Cia Musical Schubert on Stage: Educational Perspectives and Collaborative Music Practice

Type: Short Paper · Article nº 943

Authors: Marco Aurélio da Silva Tavares; John Kennedy Pereira de Castro

Presenter: John Kennedy Pereira de Castro

Institution: Universidade Estadual de Maringá (UEM)

Abstract

This article, derived from an ongoing master’s research project, examines the Brazilian scenic choir and investigates collaborative practices that integrate voice, body, and movement, with particular emphasis on their contributions to youth choir development. According to Hentschke and Del Ben (2003), music education contributes both to the formation of cultural identities among children, adolescents, and young adults and to the enhancement of their interpersonal skills. At the Cultural Foundation of Umuarama, Paraná, Brazil, the only existing choral project was the Municipal Choir, primarily aimed at an adult audience.

In response to limited youth participation, an experimental phase was launched in 2011 with the performance Glee Cover, inspired by the American television series that had gained significant popularity among young audiences. Participation exceeded expectations, underscoring the interest of the members in engaging with a scenic-musical experience that transcended the mere act of singing. In 2012, the ensemble was renamed Cia Musical Schubert, distinguishing itself as a socio-educational, non-profit initiative directed toward middle and high school students.

Through a spontaneous and collaborative process, the conductor and choristers began creating original scripts, selecting repertoire contextualized within dramatic scenes, and designing stage sets, costumes, and staging directions. As Swanwick (1979) emphasizes, it is essential for individuals to engage in diverse experiences in order to fully appropriate music. Over nearly fifteen years, Cia Musical Schubert has consolidated its identity through a collaborative framework in which both conductor and choristers have actively contributed to repertoire selection, scriptwriting, choreography, and stage design.

Within this context, the conductor assumes a pivotal role, fostering respect, trust, and a sense of ease, while proposing activities designed to strengthen interpersonal bonds. In line with Koellreutter (1998), music education serves as a catalyst for the integral development of young people, nurturing self-confidence, creativity, and critical awareness. Beyond its artistic and pedagogical significance, the project functions as a vehicle for inclusion, socialization, and socio-emotional growth. Its institutionalization as a municipal public policy would ensure the continuity of its activities, promoting the strengthening of the artistic formation of young people in the city and surrounding region.

References

Hentschke, L., & Del Ben, L. (2003). Aula de música: do planejamento e avaliação à prática educativa. In Ensino de música (pp. 176–189). Moderna.

Koellreutter, H. J. (1998). Educação musical hoje e, quiçá, amanhã. In Educadores Musicais de São Paulo (pp. 39–45). Ed. Nacional.

Puebla, R. (2017). O Canto em Cena: Expressão Cênica para Canto Coral. Trampo.

Swanwick, K. (1979). A Basis for Music Education. Nfer-Nelson.