Abstract:

In the context of experiential education, creative and artistic activities are widely recognized as valuable learning resources, especially if participants are involved in a significant and reflexive way, with all their competences and relationships (Moon, 2012). In the musicological field then a great interest has recently arisen for the impact of making music together respect to empathy, group dynamics, and conflict transformation (Bergey, 2019; Cross et a., 2012; Kim et al., 2019). Collecting these cues in the perspective of inclusive education, Fondazione Sequeri Esagramma Onlus (FSE) offers to all people with their different needs symphonic and artistic pathways based on the formative value of art in its richness; the conceptualization of the orchestra as a relational space; the reworking of scores to provide access to everyone; the integration of psychological, educational and artistic professional competences (Sbattella, 2013). Having already published different studies about the underlying theory and the results of these pathways (Lassus et al., 2015; Sbattella, 2006, 2013; Sbattella et al., 2015; Sbattella et al., 2013; Vergani et al., 2018; Vergani, 2020) the aim of this study is to explore the formative value of attending a participatory orchestral session with the Esagramma Method from the point of view of the participants. A single case was selected: a group of 18 psychologists, that has come to FSE to end their 4-year education as psychotherapists with an orchestral experience. The choice of a single case study was due to its singularity: the 4-years shared training as psychotherapist qualify this group as particularly interesting as first insight within the experience that participants live, individually and as a group, when they enter in a Esagramma inclusive orchestra. The intervention lasted one single day, with two orchestral sessions of two hours and a brief reflexive session at the end. The musical bouts were featured following the Esagramma Method with re-orchestrated symphonic scores, a use of the instruments that is technically simple but significant from the point of view of the orchestration, and specific inclusive strategies in the management of work and group dynamics. Data were collected with semi-structured interviews of 7 participants and analyzed through content analysis on the transcriptions. The participants have recognized in this experience an occasion, that involves also body, emotions and imaginary, to consolidate self-competencies always valuable in the therapeutic relationships (like empathy, resonance management, listening attitudes) and to discover different aspects of oneself. It has been also underlined: the wonder and pride of being able to create a beautiful work of art; the pleasure of feeling the tuning of the group, also if during the training there had been tensions; the perception of cooperation, sharing and supporting of each other trough music; the newly discovered interest in classical music listening and playing, even if this desire was never experienced before. These results confirm the theoretical background and expectations for this intervention based on the Esagramma Method and suggest an interest in deepening and differentiating the collection of data about the value assigned from participants to an orchestral experience.

Keywords:

Experiential Learning, Psychotherapists' Training, Participatory Orchestra, Esagramma Method, Music Education.