Carl Orff - Biografia Interaktywna Malina Sarnowska, Kurs PTCO 5-6 Listopada 2011R

Total Page:16

File Type:pdf, Size:1020Kb

Carl Orff - Biografia Interaktywna Malina Sarnowska, Kurs PTCO 5-6 Listopada 2011R Carl Orff - biografia interaktywna Malina Sarnowska, kurs PTCO 5-6 listopada 2011r. Krótkie kalendarium życia i twórczości: 1895 10 lipca w Monachium przychodzi na świat Carl Orff 1900 Pięcioletni Carl zaczyna uczyć się gry na fortepianie 1904 Orff coraz bardziej interesuje się komponowaniem - pisze krótsze i dłuższe utwory dla swego domowego teatrzyku kukiełkowego, poza tym wiersze i opowiadania 1910-1912 Pierwsze poważniejsze kompozycje: pieśni i poemat Zarathustra 1912-1914 Studia w Akademii Muzycznej w Monachium 1917 Podczas służby wojskowej Orff cudem unika śmierci na wschodnim froncie 1918-1919 Piastuje stanowisko dyrygenta kolejno w Teatrze Narodowym w Mannheimie i w Dworskim Teatrze w Darmstadt 1920-1925 Małżeństwo z Alicją Solscher, śpiewaczką 1921 Narodziny jedynej córki Orffa, Godeli Orff zaczyna interesować się twórczością Monteverdiego 1924 Wraz z Dorothee Günther Orff zakłada w Monachium Güntherschule - szkołę, gdzie dziewczęta miały uczyć się gimnastyki, rytmiki, muzyki i tańca Carl Orff - biografia interaktywna Malina Sarnowska, kurs PTCO 5-6 listopada 2011r. 1925-1930 Nowe aranżacje dzieł Monteverdiego i kompozycje oparte o dzieła innych dawnych mistrzów 1931-1934 Pierwsze wydania Orff-Schulwerk (we współpracy z Gunild Keetman) 1937 Prawykonanie dzieła Carmina Burana we Frankfurcie nad Menem 1939-1953 Drugie małżeństwo z Gertrudą Willert, późniejszą twórczynią muzykoterapii w duchu Orffa 1939 Prapremiera dzieła Der Mond („Księżyc”) w Monachium 1943 Prapremiera dzieła Die Kluge („Mądra”) we Frankfurcie Prawykonanie Catulli Carmina w Lipsku 1947 Premiera opery Die Bernauerin w Stuttgarcie 1948 Pierwsze audycje radiowe dla dzieci w Radiu Bawarskim, w których wykorzystywano utwory z Orff Schulwerk 1949 Prapremiera Antygony w Salzburgu 1950-1954 Publikacja Musik für Kinder („Muzyki dla dzieci”) we współpracy z Gunild Keetman 1950-1960 Orff uczy kompozycji w Wyższej Szkole Muzycznej w Monachium 1953 Prapremiera Triumfu Afrodyty, po Carminie Buranie i Catulli Carmina, trzeciej części cyklu Triumfy w La Scali w Mediolanie Prapremiera Astutuli w Monachium 1954-1959 Trzecie małżeństwo z Luizą Rinser, pisarką 1956 Telewizja Bawarska emituje Grę o Zmartwychwstaniu Pańskim (po raz pierwszy wystawioną na scenie rok później w Stuttgarcie) Orff otrzymuje odznaczenie „Pour le mérite” 1959 Prapremiera Edypa tyrana w Stuttgarcie Orff zostaje doktorem honorowym Uniwersytetu w Tübingen 1960 Orff żeni się z Liselottą Schmitz 1961 Przy Mozarteum w Salzburgu powstaje centrum poświęcone Schulwerkowi 1962/63 Orff wyrusza z serią wykładów na temat Schulwerku do Kanady, Japonii, Senegalu, Egiptu i Portugalii 1963 Oficjalna inauguracja Instytutu Orffa w Salzburgu 1968 Prapremiera Prometeusza w Stuttgarcie Carl Orff - biografia interaktywna Malina Sarnowska, kurs PTCO 5-6 listopada 2011r. 1972 Orff zostaje doktorem honorowym Uniwersytetu w Monachium Otrzymuje Wielki Krzyż Zasługi z Gwiazdą i Wstęgą za działalność artystyczną na rzecz Republiki Federalnej Niemiec 1973 Prapremiera Gry na koniec czasu („De temporum fine comedia”) w Salzburgu 1975-1981 Orff pracuje nad ośmiotomową dokumentacją swojej działalności pt. Carl Orff i jego dzieło (Carl Orff und sein Werk) 1982 Umiera w Monachium 29-ego marca. Pochowany zostaje w osobnej kaplicy w klasztorze w Andechs. Dzieła sceniczne: Orff jest autorem siedemnastu dzieł scenicznych, bez wątpienia najważniejszych w jego dorobku kompozytorskim. Można wśród nich wyodrębnić 5 grup: Lamenti (Lamenty) - aranżacje dzieł Claudia Monteverdiego. Orfeo (Orfeusz) Lamento dʼArianna (Lament Ariadny) Ballo delle Ingrate Trionfi (Triumfy) Carmina Burana Catulli Carmina Trionfo di Afrodite Utwory baśniowe Der Mond (Księżyc - teatrzyk świata) na podstawie baśni braci Grimm Die Kluge (Mądra czyli opowieść o królu i mądrej niewieście) na podstawie baśni braci Grimm Sen nocy letniej (wg Williama Shakespeareʼa) Bayerisches Weltteater Die Bernauerin Sztuka na Boże Narodzenie: Ludus de nato Infante mirificus (Gra o Narodzeniu Pańskim) Sztuka na Wielkanoc: Comoedia de Christi Resurrectione (Gra o Zmartwychwstaniu Pańskim) Astutuli Tragedie greckie Antigonae (Antygona) wg Sofoklesa, lecz w przekladzie Hölderlina Oedipus der Tyrann (Edyp tyran) jw. Prometheus (Prometeusz) do tekstu Ajschylosa Poza grupami pozostaje ostatnie dzieło sceniczne Orffa Di temporum fine comoedia (Gra na Koniec Czasu). Godela uważała ją za testament ojca..
Recommended publications
  • Kodály and Orff: a Comparison of Two Approaches in Early Music Education
    ZKÜ Sosyal Bilimler Dergisi, Cilt 8, Sayı 15, 2012 ZKU Journal of Social Sciences, Volume 8, Number 15, 2012 KODÁLY AND ORFF: A COMPARISON OF TWO APPROACHES IN EARLY MUSIC EDUCATION Yrd.Doç.Dr. Dilek GÖKTÜRK CARY Karabük Üniversitesi Safranbolu Fethi Toker Güzel Sanatlar ve Tasarım Fakültesi Müzik Bölümü [email protected] ABSTRACT The Hungarian composer and ethnomusicologist Zoltán Kodály (1882-1967) and the German composer Carl Orff (1895-1982) are considered two of the most influential personalities in the arena of music education during the twentieth-century due to two distinct teaching methods that they developed under their own names. Kodály developed a hand-sign method (movable Do) for children to sing and sight-read while Orff’s goal was to help creativity of children through the use of percussive instruments. Although both composers focused on young children’s musical training the main difference between them is that Kodály focused on vocal/choral training with the use of hand signs while Orff’s main approach was mainly on movement, speech and making music through playing (particularly percussive) instruments. Finally, musical creativity via improvisation is the main goal in the Orff Method; yet, Kodály’s focal point was to dictate written music. Key Words: Zoltán Kodály, Carl Orff, The Kodály Method, The Orff Method. KODÁLY VE ORFF: ERKEN MÜZİK EĞİTİMİNDE KULLANILAN İKİ METODUN BİR KARŞILAŞTIRMASI ÖZET Macar besteci ve etnomüzikolog Zoltán Kodály (1882-1967) ve Alman besteci Carl Orff (1895-1982) geliştirmiş oldukları farklı 2 öğretim metodundan dolayı 20. yüzyılda müzik eğitimi alanında en etkili 2 kişi olarak anılmaktadırlar. Kodály çocukların şarkı söyleyebilmeleri ve deşifre yapabilmeleri için el işaretleri metodu (gezici Do) geliştirmiş, Orff ise vurmalı çalgıların kullanımı ile çocukların yaratıcılıklarını geliştirmeyi hedef edinmiştir.
    [Show full text]
  • “It All Begins with the Beat of a Drum”: Early Australian Encounters with Orff Schulwerk
    australian societa y fo r s music educationm e “It all begins with the beat i ncorporated of a drum”: Early Australian encounters with Orff Schulwerk Jane Southcott, Wei Cosaitis Monash University Abstract The introduction of the influential Orff Schulwerk approach to music education in Australia is generally reported as occurring in the late 1960s. However, this was not the earliest encounters with the pedagogy in Australia. Patricia L. Holmes included Orff materials in teacher inservices in the late 1950s, before she travelled overseas to work with Doreen Hall, Carl Orff and Gunild Keetman. Historical research is lacking in many aspects of music education in Australia and this article attempts to chronicle early efforts and add to our understanding of what has been done in the past and shapes our present practices. Key words: Orff Schulwerk; Australian music education; Patricia L. Holmes; history of music education. Australian Journal of Music Education 2012:2,20-32 Introduction music-making became firmly established with the Orff-Schulwerk approach. Keith Smith Orff Schulwerk is an internationally recognized introduced Orff-Schulwerk to Queensland creative music pedagogy developed by German schools, from where it spread to other states. composer Carl Orff and his colleague Gunild John Morriss also promoted the method, initially Keetman (Orff, 1978; Frazee, 1987; Goodkin, in Victoria and later in Tasmania. There were 2001). Since its re-emergence in the 1950s the Orff-Schulwerk associations in most states” Orff approach has made a significant impact (Stevens, 1997, p. 399). Hogg (2003) is more on music education worldwide (Taylor, 2000; specific and offers helpful details concerning International Herald Tribune, 1982).
    [Show full text]
  • Implementing the Orff Pedagogy for Teaching Music at the Elementary School Level
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 5-2020 Implementing the Orff Pedagogy for Teaching Music at the Elementary School Level Kailen Azevedo California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Recommended Citation Azevedo, Kailen, "Implementing the Orff Pedagogy for Teaching Music at the Elementary School Level" (2020). Capstone Projects and Master's Theses. 842. https://digitalcommons.csumb.edu/caps_thes_all/842 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Azevedo 1 Implementing the Orff Pedagogy for Teaching Music at the Elementary School Level Kailen Azevedo Spring 2020 Senior Capstone Advisor: Dr. Paoze Thao Calfiornia State Univeristy Monterey Bay College of Education// Liberal Studies Department Azevedo 2 Abstract Music enhances a person’s mood, creates relaxation and can overall be fun. After researching on Carl Orff’s pedagogy, it is noticeable that there were easy ways to implement music in the classroom without having to have an actual music class. The purpose of my project is to determine ways that teachers can implement Orff’s pedagogy in everyday curriculum. I was determined to present a lesson plan to two different third grade classrooms and be able to receive feedback from both the students and the teacher.
    [Show full text]
  • The Orff-Schulwerk Movement: a Case Study in Music Education Reform
    DOCUMENT RESUME ED 420 608 SO 028 844 AUTHOR Morin, Francine TITLE The Orff-Schulwerk Movement: A Case Study in Music Education Reform. PUB DATE 1996-00-00 NOTE 61p. PUB TYPE Reports Evaluative (142) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Aesthetic Education; Change; *Educational Change; Elementary Secondary Education; Fine Arts; Foreign Countries; Higher Education; Movement Education; Music; *Music Education; Music Teachers; Music Techniques; *Orff Method; Teaching Methods IDENTIFIERS Canada; *Orff (Carl) ABSTRACT This study explores a significant educational reform effort dedicated to the establishment of music programs based on the pedagogical theories of Carl Orff in Canadian schools. Archival and interview data pertinent to the inquiry were collected, analyzed, and presented using a historical organizational scheme. Findings show how every facet of music education from systematic change in higher education and public schools to reforms in policy, practice, and curriculum has been profoundly affected. The success of the movement was due to critical factors, such as: (1) effective transformational leadership;(2) establishment of a comprehensive, three-level teacher training model;(3) continual offerings of pragmatically-oriented workshops and conferences;(4) establishment of a national network;(5) a favorable climate for change;(6) adaptable and appealing pedagogical theory;(7) strong links between theory and practice; (8) administrative and financial support;(9) stewardship and solidarity; (10) media coverage;(11) support of the music industry; and (12) forums for communication. (EH) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. ******************************************************************************** The Orff-Schulwerk Movement: A Case Study in Music Education Reform Francine Morin, Ph.D.
    [Show full text]
  • AOSA Teacher Education Curriculum Standards V 4.2 F / March 29, 2013
    Support Materials: AOSA Teacher Education Curriculum Standards V 4.2 F / March 29, 2013 Movement / Dance Glossary _________________________________________________________________________________________________ Historic Terms Folk/Ethnic/Traditional Dance: Dances that have evolved from cultural traditions are broadly referred to as folk or ethnic dance forms. They are learned and transferred between generations orally, and evolve and change over time. The term ethnic dance generally means dance that is inseparable from its cultural context: it is practiced as part of a combination of other related cultural features, such as ceremonies, feasts, special clothing, music, and certain physical environments. Ethnic dance may be primarily social or ritual in focus, but its movement has been derived as part of the life experience of the originating culture, including the people’s work motions, terrain, animals, other physical features of their environment, or the ritual needs of their belief system. These characteristics may be evident only to members of that culture, or the origins may be lost even to them. Folk dance includes a broad spectrum of social dance styles, many of which have origins in ethnic dance forms but have been adapted over time for performance and for the social enjoyment of people outside of the original cultural context. Some folk dances have been passed down orally from a collective, ethnic source, while others have been entirely choreographed by an individual to fit a piece of music and have then become part of the international folk dance repertoire. Ritual Dance: Ritual dances are ceremonial ethnic dances that are part of the religious practices of a traditional culture. Their purpose is to affect the forces of nature, insuring safety or fecundity of community members, warding off evil and illness, communicating with spirits, initiating the young, preparing for battles, or marking births and deaths, among other functions.
    [Show full text]
  • The Development and Dissemination of the Orff-Schulwerk from Germany to the United States
    From Idea to Institution: The Development and Dissemination of the Orff-Schulwerk from Germany to the United States Emily Spitz The discourse around elementary (K–5) music education in the United States is dominated by the intellectual legacies of three European men: Émile Jaques-Dalcroze (1865–1950), Zoltán Kodály (1882–1967), and Carl Orff (1895–1982). I was first introduced to the Dalcroze, Kodály, and Orff approaches as an undergraduate studying music education at New York University. But, as in many institutions, our coursework included little historical context for these practices—only practical training and the implicit expectation we implement the approaches effectively in the classroom. Thus, we teachers-in-training understood the three choices in a severely reductive manner: Dalcroze practice was based in movement, Kodály practice was based in singing, and Orff practice was based in in- strumental music. Even before I had graduated with state teaching license in hand, I was encouraged by my professors and teacher mentors to pursue additional certifications in Dalcroze, Kodály, or Orff; one certification made you desirable to employers, and all three would make you irresistible. Though these three names loomed over primary school education almost like leading brands, we had little understanding of who these men had been and what ideologies had led them to develop their methods. Embarrassingly enough, it was years later, as a graduate student at the University of Cambridge, that I learned that these “methods” were not quite so name-brand recognizable outside of the American educational es- tablishment. It was largely after the pedagogical ideas of Dalcroze, Kodály, and Orff migrated to the United States from Europe beginning in the late 1960s that they were actively institutionalized for the practice of teaching elementary school music (Landis and Carder 1972, 2).
    [Show full text]
  • The-Orff-Echo-Spring-2018.Pdf
    OrffTHE ECHO SPRING 2018 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 Quaver_TeachYourWay_AOSA_Jan17_withBleed.pdf 1 1/30/17 10:07 AM You’re the Expert, Teach Your Way C M Tools for Every Style of Teaching Y CM MY Introducing Quaver’s Song-Based Lesson including 12 new CY lessons using tools and techniques inspired by the Or CMY Schulwerk approach to music education. K Try 8 new lessons FREE in your classroom for 30 days! Visit QuaverMusic.com/AOSA2017 today and download a bonus song or poster of your choice to keep! @QuaverMusic ©2016 QuaverMusic.com, LLC Tell me, I forget; show me, I remember; involve me, I understand. Orff because you love to teach. because you love to listen. THE Orff RELEASE THE CREATIVITY IN EVERY LEARNER ECHO ORFF SCHULWERK IN AMERICA: SPRING 2018 OUR 50TH ANNIVERSARY ISSUE 14 Orff Schulwerk and Contemporary American Education Thought VOL. 50, NO. 3 By Arnold Burkart Published by the American Orff-Schulwerk Association 18 Chapter One By Mark Francis on the cover 26 In the Beginning…Orff Schulwerk Teacher Training in the United States Covers from The Orff Echo, By Joani Somppi Brandon 1968-2018. 3 34 Interwoven Journeys: Memoir of Two Lives in Friendship and Orff Schulwerk By Wilma Salzman and Judy Arel issue coordinators Richard Lawton, Nicola Mason, 40 Danai Gagne and Orff Schulwerk: and Roxanne Dixon Ever Growing, Ever Flowing By Joshua
    [Show full text]
  • Das Schulwerk a Foundation for the Cognitive, Musical, and Artistic Development of Children
    DAS SCHULWERK A FOUNDATION FOR THE COGNITIVE, MUSICAL, AND ARTISTIC DEVELOPMENT OF CHILDREN LORI-ANNE DOLLOFF Monograph Number 1 RESEARCH PERSPECTIVES IN MUSIC EDUCATION Edited by Lee R. Bartel DAS SCHULWERK A FOUNDATION FOR THE COGNITIVE, MUSICAL, AND ARTISTIC DEVELOPMENT OF CHILDREN LORI-ANNE DOLLOFF Monograph Number 1 RESEARCH PERSPECTIVES IN MUSIC EDUCATION Edited by Lee R. Bartel Canadian Music Education Research Centre UNIVERSITY OF TORONTO 1993 Published by Canadian Music Education Research Centre as part of the monograph series, RESEARCH PERSPECTIVES IN MUSIC EDUCATION Canadian Cataloguing in Publication Data Dolloff, Lori-Anne, 1958­ Das Schulwerk: a foundation for the cognitive, musical, and artistic development of children (Research perspectives in music education) Includes bibliographical references. ISBN 1-895570-02-6 1. orff, Carl, 1895-1982. Orff-Schulwerk. 2. Music ­ Instruction and study - Juvenile. 3. Constructivism (Education). I. Canadian Music Education Research Centre. II. Title. III. Series. MTl. D65 1993 780' .7 C93-094304-X ISBN 1-895570-02-6 Copyright It> 1993 by the Canadian Music Education Research Centre All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permisSion of the publisher. Printed in Canada PREFACE ~EARCH PERSPECTIVES IN MUSIC EDUCATION is a new series of monographs published by Canadian Music Education Research Centre (CMERC). It features a wide range of topics related to the practice of music education and is unified by the emphasis on research in each work. The research methodology included in the series may span all traditional quantitative social science methodologies as well as theoretical, philosophical, historical, or descriptive methods.
    [Show full text]
  • Carl Orff, Diskografie, Stand: 23. Juli 2019
    Diskografie Carl Orff – OZM 1 Künstlerisches Werk 1.1 Schellack 1.1.1 Bühnenwerke Carmina Burana, 1. Teil Orchester RS München, Adolf Winter (ML). 1 Schellack, Deutscher Rundfunk, Deutscher Rundfunk51845, 1939 (Aufnahmeort und -jahr unbekannt). Carmina Burana, 2. Teil Orchester RS München, Adolf Winter (ML). 1 Schellack, Deutscher Rundfunk, Deutscher Rundfunk51846, 1939 (Aufnahmeort und -jahr unbekannt). 1.1.2 Vokal- und Instrumentalwerke Veni Creator Spiritus Members oft he Westminster Cathedral Choir, The Rev, Lancelot Lonk B. Mus. 1 Schellack, Parlophone E 3211, Jahr unbekannt (Aufnahmeort und -jahr unbekannt). 1.1.3 Ausschnitte und Kompilationen Carmina Burana, Blanzifor et Helena Orchester des Bayerischen Rundfunks, Eugen Jochum (ML), Hans Braun (Bariton), Elfride Trötschel (Sopran), Karl Hoppe (Bariton). 1 Schellack, Deutsche Grammophon 16045, Jahr unbekannt (Aufnahmeort und -jahr unbekannt). Siehe auch: Carmina Burana, Primo vere (1 Schellack), Deutsche Grammophon 16045. Carmina Burana, Cours d’amours (1 Schellack), Deutsche Grammophon 16045. Carmina Burana, Fortuna Imperatrix Mundi (1 Schellack), Deutsche Grammophon 16045. Carmina Burana, Cours d‘amours Orchester des Bayerischen Rundfunks, Eugen Jochum (ML), Hans Braun (Bariton), Elfride Trötschel (Sopran), Karl Hoppe (Bariton). 1 Schellack, Deutsche Grammophon 16045, Jahr unbekannt (Aufnahmeort und -jahr unbekannt). Siehe auch: Carmina Burana, Primo vere (1 Schellack), Deutsche Grammophon 16045. Carmina Burana, Fortuna Imperatrix Mundi (1 Schellack), Deutsche Grammophon 16045. Carmina Burana, Blanzifor et Helena (1 Schellack), Deutsche Grammophon 16045. Carmina Burana, Fortuna Imperatrix Mundi Orchester des Bayerischen Rundfunks, Eugen Jochum (ML), Hans Braun (Bariton), Elfride Trötschel (Sopran), Karl Hoppe (Bariton). 1 Schellack, Deutsche Grammophon 16045, Jahr unbekannt (Aufnahmeort und -jahr unbekannt). Siehe auch: Carmina Burana, Primo vere (1 Schellack), Deutsche Grammophon 16045.
    [Show full text]
  • Patterns and Forms in Music ______
    ________________________________________________________________________________________________________ Notable Numbers: Patterns and Forms in Music ________________________________________________________________________________________________________ Aram KHACHATURIAN Sabre Dance from Gayane Ludwig van BEETHOVEN Allegro con brio from Symphony No. 5, Op. 67 Johann Sebastian BACH Allegro from Violin Concerto in E Major, BWV 1042 Aaron COPLAND Variations on a Shaker Melody from Appalachian Spring Carl ORFF Tanz from Carmina Burana Duke ELLINGTON / arr. Herman Duke Ellington Fantasy Igor STRAVINSKY Berceuse and Finale from Firebird Suite HOW TO USE THIS STUDY GUIDE This guide is designed as a curriculum enhancement resource primarily for music teachers, but is also available for use by classroom teachers, parents, and students. The main intent is to aid instructors in their own lesson preparation, so most of the language and information is geared towards the adult, and not the student. It is not expected that all the information given will be used or that all activities are applicable to all settings. Teachers and/or parents can choose the elements that best meet the specific needs of their individual situations. Our hope is that the information will be useful, spark ideas, and make connections. TABLE OF CONTENTS Program Overview: Music and Math – Page 4 Program Notes – Page 5 KHACHATURIAN | Sabre Dance from Gayane Page 6 BEETHOVEN | Allegro con brio from Symphony No. 5, Op. 67 Page 10 BACH | Allegro from Violin Concerto in E Major, BWV 1042 Page 14 COPLAND | Variations on a Shaker Melody from Appalachian Spring Page 18 ORFF | Tanz from Carmina Burana Page 22 ELLINGTON | Duke Ellington Fantasy Page 26 STRAVINSKY | Berceuse and Finale from Firebird Suite Page 30 Student Section: Composer Fact Sheets— Page 34 CREDITS This guide was originally created for the 2007-2008 Charlotte Symphony Education Concerts by Susan Miville, Chris Stonnell, Stacy Hild, Jane Orrell, and Allene Sigmon.
    [Show full text]
  • UNIVERSITY of WISCONSIN-LA CROSSE Graduate Studies AN
    UNIVERSITY OF WISCONSIN-LA CROSSE Graduate Studies AN ANALYSIS OF THE MUSIC EDUCATION PHILOSOPHY OF CARL ORFF A Seminar Project Report Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Education-Professional Development Lisa B. Jorgenson College of Liberal Studies Initial Certification in Early Childhood-Adolescent General Music Education November, 2010 AN ANALYSIS OF THE MUSIC EDUCATION PHILOSOPHY OF CARL ORFF By Lisa B. Jorgenson We recommend acceptance ofthis project report in partial fulfillment of the candidate's requirements for the degree ofME-PD Initial Certification in EC-A General Music Education. The candidate has met all of the project completion requirements. Robert Krajewski, Ed.D Project Committee Chairperson <1) .:J-o /D ,;vOv. / Date .If. AhuACfJ o Gary WI hite, Ph.D. Date Graduate Program Director ~~ k. !/r@7~~ I I Vijendra K. Agarwal, Ph.D. Date Associate Vice Chancellor for Academic Affairs ABSTRACT Jorgenson, L.B. An analysis ofthe music education philosophy of Carl Orff. ME-PD in EC-A General Music Education, May 2011,65 pp. (R.J. Krajewski) This literature review focuses on the music education philosophy developed by Carl Orff called Orff Schulwerk. Orff Schulwerk is a child-centered approach to learning music through hands-on techniques, centered on children's natural, elemental behaviors and interests. The philosophies and themes behind the Orff Schulwerk curriculum are examined, including movement, speech, instruments, and creativity and improvisation. This review also provides teachers a collection of resources, foundations, and ideas that' will help them to fully understand the concept of Orff Schulwerk. 111 TABLE OF CONTENTS PAGE ABSTRACT…………………………………………………………………............iii TABLE OF CONTENTS……………………………………………………………iv CHAPTER 1: INTRODUCTION………………………………………………….
    [Show full text]
  • The Isabel Mcneill Carley Library: Archive of the American Orff-Schulwerk Association, 1968
    The Isabel McNeill Carley Library: Archive of the American Orff-Schulwerk Association, 1968- ON DEPOSIT Ruth T. Watanabe Special Collections Sibley Music Library, Eastman School of Music Processed by University of Arizona personnel Paul Provencio, July 1991 Diana R. Sinclair, June 2000 Catherine Letkeman, December 2000 and Eastman School of Music personnel Jeffrey Meyer, summer 2002 Sarah McKittrick, 2004-05 CONTENTS Table of Contents 2 Description of the Collection 3 Description of Series 6 Inventory 8 Series 1, Audio-Visual Materials 9 Series 2, Supplemental Files and Collections 12 Series 3, Publications 61 Series 4, Conferences 71 Series 5, Administrative Records 84 2 DESCRIPTION OF THE COLLECTION The Isabel McNeill Carley Library: Archive of the American Orff-Schulwerk Association (1968-) Shelf location: CAGE 1,1 — Physical extent: 72 linear feet Historical Sketch The work of German composer and educational theorist Carl Orff (1895-1982) has profoundly influenced the principles and practice of elementary music education throughout the world. Central to Orff’s philosophy was an emphasis on the correlation of music and movement, a notion fostered during his work with Mary Wigman, who had been a pupil of composer and pedagogue Emile Jaques-Dalcroze (1865-1950). In 1923 Orff met Dorothee Günther, who envisioned the founding of a school for movement, dance, and rhythmic training; in 1924 Orff and Günther co-founded such a school, the Güntherschule (Munich). There pupils underwent coordinated instruction in music, gymnastics, and dance; in addition, they learned to improvise using a variety of percussion instruments which Orff modelled on the barred instruments of the Indonesian gamelan.
    [Show full text]