ABSTRACT
This article discusses the relationship between the deaf person, their musicality, and paths for their development. We oppose deterministic ideas that consider the organic irregularity as quantitatively worse, proposing new looks capable of perceiving it through a qualitatively different prism. The foundation of the discussion is based on the Cultural-Historical Theory, which concepts and ways of dealing with the phenomenon constitute what Vigotsky asserts as the method itself. In this way, we indicate the importance of seeing the deaf person as a being of possibilities capable of experiencing their musicality and developing musically. Immersed in the imaginary of silence, they are often made invisible and kept away from the possibility of relating to sound phenomena. We develop in an integral way, and musicality is part of this process, going far beyond the need for what is considered to be regular hearing. Biological irregularity, although existing, goes along its development permeated by culture. Thus, we conclude by advocating that experiences and musical experiences, aimed at the development of musicality, need to be considered and organized through educational processes aimed at this end, regardless of whether the person is deaf or not.
Keywords:
deaf person; musicality; human development, musical education; cultural historical theory