The need of preserving,
valuing and transmitting through generations the patrimony (in all its forms)
is specified in the Universal Declaration on Cultural Diversity (Unesco, 2001) in order to establish a dialogue between
different cultures and nurture creativity. This is consistent with the
Convention on the Value of Cultural Heritage for Society, which points out that
every person has a right to engage with the cultural heritage of their choice,
while respecting the rights and freedoms of others (Council of Europe, 2005) (p.1).
However,
unfortunately, not everybody has access to all the cultural patrimonys goods,
as it happens in the case of classical music. Although the objective of public
policies should be to offer universal access to what are considered culturally
unique practices (Wang, 2017), these
continue being inaccessible for some citizens. This is related to the social
and cognitive barriers that tend to be associated with classical music and that
prevent potentially interested public from going to these concerts (Sarasúa et al., 2016).
The present study
focuses, on the one hand, on understanding the barriers many individuals from
vulnerable groups face regarding the access to classical music; and, on the
other hand, on analyzing how Dialogic Music Gatherings foster both access and
taste towards this music.
Barriers to Access Classical Music
One of the obstacles that prevent some
individuals from vulnerable groups from enjoying classical music is related to
the cultural elitism some authors have defended. More concretely, sociologists
such as Bourdieu (Bourdieu, 1986) stated that cultural capital is distributed
according to the social classes, that is to say, a kind of art and taste is
inextricably associated with each social class. According to the main concept
of Bourdieu, the habitus (Bourdieu, 1987), which organizes both the activities and their
perception as a consequence of the division of society in social classes, each
condition has its intrinsic characteristics. These kinds of theories even
assumed that only some erudite people were able to understand and interpret
certain cultural works (Bourdieu, 1988).
Whereas these theories have
widely influenced many researchers, many others have questioned and challenged
them. On the one hand, it is known that in Mozarts time the audience of his
concerts was very diverse, and that a high percentage of that audience was
formed by the people of the village, people from a humble origin (de Rus, 2008). Moreover, during the 19th century, opera
mobilized European citizens to fight for their rights (Sánchez Sanz,
2016), which implied that
classical music reached and had an impact on a very diverse audience. As an
example, Verdis operas had a crucial role in the unification of Italy (Martin, 2005), and, in his death in 1901, 300,000
people gathered in Milan to farewell him by singing one of his most popular
compositions: Va, pensiero (in addition, Verdi himself came from a humble
origin).
As a response to that elitism,
the Dialogic Gatherings have been widely researched and defined as a Successful
Educational Action (SEA) for achieving optimal results internationally to
democratize, among others, the best literature works (Flecha, 2000). Dialogic gatherings are one of the SEAs
identified in the INCLUD-ED project (Flecha, 2015) that foster academic success among very diverse
students, are based on scientific evidence and respond to current societys
needs. Since the Dialogic Literary Gatherings (DLGs) were born, the action was
transferred to diverse areas such as art, music, mathematics or science. In
this line, Dialogic Music Gatherings (DMGs) are one of the SEAs that help
overcome the barriers that keep many people from vulnerable groups away from
classical music.
Dialogic Gatherings (DG)
The first dialogic gatherings were created
by reading the best literary works and started in La Verneda-Sant Martí Adult
School from Barcelona, a working-class neighborhood where adult education could
reverse the lack of academic education of their inhabitants (Aubert et al.,
2016). In the DLGs, new
readers who were receiving literacy classes shared works by Lorca, Machado,
Joyce, Kafka and others (Flecha, 2000). This way, it was demonstrated that people with no
academic studies could enjoy, learn and understand the universally valued
works. Since then, this action has spread to different countries (Brazil, Chile
or Australia), different institutions (schools, libraries) and with
participants from all social classes, cultural groups and ages. In the DLGs,
participants comment on the text through the paragraphs they have chosen. This
way, each person chooses at least a paragraph and comments during the DLG why
they have chosen it, to which the rest can respond, respecting the speaking
time the facilitator gives (Lleras & Soler, 2003).
In the gatherings, all
contributions are respected equally (not taking into account the academic
studies or the origin of who makes it), as long as others rights are not
violated (Pulido-Rodríguez & Zepa, 2010). In addition, there is no one who has the true
interpretation in the dialogic gatherings, nor a better opinion than another
one (Flecha,
2000). DLGs have
demonstrated to be very beneficial for participants from a low socioeconomic
context, minority groups (Lopez de Aguileta, 2021) or students with special educational
needs and difficulties to read (García-Carrión et al., 2020; Molina Roldán, 2015). Moreover, their transformative effects
have been studied in diverse contexts, such as out-of-home care units (Garcia Yeste
et al., 2018).
The rapid success of the DLGs
led to the creation of other dialogic gatherings in La Verneda-Sant Martí: art,
literature, Catalonian literature, literature written by women, mathematics and
others. The first Dialogic Music Gathering (DMG) was created in 1983 by Ramon
Flecha (CONFAPEA, 2006; Flecha, 1983), where together with the participants,
they chose classical works (Giner i Gota, 2018) (p.105): In these activities, works by Mozart,
Chopin, Beethoven, Schubert, Schumann, Bach, Verdi, Tchaikovsky, Bizet, Ravel,
Falla, Albéniz, Rodrigo, Vivaldi and Albinoni have already been heard. Since
then, DMGs have been done in diverse places throughout the world and some
important works have been carried out (Ibáñez Luque, 2016; Vivancos, 2003). However, this is the first scientific article
resulting from an investigation about the DMGs.
One of the main aspects of the
DLGs is that they are carried out with what universally are considered the best
literature works: Saphos poems, Shakespeares plays and other great works.
That way, instrumental learning, a principle of dialogic learning, is ensured (Mercer et al.,
2016). Transferring this
educational action to the music area, DMGs are done with those music works
universally most valued. On the one hand, many are the benefits these works
have proven to foster (Burrai et al., 2020; Kanduri et al., 2015; Mammarella et al., 2007; Praise & Meenakshi, 2015; Trappe, 2010, 2020), as well as feelings of ease and pleasure (Liu et al., 2021; Parada-Cabaleiro et al., 2021). On the other hand, it is a way of
ensuring participants are acquiring instrumental learning. For the functioning
of DMGs, two key criteria are established: egalitarian dialogue and the
election for humankinds most valued music works.
There is a wide array of
research on the DLGs and their benefits (Aubert, 2015; López de Aguileta et al., 2020; Ruiz-Eugenio et al., 2020; Santiago-Garabieta et al., 2021). Nonetheless, less is known about their
transference to the music field through the DMGs. Therefore, this study will
provide an understanding of how DMGs can foster both access and development of
the taste for classical music.
Methodology
A survey study has been carried out to
understand the impact the DMGs have had on participants, regarding the access
and taste for classical music, through the experience of 9 teachers and school
principals. The objective of the study was to explore whether the DMGs
increased the possibility to access classical music among very diverse
participants, as well as to understand the changes that DMGs have fostered in
the taste towards that music. Therefore, the functioning, the music works used
for the DMGs, the dialogues created in the DMGs and other cultural and personal
transformations were examined.
A questionnaire was
sent to 9 educational centers from different education stages (from elementary
to adult schools) and different socioeconomic areas. The questionnaire
consisted of open questions that allowed us to gather experiences, perceptions
and memories of respondents. The questionnaire was built using the Google forms
tool and was divided into two sections. The first one was related to the
sociodemographic characteristics of the educational center, with questions
about the education level (kindergarten, elementary education, secondary
education or adult education), the socioeconomic situation of the school, the
type of area (rural or urban) and the province in which it was located. The
second section was linked to the DMGs in the specific centers, and the
questions made were about the musical compositions used, the functioning of the
DMGs, the dialogues that were created in them, the increase in the taste for
this kind of music among participants from low socioeconomic status and with no
university degrees, and cultural, social and personal transformations created
through the DMGs.
Participants
Participants of this study
are music teachers and/or principals from 9 different educational centers who
implement DMGs. Seven of them are from elementary education, whereas two are
from adult education. Related to the socioeconomic status, five schools are in
a low socioeconomic context, two in a medium-low context, one in a medium
context and one in a medium-high context. In addition, one of the schools is a
special needs school. All participant schools were located in urban contexts in
Spain (concretely, in Basque Country, Valencian Community and Catalonia). The
participants were recruited by snowball sampling, being the inclusion criteria
to have implemented DMGs periodically at least for one school year.
In
relation to the characteristics of the participants of the DMGs, the answers of
the respondents showed there was a great diversity: from 3-year-olds to adults,
people with university degrees, people with no university degrees, students
with cognitive disabilities, students with immigrant background and students
from the Roma community. Table 1 describes the characteristics of participants.
Table 1
Participants main characteristics
Data analysis
The data analysis has been
done following the principles of the Communicative Methodology, which aims to
analyze both the elements that reproduce inequalities and the ones that overcome
them (Gómez et al., 2011). Thus, the analysis is focused on studying the
exclusionary elements and transformative elements. The first ones are those
barriers certain individuals and groups face that prevent them from
participating in certain practices, being in this case enjoying classical
music. The second elements are the aspects that help overcome those barriers.
This data analysis approach has been widely used in very diverse disciplines of
social sciences, such as social work (Garcia
Yeste et al., 2018), gender studies (Puigvert et al., 2019) and economy
(Redondo et al., 2011).
Thus, in this particular case, the exclusionary elements are those that prevent
people from accessing classical music and keep them away from developing a
taste towards this music; whereas the transformative elements are the ones that
overcome the barriers that some individuals face regarding the access and taste
towards the music masterpieces of humankind.
Ethics Statement
The study was conducted
according to the guidelines of the Declaration of Helsinki, and approved by the
Ethics Committee of the Community of Research on Excellence for All (CREA)
(protocol code 20210101 approved on 02/01/2021).
Informed
consent was obtained from all subjects involved in the study. Participants were
explained through the informed consent about the goal of the study, the amount
of time it would take, the kind of questions that would be asked, the
possibility to withdraw from the investigation whenever desired and the
protection of their privacy.
Results
Our results indicated that, according to the respondents, these
participants from the DMGs have listened to and discussed classical music, with
a great variety of genres, countries and historical periods. In addition, the
data analyzed had pointed that these participants from a low-socioeconomic
status and those with no university degrees have had more access to the
classical music and that the taste for these works has increased due to the
DMGs. Moreover, DMGs had enhanced learning of musical concepts according to
respondents. Finally, results point out that through the DMGs, these
participants from vulnerable groups had overcome the barriers that kept them
away from classical music according to respondents. Table 2 summarizes the main
results.
Table 2
Summary of the results divided into the main
categories.
Access to Classical Music
Regarding exclusionary elements in the access to classical
music, the main element found is the perception of some participants of lack of
musical understanding. This perception of lack of knowledge and level kept them
away from listening to this music and accessing it, according to the
facilitator of the DMGs in an adult school.
They would avoid listening to classical music because they
thought they did not understand it, that it wasnt for them, that they were
destined to listen to other types of music, more suited with their academic and
social level. (...) I remember a man who had always been a doorman of a block
of flats, he had no studies, he came to the DMG (...) He thought that he didnt
understand classical music. He came to the first DMG and said: I have come to
give it a go, I dont know what this is about, I understand nothing of
classical music. (P10)
However, a common element in
the questionnaires is related to the learning of very diverse knowledge through
the dialogues in the DMG. In fact, 6 out of the 9 teachers stated that
participants had learned new musical concepts or elements related to music
history. As an example, a teacher from a low socioeconomic context school
explained how some students learn new musical concepts she had never taught in
class before:
With
pupils from 1st and 2nd grade, a student compared the pulse and the accent of
the piece with the heartbeats. Listening to the composition, he explained in
which moments he felt the heartbeat. The incredible thing is I had never talked
about those concepts (pulse, accent) in music lessons, I hadnt even explained
it with different words
He simply felt it, and without being conscient about
it, he had learnt a very important part of the rhythm of an oeuvre. (P5)
This has also been seen in
another excerpt analyzed as transformative, where children from a school
located in a low socioeconomic context discussed about concepts related to
music history and the biographies of the composers:
Once
with a group from 5th and 6th grade about The Magic Flute, the session started
with a discussion between two students about whether it was Mozart or Beethoven
younger when they started giving concerts throughout Europe. (P2)
After participating in the
DMGs, a music teacher answered that their students from an elementary school
were able to compare the different music styles and composers.
First
of all, their musical and cultural knowledge improves notably. (...) In
addition, the way in which they connect knowledge, linking composers they have
seen in previous DMGs, even reaching to compare different styles. (P9)
The DMGs allowed to share their
thoughts about the classical music they listened to, as participants of the
study reported. According to them, this context offered students the
possibility to express their own opinions in a respectful environment and help
them to overcome some of the barriers that used to impede them from enjoying
this kind of music. As an elementary teacher reported:
A
music piece can be felt in many different ways and all are correct, there is no
correct answer. (...) If I can talk and share my opinion about a great oeuvre
I make it mine, it is at my level or I am at its level, barriers and
stereotypes are broken (P4)
Although most respondents
explained how DMGs fostered learning related to music theory, it was explained
that it was not a requirement to participate in the DMGs, that is, participants
were encouraged to participate no matter what their music knowledge was.
We
wanted to break the barrier that if you dont have music studies or knowledge
you cant talk about classical music, that is what we did in the DMGs. It is
about making and egalitarian dialogue, because the other way only the ones who
know about music or interpretation can participate. (P10)
Students with special
educational needs have also benefited from the DMGs according to respondents.
One of the participants explained the transformation he had seen as a music
teacher with his students with disabilities thanks to the dialogues created in
the DMGs:
One
of the most shocking transformations for me as a music teacher, is that a
climate and a dialogue is created around a classical music piece, where
everyone can talk in an orderly manner about that kind of music and what
generates in them. (P7)
Through the participation in
DMGs, participants who had never listened to classical music felt that the gap
that separated them from this kind of music was smaller in the analyzed
settings. In 4 of the centers, the respondents stated that participants felt
after capable of listening to this kind of music and enjoy it more; moreover,
they had transferred this to other contexts that were not the DMG. Some
participants had also included this kind of music as one of the main activities
of their spare-time. In humble contexts, as in the DMG group of an adult
school, participants shared discounts, free tickets or whatever means they
found in order to access the concerts they liked.
The
same participants from the DMG activated themselves to get to know the cultural
offer of the city. It is them who look for these options, they are looking for
classical music for their leisure, in an autonomous way. They share the
information, when they find free tickets for a show, and they would bring
tickets for all participants from the DMG. (P10)
In addition, an empowerment in
this sense has been seen in one of the respondents, who explained that
elementary students from his school had an experience where they were able to
comment critically the adaptation of an opera. These students, all of them from
a low socioeconomic status and 92% of immigrant students, were able to tell the
differences between the original Rigoletto and the adaptation they saw, and
even liked the original one better than the adaptation that was supposed to be
more suitable for children:
Another
fact to highlight was the visit to the [name of the main opera house in a
city]. Students from 6th grade went to see Rigoletto and came back very
disgusted with the adaptation they had seen. They highlighted that it was a
work for children much smaller than us and that they had changed details from
the oeuvre. They had enjoyed the original work in class, they had even cried,
and the adaptation they saw was very poor. (P4)
In fact, an episode explained
by a music teacher in the questionnaires explains it can happen quite the
opposite to what is usually thought, that is, that people with university
degrees (or studying to obtain them) can be the ones who do not know about this
music. In this case, students from the university came to her school as
volunteers, and something that happened surprised her. An elementary student
with special needs felt capable of pointing out when someone with a higher
academic and socioeconomic status had made a wrong statement about classical
music:
In
the workshops, after some music pieces, Beethovens 5th Symphony appeared. One
of the volunteers said: this is Mozart, right? And a boy with special
educational needs answered her: Not at all! Its Beethovens 5th Symphony.
The volunteer was taken aback, and I couldnt feel prouder. (P5)
Taste for Classical Music
Prejudices were found related
to the perception that people from vulnerable groups should like other kinds of
music rather than classical music because of their socioeconomic or cultural
background. The cultural elitism usually spread had penetrated in some
participants and that prevented them from enjoying and listening to classical music,
as respondents stated. The facilitator of the DMG in an adult school explained
it:
They
can like it, I cant say if they like it or not. They can like it as everyone
else, not because of having a low socioeconomic and academic level they like it
less. But it is true, as it is considered that it is a genre only for certain
people, they had auto-generated this image, that they couldnt like it and that
it wasnt for them. They would say: It wasnt for me this music, I had to like
other things. It isnt that they couldnt like it, but that they hadnt had
the chance and the image these people had auto-generated towards classical
music had too much weight. (...) They had this barrier, they were always told
that this kind of music wasnt for them. (P10)
Regarding the taste towards
classical music, all teachers answered that, according to their perception,
participants taste towards classical music increased after being involved in
the DMGs. According to one participant,
It
is not that the taste for this music increases. It changes radically. That is
to say, it is something they didnt have. They would avoid listening to
classical music because they considered they couldnt understand it, that they
didnt like it, and that it wasnt something made for them. That they were
destined to listen to other kinds of music, more suited to their academic and
social level. (...) It is incredible how that changes so radically through the
DMGs. (P10)
As an indicator of this change
of taste, another teacher explained how the kind of music her pupils usually
asked to listen to changed after the first DMG in her low socioeconomic status
elementary school:
After
the first gathering, in the workshops, students started asking me to put
classical music on Youtube (before, they would only ask for reggaeton music)
(P5)
Other examples show this
phenomenon did not stay in school, but it went beyond. In this case, the case
of a student who used to switch the channel whenever classical music was on TV
is explained.
A
thing that surprised us was the intervention of a student that said that, since
we do DMGs, there is much more classical music on television. That is her
perception, as now she doesnt switch the channel when she sees classical
music. (P4)
Discussion
Despite the right to access and enjoy cultural heritage in all its
forms has been stressed by many international organizations (Council of Europe, 2005; Unesco, 2001), not everyone has the same access to classical music, and efforts
have been made to bring closer this kind of music to all citizens and overcome
cultural elitism. However, less is known about which are the actions that make classical
music accessible for a very diverse audience, and particularly for the most
vulnerable populations. Thus, this article aimed to assess the impact the
Dialogic Music Gatherings have in order to democratize classical music, the
same way Dialogic Gatherings, such as Literary, have done with the best
literary works (Flecha, 2000; Llopis et al., 2016; Soler, 2015).
Overall, the findings of this study show, in these 9
contexts, that there are some exclusionary elements that had previously
prevented participants from vulnerable groups from accessing and developing a
taste towards classical music. Namely, the perception by some of the
participants that they did not have enough knowledge to understand these
oeuvres was seen as an impediment to access this music. This is consistent with
previous research that evidenced that classical music tends to be linked with
certain cognitive and social barriers that prevent some individuals from
enjoying it (Sarasúa et al.,
2016)
However, among transformative elements, according to
respondents, participants of these 9 contexts had learnt musical concepts,
while important topics related to participants lives and experience had
aroused through the debate about the music. Previous literature has already
pointed out the benefits of dialogic learning in both instrumental knowledge (Flecha & Soler, 2013) and values, feelings and relationships (León-Jiménez et al., 2020). Moreover, in the case of the adult school, it must be added that
dialogical spaces such as the gatherings promote wellbeing and friendship among
older people (León-Jiménez,
2020).
Another transformative element is that, through
egalitarian dialogue, participants of this study, no matter what their musical
knowledge or socioeconomic level were, could comment on classical music as
respondents stated. Following the principles of dialogic learning (Flecha, 2000),
as the teachers explained, helped participants from the DMG feel they were at
the same level of these great compositions and foster the access to them. Not
only had they enjoyed music masterpieces, but they had also dared to interpret
and comment on classical music, showing that not only the erudite people (Bourdieu, 1988) are capable of doing so.
Many participants, before the DMGs, held stereotypes
about which music taste belonged to each social class, as some studies have
shown that many people associate (Cian
et al., 2021). After participating in the DMGs, the
barriers and stereotypes that had kept some participants from vulnerable groups
away from classical music were overcome and now this music was part of their
leisure time, as explained by respondents. Also, a change of the attitude
towards classical music was seen, especially in those cases where initially a
bad disposition had been shown. This is consistent with previous research,
where evidence has shown a change in attitudes through the use of successful
educational actions (Díez-Palomar
et al., 2020).
Thus, the results of this study have shown that in the
studied nine contexts participants from low socioeconomic contexts had
increased the taste towards classical music after participating in the DMGs
according to respondents. Therefore, these findings challenge the assumptions
that have usually been made such as the concept of habitus (Bourdieu, 1987). In fact, participants from vulnerable groups had shown to like
something that, according to those theories, is not linked to their social
status. Indeed, participants in the analyzed DMGs were children and adults
mainly from low SES, people with disabilities, with an immigrant background or
belonging to an ethnic minority and very diverse religious beliefs who have
listened to classical music.
Limitations of the study must be noted. First, the
results have shown that the DMGs have increased the taste for classical music
in these 9 contexts, but the sustainability of those effects remains unknown.
Secondly, all the participants of this study are from educational centers in
Spain, although there was a big diversity regarding the origin of the
participants of the DMGs.
Conclusion
In the case of classical music, scientific
literature has already shown that many people are prevented from listening and
enjoying classical music due to the extended cultural elitism. Some
sociological theories have spread the idea of an inextricable link between
taste for music and social class. The present research, through the Dialogic
Music Gatherings, challenge this idea through showing the changes towards
classical music in 9 contexts. Most of the participants of the analyzed DMGs
belonged to low socioeconomic status.
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