In the second half of century XX, the young occidental people are the great consumers of music. The passport for the world of the rock is emitted many times in the adolescence and in elapsing of youth the restrictions diminish to the measure that the economic autonomy is conquered. In this half time, of exposition to the most varied musical sorts, the improvement of the musical taste is presumed. Considering the musical experiences, as much of the artists how much of whom they only hear music, it is pertinent the concern with the experience of these experiences, despite these do not receive the due importance. In the intitled article Of the necessity of Musical Experiences, written for Adriana Fernandes, it is possible to confer the benefits that can bring musical experiences lived well by the young, by means of them we can apprehend since arithmethic table sung in basic education to the contextualizao of a time through analysis, bringing to the light details that pass unfurnished when only we hear music, without of it extragoing no experience.
For Adriana Fernandes, the musical experience is sufficiently democratic when perceiving its amplitude in some situations as it dances, souvenir, imagination, in view of the understanding of sounds, ideas and behaviors that demonstrate the universal character of the musical experience. More than what ' ' the art to combine sounds of a pleasant form to ouvido' ' , in the definition of Rousseau (1712-1778), music is a changeable concept that however can disclose more than science and philosophy, long ago is the image of the will, the art of serious and sublime expression or simply, the story of the Chinese scholar capable to adormecer our children. The amplitude of the music concept is each bigger time, despertando the interest of the physics, sociology, anthropology and history, as well as the term culture a universe reveals has little time explored for anthropologists and historians.