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A music education, or any other type of education method, is a teaching approach that has: 1) an identifiable underlying philosophy or set of principles; 2) a unified body of pedagogy unique to it with a body of well-defined practice; 3) goals and objectives worthy of pursuit; and 4) integrity (i.e., its reason for existence must not be ...
- Philosophy
- The Orff Instrumentarium
- Patterned Accompaniments
- Orff as Arts Integration
- The Orff Process
- Applying The Orff Approach Developmentally
- Orff Improvisation
- Modes
- Adding Music to Drama
- Kodály’s Philosophy
The Orff Schulwerk method is the only approach that is not a systematic “method” per se, although it does entail fostering creative thinking through improvisational experiences. Rather than a system, Schulwerk combines instruments, singing, movement, and speechto develop children’s innate musical abilities. There are four stages of teaching: 1. Imi...
In early 20th century Germany, there were few instruments accessible to children. Orff began by buying recorders, which were rare at the time. Since no one knew how to play them, Dorothée Gunther created instructional books to teach recorder to children. No one knew how to play them, so Dorothée Gunther created instructional books to teach them. C...
Orff believed that one of the easiest ways to encourage student participation in music while also contributing to beautiful music-making is to have them play a simple accompaniment on a xylophone. By second grade, most students will be able to keep a steady beat, with a fair number able to do so by first grade. Below are some basic accompaniment pa...
One of Orff Schulwerk’s major contributions is its emphasis on arts integration. Orff includes language (stories, poetry, rhythmic speech), movement (dance, improvisation), and drama as well as music.
The American adaptation of Orff Schulwerk utilizes four stages to organize the process of teaching music: imitation, exploration, improvisation, and composition. These four stages establish the fundamental building blocks for children to develop musical literacy. They are similar to Bloom’s taxonomy, in that they begin by introducing a very basic s...
Schulwerk understands that to be an excellent musician, the art form must be highly familiar and internalized to the point of being second nature. Through the practice of imitation, exploration, improvisation, and composition, students learn what music is by performing. Before playing instruments, Schulwerk requires that all sounds be internalized,...
Schulwerk’s elemental music is based on both experimentation and improvisation, allowing children to explore the tones, rhythms, and timbres of music from their own abilities and creative perspectives. To this end, Orff created frameworks or pathways to help children experiment without pressure or stress. The easiest way to experiment on the Orff i...
Orff also made use of modes, which are types of scales with non-musical characteristics. The Greeks used modes such as Lydian (F to F on the white keys of a piano), Dorian (D to D on the white keys), Aeolian (A to A on the white keys or the natural minor scale), and Mixolydian (G to G on the white keys).
Taking a story and adding sound effects, leitmotifs, instruments, vocal sounds, body percussion, and actors and/or a narrator also brings literature to life. The goal of a leitmotif is to help the listener identify a main character or theme in the story. For example, characters and themes are given a short musical pattern, and every time that chara...
The Kodály philosophy of music education supports music’s role in the intellectual, emotional, physical, social, and spiritual development of every child. A central tenet of the Kodály approach is that music belongs to everyone—that an education in music is the right of every human being and cannot be left to chance. Zoltán Kodály (1882–1967) was ...
In these publications, Ockelford argues that an infant’s first experience of music is as a confusion of sound, then gradually through extrapolating features, patterns and structures that are available in their soundworld.
Teachers who use Gordon’s Music Learning Theory must examine and develop their music education practices and lead their students to independent musicianship through audiation. As they do so they refine their music teaching and learning methods while using developmentally appropriate techniques.
Jan 27, 2022 · Understanding music and musical meaning is a central question in various domains such as philosophy, anthropology, social sciences, semiotics and music education. Discover the world's...
Recognizing music education as a social action enables one to balance achieving a mastery of playing, performing, composing, listening, and learning about the historical and cultural background of music.
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Apr 27, 2022 · There are explanations of this type in chapter “ Reading Music: The Use of Scores in Music Learning and Teaching ”, in the dialogues between teachers and students about understanding certain symbols (f, mf) of the musical score, or knowing how to interpret a musical style.
