Hostname: page-component-76fb5796d-qxdb6 Total loading time: 0 Render date: 2024-04-26T12:19:38.966Z Has data issue: false hasContentIssue false
  • English
  • Français

Opera in primary education for the development of social and emotional skills: a case study from Mexico City

Published online by Cambridge University Press:  11 May 2021

Rosa Soliveres ,
Andrea Giráldez-Hayes  and
Jose Luis Parejo
Rosa Soliveres*
Affiliation:
Facultad de Música, Universidad Nacional Autónoma de México. Xicoténcatl 126, Del Carmen, Coyoacán, 04100, CDMX
Andrea Giráldez-Hayes
Affiliation:
School of Psychology, University of East London. Stratford Campus - Water Ln-E15 4LZ AE. 3. 24 London, UK
Jose Luis Parejo
Affiliation:
Departamento de Pedagogía, Facultad de Educación de Segovia, Universidad de Valladolid. Plaza de la Universidad, 1, 40005, Segovia, España
*
Corresponding author. Email: rsoliveres@fam.unam.mx
Get access Rights & Permissions [Opens in a new window]

Abstract

The study examines the impacts of a project-based learning (PBL) methodology on the development of emotional skills involved in the learner’s individual and social well-being. This paper summarises the preliminary results of the case study in which the project ‘Opera as a Vehicle for Learning’ (LOVA) was implemented with a key stage 2 group in Mexico City. This project fostered the development of the students’ intra- and interpersonal skills, group decision-making, critical reasoning, active listening, oral and written expression and emotion sharing. Findings suggest that LOVA has proved to be a powerful methodological resource for the development of collaborative learning, emotional education and social interaction in groups. Findings also suggest that music learning can be used as a highly effective device for the development of social skills.

Keywords

Music educationoperaprimary education emotional intelligencesocial development
Type
Article
Information
British Journal of Music Education , Volume 38 , Issue 3 , November 2021 , pp. 234 - 248
Check for updates
Copyright
© Cambridge University Press 2021

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

ABELES, H., HAFELI, M., HOROWITZ, R. & BURTON, J. (2002). The evaluation of arts partnerships and learning in and through the arts. In COLWELL, R. & RICHARDSON, C. (eds.), The New Handbook of Research on Music Teaching and Learning (pp. 931–940). Oxford: Oxford University Press.Google Scholar
ALLSUP, R. E. (2003). Mutual learning and democratic action in instrumental music education. Journal of Research in Music Education, 51(1), 24–37. doi: 10.2307/3345646 CrossRefGoogle Scholar
BAKER, W. J. & HARVEY, G. (2014). The collaborative learning behaviours of middle primary school students in a classroom music creation activity. Australian Journal of Music Education, 1, 3–14.Google Scholar
BEN-HORIN, O., CHAPPELL, A., HALSTEAD, J. & ESPELAND, M. (2017). Designing creative inter-disciplinary science and art interventions in schools: The case of Write a Science Opera (WASO). Cogent Education, 4(1), 1376926. https://doi.org/10.1080/2331186X.2017.1376926 CrossRefGoogle Scholar
BENNETT, R. (2004). New Brain Research on Emotion and Feeling: Dramatic Implications for Music Education. Arts Education Policy Review, 6(2), 21–27.Google Scholar
BERMAN, K. B. (2003). The Benefits of Exploring Opera for the Social and Emotional Development of High-Ability Students. Gifted child today, 26(2), 46–53.CrossRefGoogle Scholar
BOHNSACK, R. (2004). Group Discussions and Focus Groups. In FLICK, U., KARDOFF, E., & STEINKE, I. (eds.), A Companion to Qualitative Research (pp. 214–221). London: SAGE Publications.Google Scholar
BORGDORFF, H. (2011). The Production of Knowledge in Artistic Research. In BIGGS, M. & KARLSSON, H (eds.), The Routledge Companion to Research in the Arts (pp. 74–93). London/New York: Routledge.Google Scholar
BOWMAN, W. D. (2002). Educating musically. In COLWELL, R. & RICHARDSON, C. (eds.), The New Handbook of Research on Music Teaching and Learning (pp. 63–84). New York: Oxford University Press.Google Scholar
BRADBERRY, T. & GREAVES, J. (2009). Emotional intelligence 2.0. San Diego, CA: Talent Smart.Google Scholar
BURRACK, F. & MALTAS, C. (2006). Engaging elementary-age children with opera. Update: Applications of Research in Music Education, 25(1), 82–90. doi: 10.1177/87551233060250010109.Google Scholar
CANGRO, R. (2015). Student Collaboration and Standards-Based Music Learning. Update: Applications of Research in Music Education, 34(3), 63–68. doi: 10.1177/8755123314568794 Google Scholar
COPERRIDER, D. & WHITNEY, D. (2005). Appreciative Inquiry: A Positive Revolution in Change. San Francisco: Berrett-Koehler.Google Scholar
CHEUNG, J. (2004). Artists in schools: a case study of the arts-in education project. , 4, 135–145. Paper presented at the UNESCO Regional Expert Symposium on Arts Education in Asia, Hong Kong. Retrieved from: http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CLT/CLT/pdf/Arts_Edu_RegSess_Symp_Asia_Cheung.pdf Google Scholar
CHRISTOPHERSEN, C. & KENNY, A. (2018). Musician- Teacher Collaborations: Altering the Chord. Milton, UK: Routledge.CrossRefGoogle Scholar
CROOM, A. M. (2012). Music, neuroscience, and the psychology of well-being: A précis. Frontiers in Psychology, 2(393), 1–15. doi: 10.3389/fpsyg.2011.00393 CrossRefGoogle Scholar
DENZIN, N. K. & LINCOLN, Y. S. (2005). The discipline and practice of qualitative research. In DENZIN, N. K. & LINCOLN, Y. S. (eds.), The SAGE Handbook of Qualitative Research (3rd ed. pp. 14–20). Thousand Oaks: SAGE Publications.Google Scholar
DENZIN, N. K. & LINCOLN, Y. S. (2008). Strategies of Qualitative Inquiry (Vol. 2). London: SAGE.Google Scholar
DULLEA, R. (2017). Engagement, Participation, and Situated Learning in a Children’s Opera Chorus Program. Journal of Research in Music Education, 65(1), 72–94. doi: 10.1177/0022429417695751 CrossRefGoogle Scholar
DULLEA, R. (2019). Pedagogies of authentic learning in Canadian Opera Company’s opera summer camp programme for adolescents, Youth Theatre Journal. doi: 10.1080/08929092.2018.1555103 CrossRefGoogle Scholar
EDGAR, S. N. (2019). Music and the Social and Emotional Challenges of Undergraduate Instrumental Music Students. Applications of Research in Music Education, 37(3), 46–56. doi.org/10.1177/8755123319832067 CrossRefGoogle Scholar
EISNER, E.W. (1997). Educating Artistic Vision. Stanford, CA: Stanford University Google Scholar
EISNER, E.W. (2002). The Arts and the Creation of Mind. London: Yale University Press.Google Scholar
ELLIOT, J. (1991). Action Research for Educational Change. Columbus: McGraw-Hill Education.Google Scholar
FAUST, C. (2010). BRAVA! Why You Should Use Opera in Your Classroom. Education Digest: Essential Readings Condensed for Quick Review, 76(4), 55–58.Google Scholar
FLICK, U. (2004). An Introduction to Qualitative Research (Ed. 4). London: SAGE Publications Ltd.Google Scholar
FLICK, U. (2018). Designing qualitative research. London: SAGE.Google Scholar
FINDEISEN, B. (2007). Music therapy in treatment of young children with selective mutism. Workshop at the Conference on Music, Language and Movement, Herstmonceux Castle, East Sussex, UK.Google Scholar
FREIRE, P. (2008). Cartas a Cristina. Reflexiones sobre mi vida y mi trabajo. México: Siglo XXI editores.Google Scholar
GARDNER, H. (1983). Frames of mind: The theory of multiple intelligences. New York: Basic Books.Google Scholar
GARDNER, H. (2006). Multiple Intelligences: New Horizons. New York: Basic Books.Google Scholar
GIRÁLDEZ-HAYES, A., CARBÓ, G. & OTÁROLA, M. (2019). Evaluación proyecto LOVA. La ópera, un vehículo de aprendizaje. 2006-2017. Girona: ConArte Internacional & Fundation Daniel y Nina Carasso.Google Scholar
GLENN SCHELLENBERG, E. (2011). Music Lessons, Emotional Intelligence, and IQ. Music Perception: An Interdisciplinary Journal, 29(2), 185–194. doi: 10.1525/mp.2011.29.2.185 CrossRefGoogle Scholar
GOLEMAN, D. (1995). Emotional Intelligence. Michigan: Michigan University - Bantman Books.Google Scholar
GOLDSTEIN, T. R. (2011). Correlations among social-cognitive skills in adolescents involved in acting or arts classes. Mind, Brain and Education, 5 (2), 97–103.CrossRefGoogle Scholar
GREEN, L. (2011). Learning, Teaching, and Musical Identity: Voices Across Cultures. Bloomington, IN: Indiana University Press.Google Scholar
GREENBERG, D., RENTFROW, P. & BARON-COHEN, S. (2015). Can Music Increase Empathy? Interpreting Musical Experience Through The Empathizing-Systemizing (E-S) Theory: Implications For Autism. Empirical Musicology Review, 10(1), 80–95.CrossRefGoogle Scholar
GROUT, D. & WILLIAMS, H. (2003). A Short History of Opera. New York: Columbia University Press.CrossRefGoogle Scholar
HALL, C., THOMSON, P. & RUSSELL, L. (2007). Teaching like an artist: the pedagogic identities and practices of artists in schools. British Journal of Sociology of Education, 28(5), 605–619. doi: 10.1080/01425690701505466 CrossRefGoogle Scholar
HALLAM, S. (2002). Musical motivation: Towards a model synthesising the research. Music Education Research, 4(2), 225–244. doi: 10.1080/1461380022000011939.CrossRefGoogle Scholar
HALLAM, S. (2010). The power of music: its impact on the intellectual, social and personal development of children and young people. International Journal of Music Education, 28(3), 269–289.CrossRefGoogle Scholar
HALLAM, S. (2016). The Impact of Actively Making Music on The Intellectual, Social and Personal Development of Children and Young People: A Summary. Voices: A World Forum for Music Therapy, 16(2). https://doi.org/10.15845/voices.v16i2.884 CrossRefGoogle Scholar
HELM, C. M. (2006). The assessment of teacher dispositions. The Clearing House, 79(6), 237–239.CrossRefGoogle Scholar
HENNINK, M., HUTTER, I. & BAILEY, A. (2020). Qualitative Research Methods. London: SAGE.Google Scholar
HILLIER, A., GREHER, G., POTO, N. & DOUGHERTY, M. (2011). Positive outcomes following participation in a music intervention for adolescents and young adults on the autism spectrum. Psychology of Music, 40(2), 201–215. doi: 10.1177/0305735610386837 CrossRefGoogle Scholar
HOWER, E (1999). Creating an Opera with Seventh Graders. Music Educators Journal, 85(5) 21–25.CrossRefGoogle Scholar
IZARD, C. E. (1992). Basic emotions, relations among emotions, and emotion-cognition relations. Psychological Review, 99(3), 561–565. doi: 10.1037/0033-295x.99.3.561 CrossRefGoogle ScholarPubMed
Instituto Luis Vives (ILV) (2019). School website, Instituto “Luis Vives”. CDMX: Mexico. Available at http://www.institutoluisvives.edu.mx/ Google Scholar
JACOBI, B. (2012). Opportunities for Socioemotional Learning in Music Classrooms. Music Educators Journal, 99(2), 68–74. Retrieved from http://www.jstor.org/stable/23364290 CrossRefGoogle Scholar
JOKELA, T. (2019). Art-Based Action Research for Art Education in the North. International Journal of Art & Design Education, 38(3), 599–609. https://doi.org/10.1111/jade.12243 CrossRefGoogle Scholar
JOY, S. (2002). Original student opera: history, theory, and practice of a multi-disciplinary arts education program (PhD. Dissertation). Houston: University of Houston.Google Scholar
JUSLIN, P.N. & SLOBODA, J.A. (2001). Music and Emotion: Theory and Research. Oxford: Oxford University Press.Google Scholar
KINCHELOE, J. L. & MCLAREN, P. (2012). Rethinking critical theory and qualitative research. In DENZIN, N. K. & LINCOLN, Y. S. (eds.), The SAGE Handbook of Qualitative Research (3rd ed., pp. 303–342). Thousand Oaks, CA: SAGE.Google Scholar
KENNY, A. (2020). The back and forth of musician teacher partnership in New York City school. International Journal of Education & the Arts, 21(3). Retrieved from http://ijea.org/v21n3/v21n3.pdf Google Scholar
KOCOGLU, Z. (2011). Emotional intelligence and teacher efficacy: A study of Turkish EFL pre-service teachers. Teacher Development, 15(4), 471–484.CrossRefGoogle Scholar
LAMONT, A. (2012). Emotion, engagement and meaning in strong experiences of music performance. Psychology of Music, 40(5), 574–594. doi: 10.1177/0305735612448510 CrossRefGoogle Scholar
LAIRD, L. (2015). Empathy in the Classroom: Can Music Bring Us More in Tune with One Another? Music Educators Journal, 101(4), 56–61. Retrieved from http://www.jstor.org/stable/24755601 CrossRefGoogle Scholar
MAYER, J., SALOVEY, P., & CARUSO, D. (2004). Emotional Intelligence: Theory, Findings, and Implications. Psychological Inquiry, 15(3), 197–215. Retrieved from http://www.jstor.org/stable/20447229 CrossRefGoogle Scholar
MERISIO, P., GÓIS DE ARAÚJO, G. & DA CRUZ, L. (2019). Scenic Experiences: creative fissures in school with children and teenagers. Urdimento, Florianópolis, 3(36), 181–203. http:/dx.doi.org/10.5965/1414573103362019181 CrossRefGoogle Scholar
Metis Associates and The Metropolitan Opera Guild (2014). The Metropolitan Opera Guild COBALT final report. Retrieved from https://www.metguild.org/uploadedFiles/MOG/Opera_in_the_Classroom/Research/COBALT%20report%20Jan%206%20FINAL.pdf Google Scholar
MORÁN GORTARI, B. (2001). Los que despertaron vocaciones y levantaron pasiones. Los colegios del exilio en la Ciudad de México. In SÁNCHEZ ANDRÉS, A. & FIGUEROA ZAMUDIO, S. (eds.), De Madrid a MÉxico, El exilio español y su impacto sobre el pensamiento, a ciencia y el sistema educativo mexicano (pp. 209–245). Morelia: UMSNH-Comunidad de Madrid.Google Scholar
NUSSBAUM, M. (2001). Upheavals of Thought: The Intelligence of Emotions. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
NUSSBAUM, M. (2007). Frontiers of Justice: Disability, Nationality, Species Membership. Cambridge, MA: Harvard University Press CrossRefGoogle Scholar
OVERY, K. & MOLNAR-SZAKACS, I. (2009). Being Together in Time: Musical Experience and the Mirror Neuron System. Music Perception, 26(5), 489–504.CrossRefGoogle Scholar
PEREIRA, T. I. M. & PORTUGAL, C. C. S. C. R. (2019). Visual Arts, Music, Drama and Physical Education: languages and integration in teachers training for 1st and 2nd cycle or Basic Education/Artes Visuais, Musica, Teatro e Educacao Fisica: linguagens e integracao na formacao de professores de 1 e 2 ciclo do Ensino Basico. MatÉria-Prima, 7(1), 93–110.Google Scholar
PIÑÓN, A. (2018). La ópera tambiÉn es cosa de niÑos. El Universal. Retrieved from https://www.eluniversal.com.mx/cultura/la-opera-tambien-es-cosa-de-ninos Google Scholar
PNCE, SEP: Diario Oficial de la Federación (2015). ACUERDO número 19/12/15 por el que se emiten las Reglas de Operación del Programa Nacional de Convivencia Escolar (PNCE) para el Ejercicio Fiscal 2016. ROP o documento normativo. México, DOF, December 27.Google Scholar
RABINOWITCH, T. C., CROSS, I. & BURNARD, P. (2013). Long-term musical group interaction has a positive influence on empathy in children. Psychology of Music, 41(4), 484–498. https://doi.org/10.1177/0305735612440609 CrossRefGoogle Scholar
RABKIN, N. (2012). Teaching Artists and the Future of Education. Teaching Artist Journal, 10(1), 5–14. doi: 10.1080/15411796.2012.630633 CrossRefGoogle Scholar
RODRÍGUEZ-SÁNCHEZ, A., ODENA, O., & CABEDO–MAS, A. (2018). Using life histories with sound postcards to investigate a music programme for social reconstruction in Colombia. British Journal of Music Education, 35(2), 177–190. https://doi.org/10.1017/S0265051717000298 CrossRefGoogle Scholar
ROSE, J. Sir. (2009). The Independent Review of the Primary Curriculum: Final Report. London: Department for Children, Schools and Families.Google Scholar
SALOVEY, P. & MAYER, J.D. (1990). Emotional intelligence. Imagination, Cognition and Personality, 9, 185–211. doi: 10.2190/DUGG-P24E-52WK-6CDG CrossRefGoogle Scholar
SARMIENTO, P. (2012). La ópera, un vehÍculo de aprendizaje (LOVA). EufonÍa. Didáctica de la Música, 55, 40–47.Google Scholar
SHERWOOD, C., GREGORIRE, D. & IVERSON, D. (1994). Creating Original Opera at Lake Agasiz Elementary School. Teaching and Learning: The Journal of Natural Inquiry, 26(7), 2–7.Google Scholar
SecretarÍa de Educación Pública (SEP) (2017). Aprendizajes clave para la educación integral. MÉxico: SEP.Google Scholar
SOLIVERES, R., PAREJO, J. L. & GIRÁLDEZ-HAYES, A. (2020). An Opera for the School of Citizenship. REDIE (in press).Google Scholar
STAKE, R. E. (1995). The Art of Case Study Research. Thousand Oaks, CA: Sage.Google Scholar
STAKE, R. E. (2005). Qualitative case studies. In DENZIN, N. K. & LINCOLN, Y. S. (eds.), The SAGE Handbook of Qualitative Research (3rd ed., pp. 443–465). Thousand Oaks, CA: SAGE Publications.Google Scholar
SIMONS, H. (2009). Case Study Research in Practice. London: Sage Publications.CrossRefGoogle Scholar
STERNBERG, R. J. (1997). Successful Intelligence. New York: Plume.Google Scholar
TAMBLING, P. (1999). Opera, education and the role of arts organisations. British Journal of Music Education, 16(2) 139–156. Cambridge University Press.CrossRefGoogle Scholar
VALERO, F.M. (2010). Escuela republicana y exilio: maestros y pedagogos catalanes en MÉxico. In Exilios en la Europa mediterránea: Actas del Coloquio Internacional: Santiago de Compostela, 12–13 de noviembre de 2009 (pp. 163–190). Universidad de Santiago de Compostela: Servicio de Publicaciones e Intercambio CientÍfico.Google Scholar
WESTHEIMER, J. (2020). Can Education Transform the World?, Kappa Delta Pi Record, 56(1), 6–12. doi: 10.1080/00228958.2020.1696085 CrossRefGoogle Scholar
WIGNALL, H. J. (1988). Marionettes, Children, and the Magic of Opera. Music Educators Journal, 75(4), 55–58. doi: 10.2307/3398112 CrossRefGoogle Scholar
WILLIG, C., ROGERS, W.S., & CURT, B.C. (2008). The SAGE Handbook of Qualitative Research in Psychology. London: SAGE publications.CrossRefGoogle Scholar
WHITE, J., DIXON, M. & SMERDON, L. (2004). Learning ‘through’ or learning’ about’? The ridiculous and extravagant medium of opera: Gardner’s multiple intelligences in pre-service teacher education. Australian Journal of Teacher Education, 29(2), 34–44.CrossRefGoogle Scholar