This document provides a formative and outcome evaluation report of the El Sistema Mitchell Music Program pilot conducted from October 2013 to April 2014. The program was a partnership between the University of Michigan schools of Music, Social Work, and Education with Ann Arbor Public Schools to provide string instrument instruction to 22 fifth-grade students at Mitchell Elementary. Data collected through surveys, interviews, videos, and academic records found that students significantly improved in feelings of acceptance and school engagement. Students also exceeded academic growth benchmarks in reading and math. Challenges included attendance, balancing individual/group instruction, and expanding opportunities to all students. The program provided benefits to both students and University instructors.

1. C
El Sistema Mitchell Music Program
DRAFT
Formative and Outcome Evaluation Report
July 2014
Ann Arbor Public Schools
Mitchell Elementary School
And
University of Michigan
School of Music, Theatre and Dance
School of Social Work
School of Education
For more information, please contact:
Dr. John Ellis Dr. Michael Spencer
Associate Dean for Administration Associate Dean of Educational Program
School of Music, Theatre and Dance School of Social Work
University of Michigan University of Michigan
jsellis@umich.edu spencerm@umich.edu

2. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 2
“If children participate in regularly and extensive high quality,
ensemble based music education, they will develop a strong sense of
personal agency, and sense of community through developing musical
literacy” (Landin, A., et al 2013).
El Sistema Mitchell Theory of Change

3. El Sistema Program: Formative and Outcome Evaluation July 2014
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Executive Summary
Program Description
The El Sistema initiative is a partnership between the University of Michigan School of Music,
Theatre and Dance (SMTD), School of Social Work (SSW), School of Education (SOE), and Ann
Arbor Public Schools (AAPS). SMTD students provided after-school string instrument
instruction to 22 fifth-grade Mitchell Elementary students in partnership with Mitchell’s school
orchestra/general music teacher. Graduate students and faculty from SSW and SMTD were
responsible for designing and conducting the program evaluation. The SOE and AAPS
administration provided input and feedback on the implementation and evaluation.
The goal for the pilot program was to assist Mitchell school personnel in: 1) improving student
academic performance; 2) cultivating a strong sense of school pride; and 3) increasing family
and community engagement, while also providing SMTD students with a teaching opportunity
involving community-focused social engagement.
The Mitchell program began the week of October 21, 2013, culminating with a final performance
at the U-M Stamps Auditorium on April 23, 2014. Fifth-grade students received 75-minutes of
after-school instruction four days per week, for a total of 68 days and 85 hours of instruction.
Two SMTD graduate students in music performance and the Mitchell orchestra/general music
teacher were the lead teachers in the pilot program. Eight project teachers were hired to give
pull-out lessons beginning in mid-February. Six of the project teachers were undergraduate
music education majors and two were music performance majors.
Evaluation Overview
The purpose of this evaluation was to: 1) provide a descriptive account of the emerging El
Sistema Inspired (ESI) curriculum at Mitchell Elementary; 2) document school and student
outcomes related to music literacy, individual and collective empowerment, sense of
community and school pride; 3) document the teaching experiences of SMTD students and their
development of social consciousness; and 4) document the pedagogical approach used by the El
Sistema model to help inform the social engagement curriculum for SMTD.
A mixed-method data collection process was used to evaluate the program. Quantitative and
qualitative data collected include: 1) pre- and post-test student surveys and focus groups; 2)
teacher ratings; 3) music instructor and school principal interviews; 4) parent questionnaire and
focus group; 5) digital video recordings of large ensemble, sectionals and pull-out lessons; 6)
weekly process notes; 7) school records on student attendance, academic achievement and
behavioral conduct.

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Program Evaluation Group, University of Michigan School of Social Work 4
Results
Data from the video recordings and teacher interviews were used to analyze the instructional
approach used in the pilot program. The program featured many of the “distinguishing
characteristics” described in the El Sistema literature. The structure of the learning
environment included large ensemble, sectional learning, and individual lessons, with the large
ensemble being the main learning tool. The large ensemble environment was characterized by a
fast-paced, high-energy instructional approach, team-taught by the three teachers with the
Mitchell school orchestra/general music teacher assuming responsibility for the overall pace
and structure of rehearsal.
Most of the repertoire learned was standard repertoire for American beginning string class
instruction. As described in the ESI literature, the repertoire included arrangements of classical
repertoire, along with examples of American folk, fiddling, and patriotic repertoire. Repertoire
learned included arrangements of the Star Spangled Banner and Niño Lindo, a Venezuelan folk
song. Other ESI characteristics observed included rigorous expectations for the students to
strive for excellence, a safe and supportive learning environment, flexible teaching, and
opportunities for peer mentoring.
Fifth-grade students’ feelings of acceptance and reinforcement by parents, teachers, and friends
improved significantly from the beginning to the end of the program (p < .05). Students also
showed a statistically significant positive improvement in the way they felt about school
(p < .05). Evaluators analyzed student NWEA test scores to measure academic gain. The
change in El Sistema student test scores from Spring 2013 to Spring 2014 exceeded the national
average in reading (6.2 points, 10.7% above national average) and math (9.9 points, 16% above
national average). Music teachers in the program cited many benefits to the fifth-grade
students including high levels of musical achievement, increased opportunities for learning, an
understanding of the benefits of discipline, perseverance, a positive attitude and hard work.
Parents noted increases in students’ self-confidence as result of the El Sistema program.
SMTD graduate student instructors reported personal and professional advantages of
participating in the program. In addition to developing skills and gaining experience in
teaching group instruction, SMTD instructors benefited personally from engaging students,
their families, and the community in a meaningful way which enriched their own lives.
Implementation Challenges and Study Limitations
Challenges encountered in program implementation included the following: 1) a student
average attendance rate of 65%; 2) finding a balance between private instruction, sectionals, and
full ensemble; 3) addressing individual student needs; and 4) the balance of collaboration
between the Mitchell school music teacher and the two SMTD graduate student instructors.
One unintended consequence of offering the after-school ESI program at Mitchell to strings only

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Program Evaluation Group, University of Michigan School of Social Work 5
rather than all fifth-graders was that it introduced an inequality of educational opportunity for
the fifth-grade band students. It is recommended future school-based partnerships that target a
specific grade level offer the opportunity to all students.
Parent involvement and support is a characteristic of ESI programs that the teachers reported
was difficult to implement in the pilot program. The teachers suggested the hiring of a
professional staff person to help coordinate the private lessons, performances, and
communication with parents. Teachers recommended that the program include additional
performances, perhaps in December and March. SMTD instructors also expressed an interest
in receiving more preparation and training for working in public settings with diverse groups
of students, perhaps a lecture, presentation, or course to teach cultural sensitivity and
humility.
Threats of validity and reliability exist because the single group pre-post design lacks scientific
rigor. The small sample size threatens the study’s reliability, and threats to validity are evident,
particularly maturation, given the intervention is delivered to elementary school-aged children.
However, when feasible, testing the impact, attrition, and instrumental effect was monitored
and managed through the implementation of the evaluation protocols. Despite these
limitations, this type of design provided key stakeholders with information to better
understand the target population, services, and attainment of expected outcomes for future
replication and expansion purposes.

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Executive Summary................................................................................................................. 3
I. Purpose of the Report........................................................................................................ 7
II. Transforming Approaches to Teaching and Scholarship ..................................................... 9
A. Spheres of Influence, Collaborative Partnership..................................................................... 9
B. Role and Responsibilities of Key Stakeholders...................................................................... 11
III. El Sistema Inspired Program at Mitchell Elementary........................................................ 12
A. El Sistema Philosophy .......................................................................................................... 12
B. El Sistema Guiding Principles................................................................................................ 12
C. Conceptual Framework ........................................................................................................ 12
D. El Sistema Logic Model......................................................................................................... 13
E. Facilitating Factors for Implementation................................................................................ 13
IV. Purpose of Evaluation...................................................................................................... 15
A. Key Evaluation Questions..................................................................................................... 15
V. Methodology..................................................................................................................... 17
VI. Population........................................................................................................................ 24
VII. Formative Evaluation Results .......................................................................................... 26
VIII. Outcome Evaluation Results........................................................................................... 33
A. El Sistema Mitchell Student Outcomes................................................................................. 33
B. U M Graduate Student Instructor Outcomes........................................................................ 38
IX. Areas for Improvements................................................................................................... 39
X. Implications....................................................................................................................... 44
XI. Recommendations............................................................................................................ 49
Appendix A: References......................................................................................................... 50
Appendix B: Background and Review of the Literature.......................................................... 53
Appendix C: Conceptual Framework...................................................................................... 55
Appendix D: El Sistema Guiding Principles............................................................................. 57
Appendix E: Procedures For Scoring Student Surveys ............................................................ 59
Appendix F: Codes Used to Analyze the Videotapped Rehearsals.......................................... 61
Appendix G: El Sistema Inspired Program Music Curriculum Evaluation Criteria.................... 63
Appendix H: Preliminary Pre Test Results.............................................................................. 66

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Program Evaluation Group, University of Michigan School of Social Work 7
I. Purpose of the Report
The El Sistema initiative is a research partnership between the University of Michigan School of
Music, Theatre and Dance (SMTD), School of Social Work (SSW), School of Education (SOE),
and Ann Arbor Public Schools (AAPS). This report was prepared by the University of Michigan
School of Social Work Curtis Center Program Evaluation Group (CC-PEG) in collaboration with
the SMTD Department of Music Education.
The purpose of the report is to provide key stakeholders with a summary of the Year 1 pilot
evaluation results. These results will be used by the El Sistema Collaborative to: 1) guide
program improvements; 2) replicate and expand an El Sistema Inspired (ESI) curriculum and
pedagogy; and 3) inform the development of a social engagement curriculum for SMTD.
This report contains results from (1) the October 2013 pre-test survey; (2) the ongoing
instrument instruction video-data collection from October 2013 to April 2014; (3) the April 2014
post-test survey; (4) and focus groups and interviews conducted between April and June 2014;
and (5) pre and post-program student school records (i.e., report cards and test scores).
The evaluation of the El Sistema Mitchell program was comprised of three (3) main
components:
1. Process Evaluation
To gather program experiences of participants and program improvement ideas
from stakeholders;
To determine adherence to the program logic model and grant narrative; and
To capture stakeholders understanding of the program
2. Outcome Evaluation
To determine program outcome attainment, barriers to completion, and
facilitating factors;
To identify unexpected outcomes of program participants; and
To capture stakeholders understanding of program impact
3. Evaluation Capacity Building
To inform SMTD curriculum development; and
To establish ongoing evaluation systems for the El Sistema program to enhance
program sustainability

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Evaluation Team (In order of contribution)
Anthony M. Provenzano, MPA, MSW Candidate
Evaluator, Curtis Center Program Evaluation Group
School of Social Work
Michael Hopkins, PhD
Associate Professor, Department of Music Education
School of Music, Theatre and Dance
Sue Ann Savas, MSW
Clinical Assistant Professor
Director, Curtis Center Program Evaluation Group
School of Social Work

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II. Transforming Approaches to Teaching and Scholarship
El Sistema is a Venezuelan music program that has inspired a global movement due to its social
mission to fight poverty and improve the human condition. Inspired by El Sistema’s model for
social change, this Venezuelan model has emerged as the catalyst for the University of Michigan
to develop an “innovative, multi-disciplinary teaching and scholarship approach” (U-M, 2013).
For more background information on El Sistema and a review of the literature, refer to Appendix
B: Background and Review of the Literature.
Partially funded by the University of Michigan’s Third Century Initiative, the University of
Michigan SMTD, SSW, and SOE have partnered with AAPS to develop an innovative music
intervention program for diverse communities, and a social engagement curriculum for SMTD
graduate students. Through this interdisciplinary research initiative, faculty, graduate students,
and key stakeholders utilized a participatory research approach on the design, implementation,
and evaluation of the El Sistema Mitchell music program.
Existing literature, although limited, provides evidence of the effects of the El Sistema model on
improving social, health, and education outcomes. Furthermore, there are few studies on the El
Sistema pedagogical approach; however, this is one area the evaluation has made contributions
to the field. Through this research partnership, formative and outcome evaluations were used
to shape the El Sistema Inspired (ESI) music intervention program, enhance the SMTD social
engagement curriculum and pedagogy, and verify if the pilot program was effective in
achieving its objectives.
Transforming approaches to teaching and scholarship through multidisciplinary social
engagement opportunities were the precepts for this collaborative research partnership. By
drawing from the innovative pedagogical approach of El Sistema, and combing proven research
methods from music, social work, and education, faculty, graduate students, and community
partners have gained from the collective intelligence of the different disciplines. This shared
knowledge has provided opportunities for scholars and communities to develop advanced
philosophical approaches for responding to challenging health, social, education, and economic
concerns.
A. Spheres of Influence, Collaborative Partnership
There are two (2) spheres of influence that have been integral to guiding the implementation of
the El Sistema Mitchell model and designing the formative and outcome evaluation:
1) AAPS/Mitchell Elementary School; and
2) The University of Michigan SMTD

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i. AAPS/Mitchell Elementary School
Administrators from AAPS responsible for research and evaluation and the Principal and Music
Teacher at Mitchell Elementary expressed the need for improving school performance, student
academic achievement, and relationships with families and the community. In response, key
stakeholders from the El Sistema Mitchell initiative have adapted the Venezuelan music model
to develop a theory of change and logic model (Refer to Page 14, the El Sistema Mitchell Logic
Model) to target the specific needs, goals, and objectives of Mitchell Elementary and AAPS.
Mitchell Elementary School is in its third year of an intensive partnership with the University of
Michigan SOE: the Mitchell Scarlett Teaching and Learning Collaborative (MSTLC). This
partnership was designed to assist school personnel to improve school achievement and to
create a context for teacher education. Through the El Sistema Mitchell initiative, Mitchell
Elementary intends to build upon other after-school and extended year programs offered by the
MSTLC that focus on literacy, math, and science instruction. In partnership with the University
of Michigan SMTD, SSW, and aligned with the El Sistema philosophy, Mitchell Elementary has
established the following school-specific program objectives for the El Sistema pilot program: 1)
improving student academic performance; 2) cultivating a strong sense of school pride; and 3)
increasing family and community engagement.
ii. University of Michigan School of Music, Theatre and Dance
The University of Michigan SMTD aims to develop a social engagement pedagogy and
community-focused curriculum for SMTD students through their participation in the El Sistema
Mitchell initiative. This objective is central to SMTD’s mission and development as a
professional performing arts school. Teaching students how to engage communities in which
they work is now a core skill for the 21st Century performing artist and arts educator. A social
engagement curriculum situates SMTD students in the center of the global concerns
surrounding income inequality, economic deprivation, lack of access to education, health care
and other basic needs. It allows students opportunities to witness how their artistry speaks to
and transforms communities coping with these stressors.
Through the collaborative partnership with Mitchell Elementary School, the El Sistema model
will be used as the catalyst to form a social engagement pedagogy and curriculum. By
enriching SMTD’s curriculum with social engagement teaching activities graduate students
will: 1) develop a sense of social consciousness; 2) increase opportunities for graduate students
to provide instruction across different community settings; and 3) increase employability
through traditional and non-traditional curricula.

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B. Role and Responsibilities of Key Stakeholders
In this research initiative, the Associate Deans from SMTD and SSW were Co-Principal
Investigators responsible for project oversight and capacity building.
i. Music Intervention
SMTD was tasked with implementing the music intervention pilot program at Mitchell
Elementary School using the El Sistema model. SMTD graduate students with previous
involvement in El Sistema provided music instruction in partnership with Mitchell’s school-
based music teacher. In addition to teaching children to play music as part of the El Sistema
program, two (2) lead SMTD graduate students were also participants of the evaluation, helping
to inform the development of SMTD’s social engagement pedagogy. Eight (8) SMTD graduate
student project teachers volunteered to provide pull-out lessons beginning in mid-February.
The School Principal provided administrative and program support. The school-based music
teacher served as the program director to: i) lead rehearsals and performances; ii) organize
program logistics; and iii) provide music education instructional support to SMTD graduate
students.
ii. Evaluation
Graduate students from the SSW CC-PEG, under the direction of the Associate Dean and CC-
PEG Director, were responsible for collaborating with SMTD faculty to conduct the evaluation.
The SMTD faculty member is a Professor of music education and Lead Evaluator of the El
Sistema music curriculum. CC-PEG was responsible for designing and conducting the overall
evaluation, in collaboration with the El Sistema collaborative and SMTD Lead Evaluator. The
SOE was also a partner in the El Sistema initiative, providing input and feedback on the
implementation and evaluation. Key leadership from AAPS responsible for research and
evaluation provided direction and support in developing the pilot program and evaluation plan
at Mitchell Elementary School.

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III. El Sistema Inspired Program at Mitchell Elementary
A. El Sistema Philosophy
The philosophical underpinnings of the El Sistema intervention focus on personal development
as a means to build community. “Music nourishes and is nourished by that day-to-day pace,
awakening its aesthetical sense, encouraging without artificial postures the emergence of harmony and
beauty in places such as the city, the country and even within the very individual,” (Fundacion, 2013).
The El Sistema model supports children and youth through the philosophy that music can
provide “self-concept, self-esteem, self-confidence, discipline, patience, and commitment.” This helps
young people to recognize how their individual actions impact collective goals, while
cultivating a supportive environment of families, schools, and communities. At the core of El
Sistema’s community engagement approach is the concept that music offers a “spiritual”
richness that awakens the human condition through a heightened state of mind, greater
awareness of ethical principles, and improved intellectual and emotional skills conducive to
overcoming poverty (Fundacion, 2013).
B. El Sistema Guiding Principles
Through the literature El Sistema is characterized by 10 overarching principles listed below.
Refer to Appendix D: El Sistema Guiding Principles for a detailed account of these principles.
1. Mission of social change
2. Access and excellence
3. The nucleo environment.
4. Intensity
5. The use of ensemble.
6. The CATS teacher model: Citizen/Artist/Teacher/Scholar
7. The multi-year continuum
8. Family and community inclusion
9. Connections and network
10. Ambition and Achievement
C. Conceptual Framework
El Sistema Mitchell has developed a conceptual framework incorporating the guiding
philosophical principles of the El Sistema literature, a review of social and music learning
theories, and the specific community needs of Ann Arbor, Michigan. Precepts include music as
an agent of change, excellence, community, and supporting personal growth. The theory of
change and logical model (Refer to Page 14) provide an overview of how the El Sistema Mitchell
intervention achieved its intended outcomes (Refer to Appendix C: Conceptual Framework for the
goals and objectives of the program).

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The theory of change states,
“If children participate in regularly and extensive high-quality, ensemble-based music
education, they will develop a strong sense of personal agency, and sense of community
through developing musical literacy” (Landin, A., et al 2013).
D. El Sistema Logic Model
Refer to Page 14 for detailed program logic model.
E. Facilitating Factors for Implementation
To maximize program recruitment and retention, students identified to participate in the
El Sistema program were already receiving instrumental music instruction as a standard
component of Mitchell Elementary School’s fifth grade music curriculum.
In an effort to ensure student and parent participation in El Sistema Mitchell program,
students were provided transportation to all activities including daily music instruction
and musical performances. Parents were offered transportation to the Year End
Performance at U-M Stamps Auditorium.
The SMTD music instructors have participated in El Sistema global movement as
students, and later as instructors. This previous experience is an essential training
component that directly impacts the success of El Sistema intervention at Mitchell
Elementary School and development of SMTD’s pedagogy.
Key stakeholders for the El Sistema Mitchell Initiative are using a community-based
participatory approach to design the program intervention and evaluation plan.

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Program Evaluation Group, University of Michigan School of Social Work 14
El Sistema Mitchell Logic Model

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IV. Purpose of Evaluation
The purpose of the evaluation was to: 1) provide a descriptive account of the emerging El
Sistema Inspired curriculum at Mitchell Elementary; 2) document school and student outcomes
related to music literacy, individual and collective empowerment, sense of community and
school pride; 3) document the teaching experiences of SMTD students and their development of
social consciousness; and 4) document the pedagogical approach used by the El Sistema model
to help inform the social engagement curriculum for SMTD.
Two (2) types of evaluations were used to help shape the El Sistema music intervention at
Mitchell Elementary and to measure the goals and objectives. A formative evaluation was
conducted to document the emerging curriculum from year one of the El Sistema Mitchell pilot
project. Key stakeholders intend to use the results of this evaluation to manualize the El
Sistema program for future replication and expansion purposes. An outcome evaluation was
conducted to provide evidence that the El Sistema Mitchell program is meeting its intended
outcomes.
A. Key Evaluation Questions
Formative Evaluation
1. What is the curricular content of the El Sistema model?
2. What is occurring during music lessons to create the music culture of El Sistema?
3. What are the similarities and differences in the curricular content from other forms of group
class string instruction typically found in the United States?
4. What are the skills the SMTD Instructors and Mitchell Elementary Music Teacher possess?
5. What are the concepts and key elements of the El Sistema pedagogical approach?
6. How can the El Sistema model best inform a social engagement curriculum?
Outcome Evaluation
1. What impact does participation in El Sistema Mitchell have on fundamentals of string
instrument technique (posture, instrument position, bow hold, bow stroke, tone quality,
intonation), music performance skills (performing rehearsed music, sight-reading music,
playing from memory, playing by ear, improvising), and selected aspects of music literacy?
2. What impact does El Sistema Mitchell have on students’ musical self-esteem, academic
achievement, and conduct?
3. Have students increasingly acknowledged their sense of control in evoking change in their
own lives?

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4. Have students become more aware of their community?
5. Has their sense of belonging or contribution to the community increased?
6. Do students who participate in El Sistema Mitchell have higher levels of enrollment in the
middle school instrument program?
7. Has Mitchell Elementary School developed a stronger sense of pride as a result of
implementing the El Sistema program?
8. Has the School developed stronger connections with students, families, and the community?
9. Have the SMTD graduate students developed a stronger sense of social consciousness
through their work at Mitchell Elementary using the El Sistema model?

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V. Methodology
A. El Sistema Inspired Program – Music Curriculum Evaluation Criteria
The evaluation criteria used to assess the music curriculum (Figure 1) of the El Sistema Mitchell
pilot program is based on a literature review of: i) Venezuelan El Sistema (ES) and El Sistema-
inspired (ESI) programs in the U.S.; ii) National Standards of Arts Education (NASAE); and iii)
1st year string instrument standards and AAPS fifth-grader outcomes.
Figure 1. El Sistema Mitchell Music Curriculum Evaluation Criteria
Music Curriculum Evaluation Criteria
ES and ESI Programs NASAE AAPS & 1st Year String
fast-paced, high energy rehearsal
environment
singing, alone and with others,
a varied repertoire of music
instrument skills—bowing
teachers have rigorous
expectations for the students to
strive for excellence
performing on instruments,
alone and with others, a varied
repertoire of music
instrument skills— Instrument
Position and Left Hand Skills
the learning environment is safe
and supportive, characterized by
caring and kindness
improvising melodies,
variations and accompaniments
music literacy—defined as “an
association of sound-to-symbol,
in a given musical context.
the teaching is characterized by
flexibility, purposeful planning,
encouragement of exploration and
curiosity, and a variety of teaching
techniques
composing and arranging
music within specific
guidelines
aural skills – implementing
patterns by ear
the structure of the learning
environment includes large
ensemble, sectional learning, and
individual lessons, with the large
ensemble being the main learning
tool
reading and notating music rehearsal skills – playing together
with other students
parent involvement and support listening to, analyzing, and
describing music
attitude – fostering a positive
attitude towards music
opportunities for peer mentoring
and student leadership
evaluating music and music
performances
regular student assessment understanding relationships
between music, the other arts,
and disciplines outside the arts
frequent performance
opportunities
understanding music in
relation to history and culture
repertoire includes arrangements
of classical repertoire, along with
examples of American music
(fiddling repertoire, jazz, etc.)
repertoire includes simple
arrangements of big pieces (i.e.,
masterworks) with big sound

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B. Grant Criteria: Curricular Design and Goals
The curricular design and goals as determined by the grant proposal were also used to evaluate
the music intervention. Listed below are the activities listed in the grant.
i. SMTD undergraduate and graduate students will have opportunities to:
a. work in a socially, economically, and linguistically diverse context;
b. enact pedagogies with direct feedback on their work; and
c. see the impact of arts engagement on the overall achievement and well-being of
students in the academic and social life of the school.
ii. Instruction will combine full ensemble rehearsals with sectionals, partner lessons and
individual lessons.
iii. Instruction will primarily be carried out by the lead GSI, the assistant teacher, as well as by
SMTD students employed to teach supplementary private lessons (hereafter referred to as
“project teachers”) on a weekly basis.
iv. Outreach in the Performing Arts (MUSPERF 101/401) and Teaching String Instruments
(MUSED 201/202) will serve as training venues for the SMTD EI Sistema project teachers.
v. The lead teachers will offer regular training and assessment meetings for the project
teachers.
vi. The Mitchell Elementary School music teacher will assist with planning, teaching and
facilitation of the interaction between the EI Sistema program and the regular instrumental
program at Mitchell Elementary School.
vii. A research team of Music Education and Social Work graduate students will assess musical,
academic and social results.
viii. Beginning in October 2013, graduate students will provide monthly reports on music
assessments. Program leaders convene monthly to review graduate students reports and
videotapes.
ix. The EI Sistema initiative will complement other extended day and extended year programs
offered collaboratively with the MSTLC that focus on literacy, math, and science instruction.
C. Study Design
A single group pre-test/post-test multi-method research design was used to evaluate the
effectiveness of the El Sistema Mitchell pilot project in achieving its desired program goals,
objectives, and outcomes, as determined by the proposed conceptual framework and logic
model (Refer to Page 14, the El Sistema Mitchell Logic Model).
Single Group Pre-test-Post-test Design
O1 X O2
X = Intervention O = Observation

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The El Sistema Collaborative Partnership selected a pre-experimental design to deliver a cost
effective descriptive account of the Venezuelan model. Short time constraints leading up to the
project kick-off, and limited financial resources to support the implementation and evaluation,
were cited by the Collaborative as reasons for selecting this type of design. Although the pre-
experimental design is feasible provided the restraints placed on the community, this study
design presents limitations, and positive outcomes could be a result of factors other than the
program intervention.
D. Study Recruitment and Retention
A purposeful sample was used to maximize program recruitment and retention and to help
control project costs. Twenty-two students at Mitchell Elementary School who currently receive
string instrumental instruction as a standard component of the fifth-grade music curriculum in
AAPS were targeted for this study. These students were selected to participate in the program
because the El Sistema trained SMTD graduate instructors were experienced violinist/violist
and cellist. This had excluded fifth-grade horn instrument students from participating in the
afterschool program.
The parents of string students were mailed letters providing information regarding the El
Sistema afterschool program and inviting them attend a program orientation. All
communication to the parents regarding the afterschool program were provided in both English
and Spanish. During the orientation family members were provided with: 1) the El Sistema
program permission slip for student enrollment; 2) the parental consent form for their child’s
participation in the program evaluation; and 3) a one-item questionnaire regarding the
expectations for their child in the after school program. In an effort to increase program
participation and ensure retention, the school principal contacted families via the telephone to
inquire about reasons for not participating, and to discover potential causes for students
dropping-out.
Student participation in the study was voluntary. A student’s experience in the El Sistema
Mitchell program was not positively or negatively impacted as a result of their participation in
the evaluation. Students had the right to refuse to answer any of questions, and at any point
could choose not to participate in the study. No one is able to identify students from any of
the data, analysis, findings, or reports. All 22 students participated in the program evaluation,
including the pre-test and post-test surveys and focus group.
Evaluation consent forms were signed by the parental guardians of all 22 students who
participated in the El Sistema Mitchell program evaluation. Parental consent forms were
translated for Spanish speaking families and bilingual project staff were available during the
program orientation to answer any questions parents had regarding student participation in the
program and the exploratory study. Signed parental consents forms and sensitive survey data

20. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 20
was kept in a locked office and located on the University of Michigan’s secured password
protected computer network.
E. Data Collection and Measurements
The multi-method data collection processes for the program evaluation was reviewed and
approved as non-regulated by the University of Michigan Institutional Review Board. Data
were gathered to assess the achievement of the program goals (Refer to Appendix C: Conceptual
Framework for detailed list of the program goals and objectives) through analysis of videotaped
rehearsals, pre- and post-program interviews with the three (3) music instructors and the school
principal, focus groups with the parents and students, researcher observations, email
correspondence with the lead teachers, project teachers, and the Mitchell Elementary school
music teacher.
The quantitative and qualitative procedures for this study design consist of conducting pre-test
(O1) and post-test (O2) student surveys and focus group, teacher ratings, music instructor and
school principal interviews, parent questionnaire and focus group. Digital video recordings of
a sample of music instruction lessons were conducted weekly to assess instrumental technique
and other aspects of music literacy. Weekly process notes were also documented to account for
changes to program implementation plans. The evaluation also examined student academic
achievement and behavioral conduct through a review of official school records that capture
student attendance, grades, and test scores to reveal any changes in academic performance.
Student pre-test surveys were completed by the El Sistema program participants on October 29
and 30, 2013 during the afterschool music program, with 18 El Sistema program participants
responding. Survey administration was split between two (2) days to account for program
agendas, respondent fatigue, and accurate survey completion. Make-up sessions were offered
the following week for students who were not in attendance. An additional attempt to collect
student survey data was made upon new student enrollment into the program. All 22 program
participants completed the pre-test student survey, for a response rate of 100%.
Student post-test surveys were completed by El Sistema program participants on April 29 and
May 1, 2014 during the general music education string instrument instruction. The surveys
were administered proceeding the El Sistema Year-End Concert and program banquet/awards
ceremony. The surveys were split between two (2) days due to time constraints. All 22
program participants completed the post-test student survey, for a response rate of 100%.
Pre-test teacher surveys were administered to and completed by both fifth-grade general
education teachers for each student participating in the El Sistema program on October 30, 2013.
The teachers completed 21 of the 22 surveys for a response of 95%. The post-test teacher rating

21. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 21
was administered on May 27, 2014. The teachers completed 22 surveys for a response rate of
100%.
Pre-tests and post-tests for students and teachers utilized the following standardized measures
(Figure 2):
Figure 2. Detailed Account of Student Survey and Teacher Rating Measures
KEY INFORMANT NAME OF MEASURE AUTHOR(S) DATE
DEMONSTRATED EFFECTIVE IN
MEASURING
Students
Attitudes Towards
School
Anderson, S.
A.
1999 Student’s perception of school
Students
Satisfaction With
Life
Gadermann, A.
M., et al
2010 Individual well-being
Students Conflict Behavior
Kammratrh, L.
& Dweck, C. S.
2006 Relationship conflict behavior
Students
Parent Involvement
In Students’ Music
Education
Zdinski, S. 1993 Music environment at home
Students
Self-Esteem of
Music Ability
Schmitt, M. 1979
Self-confidence; Skills and abilities
in music; and Feelings of acceptance
and reinforcement by parents,
teachers, and friends
5th Grade
Teachers
School Achievement
Motivation
Chiu, L. H. 1997
Teacher rating of student
achievement motivation
demonstrated in the classroom
The qualitative data collection included semi-structured interviews, focus groups, and
questionnaires with project stakeholders at time O1 and O2. The qualitative data collection
protocols were designed by the evaluation team with input from the El Sistema Collaborative to
ensure different perspectives in capturing information about the implementation, operations,
and outcomes.
Semi-structured interview and focus group questions for music instructors, the school principal,
parents, and program participants were developed to describe the emerging music curriculum,
address program improvements, and student outcomes in relation to music literacy, sense of
community, and sense of personal agency; perceived sense of school pride; and the music
instructors’ perceived sense of social consciousness.

22. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 22
A parental guardian questionnaire was distributed in both English and Spanish during the El
Sistema program orientation/kick-off event on October 16, 2013. A total of 17 of 22
questionnaires were collected for a response rate of 77%. Parents/legal guardians also
participated in a post-program focus group hosted during the program ending banquet and
awards ceremony on April 28, 2014. Four (4) separate tables were organized to control the size
of the focus groups. One of the parent focus groups was conducted in Spanish to capture the
voice of Spanish speaking families. A total of 18 parent/legal guardians participated in the
focus groups.
Post-program interviews were conducted with the Mitchell Elementary school principal and
school-based music teacher, and U-M lead graduate student music instructors in April and May
2014.
Post-program student focus groups were conducted on May 27, 2014 during the general music
education string instrument instruction. Three (3) separate groups were hosted to control for
size. All 22 students participated in the focus group.
The statements provided by the key informants in this report are direct quotes and have not
been altered.
F. Analysis Procedure
Statistical Package for Social Sciences (SPSS) version 21.0 was used to organize, manage, and
analyze data to evaluate the effectiveness of the intervention outcomes. For complete account
of the methods used to calculate and score the student surveys and teacher rating refer to
Appendix E: Procedures for Scoring Student Surveys.
Descriptive statistics were performed to report the differences in the means of the Northwest
Evaluation Association (NWEA) RIT reading and math test scores from Spring 2013 (4th grade)
to Spring 2014 (5th grade). El Sistema student data was compared to national averages using
NWEA normative data to document changes in academic performance. Student report cards
were obtained and analyzed at the end of the school year that contained grades for fall, winter,
and spring as another measure of school achievement.
Semi-structured interviews and focus groups were audio recorded and transcribed by the
evaluation team. CC-PEG evaluators analyzed transcripts and open-ended responses on
questionnaires for themes. The qualitative data collected were organized and coded into
categories using Microsoft Excel.
A video coding scheme based on Duke (1999) was developed in order to analyze the content of
the videotaped rehearsals. A list of the categories used to code the video can be found in
Appendix F. Videotaped data were coded using Scribe 4, a data analysis program developed at
the University of Texas at Austin's Center for Music Learning (cml.music.utexas.edu). In order

23. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 23
to determine the reliability of the coding procedure, 10% of the video used for analysis was
coded independently by the SMTD Associate Professor and a graduate student in music
education. Reliability was computed by comparing the total time in minutes coded for each
observational category (agreements/(agreements + disagreements)). Average inter-rater
reliability was .91.
For the purposes of this evaluation report, 325 minutes of video was coded and analyzed.
Video was selected from November 6 and 13, December 4 and 18, January 30, February 11 and
25, and March 18, yielding a total of 16 sample lessons. The teacher interviews conducted to
further understand the emerging music curriculum and pedagogy at Mitchell were transcribed
and analyzed based on the evaluation criteria listed in Appendix G: El Sistema Inspired Program
Music Curriculum Evaluation Criteria

24. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 24
VI. Population
Two (2) populations were directly affected by the El Sistema Mitchell program: 1) fifth graders
at Mitchell Elementary School; and 2) SMTD graduate students who received experience
working in public schools and teaching diverse populations.
A. Mitchell Elementary School
In the 2013-14 school year Mitchell Elementary had approximately 280 students enrolled.
Located in the southeast area of Ann Arbor, Michigan, more than 30% of the students speak a
language other than English at home. Seventy-two percent (72%) of students qualify for free or
reduced lunch (WISD, 2013). Figure 3 below provides an account of the total school population
by race and ethnicity using data from 2010, the most recent year available. In 2010, the total
census was 260 students (AAPS, 2010).
Figure 3. Mitchell Elementary School Race and Ethnicity (n=260)
B. Participant Description
i. El Sistema Students
Twenty-two (22) fifth-grade students receiving string instrument instruction as standard
component of the Mitchell Elementary School music curriculum were identified to participate in
this pilot program. Figure 4 below provides the percentages of boys and girls in the program
by gender.
0.4%
2.3%
7.3%
18.5%
23.1%
23.9%
24.6%
Other
Middle East
Asian
Multiethnic
Caucasian
Latino/Hispanic
African American
(n = 60)
(n = 64)
(n = 1)
(n = 62)
(n = 48)
(n = 19)
(n = 6)

25. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 25
27.3%
72.7%
Boys
Girls
Figure 4. El Sistema Students By Gender (n = 22)
There were six (6) boys and sixteen (16) girls in the program.
Figure 5 provides the percentages of program participants by race and ethnicity. There were no
students of Middle East decent or who identified as Other that participated in the program.
Figure 5. El Sistema Students By Race and Ethnicity (n = 22)
ii. U M Graduate Student Instructors
Two (2) SMTD graduate students in music performance and the Mitchell orchestra/general
music teacher were the lead teachers in the pilot program. Eight (8) project teachers were hired
to give pull-out lessons beginning in mid-February. Six (6) of the project teachers were
undergraduate music education majors and two (2) were music performance majors.
13.6%
18.2%
18.2%
18.2%
27.3%
Latino/Hispanic
Multiethnic
Asian
African American
Caucasion (n = 6)
(n = 4)
(n = 4)
(n = 4)
(n = 4)

26. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 26
VII. Formative Evaluation Results
A. El Sistema Inspired Music Curriculum at Mitchell Elementary
Question 1: What is the curricular content of the El Sistema model?
a. Repertoire
The repertoire learned and performed by the students included the following:
Pizzicato D and A strings on rhythmic patterns learned in general music curriculum
D and G scales bowed with straight 1/16 note rhythm
Hot Cross Buns and Twinkle, Twinkle Little Star played as follows:
o Pizzicato
o Arco on open D and A strings with rhythm of song
o Arco adding left hand finger patterns
Twinkle, Twinkle Little Star with the rhythm used in Suzuki Book 1, Variation 1—four 1/16
notes, two 1/8 notes.
Lightly Row
Bile ‘Em Cabbage Down on D string
Star Spangled Banner 3-part arrangement in G major, played pizzicato
Nino Lindo – a Venezuelan song the U-M graduate student instructors arranged for final
performance
Other repertoire learned was taken from Essential Elements 2000 Book 1 (Allen, Gillespie &
Hayes, 2001). The approach used to learning this repertoire was similar to Hot Cross Buns
and Twinkle, as described above.
o Can Can
o Ode to Joy
o Picky Pizzicato
o This Old Man
o Kookaburra
Question 2: What is occurring during music lessons to create the music culture of El
Sistema?
a. Instructional approach/learning environment
The learning environment was characterized by a fast-paced, high-energy instructional
approach. The percentage of time allocated to teacher interventions, student responses, and
other activities is presented in Figure 6 below.

27. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 27
Figure 6. Allocation of Instructional Time in Mitchell ESI Program
Teacher Interventions Student Responses Other
Verbal
Intervention
(Instruction,
Feedback)
Co-Verbal
Demonstration
Musical
Demonstration
Non-Verbal
Instruction
(Gestural,
Pedagogical
Touch)
Verbaliz-
ation
Performance
Trials
Tuning
26% 7% 7% 2% 2% 38% 14%
The remaining 2% of time not accounted for in Table 1 was spent transitioning between lessons,
snack and activities. The analysis revealed a very strong balance between time allocated to
teacher interventions (42%) and student responses (40%). It should also be noted that there was
verbal and non-verbal instruction that was occurring outside of the frame of the videocamera in
many of the lessons. The videocamera was positioned at the front of the room and set at an
angle where several of the violinists were often not in frame. Figure 7: Skills Address in ESI
Lessons (Refer to Page 28) contains data regarding addressing skills/outcomes.

28. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 28
Figure 7. Skills Addressed in ESI Lessons
Skill/Outcome Percentage of lessons where skill was
addressed by teacher during instruction
Bow Hold 44%
Bow Stroke (Weight, Angle, Speed,
Placement, Tone Quality
70%
Body Posture 39%
Instrument Position 44%
Left Hand Position 57%
Finger patterns, fingering 91%
Intonation 48%
Music Reading 35%
Aural Skills 100%
Rehearsal Skills (playing together as an
ensemble, watching, etc)
83%
Attitude 35%
b. Program organization
The Mitchell program met Monday through Thursday beginning the week of October 21, 2013,
culminating with a final performance at the U-M Stamps Auditorium on April 23, 2014. When
the regular school day ended at 3:42 PM, students would gather in the cafeteria for a snack and
then receive approximately 75-minutes of instruction, ending at 5:15 PM. As described in the
ESI literature, the structure of the learning environment included large ensemble, sectional
learning, and individual lessons, with the large ensemble being the main learning tool.
At the beginning of the program on October 23, the fifth-grade students were split into two
sections. U-M graduate students with expertise in playing cello and violin/viola whom had
previous experience in El Sistema and El Sistema Inspired programs provided string instrument
instruction. On November 6, approximately 2/3 of the instructional time was spent in
sectionals, with the students coming together in the large ensemble for the final 25 minutes of
rehearsal. The U-M graduate student instructors taught this rehearsal segment. On November

29. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 29
13, the class was kept together as a large ensemble for the entire rehearsal, again being team
taught by the graduate student instructors.
The week of November 20, a different instructional pattern emerged. The class began by
watching a video of Danzon no. 2 by Marquez being performed by a Venezuelan El Sistema
orchestra. This activity led into a tuning procedure that featured the following characteristics.
The school-based music teacher improvised a piano accompaniment. The students bowed a
string specified by the teachers (A, D, G, C, or E), while teachers walked around the room and
tuned the students’ instruments one string at a time using the fine tuners. The students
maintained control of their instrument, rather than the teachers taking the instruments from the
students to tune. The school-based music teacher interrupted the tuning procedure to lead the
students in singing a song, then returned to tuning other strings. The tuning procedure
continued for approximately 8 minutes. The school-based music teacher then led the rest of the
class from the piano, with U-M graduate student instructors assisting individual students, and
demonstrating on their instruments. The school-based music teacher would alternate with U-M
graduate student instructors in leading call-response non-verbal instructional segments. When
graduate student instructors were leading these segments, the school-based music teacher
provided a background piano accompaniment.
This was the general team teaching approach to the learning environment that emerged and
developed from November – April. Some alterations were made to the sequencing and
activities within this large ensemble structure as the program developed. For example, from
November through February the students would have their snack first, then come to rehearsal.
Beginning in February, the teachers decided to begin the lesson with a note-reading activity
without instruments (10-15 minutes), then take a snack break (5-10 minutes), tune instruments
(7-8 minutes), warm-up with a focus on tone and intonation development while playing scales
and patterns by ear (20-30 minutes), then spend the final 20-30 minutes of class learning
repertoire. The week of Jan 21 featured breaking out into sectionals to learn the Star Spangled
Banner, but the learning environment was largely characterized by the three teachers team
teaching the large ensemble, with the school-based music teacher as the lead teacher that
assumed responsibility for the overall pace and structure of rehearsal. There were two weeks of
the program that U-M was on break and AAPS was in session, where school-based music
teacher led the class alone.
Project teachers were hired to give pull-out lessons beginning in mid-February, while U-M
instructors and school music teacher focused on the large ensemble. The project teachers were
U-M students hired by the U-M graduate student instructors. A total of eight project teachers
were hired. Six of the teachers were undergraduate music education majors. One teacher was
an undergraduate music performance major. One was a masters student in cello performance.
The project teachers visited Mitchell once per week and provided 25-minute individual lessons
and mini-lessons with two students. In the pull-out lessons the project teachers reinforced the

30. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 30
concepts being taught in the group class and also introduced supplementary solo repertoire to
enhance the instruction students received.
The U-M graduate student instructors would provide the project teachers with instructions
about the materials, techniques, and concepts to be covered in the pull-out lessons when the
project teachers arrived at Mitchell. The U-M graduate student instructors would stop by the
pull-out lessons to assess progress, provide support, and answer questions. They were also
available afterwards to answer any questions the project teachers would have. The U-M
graduate student instructor and school-based music teacher reported in the focus group
interview that the pull-out lessons were very helpful for improving aspects of the fifth-grade
students’ technique, especially tone quality, and were very timely in that they began at a time
when the fifth-grade students were beginning to separate in achievement level.
c. Expectation for the students
In the focus group interview and the post-interviews the teachers spoke of communicating high
expectations for musicianship, behavior, and attendance to the students. Teachers often spoke
to students of achieving their “personal best.” The teachers also described their efforts at
maintaining consistency of expectation and routine.
The U-M graduate student instructor contrasted the expectations of the students in the Mitchell
program with those of ES. In the focus group interview he said, “I think when you are talking
about El Sistema in Venezuela you will think of people demanding their students to practice at home so
they learn the parts really well…I see that here more as a very high expectation in attitude. We are really
expecting them to show their best in the attitude to us learning and to us producing the music in the
classroom. So I think it a little bit different on the focus of the expectation, but I think the standard is
very high.”
Question 3: What are the similarities and differences in the curricular content from
other forms of group class string instruction typically found in the
United States?
a. Distinguishing Characteristics/Comparison to ES and other ESI Programs
The repertoire learned in this ESI class is standard repertoire for American beginning string
class instruction. As described in the ESI literature, the repertoire included arrangements of
classical repertoire, along with examples of American folk, fiddling, and patriotic repertoire.
While ensemble-based group instruction is a ubiquitous characteristic of American public
school music education, this approach has been criticized in recent years for giving precedence
to a group’s performance result over addressing individual student needs (Williams, 2011). In
the post-interview, however, a U-M graduate student instructor offers an alternate view—one

31. El Sistema Program: Formative and Outcome Evaluation July 2014
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more in philosophical alignment with Vygotsky’s ideas on the Zone of Proximal Development
(1994),
“take the group and make the group learning and the sound of the group like a
participatory sound, of a participatory nature. The sound of the group will help kids that
don’t have the ability to play the whole piece. For example, to just participate. Be there
and try to play what they can play and then, they take the sound of their group as the
strong thing that keeps them playing and keeps them stimulated while facing individual
challenges.”
By focusing on the collective participatory sound of the large ensemble, the teacher is in fact
addressing the needs of the individual students within the ensemble. Group instruction
provides students with low levels of achievement or self-esteem an opportunity to feel
successful even if they not be able to play the music perfectly.
Question 4: What are the skills the SMTD Instructors and Mitchell Elementary
Music Teacher possess?
a. Development of musicianship
The preparation that the Mitchell students received from the school-based music teacher prior
to the program, and during the school day throughout the program, was a highly influential
factor on this ESI program. In the post-interview, one U-M graduate student instructor
remarked, “I’ve never been with a group that had such strong rhythm and solfege training prior to
picking up their instruments.”
In the focus group interview, the teachers spoke of the benefits they saw from the program. The
school-based music teacher said, “The biggest thing for me is that the kids are set up better than ever.
That is outstanding. In terms of repertoire, we’re not really further along, but the kids have a deeper
understanding of reading that we didn’t have in the past. When they leave us, they’re going to be better
musicians than ever. Their set up is better, they’re listening better, they’re creating better sounds and
they’re understanding deeper.” A U-M graduate student instructor added, “They’re reading really
strong, some of them, some of them are exceptionally strong, and all of them are functional readers at this
point.”
The school-based music teacher expressed a belief that the students’ reading ability will help
keep them interested in continuing to play in middle school and will make them leaders in the
middle school orchestra program. In the post-interview, a U-M graduate student instructor said,
“they really learned a lot of music over the course from October through April, and because of the
fact that there is a combination of the [school-based music teacher and U-M graduate student
instructors], I think they really, for the most part, do have a pretty good technical set-up…and
they have strong reading skills. I’m very happy with the kind of reading processes they’re
developing.”

32. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 32
Question 5: What are the concepts and key elements of the El Sistema pedagogical
approach?
a. Daily access to high level musicians
In the post-interview when I asked school-based music teacher what the program’s greatest
successes were, he said, “to hear the U-M graduate student instructors on their instruments…to see
musicians jamming on their instruments; not just teachers teaching, and to hear what a violin really
sounds like, live and played well, or a cello and all of its range. That was huge for the students, to see
what they were trying to aspire to.”
b. Peer mentoring
In the focus group the teachers described several ways that they try to encourage peer
mentoring within the class: 1) taking turns being the leader or “principal” player in their
section; 2) using inquiry to encourage musical decision making among the students; and 3)
providing opportunities for students with higher levels of achievement to help struggling peers
learn the assigned repertoire.
c. Frequent performance opportunities
The students gave three performances during the program. November 21, February 10, and
April 23. In the post-interviews the teachers expressed an interest in giving more frequent
performances. A U-M graduate student instructor noted that in ES there is typically at least one
performance per month. This is because in Venezuela performances are considered important
for the overall development of the children.

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VIII. Outcome Evaluation Results
A. El Sistema Mitchell Student Outcomes
i. Instrument Assignment
Students self-selected to participate in the El Sistema Mitchell program and were assigned their
string instrument. From a total of 22 participants, nine (9) students were assigned the violin,
seven (7) students the viola, and six (6) students the cello.
ii. Student Attendance
El Sistema Mitchell program was held on sixty-eight (68) days between October 21, 2013 and
April 23, 2014, which accounted for scheduled days off and five (5) unexpected inclement
weather / snow days. Attendance was tracked on twenty-two (22) participants. The program
had an average attendance rate of 65%. Daily attendance ranged from seven (7) to twenty-one
(21) with an average of fourteen (14) students present at each session.
There was an increase in the retention rate of string instrument students as a result of the music
intervention according to the post-program interview with the school-based music teacher, he
noted, “There was less attrition because of the El Sistema program.”
Question 1: What impact does participation in El Sistema Mitchell have on
fundamentals of string instrument technique (posture, instrument
position, bow hold, bow stroke, tone quality, intonation), music
performance skills (performing rehearsed music, sight-reading music,
playing from memory, playing by ear, improvising), and selected
aspects of music literacy?
Assessment data of individual student performance and technique outcomes were not collected
during the program by the instructors. This may have been due to resource and time
limitations, or concerns about the impact of individual assessment on students' comfort level
and musical self-esteem. We recommend that future programs develop formal assessment
techniques to provide students, parents, and teachers with information regarding student
growth. Such data would be very useful for program evaluation, as the students' performance
outcomes could be compared to those of students at other area schools.

34. El Sistema Program: Formative and Outcome Evaluation July 2014
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Question 2: What impact does El Sistema have on students’ musical self-esteem,
academic achievement, and conduct?
a. Musical self esteem
Results from a paired sample t-test (p<.05) of pre-test (mean = 55.68) and post-test (mean =
59.41) scores from Subscale 1: Support and Recognition from Others of the Self-Esteem of
Musical Ability (SEMA) Scale (Schmitt, 1979) indicated that students showed a statistically
significant improvement in their feelings of acceptance and reinforcement by parents,
teachers, and friends. The Self-Perception of Music Ability subscale changed in a positive
direction, but was not statistically significant. The Personal Interest and Desire sub-scale
decreased from pre to post-test, however was not significant.
Furthermore, in the post-program interviews with the music instructors, one teacher stated that,
“the program helped the fifth-grade students learn the benefits of discipline, perseverance, a positive
attitude and hard work.” Another instructor said, “Some students were more shy in the beginning, less
inclined to express their feelings or personality, but by the end of program they were more at ease.”
Another instructor stated, “Some students displayed more confidence in their music playing.”
Parents reported in the post-program focus group that students seemed to have improved their
confidence. “I feel like [El Sistema] was a great confidence builder.” Another parent stated, “She saw
she was successful for herself.” A father noted, “[He has] more self-esteem.”
b. Academic achievement
Results of the differences in the means of the Northwest Evaluation Association (NWEA)
reading and math test scores from Spring 2013 to Spring 2014 revealed El Sistema students
exceeded the national average. NWEA normative data shows the national average growth in
RIT test scores from end of 4th grade to end of 5th grade as 5.6 points in reading and 8.5 points
in math. The growth from Spring 2013 (end of 4th grade) to Spring 2014 (end of 5th grade) for
program participants was higher than the national average in reading (6.2 points, 10.7% above
national average) and in math (9.9 points, 16% above national average). However, it was
difficult to determine if the El Sistema music intervention had a direct impact on academic
achievement due to the limitations of the outcome design.
Parents shared their reservations about the effects of the program on academic achievement
during the focus group, “[My child’s] reading went up two levels, not sure if it was the [El Sistema]
program.”
c. Behavioral conduct
Results from a paired sample t-test (p<.05) of pre-test (mean = 68.32) and post-test (mean =
70.95) scores from the Student Attitudes Towards School Scale (Anderson, 1999) indicated that
students showed a statistically significant positive improvement in the way they felt about
school.

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In a post-program interview, the school principal noted El Sistema students’ behavior had
appeared to improve, “I do believe the kids are more engaged in positive behaviors.” The principal
also indicted that, “There were no school suspensions [of those students who participated in El
Sistema].” Parents noted changes in their students’ behavior, during the focus group one parent
said, “He takes things more seriously. He’s more responsible.”
Question 3: Have students increasingly acknowledged their sense of control in
evoking change in their own lives?
It was challenging to identify if the students increased their sense of control in evoking change
in their own lives due to the limitations of the measurement tools used and outcome design.
Results from the paired sample t-test of pre-test and post-test scores from the Self-Perception of
Music Ability (SEMA) Scale (Schmitt, 1979) revealed no significant change in students’
perception of their interest and desire in playing music. However, the results from the SEMA
Personal Interest and Desire sub-scale were positive, indicating that students: i) enjoyed
practicing music; ii) expected a lot of themselves; and iii) had a strong desire to play music in
the future. Although limitations created barriers for answering this evaluation question, the
students’ realization of their role in determining their level of interest in continuing playing was
used as a proxy to determine the students’ realization of their sense of control in evoking
change in their own lives.
In parent focus groups, families underscored their students’ renewed sense of control in
evoking change in their own lives. Parents noted their student’s ability to adhere to prior
commitments, act responsible, and make decisions about their future, “She would work to finish
her homework, she was more organized.” Another parent shared, “I liked the way she followed through
[with El Sistema]. It is important to me for her to take on something challenging… Taking on the
responsibility shows maturity.” ”Playing the cello has made him take it a step further. He wants to play
a stand-up bass,” was noted by one student’s father.
Question 4: Have students become more aware of their community?
In the post-program interviews, the music teachers all spoke of the benefit they saw from the
year end performance at U-M Stamps Auditorium. The school-based music instructor stated
that the experience of playing in Stamps Auditorium was highly empowering for the students
and helped them to envision themselves as part of a larger community.
“The greatest success was getting the kids to the Michigan campus, getting them to North
Campus, getting them to see that, getting them to see the auditorium… the cello players were
already down on the stage getting ready with [one instructor], and [the other two instructors]
brought the violins and violas and we came in from the top, and when they looked down they
were just…they were really taken back. They could not believe they were playing there.”

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The students echoed the similar sense of community they felt as being part of the final
performance at Stamps Auditorium. During the post-program focus group, one student stated
that, “It was nice to see my teacher and student teacher come to one of my performances. It was also nice
to hear my teachers talk about my performance at school.”
Question 5: Has their sense of belonging or contribution to the community
increased?
In a focus group with student’s families, one parent stated, “the impact [El Sistema] had on her
made her feel like she belonged. This was the first year she felt like she belonged to the group. She had fun
with it and enjoyed it. It made her a lot better.”
In the post-program interview, a U-M graduate student instructor attributed the performance of
El Sistema as vehicle to keep students connected said, “there are some students that kind of drifted
away from the program and came back…I was very happy that they came back. That they were in their
final performance and I know their families were some of the ones that were most happy in the wake of the
performance.”
Question 6: Do students who participate in El Sistema Mitchell have higher levels
of enrollment in the middle school instrument program?
The evaluation of the El Sistema pilot program measured program outcomes at the end of fifth-
grade (June 2014). The El Sistema student level of enrollment at the middle school should be
conducted in a subsequent evaluation after the program participants have entered 6th grade.
For example, the Mitchell School music teacher tracks the elementary students into the
instrument and orchestra program at Scarlett Middle. The instrument instruction retention rate
at the elementary level is a proxy to determine attrition rates at the middle school level
currently used by Mitchell Elementary School.
Question 7: Has Mitchell Elementary School developed a stronger sense of pride as
a result of implementing the El Sistema program?
During a post-program interview, the school principal was asked about the ways El Sistema has
contributed to the sense of school community and positive reputation in the larger Ann Arbor
community. He noted the following:
“We have become a music school in a sense where kids are interested in playing and developing
their music ability. It is really an important part of the changes that have happened here.”
“Having kids engaged at the performances and attend the initial meeting created a sense of
community.”
“For the Mitchell Community the performance at the end added to the sense of community at
Mitchell.”

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Program Evaluation Group, University of Michigan School of Social Work 37
“Historically, people in the larger community do not speak highly of Mitchell Elementary.
However, because of El Sistema there was a certain buzz in Ann Arbor about what is going on
here. The program is something special. This program is a positive thing for Mitchell, bringing
positive press.”
In post-program interviews, the U-M graduate student instructors and school-based music
teacher conveyed a similar sense of community within the school and across Ann Arbor. “The
media buzz was pretty cool, on NPR and two articles in the newspaper.”
The school principal and music teacher had to monitor the publicity and address issues of
equity among the school community. In a post-program interview, the school based music
teacher stated, “If we made too big a deal of El Sistema we could offend some people.” He went on to
say, “We had to harness the publicity at the end of the program to protect against the divide between the
two groups [strings and band students.]”
One unintended consequence of offering the after-school ESI program at Mitchell to strings only
was that it introduced an inequality of educational opportunity for the fifth grade students. The
fifth-grade band director and strings teacher reported that the band students expressed feelings
of envy toward the ESI program. Eventually, the Mitchell band director began inviting her
fifth-grade band students to walk to Scarlett Middle School two days a week to participate in an
afterschool practice club, in an attempt to ameliorate the disparity of instructional time between
the fifth-grade orchestra and band students.
Question 8: Has the School developed stronger connections with students, families,
and the community?
A sense of support and community developed around the program. An older brother of one of
the fifth-grade students in the program began attending and assisting the teachers with snack
and tuning instruments. The teachers also stated this helped the fifth-grade student to have her
brother attend because of some family issues. The presence of eight (8) U-M graduate students
at Mitchell to provide lessons each week also provided a sense of support to the students. The
school-based music teacher was pleased with the project lesson teachers. In the focus group, he
reported that the attendance of the U-M students had been very consistent.
During a post-program interview, the school principal stated that, “The [El Sistema program] has
helped me get to know parents in a more meaningful way.” He went on to say, “Every parent I see of
an El Sistema student will say that they love it and they will tell me.”

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B. U M Graduate Student Instructor Outcomes
The two (2) U-M lead graduate student instructors participated in a post-program interview to
offer their perspective of program’s effectiveness in achieving a stronger sense of social
consciousness through their provision of music instruction in the community.
Question 9: Have the SMTD graduate students developed a stronger sense of social
consciousness through their work at Mitchell Elementary using the El
Sistema model?
The instructors discussed the opportunity for U-M students to teach in communities as
advantage and strength of program. One of the graduate students decided to attend U-M
because of the El Sistema initiative: “One of the reasons I chose U-M was because of the opportunity
to participate in the El Sistema program.” Throughout the interview, the graduate students
expressed an appreciation for the opportunity to work in a public school to develop their
expertise in teaching group instruction. “It was great for me to develop these skills and gain more
experience teaching group instruction.”
When the U-M graduate student instructors were asked about their initial expectations for the
program during the post-program interview, it was evident they both expected to connect with
the students through their music instruction. One instructor stated, “I hoped to work closely with
the kids not just learning to play music, but how to play an instrument well and for them to gain
confidence on their instruments.” The other instructor added to this notion by stating that,
“[Initially,] I was anxious to meet kids from a different culture. I wanted to be able to handle situations
with the children.”
Upon further reflection of their initial expectations and what the graduate student instructors
gained from the program, engaging students, their families, and the community in a
meaningful way while contemporaneously improving their teaching acumen emerged as the
recurring themes:
“The teacher-student relationship is a special thing in of itself, music teaching is a unique subset
of that. Ideally, helping kids to gain fluency in a new language, in a new manner of expression,
and connect with a new corpus of art in the world – is exciting in of itself. It is great when you
get to know these children and their families, it enriches your life too.”

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IX. Areas for Improvements
A. Attendance
The El Sistema Mitchell program had an average attendance rate of 65%. At the beginning of
the program, there was a strict policy regarding attendance. A number of problems began to
emerge with the strict policy, and it needed to be dropped. The school-based music teacher
explained in the post-program interview, “We knew that if we were strict about the policy about
attendance, we’d lose everybody. In fact, when I look back, I think we were maybe going to end up with 2
or 3 students if we enforced the policy about attendance that we started off with. There were only 2 or 3
kids that gave us almost full attendance.” The school-based music teacher expressed considerable
frustration in the focus group with how schedule interruptions were impacting the program,
“They added programs throughout the year. Math was one that got added. It was only
supposed to be first semester for 8 weeks. They found extra money from the governor,
and all of a sudden they had another one, and the day that the kids met changed on us.
Tuesdays and Thursdays were always our big days, and it worked out well because I
would see the kids during the day for string class, with a gentle reminder, ‘you’re coming
tonight, yes? Yes. We’ll see you tonight. Good.’ Second semester that switched so our
big days ended up being Monday and Wednesday, now I don’t have the reminder, the
schedule changed, attendance was affected…All of a sudden, it was hard to define what
school activities were a must that you could miss versus an activity that you wanted to
join. They also added Science Olympiad. There was another Science Makers that was
not in place at the beginning of the year that started; so a lot of activities.”
He also noted the many disruptions in January and February,
“there were so many snow days…and then Martin Luther King Day, and then,
President’s Day…we just had so many interruptions. They went to camp. The kids said,
“I can’t be here today, I have to get ready for camp.” And then when they came back,
they said “I can’t be here because I’m really tired from camp”….so there are a lot of
dynamics that hit me probably more than them [U-M graduate student instructors], with
the teachers here in the building…. I am thinking this could have been planned
differently, we could have better communication, who’s in charge? That was making it
tough. And then Michigan’s off for a week. I was frustrated because I felt like we were
losing momentum, but it’s not because we’re not doing a good job. We have a lot of
things fighting against us.”
Regular student attendance was the most significant challenge perceived by the other
instructors. In the post-program interview, a U-M graduate student instructor said, “one of the
stresses for us was regular attendance especially as certain other programs targeting the fifth-grade
population were being added. It’s great for the school that the kids have all these opportunities, but in

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terms of the kind of music community that we’re trying to build, that’s always been the strongest when
the people are coming most consistently.”
Erratic attendance by some students made the teaching more challenging and impacted the
progress and morale of the entire group. In the focus group, one of the U-M graduate
instructors stated, “there are kids that keep coming every day and they keep working hard and then we
those other have the kids that don’t come, so it’s hard to put the pacing together between those two
groups.” An instructor also noted in the focus group that this is a problem in Venezuelan ES
programs; “it’s not that large scale here as there, the difference in levels is tinier, but I think that is a real
issue.” One instructor gave a specific example of a student who attends every day and has
made great progress being frustrated by the slow progress of the group, “she is very musical and
has had a superb year…but she is one that, if we’re drilling a single thing that the whole group is not
getting, she’ll just kind of check out, you know, feet askew, slumping viola, bow claw…I’m encouraging
her more and more to demand more of herself at all of those points that she’s making sure not that just her
fingers are going down in the right place, at the right time, the bow is making good tone.” A U-M
graduate student instructor reiterated this challenge in the post-interview.
Teachers need to “find a way where every kid at every different speed of learning feels
stimulated. We had faster kids and we had very much slower kids and we had kids way in
the middle, and of course, we went for the middle, so that the slower could catch up with
some individual attention and the faster ones wouldn’t get so bored….But I think with
the faster kids we didn’t achieve that. I think some of the faster kids would benefit if we
find a way for them to find challenges in the music. Require them to concentrate and to
really think and feel that they have to, push themselves too, to achieve that relationship of
achievement and effort.”
In the post-program interview, the school-based music teacher summarized the problem of
attendance disparity on achievement, “there’s a trickle down - those who were showing up are
growing. Those who are not need extra help…Now we’re starting to have disparity between abilities and
people looking at each other and trying to keep that cool. That was a little bit of a challenge, because they
started to grow apart.”
B. Repertoire selected for program
The teachers described that learning the three-part Star Spangled Banner from December –
February was challenging for the students. In the focus group interview, the school-based music
teacher said, “that was really a hurdle, you know, with The Star Spangled Banner, because it’s a big
push and then we had to really regroup, I call it “filling in”, and you know, I felt like we were losing a
little bit of energy in some of the students because they thought that was a big deal…but I’m hoping it
will show up in exit interviews that they feel like they can read music and that they feel good about that
and they feel strong.”

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C. Expectations for students
Teachers reported it was challenging to have high expectations for the students and at the same
time, make them understand that they are not expected to play perfectly.
In the post-program interview, a U-M graduate student instructor stated, “I think if we could
manage to establish a mechanism of which the kids that are more involved, coming every day, could fulfill
a little bit more of the expectations in terms of the material they’re covering, the challenges they’re faced
with, I think that would be great. I think it is a very delicate balance, and we have that issue in El
Sistema in Venezuela too.”
In the post-program interview one respondent stated, “I think another challenge, and this was one
that was less of a challenge because we were working with the school-based music teacher, the fact that it’s
an after school program, I think in general, the kids’ focus was phenomenal, considering that this was the
end of, probably, a nine-hour day for them. By the time they were going home, but I know that it took a
lot of effort from school music teacher too, to make sure that the focus was there and I think that we
managed that challenge I think very well as a whole, but it was, I think, one of the more challenging
aspects of what we were doing.”
In the focus group, the school-based music teacher summarized some of the challenges,
“instruments are going home but they’re not necessarily being practiced…numbers have fallen
some…it’s been difficult because I don’t think it’s exactly what we were hoping it would be.”
D. Delivery of Instruction
In the post-program interviews, the teachers reported challenges of working together as a team
to deliver instruction. A U-M graduate student instructor said,
“one of the challenges was finding a productive and structured way to work together as a
group. I think that’s a challenge we still face in a way. I think that we have worked out
productive things with the group teaching, but I don’t know if we have gotten to a
moment where we can say that we are getting the best of everyone there.”
In the post-program interview, one of the U-M graduate student instructors suggested that it
was not always easy to find the balance between addressing the fast-paced, high-energy
rehearsals led by school music teacher (and cited in the literature as a “distinguishing
characteristic” of ESI programs) and the need for careful attention to details of proper technique
in beginning string instruction,

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“there’s always a balance to strike between keeping momentum and excitement on the
kids part, and making sure that they’re, that whatever they’re doing, they’re doing
correctly, and I know my impulse as having come mostly from private violin teaching is
to really make sure that every time the kid is about to play, to go through the checklist to
make sure that they have their bow set, their violin set, and everything set up the way it
should be set, so they are always reinforcing the correct thing….The school music
teacher’s style seems much more about keeping the excitement , ‘we’re playing now! Go,
go, go!’. It’s kind of moving forward. I appreciate that the kids need that, but at the same
time, it took a while, a period of dissonance, where especially in the beginning, when the
kids didn’t have as much practice, getting themselves into playing position correctly,
where I felt like, ‘this is exciting, but they’re not getting the practice making sure that
they’re doing it correctly.’ So I think that was one challenge, and I think it ultimately
worked out pretty fine. “
E. Parental Support
In the focus group, the teachers described challenges with parent involvement. The only
activities for parents were the parent meeting at the beginning of the program and the concerts.
In describing the challenge of finding time to communicate with parents, the school music
teacher said, “We find that everybody is so busy. These guys are busy, I’m busy, I’m feeling swamped,
and you get tired. I mean, we’ve been here every day. We haven’t missed. We’ve kept the cart rolling,
but definitely, that’s one piece I know that we haven’t been able to really accomplish.” All the teachers
agreed it would be very useful to have administrative support to help communicate with
parents.
In the focus group, the school music teacher said, “I think if we can do it again, I want to do more
community type things to get the parents in. I think we really have to move on that. I keep saying
spaghetti dinners, because it would be easy to throw a pile of spaghetti together and some sauce and have
the kids playing for their parents.”
The teachers described an interest in developing strategies for how they will relate to parents.
There was also discussion of the idea of bringing the fifth-grade students to attend a University
Symphony Orchestra concert at Hill Auditorium.
Challenges related to parental support for the program were revealed by the teachers in the
interviews. In the focus group, a U-M graduate student instructor said,

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Program Evaluation Group, University of Michigan School of Social Work 43
“I think some of the people that aren’t showing up are some of the kids that were
struggling a little bit more. They don’t have someone telling them, ‘look, this is going to
be great for you, you need to work with this.’ They have people going, ‘well if it’s not
easy for you, maybe you should try something else, or maybe you shouldn’t go’ and I
think that’s been a challenge just because again, you can’t count on the parents to say
‘this is a great opportunity for you, we expect you to be there, we want you to be trying
your hardest.’ And without that, it’s kind of difficult because some of these kids that feel
like trying their hardest isn’t getting them as good a result as some of the other kids, even
if we are trying to communicate that we’re happy with what they’re doing.”
In the post-program interview, the school music teacher said, “the parents don’t see this as an
intellectual exercise. They don’t see the value in it, so moving forward, that’s something we have to
address. To educate parents in a gentle way….What this really looks like. What commitment looks like.
Bring in a guest speaker, not just hearing it from us.”

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X. Implications
The after-school ESI pilot program provided the participating students with many musical and
social benefits. The fifth-grade students received high-quality musical instruction, delivered by
a team with diverse areas of expertise. The caliber of music instruction offers students from
ethically, racially, and economically diverse backgrounds with the opportunity to develop their
craft, while creating a level playing field for their competition in future music engagements.
A. Social Impact
Student participation in structured afterschool activities, such as El Sistema and other MSTLC
programs, supports the developmental needs of children and youth, particularly among
marginalized groups, the underprivileged and underserved. According to the research, youth
participation in extracurricular activities is linked to indicators of positive development
including school connectedness, student achievement, and educational attainment (Eccles,
Barber, Stone & Hunt, 2003). Students in the afterschool El Sistema program directly benefited
from: 1) improved attitudes towards school and their learning environment; and 2) increases in
their perceived feelings of acceptance and reinforcements by parents, school faculty, and
friends.
These findings support the literature on El Sistema and the impact of organized and
constructive after school programming. The data revealed El Sistema students’ improved
perceptions of meaningful social bonds with their music instructors, general education teachers,
student teachers, friends, the school principal, and family members. And, although there were
no significant pre and post-program changes in the students’ perception of their: i) music
ability; ii) personal interest or desire to play; iii) achievement motivation; and/or iv) overall
well-being, the findings did discover the students’ felt positive about their own music literacy,
talent, and learning ability. They were satisfied with their lives and conveyed a strong interest
to play music in the future.
Furthermore, the added extracurricular instruction of El Sistema helped to address the issue of
equal access to high-quality out-of-school and afterschool programing that exists across the
United States (Eccles et al, 2003). Due to a variety of social, political, and economic factors, there
is a limited availability of quality programming in poorer communities that have the highest
risk of adverse developmental outcomes (Eccles et al, 2003). Mitchell Elementary School is no
exception when compared to other schools in the district and across the State. The El Sistema
program not only enriches the School’s offering of afterschool programming, but the program
targets the mediating mechanisms (i.e., positive peer and adult relationships) of school
connectedness that support developmental health (Eccles et al, 2003).

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B. Instructional Approach
Interview and video data suggest that the Mitchell pilot program was heavily focused around
the large ensemble, perhaps even more so than typically found in other ES or ESI programs. A
U-M graduate student instructor reported that the ESI program he had worked with on the
west coast utilized pull-out lessons with one or two students and sectionals much more often
than at Mitchell.
In the pilot program, the private lessons were introduced to the ESI curriculum in week 15 of
the 23-week program. All three teachers recommended that the private lesson component of
the program start earlier. In the post-interview, when asked what he’d like to do differently
next year, a U-M graduate student instructor stated, “making sure that pull-outs start earlier in the
year. I think that was kind of a miscommunication issue as to how we were going to find the volunteers
to come in…the kids really benefit from having that a lot. I think they made a lot of progress in about the
last eight weeks when we had these people coming in routinely. So making sure that that starts much
earlier in the program.”
Private lesson teachers could be utilized as “teacher aides” from the first day of instruction, to
assist with instrument sizing, shoulder rest selection, and helping the students develop proper
stance, instrument position, and bow hold. In a program that is characterized by intensity and
frequency of instruction, the importance of “getting it right from the start” becomes of paramount
importance, because incorrect technique will become habituated very quickly in an ESI
curriculum. After the first week or two of instruction, private lessons could begin immediately
as a supplement to group instruction. Research in education has shown that individual tutoring
yields better performance results than group instruction by two standard deviations (Bloom,
1984). To assure effective learning, beginning instrumentalists need to be closely supervised by
a teacher to allow for individualized diagnosis of errors, informative feedback, and remedial
training. Although it is possible to use group instruction with beginning instrumentalists, it is
generally recognized that individualized supervision by a teacher is superior (Ericsson et al.,
1993).
There were many positive aspects to the tuning procedure. Students were allowed to maintain
control of their instruments and were encouraged to participate in the process through playing
long bows on open strings. The use of an improvised accompaniment created an active music
making atmosphere during the tuning procedure. However, the observed tuning procedure
typically lasted between six and eight minutes, and during this time many students displayed
problems with bow hold or bow arm movements and fatigue from maintaining the violin/
viola in playing position throughout the entire tuning procedure. If brief instructional
reminders can be provided to students regarding bowing technique during the tuning
procedure, and violinists and violists are instructed to return their instruments to rest position
occasionally, the procedure would be even more effective.

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Program Evaluation Group, University of Michigan School of Social Work 46
Given the extraordinary amount of instructional time available, the teachers could incorporate
opportunities for critical listening during the tuning procedure so students can compare the
pitch of their string to the reference pitch and make qualitative assessments (i.e., am I sharp or
flat?). For example, passing the A from one student to another, rather than having all students
playing all the time provides opportunities for teachers and students to assess tone quality and
pitch. In addition, giving students the opportunity to manipulate the fine tuners while plucking
(and eventually while bowing) will help foster musical independence. Many of the students in
this program appear to have the aural skills and physical readiness for tuning a stringed
instrument.
Instrument position and bow hold, particularly for the violin and viola students, were the two
areas of string technique that were not commonly addressed in the large ensemble rehearsals.
In addition to early pull-out lessons, simple reminders to students throughout rehearsal to
check and fix their bow holds could be very beneficial. Providing more opportunities for
students to bring instruments into rest position will help reduce fatigue during the long
rehearsals. Enlisting the help of project teachers or local dealers like SHAR on the very first day
of instruction could help provide more detailed attention to proper sizing and shoulder support
for violin and viola students.
C. Implementation
The AAPS instrumental music program is structured to provide all fifth-grade students with
equal opportunity to select an instrument and equal amounts of instruction during the regular
school day. This characteristic is very common in school-based instrumental music programs.
After-school programs that are not available to all students are likely to foster greater inequities
among the students rather than ameliorate them. It would be beneficial to the fifth-grade band
program, as well as to the overall school culture at Mitchell, if the program can be expanded to
include all fifth-grade students.
Attendance was the biggest challenge faced by the ESI program. Maintaining student focus was
also cited as a large challenge by the teachers. In the interviews with the instructors it was
reported that in Venezuela, ES is an evening program that meets after dinner, not in the
afternoon immediately after school. By running an ESI program immediately after school, it
becomes an extension of the school day, and must compete with other after-school activities.
Erratic student attendance led to achievement disparities that impacted the group learning
environment and teacher morale. Moving forward, the design and scheduling of the ESI
program could be revised based on the specific culture of the community, as we have learned in
the pilot that the design and schedule has a critical impact on the attendance, attitude, and
achievement of students. It may be more successful for the goals of ESI to explore alternate
models. While there are clearly many potential benefits to a beginning string program that is

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Program Evaluation Group, University of Michigan School of Social Work 47
intensive and has high expectations for students, this pilot program has also demonstrated that
there can be some significant challenges created by the ESI approach.
One of the stated goals for the program in the grant proposal was that “Instruction will primarily
be carried out by the lead GSI, the assistant teacher, as well as by SMTD students employed to teach
supplementary private lessons.” The school-based music teacher’s planned role was to “assist with
planning, teaching and facilitation of the interaction between the EI Sistema program and the regular
instrumental program at Mitchell Elementary School.” However, the analysis of rehearsals clearly
revealed that the school-based music teacher emerged as the lead teacher in the after-school ESI
program by Week 4 of the program.
It is not surprising that the school based music teacher decided to take a central role in the ESI
program in order to help insure the success, because if the ESI program was unsuccessful, it
would have had a very negative impact on the in-school program. While there were many
benefits to the teachers and students in the ESI program that resulted from the school-based
music teacher deciding to play such a strong teaching and planning role, the results also suggest
that in the pilot program the SMTD graduate students designated as the “lead teachers” in the
grant proposal were not able to assume as much responsibility and leadership as they would
have been required to do if teaching in an ESI program not connected to an existing in-school
program. Most ESI programs are developed in communities where no school music program
exists. The results of this pilot program would likely have been very different without the
school-based music teacher’s involvement, and if developed under more typical ESI program
conditions.
D. Limitations of the study design and measurements
i. Study Design
Threats of validity and reliability exist because this design lacks scientific rigor. The small
sample size threatens the study’s reliability, and threats to validity are evident, particularly
maturation, given the intervention is delivered to elementary school-aged children. However,
when feasible, testing the impact, attrition, and instrumental effect was monitored and
managed through the implementation of the evaluation protocols. Despite these limitations,
this type of design provided key stakeholders with information to better understand the target
population, services, and attainment of expected outcomes for future replication and expansion
purposes.
ii. Measurements
There is a growing body of research across multiple disciplines investigating the concept of
school connectedness and other interrelated constructs, such as, school engagement, school
attachment, school bonding, school climate, school involvement, teacher support, and socialization
(Libbey, 2004). Researchers in education, psychology, public health, and the social sciences alike,

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are interested in the social interactions and experiences of students in the broader context of the
school environment. Whether examining school settings from a health or educational
perspective, existing theoretical and empirical research offers evidence that students do best in
settings (e.g., home, neighborhood, and school) that match well with their developmental,
cultural, and psychological needs (Eccles & Roeser, 2011; Deci & Ryan, 2002).
Empirical observations of students in the context of school are important sources of inquiry
necessary to reveal the role of school connectedness in bolstering healthy school climate and
positive student outcomes. In this study we attempted to measure mediating mechanisms
(commitment to education, adult support, and peer group membership) through the use of
quantitative measures. We also provided a descriptive account of some of characteristics
associated with high-quality programming through our qualitative analysis, but future research
should focus more on the root causes (Eccles et al, 2003) or mediating mechanisms.
Increasingly the investigations into school-based and community programming has shifted
towards examining the mediating mechanism of developmental health (Eccles et al, 2003). In
future studies of the El Sistema, using measures of school connectedness and school climate to
assess academic press, social connectedness, and academic motivation will contribute to our
understanding of individual student experiences and outcomes in relation to their school
environment.
Researchers, practitioners, and policy-makers have identified five mediating mechanisms of
school connectedness that have been proven to be effective in cultivating protective factors,
mitigating risk factors, and improving student health and academic achievement: 1) identity
formation; 2) peer group membership; 3) adult support; 4) commitment to education; and 5)
school environment and climate (CDC, 2009; CDC, 2010; Eccles et al, 2003). Our investigations
addressed focused on three out of the five mediating mechanisms identified in the literature.
Future studies should consider evaluating all five using the latest research and measures on
school connectedness and school climate.
Student Northwest Evaluation Association (NWEA) Math and Reading test scores and report
cards were collected and analyzed to measure any changes in student academic achievement.
The findings revealed significant changes in the test scores from Spring 2013 to Spring 2014.
However, due to limitations in using the report card data we were not able to report any results.

49. El Sistema Program: Formative and Outcome Evaluation July 2014
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XI. Recommendations
Modification of the instructional model to help address: a) attendance issues; b) an increase in
private instruction and sectionals; c) individual student instrumental technique needs; and d)
giving the U-M lead teachers a greater instructional and leadership role. Suggested model:
Tuesday and Thursday—large ensemble days led by the school-based music teacher,
with the U-M graduate student instructors assisting, similar to the full ensemble model
used this year. Some pull out lessons.
Monday and Wednesdays—Private lessons and sectionals, coordinated by U-M
graduate student instructors, with lessons taught by the U-M project teachers. Not all of
the Mitchell students would need to attend on Monday and Wednesday. Lessons could
be scheduled based on an individual student’s scheduling needs. The increased focus on
private lessons and sectionals would help to address individual student’s bow hold,
bow stroke, posture, instrument position and left hand position—areas that were
challenging to address in a high-energy, fast-paced full ensemble environment.
Inclusion of a Wind and Percussion after-school program to be held at Scarlett Middle School.
U-M would provide Mitchell/Scarlett Band Director with students to teach lessons and
sectionals.
A professional staff person (with a Michigan teaching certificate) to help coordinate the private
lessons, performances, and communication with parents.
Additional performances, perhaps in December and March.
Provide support for school-based music teachers at Mitchell Elementary and Scarlett Middle
Schools to continue running the program during U-M breaks when AAPS is still in session.

50. El Sistema Program: Formative and Outcome Evaluation July 2014
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Appendix A: References
Allen, M., Gillespie, R., Hayes, P.T. (2001). Essential elements 2000: For strings : a comprehensive
string method. Milwaukee, WI: Hal Leonard.
Ann Arbor Public Schools. (n.d.). Grade 5 instrumental outcomes. Retrieved on June 15, 2014
http://www.aaps.k12.mi.us.
Ann Arbor Public Schools. 2010 Head count by ethnic group by school. Retrieved on July 11, 2014.
http://www.a2schools.org/aaps/aaps.data/10_11_headcount_by_ethnic_group_by_sc
hool
Anderson, S. A. (1999). Attitudes toward school scale. Center for Applied Research, University
of Connecticut, School of Family Studies.
Benham, S. J., & American String Teachers Association. (2011). ASTA string curriculum:
Standards, goals and learning sequences for essential skills and knowledge in K-12 string
programs. Fairfax, VA: American String Teachers Association.
Bloom, B. S. (1984). The 2 sigma problem. The search for methods of group instruction as
effective as one-to-one tutoring. Educational Researcher, 13, 3-16.
Booth, E. (2010). Fundamental of el sistema. El Sistema USA. Last accessed, November 4, 2013.
http://ericbooth.net/the-fundamentals-of-el-sistema/
Booth, E. (2012, January). The fundamentals of El Sistema. Retrieved from
http://ericbooth.net/the-fundamentals-of-el-sistema/
Chiu, L. H. (1997) Development and validation of the school achievement motivation rating
scale. Educational and Psychological Measurement, 57, 292-305.
Consortium of National Arts Education Associations. (1994). Dance, music, theatre, visual arts :
what every young American should know and be able to do in the arts : National standards for
arts education. Reston, VA: MENC.
Duke, R. A. (1999). Measures of instructional effectiveness in music research. Bulletin of the
Council for Research in Music Education,143, 1-48. doi: 10.2307/40319011
El Sistema Colorado. El sistema colorado accomplishments. Last accessed November 4, 2013.
http://www.elsistemacolorado.org/our-program/accomplishments/

51. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 51
Fundacion Musical Simon Bolivar (n.d.). El Sistema methodology. Retrieved from
http://fundamusical.org.ve/
Fundacion Musical Simon Bolivar, Homepage. Last accessed, November 1, 2013
http://www.fesnojiv.gob.ve/es/el-sistema.html
Gadermann, A. M., Schonert-Reichl, K. A., and Zumbo, B. D. (2010). Investigating validity
evidence of the satisfaction with life scale adapted for children. Social Indicators
Research, 96, (2), 229-247.
Hamann, D. L., & Gillespie, R. (2009). Strategies for teaching strings: Building a successful string and
orchestra program. New York: Oxford University Press.
Inter-American Development Bank. Last accessed, November 2, 2013.
http://www.iadb.org/en/inter-american-development-bank,2837.html
Landin, A,, Roldan, C., Sandoval, E., and Zanussi, S. (2013). Say yes to assess: An exploration in
el sistema-inspired assessment practice. Sistema Fellows Program at New England
Conservatory.
Kammrath, L., & Dweck, C.S. (2006). Voicing conflict: Preferred conflict strategies among
incremental and entity theorists. Personality and Social Psychology Bulletin, 32, 1497–
1508.
National Alliance of El Sistema Inspired Programs (n.d.). Retrieved from
http://elsistemausa.org/
Northwest Evaluation Association. 2011 Normative Data. Last accessed, July 11, 2014.
http://www.nwea.org/node/11901
Ritchie, L., and Williamon, A. (2011). Primary school children’s self-efficacy for music learning.
Journal of Research in Music Education, 59 (2), 146-161
Schmitt, M. (1979). Development and validation of a measure of self-esteem of music ability. (Doctoral
Dissertation, University of Illinois at Urbana-Champaign). Dissertation Abstracts
International, 40, 5357A. (University Microfilms No. 80-09164.
Tunstall, T. (2013). Changing lives: Gustavo Dudamel, El Sistema, and the transformative power of
music. New York: W.W. Norton & Company. .

52. El Sistema Program: Formative and Outcome Evaluation July 2014
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University of Michigan. Third Century Initiative. Last accessed, December 16, 2013.
http://thirdcentury.umich.edu/about/
Zdzinski, S. (1994). Parental involvement, gender, and learning outcomes among
instrumentalists. Contributions to Music Education, 21, 73-89.
Vygotsky, L. S., Van der Veer, R., & Valsiner, J. (1994). The Vygotsky reader. Oxford, UK ;
Cambridge, Mass., USA: Blackwell.
Williams, D.A. (2011). The elephant in the room. Music Educators Journal. 98(1), 51–57.
Yola Resource Library (n.d.). Shared teaching philosophy. Retrieved from
http://www.laphil.com/sites/default/files/media/pdfs/shared/education/yola/teac
hing_philsophy_2012-2013.pdf
Washtenaw Intermediate School District (WISD). Student Data Reports. Retrieved December 12,
2013. http://wash.k12.mi.us/assessresearch/aboutdatareports.php

53. El Sistema Program: Formative and Outcome Evaluation July 2014
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Appendix B: Background and Review of the Literature
El Sistema is a global movement that began thirty-eight years ago by Jose Antonio Abreu, an
economist and musician, discouraged by the fact that Venezuelans could not participate in
classical music. History tells us Abreu announced his plans to start a youth orchestra in the
burgeoning cosmopolitan capital city of Caracas, Venezuela. The initial rehearsal took place in
an abandoned parking structure with only eleven student musicians showing up (Tunstall,
2012). As the orchestra grew, so did Abreu’s understanding of what was being created – not
only a music center, but a catalyst for changing social and emotional lives of children and their
families (Tunstall, 2012, p. 71).
“To me, an orchestra is first and foremost a way to encourage better
human development within children. That is why I always said, and
I say today, that [El Sistema] is not an artistic program but a human
development program through music. It is very important to be clear
about this. Because everything that happened then, and everything that
happened since then, has been a direct consequence of this concept.”
Jose Antonio Abreu
Today, there are over 300 youth orchestras or “nucleos” throughout the Venezuela with the
majority funding provided by their federal government. Approximately 370,000 children and
youth currently participate in El Sistema, in country that has population of approximately 28
million people. Of the children and youth in the El Sistema program, there have been estimates
that between 70 and 90 percent live in poverty (Tunstall, 2012). Mitchell Elementary School has
a similar rate of poverty, approximately 80 percent, which is measured by the proportion of
students receiving free or reduced lunch. Modeling the Venezuelan program, El Sistema
Mitchell will deliver free music instruction, provide instruments, transportation, uniforms,
nutritious snacks, and offer access to social services.
Fundacion Musical Simon Bolivar is the Venezuelan government foundation that administers
the El Sistema program, and in 2010 had an operating budget of $120 million. Reports from the
Intra-American Development Bank (IDB), a private funder of Fundacion Musical Simon Bolivar
provides evidence that El Sistema participants have demonstrated better academic achievement
and fewer behavioral problems than children and youth who are not involved with El Sistema
(IDB, 2013). Furthermore, Venezuela’s national high school drop-out rate is over 26 percent,
although only 6.9 percent for students who have participated in the El Sistema program
(Tunstall, 2012).
In the United States, El Sistema Colorado has experienced similar success with half of teachers
at Garden Place Elementary reporting positive changes in the academic performance of students
who participated in El Sistema. These results did not show a reduction in drop-out rates.

54. El Sistema Program: Formative and Outcome Evaluation July 2014
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However, it did highlight strong performance indicators that support the school’s goals in
achieving long-term retention and success in school. Data from El Sistema Colorado also
demonstrated higher levels of reading proficiency (approximately 9% greater) for students in
the El Sistema program over non-El Sistema students. Results also depicted improvements to
self-discipline (with an average increase of 8.9%), and self-control (averaging an increase of
12.5%) among students in the El Sistema program (El Sistema Colorado, 2013).
El Sistema Colorado offers evidence of the impact the El Sistema model has on student
academic achievement and behavior in the United States. Other research studies have provided
evidence that students who engage in learning to play a music instrument had significantly
higher self-efficacy scores than those who didn’t (Ritchie, L., & Williamon, A., 2011). In one
particular study, researchers provided evidence of strong positive correlation between self-
efficacy and child well-being (Ritchie, L., & Williamon, A., 2011).
In an attempt to replicate similar findings, El Sistema Mitchell will evaluate students’ sense of
personal agency (self-efficacy, personal responsibility, self-care, and respect of others), sense of
community, sense of well-being, and perceived self-esteem in relation to their musical ability.
The evaluation also will examine student academic achievement and behavioral conduct
through a review of official school records that capture student attendance, grades, and
behavior to show correlations between increased sense of personal agency and academic
achievement.
The replication of El Sistema in United States looks significantly different than Venezuela’s
centralized government funded system. In the United States El Sistema programs are
organically grown out of music centers, philanthropic organizations, non-profits, and
universities, and challenged with the attempt to sustain funding and scale up efforts.
Furthermore, in the United States public and private funders and researchers are more
concerned with creating quantifiable measures for the purpose of evaluating the effectiveness of
the of El Sistema intervention (Tunstall, 2012).
Although there is incomplete data on the effectiveness of the El Sistema model and related
outcomes, El Sistema Mitchell has incorporated a variety of psychological measures supported
by social and music learning theories. Furthermore, there is limited literature on the El Sistema
pedagogical approach. However, the El Sistema philosophy is adequately documented. In fact,
El Sistema Mitchell has ascribed to these ten fundamental principles, Refer to Appendix D: El
Sistema Guiding Principles for the details of each respective component:

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Appendix C: Conceptual Framework
The theory of change and logic model provides an overview of how the El Sistema Mitchell
intervention will achieve its intended outcomes. A key underlining assumption of the program
intervention is that ensemble-based music instruction will improve students’ music literacy,
heighten a sense of personal agency, and further develop their sense of community.
Goal 1: Offer intensive after-school group music instruction over the course of 26 weeks for
fifth grade string instrument students at Mitchell Elementary School.
Objective 1.1: Increase the students’ ability to read/comprehend music, establish collective
music making skills, and develop an interest in music.
Objective 1.2: Increase students’ awareness of individual and collective responsibilities, self-
care, and respect for others.
Objective 1.3: Increase students’ ability to build new relationships, experience community
through ensemble-making music making, and develop a sense of school
pride in relation to the music program.
Other assumptions posited by the logic model include the expectations of Mitchell Elementary
School and the University of Michigan School of Music, Theatre and Dance. The designed
intervention aims to cultivate a strong sense of school pride and will be assessed by measuring
Mitchell Elementary School’s relationships with students, families, and the community, the
School’s connection to the El Sistema movement, and the potential for generating additional
resources for the School as a result of the intervention. The resources required to support this
objective include the University of Michigan’s performing arts theatre, music performers from
the community, principal, parents, music instructors, performance audiences, and
transportation.
Goal 2: Host guest musical performances at Mitchell Elementary, provide transportation for
students to attend musical performances in community, and offer transportation for parents
to attend their child’s music concerts.
Objective 2.1: Increase school pride among student, teachers, families, and administrators
through activities of the El Sistema program.
Objective 2.2: Increase the school’s connection with students, families, and the community
through the activities of the El Sistema program.
Objective 2.3: Establish a school connection to a national movement through El Sistema.
Objective 2.4: Capture the media buzz surrounding the activities of the El Sistema initiative.
The University of Michigan School of Music, Theatre and Dance aims to develop a social
engagement curriculum by better understanding the El Sistema pedagogical approach, and
through the support of SMTD students with increased opportunities for teaching in non-

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traditional community settings. Resources from the project that contribute to achieving this
objective include U-M Third Century Initiative funding, U-M School of Social Work, School
Education, Ann Arbor Public Schools, Mitchell Elementary School, SMDT graduate instructors,
and the community of Ann Arbor.
Goal 3: Use the El Sistema pedagogical model to offer SMTD students untraditional
community teaching opportunities for the purpose of developing a social engagement
curriculum.
Objective 3.1: Increase student teaching opportunities to include diverse populations.
Objective 3.2: Increase for SMTD students’ sense of social consciousness.
Objective3.3: Manualize the El Sistema Mitchell program and develop social engagement
training modules to enhance SMTD’s curriculum.

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Appendix D: El Sistema Principles
1. Mission of social change. El Sistema is a social change/youth development program that
uses music to enable every child to feel like an asset within her or his community, inside
and outside the “nucleo.” Students feel an ownership of the music making process, taking
responsibility for both individual and group improvement.
2. Access and excellence. El Sistema includes as many children as it can, bringing young
people into its community whenever possible, as young as possible, for as long as possible,
whatever their background or abilities. As El Sistema strives single mindedly toward
musical excellence for all students, it also provides intensive training at “Academies” for the
most committed and gifted, preparing them for the highest-level national orchestras and
cultivating them as leaders in their own communities. In this way and others, the ideals of
access and excellence are maintained in a productive balance that maximizes both the fullest
success for all and highest accomplishment for some.
3. The nucleo environment. The nucleo is a physical location, within the students’
neighborhood where students live, that embodies the values and goals of El Sistema. It is a
haven of safety, fun, joy, and friendship, with an ethos of positivity and aspiration, where
all students are encouraged to explore their potential. The nucleo‘s doors are always open,
and community members convene in its hallways.
4. Intensity. Students spend a large amount of time at the nucleo, many hours per day, and
almost all days of the week, often building up to four hours per day, six days per week.
Rehearsals are fast paced and rigorous, demanding a durable commitment, personal
responsibility, and a strong work ethic. Through frequent performances, students have
many opportunities to excel and to share their accomplishments with their peers, family and
community.
5. The use of ensemble. The learning in El Sistema is based in ensemble experience in which
group achievement is balanced with individualized attention. The orchestra acts as a model
society in which an atmosphere of competition between individuals is replaced by shared
struggle. [Dr Abreu: “The orchestra is the only group that comes together with the sole
purpose of agreement.”] Smaller ensembles and choruses adopt the same ethos.
6. The CATS teacher model: Citizen/Artist/Teacher/Scholar. Those who work at the nucleo
take on many jobs and multiple roles in relationship to the students. By acting as citizens,
artists, teachers and scholars, these adults encourage their students to develop holistically:
as active musicians, helpful educators, inquisitive learners and responsible civic
contributors.
7. The multi-year continuum. El Sistema provides a “conveyor belt” of services, supporting its
students from early childhood into adulthood. Despite variation in resources and practices,

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all nucleos work toward a full program. The “Academies” and other national teams have
formed lists of sequential repertoire, orchestral levels, and pedagogical practices that create
a through line for every child’s learning. Although each nucleo is encouraged to develop
programs that suit its community, shared practices and unified vision allow El Sistema to
provide its students with a continuous musical experience. The learning process develops
the ear as the fundamental tool before the visual.
8. Family and community inclusion. Family participation is an essential aspiration of El
Sistema. Siblings often go to the same nucleo, parents attend classes with the youngest
students, and families form the bulk of the audience at orchestra concerts. Many sites have
parent musical ensembles, and all actively work to involve the community at large through
outreach concerts.
9. Connections and network. Although nucleos run independently and customize their
programs, they are strongly connected to the national leadership organization, which
provides financial resources but more importantly gives the network a unified vision.
Additionally, each nucleo is indispensably tied to the many other nucleos that form the El
Sistema network. These interdependent relationships are manifested through events such as
“seminarios,” which are intensive, project-based musical retreats where orchestras share
repertoire, streamline technique, and build personal and institutional relationships. By
uniting students and teachers from disparate parts of the country, the nucleo network
embodies the El Sistema ideals of sharing and learning.
10. Ambition and Achievement. El Sistema work is more than merely good for young people.
It aspires to transform youth lives, and widely succeeds in setting a healthier, fuller
trajectory for stress young lives. What changes young lives is being part of an aligned
committed community that reaches unreasonably high together, regularly, taking risks to
achieve excellence that matters to them and to others. This cycle of ambitious yearning and
achievement, repeated consistently for the sake of beauty and contribution to the
community, changes, over time, thousands of small and larger choices a young person
makes in creating his/her life.
Eric Booth, El Sistema USA, 2010

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Appendix E: Procedures For Scoring Student Surveys
The Self-Esteem of Music Ability (SEMA) survey consisted of a total of 53 items and was
comprised of three (3) subscales: Self-Perception of Music Ability (17 items), Support and
Recognition from Others (18 items), and Personal Interest of Desire (8 items). The response set
for all questions on the SEMA survey was disagree a lot (1) to agree a lot (4). Subscales were
calculated by adding together the identified items.
The Self-Perception of Music Ability subscale was calculated by adding together 17 questions from
the SEMA: 1, 2, 3, 4, 5, 6, 10, 12, 17, 18, 21, 24, 28, 31, 32, 36, and 43. Items 4, 10, 24, 28, 31, and
32, were reversed coded using SPSS to account for the negative phasing of the questions. The
Support and Recognition from Others subscale was calculated by adding questions: 8, 9, 11, 13, 14,
15, 16, 19, 22, 27, 29, 30, 33, 37, 38, 40, 41, and 42. Items 8, 16, 19, 40, and 41 were reversed before
scoring to also account for the negative phasing of the questions. The Personal Interest and Desire
subscale was scored adding items 7, 20, 23, 25, 26, 34, 35, and 39 from the SEMA.
The Home Musical Environment/Parental Involvement survey was derived from Zdzinski’s student
self-report 15-item scale. The response set for all questions on survey was never (1) to always
(5). Seven (7) items were selected that were applicable to the El Sistema intervention. The eight
(8) remaining items included elements of at home practice which did not apply to the El Sistema
program design at the time of administering the surveys. Two (2) items were added to the
survey, for a total of nine (9) items, to more accurately capture family engagement regarding
music at home. The two questions added were: (1) Your parents play a musical instrument
with you; and (2) You listen to members of your family perform music at home.
The Student Attitudes Towards School Survey measures El Sistema program participants’ attitudes
about school. The survey was comprised of 15 items that was scored by adding together the
identified items. The 15-item Student Attitudes Towards School Survey was scored after reverse
coding questions 9, 10, 11, 12, 13, 14, and 15 to account for the negative phrasing of the survey
questions. The response set for all questions was totally disagree (1) to totally agree (5).
The Satisfaction with Life Scale-Child (SWLS-C) survey consisted of five (5) items. The response
set for all questions on the SWLS-C survey was disagree a lot (1) to agree a lot (5). A sixth item
was added to assess the student’s motivation to take initiative when things go wrong in life
(“When things go wrong, I take initiative”).
The Conflict-Behavior Questionnaire (CBQ) survey was previously developed to understand
conflict behaviors responses in adult relationships. The El Sistema CBQ survey questions were
adapted to depict age appropriate relationship scenarios and behavioral responses for
elementary school students. The response set for all questions on the CBQ was never true (1) to
usually true (6). The CBQ was scored by adding the responses from the nine-item survey.

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The School Achievement Motivation Rating scale was a teacher rating of the El Sistema student’s
achievement motivation consisting of 15-items. The response set for all questions was never (1)
to always (5). The scale was calculated by adding together all 15 items. The School Achievement
Motivation Rating scale was a teacher rating of the El Sistema student’s achievement motivation
consisting of 15-items. The survey was scored after reverse coding items 8, 11, and 15 to
account for negative phrasing of each question.

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Appendix F: Codes Used to Analyze the Videotapped
Rehearsals
1) Teacher Intervention Verbal Musical/Positive: teacher provides verbal instruction or
positive feedback regarding some aspect of music performance.
2) Teacher Intervention Verbal Musical/Negative: teacher provides negative feedback
regarding some aspect of music performance (e.g., that wasn’t very good, try it again; don’t
slouch, etc.)
3) Teacher Intervention Verbal Social/Positive: teacher provides positive feedback regarding
something non-musical (e.g., thanks for staying focused, thanks for working hard).
4) Teacher Intervention Verbal Social/Negative: teacher provides feedback regarding negative
social behavior (e.g., please pay attention, stop doing that, voices are turned off, focus is on
me, etc).
5) Teacher Intervention Musical Demonstration: Performance on an instrument or singing with
the intent of eliciting a student performance trial of the material being demonstrated,
modeling for students.
6) Teacher Intervention Co-Verbal Demonstration: Modeling on an instrument while
simultaneously providing verbal instruction, with the intent of eliciting a student
performance trial of the musical material being modeled (e.g., playing D- E- F# on a violin
while saying “open, one, two”).
7) Teacher Intervention – Other Non-Verbal Communication: this often involves the teacher
making a gestural motion, such as showing the shape of the left or right hand or making the
motion of the bow arm with or without the instrument, however, it does not involve a
demonstration with musical sound.
8) Teacher Intervention - Pedagogical Touch: this may be accompanied by verbal feedback. If a
teacher is seen in the video frame adjusting a student’s bow hold, bow stroke, left hand or
instrument position using pedagogical touch this code was used.
9) Student Verbalization, Information, Question: This code was used when students were
responding to a teacher’s question, or were asking a question of the teacher.
10) Student Performance Trial Full Ensemble: All students in the room playing instruments
together in response to a teacher intervention.
11) Student Performance Trial Section: Some students in the room playing instruments together
in response to a teacher intervention (e.g., the violins, violas, or cellos).
12) Student Performance Trial Individual: One student in the room plays alone in response to a
teacher intervention.
13) Transition: No instructional activity.
14) Tuning Procedure: Teachers or students are tuning instruments.

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Rehearsals were also coded to determine which of the following skills were addressed by the
teachers in rehearsal:
1) Instrument Skills —Bowing
a. Bow Hold
b. Basic bow stroke (Weight, angle, speed, placement, tone quality)
2) Instrument Skills— Instrument Position and Left Hand Skills
a. Body posture
b. Instrument position
c. Left-hand position
d. Finger patterns, fingering
3) Music Literacy—defined as “an association of sound-to-symbol, in a given musical
context, which includes: predictive components (understanding of reading based on
audiation of written material) and knowledge of symbols and notation related to pitch,
rhythm, dynamics, tonality, clef, articulation, etc.), based on the principle that sound
comes before sight (Benham et al., 2011, p. 190).
a. read basic rhythmic notation using whole notes, half notes, quarter notes and
eighth notes and corresponding rests
b. perform simple rhythmic combinations listed above
c. read basic musical symbols
d. read and perform appropriate music in 2/4, 3/4 and 4/4 time signatures
4) Aural Skills—imitating simple patterns by ear, raising and lowering pitches by ear,
playing scales by ear
5) Rehearsal Skills— playing together with other students, showing self-discipline and
learning to play independently, contributing to group discipline and help create an
atmosphere for learning [I need to rethink this, because how can yo have an ensemble
rehearsal without students playing together? Does there need to be specific verbal
instruction addressing this?]
6) Expressive Skills — playing with dynamics, articulations, bowings (slurs, upbow,
downbow), simple phrasing, musical sensitivity
7) Attitude — fostering a positive attitude toward music learning and playing,
experiencing joy and self-pride in performing well.

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Appendix G: El Sistema Inspired Program Music Curriculum
Evaluation Criteria
The grant proposal described the use of an El Sistema approach to enact the program. A
literature review of the Venezuelan El Sistema (ES) and El Sistema-inspired (ESI) programs in the
United States was conducted in order to determine the extent to which the program utilized an
ESI approach (Booth, 2012; Fundacion Musical Simon Bolivar , n.d.; National Alliance of El
Sistema Inspired Programs, n.d.; Tunstall, 2012; Yola Resource Library. n.d.). A sysnthesis of
this literature base yielded the following distinguishing characteristics of an ESI program: 1) a
fast-paced, high energy rehearsal environment, 2) teachers have rigorous expectations for the
students to strive for excellence, 3) the learning environment is safe and supportive,
characterized by caring and kindness, 4) the teaching is characterized by flexibility, purposeful
planning, encouragement of exploration and curiosity, and a variety of teaching techniques, 5)
the structure of the learning environment includes large ensemble, sectional learning, and
individual lessons, with the large ensemble being the main learning tool, 6) parent involvement
and support, 7) opportunities for peer mentoring and student leadership, 8) regular student
assessment, 9) frequent performance opportunities, 10) repertoire includes arrangements of
classical repertoire, along with examples of American music (fiddling repertoire, jazz, etc.), 11)
repertoire includes simple arrangements of big pieces (i.e., masterworks) with big sound.
The ESI literature also articulates that ESI curricula align with the National Standards for Arts
Education (Consortium of National Arts Education Associations, 1994): 1) Singing, alone and
with others, a varied repertoire of music, 2) performing on instruments, alone and with others, a
varied repertoire of music, 3) improvising melodies, variations and accompaniments, 4)
composing and arranging music within specific guidelines, 5) reading and notating music, 6)
listening to, analyzing, and describing music, 7) evaluating music and music performances, 8)
understanding relationships between music, the other arts, and disciplines outside the arts, and
9) understanding music in relation to history and culture.
String Instrument Performance Skills Criteria
The following string instrument performance skills were taken from the pedagogical literature
on first-year string instruction (Hamann & Gillespie, 2009; Benham et al., 2011) and the Ann
Arbor Public School District’s outcomes for fifth-grade instrumental instruction.
a. Instrument Skills —Bowing
a. Bow Hold
b. Basic bow stroke (Weight, angle, speed, placement, tone quality)
b. Instrument Skills— Instrument Position and Left Hand Skills
a. Body posture
b. Instrument position

64. El Sistema Program: Formative and Outcome Evaluation July 2014
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c. Left-hand position
d. Finger patterns, fingering
c. Music Literacy—defined as “an association of sound-to-symbol, in a given musical context,
which includes: predictive components (understanding of reading based on audiation of
written material) and knowledge of symbols and notation related to pitch, rhythm,
dynamics, tonality, clef, articulation, etc.), based on the principle that sound comes before
sight (Benham et al., 2011, p. 190).
a. read basic rhythmic notation using whole notes, half notes, quarter notes and eighth
notes and corresponding rests
b. perform simple rhythmic combinations listed above
c. read basic musical symbols
d. read and perform appropriate music in 2/4, 3/4 and 4/4 time signatures
d. Aural Skills—imitating simple patterns by ear, raising and lowering pitches by ear, playing
scales by ear
e. Rehearsal Skills— playing together with other students, showing self-discipline and
learning to play independently, contributing to group discipline and help create an
atmosphere for learning
f. Attitude — fostering a positive attitude toward music learning and playing, experiencing
joy and self-pride in performing well.
Grant Criteria: Curricular Design and Goals
The curricular design and goals as determined by the grant proposal articulated as follows:
iii. SMTD undergraduate and graduate students will have opportunities to:
a. work in a socially, economically, and linguistically diverse context
b. enact pedagogies with direct feedback on their work
c. see the impact of arts engagement on the overall achievement and well-being of
students in the academic and social life of the school.
iv. Instruction will combine full ensemble rehearsals with sectionals, partner lessons and
individual lessons.
v. Instruction will primarily be carried out by the lead GSI, the assistant teacher, as well as by
SMTD students employed to teach supplementary private lessons (hereafter referred to as
“project teachers”) on a weekly basis.
vi. Outreach in the Performing Arts (MUSPERF 101/401) and Teaching String Instruments
(MUSED 201/202) will serve as training venues for the SMTD EI Sistema project teachers.
vii. The lead teachers will offer regular training and assessment meetings for the project
teachers.
viii. The Mitchell Elementary School music teacher will assist with planning, teaching and
facilitation of the interaction between the EI Sistema program and the regular instrumental
program at Mitchell Elementary School.
ix. A research team of Music Education and Social Work graduate students will assess musical,
academic and social results.

65. El Sistema Program: Formative and Outcome Evaluation July 2014
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x. Beginning in October 2013, graduate students will provide monthly reports on music
assessments. Program leaders convene monthly to review graduate students reports and
videotapes.
xi. The EI Sistema initiative will complement other extended day and extended year programs
offered collaboratively with the MSTLC that focus on literacy, math, and science instruction.

66. El Sistema Program: Formative and Outcome Evaluation July 2014
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Appendix H: Preliminary Pre Test Results
II. Results – Data Collected: October 2013
A. Instrument Assignment
Students entering the El Sistema program had self-selected to participate and been assigned
their string instrument. From a total of 22 participants, nine (9) students were assigned the
violin, seven (7) students the viola, and six (6) students the cello.
B. Attendance
El Sistema program was held on 49 days between October 21, 2013 and March 12, 2014, which
accounted for scheduled days off and five (5) unexpected inclement weather/snow days.
Attendance was tracked on 22 participants.
Daily attendance ranged from seven (7) to 21 with an average of 14 students present at each
session. Before the holiday break, the average number of students attending each session was 15,
with daily participation ranging from nine (9) to 21 students. Following the holiday break, the
average daily attendance was 13 students, ranging from seven (7) to 18 students.

67. El Sistema Program: Formative and Outcome Evaluation July 2014
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C. Students: Self Esteem of Music Ability (SEMA)
Students who participated in the El Sistema Program were asked about the their music making
ability, support for their involvement in music, and their personal interest/desire to learn music
using three subscales of the SEMA survey developed by Schmitt (1979).
Subscale 1: Self Perception of Music Ability
In Subscale 1: Self Perception of Music Ability, student’s sense of their own music making ability
was measured. The range for Subscale 1 is 17 to 68, with a score of 68 indicating the highest
level of perceived competence in one’s ability to make music. The mean score of students in the
El Sistema program was 52.32 (Figure 1).
Figure 1. SEMA - Subscale 1: Self-Perception of Music Ability (n=22).
El Sistema Students
52.32
17 68
Low Level of 42.5 High Level of
Perceived Midpoint Perceived
Competence of the Scale Competence
The majority of El Sistema students believe they can read music well (86.3%), could play
difficult rhythms (77.3%), and could write music with assistance (81.8%) (Figure 2).
Figure 2. El Sistema program participants have positive perceptions of their own music
literacy and learning ability (n=22).
18.2%
22.7%
13.6%
59.1%
50.0%
63.6%
22.7%
27.3%
22.7%
I could write music if I got a little help.
I can play or sing difficult rhythms.
I can read music well.
Disagree a lot Disagree a little Agree a little Agree a lot

68. El Sistema Program: Formative and Outcome Evaluation July 2014
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El Sistema students believe they are talented (68.1%) and music making is easier for those
(72.8%) compared to their peers (Figure 3).
Figure 3. El Sistema program participants have positive perceptions of their own musical
talent (n=22).
The majority of El Sistema students believe they could help others learn music (72.7%), but
when asked if they could lead others in singing or playing, more than half (59.1%) disagreed.
When students were asked if they could lead the class when their music teacher leaves the
room, 54.5% disagreed (Figure 4).
Figure 4. El Sistema students perceive themselves as able to help others learn music.
Although, leading and teaching other students was perceived as difficult (n=22).
36.4% 36.4%
31.8%
18.2%
54.5%
9.1%
13.6%
Music is harder for me than for other kids.
Compared to other kids, I think I am
talented.
Disagree a lot Disagree a little Agree a little Agree a lot
40.9%
13.6%
4.6%
13.6%
27.3%
22.7%
27.3%
45.5%
54.5%
18.2%
13.6%
18.2%
When the teacher leaves the room, I can
take their place.
Leading others in singing or playing
would be difficult for me.
I know music well enough to help other
learn it.
Disagree a lot Disagree a little Agree a little Agree a lot

69. El Sistema Program: Formative and Outcome Evaluation July 2014
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ii. Subscale 2: Support of Recognition From Others
In Subscale 2: Support of Recognition From Others students’ sense of support for their music
involvement from teachers, peers, and family was measured. The range for Subscale 2 is 18 to
72, with a score of 72 indicating the highest level of perceived support for their involvement in
music. The mean score for this subscale for students in the El Sistema program was 55.68
(Figure 5).
Figure 5. SEMA - Subscale 2: Support of Recognition From Others (n=22).
El Sistema Students
55.68
18 72
No Perceived 45 Perceived
Support Midpoint Support
of the Scale
All (100.0%) El Sistema program participants think that their parents believe in their ability to
learn to play or sing music and feel good when their parents notice their progress. The majority
of El Sistema students (95.5%) are receptive to high expectations imposed by their parents
regarding their music making ability (Figure 6).
Figure 6. El Sistema students have positive attitudes of their parents’ expectations for their
music making ability and the reward for their learning progress (n=22).
4.5%
27.3%
22.7%
13.6%
68.2%
77.3%
86.4%
I am glad that my parents expect a lot
from me in music.
I feel good when my parents notice my
progress in music and praise me.
My parents believe I can learn to play or
sing really well.
Disagree a lot Disagree a little Agree a little Agree a lot

70. El Sistema Program: Formative and Outcome Evaluation July 2014
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Half of the El Sistema students felt kids would laugh if they made mistakes in music (50.0%),
and the majority of program participants indicated their peers would not recognize their
growth in music making (61.3%). However, more than half of the students (59.1%) thought that
their peers admired their musical ability (Figure 7).
Figure 7. El Sistema students perceived their peers as having negative attitudes towards their
music learning abilities (n=22).
9.1%
14.3%
18.2%
31.8%
47.6%
31.8%
45.5%
28.6%
36.4%
13.6%
9.5%
13.6%
People my age admire my musical ability.
Kids notice my growth in music and give
me credit for what I can do.
I feel that kids would laugh at me if I
made mistakes in music.
Disagree a lot Disagree a little Agree a little Agree a lot

71. El Sistema Program: Formative and Outcome Evaluation July 2014
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iii. Subscale 3: Personal Interest or Desire
In Subscale 3: Personal Interest or Desire students’ perception of their own interest in music and
their desire to play was measured. The range for Subscale 3 is 8 to 32, with a score of 32
indicating the highest level of interest and desire to be involved in making music. The mean
score of students in the El Sistema program for Subscale 3 was 23.14 (Figure 8).
Figure 8. SEMA - Subscale 3: Personal Interest or Desire (n=22).
El Sistema Students
23.14
8 32
No Interest 20 High Interest
or Desire Midpoint or Desire
of the Scale
All El Sistema students (100.0%) indicated they usually enjoy practicing music. When asked if
they expect a lot of themselves in music, nearly all program participants (95.5%) agreed (Figure
9).
Figure 9. El Sistema students enjoy practicing music and expect a lot of themselves
(n=22).
4.5%
36.4%
38.1%
59.1%
61.9%
I expect a lot of myself in music.
Usually I enjoy practicing music.
Disagree a lot Disagree a little Agree a little Agree a lot

72. El Sistema Program: Formative and Outcome Evaluation July 2014
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The majority of El Sistema students enjoy playing for others (81.8%). However, when asked if
they are glad to play when prompted by others, only 68.2% agreed. Similarly, only 68.2% of the
students would be glad if their teachers asked them to play or sing in school (Figure 10).
Figure 10. El Sistema students enjoy playing music, although not when prompted by others
(n=22).
When El Sistema program participants were asked about their future involvement in music, the
majority of students (77.3%) expected to play an instrument or sing in middle and/or high
school, and 59.1% indicated they would like a job in music when they grow up (Figure 11).
Figure 11. El Sistema students indicated a desire to be involved in music in the future (n=22).
9.1%
9.1%
4.5%
22.7%
22.7%
13.6%
50.0%
45.5%
31.8%
18.2%
22.7%
50.0%
I'd be glad if teachers asked me to play or
sing in school.
I am glad when asked to sing or play for
others.
I enjoy playing for others.
Disagree a lot Disagree a little Agree a little Agree a lot
9.1% 31.8%
22.7%
36.4%
45.5%
22.7%
31.8%
I would like a job in music when I grow up.
I expect to play or sing in performing
groups in middle/high school.
Disagree a lot Disagree a little Agree a little Agree a lot

73. El Sistema Program: Formative and Outcome Evaluation July 2014
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B. Students: Home Musical Environment/Parental Involvement Scale
Students were asked about their exposure to music and music making by family members at
home using the Home Musical Environment/Parental Involvement Scale developed by
Zdzinski (1993). The range for the scale is 9 to 45, with a score of 45 indicating the highest level
of exposure to music and music making. The mean score of students in the El Sistema program
was 20.14 (Figure 12).
Figure 12. Home Musical Environment/Parental Involvement (n=22).
El Sistema Students
20.14
9 45
No Exposure 27 High Exposure
Midpoint
of the Scale
The majority of the parents of El Sistema students engage their children to some degree
(sometimes to always) in discussions about music (90.9%) and their music making progress
(90.9%) (Figure 13).
Figure 13. Parents of El Sistema students are involved in their child’s music learning (n=22).
9.1%
9.1%
18.2%
31.8%
27.3%
27.3%
22.7%
27.3%
22.7%
4.5%
Your parents ask about your progress in
music.
Your parents talk about music with you.
Never Sometimes Often Very Often Always

74. El Sistema Program: Formative and Outcome Evaluation July 2014
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The majority of the parents of El Sistema students do not sing (90.5%) or play an instrument
(81%) in a musical group (Figure 14).
Figure 14. The parents are of El Sistema participants are not involved in musical groups
(n=22).
However, there are members of their family who perform music at home (72.6%), and a
proportion of the students play a musical instrument (31.8%) with their parents (Figure 15).
Figure 15. El Sistema students are engaged in their family members’ music making at home
and a few students play music with their parents (n=22).
81.0%
90.5%
9.5%
4.8%
4.8%
4.8%
4.8%
You parents play in a musical group.
Your parents sing in a musical group.
Never Sometimes Often Very Often Always
68.2%
27.3%
27.3%
31.8% 4.8% 13.6%
4.5%
4.5%
Your parents play a musical instrument
with you.
You listen to members of your family
perform music at home.
Never Sometimes Often Very Often Always

75. El Sistema Program: Formative and Outcome Evaluation July 2014
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C. Students: Student Attitudes Towards School Survey
Students were asked about how they felt about their school environment (including teachers,
homework, grades, and learning) using the Student Attitude Towards School scale developed
by Anderson (1999). The range for the scale is 15 to 75, with a score of 75 indicating the most
positive attitudes towards school. The mean score of students in the El Sistema program was
68.32 (Figure 16).
Figure 16. Student Attitudes Towards School Scale (n=22).
El Sistema Students
68.32
15 75
Negative 45 Positive
Attitudes Midpoint Attitudes
of the Scale
The majority of El Sistema students believe they are doing well in school (86.4%), learning a lot
(95.4%), trying hard to get good grades (100.0%), and doing their homework on time (86.3%)
(Figure 17).
Figure 17. El Sistema students perceive themselves as receiving a good education and doing
well in school (n=22).
4.5%
9.1%
4.5%
13.6%
22.7%
23.8%
13.6%
40.9%
63.6%
76.2%
81.8%
45.5%
I usually do my homework on time.
I try hard to get good grades.
I am learning a lot in school.
I am doing well in school.
Totally Disagree Somewhat Disagree Neither Disagree or Agree Somewhat Agree Totally Agree

76. El Sistema Program: Formative and Outcome Evaluation July 2014
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All El Sistema program participants (100.0%) like their teacher and nearly all of the students
(95.5%) believe the principal cares about them and feel part of their school (Figure 18).
Figure 18. El Sistema students feel positive about their school environment (n=22).
72.7% 22.8%
4.5%
4.5%
9.1%
22.7%
86.4%
77.3%
I do not feel part of my school.
The principal cares about students.
I like my teacher.
Totally Disagree Somewhat Disagree Neither Disagree or Agree Somewhat Agree Totally Agree

77. El Sistema Program: Formative and Outcome Evaluation July 2014
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D. Students: Satisfaction With Life Scale Survey
Students were asked about how they felt about aspects of their life using the Satisfaction With
Life scale developed by Gadermann, Schonert-Reichl, and Zumbo (2010). The range for the
scale is 5 to 25, with a score of 25 indicating the highest level of satisfaction with one’s life. The
mean score of students in the El Sistema program was 20.64 (Figure 19).
Figure 19. Student Satisfaction With Life Scale (n=22).
El Sistema Students
20.64
5 25
Highly 15 Highly
Dissatisfied Midpoint Satisfied
of the Scale
The majority of El Sistema students felts things in their lives were excellent (72.8%), were happy
with their life (90.4%), received the important things in life (77.3%), would not change their life
if provided the chance (68.2%), and in most ways agreed their lives are how they would want it
to be (86.3%) (Figure 20, next page).

78. El Sistema Program: Formative and Outcome Evaluation July 2014
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Figure 20. El Sistema students indicated overall that they were satisfied with their lives
(n=22).
4.5%
4.5%
4.8%
9.1%
13.6%
27.3%
18.2%
4.8%
18.2%
54.5%
22.7%
31.8%
33.3%
36.4%
31.8%
45.5%
45.5%
57.1%
36.4%
In most ways my life is close to the way I
would want it to be.
If I could live my life over, I would have it
the same way.
So far I have gotten the important things I
want in life.
I am happy with my life.
The things in my life are excellent.
Disagree a lot Disagree a little Don’t agree or disagree Agree a little Agree a lot

79. El Sistema Program: Formative and Outcome Evaluation July 2014
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E. Students: Conflict Behavior Questionnaire Scale
Students were asked about the extent to which they engage in various conflicting behaviors
using the Conflict-Behavior Questionnaire scale developed by Kammrath & Dweck (2006). The
range for the scale is 12 to 84, with a score of 12 indicating no level of engagement in conflicting
behavior. The mean score of students in the El Sistema program was 45.45 (Figure 21).
Figure 21. Conflict Behavior Questionnaire Scale (n=22).
El Sistema Students
45.45
12 84
Not At All 48 To A Great Extent
Midpoint
of the Scale
The majority of El Sistema students responded positively when asked how they would handle
various conflict behaviors. Students were asked: When a person says or does something that
creates a problem for you, how often do you do the following? More than half of the students
indicated they would move on in the event of conflict (59.0%), would learn to live with it
(72.7%), would not blame someone for an unrelated problem (59.1%), and would not use threats
to pressure someone to changing their thoughts or behaviors (59.1%; Figure 22).
Figure 22. El Sistema students responded favorably to encountering conflict behaviors
(n=22).
59.1%
59.1%
22.7%
22.7%
9.1%
4.5%
4.5%
4.5%
9.1%
13.6%
22.7%
36.4%
22.7%
13.6%
13.6%
22.7%
36.4%
22.7%
I use threats to pressure this person into
changing his/her thoughts and actions.
I blame this person for things that were
unrelated to the real problem.
I learn to live with it.
I try to accept the situation and move on.
Never true Rarely true Sometimes but infrequently true
Neutral Sometimes true Usually true
Always true

80. El Sistema Program: Formative and Outcome Evaluation July 2014
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However, when El Sistema program participants were asked how they would exit a conflict, the
majority of respondents would talk about ending the relationship (59%) (Figure 23).
Figure 23. El Sistema students responded negatively to exiting a conflict (n=22).
40.9% 22.7% 9.1% 18.2%
4.5%
4.5%
I talk about ending my relationship with
this person.
Never true Rarely true Sometimes but infrequently true
Neutral Sometimes true Usually true
Always true

81. El Sistema Program: Formative and Outcome Evaluation July 2014
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F. Teachers: School Achievement Motivation Rating Scale
Fifth grade teachers were asked to complete the teacher rating of each child who participated in
the El Sistema Program. Teachers rated students on their desire to do well on assignments,
overcome challenges, maintain a high standard of work, and surpass others using the School
Achievement Motivation Rating Scale developed by Chiu (1997). The range for the scale is 15 to
75, with a score of 75 indicating the highest level of school achievement motivation. The mean
score of students in the El Sistema program was 51.05 (Figure 24).
Figure 24. School Achievement Motivation Rating (n=21).
El Sistema Students
51.05
15 75
Low School Motivation 45 High School Motivation
Achievement Midpoint Achievement
of the Scale
The majority of El Sistema program participants frequently (66.7%) stick to a task until it is
completed, and occasionally know to ask questions to better understand materials being
studied in class (38.1%). There are 28.6% of the El Sistema students who always choose to work
above and beyond what is expected in the classroom (Figure 25).
Figure 25. El Sistema students adhere to tasks, know when to seek help, and exceed what is
expected in the classroom (n=21).
9.5% 23.8%
4.8%
4.8%
19.1%
42.8%
4.8%
19.0%
28.6%
66.7%
28.6%
23.8%
23.8%
Chooses to work above and beyond what
is expected.
Asks questions to better understand
materials being studied or to aid in solving
assignments.
Sticks with a task until it is completed.
Never Seldom Occasionally Frequently Always

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The majority of El Sistema program participants seldom try to avoid competitive situations
(42.9%), and seldom hesitate to engage in activities which might lead to failure (61.9%)
(Figure 26).
Figure 26. El Sistema students seldom avoid competitive situations and opportunities that
might lead to failure (n=21).
4.8%
4.8%
42.9%
4.8%
19.1%
42.8%
19.0%
19.0%
Hesitates to undertake something that
might lead to failing
Tries to avoid competitive situations.
Never Seldom Occasionally Frequently Always

83. El Sistema Program: Formative and Outcome Evaluation July 2014
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G. Parental Questionnaire
Parental guardians were asked the following question: What are you hoping your child gets
out of this afterschool music program?
The results from the questionnaire depicted seven (7) themes listed below in order from the
highest to the lowest response rate.
Learns to play an instrument = 47.1% (8 of 17 responses): Respondents identified that they were
primarily interested in seeing their child learn to play a musical instrument.
“It is very important my child learn to play an instrument. I want her to be very smart student
in music and other instruments.”
“Learn how to play viola.”
“Able to play the violin.”
Learns to appreciate different cultures and genres of music = 47.1% (8 of 17 responses):
Respondents indicated that they were interested in their children learning about new cultures
and music from around the world.
“An understanding and appreciation of various types of music from around the world.”
“[Develop a] love of music – classical, jazz, etc.”
“I want my daughter to appreciate things is life – concerts, good music, etc.”
Develops an improved sense of personal agency = 23.5% (4 of 17 responses): Respondents
identified an interest in seeing their children become more self-confident, self-disciplined, and
develop improved executive functioning skills.
“I hope [my child] learns to be more self-disciplined, and that she will develop a more optimistic
outlook on things.”
“Able to use what she has learned and apply to viola and guitar, and mostly to her life.”
“Use music to connect with others.”
Improves intellectual skills = 17.6% (3 of 17 responses): Respondents identified an interest in
seeing their children strengthen their intellectual ability.
“I think that this program is good for the performance of my daughter as well as for her
intellectual skills.”
“I believe this experience will lead to a greater knowledge and skill than she would get otherwise.”

84. El Sistema Program: Formative and Outcome Evaluation July 2014
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Engages in high-quality structured music lessons = 11.8% (2 of 17 responses): Respondents
identified an interest in seeing their children participate in well organized and structured music
lessons.
“A more hands-on teaching experience for my daughter with the viola.”
“Having the experience.”
Learns to perform in front of an audience = 11.8% (2 of 17 responses): Respondents identified
an interest in seeing their children learn to perform music in front of others.
“To excel at playing the cello and to perform his instrument live in front of an audience at a
concert.”
“I think this program is good for the performance of my daughter.”
Receives additional support for playing music: = 5.8% (1 of 17 responses): Respondents
identified an interest in seeing their children receive encouragement for learning music.
“Encouragement to continue to learn music.”

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G. Detailed Results of Frequencies
Frequency Table: Self-Esteem of Music Ability; Subscale 1: Self-Perception of
Music Ability
I can read music well.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 3 13.6 13.6 13.6
Agree a little 14 63.6 63.6 77.3
Agree a lot 5 22.7 22.7 100.0
Total 22 100.0 100.0
I know music well enough to help other learn it.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 1 4.5 4.5 4.5
Disagree a little 5 22.7 22.7 27.3
Agree a little 12 54.5 54.5 81.8
Agree a lot 4 18.2 18.2 100.0
Total 22 100.0 100.0
I could write music if I got a little help.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 4 18.2 18.2 18.2
Agree a little 13 59.1 59.1 77.3
Agree a lot 5 22.7 22.7 100.0
Total 22 100.0 100.0

86. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 86
Leading others in singing or playing would be difficult for me.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 3 13.6 13.6 13.6
Disagree a little 6 27.3 27.3 40.9
Agree a little 10 45.5 45.5 86.4
Agree a lot 3 13.6 13.6 100.0
Total 22 100.0 100.0
I can play or sing difficult rhythms
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 5 22.7 22.7 22.7
Agree a little 11 50.0 50.0 72.7
Agree a lot 6 27.3 27.3 100.0
Total 22 100.0 100.0
I think I could win a music contest if I really tried.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 1 4.5 4.5 4.5
Agree a little 14 63.6 63.6 68.2
Agree a lot 7 31.8 31.8 100.0
Total 22 100.0 100.0
I usually fell uncomfortable when I am around music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 16 72.7 72.7 72.7
Disagree a little 4 18.2 18.2 90.9
Agree a little 1 4.5 4.5 95.5
Agree a lot 1 4.5 4.5 100.0
Total 22 100.0 100.0

87. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 87
When I stop and think about it, I really believe I'm talented in music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Agree a little 8 36.4 36.4 36.4
Agree a lot 14 63.6 63.6 100.0
Total 22 100.0 100.0
I come from a musical family.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 6 27.3 27.3 27.3
Disagree a little 6 27.3 27.3 54.5
Agree a little 5 22.7 22.7 77.3
Agree a lot 5 22.7 22.7 100.0
Total 22 100.0 100.0
When music teachers leave the room, I can take their place.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 9 40.9 40.9 40.9
Disagree a little 3 13.6 13.6 54.5
Agree a little 6 27.3 27.3 81.8
Agree a lot 4 18.2 18.2 100.0
Total 22 100.0 100.0
I believe I could become a musician when I grow up.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 4 18.2 18.2 18.2
Agree a little 10 45.5 45.5 63.6
Agree a lot 8 36.4 36.4 100.0
Total 22 100.0 100.0

88. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 88
I will not be good enough to be in choir or band in middle/high school.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 13 59.1 59.1 59.1
Disagree a little 7 31.8 31.8 90.9
Agree a little 2 9.1 9.1 100.0
Total 22 100.0 100.0
I have such a rough time in music class that I often feel bad about myself.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 17 77.3 77.3 77.3
Disagree a little 3 13.6 13.6 90.9
Agree a little 2 9.1 9.1 100.0
Total 22 100.0 100.0
Music is harder for me than for the other kids.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 8 36.4 36.4 36.4
Disagree a little 8 36.4 36.4 72.7
Agree a little 4 18.2 18.2 90.9
Agree a lot 2 9.1 9.1 100.0
Total 22 100.0 100.0
I am not satisfied with my progress in music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 16 72.7 72.7 72.7
Disagree a little 5 22.7 22.7 95.5
Agree a little 1 4.5 4.5 100.0
Total 22 100.0 100.0

89. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 89
I like it when music teachers give me hard music to learn.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 1 4.5 4.5 4.5
Disagree a little 7 31.8 31.8 36.4
Agree a little 8 36.4 36.4 72.7
Agree a lot 6 27.3 27.3 100.0
Total 22 100.0 100.0
Compared with other kids, I think I am talented.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 7 31.8 31.8 31.8
Agree a little 12 54.5 54.5 86.4
Agree a lot 3 13.6 13.6 100.0
Total 22 100.0 100.0

90. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 90
Frequency Table: Self-Esteem of Music Ability; Subscale 2: Support of
Recognition From Others
Music teachers often embarrass me by asking questions which I can't answer.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 8 36.4 36.4 36.4
Disagree a little 7 31.8 31.8 68.2
Agree a little 7 31.8 31.8 100.0
Total 22 100.0 100.0
I am glad that my parents expect a lot from me in music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 1 4.5 4.5 4.5
Agree a little 6 27.3 27.3 31.8
Agree a lot 15 68.2 68.2 100.0
Total 22 100.0 100.0
I feel good when my parents notice my progress in music and praise me.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Agree a little 5 22.7 22.7 22.7
Agree a lot 17 77.3 77.3 100.0
Total 22 100.0 100.0
My parents believe I can learn to play or sing really well.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Agree a little 3 13.6 13.6 13.6
Agree a lot 19 86.4 86.4 100.0
Total 22 100.0 100.0

91. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 91
Teachers notice my progress in music and give me credit.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 5 22.7 22.7 22.7
Agree a little 9 40.9 40.9 63.6
Agree a lot 8 36.4 36.4 100.0
Total 22 100.0 100.0
My friends really like my playing or singing.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 1 4.5 4.5 4.5
Disagree a little 3 13.6 13.6 18.2
Agree a little 11 50.0 50.0 68.2
Agree a lot 7 31.8 31.8 100.0
Total 22 100.0 100.0
My music teachers don't expect much of me.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 12 54.5 54.5 54.5
Disagree a little 8 36.4 36.4 90.9
Agree a little 1 4.5 4.5 95.5
Agree a lot 1 4.5 4.5 100.0
Total 22 100.0 100.0

92. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 92
I feel that kids would laugh at me if I made mistakes in music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 4 18.2 18.2 18.2
Disagree a little 7 31.8 31.8 50.0
Agree a little 8 36.4 36.4 86.4
Agree a lot 3 13.6 13.6 100.0
Total 22 100.0 100.0
Kids notice my growth in music and give me credit for what I can do.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 3 13.6 14.3 14.3
Disagree a little 10 45.5 47.6 61.9
Agree a little 6 27.3 28.6 90.5
Agree a lot 2 9.1 9.5 100.0
Total 21 95.5 100.0
Missing System 1 4.5
Total 22 100.0
People my age admire my musical ability.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 2 9.1 9.1 9.1
Disagree a little 7 31.8 31.8 40.9
Agree a little 10 45.5 45.5 86.4
Agree a lot 3 13.6 13.6 100.0
Total 22 100.0 100.0

93. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 93
I find myself helping my friends with their music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 3 13.6 13.6 13.6
Disagree a little 8 36.4 36.4 50.0
Agree a little 8 36.4 36.4 86.4
Agree a lot 3 13.6 13.6 100.0
Total 22 100.0 100.0
I am glad my family likes to listen to me perform music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 1 4.5 4.5 4.5
Agree a little 5 22.7 22.7 27.3
Agree a lot 16 72.7 72.7 100.0
Total 22 100.0 100.0
At least one member of my family says I am really good in music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 3 13.6 13.6 13.6
Disagree a little 1 4.5 4.5 18.2
Agree a little 3 13.6 13.6 31.8
Agree a lot 15 68.2 68.2 100.0
Total 22 100.0 100.0

94. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 94
If my friends chose a music leader, they would probably pick me.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 1 4.5 4.5 4.5
Disagree a little 10 45.5 45.5 50.0
Agree a little 10 45.5 45.5 95.5
Agree a lot 1 4.5 4.5 100.0
Total 22 100.0 100.0
Other kids sometimes ask me to play or sing with them.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 4 18.2 18.2 18.2
Disagree a little 8 36.4 36.4 54.5
Agree a little 8 36.4 36.4 90.9
Agree a lot 2 9.1 9.1 100.0
Total 22 100.0 100.0
No one pays much attention to my musical activities at home.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 10 45.5 45.5 45.5
Disagree a little 10 45.5 45.5 90.9
Agree a little 2 9.1 9.1 100.0
Total 22 100.0 100.0
I don't have even one friend who would say I am any good in music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 13 59.1 59.1 59.1
Disagree a little 5 22.7 22.7 81.8
Agree a little 3 13.6 13.6 95.5
Agree a lot 1 4.5 4.5 100.0
Total 22 100.0 100.0

95. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 95
I practice more because my teacher thinks I can do well in music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 1 4.5 4.5 4.5
Disagree a little 3 13.6 13.6 18.2
Agree a little 9 40.9 40.9 59.1
Agree a lot 9 40.9 40.9 100.0
Total 22 100.0 100.0

96. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 96
Frequency Table: Self-Esteem of Music Ability; Subscale 3: Personal Interest or
Desire
I am glad when asked to sing or play for others.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 2 9.1 9.1 9.1
Disagree a little 5 22.7 22.7 31.8
Agree a little 10 45.5 45.5 77.3
Agree a lot 5 22.7 22.7 100.0
Total 22 100.0 100.0
I'd be glad if teachers asked me to play or sing in school
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 2 9.1 9.1 9.1
Disagree a little 5 22.7 22.7 31.8
Agree a little 11 50.0 50.0 81.8
Agree a lot 4 18.2 18.2 100.0
Total 22 100.0 100.0
Music is al right for other but not for me.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 15 68.2 68.2 68.2
Disagree a little 5 22.7 22.7 90.9
Agree a little 1 4.5 4.5 95.5
Agree a lot 1 4.5 4.5 100.0
Total 22 100.0 100.0

97. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 97
I enjoy playing for others.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 1 4.5 4.5 4.5
Disagree a little 3 13.6 13.6 18.2
Agree a little 7 31.8 31.8 50.0
Agree a lot 11 50.0 50.0 100.0
Total 22 100.0 100.0
I expect a lot of myself in music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 1 4.5 4.5 4.5
Agree a little 8 36.4 36.4 40.9
Agree a lot 13 59.1 59.1 100.0
Total 22 100.0 100.0
I would like a job in music when I grow up.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 2 9.1 9.1 9.1
Disagree a little 7 31.8 31.8 40.9
Agree a little 8 36.4 36.4 77.3
Agree a lot 5 22.7 22.7 100.0
Total 22 100.0 100.0

98. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 98
Usually I enjoy practicing music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Agree a little 8 36.4 38.1 38.1
Agree a lot 13 59.1 61.9 100.0
Total 21 95.5 100.0
Missing 0 1 4.5
Total 22 100.0
I expect to play or sing in performing groups in middle/high school.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 5 22.7 22.7 22.7
Agree a little 10 45.5 45.5 68.2
Agree a lot 7 31.8 31.8 100.0
Total 22 100.0 100.0

99. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 99
Frequency Table: Home Musical Environment/Parental Involvement Scale
Your parents talk about music with you.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 2 9.1 9.1 9.1
Sometimes 7 31.8 31.8 40.9
Often 6 27.3 27.3 68.2
Very Often 6 27.3 27.3 95.5
Always 1 4.5 4.5 100.0
Total 22 100.0 100.0
Your parents ask about your progress in music.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 2 9.1 9.1 9.1
Sometimes 4 18.2 18.2 27.3
Often 6 27.3 27.3 54.5
Very Often 5 22.7 22.7 77.3
Always 5 22.7 22.7 100.0
Total 22 100.0 100.0
Your parents sing with you.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 12 54.5 54.5 54.5
Sometimes 10 45.5 45.5 100.0
Total 22 100.0 100.0

100. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 100
Your parents sing in a musical group.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 19 86.4 90.5 90.5
Sometimes 1 4.5 4.8 95.2
Often 1 4.5 4.8 100.0
Total 21 95.5 100.0
Missing 0 1 4.5
Total 22 100.0
Your parents play in a musical group.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 17 77.3 81.0 81.0
Sometimes 2 9.1 9.5 90.5
Often 1 4.5 4.8 95.2
Very Often 1 4.5 4.8 100.0
Total 21 95.5 100.0
Missing 0 1 4.5
Total 22 100.0
Your parents listen to music at home.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Sometimes 3 13.6 13.6 13.6
Often 2 9.1 9.1 22.7
Very Often 9 40.9 40.9 63.6
Always 8 36.4 36.4 100.0
Total 22 100.0 100.0

101. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 101
Your parents take your to music concerts.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 8 36.4 36.4 36.4
Sometimes 7 31.8 31.8 68.2
Often 4 18.2 18.2 86.4
Very Often 2 9.1 9.1 95.5
Always 1 4.5 4.5 100.0
Total 22 100.0 100.0
Your parents play a musical instrument with you.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 15 68.2 68.2 68.2
Sometimes 6 27.3 27.3 95.5
Always 1 4.5 4.5 100.0
Total 22 100.0 100.0
You listen to members of your family perform music at home.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 6 27.3 27.3 27.3
Sometimes 7 31.8 31.8 59.1
Often 3 13.6 13.6 72.7
Very Often 3 13.6 13.6 86.4
Always 3 13.6 13.6 100.0
Total 22 100.0 100.0

102. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 102
Frequency Table: Student Attitudes Towards School Survey
I like my teacher.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Somewhat Agree 5 22.7 22.7 22.7
Totally Agree 17 77.3 77.3 100.0
Total 22 100.0 100.0
The principal cares about students.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Neither Disagree or Agree 1 4.5 4.5 4.5
Somewhat Agree 2 9.1 9.1 13.6
Totally Agree 19 86.4 86.4 100.0
Total 22 100.0 100.0
I am doing well in school.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Neither Disagree or Agree 3 13.6 13.6 13.6
Somewhat Agree 9 40.9 40.9 54.5
Totally Agree 10 45.5 45.5 100.0
Total 22 100.0 100.0
I am learning a lot in school.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Neither Disagree or Agree 1 4.5 4.5 4.5
Somewhat Agree 3 13.6 13.6 18.2
Totally Agree 18 81.8 81.8 100.0
Total 22 100.0 100.0

103. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 103
I try hard to get good grades.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Somewhat Agree 5 22.7 23.8 23.8
Totally Agree 16 72.7 76.2 100.0
Total 21 95.5 100.0
Missing 0 1 4.5
Total 22 100.0
I usually do my homework on time.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Somewhat Disagree 1 4.5 4.5 4.5
Neither Disagree or Agree 2 9.1 9.1 13.6
Somewhat Agree 5 22.7 22.7 36.4
Totally Agree 14 63.6 63.6 100.0
Total 22 100.0 100.0
I enjoy school activities such as sports or clubs.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Neither Disagree or Agree 2 9.1 9.1 9.1
Somewhat Agree 3 13.6 13.6 22.7
Totally Agree 17 77.3 77.3 100.0
Total 22 100.0 100.0
I plan to complete high school.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Somewhat Agree 2 9.1 9.1 9.1
Totally Agree 20 90.9 90.9 100.0
Total 22 100.0 100.0

104. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 104
I am angry at my school.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Totally Disagree 11 50.0 50.0 50.0
Somewhat Disagree 5 22.7 22.7 72.7
Neither Disagree or Agree 4 18.2 18.2 90.9
Somewhat Agree 2 9.1 9.1 100.0
Total 22 100.0 100.0
My teacher(s) don't care about me.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Totally Disagree 18 81.8 81.8 81.8
Somewhat Disagree 1 4.5 4.5 86.4
Neither Disagree or Agree 1 4.5 4.5 90.9
Totally Agree 2 9.1 9.1 100.0
Total 22 100.0 100.0
My teacher(s) don't really understand me.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Totally Disagree 13 59.1 61.9 61.9
Somewhat Disagree 4 18.2 19.0 81.0
Neither Disagree or Agree 1 4.5 4.8 85.7
Somewhat Agree 1 4.5 4.8 90.5
Totally Agree 2 9.1 9.5 100.0
Total 21 95.5 100.0
Missing 0 1 4.5
Total 22 100.0

105. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 105
I am not interested in what my teachers have to say to me.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Totally Disagree 17 77.3 77.3 77.3
Somewhat Disagree 2 9.1 9.1 86.4
Neither Disagree or Agree 1 4.5 4.5 90.9
Somewhat Agree 1 4.5 4.5 95.5
Totally Agree 1 4.5 4.5 100.0
Total 22 100.0 100.0
I am not really learning anything important in school
Frequency Percent Valid Percent Cumulative
Percent
Valid
Totally Disagree 18 81.8 81.8 81.8
Somewhat Disagree 1 4.5 4.5 86.4
Neither Disagree or Agree 2 9.1 9.1 95.5
Totally Agree 1 4.5 4.5 100.0
Total 22 100.0 100.0
I don't really care about my grades.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Totally Disagree 19 86.4 86.4 86.4
Somewhat Disagree 1 4.5 4.5 90.9
Neither Disagree or Agree 1 4.5 4.5 95.5
Totally Agree 1 4.5 4.5 100.0
Total 22 100.0 100.0

106. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 106
I do not feel a part of my school.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Totally Disagree 16 72.7 72.7 72.7
Somewhat Disagree 5 22.7 22.7 95.5
Somewhat Agree 1 4.5 4.5 100.0
Total 22 100.0 100.0

107. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 107
Frequency Table: Satisfaction With Life Scale Survey
In most ways my life is close to the way I would want it to be.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Don't agree or disagree 3 13.6 13.6 13.6
Agree a little 12 54.5 54.5 68.2
Agree a lot 7 31.8 31.8 100.0
Total 22 100.0 100.0
The things in my life are excellent.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 2 9.1 9.1 9.1
Don't agree or disagree 4 18.2 18.2 27.3
Agree a little 8 36.4 36.4 63.6
Agree a lot 8 36.4 36.4 100.0
Total 22 100.0 100.0
I am happy with my life.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 1 4.5 4.8 4.8
Don't agree or disagree 1 4.5 4.8 9.5
Agree a little 7 31.8 33.3 42.9
Agree a lot 12 54.5 57.1 100.0
Total 21 95.5 100.0
Missing 0 1 4.5
Total 22 100.0

108. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 108
So far I have gotten the important things I want in life.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a lot 1 4.5 4.5 4.5
Don't agree or disagree 4 18.2 18.2 22.7
Agree a little 7 31.8 31.8 54.5
Agree a lot 10 45.5 45.5 100.0
Total 22 100.0 100.0
If I could live my life over, I would have it the same way.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Disagree a little 1 4.5 4.5 4.5
Don't agree or disagree 6 27.3 27.3 31.8
Agree a little 5 22.7 22.7 54.5
Agree a lot 10 45.5 45.5 100.0
Total 22 100.0 100.0

109. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 109
Frequency Table: Conflict Behavior Questionnaire Scale
I openly talk about the problem with this person.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Rarely true 1 4.5 4.5 4.5
Sometimes but infrequently true 3 13.6 13.6 18.2
Neutral 9 40.9 40.9 59.1
Sometimes true 6 27.3 27.3 86.4
Usually true 2 9.1 9.1 95.5
Always true 1 4.5 4.5 100.0
Total 22 100.0 100.0
I try to work with this person to find a solution to the problem.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never true 1 4.5 4.5 4.5
Sometimes but infrequently true 4 18.2 18.2 22.7
Neutral 8 36.4 36.4 59.1
Sometimes true 1 4.5 4.5 63.6
Usually true 5 22.7 22.7 86.4
Always true 3 13.6 13.6 100.0
Total 22 100.0 100.0
I voice my concerns to others who can help solve the problem.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Rarely true 2 9.1 9.1 9.1
Sometimes but infrequently true 4 18.2 18.2 27.3
Neutral 5 22.7 22.7 50.0
Sometimes true 5 22.7 22.7 72.7
Usually true 4 18.2 18.2 90.9
Always true 2 9.1 9.1 100.0
Total 22 100.0 100.0

110. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 110
I accepted the problem and don't try to change this person.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never true 2 9.1 9.1 9.1
Rarely true 1 4.5 4.5 13.6
Sometimes but infrequently true 2 9.1 9.1 22.7
Neutral 6 27.3 27.3 50.0
Sometimes true 3 13.6 13.6 63.6
Usually true 3 13.6 13.6 77.3
Always true 5 22.7 22.7 100.0
Total 22 100.0 100.0
I try to accept the situation and move on.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Sometimes but infrequently true 1 4.5 4.5 4.5
Neutral 8 36.4 36.4 40.9
Sometimes true 3 13.6 13.6 54.5
Usually true 5 22.7 22.7 77.3
Always true 5 22.7 22.7 100.0
Total 22 100.0 100.0
I learn to live with it.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Sometimes but infrequently true 1 4.5 4.5 4.5
Neutral 5 22.7 22.7 27.3
Sometimes true 5 22.7 22.7 50.0
Usually true 3 13.6 13.6 63.6
Always true 8 36.4 36.4 100.0
Total 22 100.0 100.0

111. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 111
I feel bad about the issue.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Rarely true 1 4.5 4.5 4.5
Sometimes but infrequently true 3 13.6 13.6 18.2
Neutral 7 31.8 31.8 50.0
Sometimes true 3 13.6 13.6 63.6
Usually true 4 18.2 18.2 81.8
Always true 4 18.2 18.2 100.0
Total 22 100.0 100.0
I blame this person for things that were unrelated to the real problem.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never true 13 59.1 59.1 59.1
Rarely true 5 22.7 22.7 81.8
Sometimes but infrequently true 1 4.5 4.5 86.4
Neutral 3 13.6 13.6 100.0
Total 22 100.0 100.0
I treat this person badly, for example, by ignoring the person or saying mean things.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never true 7 31.8 31.8 31.8
Rarely true 8 36.4 36.4 68.2
Sometimes but infrequently true 3 13.6 13.6 81.8
Neutral 2 9.1 9.1 90.9
Sometimes true 1 4.5 4.5 95.5
Usually true 1 4.5 4.5 100.0
Total 22 100.0 100.0

112. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 112
I talk about ending my relationship with this person.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never true 9 40.9 40.9 40.9
Rarely true 5 22.7 22.7 63.6
Sometimes but infrequently true 2 9.1 9.1 72.7
Neutral 4 18.2 18.2 90.9
Sometimes true 1 4.5 4.5 95.5
Always true 1 4.5 4.5 100.0
Total 22 100.0 100.0
I might treat this person differently.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never true 2 9.1 9.1 9.1
Rarely true 5 22.7 22.7 31.8
Sometimes but infrequently true 1 4.5 4.5 36.4
Neutral 10 45.5 45.5 81.8
Sometimes true 1 4.5 4.5 86.4
Usually true 1 4.5 4.5 90.9
Always true 2 9.1 9.1 100.0
Total 22 100.0 100.0
I use threats to pressure this person into changing his/her thoughts and actions.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never true 13 59.1 59.1 59.1
Rarely true 5 22.7 22.7 81.8
Sometimes but infrequently true 2 9.1 9.1 90.9
Neutral 2 9.1 9.1 100.0
Total 22 100.0 100.0

113. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 113
Frequency Table: Teacher Rating – School Achievement Motivation Scale
Chooses to work above and beyond what is expected.
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 2 9.5 9.5 9.5
Seldom 5 23.8 23.8 33.3
Occasionally 4 19.0 19.0 52.4
Frequently 4 19.0 19.0 71.4
Always 6 28.6 28.6 100.0
Total 21 100.0 100.0
Bring in materials related to classroom activities
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 2 9.5 9.5 9.5
Seldom 6 28.6 28.6 38.1
Occasionally 3 14.3 14.3 52.4
Frequently 4 19.0 19.0 71.4
Always 6 28.6 28.6 100.0
Total 21 100.0 100.0
Is not prepared for class
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 12 57.1 57.1 57.1
Seldom 7 33.3 33.3 90.5
Occasionally 2 9.5 9.5 100.0
Total 21 100.0 100.0

114. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 114
Sticks with a task until it is completed
Frequency Percent Valid Percent Cumulative
Percent
Valid
Seldom 1 4.8 4.8 4.8
Occasionally 1 4.8 4.8 9.5
Frequently 14 66.7 66.7 76.2
Always 5 23.8 23.8 100.0
Total 21 100.0 100.0
Attempts to solve problems that others have difficulty with
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 2 9.5 9.5 9.5
Seldom 6 28.6 28.6 38.1
Occasionally 4 19.0 19.0 57.1
Frequently 7 33.3 33.3 90.5
Always 2 9.5 9.5 100.0
Total 21 100.0 100.0
Chooses minimum over maximum assignment
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 2 9.5 9.5 9.5
Seldom 9 42.9 42.9 52.4
Occasionally 4 19.0 19.0 71.4
Frequently 6 28.6 28.6 100.0
Total 21 100.0 100.0

115. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 115
Asks questions to better understand materials being studied or to aid in solving
assignments
Frequency Percent Valid Percent Cumulative
Percent
Valid
Seldom 2 9.5 9.5 9.5
Occasionally 8 38.1 38.1 47.6
Frequently 6 28.6 28.6 76.2
Always 5 23.8 23.8 100.0
Total 21 100.0 100.0
Refuses to do assignments on homework
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 20 95.2 95.2 95.2
Seldom 1 4.8 4.8 100.0
Total 21 100.0 100.0
Finds the answers to the assigned questions
Frequency Percent Valid Percent Cumulative
Percent
Valid
Seldom 1 4.8 4.8 4.8
Occasionally 2 9.5 9.5 14.3
Frequently 16 76.2 76.2 90.5
Always 2 9.5 9.5 100.0
Total 21 100.0 100.0

116. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 116
Participates in class discussion or activities
Frequency Percent Valid Percent Cumulative
Percent
Valid
Seldom 3 14.3 14.3 14.3
Occasionally 6 28.6 28.6 42.9
Frequently 7 33.3 33.3 76.2
Always 5 23.8 23.8 100.0
Total 21 100.0 100.0
Carelessly hurries through assignments
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 2 9.5 9.5 9.5
Seldom 10 47.6 47.6 57.1
Occasionally 8 38.1 38.1 95.2
Frequently 1 4.8 4.8 100.0
Total 21 100.0 100.0
Does something over and over to get it done right
Frequency Percent Valid Percent Cumulative
Percent
Valid
Seldom 7 33.3 33.3 33.3
Occasionally 6 28.6 28.6 61.9
Frequently 6 28.6 28.6 90.5
Always 2 9.5 9.5 100.0
Total 21 100.0 100.0

117. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 117
Tries to avoid competitive situations
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 1 4.8 4.8 4.8
Seldom 9 42.9 42.9 47.6
Occasionally 7 33.3 33.3 81.0
Frequently 4 19.0 19.0 100.0
Total 21 100.0 100.0
Shows enthusiasm toward class studies
Frequency Percent Valid Percent Cumulative
Percent
Valid
Seldom 2 9.5 9.5 9.5
Occasionally 4 19.0 19.0 28.6
Frequently 12 57.1 57.1 85.7
Always 3 14.3 14.3 100.0
Total 21 100.0 100.0
Hesitates to undertake something that might lead to failing
Frequency Percent Valid Percent Cumulative
Percent
Valid
Never 2 9.5 9.5 9.5
Seldom 13 61.9 61.9 71.4
Occasionally 4 19.0 19.0 90.5
Frequently 2 9.5 9.5 100.0
Total 21 100.0 100.0

118. El Sistema Program: Formative and Outcome Evaluation July 2014
Program Evaluation Group, University of Michigan School of Social Work 118
EL SISTEMA PARENT QUESTIONNAIRE
PRE-TEST RESPONSES
1. Learn and enjoy music
2. I hope he get better at playing the violin
3. It is very important that my child learn to play an instrument. I want her to be a
very smart student in music and other instruments.
4. A understanding and appreciation of various types of music from around the
world. To excel at playing the cello and to perform his instrument live in front of
an audience at a concert.
5. A more hands-on teaching experience for my daughter with the viola. I believe
this experience will lead to a greater knowledge and skill than she would get
otherwise.
6. A different experience…. More passion for music.
7. Encouragement to continue to learn music
8. I hope my child likes this program. I hope this program is just right for her and
teach her the viola. So that she can play like a Pro!
9. Able to play the violin;
Able to read notes;
Able to listen to notes and play back;
Able to use what she has learned and apply to viola and guitar, and mostly to
her life; Use music to connect with others.
10. An appreciation of music along with skills.
11. I hope [my child] learns to be more self-disciplined, and that she will develop a
more optimistic outlook on things.
12. The ability to learn and love music
13. Learn how to play viola;
Having the experience;
The commitment / Discipline
14. I want my daughter to appreciate better things in life – concerts, good music, etc.
Things beside the stupid things she watches on the TV/computer.
15. Confidence in music and herself. Love of music – classical, jazz, etc.
16. Learn to new music. Learn respect and patience for herself and the instrument.
17. I think that this program is good for the performance of my daughter as well as
for her intellectual skills. [English Translation – the response was provided in
Spanish]

119. University of Michigan
1080 S. University Ave.
Ann Arbor, Michigan 48109-1106
Email: programevalgroup@umich.edu
Phone: 734-764-7918
Fax: 734-615-7231
Website: http://www.ssw.umich.edu/curtiscenter/