1) The educational proposal originated from my basic idea that “STUDENTS” had to be at the center of my educational project, and that MUSIC would have helped the students discover themselves, through the use of their hands, their arms, their whole body, by playing a percussion instrument with their classmates.
2) The project of the musical LABORATORY was developed in 2004, and it was shared with:
- the students’ parents, our financers
- the Headmaster.
3) The most important educational competence developed was: "active listening".
4) Students between 11 and 14 years old are truly happy during music lessons at school when they discover the immense physical pleasure in "playing an instrument" - an easy and immediate instrument to play - as they become protagonists of their musical performances.
5) The students assimilate the basic elements of a simple but correct performance technique, controlling their bodies during the ensemble rehearsals, amplifying their listening ability, which triggers a great satisfaction of "being there", the driving force of the laboratory lessons.
1) Create a space/class organized exclusively for the music lesson, avoiding to "bother" the other educational activities.
2) Have at disposal definite and indefinite pitched percussion instruments, such to allow a class composed of 28/30 students to play.
3) Choose a repertoire that the students can understand - possibly famous songs among those preferred by the students - and arrange some Covers, distributing the instrumental parts to the young musicians, without losing sight of the level of the students’ skills; in order not to exclude anyone, it is possible to modify the paths, as the main objective is not the performance, but the participation in the performance.
4) Carefully explain the various instrumental paths to the students, correct their posture if they are contracted, check how they hold the mallets, make sure their arms and wrists are not in tension, expect the students to perform listening to what is going on around them, oblige them to alternate the use of their hands and to change instrument every time they start a new cover.
5) Replace the frustration due to the performance with the satisfaction of being in the group performance.
The skills, goals and training objectives selected by the teacher for this experience are shown below.
1) Instrumental ensemble music activities produce enormous benefits on the mind, as they spur the students to:
a) implement active listening.
b) identify the sound, rhythmic accent on which to enter during the performance.
c) concentrate on their performance without isolating themselves from the group performance.
d) discover how important it is for the mind to perceive the body.
e) discover how important it is to have a relaxed but attentive posture.
f) control gestures for a good performance.
The students learn how to decode a universal language through writing, which allows them to develop an abstract perception of the concepts of rhythm, sound, bridges, semi-phrases, phrases, themed ideas, reprises, divertimenti and conclusions. The ability to remain concentrated is greatly developed: the students that make their own music remain concentrated for over one hour, without realizing it. To be all present in a performance gives a strong sense of belonging to the group, mitigating typical tensions that normally arise in a class.
| Presentazione della buona pratica | Download |
Commenti inseriti