studying in higher education in Maastricht make music themselves without virtuosity but with a lot of fun. It is proof that music and education are indeed a powerful combination.

MusikRoel

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Does Mozart make you smarter?

Listening to Mozart’s music has been suggested to temporarily boost specific cognitive abilities, such as spatial-temporal reasoning, in a phenomenon known as the “Mozart effect.” However, it is essential to note that these benefits are small and short-lived and that other forms of cognitive stimulation, such as reading and physical exercise, may significantly impact overall cognitive function.

What about numbers in Mozart’s music?

Mozart also used number symbolism in his music to give it deeper spiritual or religious meaning. One of the best-known examples of this is in his opera “The Magic Flute.” The number 3 is a prominent theme throughout the opera and symbolizes the Holy Trinity; and also appears in the form of a trio of characters, a set of 3 trials, and the use of the number 3 in the overture.

Another example is in his Requiem in D minor, K. 626, which is a mass for the dead, and the number is a recurring theme throughout the work. The number 40 is associated with mourning and repentance in Christianity. The work consists of 40 sections, and the final section, the “Lacrimosa,” is 40 bars long. Additionally, the number 7 is also recurring in Mozart’s music; he used it as a symbol of perfection and the days of creation. Mozart used numbers in his music to give it a more profound spiritual or religious meaning, often referencing religious themes and numerology.

What was Bach’s significant number?

Johann Sebastian Bach was known for many things, but one of his most important contributions was his use of number symbolism in his music. He often used specific numbers, such as 3 and 7, to give his compositions a more profound spiritual or religious meaning.

One of the most well-known examples of number symbolism in Bach’s music is his use of the number 14. He used this number in many of his compositions, like in his “The Art of Fugue,” a collection of 14 fugues and 4 canons. Some experts state that Bach’s use of the number 14 is a reference to the 14 stations of the cross in the Christian tradition. Additionally, Bach often used the number 3 to symbolize the Holy Trinity and the number 7 to represent the seven days of creation. He also used the number 10 to indicate the Ten Commandments.

Can you relate classical music to mathematics?

Classical music and mathematics have many connections—for example, music is based on mathematical principles such as rhythm, harmony, and proportion. The concept of time, a mathematical concept, forms the base of rhythm in music. The principles of time signatures and meter, which are simple mathematical ratios, govern the structure of beats in music. Harmony in music stems from the concept of frequency and pitch, which are also mathematical concepts. The relationship between different pitches is determined by the principles of intervals and chords, one again simple mathematical ratios.

Proportion and symmetry are also significant in music. For example, many classical compositions work around symmetrical structures, such as the binary form, ternary form, and sonata form, which come from the principles of balance and proportion. Additionally, in the 18th century, with the development of well-tempered tuning systems, composers such as Bach and Mozart could compose in any key and have it sound in tune, which was a significant step forward in the development of tonality and harmony in music. It was made possible by the mathematical principles of equal temperament. In summary, classical music has many connections to mathematics, and the principles of rhythm, harmony, proportion, and symmetry are based on mathematical concepts.

Was Beethoven a mathematician too?

Although not a mathematician by profession, Beethoven deeply understood mathematical principles and often incorporated them into his compositions. In addition, he had a strong interest in the laws of harmony, rhythm, and structure and was known to have studied treatises on music theory and counterpoint.

Beethoven’s use of rhythm and meter was quite complex, and he often employed hemiolas, syncopation, and irregular meters to create a sense of tension and release in his music. He also used mathematical techniques such as proportional canons, fugues, and variations to structure his compositions. He also composed several works inspired by number symbolism. For example, his Symphony No. 9 in D minor, Op. 125, has a choral setting of Friedrich Schiller’s poem “Ode to Joy” in the final movement; the number of voices and the duration of this movement reflect the number 9, which is considered a sacred number in many cultures.

Is there a relation between mathematics and Shostakovich music?

Another great composer, Dmitri Shostakovich, was heavily influenced by mathematical principles in his music. He was known for using complex rhythmic structures, dissonant harmonies, and unconventional forms, which were all based on mathematical concepts. Shostakovich’s use of rhythm is awe-inspiring. He often used irregular meters and asymmetrical phrases to create a sense of tension and dissonance in his music. Also, he used the “perpetuum mobile” technique, a type of fast-moving, rhythmically complex music that requires a deep understanding of mathematical principles such as time signatures and meter.

He also used mathematical structures in his compositions, such as sonata form and variation form, that built on the principles of symmetry and proportion. Additionally, he often used fugues and canons based on the principle of imitation, which are highly mathematical forms of composition. Shostakovich also used number symbolism; for example, in his Symphony No. 8, he used the number 8 as a symbol of the 8th of August, the day of the end of the war; in his Symphony No. 11, he used the number 11 as a symbol of the 11th of March, the day of the Bloody Sunday and in his Symphony No. 13, he used the number 13 as a symbol of the 13th of January, the day of the execution of the Jews in Babi Yar.

So Shostakovich’s music is heavily influenced by mathematical principles, and his complex rhythms, dissonant harmonies, unconventional forms, and number symbolism are all based on mathematical concepts.

Conclusion

Although incredibly beautiful and instructive, classical music does not make you smarter; I have already discussed this with you. But classical music has a strong foundation in mathematics that you may still need to learn. So anyway, have fun listening, with or without mathematics equations.

Enjoy the music!

The post What does classical music have to do with mathematics? appeared first on MusikRoel.

But that’s not all; research shows that music helps children in their learning development in multiple ways. So every day it is not paid attention to is a significant loss. For MusikRoel, this is very important, and I will now go into more detail.

Music and language development

First, Wouter Schenke, Edith van Eck, Eke Krijnen, and Margriet Heim argue that music and language development coincide. According to the authors, there are no hard scientific figures, but there is plenty of evidence from experience. Teachers can use music to eliminate language disorders. Because of the different pitches, rhythm, tempi, structure, and changes in volume, it helps to recognize sounds by singing songs, for example, recognizing words and sentences. In addition, rhythmic structures stimulate the processing of language and text.

Children must learn to process audible cues and distinguish between sounds by listening to music. Listening to music even affects reading and vocabulary building. The authors indicate that listening to music is a good influence and that making music contributes even more to children’s language development.

Music and brain development

Second, music contributes to brain development (Mark Mieras sketched extensively on this). Unfortunately, despite its importance and a better understanding of its value, less and less teaching time is devoted to it. A choice we should regret because, after all, music does so much good. American researchers even argue that the lack of music and music lessons at a younger age negatively impacts academic performance later in life.

In the past, people occasionally said that Mozart and Schubert would make children bright and so it would make sense to have them listen to this (some had their unborn children listen to this. (I have often joked myself that Mozart was good for intelligence.) But, unfortunately, no evidence exists for these or other composers, except that a short-term benefit can be observed immediately after listening to them hereafter.

Roel Arnold

A strong link between music and language processing is evident in the brain. The thalamus, a major brain nucleus, sends words and text to the brain’s left hemisphere and spoken language to the right. We must stimulate the auditory system early to allow for incremental development and learning to listen. And the better it is trained, the better the thalamus functions. So music can also be seen as auditory training. Research shows that children who have had musical training can listen better than those who have not. In addition, this schooling makes us better at dealing with noise and better able to extract meaningful information despite the ambient noise. This author also discusses how music can help children with language difficulties and also explains how children with dyslexia listen differently. I once learned that composers had an above-average connection between the two hemispheres of the brain; now, it turns out that musical training contributes to integrating brain parts. This effect is even more substantial when a child learns to play a musical instrument.

The Atomium in Brussels is a metaphor.

Music has an enormously powerful effect on brain and child development. Better learning to listen, speak, read, learn vocabulary, and deal with emotions. Therefore, the need for daily music education should be obvious. As said, this is a significant motivation for MusikRoel to develop and offer all kinds of educational materials to contribute to the development of all children.

Last week I was in Brussels, which offers a cacophony of sounds and words. A city like many others, where you can spot many different languages, cultures, and very many sounds and signals. To walk through it unscathed, you must have already prepared your brain, preferably at a young age. Brussels is home to the Atomium, which also serves as a metaphor for brain development. The brain repeatedly makes new connections (and nodes) where experiences and knowledge come together.

Both articles clearly state music’s importance, to which MusikRoel wants to contribute. Namely by developing school teaching materials and giving music and music lessons a place in the school year again.

Enjoy the music!

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Read more about the importance of learning how to code on this page.

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