Ultimately, in the international concert hall, Venezuelan youths see themselves empowered through the medium of the orchestra, while U.S. El Sistema’s post-colonial impetus informs its search for a social transformation of broad dimension and favors a neo-idealism that exceptionalizes the performative, collective, and nationalistic aspects of orchestral practice.
brand of neo-idealism tends to exceptionalize classical music, a selected body of masterpieces, and the notion that a contemplative intimacy with music can be life-changing. and Venezuela provides a deeper perspective on the important differences between the neo-idealistic values of El Sistema and those of its U.S. A comparative study of historical and philosophical currents in the U.S. From this fluid profile also emerges an aesthetic tendency to idealize orchestral practice while seeking a dismantling of the classical/pop schism. At the same time, an examination of El Sistema’s profile, as reflected in documentaries, in Abreu’s public statements, and in historical and archival sources, points to a complex socio-musical institution grounded in a transformational social vision that exceeds a modest community-service dimension. El Sistema admirers to value the program on account of its close ties to the genre of classical music and its potential to positively influence individuals and communities. An analysis of these sources points to a tendency on the part of U.S.
reception of El Sistema has been, for the most part, enthusiastic, as reflected in numerous media articles and the literature of prominent advocates such as Tricia Tunstall.
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