In order to achieve its objectives NEOJIBA uses methods based on the model of “El Sisteme” in Venezuela, which has demonstrated a style of musical education that can create great musicians and change substantially the lives of hundreds of thousands of children in a country. The focus of this method is directed towards intensive group practice from an early age and the commitment to keep always present the joy and interest arising from learning how to make music. This system, referred to as “first passion and afterwards refinement” is in major contrast to musical instruction in other parts of the world. The basis of the student’s development in this system is preparation for participation in orchestral groups which are central to the cultural soul of the community. The importance of other musical disciplines such as choral singing and instrument repair is also recognised.

Learning Sequence:  Children of pre-school age start by studying rhythm and movement. The key element of the program is to encourage bodily movement while playing, but without losing control. At the age of 5 years, they can choose their instrument – starting with percussion and recorder. They also participate in a choir to create the sense of community and work groups. At the age of 7, all students can choose their first string- or wind instruments. The children are able to change their instruments later but are not encouraged to do so without a good reason.

Training: The first phase of instruction includes singing and interacting with the instrument, focusing on a single musical note of a piece, thus helping the development of a sense of sound quality. Learning to use the standard musical notation can take a long time but be progressively incorporated into the learning process. There are three rehearsal methods:

-          orchestral rehearsal

-          instrumental group rehearsal

-          individual rehearsal

Often, students are taught by the same teachers in individual and in group practice thus allowing rapid progress, through correction of bad habits and constant reinforcement of the good ones.

Learning through practice: The students give public concerts as often as possible. This helps to combat stage fright and allows formal training and a natural initiation into their life as musicians. This way, the students will observe the performance of their colleagues and witness and inspire their achievements.

Surroundings: One of the main objectives of the system is to provide students daily with a safe, happy and fun place to be where self-esteem and sense of respect for each member is promoted. This inspires discipline without being excessively strict and help is always available. The young people are self-motivated, and also by their teachers and colleagues. Hard work and achievement is crucial to the success of this system, but enjoyment is also a key element.

Teachers : In Venezuela, the majority of the teachers and principals were students themselves in “El Sistema” centres and this must also be a feature of NEOJIBA. The teacher will fully understand the social and musical mission they represent, to nourish the individual and the musician. Teachers are able to give attention individually to each student: if they notice that a child has missed a lesson for the second time without prior notice, they would normally go to the home to find out the reason for the absence .

Syllabus : The curriculum begins with simple arrangements of important musical works. Those works are often re-introduced as the child’s progresses. As the young Venezuelan conductor, Gustavo Dudamel, says:” we live our lives through music. When we play Beethoven’s 5th Symphony we feel that this is the most important event happening to us.”

Music: Pupils study classical composers as well as composers of traditional and classical Brazilian and Latin American Music.

Work with parents:  The system takes considerable time working with the pupil’s parents. Teachers visit the children’s parents to ensure their understanding of the commitment required, guide them in supporting their children’s studies as well as giving advice on how to encourage and console them. In addition, the members of the orchestra receive a scholarship from the management and training centres, which depend on the age of the student, the orchestra he plays in, the responsibilities he takes on and the standard he achieves in regular auditions. This recognises the progress of the student and can provide enough value that parents do not need to take their children out of the system and put them to work.