DOCSLIB.ORG

Das Schulwerk a Foundation for the Cognitive, Musical, and Artistic Development of Children

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. The focus on the practice of music education makes each monograph valuable to practitioners as well as scholars. The first monograph in this series is, Das Schulwerk: A foundation for the cognitive, musical, and artistic development ofchildren by Lori-Anne Dolloff. This monograph traces the historical influences on Orf£' s ideas, discusses the nature of music in Orf£' s approach, realistically points out weaknesses in this popular method, and analyzes the potential of the Orff method to address the cognitive development of children in light of theories by such prominent thinkers as Gjerdingen, Piaget, Gardner, and Serafine. This monograph provides a thoroughly reasoned foundation for an intensive application of music education in childhood. Lori-Anne Dolloff has done a masterful job of strengthening the theoretical rationale for Orff methodology. Monograph two by Alan Stellings, Musical referentialism: A discussion of its aspects, provides an outstanding example of philosophical research--the analysis of existing thought and the synthesis into a clearer statement than previously in existence. iii In addition to the monograph series, RESEARCH PERSPECTIVES IN MUSIC EDUCATION, the Canadian Music Education Research Centre publishes technical research reports and books. The first pUblication of this type is the Guide to Provincial Music Curriculwn Docwnents Since 1980. This Guide represents several of the major objectives of the Centre: (1) to conduct research studies related to music education in Canada; (2) to create and disseminate research tools and findings to researchers and users of research; and (3) to establish an outstanding Canadian collection of research documents and reports, survey research databases, and music education documents to facilitate the conduct of music education research. The Guide accomplishes all three of these objectives. Itis a great pleasure to introduce this new publication venture. It is especially so because it offers a valuable service to the music education profession in Canada. Lee R. Bartel, Series Editor Director of CMERC iv CONTEI'JTS PREFACE ................................................ iii CONTENTS ............................................... v INTRODUCTION . .. 1 THE ORFF APPROACH TO MUSIC EDUCATION ...................... 3 Characteristics of the Approach ............................... 3 Historical Influences . .. 6 Herder and the Ages of Language ......................... 6 Goethe and the Role of Experience ........................ 8 Pestalozzi and Education von Kinder aus ..................... 10 The nature of music in Orffs approach .......................... 14 Weaknesses in practice .................................... 17 Summary ............................................. 18 Conclusions ........................................... 18 ORFF AND COGNITIVE SCIENCE ................................ 21 Schema theory . 22 Orff and Play .......................................... 25 Gardner's Theory of Artistic Development ........................ 27 Music as Intelligence . 31 Serafine and Music as Cognition .............................. 33 Orff and the Development of Cognitive Processes ...................................... 37 Successive Temporal Processes: .......................... 39 Phrasing .................................... 39 Patterning ................................... 40 Motivic Chaining ............................... 41 Idiomatic Construction . 41 v Simultaneous Temporal Processes ......................... 42 Textural abstraction ............................. 42 Motivic Synthesis . 43 Timbre synthesis ............................... 43 Non-temporal Processes ............................... 44 Closure ..................................... 44 Transformation ................................ 44 Abstrdction . 46 Hierarchic structuring ............................ 47 Summary ............................................. 49 SUMMARY AND CONCLUSIONS ................................ 51 EN'DNOTES ............................................... 53 REFERENCES ............................................. 57 vi INTRODUCTION T he approach to music education developed by Carl Orff enjoys widespread use by contemporary music educators. The approach is recognized as a valued method of music education by many writers addressing contemporary music education in North America. Michael Mark (1986) includes a description of Orff methodology in COnJemporary Music Education, an exploration of current themes and practices in music education. l Lois Harrison (1983), in her book Getting Started in Elementary Music Education, considers the Orff approach a major method in elementary music education. Other authors have shown how the Orff approach, which was originally conceived in the context of German culture, may be adapted to a North American educational context. 2 In fact, published versions of Orff-Schulwerk have also appeared in over twenty languages, suggesting world-wide application of the principles of Carl Orff (Frazee, 1987, p. 5). A review of the literature indicates that the emphasis in research on the Orff approach has been on the history of the approach, teaching techniques and implementation. There is little research, especially in English, on the theoretical foundation of the Orff approach. Orffs work is encapsulized in the five volumes of Das Schulwerk--a collection of sequenced materials for voice, "Orff' instruments and recorders. Orff has stated that the materials reflect the historical evolution of music (1962, p. 3). There is no explicit discussion of the musical development of the child. What theory has determined the sequencing of these 1 materials? Is Dos Schulwerk merely a collection of historical models? Or is there a developmental theory implicit in the prescribed activities and sequence of materials employed in the Orff approach? The purpose of this paper is: (1) to determine the extent to which a developmental theory is implicit or explicit in the Orff approach; and (2), to explore any congruencies between Orff's concept of musical development and current theories of the development of music cognition. The first part of this paper explores the background of the Orff approach to determine the existence and nature of Orff's concept of musical development. The second part, "Orff and Cognitive Science," makes comparisons between the theory discovered in Part One and current research in cognitive science. 2 THE ORFF APPROACH TO MUSIC EDUCATIOI\J T he literature published by Orff and his colleagues reveals evidence of considerably more developmental theory behind the selection and sequencing of repertoire than is commonly acknowledged. In his writings concerning the approach, Orff (1962, 1963, 1976) concentrated on the choice of repertoire and the nature of music as an elemental human endeavour. His assistant, Gunild Keetman, wrote a manual on the teaching methods used in the Orff approach (Keetman, 1970). Other German pedagogues sought a place for Orff's work within the context of educational theory. Eberhard Preussner, director of the Mozarteum in Salzburg, posited a connection between the educational theories of Pestalozzi and those of Orff. Werner Thomas, who worked closely with Orff in Germany and Austria, found evidence of links between Orff and the work of Herder and Goethe. Preussner and Thomas presented a foundation for the Orff approach which is rooted in the artistic spirit of the German poets, represented by Goethe, Schiller and Herder, and in a German pedagogical reform which extended from the nineteenth into the early twentieth century. They saw the Orff approach as the embodiment of the ideals
Load more

Recommended publications
  • Carmina Burana Carl Orff (1895–1982) Composed: 1935–1936 Style: Contemporary Duration: 58 Minutes
    Carmina Burana Carl Orff (1895–1982) Composed: 1935–1936 Style: Contemporary Duration: 58 minutes The Latin title of tonight’s major work, translated literally as “Songs of Beuren,” comes from the Abby of Benediktbeuren where a book of poems was discovered in 1803. The Abbey is located about 30 miles south of Munich, where the composer Carl Orff was born, educated, and spent most of his life. The 13th century book contains roughly 200 secular poems that describe medieval times. The poems, written by wandering scholars and clerics known as Goliards, attack and satirize the hypocrisy of the Church while praising the self-indulgent virtues of love, food, and drink. Their language and form often parody liturgical phrases and conventions. Similarly, Orff often uses the styles and conventions of 13th century church music, most notably plainchant, to give an air of seriousness and reverence to the texts that their actual meaning could hardly demand. In addition to plainchant, however, the eclectic musical material relies upon all kinds of historical antecedents— from flamenco rhythms (no. 17, “Stetit puella”) to operatic arias (no. 21, “Intrutina”) to chorale texture (no. 24, “Ave formosissima”). The 24 poems that compose Carmina Burana are divided into three large sections— “Springtime,” “In the Tavern,” and “Court of Love” —plus a prologue and epilogue. The work begins with the chorus “Fortuna imperatrix mundi,” (“Fortune, Empress of the World”), which bemoans humankind’s helplessness in the face of the fickle wheel of fate. “Rising first, then declining, hateful life treats us badly, then with kindness, making sport of our desires.” After a brief morality tale, “Fortune plango vunera,” the “Springtime” section begins.
    [Show full text]
  • Catulo Y Lesbia En La Obra De Carl Orff
    Catulo y Lesbia en la obra de Carl Orff Beatriz Cotello [Corresponsal ante la Ópera de Viena, Austria] Resumen: En este artículo se presentan las cantatas creadas por el compositor Génesis de Catulli Carmina alemán Carl Orff sobre material poético de Catulo: los ludi scenici sobre los amo- res de Catulo y Lesbia titulados Catulli arl Orff (1895-1982) Carmina y el concerto scenico Trionfo di Afrodite en el que musicaliza los poemas complementa su obra de Catulo sobre el himeneo (con el aditamento de un epitalamio de Safo y más famosa y conoci- un coro de Eurípides). El artículo ofrece da, Carmina Burana, un análisis del contenido dramático y musical de ambas piezas y se destacan con dos cantatas, Catulli las características de la concepción de la música de Orff. Junto con Carmina Carmina ludi scaenici Burana, las obras forman un tríptico en y Trionfo di Afrodita: que se celebra el triunfo del amor sobre todo el acontecer humano. conforma así un tríp- Palabras clave: Carl Orff - Trionfi - tico sobre el amor humano en diversas Catulo y Lesbia - Afrodita C 1 expresiones. Un artículo anterior que presenta la obra de Orff en términos Catulo and Lesbia as represented by Carl Orff de su búsqueda de “lo elemental” en la música, ofrece ya un análisis de los Abstract: This article deals with two works from the german composer Carl Carmina Burana. Nos referiremos aho- Orff based on Catullus Latin poetry: Catulli Carmina in which he depicts the ra a las cantatas complementarias. love story of Catulo and Lesbia and La idea de poner en música los ver- Trionfo di Afrodite, where he uses two long wedding poems of Catullus and sos de Catulo surge en 1930, cuando material from Safo and Euripides.
    [Show full text]
  • Carl Orff Carmina Burana (1937)
    CARL ORFF CARMINA BURANA (1937) CARL ORFF CARMINA BURANA (1937) CARMINA: Plural of Carmen, Latin for song. BURANA: Latin for, from Bayern, Bavaria. CANTATA VERSUS ORATORIO: Ø Cantata: A sacred or secular work for chorus and orchestra. Ø Oratorio: An opera without scenery or costumes. THE MUSIC: Ø A collection of 24 songs, most in Latin, some in Middle High German, with a few French words. THE SPECTACLE: Ø Seventy piece orchestra. Ø Large chorus of men, women and boys and girls. Ø Three soloists: tenor, baritone and soprano. THE POETRY: Ø The Medieval Latin poetry of Carmina Burana is in a style called Saturnian that dates back to 200 B.C. It was accented and stressed, used by soldiers on the march, tavern patrons and children at play. Later used by early Christians. Ø While the poems are secular, some are hymn-like. Orff’s arrangements highlight this. Ø The poems were composed by 13th century Goliards, Medieval itinerant street poets who lived by their wits, going from town to town, entertaining people for a few coins. Many were ex monks or university drop-outs. Ø Common Goliard themes include disaffection with society, mockery of the church, carnal desire and love. Ø Benedictine monks in a Bavarian monastery, founded in 733 in Beuern, in the Alps south of Munich, collected these Goliardic poems. Ø After the dissolution of the monastery in 1803, some two hundred of these poems were published in 1847 by Andreas Schmeller, a dialect scholar, in an anthology that he labeled Carmina Burana. Ø Orff discovered these in 1935 and, with the help of the poet Michael Hoffman, organized twenty-four poems from the collection into a libretto by the same name.
    [Show full text]
  • Concert: Carmina Burana by Carl Orff Ithaca College Choral Union
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-17-2005 Concert: Carmina Burana by Carl Orff Ithaca College Choral Union Ithaca College Symphony Orchestra Lawrence Doebler Jeffrey Grogan Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Choral Union; Ithaca College Symphony Orchestra; Doebler, Lawrence; and Grogan, Jeffrey, "Concert: Carmina Burana by Carl Orff" (2005). All Concert & Recital Programs. 4790. https://digitalcommons.ithaca.edu/music_programs/4790 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE CHORAL UNION ITHACA COLLEGE SYMPHONY ORCHESTRA Lawrence Doebler, conductor CARMINA BURANA by Carl Orff Randie Blooding, baritone Deborah Montgomery-Cove, soprano Carl Johengen, tenor Ithaca College Women's Chorale, Janet Galvan, conductor Ithaca College Chorus, Janet Galvan, conductor Ithaca College Choir, Lawrence Doebler, conductor Ithaca College Symphony Orchestra, Jeffrey Grogan, conductor Charis Dimaris and Read Gainsford, pianists Members of the Ithaca Children's Choir Community School of Music and Arts Janet Galvan, artistic director Verna Brummett, conductor Ford Hall Sunday, April 17, 2005 4:00 p.m. ITHACA THE OVERTURE TO THE SCHOOL FOR SCANDAL Samuel Barber Ithaca College Symphony
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
    * BOSTON SYAfl PHONY m ORCHESTRA i i , V SEASON f '0* 3' Music Director lk Conductor j Emei {Music Director Lc I IP the Clarendon BACK BAY The Way to Live ;; III! in"! I II !! U nil * I v l iji HI I etc - I y=- • ^ Fi 2 '\ i ra % m 1 1 ih ... >'? & !W ||RBIK;| 4* i :: it n w* n- I II " n ||| IJH ? iu u. I 1?: iiir iu» !! i; !l! Hi \m SL • i= ! - I m, - ! | || L ' RENDERING BY NEOSCAPE INTRODUCING FIVE STAR LIVING™ WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FLOOI CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON, MA 617.267.4001 www.theclarendonbackbay.com BRELATED DL/aLcomp/ REGISTERED W "HE U.S. GREEN BUILDING COUNl ITH ANTICIPATED LEED SILVER CERTIFICATION The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, which a described. No Fede: subject to change without notice. No guarantee is made that said features will be built, or, if built, will be of the same type, size, or nature as depicted or where prohibited. agency has judged the merits or value, if any, of this property. This is not an offer where registration is required prior to any offer being made. Void Table of Contents | Week 7 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 23 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 31 THIS WEEK'S PROGRAM Notes on the Program 35 The Original Sound of the "Carmina burana" (c.1230) 41 Carl Orff's "Carmina burana" 53 To Read and Hear More..
    [Show full text]
  • 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]
  • Reconsidering the Carmina Burana Gundela Bobeth (Translated by Henry Hope)1
    4 | Wine, women, and song? Reconsidering the Carmina Burana gundela bobeth (translated by henry hope)1 Introduction: blending popular views and scientific approaches By choosing the catchy title Carmina Burana –‘songs from Benediktbeuern’–for his 1847 publication of all Latin and German poems from a thirteenth-century manuscript held at the Kurfürstliche Hof- und Staatsbibliothek Munich, a manuscript as exciting then as now, the librar- ian Johann Andreas Schmeller coined a term which, unto the present day, is generally held to denote secular music-making of the Middle Ages in paradigmatic manner.2 The Carmina Burana may be numbered among the few cornerstones of medieval music history which are known, at least by name, to a broader public beyond the realms of musicology and medieval history, and which have evolved into a ‘living cultural heritage of the present’.3 Held today at the Bayerische Staatsbibliothek under shelfmarks Clm 4660 and 4660a, and commonly known as the ‘Codex Buranus’, the manuscript – referred to in what follows as D-Mbs Clm 4660-4660a – constitutes the largest anthology of secular lyrics in medieval Latin and counts among the most frequently studied manuscripts of the Middle Ages.4 Yet the entity most commonly associated with the title Carmina Burana has only little to do with the musical transmission of this manu- script. Carl Orff’s eponymous cantata of 1937, which quickly became one of the most famous choral works of the twentieth century, generally tops the list of associations. Orff’s cantata relates to D-Mbs Clm 4660-4660a only in as much as it is based on a subjective selection of the texts edited by Schmeller; it does not claim to emulate the medieval melodies.
    [Show full text]
  • Naxos Catalog (May
    CONTENTS Foreword by Klaus Heymann . 3 Alphabetical List of Works by Composer . 5 Collections . 95 Alphorn 96 Easy Listening 113 Operetta 125 American Classics 96 Flute 116 Orchestral 125 American Jewish Music 96 Funeral Music 117 Organ 128 Ballet 96 Glass Harmonica 117 Piano 129 Baroque 97 Guitar 117 Russian 131 Bassoon 98 Gypsy 119 Samplers 131 Best Of series 98 Harp 119 Saxophone 132 British Music 101 Harpsichord 120 Timpani 132 Cello 101 Horn 120 Trombone 132 Chamber Music 102 Light Classics 120 Tuba 133 Chill With 102 Lute 121 Trumpet 133 Christmas 103 Music for Meditation 121 Viennese 133 Cinema Classics 105 Oboe 121 Violin 133 Clarinet 109 Ondes Martenot 122 Vocal and Choral 134 Early Music 109 Operatic 122 Wedding Music 137 Wind 137 Naxos Historical . 138 Naxos Nostalgia . 152 Naxos Jazz Legends . 154 Naxos Musicals . 156 Naxos Blues Legends . 156 Naxos Folk Legends . 156 Naxos Gospel Legends . 156 Naxos Jazz . 157 Naxos World . 158 Naxos Educational . 158 Naxos Super Audio CD . 159 Naxos DVD Audio . 160 Naxos DVD . 160 List of Naxos Distributors . 161 Naxos Website: www.naxos.com Symbols used in this catalogue # New release not listed in 2005 Catalogue $ Recording scheduled to be released before 31 March, 2006 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating.
    [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]
  • Los-Principios-Del-Orff-Schulwerk.Pdf
    Los principios del Orff-Schulwerk Wolfgang Hartmann , con la participación de Barbara Haselbach Así pues, ¿qué es realmente el Orff-Schulwerk ? No deja de ser remarcable que esta cuestión fundamental surja incluso cuando uno ha estado intensamente trabajando con las ideas pedagógicas de Gunild Keetman y Carl Orff durante tanto tiempo. ¿Representa el término Orff-Schulwerk solo el material impreso de los cinco volúmenes Musik für Kinder 1? ¿Se refiere a un estilo particular de enseñanza o, en general, a un acto creativo no convencional con niños en el área de la música, la danza y la expresión verbal? Con dudas tan fundamentales, no sorprende que haya habido a menudo intentos de buscar definiciones que presentaran las características de la metodología Orff-Schulwerk de un modo exhaustivo 2. Podemos asumir que incluso Carl Orff sabía que la descripción de su Schulwerk se resistía a una definición directa. Así, él comienza su frecuentemente mencionado discurso Das Orff-Schulwerk –Rückblick und Ausblick 3 (Orff-Schulwerk – Pasado y Futuro) de 1963 con esa pregunta fundamental, muchos años después de que sus ideas pedagógicas ya hubieran recibido reconocimiento internacional. Su respuesta solo ayuda de una forma indirecta y deja espacio para interpretaciones individuales: apunta a la historia de sus orígenes (ciertamente referidos a la “prehistoria” del Günther-Schule y su implementación práctica como un programa educativo de radio en 1948). Él también usa en este contexto su frecuentemente citada imagen del Wildwuchs 4. De este modo, podemos concluir que el Schulwerk NO es el resultado de un plan didáctico estructurado de forma exhaustiva y puede existir y ser efectivo incluso sin sistematización.
    [Show full text]
  • Orff-Schulwerk Approach and Flow Indicators in Music Education Context: a Preliminary Study in Portugal
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositório Institucional da Universidade de Aveiro International Journal of Arts & Sciences, CD-ROM. ISSN: 1944-6934 :: 4(21):75–81 (2011) Copyright c 2011 by InternationalJournal.org ORFF-SCHULWERK APPROACH AND FLOW INDICATORS IN MUSIC EDUCATION CONTEXT: A PRELIMINARY STUDY IN PORTUGAL João Cristiano R. Cunha and Sara Carvalho Universty of Aveiro | INET-MD, Portugal Extensive literature exists on Flow Theory. However there is a lack of published research investigating possible links between Orff-Schulwerk approach and Csikszentmihalyi’s concept of flow or optimal experience. Based on preliminary results from an ongoing research on Music / Music Pedagogy and (is links to) Musical Thought / Musical Cognition, the present paper aims to discuss the existence of optimal experiences / flow states boosted by Orff- Schulwerk approach activities / teaching music strategies in the context of Music Education in a Portuguese general public school (5 th and 6 th grades). Attempting to verify, analyze and understand these relationships, an empirical process was developed based on the Flow Theory - Optimal Experience (Csikszentmihalyi 1975, 1988, 1990) and consequently on FIMA - Flow Indicators in Musical Activity developed by Custodero (1998, 1999). Conventional flow methodology is adapted in order to define and to operacionalize cognitive strategies exhibited during Orff-Schulwerk approach activities in Music Eduction context. Results clearly validated this hipotesys and show how (and which) Orff-Schulwerk activities can provide children optimal experience /flow states in Music Education classes. Keywords: Orff-Schulwerk approach, Musical Thougt, Musical Cognition, Flow Theory, Music Education.
    [Show full text]
  • HANS-URS WILI CARL ORFF: Carmina Burana
    HANS-URS WILI 1 CARL ORFF: Carmina Burana (1937) 19.04.2012/huw (Wohlen2012NovORFF0.docx) Zum Konzert des Singkreises Wohlen vom 10. November 2012 im Casino Basel und vom 11. November 2012 im Casino Bern: CARL ORFF (1895-1982): Carmina Burana. Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (1937) Bst. Inhalt Rz. S. A Einleitung ……………………………………………………………… 1-2 1 B CARL ORFFs Leben ……………………………………………………. 3-32 2-16 C Carmina Burana ……………………………………………………. 33-91 16-37 Ca Zum Inhalt der Carmina Burana …………………………………. 35-37 17-18 Cb Historische Hintergründe …………………………………. 38-69 18-31 Cb.I Eigenkirchenwesen …………………………………. 38-42 18-21 Cb.II Kreuzzugswirren …………………………………. 43-46 21-23 Cb.III Zölibat und klerikale Elitenentwicklung ………………. 47-54 23-27 Cb.IV Universität und Gelehrte ………………………… 55-60 27-28 Cb.V Latein …………………………………………………….. 61 29 Cb.VI Elitäre Obszönitäten ………………………………….. 62-64 29-30 Bc.VII Leichs ……………………………………………………... 65-69 30-31 Cc Zur Musik der Carmina Burana ………………………………….. 70-91 31-37 Cc.I Persiflagen ………………………………...…………. 70-75 31-33 Cc.II Zitate ……………………………..………………………. 76-77 33-34 Cc.III Charakter der Musik ………………………………….. 78-91 34-37 D Benediktbeuren ………………………………………………………………. 92-94 38-39 E Fortuna und (Anankè) …………………………………………… 95 39 F Literatur ………………………………………………………………. - 39-42 A Einleitung 1 Mit CARL ORFFS Carmina Burana singen der Projektchor SMW Frick und der Singkreis Wohlen gemeinsam das wohl populärste Werk der E-Musik des 20. Jahrhunderts.1 Dabei kann man sich fragen, inwieweit das Werk überhaupt zu Recht der E-Musik zugerechnet wird. Derbheit und karikierende Parodie verschiedener Gesänge haben musikalisch Schlager inspiriert und führen Bilder einer Spottlust vor Augen, die landläufig weit eher der U-Musik zugeordnet werden könnte.
    [Show full text]