Socio-communicative system of youth orchestras as social programs

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Socio-communicative system of youth orchestras as social programs Prof. M.A. Gustavo Medina Universidade do Estado do Amazonas 2015

Abstract: The emergence of young orchestras as social programs is a practice increasingly common within various public and private non-profit institutions. This type of institutions creates a new context of relationships that ends overlapping to orchestral music by adding a new element in the context that involves the public assistant to the concerts. This situation, is not new in history by the way, offers the opportunity to reflect on this aspect in modern reality in which political power and economic factors seem to force a reconciliation of social purpose with the process of artistic education by analyzing the vision through the media in their attempt to create an opinion about it. In this way, we can observe a change in the characteristics of the audience that watches your presentations and the emergence of a new social communication model different from the traditional concerts. The growing influence of Venezuelan model of youth orchestras known as El Sistema, intends to position this activity as a mechanism of social intervention in the community by offering an alternative to rescue of young people in situations of social risk. In this way there are several questions about the effectiveness of the intervention on the one hand and on the other the extent to which the "social sensitivity by" change the perception of the concert as purely artistic event. Keywords: music, youth orchestra, concert, communication, sociology

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In the essay Introduction to the Musical Dramaturgy, Mário Vieira de Carvalho defines the concept of 'musical dramaturgy' dating back to the meaning of the word dramaturge as being the author of dramas or plays. Starting from this point, justifies its adjectivizing in music as an epithet suitable for the responsible for the staging of the musical theatre in all its variety of manifestations, backed by their “musical or musicological training, to approach a text at once verbal and musical, or even exclusively musical ". In this way, the musical dramaturgist acts as mediator in the communicative process between production and the reception of the audience (CARVALHO 2005, 15-17). The evolution of the dramma per musica (Opera) in the XX century, lived a process of radicalization of its theatrical character drawing the elements of his composition like text, scene, drama and music as well (which is the organizer and semantic element legitimized by this aggregation) to stay around of the staging process as unifying principle of the show. This transformation has reached a point, in which the very act of making music becomes scenic action. When this concept is applied to the theater or musical drama, the understanding of the dramma itself as a product derived from the textual interpretation is not complicated. The extraction of the meanings by the playwright for the purpose of putting them on stage is understandable since the interpreter master the language in which the drama was written and can express the dramatic content in words, all this immanent based on his training and experience. This is, the text itself is not the drama per se that will be staged or the only one source, it is the ground that should be interpreted to be put on the scene providing the spectacle that will be watched by the public. From the hermeneutical point of view, the theater as show consists of extracting and running the meanings of the words of a dramatic text to be communicated to the public. This concept of theater, as a process of creation and knowledge of the work, allows making a parallelism with the concert assuming the textual character of the musical score. The musical score has a set of signs that must be performed and interpreted. According to Felsenstein: ... The knowledge of a work is not just evident [...] in each score the notes are only an instrument of communication such as the word in the drama. And what is behind them is the true intention of the author (in: (CARVALHO, 2005, p. 22)).

This distinction is rooted in the Aristotelian thinking and is distinguished as poiesis, which in Greek means the production or creation and the praxis that would be just the action. Dahlhaus, using Herder words, called the music of as an ‘energetic’ art characterizing it as actual activity and not as a work (érgon) (DAHLHAUS, s.d., p. 22). This vision leads us to consider the concert as a show where music must be interpreted to be communicated to the public as it does in the theater. The conductor of the Orchestra, in the role of musical dramaturge, looking for the communication of the author's intent should lead the musicians consistent with ‘his’ performative interpretation, giving unity to the musical language in the process. But he is not the only one in the interpretation process. The musical phenomenon has a variety of meanings which are stratified and transform according to the interpretative activity, either as a listener, as a performer or musical critics. This vision is based on the following main theses. The musical interpretation cannot be made from fragments of meanings rather from of its entirety. Because it is interpretable and comprehensible, music is a language and can be understood and interpreted by linguistic mediation, however, is not the only way. The lack of a

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given reference is irrelevant on extra musical process of assigning meaning. Subjectivity is not a hindrance but the necessary condition for the interpretation (BERTINETO, 2012, p. 90). However at this point the following questions formulated by Carvalho in relation to the theatre and now applied to the concert: the work is the end or the condition of the show? Represent today what? Play for whom? (CARVALHO, 2005, p. 21) To which one can add: to what extent these concerns involved the contemporary phenomenon of youth orchestras and their social background video screen? Looking at the youth orchestra’s phenomenon, how this kind of concert communication influences the social autopoiese? Looking to the Opera through the Habermas thought and his definitions of public sphere and communicative system, the civilization theories and systems of Norbert Elias and Niklas Luhmann respectively, Carvalho analyzes the Opera as a communication system structurally interconnected with the environment dynamically, i.e. reacting and adapting continuously through social interaction. His review discusses the operatic concerts identifying various subsystems that cover all plans: production, mediation and reception (CARVALHO, 2005, p. 55). In this way, operas and concerts are elements in the configuration process of social identity because are inside of the dynamics of this construction and parts of systemic social process. From the perspective of autopoiese, term introduced in the social sciences by Luhmann to designate the social capacity of self-regulation in the system (OSÓRIO, ARNOLD, GONZÁLEZ LÓPEZ, & AGUADO LÓPEZ, 2008), the concerts of youth orchestras participates in the communicative systems within this dialogic dynamic of building identity and reality. The public, through the interpretation held by the intermediation of language seeks to extract the meaning of the show as a whole and communicate to the different social strata, for this, the role of spectators according to their ability of enunciation (power to be heard) added to media multiplier power, exert a primordial role in collective understanding of what just happen in the concert. In the opera there is a need for representation on the basis of the drama presented. At the concert, the Orchestra (could be said the conductor) is representing himself as a mediator of the interpretative process between the musical work and the audience. The public, despite being apparently homogenized in a model of identity, is composed of elements that interact socially with each other representing their position before the stage and their peers in the audience, whether by occupy prominent social, political or economic positions, either because their musical opinions are considered relevant (for example: music critics or artists renowned). From the point of view of understanding an artistic work and enjoyment, the audience integrates diverse kind of listeners ranging from the emotional listener until the expert in order to use the types of musical behavior proposed by Adorno (ADORNO, 2009, pp. 55-83). It is important to point out that the reason that justified this social convergence is, mainly, the music as a work of art enshrined as one would expect in the Wagnerian thought. After the concert we can verify the impact checking out its repercussion in the media and the public sphere where would be treated conventionally as an artistic event. Nowadays it is common to find in some means of mass communication, especially in TV and internet, news about the performances of Youth Orchestras often fostered by the Government or even as part of social responsibility programs of private companies and NGOs. Consequently, we can see information or news full of pride for the achievements reached by this children and young people, highlighting the repertoire performed as a measure of the evolution of the group, avoiding however any possible negative comments or musical criticism, as well as often spokespersons utter praise compliant with the technical and artistic level. Another common factor in this news is the information about the young members were recruits from low-income families, from popular sectors, urban or even ‘rescued’ from situations of social risk. Several of these institutions remind to highlight any connection, usually remarking a social ideological intention, with the network of children's and youth orchestras of Venezuela known as "El Sistema". It's because they keep some kind of

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exchange of teachers and/or students, either because they get technical assistance or even began their activity ‘inspired’ on the initiative of this South American country according to data from Global System Organization: ‘system-inspired programs expanding and evolving in over sixty countries around the world’ (CREECH, GONZALEZ-MORENO, LORENZINO, & WAITMAN, 2013)12. Confronting this type of news content with the treatment given to some other professional orchestras belonging to the frames of some regular musical education institution, such as a conservatory or any university school of music, we can see a substantial difference. In the case of the testimony offered by a professional Orchestra or a Youth Orchestra linked to a music education institution, the focus is obviously on the quality of the artistic interpretation offered and the demand for musical excellent performance. The Repertoire itself may have some special celebration, but the interpretation of the music is the reason for all participated in the concert. This is at the center of the activity and coalesces around the sponsors, musicians and public. Why this difference? What kind of cultural phenomenon are the youth orchestras as social projects? Why the public behaves distinctly in both concerts? To understand these differences we will need to show the levels of production, mediation and reception. Historically, the relationship of musical life with the spheres of power was and remains very narrow. Especially those musical activities that seek to educate reaching high levels of playing instruments used mainly on classical and in particular the music of romantic period. The holders of economic and political power are related to composers, conductors, instrumental soloists, singers, and orchestras, in such a way that influenced markedly the production and musical creation, imposing their tastes and preferences by the domain they have through the financing and maintenance of these activities (BLANNING, 2011). If we compare this with the relationship observed between the Venezuelan government and the youth orchestras of El Sistema, we will find a substantial difference. In this case, the Fundación Musical Simón Bolívar3 discloses itself through the media that such initiatives is part of social programs that are aimed at some sort of emancipation for disadvantaged portions of society through the musical practice4. The Orchestra offers ‘opportunities’ to these young people develop their musical skills and does not require any prior knowledge to participate. In some cases there are incentives such as scholarships and funding for transportation. The sponsor understands that this participation will occupy their free time, once their time is mostly in regular scholar’s activities (or at least should be), and as a consequence, will keep him out of situations of social risk that they can find in their surroundings (GOVIAS, 2011). From the government point of view, the musical quality, the way choose to teach, how much is progressing technically, what is the repertoire, are unimportant information because the main questions are about to how many young people are participating in the project to thicken the statistics of social action of the politics in favor of the people. The music becomes a bait to attract young people to an artistic activity targeted in a social context. It is really hard to believe that the interest of government is to give access to the ‘high culture’ to the less fortunate. It would be something like to listen statements of any Governor or Mayor celebrating the Orchestra owned by his Government reached a new level for the excellent artistic interpretation of an emblematic work as the 2nd Mahler’s Symphony or the 5th Symphony of Beethoven. Arguably, these programs are regarded as social and their goal as a state policy or private social responsibility programs is not exactly artistic; are led by people who, with more or less preparation, whole-heartedly believe that, despite having to make some concessions such as

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http://sistemaglobal.org/literature-review/ http://sistemaglobal.org/el-sistema-global-program-directory/ 3 Fundamusical: official institution of El Sistema 4 http://fundamusical.org.ve/category/el-sistema/que-es-el-sistema/ 2

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this, the 'price to pay' is low besides to the social and cultural benefits obtained and their concerts aim clearly an emotional audience (BAKER, 2014, pp. 145-149)5. The process of music training requires a commitment of important time in study and preparation, if there is a genuine desire to reach a professional level. However, it can be observed that a limited number of participants of these programs achieve this level. This does not mean in any way a kind of invalidation of such initiatives. The point is to elucidate a framework that helps to understand what is the role of these initiatives within social relations and artistic works since even in Venezuelan project there is no independent studies available that explain enough how really works and in which consists of El Sistema because of lack of hard evidence (CREECH, GONZALEZ-MORENO, LORENZINO, & WAITMAN, 2013, p. 119). The use of music as an uplifting practice dates back to Greek culture. It was believed that was present in all events of the cosmos and its connection with the human spirit was explained by philosophical speculation. It was thought that there was a similarity of origin between sound vibrations, its invisible and ephemeral existence like human soul, explain his powerful influence in the civilized man (FUBINI, 2001, pp. 40-82). The point is to highlight the music as an important influence on all people and especially young ones would be more sensitive to this power. Of course, the family context, social environment, culture and especially the education contribute decisively in how will be this influence. In the spaces of social interaction, virtual and real, the current young will be strongly driven in their music preferences. However, the deprived young people receive a limited influence and comparatively developed in environments with fewer options. Media such as cable TV, high-speed Internet and mobile phones with large capacity are less interactive in the most disadvantaged society layers creating important cultural differences, especially in Latin America. The asymmetry in the quality of education, determine a very different identity constructs in such a way that it is usual the emergence of ghettos with particular cultural characteristics themselves. In this construction, the music is always present and come to identify cultural groups very well delimited. According to Marco Dallari: An educational action worthy of this name, [...] aims at structuring the identity of the subject for which it is assumed will reach an existential and psychological better condition. This goal, as is evident, will be possible by offering to the subject in training the cognitive and symbolic instruments that give him autonomy, awareness and ability to recognize himself [individual consciousness] and to be recognized in the community of relationships to which he belongs [social consciousness], being means and finality. (DALLARI, 2009, p. 18). 5

http://www.diariodecultura.com.ar/musica/un-documental-ilustrara-el-trabajo-de-las-orquestasinfantojuveniles-de-esteban-echeverria/ http://www.tiempodemusica.com.ar/noticia/noticia.ver.php?idpost=546&idpagina=49 http://iberorquestas.org/el-salvador-el-sistema-ofrecio-conciertos-en-san-vicente-y-san-salvador/ http://www.orquestajuvenilchile.com/fundacion/index.php?option=com_content&view=article&id=1302:osemovacionada-en-inicio-de-temporada-2015&catid=1:news http://www.usinadelarte.org/agenda/orquesta-sinfonica-soijar/ http://www.teatrosolis.org.uy/uc_2427_1.html http://www.fundacionbatuta.org/eventos/concierto-en-bogota-de-la-orquesta-libre-de-quibdo http://www.cba.org.bo/webcba/index.php?option=com_k2&view=item&id=28:concierto-%E2%80%9Csistemade-orquestas-juveniles-e-infantiles-de-tarija%E2%80%9D&Itemid=50&lang=ca http://elcomercio.pe/blog/operaperu/2014/12/concierto-de-clausura-del-sistema-de-orquesta-orquestando http://www.sinem.go.cr/index.php/prensa/item/130-nicaragua-acogera-los-conciertos-de-la-orquesta-juvenilcentroamericana-2014 http://frenteeverso.com/orquestra-juvenil-da-bahia-toca-pela-primeira-vez-a-1-sinfonia-de-mahler-titan/ http://www.edmontonsymphony.com/education/yona-sistema http://www.ucmusicproject.org/events/the-concert-to-benefit-el-sistema-inspired-youth-orchestras-in-new-yorknew-jersey-and-new-orleans/ http://www.waso.com.au/education/education/el_sistema_inspired_music_education_program

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So we have, education is the main tool of socialization of the subject and serves to introduce it in its community context. Through this accumulation of knowledge and experience, young people are enabling to adapt to a continuously changing environment consciousness, autonomy and identity. During this process, the stages of childhood and youth gain a fundamental relevance since they are at the beginning of life, cumulating primary experiences that will being the key in the following existential steps, marking and leading the future of each individual. These experiences will be the foundation that will define how young people relate to the music individually and communally. Each experience is unique depending on the individual and everybody have so many in an endless sequence in the life. However in this immense variety of experiences, is not always possible to everyone choose those that will surely enrich, producing an uplifting response, virtuous for the listener as for society, because this output depends on the complex mechanism of freedom and the trust of this choice as an enhancing one will be possible perhaps when the human being solve satisfactorily the great social dialectics between individual freedom and the well-being of the community in the construction of being. This response, which could be positive or not, is far to be easily predictable because should pass always through the development of Metacognitive skills which evolves and increments itself constantly with the social coexistence. Consciousness is a fundamental part of the subject's capacity to think, to choose his words, to express himself, know-how, to know how to live is his world vision (Weltanschauung) (DILTHEY, 2010, p. 109). This world vision, in the form of wisdom of life, offers to each one all that comes from his identity, is in his conscience and derives in collective identity when is recognized by others through their knowledge and mainly, in the collective dialogical construction that drives the social system. The symbolic universe where happen the manifestation of the knowledge, the identity, the language of words, images, sound, the ability to use and manipulate these symbols, to develop a sequential intelligence, a model of thought, all this is part of the sociopoiesis. The process of valorize and the reason itself, will depend on the ability to use the Metacognitive resources in an original way, for not to be limited in just learning of (or just perceive) the elements of universe and remain confined in to the consciousness and competence world instead of the social interaction. Language is a metacognitive instrument: who has a refined and complex symbolic instrument, can think and think differently from the one that has a rudimentary and limited domain. The people, who have a greater symbolic heritage, will have better opportunities of relationships, a broader awareness, and a richer existence (DALLARI, 2009, p. 20). The participation of young people from early ages in an orchestra, will integrate a set that will provide rapid identity recognition with their peers. This process will be enhanced by the proximity of origin, since many are probably from the same community and even can study at the same school. In this way, such of preexisting ties will be enhanced by the new 'musical identity’. The Orchestra will become a social microcosm of the community where it operates and will quickly lead to a recognition of the context, i.e., the community itself will be reflected in the Orchestra recognizing it as his. This situation causes a new phenomenon in concerts since the music sets born with this mark; have in their community a captive audience formed by family and social circles of each members of the Orchestra. This audience watches the concerts with a kind of empathy (Einfühlung) very different to those studied in the 18th century (CARVALHO, 2005, p. 56). The main reason in this case is not the music, but is through this almost symbiotic relationship which this novel audience will live new musicals experiences, unthinkable in other contexts. Additionally, orchestral musical practice will cause this youth to earn a new social visibility and this is what we see in the media, spreading the concert news contextualized in the social action reflected in the Orchestra and its members. If the Orchestra works based on a coherent musical pedagogic project allowing the viability of

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new opportunities for realization and not just as an occupational therapy, maybe could be a true center of attraction of new talent to be teach and new audiences. The Youth Orchestra as a social project opens up new prospects for individual emancipation offering to members a world of new experiences that will possible enrich their existence, but still have an unbalance result between be a good professional musician and be a good citizen. A better understanding and a deeper check of results will be able to link up effectively all the process with the educational and musical structures. This one will be the challenge required to define the future in music education and the society.

References ADORNO, T. (2009). Introdução à sociologia musical. São Paulo: UNESP.

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BAKER, G. (2014). El Sistema: Orchestrating Venezuela's Youth. Oxford: Oxford University Press. BERTINETO, A. (2012). Il pensiero dei suoni: temi di filosofia della musica. Torino: Bruno Mondadori. BLANNING, T. (2011). O triunfo da música: a ascensão dos compositores, dos músicos e de sua arte. São Paulo: Companhia das Letras. CARVALHO, M. V. (2005). Por lo impossible andamos: A Ópera como Teatro, de Gil Vicente a Stockhausen. Lisboa: Ambar. CREECH, A., GONZALEZ-MORENO, P., LORENZINO, L., & WAITMAN, G. (6 de June de 2013). Sistema Global. Acesso em 01 de April de 2015, disponível em http://sistemaglobal.org/literature-review/. DAHLHAUS, C. (s.d.). Estética Musical. (A. Morão, Trad.) Lisboa: Edições 70. DALLARI, M. (2009). Educazione Musicale e construzione della identitá e delle conoscenze. In: A. ANCESCHI, Musica e educazione estetica: Il ruolo nei contesti educativi. Torino: EDT. DILTHEY, W. (2010). A construção do mundo histórico nas ciências humanas. (M. Casanova, Trad.) São Paulo: UNESP. FUBINI, E. (2001). La Estética Musical desde la Antiguedad hasta el Siglo XX (Segunda reimpresión ed.). (p. o. Pérez, Trad.) Madrid: Alianza Editorial. GOVIAS, J. (2011). The Five Fundamentals of El Sistema. Canadian Musica Educator, 2123. OSÓRIO, F., ARNOLD, M., GONZÁLEZ LÓPEZ, S., & AGUADO LÓPEZ, E. (2008). La nueva teoria social en hispanoamérica: Introducción a la teoria de sistema constructivista. Ciudad de México: Centro de Estudios de la Universidad.