Collaborative Application of Spanish Violin Methods

Author(s):

Maria Laura Boned Mari(presenting / submitting)

Conference:

ECER 2013

Network:

20. Research in Innovative Intercultural Learning Environments

Format:

Poster

Session Information

20 SES 05.5 PS, General Poster Session

General Poster Session

Time:

2013-09-11

12:30-14:00

Room:

FUAYE

Chair:

Contribution

In this poster we would like to present an application of the research which we are carrying out. This relates to the educational context of Artistic Education (namely music), taught in conservatories and music schools, which interprets that stipulated by the Education Act in force throughout the entire Spanish State System.

In this study we seek to obtain information on the casuistry of the curricula relating to stringed instruments, focusing on the violin. Normally violin programs do not include works by Spanish composers as its basic repertoire. We are asking whether the reason for this is the absence of such works or the pedagogical usefulness of such written works. In order to clarify these points we decided to carry out an examination of the material available.

A specific objective of the work presented is to demonstrate that cooperative work is beneficial for positive interdependence between the interpreters whom will not only feel responsible for their work but, for the overall result achieved together as a group. Also to get a positive interaction between members of the group, in this case of the violin class. Likewise, relational skills are worked upon during this collaborative process such as: mutual trust, effective communication, conflict management, problem solving, decision making. These are not just musical but life skills necessary in all areas.

A more general aim of this study is to confirm the existence of the required material within violin pieces by Spanish composers, and their suitability (or not) to be used as repertoire in the curricula of the instrument.

We found a number of works of Spanish origin suitable to be used in the instrument group classes as they meet the requirements and adapt to the realization of the curriculum to be implemented in Grade Elementary and Grade Professional of the instrument. Several different methods have been utilized with popular works for two voices.

Method

To apply our investigation we searched for an educational tale and finally decided upon the story of “the Selfish Giant” by Oscar Wilde. This was followed by the process of searching and analyzing (utilizing a previously defined table) works in the violin methods of Claudio J. and Cortés A. When the analysis was completed we modified the story in order to incorporate in a coherent and interwoven manner some of the songs which appear in these methods. Subsequently, the musical numbers were distributed to students taking into account the aspects previously analyzed and the course in which students found themselves. We then scheduled a series of sessions at which the students worked the different voices, encouraging teamwork and coordination of several performers with the same yet different voices.

Expected Outcomes

Our application concluded with the tail of "the Selfish Giant" being represented in a violin concert with background images and a narrator who was telling the story. This achieved a learning result that was entertaining and significant whilst at the same time applying pedagogically Spanish methods as was one of the aims of our research. We have also achieved two of the key skills listed in the curriculum: playing music together whilst being accustomed to hear other voices and adjust evenly to all, and play in public, with the self-confidence necessary to understand the communicative function of musical performance. Obviously at the same time we also achieved the first objective of the curriculum which is to practice together. The realization and preparation of this project has allowed us to evaluate one of the criteria specified in the curriculum being- to act as a group member and manifest the ability to play while listening and adapting to other voices. This approach aims to focus on the ability of student to adapt the pitch, rhythmic, precision, dynamics, etc., to that of his companions in a common work.

References

Biget, A (1998). Une practique de la pédagogie de groupe dans l'enseignement instrumental. París: Cité de la musique. Cembranos, F. y Vidal, V.(2003). Grupos inteligentes: teoría y práctica del trabajo en equipo. Popular: Madrid. Claudio, J.,. (2002). Álbum para violín, I: selección de piezas para clases colectivas e individuales (Elemental) Ediciones Maestro: Málaga. Cortés, A. P., & Jorba, C. I. (2002). Método Nícolo de iniciación al violín. Barcelona: Boileau. Cramer, E. i Regnard, F. (2003). "Aprendre et enseigner la musique": representations croisées. Paris: L'harmattan. España. Curriculum LOE Grado Elemental. Boletín Oficial de las Islas Baleares, 09 de Abril del 2011, núm. 53, pág. 26-36. España. Curriculum LOE Grado Elemental. Boletín Oficial del Estado, 07 de Julio del 2007, núm. 100, pág. 20-29. España. Curriculum LOE Grado Profesional. Boletín Oficial de las Islas Baleares, 02 de Junio del 2011, núm. 81, pág. 13-30. España. Curriculum LOE Grado Profesional. Boletín Oficial del Estado, 20 de Enero del 2007, núm. 18, pág. 2853-2900. 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. Wilde, O. (1966). El gigante egoísta y otros cuentos. Barcelona: Editorial Lumen.

Author Information

Maria Laura Boned Mari (presenting / submitting)

University of Barcelona

San Juan de Labritja

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