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The Orff approach in the professional lives and practices of teachers in the Aotearoa/New Zealand PDF

350 Pages·2016·8.75 MB·English
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http://researchcommons.waikato.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use:  Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person.  Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate.  You will obtain the author’s permission before publishing any material from the thesis. The Orff approach in the professional lives and practices of teachers in the Aotearoa/New Zealand school context A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Education at The University of Waikato by Linda Mildred Locke 2016 Abstract This doctoral research investigated issues concerned with the application of the Orff approach to music education in the Aotearoa New Zealand school context. The author brought to the study an in-depth knowledge of the Orff approach as a result of engagement with both the practice and theory of the Orff approach over a 15-year span of teaching music in a state primary school. She noted the scarcity of contemporary studies that systematically investigate the potentialities and constraints of the Orff approach, particularly in the New Zealand context. Drawing upon a praxial philosophy, this project considered from a scholarly perspective the way in which engagement with the Orff approach impacted on the professional lives of nine teachers, all of whom had adapted this approach to their respective school settings. Taking into account the widely acknowledged inconsistency in the quality, or even existence, of music programmes in the state school system, this study sought to investigate the impact of professional learning in the Orff approach upon the provision of music education programmes in schools. In epistemological terms, this study was qualitative in its interest in the participants’ experiences and how they interpreted them. The nine participant teachers, had all undertaken, over a period of three or more years, a number of courses offered by Orff New Zealand Aotearoa (ONZA). Using multiple case studies, this project aimed to gain access to the wealth of knowledge and know- how that teachers develop in their everyday work lives. Mixed methods in the form of questionnaires, observations and interviews and a focus group discussion were used to gather data. Findings emerging from a quantitative analysis of the questionnaire responses were used to illuminate and triangulate with findings from other data, which were analysed thematically. A recursive approach to analysis of the data produced findings which indicated that the Orff approach impacted upon how teachers thought about what it means to do music, to be a musician and to teach music. These findings are illustrated in individual case studies, which offer a richly textured description of the impact of the Orff approach upon these teachers and their respective classroom practices. i Although all participants described the approach as making an impact in broadly similar terms upon their thinking, the practices observed and reported on in their classroom settings were varied in terms of their choice of materials activities and purposes. Findings of a more generally thematic nature indicate that the professional learning that occurred for these teachers yielded significant sources of self-efficacy, which in turn impacted upon the formation of professional identity formation. The construction of teaching as an artistic endeavour emerged as a characteristic of the understanding and application of the Orff approach in the New Zealand setting. This study contributes to the understanding of the impact of the Orff approach upon teachers’ lives and work. In particular it illustrates some of the consequences of the construction of music as a form of embodied behaviour available to all people and offers some examples of specific ways in which educational practices can reflect this belief. This study engages respectfully with the work of teachers ‘on the ground’ at a time when calls for so called ‘accountability’, through ever-increasing bureaucratic systems of standards-based assessment and teacher monitoring. To a small extent it offers a voice for these teachers and the work they do in enabling success for all in music for their pupils. For a greater understanding and to enable critical interrogation of music education in Aotearoa New Zealand, studies which are focused on classroom practice and ask the question: ‘What is the construction of music and of teaching and/or of education that lies beneath or pervades practice?’ needs to be asked in order to continue the debate regarding the role and efficacy of music education practices in New Zealand schools. ii Acknowledgements I would like to acknowledge the support of the University of Waikato for providing me with a doctoral scholarship, which enabled me to undertake this study. I acknowledge the academic support of my two supervisors, Professor Noeline Alcorn and Professor Roger Moltzen. Professor Alcorn provided unstinting encouragement, kindness in times of trouble and a wealth of constructive feedback. Professor Moltzen made a positive contribution to the development of my thinking in the course of this project. Without the willingness of the nine participants to be involved, this study would not have been possible. I acknowledge their generosity and openness in sharing their perspectives and welcoming me into their classrooms. I acknowledge significant teachers who have nurtured me as a music and movement teacher, modelling versions of the Orff approach that have educated, challenged and inspired me: Karen Medley, Mary Helen Solomon, Christoph Maubach, Renee Morin and Professor Barbara Haselbach. As well I acknowledge all students I have worked with over the last twenty years, each of whom has taught me something. Many of these students stand out as people who have inspired and fed my interest in music education and education in general. Alistair Lamb’s assistance and helpful tutelage in matters related to referencing and formatting throughout my project has been invaluable. Thank you Alistair. Professor Robyn Ewing of the University of Sydney provided generous support and constructive feedback just when I needed it. I am very grateful to her for that and for the inspiration that her vision and her long-term commitment to Arts Education provides. I would like to offer thanks to my co-musicians in North of Bombay for providing me with the opportunity to make music (and whoopee) on a regular basis over the last few years, and reminding me to live in my body as well as in my head. iii My children and stepchildren have supported and sustained me with their generous interest and support. In particular, I would like to thank Barnaby for relinquishing his garden den to became my scholar’s cave, Susanna for her unstinting encouragement and helpful transcription of the focus group discussion, William for always being interested and for engaging me in stimulating discussions about my topic, Barry and Rachel for insisting that I ‘Keep calm and carry on’, Cybele and Simon for being excellent, scholarly role models, and Jesse and Michelle for loving support from afar. And finally I acknowledge the ongoing love and support of my husband, Terry, without which I could not and would not have undertaken this project. The quality and depth of our conversations over many years has made an immeasurable contribution to my work and the sharpness of his editing eye has been invaluable. iv Dedication For my beloved mother Mildred Mailly Tod 1920-1991 and my grandmothers Catherine Grace Palmer 1896 – 1990 Mary Ann Tod 1884 – 1971 The hands that tend the hearth make well a world v Contents Abstract ................................................................................................................................ i Acknowledgements ............................................................................................................ iii Dedication ........................................................................................................................... v Contents ............................................................................................................................ vii List of Figures .................................................................................................................. xiii List of Tables ................................................................................................................... xiii Glossary of Terms ............................................................................................................. xv Chapter One Introduction ................................................................................................... 1 1.1 The study and its significance ............................................................................... 1 1.1.1 Significance of the topic ................................................................................. 5 1.1.2 Significance of context ................................................................................... 8 1.1.3 Significance of timing ................................................................................... 10 1.2 The Orff approach ............................................................................................... 11 1.3 The New Zealand school context ........................................................................ 14 1.3.1 The New Zealand curriculum ....................................................................... 14 1.3.2 Aotearoa New Zealand as a bi-cultural nation .............................................. 15 1.3.3 New Zealand as culturally diverse ................................................................ 16 1.3.4 Music education in New Zealand schools .................................................... 17 1.4 Overview of the thesis ......................................................................................... 20 Chapter Two Literature Review ....................................................................................... 21 2.1 Introduction ......................................................................................................... 21 2.2 Music education in a world of music(s) .............................................................. 21 2.3 Music education and ethical purpose .................................................................. 28 2.4 Music education and schooling ........................................................................... 32 2.4.1 Music education and cultural diversity ......................................................... 35 2.4.2 Cultural diversity and children’s musicking ................................................. 36 2.4.3 Culturally diverse musics and music education ............................................ 37 2.4.4 Indigenous culture and music education ....................................................... 38 2.5 Music education in the contemporary Aotearoa New Zealand school context ... 39 2.6 The Orff approach: Practice and adaptation ........................................................ 42 2.6.1 Origins .......................................................................................................... 42 2.6.2 Dissemination and adaptation ....................................................................... 45 2.6.3 Critique of the Orff approach ....................................................................... 51 2.7 The impact of the Orff approach as professional development ........................... 56 vii

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