Orff-Schulwerk in Diverse Cultures: An Idea That Went Round the World is a commentary on the phenomenon of the rapid and worldwide dissemination of Orff Schulwerk, which has been in continuous process for more than 70 years since its origins in Central Europe. A selection of articles on the topic of adapting and adopting Orff Schulwerk is followed with contributions from countries in Asia, Africa, North and South America, and Oceania, supplemented by some European countries that have a special feature. In documenting the various adaptations of Orff Schulwerk, the authors describe characteristics and differences that result from the integration with each country's own cultural traditions and educational systems.
This volume looks forward and re-examines present day education and pedagogical practices in music and dance in the diverse cultural environments found in Oceania. The book also identifies a key issue of how teachers face the prospect of taking a reflexive view of their own cultural legacy in music and dance education as they work from and alongside different cultural worldviews. This key issue, amongst other debates that arise, positions Intersecting Cultures as an innovative text that fills a gap in the current market with highly appropriate and fresh ideas from primary sources. The book offers commentaries that underpin and inform current pedagogy and bigger picture policy for the performing arts in education in Oceania, and in parallel ways in other countries.
(Schott). This book is intended for those who want detailed, practical assistance in how and why to use Orff techniques and materials in the classroom. Goals are outlined and the best ways to achieve them are explored, but the principal focus is on the arrangement of the curriculum in a logical sequence. Such a structure provides a reasonable progression from simple to more complex objectives not only from day to day but from year to year. Structured learning need not be the enemy of improvisation but rather the best way to provide students with the tools they need to improvise. The book contains an introduction to the development of Orff-Schulwerk and a discussion of the distinguishing features of this approach. Chapter Two introduces the activities children use in their music-making. The teaching procedure that structures those activities is taken up in Chapter Three while Chapter Four explains the vocabulary and accompaniment theory essential to the Orff teacher. Part Two applies these elements in a sequential curriculum designed for Grades One through Five. Especially important in each chapter is the inclusion of supporting activities designed to aid in teaching the various skills and concepts.
For Orff-Schulwerk enthusiasts and for all classroom music teachers who want to widen their horizon of understandings regarding the valuable contributions Carl Orff has made to music education. It is difficult not to embrace this as a personal, life-changing and -renewing philosophy of music education. This book is a revisitation and distillation of the best of the articles in the first fifteen issues of the periodical journal Keeping Up With Orff-Schulwerk in the Classroom, a series originally launched in 1973 with this author, Arnold E. Burkart as editor, when the Orff-Schulwerk ideas were still very new in the United States. The informational and “how to ” articles in these issues were merged, manipulated and compiled into this very useful integrated, even text-book-like presentation of Orff’s ideas and their various means of consummation. Please peruse the Table of Contents to see this borne out. First the reader is introduced to Carl Orff, the German composer, best known for Carmina Burana and other musico-dramatic productions. Then Orff-Schulwerk is presented (Orff’s procedures for music education in the schools). Next are present ed the “ways to begin” developing in the students the various basic concepts of music: rhythm, melody, simultaneity, form and the expressive elements. Parallel to this are presented the ways to begin using the various Orff-related classroom music activities: mime, speech, body percussion, singing, moving, and playing instruments, especially the Orff xylophone-type instruments and the flute-like recorder. Orff suggests that each culture approach the learning and performing of music and its related activities through use of folk heritage materials from that culture, so the next section has many suggestions for such activities. One chapter shows how Orff-Schulwerk can support other areas of the school curriculum. Finally, there is a very rich potpourri of children’s rhymes, games and songs -- most with specific suggestions for classroom use.
Culturally Responsive Teaching in Music Education presents teaching methods that are responsive to how different culturally specific knowledge bases impact learning. It is a pedagogy that recognizes the importance of including students’ cultural references in all aspects of learning. Designed to be a supplementary resource for teachers of undergraduate and graduate music education courses, the book provides examples in the context of music education, with theories presented in Section I and a review of teaching applications in Section II. Culturally Responsive Teaching in Music Education is an effort to answer the question: How can I teach music to my students in a way that is culturally responsive? This book serves several purposes, by: • Offering theoretical/philosophical frameworks of social justice • Providing practical examples of transferring theory into practice in music education • Illustrating culturally responsive pedagogy within the classroom • Demonstrating the connection of culturally responsive teaching to the school and larger community
Incorporate the music of our global community into your classroom with Travel On and On: Interdisciplinary Lessons on the Music of World Cultures. With both traditional and newly composed music and material from other content areas, each ready-to-use lesson plan has an interdisciplinary approach to teaching multicultural music. Intended for use in general music classrooms, the lessons encourage collaboration with teachers of other subjects but can also effectively be taught solely by music teachers. Based on the National Standards for music and other subject areas and intended for grades 4-8, each lesson can be adapted for younger or older students with suggested extensions and materials. Bring the music of Latin America, Africa, and the United States into your classroom, with special emphasis on Native Americans, African Americans, and Cajuns. Most lessons also incorporate Orff-Schulwerk pedagogy, with written ostinati for multiple Orff instruments.
General music is informed by a variety of teaching approaches and methods that guide teachers in planning and implementing instruction. Teaching General Music offers a panoramic view of general music pedagogy and critical lenses through which to view these frameworks and practices. Including descriptions of each of the distinct approaches to general music teaching - Dalcroze, Informal, Interdisciplinary, Kodály, Music Learning Theory, Orff Schulwerk, Social Constructivism, and World Music Pedagogy - it provides critical analyses of teaching systems in light of the new ways children around the world engage with and experience music in their lives.
With Multicultural Perspectives in Music Education, you can explore musics from around the world with your students in a meaningful way. Broadly based and practically oriented, the book will help you develop curriculum for an increasingly multicultural society. Ready-to-use lesson plans make it easy to bring many different but equally logical musical systems into your classroom. The authors_a variety of music educators and ethnomusicologists_provide plans and resources to broaden your students' perspectives on music as an important aspect of culture both within the United States and globally.
