The cooperative String Orchestra Project
Author(s):
María Laura Boned Marí (presenting / submitting)
Conference:
ECER 2014
Format:
Paper

Session Information

20 SES 02, Music Education in an Intercultural Learning Environment

Paper Session

Time:
2014-09-02
15:15-16:45
Room:
B322 Sala de Aulas
Chair:
Raimonda Bruneviciute

Contribution

In this paper we aim to expose the collaborative work we are conducting in a string orchestra. This work can be linked to the music teaching. This particular case can be linked to music schools and conservatories. Also it departs from what is stipulated in the Education Act in force throughout the entire Spanish State System.

The orchestra on which we have developed this work have many years of training, work and enthusiasm and currently consists of 16 members. This orchestra of string instruments: violins, violas, cellos and double basses is formed by amateurs and music students.

The peculiarity of this orchestra and the work on which we base this communication is that the orchestra provides an opportunity to people of all ages; children, adolescents, the elderly and retired, and even fond of music with little musical knowledge. All of them have the opportunity to experience the work of an orchestra, the concerts, the importance of teamwork so they are able to make and live music all together through string instruments.

This project started with the main objective of providing an opportunity to students, music enthusiasts adults and retirees who have minimal notions of stringed instruments to live the experience of playing in an orchestra. This provides them with the opportunity to continue developing their musical and technical qualities.

As it the musicians by playing in group develop socialization qualities such as respect for the rules of conduct, integration in a group under the command of a conductor. In addition they'd learn to assume roles such as solo players or just companion. Moreover in public performances the social sense enhances, as it exist communication with colleagues, family and the entire social environment.

Other aspects that potency the work made in an orchestra are: the development of the interpreter as it is part of a group and experience a greater responsibility. Since there is a responsibility to their fellow musician they tend to work and try harder not to look bad in front of peers and also not to harm them. Also thanks to the possibility to listen to others and be heard, the spirit of criticism and self-evaluation in the individual study of the instrument it develops to points that with the individual study we do not reach.

Also by playing in an orchestra we get to develop a sense of pitch, duration (as we start and end all at the same time), we get equal registers and a good group sound quality.

One of the Spanish Curriculum objectives is "Play Music in a Group, accustomed to hear other voices and instruments and adapt yourself to learn to balanced with the whole group." This we link it and extract it from a research that we are undertaking. This investigation pretend to obtain information on the casuistry of the curricula of stringed instruments, focusing on the violin as the Conservatories and music schools programs do not include the study of works by Spanish composers  as basic repertoire. They included it only exceptionally.

Therefore, we have proposed a series of concerts based on Spanish repertoire. So we've selected a number of works and we have raised a few sessions of rehearsals in which adults and children work together and help in assembling these. All these under our guidance and direction.

Method

To prepare this concert series the first step we have carried out has been to note through a developed questionnaire about the case of each applicant to join the group: interest, expectations, musical knowledge, etc. Secondly we have selected the Spanish repertoire. So we've made adjustments in the works, by making easier some voices and even we have orchestrated for string orchestra some works originally for piano solo. We have adapted them to the musician's level and the five strings of the orchestra: first and second violins, violas, cellos and basses. After each concert season we have passed a satisfaction questionnaire related with the first questionnaire. The second step was to schedule a weekly rehearsal of one hour and a half and distribute the works among musicians and started the study. For this we've worked by strings, at this stage the collaboration among the members of each string has been very important. In them we could see how the younger members aged between 13 and 14 helped older ones aged between 70, 76 and corrected each other. The third step was to gather the strings and work together, at this point we have seen as collaboration among all members of the orchestra, regardless of age and level, has allowed that gradually the works were taking shape. Throughout this process the respect between the performers and the practice of listening and collaboration among all has been essential. We have seen incredible situations such as some in which an interpreter of 13 years getting a musician of 75 years execute technical aspects that no matter how much the teacher had explained he had not been able to accomplish. In this process the role of the conductor is essential as it will regulate the rehearsals, pinpoint aspects that need to be improve, giving guidelines on how to study a passage or how to perform certain techniques. But essentially the most important point is that all of them work together.

Expected Outcomes

Finally after a few months of work six concerts with the same program have been performed. During the concerts we could observed the collaborative work carried out by the musicians. In addition we could observed accompanying and solo performances. Thanks to this project persons who have considered music his passion but could not pursue it due to have other works, have been able to feel as musicians and fulfil their dreams, dreams that they thought were impossible due to its age. With this project we have seen a collaborative alternative for people who do not want to pursue music professionally or people who because of the age they have retired and even an alternative for professional musicians. Furthermore we have also applied pedagogically Spanish repertoire and managed curricular concepts that are carried out purposes from our other research.

References

Biget, A (1998). Une practique de la pédagogie de groupe dans l'enseignement instrumental. París: Cité de la musique. Címbranos, F. y Vidal, V.(2003). Grupos inteligentes: teoría y práctica del trabajo en equipo. Popular: Madrid. Cramer, E. i Regnard, F. (2003). "Aprendre et enseigner la musique": representations croisées. Paris: L'harmattan. Gordon, E. (1997). La clase colectiva de instrumento. Eufonía. 7, 91-100. Johnson, D. W., Johnson, R. T., & Holubec, E. J. (1999). El aprendizaje cooperativo en el aula. Buenos Aires: Paidós. Marin, M. y otros (2003). Trabajando con grupos: técnicas de intervención. Pirámide: Madrid. Pujolàs, P. (2008). 9 ideas clave. El aprendizaje cooperativo. Graó: Barcelona. Serrano, G. M. F. (2012). Aprendizaje cooperativo en contextos universitarios. Murcia: Editum. Webb, N.M. (1984). “Interacción entre estudiantes aprendizaje en grupos pequeños”. Infancia y Aprendizaje, 27/28, 219-223.

Author Information

María Laura Boned Marí (presenting / submitting)
University of Barcelona
San Juan de Labritja

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