An inclusive youth orchestra: Pedagogy, pastoral care and performance.

Authors

  • Lina (Athanasia-Angelikí) Tsaklagkanou
  • Andrea Creech

Keywords:

Inclusive, orchestra, ensemble, pedagogy, residential.

Abstract

The inspiration for this study was a ‘critical incident’ that followed the annual end-of-course concert of the National Orchestra for All (NOFA), a non-auditioned, El Sistema inspired orchestra open to young players of all standards who face barriers in music making.
The study examines the perceived features of the inclusive environment of the orchestra and the processes that mediated the diversity of the ensemble and which were significant in assisting the participants to achieve a high level of musical cohesiveness. In particular, it examines the features of pedagogy, pastoral care and performance during the residential orchestral course. NOFA’s main experience happens during a four-day summer residential course, which has intensive rehearsal schedules, sectional work and whole orchestra, culminating in a final concert. This case study draws information from an ethnographic perspective through observations, reflections as a participant observer, focus groups and interviews.
Findings suggested that the pedagogy was focused in the group as a whole, promoted collaboration between all involved and fostered motivation for personal mastery in order to support a collective effort.  Pastoral care features such as care, safety, structure and freedom, represented a family-like world. Participants felt, excited, nervous and proud during the performance, which had a high level of musical cohesiveness as a perceived result of the collective energy made from individual effort.

References

Baker, G. (2014). El Sistema: Orchestrating Venezuela's youth. Nueva York: Oxford University Press.

Blandford, S. y Duarte, S. (2004). Inclusion in the community: A study of community music centres in England and Portugal, focusing on the development of musical and social skills within each centre. Westminster Studies in Education, 27(1), 7–25.

Booth, E. (2008). El Sistema First observations. Disponible en http://ericbooth.net/el-sistema-first-observations/.

Boyatzis, R.E. (2008). Transforming qualitative information: Thematic analysis and code development. Thousand Oaks: Sage.

Braun, V. y Clarke, V. (2006) Using thematic analysis in psychology. Quantitative Research in Psychology, 3(2), 77-101.

Burgess, R. G. (1984) In the field: An introduction to field research. Londres: Unwin Hyman.

Chang, J. D. (2007). Orchestrating an affluence of spirit: Addressing self-esteem in impoverished Venezuelan children through music education. Trabajo Fin de Grado inédito, Universidad de Harvard.

Creech, A., González, P., Lorenzino, L., y Waitman, G. (2013). El Sistema and Sistema-inspired programmes: A literture review of research, evaluation, and critical debates. San Diego: Sistema Global. Disponible en http://sistemaglobal.org/literature-review/full/.

Creech, A. y Hallam, S. (en prensas). Facilitating learning in small groups: Interpersonal dynamics and task dimensions. En J. Rink, H. Gaunt y A. Williamon (Ed.), Musicians in the Making: Pathways to Creative Performance. Nueva York: Oxford University Press.

Creech, A. y Long, M. (2012). Self-directed and interdependent learning in musical contexts. Comunicación presentada en Proceedings of the Twenty-fourth International Seminar on Research in Music Education. Salónica (Grecia), del 8 al 13 de julio.

Cunningham, B. (2008). Critical incidents in professional life and learning. En B. Cunningham (Ed.), Exploring professionalism. Londres: Instituto de Educación, Universidad de Londres.

Glaser, B. y Strauss, A. (1967). The discovery of grounded theory: Strategies for qualitative research. Mill Valley: Sociology Press.

Hargreaves, D. J. y Marshall, N. A. (2003). Developing identities in music education. Music Education Research, 5(3), 263–273.

Hennink, M., Huttler, I. y Bailey, A. (2011). Qualitative research methods. Londres: Sage.

Hewitt, A. y Allan, A. (2013). Advanced youth music ensembles: Experiences of, and reasons for, participation. International Journal of Music Education, 31(3), 257–275.

Lonie, D. (2013). Why music? A research rationale for making music with children and young people experiencing additional challenges. En C. Harrison y P. Mullen (Ed.), Reaching Out: Music Education in 'hard to reach' children and young people. Londres: Music Mark. The UK Association for Music Education.

López G., L. y Berríos E., R. (2007). Impacto de las orquestas en la formación de escolares chilenos. Santiago de Chile: Fundación de Orquestas Juveniles e Infatiles de Chile, Universidad de Chile.

Pedroza, L. R. (2014). Music as life-saving project: Venezuela's El Sistema in American neo-idealistic imagination. Symposium: Journal of the College Music Society, 54. Disponible en http://symposium.music.org/index.php?option=com_k2&view=item&id=10545:music-as-life-saving-project-venezuela%E2%80%99s-el-sistema-in-american-neo-idealistic-imagination&Itemid=124.

Robson, C. (2011). Real world wesearch: A resource for users of social research methods in applied settings. Chichester: John Wiley and Sons Ltd.

Rodas, A. (2006). A model for community participation in the performing arts: Social action through music and the internationalization of the Venezuela orchestra system. Trabajo Fin de Máster inédito, Universidad de Columbia.

Shieh, E. (2015). Relationship, rescue and culture: How El Sistema might work. En C. Benedict, C. Schmidt, G. Spruce y P. Woodford (Ed.), The Oxford Handbook of Social Justice in Music Education. Oxford: Oxford University Press.

Strauss, A. y Corbin, L. (1990). Basic of grounded theory methods. Beverly Hills: Sage.

Tsaklagkanou, L. (2015). The National Orchestra for All. Documento inédito, Londres.

Uy, M. (2012). Venezuela's national music education programme El Sistema: Its interactions with society and its participants' engagement in praxis. Music & Arts in Action, 4(1), 5-21.

Published

2016-07-14

Issue

Section

Monográfico