Experiential Learning Reflective Essay - Global Studies
The CCM Spoleto Festival was a special five-week music program in Italy that created a secluded environment for intensive study in vocal performance and cultural immersion. Students participating in the festival received private vocal lessons twice a week, coached with accomplished opera directors in advanced opera scenes, and met with world famous coaches to perfect solo pieces. CCM Spoleto also offered daily two-hour Italian classes, which promoted fluency and true cultural understanding of Italy. The festival also provided ample opportunities to explore different aspects of Italian culture by encouraging study at Italian museums and weekend trips to other cities near the Spoleto area, such as Florence and Rome. My colleagues and I gave over 30 performances over the 5 weeks, making many advances in our musical education, yet I was most affected by the cultural aspects of my experience. My summer in Spoleto underscored the fact that fruitful careers in opera are based in part on singers’ understanding of Italian culture. Prior to my trip, I imagined that I had a thorough grasp on Italian life via my education in vocal performance. Through my coursework, I could provide a rough translation of the Italian language, a general summary of Italian operatic repertoire, and a simple regurgitation of Italian music history. I thought the CCM Spoleto Festival would simply enrich my baseline knowledge. However, in Spoleto I recognized that I had merely scraped the surface of this rich Italian tradition. This realization led to a deeper shift in my perspective on music and expression, one that has shaped my pursuits ever since.
Part 1: What?
The most significant aspect of my experience concerned the relationship between Italian language and music, and its importance to the Italian people. Through this experience, I began to understand that the power of music lies in its ability to connect people from diverse backgrounds, which I have investigated and even scientifically researched since my return. For two hours each day, we studied advanced grammar and detailed vocabulary via analysis of Italian libretti in order to improve our understanding of the character of the language. In addition, I received private coaching in Italian diction and recitative, a special kind of musical dialogue dependent on fluency and adroitness in the Italian language. While the combination of my Italian teacher’s enthusiasm and the intensive recitative lessons was enough to help me understand the depth of the relationship between language and music, interaction with the Italian people demonstrated the gravity of this relationship in Italian culture. Because we lacked rehearsal space, my colleagues and I would often practice our scenes on the streets outside the opera theater. Initially, we were met with smiles and friendly salutations as people passed by. By the end of our trip, Italians would not only stop to listen but would often laugh and even interject, becoming a part of our work. Their uninhibited, instinctual reactions to the music that occurred only when we began to grasp the character of the language indicated (1) how important it was for an opera singer to understand this relationship when performing Italian operatic literature, and (2) how entrenched language and music are in the culture and daily life of Italy. This understanding was key in helping me connect with the Italian people I met while in Spoleto, which inspired me in later pursuits.
I made progress towards meeting global studies learning outcomes because the festival encouraged a full immersion into Italian culture, which allowed ample opportunities to interact with individuals from this different culture with various perspectives. In the CCM Spoleto Festival, I worked with world-famous instructors, directors, and coaches to further my knowledge of Italian language and culture, as well as my skills in the vocal performing arts. However, native Italians with varying levels of musical experience taught our Italian courses to offer authentic perspectives. While most of the teachers simply demonstrated normal Italian passion for music, my teacher was especially enamored with Italian opera: he was finishing his doctorate dissertation how to teach the Italian language to opera singers via exercises using operatic libretti infused with diction guides and cultural context. His exuberance about the subject of music and language inspired a whole new level of appreciation for me on many levels; not only was I motived to enthusiastically study the language to improve my understanding of Italian culture but I was also intrigued to investigate the underlying neurological reasons for this exciting connection. I also gained a deeper respect for the complex range of experiences of Spoleto natives united by music. Early each morning in the old Piazza del Mercato, shop owners would assemble their goods. No matter the hour or their level hardship, they would engage in music, either by singing themselves or asking us to sing (always offering a free piece of fruit in return). It was extremely inspiring to take part in this cooperation and sociability around music.
While sharing experiences with local Italians, I gained a sense of global literacy via knowledge of historical/current issues and their impact on cultural differences. One moment when I became aware of this knowledge occurred during the final Spoleto Gala, when the entire festival came together to perform “Va, pensiero” from Giuseppe Verdi’s Nabucco. This opera, known as Verdi’s first successful work of art, tells the story of Jewish exiles from Judea after the loss of the First Temple in Jerusalem. The chorus, also referenced as “The Chorus of Hebrew Slaves,” was met with widespread acclaim due to its exciting homophonic nature, soon becaming a classic in Italian opera literature; yet over the years, the piece has become more than just an example of brilliant music. After its premiere in 1842, many scholars believed that the chorus was intended as an anthem for Italian patriots seeking unification and freedom from foreign control in the years leading up to 1861, symbolizing Italy’s struggle for independence and acting as a hymn to freedom. The chorus’s theme of exile, and its lines like “O mia patria, sì bella e perduta!” (Oh my country, so lovely and so lost!) seemed to resonate with Italians through the 20th century, so much so that in 2009, Senator Umberto Bossi proposed that it replace Italy’s current national anthem. Most significantly to our group, however, was the chorus’s role in recent current events. Earlier in 2011, world-famous Italian conductor Riccardo Muti interrupted a performance of “Va, pensiero” at the Teatro dell’Opera in Rome to give a short speech protesting recent cuts to Italy’s arts budget, inviting the audience to join the chorus and sing along in support of Italian culture and patriotism. Though I was aware of this history before performing the piece with my colleagues, I was unprepared for the reaction from our Italian audience: immediately, everyone stood and sang along with us in international support of the arts. It was apparent to me how fundamentally important the arts are to Italian history and culture, more so than in American culture; I would not predict that Americans would ever rally to support the arts in this way. This was the most powerful moment of all my experiences at Spoleto and provides a good summation of everything I learned while in Italy.
Part 2: So What?
My background with Italian culture before I left for CCM’s Spoleto Music Festival included one year of Italian language, two years of music history coursework largely centered around Italy, one prior family vacation, and years of listening to and performing Italian classical works. This background proved sufficient in allowing me to fully appreciate my experiences, not as an interested tourist but rather as an informed student and admirer of Italian culture. In order to prepare for the festival, I translated copious amounts of Italian music, practiced scenes from Italian opera works, and I reviewed my notes from my Italian language courses. This preparation was extremely helpful in solidifying my basic knowledge of Italian geography, history, and culture. I also began to familiarize myself with the contemporary global issues discussed in Italian newspapers. While this preparation provided a foundation of information to aid my experiences in Italy, it was almost trivial compared to the depth of my firsthand encounters with Italian culture. The combined experience of prior and firsthand knowledge will be extremely helpful in my future career.
This experience impacted my development into a socially responsible leader and future professional. On a professional level, this experience helped me prepare for my later role as Barbarina in Mozart’s Le Nozze di Figaro. On a personal level, I now have a deeper understanding of culture and an improved ability to empathize and relate with others, which will serve me throughout the rest of my life no matter my career path. Through of this experience, I have learned the value of communicating through multiple media, be it music or language, in order to connect with others from around the globe. More importantly, I began to realize that music was a universal medium through which people communicate and express emotion, which is important in a variety of mechanisms from physical health to international relations. I have been pursuing this line of inspiration in my extracurricular pursuits ever since.
Part 3: Now What?
This experience had a great impact on (1) my perspective on Italian opera music and understanding of Italian culture, (2) my concept of the importance of music in other countries, and (3) my ideas on communicating and expressing through music as a means of connecting with diverse people. On surface level, I integrate what I learned about Italian music and language everyday in my study of voice performance. On a deeper level, I have become a stronger advocate for the arts and have devoted more time to educating American children about the importance of music, in the hopes that music might become a beneficial influence in their lives, as it is for people I met in Italy. However, my experiences in Italy brought about a large change in my professional and personal priorities, inspiring me to research the psychoneurological mechanisms underlying the power of music in communication.
I have disseminated my work via memorabilia documents: notes from my classes, a brief paragraph in Italian about my time in Spoleto, audio/video recordings of my performances, pictures, etc. However, the true dissemination of my experience can be seen through my work teaching music and my research on the importance of music as a means for communication. The audience for this work has been underprivileged children in Cincinnati, the geriatric population of Cincinnati, and recently, the readership of scientific journals like the Journal of Voice. Through sharing my learning, I gained a larger perspective on the diversity of people that can be united through music.
The CCM Spoleto Festival was a special five-week music program in Italy that created a secluded environment for intensive study in vocal performance and cultural immersion. Students participating in the festival received private vocal lessons twice a week, coached with accomplished opera directors in advanced opera scenes, and met with world famous coaches to perfect solo pieces. CCM Spoleto also offered daily two-hour Italian classes, which promoted fluency and true cultural understanding of Italy. The festival also provided ample opportunities to explore different aspects of Italian culture by encouraging study at Italian museums and weekend trips to other cities near the Spoleto area, such as Florence and Rome. My colleagues and I gave over 30 performances over the 5 weeks, making many advances in our musical education, yet I was most affected by the cultural aspects of my experience. My summer in Spoleto underscored the fact that fruitful careers in opera are based in part on singers’ understanding of Italian culture. Prior to my trip, I imagined that I had a thorough grasp on Italian life via my education in vocal performance. Through my coursework, I could provide a rough translation of the Italian language, a general summary of Italian operatic repertoire, and a simple regurgitation of Italian music history. I thought the CCM Spoleto Festival would simply enrich my baseline knowledge. However, in Spoleto I recognized that I had merely scraped the surface of this rich Italian tradition. This realization led to a deeper shift in my perspective on music and expression, one that has shaped my pursuits ever since.
Part 1: What?
The most significant aspect of my experience concerned the relationship between Italian language and music, and its importance to the Italian people. Through this experience, I began to understand that the power of music lies in its ability to connect people from diverse backgrounds, which I have investigated and even scientifically researched since my return. For two hours each day, we studied advanced grammar and detailed vocabulary via analysis of Italian libretti in order to improve our understanding of the character of the language. In addition, I received private coaching in Italian diction and recitative, a special kind of musical dialogue dependent on fluency and adroitness in the Italian language. While the combination of my Italian teacher’s enthusiasm and the intensive recitative lessons was enough to help me understand the depth of the relationship between language and music, interaction with the Italian people demonstrated the gravity of this relationship in Italian culture. Because we lacked rehearsal space, my colleagues and I would often practice our scenes on the streets outside the opera theater. Initially, we were met with smiles and friendly salutations as people passed by. By the end of our trip, Italians would not only stop to listen but would often laugh and even interject, becoming a part of our work. Their uninhibited, instinctual reactions to the music that occurred only when we began to grasp the character of the language indicated (1) how important it was for an opera singer to understand this relationship when performing Italian operatic literature, and (2) how entrenched language and music are in the culture and daily life of Italy. This understanding was key in helping me connect with the Italian people I met while in Spoleto, which inspired me in later pursuits.
I made progress towards meeting global studies learning outcomes because the festival encouraged a full immersion into Italian culture, which allowed ample opportunities to interact with individuals from this different culture with various perspectives. In the CCM Spoleto Festival, I worked with world-famous instructors, directors, and coaches to further my knowledge of Italian language and culture, as well as my skills in the vocal performing arts. However, native Italians with varying levels of musical experience taught our Italian courses to offer authentic perspectives. While most of the teachers simply demonstrated normal Italian passion for music, my teacher was especially enamored with Italian opera: he was finishing his doctorate dissertation how to teach the Italian language to opera singers via exercises using operatic libretti infused with diction guides and cultural context. His exuberance about the subject of music and language inspired a whole new level of appreciation for me on many levels; not only was I motived to enthusiastically study the language to improve my understanding of Italian culture but I was also intrigued to investigate the underlying neurological reasons for this exciting connection. I also gained a deeper respect for the complex range of experiences of Spoleto natives united by music. Early each morning in the old Piazza del Mercato, shop owners would assemble their goods. No matter the hour or their level hardship, they would engage in music, either by singing themselves or asking us to sing (always offering a free piece of fruit in return). It was extremely inspiring to take part in this cooperation and sociability around music.
While sharing experiences with local Italians, I gained a sense of global literacy via knowledge of historical/current issues and their impact on cultural differences. One moment when I became aware of this knowledge occurred during the final Spoleto Gala, when the entire festival came together to perform “Va, pensiero” from Giuseppe Verdi’s Nabucco. This opera, known as Verdi’s first successful work of art, tells the story of Jewish exiles from Judea after the loss of the First Temple in Jerusalem. The chorus, also referenced as “The Chorus of Hebrew Slaves,” was met with widespread acclaim due to its exciting homophonic nature, soon becaming a classic in Italian opera literature; yet over the years, the piece has become more than just an example of brilliant music. After its premiere in 1842, many scholars believed that the chorus was intended as an anthem for Italian patriots seeking unification and freedom from foreign control in the years leading up to 1861, symbolizing Italy’s struggle for independence and acting as a hymn to freedom. The chorus’s theme of exile, and its lines like “O mia patria, sì bella e perduta!” (Oh my country, so lovely and so lost!) seemed to resonate with Italians through the 20th century, so much so that in 2009, Senator Umberto Bossi proposed that it replace Italy’s current national anthem. Most significantly to our group, however, was the chorus’s role in recent current events. Earlier in 2011, world-famous Italian conductor Riccardo Muti interrupted a performance of “Va, pensiero” at the Teatro dell’Opera in Rome to give a short speech protesting recent cuts to Italy’s arts budget, inviting the audience to join the chorus and sing along in support of Italian culture and patriotism. Though I was aware of this history before performing the piece with my colleagues, I was unprepared for the reaction from our Italian audience: immediately, everyone stood and sang along with us in international support of the arts. It was apparent to me how fundamentally important the arts are to Italian history and culture, more so than in American culture; I would not predict that Americans would ever rally to support the arts in this way. This was the most powerful moment of all my experiences at Spoleto and provides a good summation of everything I learned while in Italy.
Part 2: So What?
My background with Italian culture before I left for CCM’s Spoleto Music Festival included one year of Italian language, two years of music history coursework largely centered around Italy, one prior family vacation, and years of listening to and performing Italian classical works. This background proved sufficient in allowing me to fully appreciate my experiences, not as an interested tourist but rather as an informed student and admirer of Italian culture. In order to prepare for the festival, I translated copious amounts of Italian music, practiced scenes from Italian opera works, and I reviewed my notes from my Italian language courses. This preparation was extremely helpful in solidifying my basic knowledge of Italian geography, history, and culture. I also began to familiarize myself with the contemporary global issues discussed in Italian newspapers. While this preparation provided a foundation of information to aid my experiences in Italy, it was almost trivial compared to the depth of my firsthand encounters with Italian culture. The combined experience of prior and firsthand knowledge will be extremely helpful in my future career.
This experience impacted my development into a socially responsible leader and future professional. On a professional level, this experience helped me prepare for my later role as Barbarina in Mozart’s Le Nozze di Figaro. On a personal level, I now have a deeper understanding of culture and an improved ability to empathize and relate with others, which will serve me throughout the rest of my life no matter my career path. Through of this experience, I have learned the value of communicating through multiple media, be it music or language, in order to connect with others from around the globe. More importantly, I began to realize that music was a universal medium through which people communicate and express emotion, which is important in a variety of mechanisms from physical health to international relations. I have been pursuing this line of inspiration in my extracurricular pursuits ever since.
Part 3: Now What?
This experience had a great impact on (1) my perspective on Italian opera music and understanding of Italian culture, (2) my concept of the importance of music in other countries, and (3) my ideas on communicating and expressing through music as a means of connecting with diverse people. On surface level, I integrate what I learned about Italian music and language everyday in my study of voice performance. On a deeper level, I have become a stronger advocate for the arts and have devoted more time to educating American children about the importance of music, in the hopes that music might become a beneficial influence in their lives, as it is for people I met in Italy. However, my experiences in Italy brought about a large change in my professional and personal priorities, inspiring me to research the psychoneurological mechanisms underlying the power of music in communication.
I have disseminated my work via memorabilia documents: notes from my classes, a brief paragraph in Italian about my time in Spoleto, audio/video recordings of my performances, pictures, etc. However, the true dissemination of my experience can be seen through my work teaching music and my research on the importance of music as a means for communication. The audience for this work has been underprivileged children in Cincinnati, the geriatric population of Cincinnati, and recently, the readership of scientific journals like the Journal of Voice. Through sharing my learning, I gained a larger perspective on the diversity of people that can be united through music.