Freedom in movement: a personal reflection applying Paul Rolland’s pedagogy at the Boston Music Project
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Citation
Abstract
Mastering a string instrument requires intricate physical coordination, yet ensemble-based settings often limit the ability to address individual posture and tension. At the Boston Music Project, students frequently displayed rigidity in their playing, constraining both technical development and musical expression. In this study I investigated whether my incorporating Paul Rolland’s movement-focused pedagogy in a heterogeneous elementary string orchestra could address these issues. The inquiry was guided by two research questions: 1. To what extent do Rolland’s principles of movement and pedagogy, when applied to the teaching of string orchestra to the BMP’s Sibelius Orchestra, a heterogeneous group of 1st graders to 5th graders, improve students' posture and musicality?
2. To what extent do Rolland’s principles of movement and pedagogy influence my focus, demeanor, and engagement strategies when teaching the BMP’s Sibelius Orchestra?
Using an action research design, I integrated short, movement-centered activities into regular lessons between September and December 2024, supported by video analysis, journaling, and surveys. Action Research is an approach in which the researcher seeks to integrate research with practice, allowing teachers to systematically investigate their instructional methods while making real-time improvements. Johnson (2008) described action research as an effective bridge between theory and practice, enabling teachers to test and adapt new strategies in authentic contexts. Data analysis in this study involved: comparative video analysis to examine changes in students’ posture, bow hold, and movement fluidity between September and December; thematic coding of reflective journals in which I identified recurring themes such as successful strategies, common student challenges, and instructional adjustments; and analyzing survey data to explore student engagement and tension indicators that aided me with assessing changes in student attitudes, participation, and ease of playing based on classroom interactions and observational notes.
The following themes developed as a result of the analysis of data: student movement and posture, adaptations of Rolland’s activities, engagement and classroom dynamics, and persistent challenges. Findings indicate that Rolland’s activities encouraged students to release static tension and explore freer movement, while also shifting my teaching from remedial correction toward proactive, kinesthetic guidance. Although student movement at the final concert remained less coordinated than in Rolland’s demonstration models, evidence from classroom observations and pre/post surveys showed increasing awareness of body balance and movement quality. The study underscores both the potential and the challenges of adapting Rolland’s pedagogy for group instruction, highlighting the need for flexible application, teacher training, and intentional integration of movement into ensemble pedagogy. These findings offer practical insights for music educators seeking to enhance technical fluency, musical expressiveness, and physical ease in heterogeneous classroom settings.
Description
2026
License
Attribution-NonCommercial-NoDerivatives 4.0 International