Read the 50th Anniversary Commemorative Issue of The Orff Echo

104 Pages·2017·6.76 MB·English

OrTHEff
ECHO
S P R I N G 2 0 1 8
C1
SPRING 2018 www.aosa.org
Thank you
for 50 years

of service and support
for music educators
Kristin Weimann, Tim Henry
and the whole SONOR Team
Follow us: www.sonor.com facebook.com/sonororff youtube.com/sonororfftube
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Tell me, I forget;
show me, I remember;
involve me, I understand.
Orff because you love to teach.
because you love to listen.
OTrHEff
RELEASE THE CREATIVITY IN EVERY LEARNER
ECHO
ORFF SCHULWERK IN AMERICA:
S P R I N G 2 0 1 8 OUR 50TH ANNIVERSARY ISSUE
14
Orff Schulwerk and Contemporary American
Education Thought
VOL. 50, NO. 3 By Arnold Burkart
Published by the American 18
Chapter One
Orff-Schulwerk Association
By Mark Francis
26
In the Beginning…Orff Schulwerk Teacher Training
on the cover
in the United States
Covers from The Orff Echo, By Joani Somppi Brandon
3
1968-2018.
34
Interwoven Journeys: Memoir of Two Lives in
Friendship and Orff Schulwerk
By Wilma Salzman and Judy Arel
issue coordinators
40
Richard Lawton, Nicola Mason, Danai Gagne and Orff Schulwerk:
and Roxanne Dixon Ever Growing, Ever Flowing
By Joshua Block
46
Orff in the Urban Setting: Turning Challenges into
Opportunities
By René Boyer
54
Techno-Schulwerk: Electronic Inspiration for
Elemental Music Making
By Daniel Rhode
147 Bell Street, Suite #300, 60
The Music of Spoken Language in
Chagrin Falls, OH 44022
[phone]; FAX: [phone]st-Century Orff Classrooms
Website: www.aosa.org; Email: [email protected]
By Esther Gray
68
The Impact of Cognitive Neuroscience
on Music Pedagogy
Contents Copyright 2018 by the By Robyn Staveley
American Orff-Schulwerk Association
Printed in the USA 76
Past Is Prologue: Beyond Orff Schulwerk’s
Articles are viewpoints of the
authors and do not imply First Half-Century in America
endorsement by AOSA.
By Jane Frazee
COLUMNS AND DEPARTMENTS editorial board
5
President’s Message
A Special Presidents’ Message
By Tiffany English
10
In This Issue
Christine Ballenger Roxanne Dixon
Orff Schulwerk in America: Our 50th Anniversary Issue [email protected] [email protected]
By Linda Hines with Richard Lawton, Nicola Mason, and
Roxanne Dixon
RESOURCES
81
Children’s Book Review
The Tale of Peter Rabbit
Richard Lawton Lisa Lehmberg
Introduced by Christine Ballenger/ Richard@richard lehmberg
lawtonmusic.com @umass.edu
Reviewed by Marjie Van Gunten
83
Children’s Book Review
The Story of Ferdinand/Walter the Wolf
Introduced by Roxanne Dixon/
Reviewed by Judith Thomas-Solomon
Chet-Yeng Loong Nicola Mason
86 Supporting Our Learning chetyeng nicola.mason
@hawaii.edu @eku.edu
The Schulwerk
Reviewed by Judy Bond
88
Supporting Our Learning
Artistic Citizenship: Artistry, Social
Responsibility and Ethical Praxis
Matthew Stensrud Editor-in-Chief
Reviewed by Richard Lawton [email protected] Linda Hines
[email protected]
ethics statement mission statement
The American Orff-Schulwerk Association strongly encourages members to The American Orff-Schulwerk Association is a
be positive and discreet when discussing our organization, specific courses professional organization of educators dedicated to the
and/or teachers, and the Orff approach. The very nature of the Orff Schulwerk creative music and movement approach developed by
philosophy embodies a broad spectrum of expressions, exploring different Carl Orff and Gunild Keetman.
paths to arrive at artistic and educational goals. Members are encouraged to
Our Mission is:
recognize and remain open to varied approaches and to celebrate both our
n to demonstrate the value of Orff Schulwerk and
differences and our similarities.
promote its widespread use;
n to support the professional development of our
ad inquiries
members; and,
Carrie Barnette n to inspire and advocate for the creative potential of
Executive Director all learners.
American Orff-Schulwerk Association
147 Bell Street, Suite #300
Chagrin Falls, OH 44022
[phone] phone
[phone] fax
[email protected]
P R E S I D E N T ’ S M E S S A G E
By Tiffany English
A Special Presidents’ United States and the development
of our beloved organization.
Message
Stop and ponder how you
learned about Orff Schulwerk and
AOSA. I venture the inspiration our
past presidents expressed came
to your mind as well: a school full
of children learning music in a
joyful, artful, engaging manner; a
When AOSA’s past presidents special mentor who brought you to
were asked to reflect on their this powerful teaching approach; or your most
leadership and journeys with meaningful AOSA Professional Development
Orff Schulwerk, the words shown Conference experience. Keep these images in
on the following pages came to the fore again mind as you read and discover how much you
and again. As we celebrate the American Orff- have in common with these leaders. We owe
Schulwerk Association’s 50th Anniversary, let’s them our gratitude for all they have done to 5
reflect on the growth of Orff Schulwerk in the cultivate the dynamic organization AOSA is today.
no strings attached
A free resource
for Movement
& Music Educators
TeachingWithOrff.com | Lesson Plans | Community | Instrument Repair | From
SPRING 2018 www.aosa.org
A Magical New Perspective on Teaching
Lillian Yaross (1979-1980): “When you teach
music, you share joy.” This quote by Orff
Schulwerk teacher Polyexene Matthey guided my
teaching and stayed with me throughout my life.
My early introduction to Orff Schulwerk came
in 1961 with Doreen Hall’s Music for Children
course, the first of its kind in the United States.
It was captivating! Whatever I played, that
wonderful Orff Schulwerk sound—unique, fresh,
and ever changing—was exciting for me.
Judy Bond (1989-1991): When I started my
Orff Schulwerk journey someone told me, “This
will change your life,” and indeed it has. I felt
an immediate sense of calling the first time I
observed a group of children experiencing and
learning music through “singing, saying, dancing,
playing.” Learning music by making music was
an awesome gift. I can’t imagine a more joyful,
fulfilling, life-enhancing vocation than teaching,
6 learning, and making music with Orff Schulwerk! Carol Erion (1993-1995):
Jo Ella Hug (2007-2009): Like others of my In the early sixties, while I was
generation, I came to elementary music with studying at the Mozarteum in Salzburg,
no preparation. My happy discovery? I loved Austria, Danai Apostolidou (Gagne) invited
teaching general music. After moving to Spokane, me to see the work she was doing with children
Washington, I attended a meeting where Greta at the Institute. I then studied at the University of
Rizzuti worked with children through body Toronto where Gunild Keetman’s teaching assistant,
percussion question and answer improvisation. Minna Ronnefeld, was teaching levels, which put
I was hooked. A move to Illinois put me in me close to the Schulwerk source. The Salzburg
proximity to the “food” of Orff Schulwerk with and Toronto experiences shaped my teaching and
years of development and AOSA involvement. philosophy in a powerful way.
Arvida Steen (1980-1981): After WWII Carol Huffman (2000-2002): At my first job in
I was privileged to be a part of a community an elementary school, I was shown a closet filled
where teachers got together to discuss different with Orff instruments. “You do know what to do
approaches to teaching elementary music. with these, don’t you?” “Oh yes,” I said, not having
A Music Educators Journal article made me a clue. I decided to attend a two-week course for
curious about Orff Schulwerk, which led me to elementary music teachers taught by Barbara
Jane Frazee. Through observing her teaching, Grenoble, and when I entered the room, there were
I learned Orff Schulwerk teachers pull all those barred instruments I had seen in the closet.
the strings of what children know and find a When I heard the sonorous sounds they emitted,
commonality and usefulness within. This allows and the magic Barbara spun, I was hooked.
children to understand and appreciate what Julie Scott (2009-2011): After my mother and
they have accomplished and makes teaching and I took Orff Levels I and II with Avon Gillespie
learning exciting! and Rick Layton, my life was forever changed.
1895
Carl Orff is born in Munich, Germany.
www.aosa.org SPRING 2018
Carolyn Tower (1982-1983): My first
introduction to the Schulwerk occurred in
the mid-sixties when I saw and heard Joe
Matthesius, one of our beloved founders, give
a concert with his lunchtime elementary school
Orff Ensemble at a spring Michigan Music
Educators’ meeting. From that moment onward, I
have been totally committed to pursuing the path
of the Schulwerk.
Chris Judah-Lauder (2013-2015): Orff
Schulwerk Teacher Education Level I with Judy
Bond and creative movement teacher Nancy Miller
was eye-opening and revitalizing, and I was ecstatic
to discover there was more than teaching from
the printed page. Collaborative group and active
music making to facilitate learning seemed surreal
and new then, yet today it is a key 21st-century
skill. This compelling path motivated a desire to
learn that resulted in attending my first AOSA
Conference in 1985, a life-changing experience; I
I began to allow students more have only missed one conference since! 7
control over the direction of Marilyn Copeland Davidson (1991-1993):
our lessons and, from then on, saw My first introductions to the Schulwerk came in
“teaching” as “facilitating.” Because each 1965 through Harriett Spink and Isabel Carley.
class had different ideas, the material and I was soon able to get an instrumentarium for
lessons were never boring. Once I became my school in Port Washington, Long Island.
active in AOSA, I met people who have become Soon after, my teaching partner Susan Snyder
my best friends. I can’t imagine what life would encouraged me to take Level I with Konnie
have been like if I hadn’t gotten involved with Saliba, and in 1975 I attended my first AOSA
Orff Schulwerk and AOSA! Conference. In 1977, Sue and I founded the
Northern New Jersey Chapter, which is still
Generous Mentors active 40 years later.
Linda Ahlstedt (1999-2001): In 1972 I walked Jack Neill (1997-1999): Remarkable mentors
into my music room in Scarsdale, New York, and role models opened my eyes to the creative
which was filled with Orff instruments. I had possibilities of the Schulwerk and to practical,
no idea what to do with them, but the hours effective ways to infuse my classroom with its
with master teacher and past AOSA president spirit and energy. Among Orff practitioners were
Judith Thomas-Solomon were life-changing as many kindred souls who became lifelong friends,
she introduced an approach to music education colleagues, collaborators. In his book, The Soloist,
that engaged body, mind, and spirit. From other Steve Lopez wrote: “A friend is someone who
inspirational teachers, I learned Orff Schulwerk inspires, who challenges, who sends you in search
is more than a music education approach—its of some truer sense of yourself.” Advocates of the
joy, creativity, and community form an approach Schulwerk continue to inspire and challenge me to
to living life at its fullest. be a better teacher and a truer person.
1924 Carl Orff founds the Güntherschule for gymnastics,
music, and dance in Munich with Dorothee Günther.
SPRING 2018 www.aosa.org
Inspiring Conferences magical. I was hooked on this wonderful new
Karen Benson (2011-2013): The 1987 AOSA way to teach. Thank you, AOSA!
Conference in Chicago instilled a sense of hope
that I, too, could teach in this amazing way. Looking to the Future
The feeling that something mystical had taken Judith Thomas-Solomon (1984-1985): In 1962
place never left me. Making music with children, I discovered the record Music for Children
guiding teachers in levels courses, and celebrating while teaching in Chicago. I was struck by the
the creative learning process with colleagues exquisite appeal of the sounds, the musical logic
all lead to something bigger than our combined of sequence, and how accessible, appealing,
selves. Watch for those transformations and see relevant, and magnificently crafted the Orff and
the beauty of the Schulwerk in action! Keetman models were for children. Elemental
Konnie Saliba (1974-1975): When Ruth Hamm music’s simple principles provide children of all
invited me to join the board, I was the first person ages the tools to create their music in an artistic
added to the founding members. My first job was and compelling way. This “adventuresome/risk”
publicity, followed by vice president and conference element of the Orff approach, I believe, is the
chairperson. I organized and chaired the seminal essence of the Schulwerk, which, if
Minneapolis conference, which approximately 200 nurtured by teachers, will keep the Orff approach
attended. Then conference changed from spring to vivid and alive in perpetuity!
fall, and that November, I organized and chaired Jane Frazee (1976-1977): Orff Schulwerk and
a conference in Boston, which had over 1,000 I grew up together during its 50-year development
8 attendees. Conferences have certainly evolved from in North America. It offered me and my
their humble beginnings. colleagues and students an opportunity to make
music, create music, and reflect on the content
Empowering and Engaging and importance of it in our lives. Enthusiasm
Mary Shamrock (1978-1979): In the summer trumped expertise in my early days, yet I was
of 1968, I attended my first Orff workshop with convinced that, to find a place in American
Grace Nash. We learned the basics of hand schools, a pedagogical sequence of Orff practice
drumming, which led to my initial improvisation was essential. During the next 50 years, as our
experience. I recall being intrigued by the students continue to participate in joyful, artful,
challenge and empowered when I could do it. playful, and thoughtful music-making experiences,
Further opportunities in the Schulwerk to “make they will know what they have done and why, and
stuff up” definitely won out through further celebrate that understanding.
study, application, and opening this experience to Carolee Stewart (1995-1997): As a young
others through teaching. teacher new to AOSA, my perspective was limited
Joan Stansbury (2015-2017): My on how widespread Orff Schulwerk was. It is
serendipitous introduction to Orff Schulwerk impressive to see how far-reaching Orff and
occurred when I inherited a full set of barred Keetman’s pedagogical approach has become.
instruments and had no idea what to do with Our biggest challenge is to continue to honor
them! An Orff-trained colleague modeled the Orff’s ideas by always starting over from the
Orff process with my elementary classes, and experiences of local children. As AOSA members
the musical and behavioral results intrigued me. travel and teach, we need to avoid “colonizing” the
Levels training and master classes followed, and world with American curricula and respect each
I became an active member of the Kentucky country/culture’s need to develop its own roots
Chapter and AOSA. My first conference was based on the philosophy of the Schulwerk.
1926 Gunild Keetman and Carl Orff
meet at the Güntherschule.
www.aosa.org SPRING 2018