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

350 Pages·2016·8.75 MB·English

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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.

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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.

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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.

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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.

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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

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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

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