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- Encourage active engagement with the student. They are also “comprehensive and holistic [in preparing] children to be artists, creators, and producers and not just consumers of music.They pair active and actual music-making with conceptual learning experiences offered in a systematic approach” (Moore).
milnepublishing.geneseo.edu/music-and-the-child/chapter/chapter-4/Chapter 4: Approaches to Music Education – Music and the Child
These findings suggest musical interventions may have further potential to support educational processes and development of children. This paper reviews the latest evidence on the effect of musical interventions on the development of primary school-aged children.
- Philosophy
- The Orff Instrumentarium
- Patterned Accompaniments
- Orff as Arts Integration
- The Orff Process
- Applying The Orff Approach Developmentally
- Orff Improvisation
- Modes
- Speech and Drama
- Adding Music to Drama
Since the beginning of time, children have not liked to study. They would much rather play, and if you have their interests at heart, you will let them learn while they play; they will find that what they have mastered is child’s play. —Carl Orff Orff Schulwerk is the only approach that is not a systematic “method” per se, although it does entail f...
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. Ca...
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). This is an example of Lydian mode in the “Si...
Both Orff and Kodály techniques allow children to experiment with language to feel comfortable with their own internal speech and body rhythms. Creating poems or speech pieces and adding dynamics, musical instruments/timbres, playing with form (adding a musical introduction, bordun, etc.), and then acting them out enables a child’s creative process...
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...
- Natalie Sarrazin
- 2016
Music learning theory (MLT), which was developed by Edwin Gordon, provides a theoretical framework for teaching music. At its core is the goal of developing audiation skills so that students can become musically independent.
In music classes, we might consider the need for music making (singing, moving, chanting, playing instruments, listening, composing, creating, and improvising) as part of active learning. A focus on learner-centered pedagogy and a move away from the transmission model of teaching leads to active learning.
Aug 23, 2010 · It explores the evidence relating to the impact of musical skills on language development, literacy, numeracy, measures of intelligence, general attainment, creativity, fine motor co-ordination,...
- Susan Hallam
Jul 22, 2024 · The Orff Approach is a distinctive and powerful method that emphasises the integration of movement and creativity within music education. It supports a philosophy of education where music isn’t just read and played, but experienced through engaging the body, mind, and emotions.
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What is music learning theory (MLT)?
Recalling the distinction between active and passive listening, praxial music education urges teachers, students, and anyone who is involved with music to recognize its praxial potential (Regelski, 2016).
