Ostinato Winter 2014 - CARL ORFF CANADA | Music for Children

Transcription

O
Music for Children - Musique pour enfants
stinato
Celebrating 40 years!
Célébrons 40 années!
Music for Children | Musique pour enfants
Sing From Your Heart
Chantons toujours avec notre cœur
Volume 40,
Number 2, Winter 2014
Tri-annual Publication of Carl Orff Canada
RCSPRT385_Ostinato Ad_2013.14 13-08-30 3:21 PM Page 1
Music for Children – Carl Orff Canada – Musique pour enfants
TRAINING FOR THE
BEST BY THE BEST.
Founder and Patron/Fondatrice et patronne d’honneur
Doreen Hall
Honorary Patrons/Patrons émérites
Bramwell Tovey
Sr. Marcelle Corneille
Jos Wuytack
Board of Directors/Conseil d’administration national 2012– 2014
Past-President/Présidente sortant de charge
Cathy Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6
T (604) 946-5132, [email protected]
President/Présidente
Beryl Peters, 500 Laidlaw Blvd., Winnipeg MB R3P 0K9
T (204) 474-1384, F (204) 945-6747, [email protected]
First Vice-President/Première vice-présidente
Marlene Hinz, 3551 Apple Grove, Regina, SK S4V 2R3
Second Vice-President/Deuxième vice-présidente
Liz Kristjanson, 54 Glenbrook Cres., Winnipeg MB R3T 4W4
Treasurer/Trésorière
Eileen Stannard, 44 Second Ave., Ardrossan AB T8E 2A1
If undeliverable please
return to:
Ruth Nichols
7 Regent Street,
Amherst, NS B4H 3S6
[email protected]
Professional Development
Fall 2013 – Spring 2014
Enrich your teaching with inspiring
courses taught by dedicated experts:
• Fall: Orff Intro
• Spring: Orff Level I
• Summer: Orff Intro, Level I, II and Music From Five Continents
with Doug Goodkin
• Artist Educator Professional Training
• Early Childhood Music Education Training
Membership Secretary/Secrétaire des adhésions
Ruth Nichols, 7 Regent Street, Amherst, NS B4H 3S6
Website
Joanne Linden, 1647-126 Street, Edmonton AB T6W 1R8
Secretary/Secrétaire
Laurel Nikolai, 11143-65 Avenue, Edmonton AB T6H 1W4
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Editor/Rédactrice en chef
Catherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4
(T) 647-970-7080, weekends (613) 449-8924, [email protected]
Archivist/Archiviste
Anne Tipler, 4099 Wheelwright Cres. , Mississauga ON L5L 2X3
Francophone Member at Large/Correspondante francophone
Denise Lapointe, 219 Forest,Pincourt, QC J7V 8E7
T (514) 453-8020, [email protected], [email protected]
Register online at rcmusic.ca
or call 416.408.2825
Check in with our website regularly for ongoing
opportunities for you and your students.
rcmusic.ca
Carl Orff Canada Aims and Objectives
Music for Children - Carl Orff Canada - Musique pour enfants is a Corporation which operates with the following objectives:
i) to encourage the development throughout Canada of a holistic music
education program for children based upon the pedagogical philosophy and approach of Carl Orff;
ii) to encourage, promote and fulfill Carl Orff Canada's objectives in all regions of Canada through a national organization and through regional
chapters;
iii) to produce and distribute a national journal addressing issues relating to the Orff philosophy of music education;
iv) to organize and administer conferences and workshops focusing on quality music education for children; and
v) to cooperate with other music education organizations in order to further the objectives of the Corporation.
Ostinato
Volume 40, Number 2, Winter 2014
OSTINATO
is the journal of Music for Children – Carl Orff
Canada – Musique pour enfants.
It is published three times yearly.
Closing dates for submission are:
June 15st for the Fall Issue
November 15th for the Winter Issue
March 15th for the Spring Issue
Submissions should be sent to:
Catherine West
Email: [email protected]
Articles and letters to the editor express the
viewpoints of the authors, and do not imply
endorsement by Music for Children – Carl Orff
Origins of songs and poems in this publication
have been traced whenever possible, and copyright
clearance obtained when necessary. If despite this,
any copyright that has been infringed upon
unwittingly, we apologize, and ask that we be
informed in order that the necessary permission
may be obtained.
OSTINATO
est la revue de Music for Children – Carl Orff
Elle paraît trois fois par année et les dates limites
pour soumettre les textes sont :
le 15 juin pour le numéro de l’automne,
le 15 novembre pour le numéro de l’hiver,
le 15 mars pour le numéro du printemps.
Tous les textes en français doivent être envoyés
en format Word.doc or Word.rtf à Lucie Allyson
à : [email protected] et en copie
conforme à Catherine West à : west.catherine@
sympatico.ca
Les opinions exprimées par les auteurs des
articles et les lettres envoyées à la rédaction ne
reflètent pas nécessairement celles de Music for
Children – Carl Orff Canada – Musique pour
enfants et n’engagent que leur propre responsabilité.
Si par mégarde certains droits d’auteur n’ont pas
été respectés, nous vous prions de nous excuser
et de nous en avertir pour que nous puissions
régulariser la situation rapidement.
www.orffcanada.ca
Publication agreement #40012987
From the Editor / Mot de la rédactrice Catherine West2
President’s Message / Mot de la présidente Beryl Peters 3
Interviews / Articles
A Visit With Doreen Hall Joan Linklater
Interview avec Soeur Marcelle Corneille
Louise Morand et Françoise Grenier
A Visit With Joan Sumberland Joan Linklater
Personal Reflections on Carl Orff Canada’s Fortieth Anniversary
Morna June Morrow
7
9
11
15
Chapter Histories / Historique des chapitres
Nova Scotia/Maritime Chapter Charlotte Myers16
Chapitre Orff-Québec M. T. Armand, G. Egglefield et F. Grenier
17
Ontario Chapter Suzanne Waller, Batya Levy and Marion Roy
19
Ottawa Chapter Evelyn Pike and Leslie Bricker
21
Waterloo-Wellington Chapter Mary-Jo Schropp
23
Manitoba Chapter Sean Fitzmaurice
25
Saskatchewan Chapter Allyson Reist
26
Alberta Chapter Kim Friesen Wiens
28
Calgary Chapter Bonnie Jaycock
29
Lethbridge Chapter Linda Langager
31
British Columbia Chapter Vanessa Fer
33
Book Reviews / Critiques de recueils et DVDs pédagogiques
My Song Primer, My Recorder Primer, and My Recorder Reader 1, 2, & 3 by Isabel McNeill Carley
Course Reports
Orff-Schulwerk in Toronto Doreen Hall Scholarship Winners
Course Reflections
Orff Arrives in PEI! Julie Grierson 37
38
39
40
43
Orff Schulwerk Courses / Formations Orff
45
Chapter Workshops / Ateliers de perfectionnement48
National Executive Section /
Section du conseil exécutif national
Business Section
50
Take Note
51
National Conference 2014
52
Curriculum Corner / Boîte à idées
Sing From Your Heart / Chantons toujours avec notre coeur
Robert de Frece
58
If undeliverable please return to: Ruth Nichols, 7 Regent Street, Amherst, NS B4H 3S6
Vol. 40, No. 2, Winter 2014
1
From the Editor / Mot de la rédactrice
photo Linda Kooluris Dobbs
Catherine West
So here we are, forty years old on April 20
2014, older than many of our own members.
Congratulations, Carl Orff Canada! As we
move into our association’s middle age it is
time to re-connect with our past, rejoice in our
accomplishments and reimagine our future.
We hope this issue of Ostinato will help you
to do exactly that.
In this issue we have assembled contributions from every chapter.
Looking at the old photos you may feel, as I do, an incredible sense
of connection with our shared enterprise and a great sense of gratitude for the vision and dedication of those early members. Without
them, music education in Canada would look very different. Read
more about those early days in Morna-June Morrow’s article, and
the interviews with Doreen Hall and Sister Marcelle Corneille.
At the time when Carl Orff Canada was formed, teacher training
had been in place already for many years, growing from a one-week
course in 1957 to a full three-level, three-week long course at the
University of Toronto. A 1962 conference and two-week course
with Carl Orff and Gunild Keetman themselves put the Schulwerk
on the North American map. By 1974 there was a committed and
experienced community teaching the Orff way, and an association
was the logical next step. Our Honorary Patron Doreen Hall was
involved every step of the way; you will read more about her role
in Joan Linklater’s interview in this issue.
The association grew to almost its present number of chapters
quite quickly, organizing to meet the professional needs of local
teacher groups. These needs included professional development
(workshops, courses), peer mentoring, networking, performance
opportunities, resource access, publication opportunities and more.
School districts and ministries of education are currently fond of
mandating such activities for teachers through PLCs (Professional
Learning Communities), but the remarkable thing about the COC is
that teachers created it and continue to support it because it meets
their own needs in an intensely practical and direct way. They do
so, often without professional credit and often at their own cost,
just because of their own level of commitment, and because the
personal takeaway is so good.
This April we hope that many of you will travel to Halifax for our
national conference, Ensemble, to celebrate forty years of Canadian
Orff in true Maritime style. This conference is sponsored by three
chapters: Ottawa, Québec and Nova Scotia, under the leadership
of conference chairs Kristy Fiegehen, Françoise Grenier and James
Jackson. These three have worked tirelessly with their steering
committee for several years to bring this conference together in a
spectacular location, and to feature the best of the best. Read about
the conference later in this issue, and do plan to be there if you
possibly can be – an Orff conference in one of the most musical
and beautiful parts of the country is something you should not miss!
Let us also take time this year to create a vision of where the next
forty years should take us. Let’s imagine the future we really want
for music education, then “backwards plan” to put the steps in
place. What would that future look like, and would the Schulwerk
look very different from today? Here is the start of my wish list,
2 Ostinato
and perhaps yours too: (1) high quality, creative, active, multimedia music education for every child in every school in Canada,
taught by a trained music specialist; (2) repertoire in those music
classes drawing from global cultures, with the appropriate level of
resource and training support for the music teacher; (3) extensive
use of traditional music in both official and aboriginal languages,
again with the appropriate level of resources and training for the
teacher; (4) music programs which pull from and reach into the
community, participating with and for all kinds of groups, breaking
down the damaging notion that you should only make music with
people your own age; (5) the restoration of the singing period, a
time for schools and/or communities to gather every week just to
sing together.
Countries much poorer than Canada are able to achieve a considerable number of these expectations – our children deserve no less.
As I am writing this, the coverage of Nelson Mandela’s death is
playing on the radio. The constant soundtrack is the haunting and
powerful singing that comes “as naturally as leaves to a tree” to
South Africans. We have much to envy in our society, but we should
envy them that.
As you read this issue I hope you enjoy the trip down Memory
Lane, and gather the inspiration to carry forward your own vision
of the next forty. I hope to see you in Halifax!
Traduction par Denise Lapointe
Ce sera en avril 2014 que nous célèbrerons notre 40e anniversaire,
un nombre plus élevé que l’âge de certains de nos lecteurs. Félicitations Carl Orff Canada! Nous franchissons une nouvelle étape, celle
de la quarantaine, une période réflexion, de bilan et de regard vers
le futur. Nous souhaitons que cette édition d’Ostinato puisse vous
guider à travers ces pensées.
Nous sommes fiers de vous présenter des articles et photos de
chacun des chapitres du Canada. On pourra y voir la vision et
la détermination des membres fondateurs, car sans ces derniers,
l’éducation musicale au Canada serait très différente aujourd’hui.
Nous vous encourageons à lire les entrevues avec Sœur Marcelle
Corneille, Doreen Hall et les articles de Morna-June Morrow qui
relatent les débuts de Carl Orff Canada.
Au moment où l’association Carl Orff Canada a été fondée, un
programme de formation pédagogique musicale était déjà en
place, les formations ont passé d’une durée d’une semaine en
1957 à l’Université de Toronto à un système de trois niveaux ayant
chacun une durée de trois semaines. L’élément déclencheur de la
popularité du Schulwerk en Amérique du Nord est une conférence
et une formation de deux semaines données par Carl Orff et Gunild
Keetman en 1962. Dès 1974, un comité fut formé de pédagogues
d’expérience selon l’approche Orff et une association fut créée.
Doreen Hall, notre patronne honoraire, a été impliquée dans toutes
les étapes, et vous pourrez en apprendre davantage dans le billet
de Joan Linklater.
La croissance de l’association fut rapide, son but étant de répondre
aux besoins professionnels de ses différents chapitres. On parle
ici de développement professionnel, d’ateliers, de formations,
de cours, de mentorat, de réseautage, d’occasions de concerts,
d’accès aux ressources, de publication et autres. Les ministères
de l’Éducation sont friands de mandater de telles activités pour
leurs enseignants, mais ce qui fait plaisir à entendre est que cette
association a été formée par des enseignants et ceux-ci continuent
de la faire progresser et l’endossent, car elle répond à leurs besoins
d’une manière pratique et directe. Ces enseignants font ce travail
bénévolement, car ils ont à cœur la formation musicale et le retour
est aussi gratifiant que le temps donné.
Nous souhaitons que vous puissiez participer au congrès national
Ensemble et fêter avec nous le 40e anniversaire à Halifax en avril
2014. Ce congrès est organisé par trois chapitres : Québec, Ottawa
et Nouvelle-Écosse, sous la gouverne de Françoise Grenier, Kristy
Fiegehen et James Jackson. Ces personnes ont travaillé d’arrachepied depuis quelques années pour mener à terme un congrès
magnifique dans les Maritimes afin de vous offrir la crème de la
crème. Des détails du congrès sont présentés dans cette édition
afin que vous puissiez planifier un voyage dans une des régions
les plus musicales et pittoresque de notre pays. Un évènement à
ne pas maquer!
Prenons le temps de visualiser les 40 prochaines années de Carl
Orff Canada. Imaginons le futur que nous voulons pour l’éducation
musicale et les étapes à gravir pour atteindre notre but. Quel aspect
prendra-t-il? Le Schulwerk sera-t-il très différent de ce qu’il est
aujourd’hui? Voici ma liste de désirs : (1) une éducation musicale
pour chaque enfant, qui soit riche, de haute qualité, active dont le
multimédia fait partie intégrante, mais surtout guidée par des enseignants qualifiés; (2) un répertoire varié tiré de différentes cultures,
ce qui inclut les ressources et formations pour les enseignants;
(3) l’utilisation de la musique traditionnelle dans les langues
aborigènes et officielles, toujours avec ressources et en encadrant
les enseignants avec des formations et ressources nécessaires; (4)
de programmes musicaux en partenariat avec la communauté, en
sortant de sentiers battus et faisant participer les gens de tous âges;
(5) l’intégration de périodes pour que les écoles et les communautés
se rassemblent une fois par semaine pour chanter ensemble.
Des pays beaucoup plus pauvres que le nôtre sont capables de
réaliser ces attentes, nos enfants ne méritent pas moins. Au moment
où j’écris ces lignes, j’entends à la radio un reportage sur le décès
de Nelson Mandela et je remarque la présence d’un chant puissant
qui nous hante et qui est aussi naturel pour les Sud-Africains que
les « feuilles sur un arbre ». Nous avons beaucoup à envier dans
notre société, mais nous devrions leur envier cela.
Nous espérons que ce regard en arrière vous permettra d’imaginer
les prochains 40 ans de Carl Orff Canada. En espérant vous croiser
à Halifax!
Vous êtes francophone ?
Le chapitre Orff-Québec veut
être en contact
avec vous !
Écrivez-nous à
[email protected]
President’s Message / Mot de la présidente
Beryl Peters
Happy 40th Anniversary
Carl Orff Canada!
I am delighted to bring President’s greetings
and to invite you to join in celebrating 40 years
of teaching and learning music the Orff way in
Canada! There have been many exciting milestones and fascinating stories along the way
and some of these are featured in this special
edition of Ostinato. We are grateful to the many
contributors from chapters across Canada who submitted such rich
material for this issue. We are also indebted to our extraordinary
editor, Catherine West, for her work and talents to create this significant anniversary edition!
In 2008, the year that the American Orff-Schulwerk Association
(AOSA) celebrated its 40th anniversary, Doug Goodkin shared this
observation:
AOSA turns 40 this year. According to modern wisdom,
this is the beginning of the midlife crisis, the moment
when we look back down the ladder we’ve climbed and
wonder if it’s up against the right wall. It’s a time to reflect,
assess, hearken back to our roots and our beginnings so
that we can look ahead to the future with renewed vision.
(Goodkin, 2008, p. 1)
In our 40th year, Carl Orff Canada (COC) is also taking time to
reflect and assess. We are working to create spaces to vision the
future of COC and we anticipate exciting meetings and dialogue
at our upcoming 2014 national conference in Halifax, Nova Scotia. As part of our reflection and assessment, we look forward to
two different publications that document COC achievements and
milestones. We are immensely grateful for the enormous time commitment and efforts of two COC Past-Presidents, Joan Linklater
and Morna-June Morrow, who have both dedicated this past year
to collecting COC data, interviews, anecdotes, photos, and more,
to include in two commemorative volumes that will be available
in 2014. Joan Linklater will highlight these findings and photos
in a digital presentation at the Ensemble conference banquet on
April 12, 2014.
These reflection efforts help me answer Doug Goodkin’s challenge
to “look back down the ladder we’ve climbed and wonder if it’s
up against the right wall.” Certainly the structure of music education in Canada has been enriched by the work of Carl Orff Canada
since Doreen Hall was first inspired by her studies with Orff and
Keetman in Salzburg in 1954-1955. For the next several decades
following her studies, Doreen Hall shared her passion for the Orff
approach with Canadian and American educators and students and
in the process, transformed music education in Canada and beyond.
The strong national network that Doreen Hall created led to the
inaugural meeting of the Orff-Schulwerk Society of Canada in
3
Toronto on April 20, 1974. At that time, COC was made up of 82
charter members and Doreen Hall was elected Founding President.
Forty years later, our membership has grown tenfold and represents a
very significant body of music educators and leaders advocating for
quality music education in provinces and territories across Canada!
During this time, COC has provided leadership for Canadian music
educators in a variety of ways, including summer and spring Orff
levels courses held at Universities and institutions from coast to
coast. Orff courses for teachers date back 57 years when Doreen
Hall taught the first Orff courses for teachers in North America
at the Royal Conservatory of Music in Toronto. The intensive
three course sequence had its roots in 1966 when Doreen Hall
established a sequence of Introductory, Intermediate and Teachers
Courses as Director of Orff Studies at the Royal Conservatory of
Music in Toronto. Over the years, the COC National Executive in
consultation with levels course directors has evergreened the Orff
levels courses as part of ongoing work to ensure the courses remain
relevant, reflect the essential ideas of Carl Orff, are based on sound
musical theory and pedagogy, and meet the music education needs
of all children (criteria based on Goodkin, 2008).
Our thriving COC endorsed teacher education programs support Carl
Orff Canada’s stated aim and objective “to encourage the development throughout Canada of a holistic music education program for
children based on the pedagogical philosophy and approach of Carl
Orff” (COC website, 2013). The various means by which COC
has successfully met its goal are recorded in part in these pages,
and are evidence we have placed our ladder up against the right
wall. The numbers of Orff levels graduates over the decades and
the wealth of sustained quality Orff-based music programs across
Canada indicate that the answer to Doug Goodkin’s question is an
affirming “Yes!”
But what other criteria can we use to reflect on, assess and evaluate
these last 40 years of Carl Orff Canada? Indicators of program
success commonly include such factors as new and transformative
learning, improved effectiveness and transfer of learning and instruction, high levels of engagement and enjoyment, and improved
quality of learning. The articles in this edition of Ostinato point
to multiple ways that our COC association has met indicators of
program success.
We came together from many parts of the world, because
we’re convinced that Carl Orff and Gunild Keetman
developed a marvellous, timeless concept of humanistic
education. But – times change. And we know what we
are doing: According to the ideas of the Schulwerk,
it has to be adapted to the current artistic, aesthetic,
social and political conditions of a time decades after
the years when Orff and Keetman brought into life
the first version of their Schulwerk. Orff himself said
that we need to adapt the Schulwerk to the times in
which we live. How can we adapt the Schulwerk to
the 21st century? We are all asking ourselves this
question in many parts of the world. (Haselbach, 2013)
At the American Orff Schulwerk national conference in November,
2013, the sessions I attended that seemed to produce the most interesting dialogue were those that engaged session participants in
discourse about the future of Orff-based music education as nested in
the multi-layered larger system of education. In particular I enjoyed
a session entitled, Orff Schulwerk: Reflections and Directions. The
session began with this central question:
Orff Schulwerk has flourished in the United States for
over fifty years, and it has spread around the world.
Meanwhile, our world has changed with expanded
knowledge in neuroscience, technological advances,
communication systems, and population diversity. What
changes should we make to continue to promote Orff
Schulwerk in the international scene and in the USA?
Topics for this session included such phrases as “critical issues in
Orff Schulwerk,” “diverse experiences,” “understanding diversity in
our schools,” “culture in today’s classrooms,” “research,” “promise
and possibility,” “neuroscience, technology, and music education,”
and many more engaging themes.
As we ponder reflections and directions for Carl Orff Canada, what
are our questions and topics? Let’s imagine that we held a national
symposium that began:
Orff Schulwerk has flourished in Canada for forty years,
and it has spread around the world. Meanwhile, our
world has changed....What changes should we make?
But while we appreciate the accomplishments and strengths of
our organization and its members, we also need to consider what
criteria we might use to assess and evaluate success for the next 40
years. Do we need to expand our aims and objectives? Are there
new criteria we should use to evaluate quality Orff-based music
education in Canada? Do we need new ladders? Do we need to
build new walls and structures—or tear some down? What about
new doorways or windows in? At the very least, we need to reflect,
critically question, and consider the place of Orff-based music
education within the larger landscape of education for the future.
What does Orff Schulwerk mean for COC in 2014? How do we
locate Orff Schulwerk in the richly diverse populations and cultures
of our contemporary Canadian classrooms? Who are the children
that are identified in the COC aims and objectives statement? I
was struck by the many sessions at the AOSA national conference
that reflected the diversity and wealth of cultures and traditions of
people throughout the world, from every continent from Afghanistan
to Zimbabwe, both contemporary and classical, and indigenous
and urban. Does Orff “school work” (Schulwerk) look and sound
different in different Canadian schools and contexts?
We are not alone in questioning and visioning for the future. Our
Orff families around the world are gathering to reflect, assess, and
question. Carl Orff Canada First Vice-President, Marlene Hinz,
represented COC at the Orff-Schulwerk Forum Salzburg, Convention 2013 at the Carl Orff Institute in Salzburg, Germany this past
July 4-7, 2013. The opening introduction to the Convention by
Barbara Haselbach included these words:
Carl Orff certainly believed it should. He concluded a 1963 speech
titled, Orff-Schulwerk: Past and Future with these instructions:
4 Ostinato
The structure of Schulwerk, however, is such that the
existing material can be developed in many ways. In all
modesty, but with emphasis, I would like to conclude with
Schiller: I have done my part. Now do yours. (Orff, 1963)
As Carl Orff Canada celebrates its 40th anniversary, we will put our
very best efforts into doing our part to ensure that the Orff approach
remains strong, vibrant, and meaningful for the next forty years and
more. We salute Doreen Hall and the passionate and dedicated Carl
Orff Canada leaders who have so brilliantly led the way and created
such a strong and enduring foundation and framework on which we
continue to build. I hope you enjoy this special edition of Ostinato
and our commemoration of the imagination, vision, and creative
energies of Carl Orff Canada members over the past forty years.
References
Goodkin, D. (2008). History, pedagogy and AOSA certification courses.
Unpublished manuscript.
Haselbach, B. (2013). Opening speech to the Orff-Schulwerk Forum Salzburg Convention 2013 at the Carl Orff Institute in Salzburg, July 4-7, 2013.
Orff, C. (1963). Orff-Schulwerk: Past and Future. Speech given at the
opening of the Orff Institute in Salzburg October 25, 1963. http://www.
vosa.org/index.php/about-orff
Traduction par Denise Lapointe
Heureux 40e anniversaire Carl Orff Canada!
Je suis heureuse de vous transmettre mes salutations et de vous
inviter à célébrer 40 ans d’enseignement et d’apprentissage de la
musique selon la méthode Orff au Canada. Que d’histoires excitantes
à se remémorer que nous partageons avec vous dans cette édition
spéciale d’Ostinato! Nous sommes reconnaissants des chapitres
canadiens pour leurs généreuses contributions. Nous sommes
reconnaissants de notre éditrice Catherine West, pour son travail
et son habileté à mettre en place cette édition d’anniversaire tout
à fait exceptionnelle.
En 2008, l’Association Américaine Orff Schulwerk (AOSA) a
célébré son 40e anniversaire, et Doug Goodkin a fait l’observation
suivante à ce sujet : selon la sagesse moderne, ceci est le début de
la crise de la « quarantaine », le moment où on regarde en bas de
l’échelle que l’on vient de grimper pour se demander si elle est
bien adossée au bon mur. C’est le moment de réfléchir, de rendre
compte et de faire un bilan de nos racines et de nos débuts pour qu’on
puisse se diriger vers le futur avec une nouvelle vision, (2008, p.1).
Notre 40e est l’occasion de faire de bilan et de réfléchir sur le
futur de Carl Orff Canada. Nous attendons avec impatience les
réunions et discussions lors du congrès national Ensemble à Halifax, Nouvelle-Écosse en avril 2014. Nous sommes fiers de vous
présenter deux documents exclusifs qui témoignent du travail de
COC. Nous remercions les présidentes sortantes de COC, Joan
Linklater et Morna-June Morrow, pour leur implication dans cet
assemblage d’informations, d’entrevues, d’anecdotes, de photos et
plus encore. Un projet publié en deux volumes commémoratifs qui
seront disponibles en 2014. Une présentation des grandes lignes sera
présentée le 12 avril 2014 lors du banquet du congrès Ensemble.
Ce travail de réflexion m’a permis de répondre au défi de Doug
Goodkin, « de regarder en bas de l’échelle que l’on vient de grimper
pour voir si elle bien adossée au bon mur ». Nous sommes assurés
que la structure de l’éducation musicale a été enrichie par le travail de Carl Orff Canada depuis que Doreen Hall a étudié auprès
de Keetman et Orff à Salzbourg en 1954-55. Pendant quelques
décennies après son retour, Doreen Hall a continué de partager sa
passion pour la méthode d’apprentissage de la musique selon Orff
avec les enseignants canadiens et américains et ceci a eu comme
résultat de transformer l’éducation musicale au Canada et ailleurs.
Le réseau national créé par Doreen Hall a vu le jour sous le nom
de Orff-Shulwerk Society of Canada à Toronto le 20 avril 1974.
À cette époque, COC était formé de 82 membres et Doreen Hall
a été élue comme présidente fondatrice. Quarante ans plus tard,
nous comptons 10 fois plus de membres et ceux-ci représentent un
nombre significatif de pédagogues et chefs de file qui promeuvent
la qualité de l’éducation musicale dans toutes les provinces et territoires du Canada!
Pendant ces années, COC a travaillé à enrichir les enseignants de
plusieurs façons, dont les formations estivales et printanières dans
les universités et autres institutions à travers le Canada.
Cela fait déjà 57 ans que les premières formations de niveaux eurent
lieu, c’est Doreen Hall qui a enseigné le premier cours pour enseignants de musique de l’Amérique du Nord au Conservatoire Royal
de Toronto. Les formations intensives à trois niveaux ont débuté
en 1966 lorsque Doreen Hall, alors directrice des études Orff du
Conservatoire Royal de Toronto, a institué les niveaux Introduction, Intermédiaire et Maîtres. Ces formations, de concert avec le
conseil d’administration de COC et les professeurs des formations,
continuent d’évoluer selon la pensée de Carl Orff et sont basées
sur une formation solide en théorie musicale et en pédagogie tout
en s’assurant qu’elles satisfassent les besoins éducationnels de
chaque enfant (critère basé sur Goodkin, 2008).
Le but de COC est de continuer de former les spécialistes en musique afin « d’encourager à travers le Canada le développement
d’un programme holistique de la musique basé sur l’approche
philosophique et pédagogique de Carl Orff (site Web COC 2013).
Les moyens par lesquels COC a eu du succès à remplir son mandat sont mentionnés dans cette revue et témoignent du fait que
l’échelle est vraiment adossée au bon mur. Le nombre de gradués
lors des formations de niveaux ces derniers 40 ans et la richesse
des programmes de musique nous indiquent que la réponse à Doug
Goodkin est sans aucun doute “oui!”.
Y a-t-il d’autres critères que nous pouvons utiliser pour évaluer
les 40 ans de COC? Les indicateurs de succès des différents programmes de musique pointent vers des facteurs d’apprentissage
qui évoluent, qui s’améliorent et qui permettent un transfert entre
l’apprentissage et l’instruction, de hauts niveaux d’engagement,
de plaisir et de qualité d’apprentissage. Les articles de cette revue
mettent en relief les différentes façons que l’association COC a
utilisées avec succès.
Bien que l’on puisse apprécier les accomplissements et les forces
de notre organisme et de ses membres, nous avons aussi besoin de
considérer le choix de critères à utiliser pour évaluer le succès des
prochains 40 ans. Devons-nous étendre nos buts et objectifs? Quels
sont les critères pour évaluer la qualité de l’éducation musicale au
Canada? A-t-on besoin de nouvelles échelles, de nouveaux murs et
structures, ou d’en détruire quelques-uns? A-t-on pensé à installer
des fenêtres ou des passages? Il faudra tout au moins, penser,
réfléchir et critiquer la place de la musique selon Orff à l’intérieur
d’une vision élargie de l’éducation dans le futur.
Nous ne sommes pas seuls à nous questionner sur une vision du
futur. Toutes les familles Orff à travers le monde se sont renVol. 40, No. 2, Winter 2014
5
contrées lors du forum Orff-Schulwerk tenu à Salzbourg du 4 au
7 juillet 2013. Marlene Hinz, première vice-présidente, a assisté à
titre de représentante de COC. Le discours d’ouverture de Barbara
Haselbach commençait par ces paroles: « Nous sommes venus des
quatre coins du monde, car nous sommes convaincus que Carl Orff
et Gunild Keetman ont développé un concept qui tient le temps dans
une éducation humaniste. Mais, les temps changent et nous savons
ce que faisons : selon les idées du Schulwerk, l’éducation doit
s’adapter aux nouveaux courants artistiques, sociaux et politiques
même quelques décennies après la première version du travail de
Carl Orff et de Keetman. Orff lui-même disait que nous devons
adapter le Schulwerk au temps dans lequel nous vivons ».
Comment pouvons-nous adapter le Schulwerk au 21e siècle? Cette
question revient partout dans le monde, (Haselbach, 2013).
Lors du Congrès national américain, auquel j’ai assisté en novembre 2013, il y a eu de nombreuses discussions très intéressantes sur
l’avenir de l’éducation musicale selon Orff dans le système général
de l’éducation. J’ai apprécié particulièrement un atelier intitulé OrffSchulwerk; Reflections and Directions, lequel a commencé par cette
question : « Orff Schulwerk a évolué aux États-Unis les derniers
50 ans, le programme a fait des petits partout à travers le monde.
Pendant ce temps, notre monde a changé, les connaissances se sont
développées dans les domaines de neuroscience, de technologie,
de communication et de diversité populaire. Quels changements
devrions-nous apporter pour promouvoir le travail Orff Schulwerk
sur la scène internationale et aux États-Unis? »
Nous profitons du 40e anniversaire pour faire notre part en y mettant
les efforts nécessaires pour que l’approche musicale selon Orff
demeure vivante, vibrante, forte et signifiante pour les prochains
40 ans et plus encore. Nous saluons Doreen Hall ainsi que tous
les pédagogues qui, animés par leur passion et dévouement, ont
pavé le chemin pour créer une fondation solide sur laquelle nous
continuons de bâtir. J’espère que vous aimerez cette édition toute
spéciale d’Ostinato, qui met en valeur une commémoration de
l’imagination, de la vision et de la puissance de l’énergie créative
de Carl Orff Canada depuis les derniers 40 ans.
References
Goodkin, D. (2008). History, pedagogy and AOSA certification courses.
Manuscrit non édité.
Haselbach, B. (2013). Discours d’ouverture du Orff-Schulwerk Forum
Salzburg Convention 2013 à l’Institut Carl Orff à Salzbourg, Autriche,
4–7 juillet 2013.
Orff, C. (1963). Orff-Schulwerk: Past and Future. Discours d’ouverture
de l’Institut Orff à Salzbourg, 25 octobre 1963. www.vosa.org/index.php/
about-orff
Les sujets de cet atelier comprenaient de pensées telles “les problèmes
critiques de l’Orff-Schulwerk”, “la diversité des expériences”,
“comprendre la diversité dans nos écoles”, “la culture dans la classe
d’aujourd’hui”, “la promesse et la possibilité”, “la neuroscience,
la technologie et l’éducation musicale”, et autres sujets tout aussi
préoccupants.
Tout en réfléchissant sur les directions que pourraient prendre COC,
quels sont nos réelles questions et sujets? Imaginons un instant que
nous sommes dans un symposium national qui commence comme
ceci : Orff Schulwerk a fleuri au Canada pendant 40 ans et il s’est
propagé à travers le monde. Pendant ce temps, notre monde a
changé… quelles modifications doit-on apporter?
Quel est le sens du Orff Schulwerk en 2014? Quelle est sa place à
l’intérieur de la diversité culturelle dans le monde contemporain de
nos classes de musique? Qui sont les enfants visés par les buts et
objectifs de COC? J’ai été frappée par le nombre d’ateliers lors du
Congrès américain qui se penchaient justement sur la richesse de
la diversité culturelle ainsi que des traditions de chaque peuple, de
chaque continent, que nous soyons en Afghanistan ou au Zimbabwe,
dans un contexte tant contemporain que classique, indigène ou
urbain. Est-ce que le Orff Schulwerk diffère selon le contexte des
écoles canadiennes?
Carl Orff affirmait que oui, il se devait d’être différent. En 1963,
il tenait ces propos en guise d’instruction et de conclusion d’un
discours intitulé Orff Schulwerk : passé et futur : “La structure du
Orff Schulwerk est telle qu’elle peut être développée de plusieurs
façons. En toute modestie et avec importance, j’aimerais conclure
avec une citation de Schiller : j’ai fait ma part, maintenant faites la
vôtre” (Orff 1963).
6 Ostinato
Carl Orff Canada National Banner
A Visit with Doreen Hall
Joan Linklater
On Tuesday, August 13, 2013 I had the privilege of visiting Doreen
Hall at her apartment in Briton House on Mount Pleasant Road in
Toronto. At 92 years of age, Miss Hall was a charming and gracious
hostess, as we ate lunch and chatted.
Doreen Hall Receives An Invitation
Doreen told me that many years ago, Dr. Arnold Walter, the director of the Faculty of Music at the University of Toronto asked her
if she would be interested in going to Salzburg to learn about the
work Carl Orff and Gunild Keetman were doing in music education.
Little did she know that her decision to accept his invitation would
affect the development of music education in North America in a
very powerful way. It was sixty years ago on May 10, 1954 that
Doreen left Canada to study with Carl Orff and Gunild Keetman
in Salzburg. As she says, “It’s hard to imagine that so much has
happened and so many years have passed.”
When talking about her time in Salzburg, Doreen emphasized what
a fine person Gunild Keetman was and how privileged she was
to work with her. Doreen also recalled that while in Salzburg she
knew she would need English teaching material to use when she
returned home and so she completed her English edition of volume
I of the Schulwerk before coming back to Canada.
Doreen Hall Returns to Canada
Upon her return to Canada, she began teaching classes of children
between six and twelve years of age at the Royal Conservatory of
Music in Toronto. Keith Bissell, Chief Supervisor of Music in the
Scarborough Board of Education attended a demonstration of these
classes and was so impressed that he invited Doreen to present inservice sessions for the music teachers in the Scarborough Board
of Education. In 1957 Doreen presented a series of Orff teacher
training sessions at the Royal Conservatory in Toronto and in 1962
the first International Conference on Elementary Music Education
– Orff Schulwerk was held in Toronto. At this conference Doreen
introduced the Schulwerk to 167 eager participants from all over
North America including many delegates from United States who
became the pioneers of the American Orff Schulwerk Association.
Doreen Hall: The Founder of Carl Orff Canada
During the years following the International Conference Doreen
worked energetically to connect with music educators across Canada and thus on April 20, 1974 with 82 members and Doreen Hall
as president, The Orff Schulwerk Society of Canada was founded.
Since that time the organization has been renamed Music for Children – Carl Orff Canada-Musique pour enfants and has grown to
approximately 800 members in 11 chapters across Canada.
Doreen Hall’s Message: The Importance of Quality
As our visit came to an end, I asked Doreen if she had a message
for music educators today. These are her words to us as we carry
her work into the future;
August, 2013: Doreen Hall holding the photo taken in 1955 of herself
with Gunild Keetman and Carl Orff.
Did You Know?
You can find up-to-date information
about Orff workshops and Levels
courses across Canada on www.
orffcanada.ca.
We must always strive for quality vocal sound.
In order to achieve this we must find outstanding
teacher trainers who understand what quality vocal
sound is and how to achieve this with children.
Joan Linklater is a Past President of Carl Orff Canada and the
Director of Orff Teacher Training at the University of Manitoba.
7
An undated advertisement for Doreen Hall’s Orff classes at the Royal Conservatory
8 Ostinato
Interview avec Sœur Marcelle Corneille
Maison des sœurs de la Congrégation Notre-Dame, Dorval,
le 17 août 2013
Louise Morand et Françoise Grenier
SM : Sœur Marcelle
MA : Monique Armand
LM : Louise Morand
SM : On ne peut célébrer un Jubilé
quarantenaire sans un retour sur
le passé, tout comme on ne peut
admirer une riche floraison sans revoir avec émotion le parterre initial
avec ses petites pousses pleines de
promesses.
Mon premier contact avec la
pédagogie Orff coïncide avec le
premier cours donné par Doreen
Hall à Toronto en 1957. C’était à
son retour d’Autriche où elle s’était
S. Marcelle C.N.D.
familiarisée avec les expériences
musicales et pédagogiques de Carl
Orff, Dorothee Gunther, Maya Lex et Gunild Keetman. Cette annéelà, à l’Institut Pédagogique de la Congrégation de Notre-Dame, on
me demandait d’ouvrir une section musique pour la formation des
jardinières d’enfants de niveau maternelle. J’étais alors enseignante
à l’École Normale de Musique, une section de l’Institut Pédagogique
sanctionnée par l’Université de Montréal.
mentale que sous-tend ce courant pédagogique : le mouvement
devient musique, la musique devient mouvement, la musique est
vécue corporellement et sensoriellement. On peut se l’imaginer : il y
a une grande différence entre la musique qui accompagne le mouvement et le mouvement qui accompagne la musique. Le sens du mot
« musique » s’élargit et s’ouvre à une plus grande interprétation.
MA. Au tout début, les expériences de Carl Orff et de son équipe
s’adressaient particulièrement à des adolescents et à des adultes.
Comment avez-vous procédé avec les jeunes enfants de l’Institut
Pédagogique?
SM. De retour à l’Institut Pédagogique après ce cours dynamisant
avec Doreen Hall, la tête pleine d’idées et le cœur enthousiaste,
il s’agissait d’organiser un cours pour les petits de quatre et cinq
ans : un cours pour les futurs enseignantes et assurer l’organisation
matérielle avec des instruments Orff. Accompagnée par la directrice
de la formation pour l’enseignement aux maternelles, je donc allée à
New-York acheter les instruments Orff du Studio 49 recommandés
par Doreen Hall. Puis, j’ai tenté d’adapter les idées et les principes
appris avec Doreen au répertoire français pour les tout-petits : un
répertoire auquel se sont greffées la créativité et l’improvisation. Les
futures enseignantes observaient les réactions des enfants. Un cours
d’échanges suivait ainsi que la préparation du prochain cours. C’est
ainsi que ces enseignantes non musiciennes se sont familiarisées
avec l’Instrumentarium Orff durant plusieurs années.
À cette époque, je n’avais aucun lien avec mouvement Orff
anglophone canadien. J’ignorais
pratiquement tout de ses activités.
Cependant, j’avais entendu parler
de l’excellent travail pédagogique
que réalisaient Joan Sumberland et
Keith Bissell dans le secteur scolaire
de Scarborough en Ontario. Par ailleurs, le concept pédagogique Orff
m’intéressait vivement et me semblait être l’une des réponses adéquates à ce que nous recherchions
au nouveau ministère de l’Éducation
à Québec.
Heureuse coïncidence, je reçois l’annonce d’un cours que donnera
Madame Doreen Hall à Toronto durant l’été sur une nouvelle façon
stimulante de concevoir l’éducation musicale. Je suis donc allée suivre
le cours de Doreen avec le plus grand intérêt. J’étais accompagnée
de S. Jeanne Bossé, professeure de musique au Japon.
À cette époque au Québec, dans un climat social en pleine évolution, le courant des idées pédagogiques était en ébullition. C’était
la riche période des recherches tenant compte des avancées de la
philosophie, de la psychologie et des sciences connexes. Des Écoles
de pensée faisaient leur apparition en Europe. Dans cet esprit, les
expériences novatrices de Carl Orff et de son équipe enrichissent
grandement le décor. L’alliance de la musique, de la danse et du
mouvement dans une nouvelle optique d’improvisation et de créativité constitue un nouveau volet de l’éducation musicale suivant le
filon des idées pédagogiques amorcées par le Suisse Émile Jaques
Dalcroze dans les années 20.
En plus de cette fusion des moyens d’expression musicale, Carl Orff
développe un nouveau concept relativement à des instruments non
conventionnels, c’est-à-dire, des instruments que des non musiciens
peuvent manipuler, des instruments pouvant s’adapter à différents
types de mains, à divers âges, des instruments beaucoup moins
dispendieux que des instruments d’orchestre, des instruments répondant à une écriture non conventionnelle tels les ostinati rythmiques,
mélodiques, harmoniques. Cette nouvelle palette orchestrale s’est
d’ailleurs beaucoup enrichie au cours des ans et, de nos jours, on
constate qu’elle se greffe harmonieusement à l’orchestre traditionnel.
Mais avant tout, il ne faut surtout pas perdre de vue l’idée fonda-
S. Marcelle Corneille à ses
débuts Orff
Suite au Rapport Parent de 1964, nous
voulions favoriser l’introduction de
l’éducation musicale collective à
tous les niveaux dans les écoles publiques du Québec. Ma position
à la direction de l’École Normale de Musique a favorisé l’essor que
j’ai pu donner à la pédagogie Orff et aux méthodes actives. C’est
ainsi que dès 1970, à la recherche d’animateurs pédagogiques de
langue française, j’ai invité M. Jos Wuytack de Belgique à venir
animer une session d’été. Une heureuse initiative qui s’est avérée
très positive. Il m’est bon de souligner qu’au fil des ans, M. Wuytack et d’autres spécialistes Orff d’Europe et des États-Unis ont
jeté des fondations solides et favorisé l’essor du mouvement Orff
au Québec. En 1976, la section universitaire de l’École Normale
9
de Musique a été intégrée à l’Université du Québec à Montréal. La
pédagogie Orff a connu un terreau fertile et propice à la compétence
de nos enseignants en musique.
En 1978, lors d’un appel téléphonique surprise, Doreen Hall
m’informe qu’elle a entendu dire que nous travaillions selon Orff
avec des enfants, que nous donnions des cours et que nous organisions des sessions avec des spécialistes invités. On lui avait parlé
de l’enthousiasme suscité par le passage de John Wilmouth. De
plus, elle était en contact avec M. Wuytack qui venait régulièrement
animer des sessions à Toronto. De mon côté, je n’étais pas au courant
de l’existence de l’association Orff du Canada. Doreen m’a alors
confié qu’avec tout ce qu’elle entendait dire de ce qui se faisait ici,
l’heure était venue de fonder un Chapitre francophone au Québec.
De plus, le nom donné à l’Association serait ainsi complété : Music
for Children - Carl Orff Canada - Musique pour enfants. Ainsi, le
Chapitre du Québec a été officialisé le 13 décembre 1980 en présence de Doreen Hall, de Joan Sumberland et de quelques invités
au Pavillon de Musique de l’Université du Québec à Montréal. Au
cours de la cérémonie, on procéda à l’élection du premier conseil
d’administration.
aux aspects primordiaux de la formation de l’enfant. Je pense entre
autres à la sensorialité, au mouvement et à la créativité.
Suite à ces pistes de réflexion, qu’il me soit permis de féliciter
et de remercier les pionnières de l’association nationale Music
for Children - Carl Orff Canada - Musique pour enfants et particulièrement Doreen Hall, fondatrice toujours soucieuse de
qualité et de beauté ainsi que ceux et celles qui ont soutenu
l’Association au fil des ans. Je souhaite, pour chacun des Chapitres, à l’occasion de ce Jubilé, une généreuse relève de musiciens
éducateurs zélés, convaincus, engagés au service d’une éducation musicale bien comprise, facteur de PAIX et d’HARMONIE.
Sr. Marcelle et Doreen Hall
S. Marcelle et France Bourque Moreau/bannière de la fondation du
chapitre1980
Doreen s’intéressait beaucoup à toutes nos activités. Un jour, elle
me dit que pour lancer notre Chapitre, ce serait une très bonne chose
d’organiser le prochain congrès de Carl Orff Canada, un premier
congrès Orff francophone. C’était tout un défi que nous avons relevé
avec enthousiasme en 1984. Le succès de ce Congrès a marqué une
étape dans l’évolution de la pédagogie Orff au Québec ainsi que
dans les relations avec la communauté Orff anglophone et une prise
de conscience des ressources disponibles.
LM. Avec un peu de recul, il est normal de s’interroger sur l’apport
des pédagogies nouvelles telles que Orff, Kodaly, Martenot, Dalcroze, notamment.
SM. La réponse jaillit spontanément : une saine compréhension de
la musique, une prise de conscience des diverses facultés musicales
de l’enfant, une façon différente d’aborder l’éducation musicale en
tenant compte des étapes de l’évolution psychologique de l’enfant.
Le « faire » prime sur le « parler » de musique. L’éveil musical doit
précéder la formation musicale. Ces pédagogies se réfèrent à une
pensée universelle qui continue de prendre de l’ampleur et répond
10 Ostinato
Révision par Marcelle Corneille, C.N.D. Pr. Em. UQÀM.
23 octobre 2013
A Visit with Joan Sumberland
Joan Linklater
plan the first National Conference in 1975 and chairing the National
Conference in 1981. She also chaired the committee that established
Carl Orff Canada’s initial Guidelines for Levels Courses.
In 1986 Carl Orff Canada bestowed a well-deserved Honorary Life
Membership on Joan Sumberland, the first teacher in Canada to
apply the Orff approach in a public school setting.
During our conversation in August, Joan modestly turned my
attention away from herself by saying, “If it hadn’t been for Keith
Bissell and his foresight, Orff would never have been so strong in
our schools.” It is clear that we can say exactly the same thing about
Joan Sumberland.
When I asked her if she had some advice for future music educators, she took some time to reflect and thoughtfully responded, “My
advice for future music educators is to always strive for the best.”
Thank you Joan, for your extraordinary contributions to Orff pedagogy. We will indeed try to “strive for the best.”
Joan Linklater is a Past President of Carl Orff Canada and the
Director of Orff Teacher Training at the University of Manitoba.
On August 13, 2013 I had the pleasure of visiting Joan Sumberland
in her beautiful home on Dale Avenue in Toronto.
The last time I had seen Joan was in April of 2005 when she came
to the national executive meetings that were taking place at the
University of Toronto. Leslie Bricker (COC president 2002-2004)
had asked Joan to help with the Historical Handbook, an extremely
valuable document that contains a summary of the proceedings of the
organization. As a result, Joan spent many hours researching, sorting,
developing and restoring Carl Orff Canada’s historical handbook
and at the meeting in April 2005 she handed over the meticulously
revised and updated document. This is the kind of careful attention
to detail and willingness to contribute to Orff pedagogy in Canada
that Joan has demonstrated since she first became acquainted with
the Orff approach.
In 1958, Keith Bissell, Chief Supervisor of Music in the Scarborough
Board of Education asked Doreen Hall to present a series of Orff
workshops for the teachers in Scarborough. It was Joan’s first year
in the Music Department and she attended these workshops, thus
beginning her involvement with the Orff approach.
Joan’s outstanding contributions to Orff pedagogy continued
throughout her career as a music educator. In 1963 she directed three
programs featuring students from Scarborough Schools that were
broadcast on CBC and won the Ohio State Award for Educational
Broadcasting and later she directed a children’s performance of Carl
Orff’s The Christmas Story which won a Spanish broadcasting award.
Other projects included preparing children’s performing groups for
National Conferences in Halifax, Winnipeg, and Toronto, teaching
at the University of Toronto teacher training courses, helping to
Coalition for Music
Education in Canada
This organization provides advocacy
materials, conducts research, lobbies
governments, provides speakers for
events, and sponsors Music Monday
annually (the first Monday in May).
Visit the website at www.weallneedmusic.com.
Coalition pour l’éducation
musicale au Canada
Cet organisme fournit des outils de
promotion, mène des recherches, fait
du lobbying auprès des gouvernements, fournit des conférenciers lors
d’événements et soutien annuellement « Le lundi de la musique »,
premier lundi de mai. Visitez le site
de la Coalition à www.weallneedmusic.com.
11
Personal Reflections on Carl Orff Canada’s Fortieth
Anniversary
Morna-June Morrow, Honorary Life Member
Founding President of the Manitoba Orff Chapter
Prologue
When Editor Catherine West, asked if I would write an article for
Ostinato, a flood of ideas started running through my mind of the
many memories I have been blessed to experience over the decades.
I know that Carl Orff Canada is to celebrate its 40th anniversary
in 2014, but the little Orff seed was actually planted 59 years ago
when I was studying violin and organ at the Royal Conservatory of
Music Summer School in Toronto. I distinctly remember seeing a
course advertised as “Music For Children” with the picture of the
instructor, Miss Doreen Hall. I was disappointed that, although I
was still a child, I was too old to enroll in that course. Little did I
realize how involved I would become with that instructor in my
future career as a professional music educator!
The Teaching Career Begins
I began teaching in the East Kildonan School District in September 1963. The sister of East Kildonan Music Supervisor, Gertrude
Lowery, had been to Toronto in 1962 when Doreen Hall arranged
to have Carl Orff, Gunild Keetman, Barbara Haselbach, Wilhelm
Keller and Lotte Flach from the Mozarteum in Salzburg, Austria,
come to Toronto to provide the stimulus to help the Schulwerk
get established in North America. Gertrude’s sister brought back
a xylophone, glockenspiel and metallophone and these three instruments were used in a workshop which I attended in the fall of
1963. Up until that time, the name Carl Orff meant only one thing
to me – Carmina Burana.
I was hired as an elementary music specialist in Fort Garry School
Division (now Pembina Trails S.D.) in 1968. Basically music
programs in those days consisted primarily of choral music and
music appreciation. A few rhythm band instruments and recorders
were available. But I kept thinking about those instruments I first
saw five years earlier and was determined to find out about this
Orff phenomenon sweeping across North America. In July 1972, I
went to Toronto and took the three week Introductory Orff Course
with instructors Mimi Samuelson, Maureen Kenny, Traude Schrattenecker and Jos Wuytack. The course was administered by that
same Doreen Hall I had remembered from years before. After the
Orff course I stayed to take the Introductory Kodály course. Upon
my return to Winnipeg I was excited by the knowledge gained from
these two courses – my entire philosophy towards teaching music
to young children was forever changed.
That fall I was appointed Music Supervisor in the Fort Garry School
Division. I made a presentation to the School Trustees who were
most supportive of the arts and provided the funds so that within
five years every Fort Garry elementary school had at least 15
Studio 49 Orff instruments. In 1973 I attended my first American
Orff-Schulwerk Society National Conference in Minneapolis where
I came in contact with such people as Jane Frazee, Tossi Aaron,
Grace Nash, Robert Abramson, Wilma Salzman and Jos Wuytack.
Time to Form a Canadian Orff-Schulwerk Society
I received a letter dated April 24, 1973 from Doreen Hall, asking
what interest there would be in western Canada concerning the
foundation of a Canadian Orff Society. I replied to Miss Hall with
12 Ostinato
suggestions how this might be accomplished. I also stated that I
was teaching a Music Methods Summer Course at the Faculty of
Education, University of Manitoba and was disseminating articles
on the Orff philosophy in the Manitoba Music Educator. On October
29th, Miss Hall replied that, “there has been an excellent response
from educators all across Canada and we are presently awaiting
information from our legal advisors regarding a charter before
proceeding further.”
The inaugural meeting of the Orff-Schulwerk Society of Canada
took place on April 20th, 1974 with 37 people in attendance. Doreen
Hall was Interim President. A list of 82 original charter members
followed which included three Manitobans, Professor Edna Knock
from Brandon University, Peggy Emmond from St. Boniface School
Division and yours truly from Fort Garry.
On June 12th I received a hand written letter from Doreen Hall in
which she stated, “I feel that we need a good strong representation
from Manitoba and I think you are the one to lead it – would you
consider forming your local chapter? And would you consider coming on our Board of Directors as the representative from Manitoba?”
The First National Conference
The first National Conference was held January 25-26, 1975 at the
University of Toronto with Orff Institute teachers, Dr. Hermann
Regner and Barbara Haselbach. 130 delegates from across Canada,
the United States, Europe and South Africa attended. A letter from
Carl Orff to delegates at that first conference read: “The work in
Canada became the instrument for the spreading of Schulwerk
on the North American continent and in many English-speaking
lands. Thanks to your initiative and hard work here, Schulwerk in
Canada has deep roots.”
The first meeting of the National Executive was held on the second
day of the conference with Doreen Hall as President, Vice Presidents Keith Bissell, Doreen Coultas, Donna Hossack, Treasurer
Joan Sumberland and Secretary Morna-June Morrow. The Board
of Directors consisted of Cynthia Downe and Jean Woodrow
from Alberta, Margery Vaughan (BC), Edna Knock (MB), Nancy
Vogan (NB), Charles Heffernan (ON), Mario Duschenes (QC)
and Grace C. Nash from Arizona as our American liaison with the
American Orff-Schulwerk Society. During that meeting the name
of the organization was officially changed to Carl Orff Music For
Children – Musique pour enfants.
(When I retired in 1998, Doreen Hall sent a letter which was read
at my retirement party in which she mentioned the fact that the day
after the first conference finished, I went to her office and presented
a possible sketch for the letterhead stationery.)
On the meeting’s agenda was where to hold the second National
Conference. Edna Knock and I were the only Manitobans there.
Edna jumped up and offered Winnipeg as the host city of the next
conference. I must admit I gasped at her boldness but when someone
questioned whether folks in Winnipeg knew anything about music,
my Irish dander got up and I fully agreed that Winnipeg would host
the second conference – period – end of discussion! You can well
imagine how excited Edna and I were as we started making plans
on our flight home.
The Formation of the Manitoba Orff Chapter and the 2nd
National Conference
First and foremost, the time was ripe for the formation of a Manitoba Orff Chapter – the third chapter formed in Canada. That took
place at my home on November 4th, 1975 with 14 music educators
present, eight of whom were elected as the Manitoba Orff Chapter
Executive and Conference Committee. I was elected as Founding
President and both Edna Knock and I agreed to act as Co-Chairs
of the upcoming conference. That first year, the MOC consisted of
only 16 members who had six months to plan the second national
conference at the University of Manitoba’s Faculty of Education on
April 30th and May 1st, 1976. I recall receiving several long distance
phone calls from Doreen Hall asking whether or not the conference
would be successful and generate some funds for maintaining the
Carl Orff Canada presence in the country. Up until that time, meetings of the National Executive took place in Toronto with Executive
members paying their way and expenses to and from the meetings.
Those dedicated individuals thought it was immensely important to
establish a national voice for the Orff Schulwerk in Canadian schools.
the co-chairs Morna-June Morrow and Edna Knock a framed and
autographed photo of Carl Orff and Gunild Keetman.
A few days after the conference, Carolyn Ritchey arrived at my home
with a young Canadian larch tree about 4 feet high. It was a very
thoughtful gift from Doreen Hall as a thank you for spearheading
the second national conference. I was particularly interested when
I learned from Doreen that she had given two Canadian larch trees
to Carl Orff and Gunild Keetman as she felt the tree which grows
very straight, represented the ever growing development of the OrffSchulwerk in Canada. And what a beauty it grew into!
Midwinter Introductory Course February 1978 at Oakenwald
School, Fort Garry
President Doreen Hall presents a photo of Carl Orff and
Gunild Keetman (see above) to Morna-June Morrow and
Edna Knock
With Suse Böhm from Munich and Minna Ronnefeld from Denmark
as international clinicians, and Donna Hossack from Vancouver, Ann
Golden Fisher from Ottawa and Lois Birkenshaw from Toronto, we
managed to host a very successful two-day event. At the conclusion of the conference, President Doreen Hall presented to each of
The Manitoba Orff Chapter and the University of
Manitoba Connection
Since then, the Manitoba Orff Chapter has hosted the 1986, 1998
and 2010 National Conferences and offered many local workshops
throughout the province. Ruth Wiwchar, Carolyn Ritchey and I
taught four Saturday mini-courses during the winters of 1978 and
1979 which ultimately led to the establishment of the Summer Orff
Courses under the direction of Professor Ursula Rempel at the University of Manitoba in July 1980. The Marcel A. Desautels Faculty
of Music has offered Orff courses in the Preparatory Division for
13
young children and has completed in 2013 its 33rd year of offering
the Orff Certification program which now boasts of 165 Level
Three graduates.
University of Manitoba first Orff Certification Program graduates, July
1982 at Crescent Drive Park
L-R: Shirley Peters, Alvina Koshy, Tiiu Klein, Morna-June Morrow, Calla
Isaak, Marcelline Moody, Helen Neufeld
The MOC offers Helen Neufeld Memorial Scholarships used towards
tuition of Orff courses. Many Manitoba music educators have been
recipients of the Gunild Keetman Scholarships offered by Carl Orff
Canada. Chapter activities have included Folk Dancing in Crescent
Drive Park, wine and cheese receptions and, since 1982, hosting
summer luncheons for Orff course participants.
There have been three dozen Children’s Orff Days which now
include sessions in both English and French. Five dozen issues of
the newsletter, Manitoba Modes, have been published. An extensive Resources Lending Library established in 1994 and facilitated
by me is available for members. We have been affiliated with the
Manitoba Music Educators Association and offered jointly Special
Area Group (SAG) Tempo Conferences each fall. There are some
school divisions in our province that will only hire elementary
music specialists who have taken some Orff training. Many music
festivals now offer Orff classes which are adjudicated by local
MOC members.
1984 Montréal National Conference
At the 1984 National Conference in Montréal, I was honoured to
be elected President of Carl Orff Canada. The presence of Liselotte
Orff was very special indeed. Ursula Rempel and Carolyn Ritchey
presented a workshop on Renaissance Dance with a group of
musicians from Winnipeg called Prairie Consort, providing live
recorder music and dancers in period costumes (Helen Neufeld,
Sandra Benum, Fred Simpson, Marcelline Moody, Susan Reimer
and Morna-June Morrow). I remember distinctly Liselotte Orff
commenting “it was so nice to have the music under our feet” – in
other words, live music provided while delegates danced to the
Renaissance music.
A rather interesting occurrence happened at the Winnipeg Airport
prior to that Montréal conference. I had several sizes of recorders
in my suitcase but the wooden contrabass recorder in a large case
I had as a carry-on. Naturally it was x-rayed and I had to open the
case and explain it was a musical instrument. I’m sure the officials
must have thought I had a bazooka in there! I offered to play it for
them, but they declined the offer!
14 Ostinato
Back row – Carolyn Ritchey, Ursula Rempel – workshop clinicians at the
1984 Montréal National Conference
PRAIRIE CONSORT: Fred Simpson, Susan Reimer, Marcelline Moody,
Morna-June Morrow
Kneeling: Sandra Benum, Helen Neufeld
Regional Meetings
In October 1984 I chaired the first meeting of Orff Chapter Presidents
from western Canada in Vancouver at Donna Otto’s apartment. At
another meeting in Toronto, I chaired a meeting with Presidents
from eastern Canada. I felt that if the dissemination of the Orff
philosophy was to be successful, it would be through individual
provincial, regional and city chapters where the tremendous work
of these groups would strengthen Carl Orff Canada.
COC President Morna-June Morrow and Liselotte Orff
1985 International Orff Symposium at the Mozarteum, Salzburg
1985 International Orff Symposium at the Mozarteum
in Salzburg, Austria
It was during the 1984 conference that Mrs. Orff invited me
to attend the 1985 International Orff Symposium in Salzburg,
Austria and present a paper on the history of Orff-Schulwerk
in Canada. Donna Otto-Spence from Vancouver presented a
workshop of Canadian music and quite astounded the delegates
by presenting the workshop in English and German. I remember
feeling rather ill at ease as the symposium was conducted mostly
in German. Thank goodness Margaret Murray from England
announced that there were many people in attendance who did
not speak German, and she offered to translate for us. As I recall
there were music educators from 28 countries at that symposium
and obviously the language issue was awkward. Verena Maschat
of the Orff Institute was amazing as she, too, translated into
other languages for delegates. Bless those two ladies their translations for the unilingual delegates from North America!
It was lovely to visit Suse Böhm and her husband Horst in Mirabel
Gardens on that trip. They remembered my having them, Minna
Ronnefeld and Doreen Hall over to my home for three meals before
and after the second national conference. Horst, being an architect
remembered my taking them to and explaining many features of
the Manitoba Legislative Building. Suse wanted so desperately to
see a Canadian Mountie but no RCMP were on duty that day. On
another occasion I took them to the Winnipeg Mint where coins
are made for many countries around the world. I can still hear
Suse’s utter excitement when an RCMP officer in his red coat took
the three of us on a private tour including parts of the Mint where
the public is not allowed. Horst was thrilled with the architectural
design of the building.
1985 AOSA National Conference in Kansas City and
the Victory Parade of the Kansas City Royals
It was lovely to bring greetings on behalf of Carl Orff Canada to
the American Orff-Schulwerk Association’s National Conferences
in 1984 (Las Vegas), 1985 (Kansas City) and 1986 (Boston). I
particularly loved Kansas City with its many water fountains and
statuary. The conference was outstanding. When Judy Thomas and
Gin Ebinger invited me up to their room in the hotel one evening,
I asked what room number they were in. They told me they were
staying in the Presidential Suite. So up I went and you can imagine
my surprise when on the door of their suite was the Coat of Arms
of the President of the United States! Inside were furnishings supplied by past Presidents Coolidge, Roosevelt, Truman, Kennedy.
and others. I had the opportunity to play on the grand piano that
President Harry Truman had given his daughter, Margaret, as her
Christmas present in 1932. Judy, Gin and I each sat at President
Truman’s office desk, surrounded by the American and Presidential
flags. It was an evening to remember.
On the final evening of the Orff conference, the Kansas City Royals beat the St. Louis Cardinals to win the 1985 World Series of
Baseball. How fortunate I was that my flight home was not until
the evening of the next day, so I decided to go to the Victory Parade
for the World Champions. It was so exciting to be swept up in the
euphoria of the many fans. I was able to snap many photographs
of the baseball players and came home with some of the ticker
tape that city officials would have to clean up the day after. And
of course, I returned home with a souvenir autographed baseball
which I still have sitting beside the autographed baseball of the
1993 World Series Champions, the Toronto Blue Jays!
Expo ’86 in Vancouver
The world Exposition of 1986 was being held in Vancouver, British Columbia. I was now Past President of Carl Orff Canada and
Donna Otto-Spence was the incoming President. She persuaded me
to stay at her home during Expo ’86 so we could discuss National
Executive issues. That’s when I started going over all the minutes of
past National Executive meetings and followed through copying all
the motions that had been made on each topic ever discussed. This
eventually became the roots of the National Historical Handbook.
What astounded me at that time were how many years it took before
action was completed. In many cases a decade would pass before
issues were finalized. But with only one meeting of the National
Executive a year, it was easy to understand how difficult it was to
gather information from across this vast land of ours.
Ostinato Project 1975-2008
Knowing that I had every newsletter published by Carl Orff Canada,
Dianne Sjoberg asked if I could find any articles in past issues of
Ostinato on specific topics so she could refer to such articles in
her Masters program at the University of Manitoba. There was no
easy way to find these articles other than looking through every
single issue. Why was there not an easier way to find such articles?
That’s when I proceeded to do research listing all articles printed
over 33 years. And of course, loving to delve into the history of
the Orff movement in Canada, this led to more researching of
other categories: National Conferences; Workshop Reviews; Orff
Courses and Reviews; Music, Book and Software products; CD and
Video Reviews; Scholarships, Grants and Awards; Chapter News.
I believe that the National Archivist is following up and keeping
parts of that Ostinato index up to date. Most impressive has been
the tremendous development of standards in the Ostinato publications under the editorial leadership of Mary Robinson Ramsay,
Helen Neufeld, Francine Morin, Shirley Peters, Shari Pasiuk, Ruth
Morrison and most recently of Catherine West.
When I presented National President Joan Linklater with the results
of several months of research, I must have mentioned that I had
gone through some Canadian Club rye during the research process.
I had to laugh when she appeared at my home with two large bottles
of CC as a thank you for compiling the research!
CARL ORFF CANADA
“OSTINATO”
PROJECT
1975 – 2008
CATEGORIES RESEARCHED
Articles
Conference
Workshop Reviews
Orff Courses & Reviews
Music, Books, Software
CD & Video Reviews
Scholarships, Grants & Awards
Chapter News
Morna-June C. Morrow November 2008
The Orff Project for the 40th Anniversary of Carl Orff
Canada
With the encouragement and support of current National
President Dr. Beryl Peters, Professor Joan Linklater and I were
approached about a 40th Anniversary Project for Carl Orff Canada. The project would include a book of historical perspectives,
a commemorative picture book and a Power Point presentation
at the 23rd National Orff Conference in Halifax, Nova Scotia,
April 10-13, 2014. And so the exciting path to further research
continues to beckon . . .
As Carl Orff so aptly described the Schulwerk, may our cause
be “developing, always growing, always flowering”. May I add,
“Happy blooming 40th anniversary, Carl Orff Canada!”
15
Orff Chapter Histories / Historique des chapitres
Nova Scotia/Maritime Chapter
Charlotte Myers
Just the Facts
Founded: 1978
Founding President: Valda Kemp
At the 2012 NS provincial conference, some of the Ensemble 2014 team
with our Keynote speaker, Doug Goodkin.
After Orff Level I in 1998, the Orff NS Chapter was re-born.
In researching the history of our chapter, I was fortunate to be
able to interview the founder Valda Kemp. She recalls attending
the Vancouver Conference in 1978 and volunteered to host the
1979 conference in the Maritimes. Then she came home and
formed the chapter! In typical Maritime fashion she hosted the
inaugural meeting of the Maritime Chapter on Sept. 10, 1978 at
her home with one teacher arriving by sail boat. In eight months
there were 54 members. Valda Kemp and Nancy Vogan (from
Mount Allison University in New Brunswick) co-chaired the 5th
National conference at Dalhousie University in May 1979. Lois
Birkenshaw-Fleming drew participants to some of the first Orff
Courses in the area. Sally (MacKeigan) Connor had the first children’s Orff groups which performed throughout Nova Scotia and
New Brunswick as well as the 1979 conference.
Through the 1980s, workshops were held primarily in Halifax/
Dartmouth, South Shore, Annapolis Valley, and Truro. The presenters were usually executive members but we also hosted higher
profile clinicians of the day. In the late 1990s it was realized that
with the difficulty in covering a large geographic area it was best to
re-configure the chapter as Orff Nova Scotia. By 2001 membership
was starting to grow again with much interest in Levels Courses.
The most recent graduates of Level I in 2013 in Nova Scotia under the
leadership of James Jackson, Marg Kristie, and Katrina Pecknold.
A number of nationally known Orff members have given us immense
support facilitating workshops and Levels Courses. In our history
from 1978-2013 our chapter members have organized countless
professional development opportunities sharing their expertise
throughout the province for hundreds of our music teachers. The
dedication of those members continues to be the backbone and
strength of our chapter.
Recent Highlights:
Catherine West and Alison Kenny-Gardhouse were leaders for Orff Level
II in 2002. The theme was “The Sea”.
1st Children’s Day – Oct. 3rd 2009 Making Music Together
1st Eastern Presidents Meeting hosted in Halifax, NS – May 2011
1st Online Chapter Newsletter “Orff Opus” – Spring 2011
16 Ostinato
1st Halifax Regional Children’s Orffestra Performance – May 2013
(Director/Founder James Jackson)
Orff NS has made great strides in building relationships, receiving
support in the form of time, energy, and funding with other partners
in education. On Oct. 25, 2013 Orff Nova Scotia received the Musica
Viva Award from the Nova Scotia Music Educators Association in
recognition for the positive contributions made to music education
within Nova Scotia.
We are now preparing for Ensemble 2014. For the 2nd time in our
35 year history Orff Nova Scotia will host a national conference.
Down east, we are looking towards a bright future!
The new Orff NS banner unveiled in 2002 (created
by the executive).
Chapitre Orff-Québec
par Monique T. Armand, Ghyslain Egglefield et Françoise Grenier
Les faits
Fondation : le13 décembre 1980
Première présidente : Soeur Marcelle Corneille
Bourse : Bourse Marcelle Corneille
The Maritime Orff Chapter hosted its first conference in 1979. Details of
an historic event!
Vancouver 2012
After a promotional presentation for the 2014 conference in NS,
the Ensemble 2014 team gathers for a picture.
À la suggestion de Madame Doreen Hall, présidente de Carl Orff
Canada, le chapitre Orff-Québec voit le jour le 13 décembre 1980.
La première présidente est Sœur Marcelle Corneille. Elle est assistée
de Lise Champagne-Lachapelle et d’Éliane Nugent.
Bourse Marcelle Corneille
En honneur et en signe de reconnaissance pour Sœur Marcelle Corneille, Madame Doreen Hall offre généreusement la première mise
de fonds pour la bourse Marcelle Corneille. C’était en janvier 1991,
lors du Symposium célébrant le 10e anniversaire de Orff-Québec.
Chaque année, cette bourse est offerte sur dossier à quelqu’un qui
désire suivre l’un des niveaux de formation intensive Orff et dont
l’enseignement se fait en français.
Doreen Hall et son amie S. Marcelle Corneille
17
Notre mission Dès sa fondation, c’est avec beaucoup de fierté, de confiance et
d’enthousiasme que le chapitre du Québec s’est engagé dans le
soutien et la formation continue des enseignants en musique.
En faisant venir des spécialistes chevronnés du Canada (Doreen
Hall, Lois Birkenshaw, Mimi Samuelson), des États-Unis (Jean
Wilmouth, Jane Frazee, Connie Saliba Doug Goodkin,) et
d’Europe (Jos Wuytack, Anne-Marie Grosser), on s’assurait de
bons modèles de qui s’inspirer. N’est-ce pas justement le propre
de la pédagogie Orff que d’offrir des modèles comme amorce
de créativité? Des façons de faire sont venues s’insérer dans la
pratique pédagogique de nos enseignants et ont progressivement
fait partie du quotidien de la vie musicale à l’école québécoise.
Depuis les années 1980, l’association Orff y a joué un important rôle par le biais des ateliers marquant les étapes scolaires
de l’année et par des formations intensives de 60 heures en été.
Orff global, mouvement, danse, percussion, chansons, langage,
jazz, musicothérapie, créer, inventer, apprécier, autant de thèmes
abordés sous de multiples angles, selon les animateurs invités.
nos élèves. À tout coup, nos participants sont heureux de pouvoir
échanger avec leurs collègues et de constater que leur travail auprès
des jeunes peut être tellement extraordinaire! Une solidarité s’installe
entre eux bien plus que pour le temps d’un atelier.
Lucie Allyson honoré par Orff Québec
Jos Wuytack 1997
Les étudiants de la formation Orff| Août 2013
Guylaine Myre 1994
L’Événement spécial de septembre est là pour susciter chez les
enseignants la motivation, l’enthousiasme et la confiance qui sont
si nécessaires au début de l’année. Puis, quelques semaines avant
le temps des fêtes, un atelier vient relancer l’énergie indispensable
aux concerts qui arrivent ou simplement inspirer l’enseignant qui
en a besoin. En tournant la page vers la nouvelle année, un atelier
de partage réserve aux participants les coups de cœur de nos enseignants les plus expérimentés. Aux derniers souffles de l’hiver, le
mouvement est à l’honneur pour renforcer l’imagination du corps
et la bonne forme… musicale! Puis en avril, là où les concerts
de fin d’année sont en plein préparatifs, on se donne des moyens
pour finaliser nos projets et des idées pour nourrir la créativité de
18 Ostinato
Chantal Dubois 2007
Pour ajouter à la force du soutien aux enseignants, Orff-Québec
a organisé à plusieurs reprises des colloques et des congrès Orff
tant au niveau du Québec que du Canada. C’est à Montréal que ces
grands événements ont eu lieu.
En 1984, Orff-Québec organisait le congrès national de Carl Orff
Canada; en 1987, le colloque Une touche culturelle en éducation;
en 1991, un grand Symposium célébrait les 10 ans de l’association;
en 2002, le congrès national de Carl Orff Canada revient à Montréal
et, en 2014, Orff-Québec co-préside le congrès national de Halifax
avec les chapitres d’Ottawa et de la Nouvelle-Écosse. Par ailleurs, chaque année, le mouvement Orff est présent au congrès
de la FAMEQ. En 2012, Orff-Québec y a fait venir le groupe Das
Collectif de l’Institut Orff de Salzbourg. En août dernier, nous
avons accueilli 13 participants à la formation Orff de niveau 1. En
novembre nous avons rendu hommage à Lucie Allyson pour son
travail exceptionnel dans le grand mouvement Orff comme membre
active de Orff Québec depuis 1985, présidente du chapitre de 1998
à 2000, co-présidente du congrès de Carl Orff Canada à Montréal
en 2002 et présidente de Carl Orff Canada de 2004 à 2006. Un
énorme merci Lucie pour toute l’inspiration que tu dégages auprès
de nos enseignants et enseignantes!
with the rest of Canada. In 1955, she and Dr. Walter published an
English version of Orff-Schulwerk Volume 1. Two years later Ms.
Hall established the first Orff teacher training course at the Royal
Conservatory of Music of Toronto. In 1962, she organized the first
international Orff-Schulwerk conference in Toronto, (which was
attended by Carl Orff and Gunild Keetman). In 1974, she founded
the “Orff Schulwerk Society of Canada” and the “Ontario Orff
Chapter!” A year later, the Ontario Chapter hosted the first national
conference of Carl Orff Canada in Toronto. Since then, Toronto has
hosted national conferences in 1980, 1994, and 2006.
Collage 2006 steering committee post-conference celebration
Photo: Jennifer Stacey
Pour nous suivre, visitez : www.orffquebec.ca
Ontario Chapter
Suzanne Waller, Batya Levy, Marion Roy
Just the Facts
Founded: April 20, 1974
First President: Doreen Hall
Awards:
• Keith Bissell Scholarship
• Doreen Hall Scholarship
The Ontario Orff Chapter was founded by Doreen Hall, at the
inaugural meeting of Carl Orff Canada in 1974. However, to truly
understand the significance of the formation of the Ontario Chapter,
one needs to go back to the year 1954. At that time, Doreen Hall
was a young violin student at the University of Toronto, Faculty of
Music. The director of the Faculty of Music, Dr. Arnold Walter, had
just come back from Salzburg where he saw Carl Orff and Gunild
Keetman do a presentation on Orff-Schulwerk at the Mozarteum.
Excited by what he saw, Dr. Walter convinced Ms. Hall to go to
Salzburg on a 14 month scholarship to further investigate.
Upon her return to Toronto, and energized by her experience in Salzburg, Doreen Hall set out to share this approach of music education
From left to right: Marion Roy, Suzanne Waller, Doreen Hall, Lois
Birkenshaw-Fleming & Anne Tipler – at 2008 National Conference in
Edmonton, Alberta
In 1979, Doreen Hall became the first honorary member of Carl
Orff Canada. Recently, in her 90th year, her critical contributions
were once again recognized by the Ontario Chapter with an apprentice scholarship that was created in her name. This is awarded
to Ontario Orff Chapter members who have been selected to train to
become Orff-Schulwerk levels course instructors. We are fortunate
that Doreen Hall continues to be an active member in our chapter.
19
In 1958 Keith Bissell observed a demonstration of Orff-Schulwerk
by Doreen Hall at the Royal Conservatory of Music in Toronto. He
was so impressed, that he promptly ordered training for the method
to be implemented in the Scarborough school system. As a direct
result of this initiative, in 1963, a group of students from Scarborough, led by Joan Sumberland and in consultation with Doreen Hall,
presented a three-part CBC series called “Living Through Music.”
In recognition of Keith Bissell’s role in bringing Orff-Schulwerk
to our schools, the Ontario Chapter established a scholarship in his
name. It is awarded each year to an Ontario Chapter member who
plans to pursue an Orff levels course.
Workshop with Doug Goodkin in November 2007 at Upper Canada
College Prep School
1980 children’s performance at the National
Conference, Harbourfront, Toronto – Ada
Vermeulen, conductor
Photo: Ada Vermeulen (Spanjaard)
The Ontario Chapter is fortunate to have had a wealth of expertise
in its members. Doreen Hall, Joan Sumberland, Keith Bissell, Lois
Birkenshaw-Fleming, Alice Brass, Angela Elster, Shirley Peters,
Ada Vermeulen, Alison Kenny-Gardhouse, Hania Krajewski and
Catherine West are just some of the Ontario Chapter members
who have made significant contributions to the Orff-Schulwerk
movement in Canada.
Left to right: Lois Birkenshaw-Fleming, Angela Elster
(back) Linda Campbell, Shirley Peters (back) Alison KennyGardhouse & Hania Krajewski – Steering Committee meeting
for Mosaic. 1992 or 3. At Hania Krajewski’s farm south of
Collingwood. Photo: Ada Vermeulen (Spanjaard)
2009 Children’s Orff Festival at RCM – Anne Tipler, conductor
In 1982, the Ontario Orff Chapter began running a bi-annual Children’s Orff Festival. It was an opportunity for members to share their
music using the Orff approach. In 1988, it became an annual event.
Today, this non-competitive festival continues to celebrate the talents
of children from Junior Kindergarten to Grade 8, from both public
and independent schools. Over the years, this Festival has occurred
at various venues in Toronto; however, the Royal Conservatory of
Music, with its rich Orff history, is its current home.
In its earlier years, the Ontario Chapter presented three workshops a
year that were held in various centres across the province including
Guelph, Ottawa, St. Catharines, Belleville, Toronto and Timmins.
Today the chapter has two workshops, both held in Toronto, and is
working towards going back to the tradition of three workshops.
Although the workshops tend to take place mostly in the city of
Toronto, amazingly, workshop attendees still come from all over
Ontario – including St. Catharines, Barrie, and Huntsville.
20 Ostinato
Today the Ontario Chapter continues the work started over 40 years
ago. However, some things have changed. The Ontario Chapter
newsletter, Mosaic, is now in electronic format, and much of our
communication is now done electronically through email and
social media.
April 1992 Vancouver Conference
Left to Right: Lois Birkenshaw-Fleming, Alison KennyGardhouse, Linda Campbell, Angela Elster, Joanna Robertson, Catherine West
Photo: Ada Vermeulen (Spanjaard)
Itinerant Orff Instructors in Toronto
In 1958, Keith Bissell and Honorary Life Member Joan Sumberland established a unique Orff staff development programme
for the Scarborough Board of Education which teamed Orff
specialists with classroom teachers for five years. This was a
carefully structured, gradual release of responsibility model
which allowed the classroom teacher enough time and training to take over more and more of the music instruction as
the years progressed. Coordinator of Music Harvey Perrin
pioneered The Toronto Board of Education’s Orff programme
in 1962 under the leadership of Honorary Life Member Lois
Birkenshaw (Fleming). Both departments produced volumes
of wonderful curriculum and materials which are in circulation
to this day. The two teams of itinerant Orff specialists became
one when the school boards were amalgamated in the 1990s,
and continue their work in staff development to this day.
2009 Ontario Chapter Executive plus Shirley Peters and Lois BirkenshawFleming – Back row (left to right): Marion Roy, Caren Ludwig-Shoychet,
Catherine Irving, Batya Levy, Katherine Edmondson; Middle row (left to
right): Lois Birkenshaw-Fleming, Shirley Peters; Front row (left to right):
Jennifer Stacey, Anne Tipler, Dawn Lane, Suzanne Waller
What has not changed is the commitment teachers have towards
the Orff approach of music education. What has not changed is
the dedicated members who volunteer their time to maintain the
legacy. What has not changed is our understanding of the roots of
the Orff-Schulwerk movement in Canada. Thanks to these pioneers,
the Orff approach has continued to thrive and will continue to influence generations to come. We look forward to another 40 years!
TDSB Orff Staff June 2009
Ottawa Chapter
Evelyn Pike & Leslie Bricker
Just the facts
Founded: Jan 18, 1977
First President: Ann Golden-Fisher
Awards: Laura Shaw Scholarship
November 25, 1982…. A Theatre Arts Studio in a high school that
no longer exists…, a workshop flyer on the door, with hand-stenciled
lettering… a grand total of three people in attendance 10 minutes
before start time (the clinician, the clinician’s husband, and the
co-convenor of the workshop!).
So begins the story we might call, “Ottawa Orff Chapter: the Sequel.”
Ontario Orff Chapter Banner
Thanks to all who helped to gather information for this article,
especially executive member Catherine Irving.
Flashback to the beginning of the Ottawa Chapter, for the “back
story…”
Originally formed on January 18, 1977, Ottawa became the fourth
regional chapter of Carl Orff Canada. Master teachers and pioneers such as Doreen Hall and Charlotte De Neve sparked interest
in Ottawa by offering workshops and networking with school
board administrators and teachers. Founding Chapter President
21
Ann Golden-Fisher reminisces about the first workshop held in
Ottawa, in 1976:
Today I gave three sessions… along with Doreen
Hall and Charlotte De Neve for the Ottawa Board of
Education. I felt … the whole day was very successful…I
met a number of Orff people I’d hoped to contact,
including Arnold Earl, Vocal Consultant of the O.B.E.
Small but mighty Chapter Executives have continued to promote
the Orff-Schulwerk philosophy. Workshops for teachers, Children’s
Day events, Orff Levels courses, and training for the classroom
teacher have all been offered, meeting the changing landscape of
teaching in eastern Ontario.
Executive and members of the Ottawa Chapter,
in the late 1980s
Consequently, a small group of us knew that there could be
considerable interest in the Orff Philosophy… because of
the success and the large attendance at this first-ever Orff
workshop in Ottawa. The impetus behind this occasion,
and the drawing card for the day was the woman who
had brought “Orff” to North America: Doreen Hall.
Opening Ceremonies of the 1990 National Conference in Ottawa: members
of the Ottawa-Carleton Orff Ensemble, Central Choir of the Ottawa Board
of Education and Dance Educators’ Studio
1990 saw the national conference return to the nation’s capital:
Reach Out in Harmony / Accordons-nous en harmonie, Carl Orff
Canada’s eleventh National Conference, welcomed close to 600
people and brought together a stellar group of clinicians and performing groups. Once again, we return to Margaret Taylor, for a
comparison of the two Ottawa conferences,
… Of course one could see the growth that had occurred
in Carl Orff Canada at the 1990 National Conference,
also held in Ottawa. The number of children’s performing
groups, the wealth of music available, the wonderful
displays and banners of all the regional chapters and
the sheer numbers in attendance at the conference
spoke highly for the development of Carl Orff Canada.
Participants at a workshop in the late 1980s
Building on the success of this workshop, the National Executive of
Carl Orff Canada, along with Chapter President Ann Golden-Fisher
and charter members such as Margaret Taylor, Evy Paraskevopoulos
and the late Laura Shaw, hosted the third National Conference of
Carl Orff Canada in 1977. Margaret Taylor reflect on the conference,
The presence of so much music happening in one
place at the National Conference in Ottawa was quite
amazing. As a newly-established Orff centre, hosting
a National Conference provided great motivation.
From 1979 to 1981, the chapter experienced a period of hiatus and
regrouping; this brings us back to “Ottawa Orff Chapter: the Sequel.”
Leslie Bricker, a student of Doreen Hall’s, moved to Ottawa in 1982,
bringing with her the inspiration of mentors such as Doreen Hall
and Joan Sumberland. Teacher-training resumed at the University
of Ottawa, children’s classes flourished in the Ottawa Board of
Education… and the Ottawa Orff Chapter was reborn!
22 Ostinato
Doreen Hall receiving an award at the 1990 National Conference in Ottawa
Waterloo-Wellington Chapter
Mary-Jo Schropp
Just the Facts
Founded: April 3, 1977
First President: Carolyn McMillan
Ottawa Chapter Banner and Display
Celebrating its 25th anniversary in 2002, the Ottawa Orff Chapter
also established a scholarship in memory of charter member Laura
Shaw, a stalwart supporter of Carl Orff Canada and an exemplary
music educator.
The Waterloo-Wellington Chapter was founded on April 3, 1977,
by Carolyn McMillan as President. It took a dedicated group to
grow the membership, to organize and host both small and large
workshops two or three times a year, and to build the tradition of
vital and exciting fall workshops with world-class clinicians year
after year. This small and steady group has had many executive
members come and go, but they have stayed strong over the years.
These members include longstanding and faithful executive members Carl and Theresa Schropp (retired and still helping!), Louise
Elder (just retired) and ongoing president Mary-Jo Schropp.
In its 36th year, the Ottawa Chapter continues to evolve and grow.
A chapter lending library, sharing sessions and vibrant workshops
help to promote the high quality of music education in the national
capital region. In the Jewish culture, the number 36 represents
“life;” may the Ottawa Orff Chapter have a long and healthy life,
bringing the rich philosophy of Carl Orff and Gunild Keetman to
Canada’s capital.
One of our many Fall Workshops offered at Conrad Grebel College,
University of Waterloo
Past executive members include: Mary Robinson Ramsay, Senta
(Todoroff) Ross, Lorna Sawatsky, Sylvia Jones, Joe Daniels, Karen
Haack, Keith Scott, Brenda Schepper, Caroline MacDonald, MaryAnne Kelly, and many others. For your many hours of work, we
thank you, one and all!
Ottawa Orff Chapter Banner
Honouring old friends Catherine West and Carolyn McMillan,
with Mary-Jo Schropp
23
successful and much more cost effective approach to workshops in
the past 10 or so years. It seems to be a formula for our continued
and ongoing success!
Waterloo-Wellington Executive and friends celebrate a successful workshop
at the Stammtisch (Concordia Club), in Kitchener.
In the heyday of the Waterloo-Wellington Chapter, our bustling
fall workshops would be hosted at Conrad Grebel College at the
University of Waterloo. It was not unusual for up to 150 people to
sing and move and play all day at the picturesque college… and to
enjoy a fabulous Mennonite cooked feast for lunch. Many incredible
clinicians came to present over the years, including Jos Wuytak,
Joan Sumberland, Konnie Saliba, Sandra Smith, Donna Woods,
Donna Otto, Leslie Bricker, Judy Sills, Catherine West, Debra
Giebelhaus-Maloney, Alison Kenny-Gardhouse, Jane Wamsley,
Angela Elster, Nancy Ferguson, Arvida Steen, Joanna Robertson,
and many, many more.
Our faithful Executive at our Fall Workshop
TheWaterloo-Wellington Chapter Banner was created
in the early ’80s by Mrs. Joe Daniels
Our “new” workshop facility (Blessed Sacrament School, Kitchener)
with Jane Wamsley, 2013
It was at these workshops that many an Orff teacher was born. Those
same teachers were then further inspired at future workshops, and
especially nurtured at our Level I course, which was offered briefly
at Wilfred Laurier University with clinicians Carolyn McMillan
(Orff Pedagogy), Alison Kenny-Gardhouse (Movement), and Dan
Douglas (Recorders).
Over the years, the numbers of music teachers dwindled and the
costs of running a workshop increased. As a result, we moved our
winter workshop to various schools in Guelph and our fall workshop
to Blessed Sacrament School in Kitchener. This has been a very
24 Ostinato
The Waterloo-Wellington Chapter may be small, but we are mightily
committed to offering quality workshops to teachers of our area
for many, many happy years to come!
Manitoba Chapter
Sean Fitzmaurice
members attend this event. Three separate days are offered: two in
Winnipeg (one in English and one in French) as well as a Children’s
Day in Brandon.
Just the Facts
Formed: November 4, 1975
First President: Morna-June Morrow
Awards:
• The Helen Neufeld Memorial Scholarship for students taking
their summer Orff Levels Courses at the University of Manitoba.
• The Morna-June Morrow Award for Excellence in Music
Education, awarded annually to an outstanding Manitoba Orff
music educator.
• The MOC Travel Bursary to help members living in rural/northern areas with travel expenses when attending MOC workshops.
Roots and History of MOC
The Manitoba Orff Chapter was formed on November 4, 1975.
Founding President Morna-June Morrow was instrumental in bringing the Orff philosophy of music education to our province. That
initial year the MOC had 16 members, and over our four decades
(MOC celebrates its 40th anniversary in 2015), our membership has
grown to over 200, making us one of the very largest chapters in
North America. As our membership has grown, so has our executive. Our 15 executive members meet monthly to organize events
and discuss issues. Manitoba has also proudly hosted four National
Conferences of Carl Orff Canada in 1976, 1986, 1998 and 2010.
MOC members participating at our Winter Workshop 2012
Member Benefits
Manitoba Orff Chapter members are able to apply for various
scholarships and awards offered by the Manitoba Orff Chapter.
The Helen Neufeld Memorial Scholarship is available to members
who will be taking Orff levels courses at the Marcel A. Desautels
Faculty of Music at the University of Manitoba. The Morna-June
Morrow Award for Excellence in Music Education is awarded to
one deserving MOC member every year. The recently established
MOC Travel Bursary is available to members who live in rural areas
to assist with travel expenses when attending MOC workshops in
urban centres. The MOC also supports its members with our Manitoba Modes newsletter (published 3 times a year) and access to an
impressive Lending Library containing hundreds of music books,
recordings, videos of workshops and other professional resources.
This cake, designed by MOC executive member Charisse Wurch, commemorated our 35th Anniversary in 2010. Everything you see, instruments
included, is entirely edible!
Overview of Workshop Offerings
The Manitoba Orff Chapter offers a multitude of workshops and
professional development opportunities throughout the year. Each
fall we offer the Make ‘n’ Take workshop (quickly becoming our
most popular workshop series amongst members), the Winnipeg
Symphony Orchestra Listening Lessons workshops with Marcelline Moody (one of our largest with nearly 150 participants each
year; offered in both Winnipeg and Brandon), and the Fall Fiesta
workshop (which occurs the day after Tempo, our provincial music
conference). In the new year we offer our Winter Workshop (which
features guest clinicians and recent Level III grads), our Stay ‘n’
Play workshop (a fun-filled evening of music making as participants get reacquainted with their Orff volumes), and our largest
workshop series, Children’s Day. Manitoba was the first Chapter
to offer Children’s Day and each year more than 350 students and
This MOC display board, one of many created by our Members-at-Large,
outlines some of the reasons for being an Orff member. This board is
displayed at MOC workshops and other events.
Partnerships
The Manitoba Orff Chapter is a busy and vibrant organization and
assumes a role of responsibility beyond our local organization. We
collaborate with other groups such as the Manitoba Music Educators’
Association, the Association of Music Administrators of Manitoba,
25
the Manitoba Teachers’ Society, the University of Manitoba, Brandon
University, the Winnipeg Symphony Orchestra, and of course Carl
Orff Canada, to organize events, discuss important issues, and to
promote music and Orff education in our province. We maintain our
memberships with The Alliance for Arts Education in Manitoba and
the Coalition for Music Education in Canada. We work closely with
our national organization, Carl Orff Canada, to promote further awareness of and to advocate for the Orff philosophy on a broader scope.
Manitoba Orff Logo
Manitoba Orff Chapter Banner
Manitoba Orff Chapter Executive 2013-2015
Back Row: Kristi Grunsten-Yonda (Archivist), Shannon Moses
(Member-at-Large), Angie Tester-Bouziane (Advocacy), Steph Poulin
(President), Ruth Reimer (Member-at-Large), Laura Anderson (Membership), Lori Arthur (Children’s Day), Michelle Mielniczek-Loboz (Website Coordinator)
Front Row: Jordanna Cornish (Secretary), Sean Fitzmaurice (PastPresident), Jewel Casselman (Vice-President), Jenna-lynn Fraser (Program), Amanda Ciavarelli (Communication Coordinator), Charisse
Wurch (Workshop Coordinator)
Missing: Kati Lapp (Treasurer)
The Manitoba Orff Chapter is so proud to be a part of Carl Orff
Canada and to help celebrate the 40th anniversary of musical leadership in our country!
Saskatchewan Chapter
Allyson Reist
Just the facts
Founded: October 1987
First President: Colette Bischoff
Awards:
• Sylvia Yam Award of Teaching Excellence
• Carol Petrie Memorial Scholarship
The Saskatchewan Orff chapter was founded in 1987 by founding member Colette Bischoff. From humble beginnings, we have
seen our membership grow in numbers, knowledge and depth of
understanding in the Orff approach to music education. The Saskatchewan Music Educators Association works closely with our
chapter providing financial support and opportunities for additional
professional development for our membership.
Fall Classic 2010
26 Ostinato
Our chapter has established the Carol Petrie Memorial scholarship
to help participants pay for their course work within the province.
This scholarship was established to honour a long-time member
and treasurer of our provincial chapter, Carol Petrie.
Orff Level I participants, summer 2012
The Saskatchewan Orff Chapter has worked with both the University
of Saskatchewan and University of Regina to offer Levels courses
to our membership. Over the past thirteen years we have focused
primarily on offering our Level I and Level II courses through the
University of Regina. Many students from all over our province and
elsewhere in Canada have enjoyed these training sessions offered
by qualified Orff instructors.
In 2010, the chapter established an excellence in teaching award.
Successful candidates demonstrate an outstanding contribution
towards teaching within the Orff approach in our province. This
award was created in recognition of a well-respected colleague
Sylvia Yam. Throughout her teaching career, Sylvia consistently
demonstrated a passion for music and more specifically the Orff
approach to teaching. She inspired, encouraged, and empowered
all those around her. Her smile was contagious; her laughter infectious, her perpetual spirit lives on within all of us.
The Saskatchewan Orff Chapter is looking forward to co-hosting
the 24th Carl Orff Canada national conference in co-operation with
the Calgary and Lethbridge Orff chapters. Bridges 2016 will be
hosted in Saskatoon, Saskatchewan, nicknamed the “Paris of the
Prairies”, on April 28-May 1, 2016. Delegates will enjoy a weekend
of singing, dancing, playing, and learning from some of the most
creative and knowledgeable presenters in the wonderful world
of Orff. Enjoy the beautiful South Saskatchewan River just steps
away from our conference venue, the Sheraton Cavalier Hotel, in
central Saskatoon.
Marlene Hinz receives the Silvia Yam Award of
Teaching Excellence
Throughout the school year various workshops are provided for both
educators and students alike as the Chapter brings in qualified experts
from across the province and across Canada and the United States
to focus on the experiences within the Orff Schulwerk. Activities
include everything from creative movement to world drumming,
from Northern Spirit Flute making to dramatizing the Legend of
the Qu’Appelle Valley. Recent workshops often include a First
Nations/Métis approach as we try to incorporate our Saskatchewan
heritage and culture into our classrooms.
Learning to play the northern spirit flutes, taught by Richard
Dube
Saskatchewan Orff Chapter Banner
27
Thirty Years Ago in Ostinato1
Thirty years ago the April 1984 issue of Ostinato celebrated the success of the Eighth National Conference held in
Montréal the previous January. The following is an excerpt
from (Honorary Patron) Jos Wuytack’s keynote address to
the Saturday evening banquet:
These reflections may show how the Orff pedagogy really
is a counter-balance for the tendencies of technology, which
lose the human aspect in life. The approach proposed by
Carl Orff, and experienced now for more than fifty years, is
still up to date. Music education is education of the whole
personality, the body and the spirit, the emotions and the
control of them, the activities and consciousness of them.
Il y a trente ans dans l’Ostinato
Il y a 30 ans, dans l’édition d’avril 1994, on célébrait le succès
du huitième congrès national qui avait eu lieu à Montréal en
janvier de la même année. L’extrait suivant est tiré de la conférence de (patron émérite) Jos Wuytack donnée du banquet :
Ces quelques réflexions montrent sans doute que la pédagogie
Orff fait le contrepoids nécessaire à la tendance actuelle de
mettre tant en ordinateur et de perdre ainsi l’esprit humain.
L’approache que nous propose Carl Orff a été expérimentée
maintenant depuis plus de cinquante années et reste roujours
actuelle. Il s’agit en effect d’une éducation de toute la personalitité humaine: du corps et de l’esprit, des émotions et
du contrôle de celles-ci, des activités et de la conscience de
celles-ci.
Our lending library, recently renamed the Judy Sills Library of Music
In addition to hosting workshops and supporting the Levels courses,
the Alberta Orff Chapter runs a vibrant lending library that was
recently named, “The Judy Sills Library of Music” in honor of our
founding donor to the library.
Endnotes
Forty years ago, our association was in existence, but the first
newsletter was not issued until March 1975. -Ed.
1
Alberta Chapter
Kim Friesen Wiens
Fall Workshop 2013 - Presenters: Brian Hiller and Don Dupont
Just the Facts
Formed: September 1977
Founding President: Judy Sills
Awards:
• Chapter President’s Award
• Joyce Oliver Scholarship
The Alberta Orff Chapter was founded in September 1977. Our
founding president was Judy Sills. The chapter has been a vibrant
and thriving community of music educators for all these years.
The Alberta Orff Chapter usually hosts three workshops a year,
one in the fall, one in the winter and one in the spring. The spring
workshop alternates between a children’s day and a sharing day.
The chapter is also associated with the Orff Levels that run at the
University of Alberta. The Alberta Orff Chapter recognizes that
there are other organizations that support music education and
works hard to collaborate with them, including the Alberta Kodály
Association and the Alberta Choral Federation.
28 Ostinato
Fall Workshop 2013
Winter 2013 Workshop - David Frego. A Joint event with the University
of Alberta, Alberta Kodaly Association and the Alberta Choral Federation.
The Alberta Chapter is also active online on Facebook, webpages
and even Pintrest. Our newest endeavor is our boutique, which is
set up at each of our workshops and offers music manipulatives
for music teachers.
Alberta Orff Chapter Banner
Calgary Chapter
Bonnie Jaycock
Just the Facts
Founded: 1978
First President: Ruth (Mattison) Lomenda
Fall Workshop 2012 - Darva Campbell
At this time, we have two honorary life members. They are Judy
Sills and Dr. Robert de Frece.
The Alberta Orff Chapter offers two scholarships. The Chapter
President’s Award is given to a student taking their Orff levels.
The second award is the Joyce Oliver Scholarship; this award was
set up in honor of Joyce Oliver who was an active music merchant
and publisher in the Edmonton area who passed away from cancer.
This scholarship is given every other year to schools to help with
the cost of attending children’s day.
The primary goal of the Alberta Orff Chapter is to be an organization
that assists music teachers in offering high quality music education
using the Orff approach.
On behalf of the Calgary Orff Chapter, greetings and congratulations
to Music for Children – Carl Orff Canada – Musique pour enfants,
in the celebration of its 40th Anniversary. As incoming president of
the Calgary Chapter, I have enlisted the help of several of our past
presidents to help bring a few brief glimpses of the way that our
Chapter has evolved over the years. Since history tends to come
alive when it is seen through the lens of human experience, it is
hoped that you will enjoy some of their recollections.
The Calgary Chapter was founded in 1978. About the early years
of development of the chapter, founding president Ruth Lomenda
writes:
The early workshops took place in the Catholic School
Arts Centre. We were the ones that presented these
workshops at first, but we soon looked to broadening our
horizons to feature expert Orff teachers from near and afar.
Throughout its history, the Calgary Chapter has continued to place
great emphasis on hosting high quality professional development
workshops featuring local, national and international clinicians.
Teacher training has always been significantly important to the Calgary Orff Chapter. In the early 1980s Ruth Lomenda spearheaded
the process of offering Introductory Schulwerk courses to Chapter
members. Soon the first Level I courses were being organized. In
1987 Wendy Rae, Debra Giebelhaus-Maloney and Shirley Murray collaborated in offering an accredited Level I course at the
University of Calgary. As time progressed, the Calgary Chapter
29
moved toward independent sponsorship of Levels courses. One
of our past presidents, Eve de Moissac writes:
The Calgary Orff Chapter started to offer Level I, II
and III regularly every second year during the late
1990s. With the great instructor team of Joe Berarducci,
Debra Giebelhaus-Maloney and Shirley Murray,
the chapter was able to offer the membership the
opportunity to extend their training. In addition to the
local membership, many participants have come from all
over Canada and overseas to join us for the coursework.
students involved in the Opening Ceremonies, and
typing the Conference Handbook (and that would
be on an electric typewriter, not a computer!!) The
Conference was a great success and ended just in time
for the annual spring snowstorm that closed down
the airport. Fortunately, all but one of our presenters
and all of our guests made it out before the storm hit.
Calgary Orff Chapter - Level III Course, 2010
Calgary Orff Chapter - Level I Course, 1987
The Calgary Chapter is pleased to serve as co-hosts of Bridges
2016, the next national conference, along with the Saskatchewan
and Lethbridge Chapters. We hope there is no snow in the forecast!
Calgary Orff Chapter: At work on Rain Rain with Doug Goodkin, at the
September 2012 Workshop
Connections 2004 Conference in Calgary: preparing for the Opening
Ceremonies.
Calgary Orff Chapter members have also been very active at the
national level both through service on National executive and
committees, and through attendance and participation in national
conferences. In addition, the Calgary Chapter has hosted two national
conferences, Round Up ’88 and Connections 2004. Another past
president, Wendy Rae, who served as co-chair of both conferences
offers the following glimpse of Round Up ’88:
Our chapter was small in membership, but mighty
in energy and enthusiasm. Many of us covered more
than one task. Personally, I remember organizing
clinicians to present various sessions, rehearsing with
30 Ostinato
Calgary Orff Chapter - September 2013
Members of the Calgary Orff Chapter are the fortunate beneficiaries
of the sustained efforts of literally scores of dedicated volunteers.
Those holding more ‘visible’ leadership roles have been joined by
a whole host of volunteers who have worked tirelessly over the past
four decades to publish newsletters, publicize chapter events, record
workshops, organize membership records and take registrations,
keep our finances in order and even provide coffee and snacks
during breaks. What a legacy they have created!
In conclusion, please accept the following greetings…
Congratulations to Carl Orff Canada on the occasion of your 40th
anniversary! Best wishes for a future of growth, nurturing, and
music. I have been blessed to be part of the journey.
Wendy Rae, Past President, Calgary Chapter
Orff Schulwerk is a common language that we speak. Instilling
enthusiasm and love for music is our common goal in all our work.
Continue to carry the torch to inspire and challenge and know that
the work you are doing is even more vital today as it was in the past.
Ruth Lomenda, Founding President, Calgary Chapter
It is indeed an honor to be part of Carl Orff Canada, such a vibrant
national organization, which has done so much to promote childcentered musical understanding. We look forward to the adventure
of another forty years of Orff!
Bonnie Jaycock, President, Calgary Orff Chapter
Lethbridge Chapter
Linda Langager
Just the Facts
Formed: 1985
First President: Pat Boehm
The Lethbridge Chapter of Carl Orff Canada began 29 years ago with
the support and encouragement of Barbara Walker. As the Lethbridge
School District’s Music and Fine Arts Consultant, she brought in
prominent Orff presenters to introduce us to this effective teaching
method: Grace Nash for the Teachers’ Convention in 1982, Avon Gillespie for a summer session in 1983 and the illustrious Jos Wuytack
for a fall workshop in 1984. This laid the groundwork for the formation of the Lethbridge Chapter of Carl Orff Canada in January 1985.
The Calgary Chapter has been a good friend. Their members led
our first two workshops and we’ve often booked the same clinician
for the day before Calgary’s workshops. In our early years, they
covered part of our shared clinician’s travel costs.
Barb Walker leading participants 1992
Calgary Orff Chapter Banner
Thank-you to everyone who helped
to write these chapter histories and
assemble photos for this issue of
Ostinato!
Merci à toux ceux qui ont participé à
écrire l’historique de leur chapitre.
Kids and Teachers with Jos Wuytack 1989
In our 29 years, we have offered over 60 workshops led by
excellent clinicians from Alberta, across Canada, the USA and
Belgium. Many have been repeat presenters, including 4 workshops with Jos Wuytack, 6 with Joe Berarducci and 10 and
counting with Debra Giebelhaus-Maloney! Our attendance, 20
to near 50, draws from 7 school districts in Southern Alberta.
We’ve been fortunate to have cooperative agreements with the U of
L, and the Lethbridge Public and the Holy Spirit school districts, who
have granted us free facility use for our workshops. In turn, U of L
students attend for only the cost of lunch or a student membership.
31
• 1994: Our banner was made by local teacher/seamstress, Marla
McGeorge. It has since travelled across the country to each
National Conference.
• Courses offered: 1 Generalist, 4 Introductory and 2 Level
I Orff courses have been held in Summer sessions or school
year weekends.
Children’s Days:
Fri. May 1998 - 6 school groups performed for each other
Fri. May 1999 - 7 school groups performed for each other
Sat. Apr. 2013 - 68 children from 11 schools rotated through 4 stations with a final performance based on the picture book, If You’re
Not From The Prairie
Lethbridge Executive at Prairie Spirit Winnipeg 1998
Since 1985, our Chapter has been served by 11 capable presidents
and many supportive executive members, with whom we’ve experienced friendship and camaraderie.
As a Chapter, it’s gratifying to know that the workshops we’ve
provided have given area music teachers ongoing professional
development, and invaluable support to homeroom teachers, who
are often charged with carrying out music instruction.
Preparing to present “If You’re Not From the Prairie” at Children’s Day 2013
Lethbridge Chapter Members at re:Play 2012
Lethbridge Chapter Milestones
• 1985: January 12 - Organizational meeting of the Lethbridge
Chapter of Carl Orff Canada. Elected were: Pat Boehm -president, Theresa Hepburn -secretary, Linda Langager -treasurer.
• 1990: Recipient of the Gunild Keetman Scholarship, Chapter
member Judith Meunier attained her Level III with Jos Wuytack
in Edmonton. She wrote, “The impact of this course in my life
cannot be underestimated.”
• 1992: Our logo was designed by Angela Monaghan, and
adapted by Beth Cook.
• 1993: First ordered red T-shirts and grey sweatshirts emblazoned with our new logo.
32 Ostinato
Lethbridge Orff Chapter Banner: Parading at re:Play 2012
British Columbia Chapter
Vanessa Fer
Just the Facts
Founded: 1974
First President: Ruth Mattison (Lomenda)
Awards:
• Birthe Kulich Scholarship
• Deborah Kerr Scholarship
1960s: The Pioneers
The BC Orff Chapter had its humble beginnings when a music teacher
named Kory Shandler introduced Orff Schulwerk to BC by inviting
some early childhood and music specialists to her home one day in
1958 or 1959. The invited guests watched a film that she obtained
from the German Consulate called Music for Children. Kory taught
music during this period, and is remembered fondly for the fantastic
lessons she taught children in the Music Education Hut at UBC.
in British Columbia. So Sandra Davies (a U.B.C Music Education
Professor) gathered a group of Orffans in the Music Education Hut
at UBC., and in 1974 Ruth Mattison (Lomenda) volunteered to be
the first BC Orff Chapter President.
Ruth was educated at the University of Toronto. Her studies included
working with Doreen Hall before she made her move to BC. During
her time in BC she shared her knowledge with students in Sandra
Davies’ Music Education classes at U.B.C; she taught in the Vancouver schools until moving to Calgary in 1978.
Sandra is remembered for how much she supported and advocated
for Orff music education while working at UBC. Sandra was instrumental in bringing Jos Wuytack to the university. Jos Wuytack
is an internationally known Orff pedagogue.
Donna Otto was another pioneer who trained in Toronto between
1972 and 1981. Birthe Kulich and Donna Otto eventually both took
their studies one step further by training in Salzburg, both returning
to B.C to continue teaching and inspiring everyone.
By 1974 the need for a national organization of Orff teachers
became apparent, and the association, Music for Children - Carl
Orff – Musique pour enfants was formed. By 1976 our small BC
Chapter had increased membership to 54 as enthusiasm and interest
for Orff-Schulwerk grew in the Lower Mainland.
The BC Orff Chapter was now in full swing. By 1976 two newsletters were published and an Intro to Orff course was provided at the
Community Music School of Greater Vancouver (taught by Birthe
Kulich and Donna Hossack). Several mini-sessions and an annual
conference called “Fall Fiesta” were held. One workshop in 1977,
where Jane Frazee was the guest clinician, had 125 participants.
This number alone demonstrates how the excitement over using
the Orff process blossomed among music educators.
Donna Otto, 1978-1984
By 1969 Birthe Kulich was one of the first BC teachers who was
inspired to take some initial Orff teacher training in Toronto, returning to teach workshops and short courses in BC. She continued
with her studies by taking the Intermediate Level in 1973 and the
Teacher’s Level in 1975.
In the late 60s Donna Hossack was living in Montreal where she
began observing children’s classes offered by Miriam Samuelson.
She enrolled in Miriam’s recorder classes for adults, and in 1968
she went to Toronto to take the Orff Course. Her musical skills and
background were known to Doreen Hall, so she took the Intermediate
Level and returned the following summer for the Teacher’s Course
(now Level III). In 1971 Donna Hossack moved to BC, and in the
fall she taught an Orff class to adults at the Unitarian Church. Later
in 1975 she became the BC’s Chapter’s second President.
1970s: The fires ignite
In 1973 the first two-week Orff course was held at UBC and was
followed by another in 1974. Around this time, Doreen Hall wrote
to Donna Hossack asking her to form a Carl Orff Canada Chapter
Joe Berarducci and Sandra Jordan Davies (Levels Courses 1987)
By this time the BC chapter was now confident enough to jointly
host the National Orff Conference in 1978 with UBC’s Centre
for Continuing Education Department and the Music Education
Department. Well over 300 participants attended the conference,
representing areas of public school music teaching, community
arts programs, music therapy, university faculty members, musicians, classroom teachers, and the music publishing industry. Orff
Schulwerk was now known throughout the province.
33
Victoria
Two women from England were busy spreading Orff ideas in Victoria between 1955 and 1987. Ivy Screech encountered Orff while
living in England, and made connections with others involved at
the time, notably Margaret Murray. Screech moved to Victoria
in 1953 and began teaching at St. Margaret’s. Rosalie Frampton,
who was also from England took her training in Toronto in 1971,
’72 and ’73. Her instructors were Joan Sumberland, Doreen Hall
and Jos Wuytack.
children’s groups for several of them. Donna was like an electric
turbine of energy; her deep passion for Orff music was reflected in
the incredible music program that she developed in Coquitlam. She
had a powerful influence on the participants in the levels courses,
and the concerts she organized and implemented were so amazing
that music teachers attended them just to learn from her. Donna
later inspired music teachers across Canada during her time with the
National Executive, and she continues to sit on the Advisory Board. A rather exciting development during this period was when Joe
Berarducci and Birthe Kulich offered Orff music sessions at the BC Music Educator’s Conference (BCMEA), connecting and
providing Orff ideas to the largest local music conference in BC.
Joe also worked with Birthe Kulich to create the recorder method
books, the Windsong Series, by developing a pedagogical sequence
for all of her ideas. At the time these books were very popular and
heavily influenced many music teachers. They continue to sell in
music stores today.
Ruth Mattison Lomenda
Kootenays
In August 1976, a short note in the National Orff Bulletin #5 of
December 1976 said that Ulla Brenken (Toronto Orff Course 1962)
gave three workshops in Ya Sodha Na Ashnami Kootenay Bay. The
theme was Music and Movement using Orff materials.
1980s: Our love for Orff music explodes!
Sharing sessions, workshops and Levels courses began soon after
the chapter was formed in the late 70’s, and this continued during
the 80s. In 1982 the first Level III course graduated. This course
was taught by Jane Frazee, Birthe Kulich and Susie Green at UBC.
Susie’s credits as a dancer, dance teacher and choreographer are
astounding. BC is very fortunate to have such an incredible movement instructor live so close to home. Susie is known for her deep
understanding of Laban and an excellent ability to connect it to
Orff music.
The graduates from the first Level III class, along with other
members, collaborated during the 80s to create and teach Intro
courses or workshops. The remarkable people who went on to do
this were Debra Giebelhaus-Maloney, Tisia Minichiello, Deborah
Kerr, Leanne Roy, Joe Berarducci and Margaret Inglis. Variations
of these courses and workshops were then taken to various school
districts around the province including Nelson, Vernon and Vancouver Island.
Between October 1984 and June 1985 nine meetings were held.
The BC Orff Chapter held a large number of sharing sessions.
Other interesting workshops included two Schulwerk (reading)
sessions, a rhythmic development workshop with Jane Frazee, a
vocal workshop with Mary Goetze, and a dance workshop with
Susie Green called “Laban Experiences”.
Donna Otto sat on the BC Orff Chapter Executive during this time.
She presented at numerous National Conferences and prepared
34 Ostinato
Kay Norton, Jeanie Default (Margaret Inglis behind), Sandra Jordan Davies,
Donna Otto, Ann Golden Fisher and unknown 1987-1989
In 1985 the Intro Course was taught at a Burnaby public school
called Seaforth, while the Levels Courses were taught at UBC. By
1986 the chapter executive focused on developing a procedures
handbook and developing policies and procedures for the summer
levels training school.
The BC Chapter was fortunate to have a host school sponsor in
Deborah Kerr for nearly 25 years. Deborah was an Orff specialist
who later became a principal; she made it possible for the chapter
to use her school space and Orff equipment for weekend workshops
free of charge.
Joe Berarducci became the chapter President in 1989 (he later
became the National President). He is a master teacher, and during
this time he began to influence another generation of teachers with
his passion, knowledge, musicianship, materials and personality. He
worked tirelessly to keep the vision of Orff education alive in BC.
1990s: A new wave rolls in
Membership was maintained in the 90s. Regular newsletters, sharing
sessions and workshops were provided, as in the 80’s. The Chapter
now began preparations to host the 1992 National Conference.
In the summer of 1990 Level I and II were both held at UBC. To
help with Levels Course fees, three Birthe Kulich scholarships were
granted to Level I students. A free membership was also given to
those taking any Levels course. In 1991 four Intro Courses were
held, two of them at UBC, one in Abbotsford and another in Mission. Levels I, II and III were also held at UBC in the summer of
1991. These courses were about 70 hours and three weeks long,
providing students with 6 UBC credits.
The executive (whose term is normally 2 years) remained in their
positions for a third year to allow for continuity in planning the
National Conference. Between 1990 and 1992 sharing sessions and
workshops were held, three newsletters were issued, and the 1992
National Conference was hosted. To add to their already full plate,
the executive began some special projects, such as hosting BCMEA
and Canadian Music Education Association (CMEA) clinicians,
providing financial assistance for workshops in Terrance and Kitimat,
and last but not least giving sponsorship, support and organization
to the first Honour Orff Performing Group at the BCMEA.
A number of local members led workshops and Intro courses during this time: Bonnie Ishii, Ari Con, Cathy Bayley, Pamela Hetrick,
Jeannie Default, Joe Berarducci, Tisia Minichiello and Deborah Kerr.
The courses provided a basic music foundation for music educators and for teachers who did not have a music background. Quite
a number of these members also travelled outside of Vancouver to
teach workshops and Intro courses.
It was during this time that Leanne Roy (a past president of the Orff
Chapter) was not only the National President, but also the President
of the BCMEA. Leanne’s incredible organizational skills brought
the National Organization into the 21st century, accomplishing the
incorporation of Carl Orff Canada. She executed plans for the BC
Orff Chapter, local school districts, and the COC, with an inspiring
energy and finesse.
Cathy Bayley
In the mid-90s membership declined slightly, however the love for
Orff music education burned and five workshops were organized,
three issues of the newsletter were sent out, and a parent brochure
drafted. Course work was going on at UBC with Leanne Roy (Level
I), Joe Berarducci (Level II and III), master recorder teacher Karen
Pep, and sometimes Susie Green teaching movement.
A few special projects during this decade proved useful. One of
these projects was the first Children’s Day held in 1994. It was so
successful, that it became an annual event and we marked our 5th
Children’s Day in 1998. Another highlight was Doug Goodwin’s
week long Jazz/Orff Workshop in 1997. There were 30 registrants,
which is the maximum number allowed.
Donna Otto was recognized with the BCMEA Professional Music
Educator Award (Elementary) in 1995 – an exciting moment for
everyone in BC.
Level I and II courses were held in 1996 and 1997 not at UBC, but in
Burnaby schools under chapter sponsorship. The chapter continued
to provide some wonderful workshops and sharing sessions, however
attendance continued to be down. Due to the fewer levels courses,
fewer Orff graduates were coming into the music education scene.
The newsletter began to publish four issues a year.
Vancouver Island
There were 7 island members around this time who would travel to
the mainland for workshops and sharing sessions. In ’96-’97 Ari Con
and Cathy Bayley presented workshops on the island. Approximately
25 participants attended the local events. 2000: A time for retooling and updating
Workshops, sharing sessions, Children’s Day, and all three Levels
Courses at BUCK continued to run. A new Post Level III Course Assessment and Evaluation - was taught by Joe Berarducci, which
sparked some new life into music teachers in 2004.
Between 2004 and 2005 there were two significant new ventures
for the chapter. One was the introduction of a Lending Library,
which was made possible with a generous donation of over 100
books from Leanne Roy and another large donation made by Anne
Golden Fisher. The second venture was when the chapter entered
the online world with a website and email account.
Four Birthe Kulich scholarships ($400 each) were granted in 2006
for Levels courses. Carolynn Franked took over the website at
this time, and a blog was use to present photos from workshops.
A chapter email list was then created, so advertising moved more
quickly to members. An annual registration brochure was sent out
for the first time. It presented the complete slate of workshops for
the coming year and gave people an opportunity to register for all
workshops at a reduced rate.
New venues were explored around this time to replace the existing
UBC courses. Pam Hetrick, an accomplished Orff instructor who
moved to BC from Oregon, joined the executive and began teaching Level I at the Vancouver Community College (VCC) in 2007.
With the help from a VIC contact, Sal Ferraris, Pam was able to
have all three Level Courses at VCC certified by Carl Orff Canada.
Susie Green and Joe Berarducci joined Pam to create a dynamic
trio of instruction for these Levels courses. These would be the first
endorsed levels courses in BC in over a decade.
A few promotional opportunities became available in 2005/2006.
A booth was set up at the BCMEA conference where brochures on
Carl Orff Canada and our local events were displayed and distributed. Karin Johnson, a member of the chapter’s newsletter team,
wrote an article for the Burnaby School District newsletter, called
“Carl, Joe and Me”. Lastly, Pam Hetrick was asked to give an Orff
workshop/presentation to PDP students at Simon Fraser University.
35
During this time, our long-running Children’s Day event began
receiving support from the Burnaby School District with the help
of John White. The Burnaby School District at this time was able
and willing to absorb the custodial costs for all our events held in
Burnaby Schools.
Nearing the end of this decade, a new policy was put in place that
meant national and local executive members would attend BC
workshops free of charge. The chapter sponsored six workshops at
the provincial music educator’s conference (BCMEA). This meant
there was a larger Orff presence at the conference than usual and
more people who usually can’t make it out to the local workshops
were able to attend. Membership was back up to 150 members by
2008. Exciting workshops were held with local and internationally
recognized clinicians, Levels Courses, Post Level III Course, and
a Children’s Day. Over the years more and more non-BC residents
have been travelling to our city to take our courses and workshops.
Two Birthe Kulich scholarships ($500 each) were granted in 2008
for Level I courses.
this time our webmaster, Carolynn Franked, set up the first online
registration system for our chapter, and then went on to provide
technical advice to the National Executive during the transition to
online registration. Another scholarship named after Deborah Kerr
was introduced in 2011. It provides financial aid to elementary students who can’t afford the fee ($25) for our Children’s Day event.
These days the BC Chapter is enjoying the memories of hosting the
2012 National Conference, and looking at working on improving
Orff awareness in the province. We are also brainstorming ideas
for mentorship programs, so that Levels instructors and National
Executive positions can have increased continuity.
Many thanks to those who helped in the preparation of this article,
especially to Leanne Roy.
Prince George
Contact between Prince George School District and Debra Giebelhaus-Maloney resulted in a 2-day Orff workshop in Prince George
in 2008/2009.
Quite a few changes were made by this time, and a new project
began to emerge. The chapter decided to embrace the online world
again (and save some trees), by publishing our newsletter, Impulse,
online. With 4 co-chairs the planning began for the 2012 Conference, re:Play.
2010s: The journey continues
By 2010 our chapter was celebrating its 35th anniversary. We successfully catalogued all the books in our lending library. Around
36 Ostinato
British Columbia Orff Chapter Banner
Book Reviews / Critiques de recueils et
DVDs pédagogiques
My Song Primer, My Recorder Primer
and My Recorder Reader 1, 2, and 3
By Isabel McNeill Carley
Publisher: Brasstown Press
$19.95 in Canada, through St. John’s Music
Price: $10.95 each
Reviewed by Catherine West
These are the “Five Little Books” from Isabel McNeill Carley, recently expanded and reissued by Brasstown Press. Anne M. Carley
writes in her introduction to the present edition, “The songs have
a variety of tonal centers, time signatures, and rhythmic moods,
almost all in pentatonic scales and modes. Chosen carefully from
global sources with an emphasis on rich North American traditions,
the books collect nearly 100 folk songs along with music composed
by IMC and others.” As such this collection is a welcome addition
to teachers’ and levels course instructors’ resource list.
My Song Primer (3rd Edition) is a teacher and student collection
of thirteen songs from so-mi to pentatonic intended for use in an
Orff classroom setting, especially as a support to the beginning
Orff teacher. The Table of Contents summarizes this progression at
a glance, adding useful information about musical features of the
song, and a list of instruments used in the Orff setting. Reference
pages repeated in all five books show the hand signs, rhythm syllable names and Orff instrument abbreviations. The settings start
with a 2-line staff, then 3-line and finally 5-line. Useful instructional
strategies, movement ideas and accompaniment suggestions are
included for each song.
The difficulty level of the accompaniment patterns is a little more
challenging than I would usually use for the level of the song, but
that determination depends greatly on the teacher’s context. The
rhythmic progression is not nearly as complete as the melodic
one, and is not aligned with it in terms of probable grade level, so
is better ignored in most songs. Although identified as a possible
student text, I would recommend this as a teacher resource – there is
much on the page which is not accessible to students. The notation
of the songs is very useable by students, and could be projected
from the page.
The activities and arrangements are all very appealing. I particularly liked the “Hiding Game,” a guessing game where “It” has
to figure out which child has left the circle, and “Ambo Hato”, a
game from the Philippines where a King or Queen soloist chooses
another child and sings to them how to move around the room (like
an alligator, butterfly, etc.).
help to avoid the “left hand on top” issue. Clearly IMC expected
recorder and vocal literacy to begin in the same grade – probably
grade one or two - but recapitulating that sequence when recorder
is introduced at a later grade is also sound pedagogy.
Breath marks, dynamics, slurs and staccato appear very early
on – once again something not usually featured in most recorder
methods. Orff accompaniment suggestions are provided for many
of the pieces, and here we find a very carefully sequenced approach
to rhythmic training, with provision for creativity. The suggested
instructional sequence for all songs is echo-play, rhythmic exercises,
then singing the song before learning to play it. The song materials
here invite development through dramatic play, Orff accompaniments or singing games, and the strong connection with solfège
reinforces the connection between the eye and the ear as students
begin reading notation.
This volume could be used by students but the fairly small size of
the notation on the page, and the number of things on one page,
suggest a grade level of at least grade four. It is also unfortunate that
the pages appear to be reproduced from the handwritten notation
of the earlier edition and lack the high resolution clarity we expect
in student texts, although they are certainly legible.
My Recorder Reader 1, 2, and 3 provide a wealth of repertoire for
the developing soprano recorder player in classroom or private
lesson setting. There are some accompaniment suggestions but no
pedagogy. Book 1 introduces 41 songs in G pentatonic, Book 2 has
47 songs in C and F pentatonic, and Book 3 contains 44 songs from
pentatonic to diatonic. The material here is largely not found in any
other recorder methods so is a wonderful resource as a method in
its own right or as supplemental material. Once again the music
has been reproduced from the original handwritten source, which
is unfortunate. It is also frustrating that there are no acknowledgements of sources for the songs; a newer publication would certainly
have provided us with that useful information.
Thee five volumes from a pioneer of the Orff movement in North
America represent a giant achievement in the provision of learning
materials for Orff teachers at a time when the only English language
materials available were largely English from England. In today’s
climate they still hold their own as an example of an implementation
which cleaves to the original model in Orff’s Music For Children.
Because of this clarity they may be used with confidence in Orff
Levels courses for teachers, and with children, and can also be
pillaged for additional wonderful repertoire by teachers choosing
not to use them as a primary method. I strongly recommend them
and will be using them in my own classes for students and teachers.
My Recorder Primer takes an aligned approach to beginning recorder
instruction. The volume follows the sequence in the original Music
For Children volumes, from the two-note call (so-mi) on G and
E, then introducing la on A and re on D. Like the volume above it
uses two- and three-line staves before introducing the standard staff.
This strategy produces a very different learning sequence from the
standard G, A, B approach, but may, I suspect, have two advantages:
the alignment with the melodic progression in the vocal program and
the use of two hands right from the beginning, which may perhaps
37
Orff Schulwerk Courses / Formations Orff
Orff Schulwerk in Toronto
Doreen Hall
The following is an excerpt from an article that appeared originally in the single issue of the precursor to Ostinato, a newsletter
called Carl Orff Music For Children, published by the University
of Toronto (through Richard Johnston) in March 1968. Because this
article illuminates the history of the Orff movement in Canada, it
is included here as part of our 40th anniversary issue.
In the summer of 1957 the Royal Conservatory of Music, in Toronto
offered a one-week session in Carl Orff’s “Music for Children”, the
first to be given on the North American continent. The enrollment
was indicative of widespread interest among music educators in
Canada and the United States. For five years thereafter the Royal
Conservatory of Music offered the one-week course each summer
with me as the sole exponent.
Then in 1962 Carl Orff was invited by Dr. Arnold Walter to participate in a conference on Elementary Music Education, an occasion
which marked the opening of the Edward Johnson Building and the
first international symposium on “The Schulwerk, Its Origins and
Aims”. A two-week course for teachers was planned in conjunction
with the conference and Dr. Orff’s collaborator Gunild Keetman,
came from Salzburg with members of their teaching staff – Prof.
Welhelm Keller, Lotte Flach and Barbara Haselbach. Completing
the faculty were Canadians, Keith Bissell, Laughton Bird, Hugh
Orr and me.
As a result of the enthusiastic response from the three hundred
delegates and students who registered from all parts of Canada
and the United States, a two-week summer course was initiated
for the coming years under the Faculty of Music, and Richard
Johnston was appointed Director.1 I was appointed Director of
Studies in 1967. The policy of inviting teachers from Europe was
also established and these guests continue to add distinction to our
summer courses. In 1963 we presented Dagmar Bautz, Salzburg,
and Polyxene Mathey, Director of a School of Movement in Athens,
Greece, who returned to us the following year.
“Music for Children” was not included in the 1965 Summer School
as plans were underway for revision of the course. Eventually those
plans were consolidated in the form of three summer terms which
would culminate in a Teachers’ Certificate. In 1966 an Introductory and an Intermediate Certificate were offered for the first time
and classes, which were formerly of two weeks’ duration, were
extended to three weeks. It was an exciting year for everyone with
guest teachers Danay Apostolidou from Athens and Daniel Hellden
from Stockholm, Sweden.
We looked forward so much to Mr. Hellden’s return in 1967. Traude
Schrattenecker, a key teacher in Movement from the Orff Institute,
was coming for the first time and we had excellent teachers from
Canada. Then, only a few days before classes were to begin, Daniel
Hellden cabled that he was unable to join us because of ill health.
We were delighted when Maria de Lourdes Martins, on such short
notice, cabled from Portugal to say that she had been able to rearrange her summer schedule in order to accommodate us. To Miss
Martins – a graduate of the conservatory of Music in Lisbon and
38 Ostinato
a student of Hindemith, Maderna, Stockhausen and Orff – we will
always be deeply indebted.
Until 1967 seminars were given daily in which we demonstrated
teaching techniques with children who had no previous experience
in music or movement. These sessions proved extremely valuable,
especially to those teachers who were uninitiated in the Schulwerk
tradition.
With the introduction of the Teachers’ Course, practice teaching
became a requisite and I felt the scope of the seminars should be
extended. I decided to encompass those aspects of school music
in which Orff Schulwerk is most useful, and arranged the program
accordingly. My opening lecture, “Carl Orff’s Theories on Music
Education”, was the foundation on which we built “Movement
for Children” (Traude Schrattenecker), “The Voices of Children”
(Lloyd Bradshaw), and “The Administration of Orff-Schulwerk in
the Public Schools” (Keith Bissell).
Applied classroom techniques were demonstrated in the second
week and included “Music for Children in the Primary Grades”
(Jean Bocian), “Orff Techniques Applied to a Grade IV Classroom”
(Marjorie Lea), “Percussion in the BND Class” (Robert Hughes)
and “The Recorder as an Orff Instrument” (Miriam Samuelson).
The fact that “Music for Children” is indigenous to all lands was
clearly demonstrated in the seminars of the final week; “North
American Children’s Folklore” (Richard Johnston), “Orff Schulwerk
in Portugal” (Maria Martins), and Orff movies filmed in Austria
and Germany. The last lecture was “Music Learning – the Meaning
and Implications” (Ezra Schabas).
For the 1968 seminars we have invited distinguished lecturers,
renowned in the field of education, Among these are: Dr. William
P. Malm, ethnomusicologist and author of Music Cultures of the
Pacific, the Near East and Asia; Ruth Lovell Murray, Professor of
Physical Education, Wayne State University and author of Dance in
Elementary Education; Professor Joseph Wuytak, Lemmeninstitute,
Holland, and Traude Schrattenecker, Salzburg.
The breadth of our program has established a precedent for the
Schulwerk on this continent. In presenting a faculty composed of
European, Canadian and American colleagues, we constantly show
new facets of Orff’s work and blend the traditions of Europe with
those of North America. It is the welding of these factors which
make “Music for Children” at the University of Toronto such an outstanding Teacher Training Course in Elementary Music Education.
The article concludes with a description of the musical background
of the members of 1968 summer school staff.
Endnotes
The Royal Conservatory was part of the University of Toronto at this
time. Subsequently the two institutions became separate entities.
1
Gunild Keetman Scholarship Winner
Report
Josh Ball
Level II, Royal Conservatory
of Music in Toronto
our 4-stave compositions for the fifth time, stressed from playing
title-unmentionable alto recorder songs with pitches that only dogs
can hear, moving in ways that - if video recorded - would be the
ultimate form of blackmail, we all worked together as a team to
complete our group assignments, ensembles, partner activities and
solo performances.
I thoroughly enjoy learning and teaching with Orff. Had I not
known anyone in the course it still would have been great. The
fact that many of us had taken a previous course together solidified
our group and helped us to become more than just classmates. We
became an ensemble.
I want to sincerely thank Carl Orff Canada for the assistance, all of
my Level II ensemble members and our instructors Alison, Hania,
Kim and Catherine for an inspiring and unforgettable two weeks
of life, learning and music. To be continued in Level III...
Upon receiving the news that my application for the Gunild Keetman Scholarship had been successful, I clapped my hands with
excitement (two bars of eighth notes in 4/4 time). I was looking
forward to starting Level II, the third installment of my Orff Levels journey, at the Royal Conservatory on Bloor Street. I was also
anticipating seeing many familiar faces from my Level I course
who were back for another fortnight of singing, recorder playing,
creative movement, sleep deprivation, caffeine dependency, and
occasionally embarrassing moments.
Josh has been teaching Elementary Music at Rawlinson Community
School in Toronto since 2009. He is heavily involved in electronic
music and loves to integrate technology into his classroom as much
as possible. He was one of twelve recipients across Canada to win
the Best Buy Best In Class Fund grant (2012). He also owns a
recording studio and has been producing music since 2000.
Natalia Soltes, Recipient of the Doreen
Hall Award 2013
This year’s theme was “risk”. I certainly took many, some more
successful than others. One of the largest risks I took was reading
sheet music for the alto recorder. Reading music is my weakest
link. It is one thing to read, but something else entirely to transpose
while you go. I found it rather enjoyable to play the alto, however
I experienced some moments of near terror when I approached
several bars filled with ledger lines. I persevered. The only other
person who knows how it turned out was my stand partner, and
she has been successfully bribed into silence.
Another risk I took was just enrolling in Level II. I have been heavily
involved in electronic music, music technology, music production,
and studio engineering for many years. I play several instruments
very well by ear. I have a good knowledge of theory although I
have never taken a theory course. With my background, I was very
much a fish out of water, well, perhaps more like a foreign fish in
an unfamiliar body of water where all the other fish say “I like how
you can swim upside down like that, but can you swim this way?”
Don’t get me wrong. The fish in this school were all very welcoming
and in no time I was teaching some of them to swim upside down!
They also helped to keep me afloat. You may be thinking that I’m
taking the aquatic theme a bit too far now, however another risk
that many of us took was staying inside the RCM building during
The Great Toronto Flood of July 2013. Part of the building was
submerged under water. We stayed (working on our assignments!!)
until we were literally escorted out by security!
Having experienced ten incredible days with my colleagues, many
of whom I consider to be good friends, I can say that even though
we were all groggy from lack of sleep, irritable from rewriting
The 2013 recipient of the Doreen Hall scholarship at the University
of Toronto, which was established with help from Carl Orff Canada
in 1986, is Natalia Soltes. This year the winner received $1934.15.
The scholarship is awarded to an outstanding undergraduate student
preparing for a career in music education, particularly with children.
Preference is given to a student with interest in Orff-Schulwerk
training.
Natalia writes:
Entering my first year at the University of Toronto, I was not sure
whether I wanted to be there. And while my first-year attempt to
survey my options by taking a variety of courses was frustrating, it
did help me realize that I did not want my undergraduate program
to be simply a means to an end. I want my career to be both an
39
extension and reflection of who I am as an individual. I know I
want to work towards a career that fosters and encourages personal
growth, further develops my talents, and allows me to make a positive contribution to other peoples’ lives.
The goal of the Music Education Division is to educate students to
be community-oriented, well-rounded and thoughtful individuals
who are professionally prepared to be effective and informed leaders in music education. I can sincerely attest to this goal as my two
years with the Faculty of Music have had a very positive effect in
my life, and this includes everything from academic achievement to
self-discipline. The comprehensive curriculum is made up of numerous courses that allow students to develop the know-how when
it comes to teaching methods for a particular specialization, be it
choral music, instrumental music, etc. We are taught the practical
application of what it is we are learning.
After my first year of the Music Education program, I determined
that I would like to teach music at the elementary level. I enrolled
in a number of introductory education courses which examine
current music education philosophies, learning theories, and methodologies as they relate to elementary general music. As a result, I
gained exposure to the Kodály and Orff-Schulwerk developmental
approaches. In the upcoming school year, I have enrolled in courses
that will continue to refine both the application and instructional
skills developed in previous courses relating to music for children
and music education teaching methods. I am particularly excited to
learn about the Dalcroze approach. On completing this program, I
expect to have developed a sound and thorough knowledge base and
skill set in order to one day have the ability to convey the essence
of music education and to show that it is a fundamental component
of human culture.
Thank-you again for funding this scholarship. I feel honored to have
been named the 2013-14 recipient of the Doreen Hall Scholarship.
The financial assistance you have provided is a great help to me as
I prepare for a career in music education.
Applying for Scholarships
Catherine West
This is the time of year to be considering those scholarship
applications. Apart from the financial help these funds provide, the award can be a great addition to your personal CV.
The National association administers the Gunild Keetman
Scholarship, which is open to those taking a Level II or III
course. Full details are available at www.orffcanada.ca on the
Scholarship Link. The deadline for applications is April 15,
2014. Often a significant amount of funding is available for
the GKS, through the generosity of our chapters, and the committee is able to award a significant number of scholarships.
In addition many of our local chapters sponsor scholarships,
which sometimes fail to attract many applications because
they are not well known. Usually these are open to teachers
taking any Orff course.
40 Ostinato
Course Reports
Reflections from Level I and II at
Vancouver Community College
From Level II Instructor, Catherine West:
Thirty-four eager participants assembled for the seventh annual Orff
teacher training program at the spacious and light-filled Vancouver
Community College in downtown Vancouver from August 11 to 18,
2013. Guided by the experienced professional staff of Pam Hetrick
(Course Director and Level I Basic Orff/Recorder/Vocal Instructor),
Susie Green (Movement) and Catherine West (Level II Basic Orff/
Recorder/Vocal Instructor) the students sang, danced, spoke, acted,
played instruments and expanded their own skills and creativity over
the ten-day intensive course.
Every day concluded with an hour of Special Topics where the two
levels came together, and these were special sessions in every way.
We did African dance and song with Kofi Gbolonyo, yoga with
Susie Green, Choral warm-ups and conducting with Julie Grierson,
an integrated Orff experience with Catherine West, folk dance with
Pam Hetrick and more. The BC chapter hosted an information session as part of this series.
A special feature of the Vancouver courses is that Vocal and Recorder
are much more integrated into the Basic Orff component because
they are taught by the same instructor. As someone who teaches
more often in the opposite set-up, I really appreciated the chance
to make it all work together as it should, although it is challenging
to plan for the expectations in every area.
We were joined this year by instructor trainee, Julie Grierson of
Toronto. Julie qualified to train for the mentorship in becoming
an Orff Levels Instructor with Carl Orff Canada, and chose to
complete her mentorship in a different location from where she
took her own training. Her presence was appreciated throughout
the Level I course in particular, where she supported students with
their assignments and activities, and helped Pam with assessment,
planning and organization. She found that she saw the Orff courses
from a very different angle, seeing everything through the instructor
lens instead of the student one. Anyone interested in the Carl Orff
Canada mentorship for course instructors can find the details in the
Policies and Procedures Manual, Section M, on the Members Only
page of www.orffcanada.ca.
Once again the participants enjoyed the yummy benefits of sharing
the college with a very busy and successful hospitality program –
low-cost full-course dinners in the cafeteria and take-home goodies
from the bakery were tempting to all! Next year all three levels are
planned for VCC, in August. See the details later in this issue and on
www.orffcanada.ca, or email Pam Hetrick at [email protected].
From course participant Deanne Delage: This past summer was a new beginning for me: I took a leap of
faith to move back to music as a means of earning a living and
began by studying at the Orff Level 1 Course offered in Vancouver.
Coincidentally, on the first day of this course, I celebrated my 47th
birthday - what a fantastic way to kick off the year finding my way
back to music. Having no idea what to expect, I arrived with my
textbooks, binder, paper, pens, and trying to be hip and young, I
also packed along an iPad. Fortunately for me, I had skipped over
my business attire and highheeled shoes and opted for yoga pants
and running shoes. I fully expected a large portion of the day to be
in lecture format. To my surprise, inside the classroom there were
no desks and when we entered, we were invited to join in on a song
(how delightful!). The two weeks breezed by as the days were
active and full (and I didn’t once need or use
the iPad). I mused as the movement instructor
let us know “If you can’t touch your toes, it’s
ok to bend your knees”. I’m not sure that I had
touched my toes in years, perhaps even decades,
but by the end of the first week my fingers and
toes had become reacquainted with each other.
was something very conspicuous in my new room that the old one
lacked: Orff instruments everywhere.
The previous June, the pregnant teacher I was about to cover for
strongly suggested I enroll in the Orff course before taking her class
over. I neglected to heed her advice, hoping
that my Grade 8 Piano and smattering of voice
lessons would sufficiently conceal my lack of
elementary training. I did the best I could, but I
soon found that the she was right - I needed help.
It finally came this past August in Vancouver
in the forms of Pam Hetrick, Susie Green,
and Carl Orff. I stepped into the room for the
The end of each day felt much like the end of a
first day of the Orff Level I course and spotday out on our childhood street where we had
ted the same Orff instruments that were in my
jumped rope and played games until the street
classroom (albeit nicer and fully intact). My
lights came on. We finished each day comexperience thus far had been trying to teach
pletely spent and exhausted but fully satisfied
my students all the parts at once, stealing away
and wondering what would come the next day.
mallets when they played out of turn, and getWe laughed, we sang, we danced, we played
ting frustrated by their inability to watch the
games, we made new friends. Oh yes, and we
conductor, keep a steady tempo, or play with
learned. We learned a lot. We learned what it
two hands. I couldn’t wait to learn how to teach
will feel like to be a student in our own Orff
the xylophone properly, but I would have to
style classroom. We learned a kind and gentle The youngest Orffer ever
wait. First, movement. This was an aspect of
method of teaching children to love music, and
Orff that sorely lacked in my classroom – they
through that love, they will hunger for more.
never taught me to move in my piano lessons
We learned how to give them more.
or in any of my voice lessons – and I expected to falter. I did a few
times, but Susie was so full of praise and optimism that I didn’t
Sincere thanks for the opportunity to be part of this course, for the
care. I just tried again and again until I eventually got it. And even
dedication and patience of the instructors – and of course, for the
though it didn’t come right away, I still loved the entire process.
scholarship funds that made it possible for me to travel from VanThat’s when I learned what my students need to do: make mistakes,
couver Island and attend without sleeping in the back seat of my
lots of them. Just love the process and eventually you’ll get it.
car for two weeks. Had that been my accommodations, my fingers
and toes would surely still be strangers!
The intensity of the two weeks of eight hour days plus homework
was alleviated by the fact that being in the Basic Orff classes, though
From Course Participant Justin Enns:
educational and inspiring, was like being a kid in an elementary
Last September I stepped into my Elementary Music Room. It had
music class with a really good teacher. That really good teacher
never been mine before and it wouldn’t last forever, but for the
eventually brought us to the barred instruments where we learned
next 10 months, at least, I had a classroom of my own. Only once
not only how to watch a conductor and play with two hands, but
before did I have a room of my own, and that was teaching high
we learned the power of the pentatonic. In what should have been
school English and geography. That was a nice room too, but there
a cacophony – with unmetred mallets flying everywhere over 26
Levels I and II VCC August 2013
41
different instruments – we sounded like a symphony. It was exciting, both because we sounded so good, and because I can now
share this excitement with my students who will all soon learn the
power of the pentatonic.
Of course there was so much more, but suffice it to say that this
experience has changed my professional life and will change the
musical lives of all the students I teach. I was incredibly blessed
to receive this scholarship to make it possible to take this course.
And though that no-longer-pregnant teacher is returning in four
months, and I will be again looking for a contract, I will definitely be
pursuing an elementary music position. Forget high school English
and geography; the pentatonic is too powerful to keep to myself.
Inscription en ligne
COC vous offre le choix de
payer votre inscription en ligne.
Allez à www.orffcanada.ca/
membership.htm pour renouveler ou payer votre adhésion.
Online Membership
COC is pleased to provide the
convenience of online payment
for membership. Go to www.
orffcanada.ca/membership.htm
to create or renew your membership now!
Introduction to Orff at the Royal
Conservatory (Fall 2013)
Julianna Allan
I would like to share with you my thoughts and impressions of the
RCM Introduction to Orff music course, which I took in the fall.
In all honesty, I took this course to add to my exhaustive list of
Additional Qualifications courses, rather than out of interest. With
music background in piano and vocal, I figured there would not
be much more that I could gain from this course. However, I soon
realized that I was completely wrong! I can’t begin to explain how
this course has changed my outlook on teaching music and teaching
in general. I now fully understand that teaching music is all about
awakening the musicality within a child by involving the entire
mind, body and spirit. It is about incorporating movement, song,
speech, poetry, instrumentation etc. into the lesson in order to elicit
that musicality. It has truly shaken my previous traditional notion
of teaching music and convinced me that experience precedes cognition. Furthermore, with the mandate to differentiate instruction,
teachers are glad to learn that Orff is actually inherently inclusive
of all learning styles.
This course is unlike any other professional development course
I’ve taken. It is mostly hands on, fun and engaging. It includes
demonstrations of various songs, games and activities, lesson
planning, individual and group presentations, as well as access
to some intriguing workshops. This course gives educators the
right tools to be confident in the classroom as Orff music teachers. The success of the course is in big part due to the great team
of instructors namely, Beth Knox, Kim Kendrick, Alison Roy and
Hania Krajewski. I highly recommend this course to all existing
and new music teachers. Thank you for exposing me to Orff! I am
eager to take the Orff Level I course in March.
Julianna lives in North York; she is an elementary occasional teacher
with the Toronto District School Board and a piano teacher. She has
also instructed an adult general interest Piano Keyboarding course
and taught grade 6 homeroom. She has a Masters of Education
degree and Royal Conservatory musical training.
42 Ostinato
International English Language
Summer Course 2014
Elemental Music and Dance Pedagogy
Orff-Schulwerk
July 6 - 12, Orff Institute, Salzburg, Austria
Instructors
Mari Honda, Frajo Kohle, Verena Maschat, Christoph
Maubach, Isabel Rosner and Doris Valtiner
For more information contact
[email protected]
Orff-Institute, Salzburg Special
(English Language) Course
Advanced Studies in Music and Dance
Education Orff-Schulwerk
October 2014-June 2015
For information email [email protected]
with your mailing address.
Orff Arrives in PEI!
Julie Grierson
For the first time ever, Level I Orff will be offered in Charlottetown,
Prince Edward Island. This has been a long time in the making, and
wouldn’t be happening if it weren’t for the vision and persistence
of the organizers.
Where the
Music Begins
It all began in 2006, when a group of three PEI teachers attended
Collage, the National Conference of Carl Orff Canada in Toronto.
These teachers were inspired by their introduction to the Orff approach, and interest in learning more about it began to grow. The
following summer, Beth Knox presented a one-day summer workshop in Charlottetown. The interest continued to build, and Beth
and Ronita Baird discussed the potential of training teachers on the
island. Over the years these discussions became more intense, until
Ronita and a team of dedicated organizers painstakingly worked
out the details.
Further support for the course came when, after much lobbying
by the NS Orff chapter, the NS Department Of Education agreed
to allow Masters of Music Education students, many of whom are
PEI residents, to use Orff Level 1 as a credit course. With invaluable input and assistance from James Jackson, the director
and Basic Orff instructor for Level I courses held in NS, along with
sponsorship by the NS Orff chapter, this summer’s Level I course
in PEI will run from July 21-August 4 in Charlottetown, and will
be taught by Beth Knox, Margaret Kristie, and Julie Grierson, with
James Jackson acting as Course Director.
Julie Grierson is an Orff Specialist teaching K to 6 music for the
Toronto District School Board. She completed her mentorship to be
an Orff instructor at Vancouver Community College in 2013 and is
delighted to be heading to Canada’s other seacoast to teach Orff
Level I this coming summer.
School Music Sales,
Rentals and Service
Rhythm Band / LP / Remo Percussion
SDM Orff Instruments / Yamaha Recorders
Duplex / Dolmetsch / Aulos / Ariel Recorders
Orff and recorder texts & method books
Advertising in Ostinato
For rates, specs and timelines
please contact our Industry
Representative,Tammy Stinson,
[email protected]
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Visit our website for the store nearest you.
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43
44 Ostinato
Courses
Levels I, II, III
Calgary Orff Chapter
Levels I and III
Level I, II, III
University of
Manitoba
Levels I and II
MANITOBA – WINNIPEG
Vancouver
Community College
Downtown Campus
BRITISH COLUMBIA – VANCOUVER
University of Alberta,
Edmonton
ALBERTA – EDMONTON
Introductory Orff
Schulwerk
Calgary Orff Chapter
ALBERTA – CALGARY
Institution
Karen Tole-Henderson,
Brenda Harvey, Jewel
Casselman, Carolyn
Boyes, Erica Lindgren
Susie Green, Pam
Hetrick, Catherine West
& TBA
Laurel Nikolai
Level I & III Movement
Wendy Rae
Level I & III Recorder
Robert de Frece
Level III Ensemble &
Pedagogy
Level I & III Choral
Musicianship
Sue Harvie
Level I Ensemble &
Pedagogy
TBA
Debra GiebelhausMaloney, Eve de
Moissac
Instructors
July 2 – 15,
2014
August 11 – 22,
2014
July 21 to
August 1, 2014
TBA July 2014
April 8th, 15th,
22nd, 29th, May
6th, 13th 2014
Dates
Michelle Mielniczek-Loboz
[email protected]
Pam Hetrick
[email protected]
Dr. Robert de Frece
[email protected]
Debra Giebelhaus-Maloney
[email protected]
[email protected]
Contact
Renewal of
endorsement
pending
Renewal of
endorsement
pending
Renewal of
endorsement pending
Renewal of
endorsement
pending
Renewal of
endorsement
pending
Endorsement
$700 (Orff certification only)
$800 approx. (Orff certification and U of M
credit)
University credit and non-credit options avai
lable
Information subject to change.
www.umanitoba.ca/faculties/music/summer
/summer.html
$770 plus registration and VCC fees
*Orff Levels are accepted by TQS for
purposes of category placement
$871.53—includes 3 graduate credits (plus
$115.00 application fee for students not
enrolled in a program at the University of
Alberta). For more detailed information
about fees, visit:
http://www.registrarsoffice.ualberta.ca/en/C
osts-Tuition-Fees/UndergraduateTuition/SpringSummer-Tuition-forCanadian-Citizens-and-PermanentResidents.aspx Students not enrolled in a U
of A Program must apply for Open Studies
status. Once accepted into Open Studies,
students may then register in Level I or
Level III. Registration by June 1, 2014 is
highly recommended.
Location: TBA
Fee: TBA
$395 Early Registration discount available
Location TBA
Cost/Other
Orff Schulwerk Teacher Training Courses/Cours de formation Orff
45
Level I & II
Courses
Introduction to
Orff, Level I Orff
Introduction to
Orff : Additional
Qualification in
Primary/Junior
Vocal Music Part
One with Orff
focus
Royal Conservatory of
Music
Orff Level I
ONTARIO – TORONTO
Ottawa Chapter /
York University /
OCDSB
ONTARIO – OTTAWA
Brock University,
Faculty of Education
– Centre for
Continuing Teacher
Education
ONTARIO – HAMILTON
NS Orff Chapter
NOVA SCOTIA
Institution
Hania Krajewski, Kim
Kendrick, Alison Roy,
Catherine West (subject
to change)
Leslie Bricker
TBA
James Jackson, Marg
Kristie, Katrina
Pecknold, Catherine
West
Instructors
March 24 to
May 28, 2014
5 to 8 pm, Mon
& Wed (6
hrs/wk for 10
wks)
Winter, 2014
March-June
2014, 1 night
per week
.
July 28-August
8, 2014
Dates
Catherine West (Course Director)
Royal Conservatory of Music
273 Bloor St W
Toronto ON M5S 1W2
(416) 408-2825
[email protected]
Leslie Bricker (Course Director)
(416) 736-5003
[email protected]
Dr. Tony Di Petta
905 – 688-5550 x 4729
[email protected]
Charlotte Myers
[email protected]
Contact
Renewal of
Endorsement
pending
Renewal of
Endorsement
pending
Renewal of
Endorsement
pending
Renewal of
endorsement pending
Endorsement
Cost: $895 (subject to change)
Register online from July 2013:
www.rcmusic.ca
Ontario teachers, please note: Through a
partnership with OISE, the Orff level I is
credited as P/J Vocal Music Part 2. For
details contact the Course Director.
$685.00
Raiseyouraqedu.yorku.ca (registration)
partnership with York University, the Intro
to Orff is credited as P/J Vocal Music Part
1 and the Level I Orff is credited as P/J
Vocal Music Part II
$900.00
Ontario teachers, please note: The Intro to
Orff is accredited by the Ontario College of
Teachers as P/J Vocal Music Part 1
Location: Kingswood Elementary School
Hammond Plains NS (near Halifax)
Members $675. + $25 (registration).
Non-members $675.+$25. (registration) +
$60. (for 1 year Orff NS membership)
Cost/Other
46 Ostinato
Intro, and Levels I
and II
Music for Five
Continents
Introduction to
Orff
Music
Music
Music
Kendrick, Alison Roy,
Beth Knox (subject to
change)
Level I
Université du Québec
à Montréal
MUS 4806 Didactique de la
musique au
primaire selon
Orff
QUÉBEC – MONTREAL
Under sponsorship of
NS chapter
Chantal Dubois
Julie Grierson, Beth
Knox, Margaret
Stanfield
Session
intensive en mai
et juin 2014, les
mardis et jeudis
de 18h00 à
21h00
July 21-Aug 1,
2014
Fall 2014, Mon
& Wed evenings
(20 sessions)
Workshop:
August 18, 2014
(9 am to 1 pm)
Course: August
18-22, 2014 (5
days)
July 7-18, 2014
Kendrick, Catherine
West, Joy Reeve, Linda
Song, Alison Roy
(subject to change)
Doug Goodkin
Dates
Instructors
PRINCE EDWARD ISLAND – CHARLOTTETOWN
Courses
Institution
Chantal Dubois
[email protected]
James Jackson
[email protected]
273 Bloor St W
Toronto ON M5S 1W2
(416) 408-2825
[email protected]
273 Bloor St W
Toronto ON M5S 1W2
(416) 408-2825
[email protected]
273 Bloor St W
Toronto ON M5S 1W2
(416) 408-2825
[email protected]
Contact
Renouvellement de
l'approbation en
attente.
Application being
made for
endorsement
Renewal of
endorsement pending
Renewal of
endorsement as a
Post Level III course
pending
Renewal of
Endorsement
pending
Endorsement
Location: Charlottetown , TBA
All information is subject to change.
$895 (subject to change)
Register online from Aug 2014:
www.rcmusic.ca
partnership with OISE the Intro to Orff is
credited as P/J Vocal Music Part 1. For
details contact the Course Director.
Cost: TBA
Cost: $895 (subject to change)
Register online from March 2014:
www.rcmusic.ca
partnership with OISE the Intro to Orff,
Levels I and II are credited as P/J Vocal
Music Parts 1, 2 and 3. For details contact
the Course Director.
Intro and Level I please register by early
April to avoid disappointment.
Level III will be offered in July 2015
Cost/Other
47
MUS 2610 –
Instrumentarium
Orff et flûte à bec
Courses
MUS 2610 –
Instrumentarium
Orff et flûte à bec
University of Regina
Faculty of Education
Level I
SASKATCHEWAN – REGINA
Université de
Sherbrooke / Cours
offert par la Faculté de
musique de
l’Université Laval
QUÉBEC – SHERBROOKE
Faculté de musique de
l’Université Laval
QUÉBEC – QUEBEC
Institution
Janie Fries & Marlene
Hinz (movement)
Chantal Dubois
Chantal Dubois
Instructors
August 5 – 15,
2014 8:30 am–
3:30 pm (no
class on Sunday
Aug 10)
Session de
janvier à mars
2014, les
vendredis de
8h30 à 11h30 et
12h30 à 15h30
Session
intensive en
janvier – février
2014, les lundis
de 8h30 à 11h30
et 12h30 à
15h30
Dates
Denise Morstad
[email protected]
(*Currently on sabbatical. E-mail
inquiries will be answered within 3
days of receipt.)
Alternate contact: Faculty of
Education Student Program Centre
(306)585-4537
Martine Nadeau, agente de gestion des
études
martine.nadeau@ mus.ulaval.ca
Martine Nadeau, agente de gestion des
études
martine.nadeau@ mus.ulaval.ca
Contact
Renewal of
endorsement pending
Endorsement
Cost for the course is approximately $650.
Those who have never registered at the U of
R will also be charged a one-time, nonrefundable $100 application fee.
Orff Level I is a 3.0 credit undergraduate
course at the U of R. It will be listed as
EMUS 320 in the 2014 Spring/Summer online course catalogue. Please e-mail for
further information and/or registration
procedures.
Cost/Other
48 Ostinato
Children’s Day
Viva la Musica!
March 15, 2014
September 20, 2014
Sharing Day
May 3, 2014
Orff for the Generalist –
Celebrating 40 Years of Carl Orff
Canada
Orff for the Specialist –
Celebrating 40 Years of Carl Orff
Canada
Carl Orff: Musician and Mentor –
Part One
Carl Orff: Musician and Mentor –
Part Two
February 21, 2014
Southwest Alberta Teacher’s
Convention
February 21, 2014
Southwest Alberta Teacher’s
Convention
March 15, 2014
March 29, 2014
ALBERTA-LETHBRIDGE
TBA
February 8, 2014
ALBERTA-EDMONTON
The Choral Conductor’s Way:
Explore, Create, Emote
Title
January 18, 2014
ALBERTA-CALGARY
Dates
TBA
Wendy Rae
Don Dupont and Brian Hiller
TBA
Adam J. Con
Clinician(s)
TBA
8:30 a.m. – 2 p.m.
Mike Mountain Horse School, Lethbridge
8:30 a.m. – 2 p.m.
Time: TBA
Time: TBA
Westboro School
Time: 9 a.m.
Westboro School
Time: 9 a.m.
TBA
8:30 a.m. – 1:30 p.m.
Dalhousie Elementary School
4440 Dallyn Street NW, Calgary AB
8:30 a.m. – 2 p.m.
Dalhousie Elementary School
4440 Dallyn Street NW, Calgary AB
8:30 a.m. – 1:30 p.m.
Location/Time
Chapter Workshops / Ateliers de perfectionnement
Christine Slomp
[email protected]
Christine Slomp
[email protected]
Christine Slomp
[email protected]
www.swatca.ca/
Christine Slomp
[email protected]
www.swatca.ca/
Kim Friesen Wiens
[email protected]
Kim Friesen Wiens
[email protected]
Ondrea Mann
[email protected]
Ondrea Mann
[email protected]
Ondrea Mann
[email protected]
Contact
49
Title
Stay, Play and Share
Saturday, March 29, 2014
Children’s Day: The Ramayana –
The Hindu story behind Diwali in
Regina
TBA
September 27, 2014
Orff From Coast to Coast to Coast:
Making Music the Canadian Way!
March 15, 2014
SASKATCHEWAN-REGINA
October 4, 2014
ONTARIO-WATERLOO-WELLINGTON
Fun With Composers
February 2, 2014
ONTARIO-TORONTO
March 1, 2014
Children’s Day: Turn our World
Around
Children's Day
April 26, 2014
ONTARIO-OTTAWA
Tried and True
January 25, 2014
BRITISH COLUMBIA-VANCOUVER / LOWER MAINLAND
Dates
James Harding
TBA
Catherine West
Participants share best practices
in teaching music.
Deborah Ziolkoski
Leslie Bricker, local teachers
Michèle Desponts, Karin
Johnson, Carolann Fraenkel and
Vanessa Fer
Cathy Bayley
Clinician(s)
Jack MacKenzie School
TBA
Blessed Sacrament School
367 The Country Way,
Kitchener, ON N2E 2S3
8:30 a.m. . – 1:30 p.m.
Location: TBA –
10:00 a.m. to 12:00 p.m.
Upper Canada College Prep School,
200 Lonsdale Road, Toronto
9 a.m. – 11 a.m.
St. Paul’s Presbyterian Church
971 Woodroffe Avenue
Ottawa
9 a.m. – 1 p.m.
Lochdale Community School, 6990 Aubrey
Street, Burnaby
9:30 a.m. – 3 p.m.
Lochdale Community School, 6990 Aubrey
Street, Burnaby
9:30 a.m. – 3 p.m.
Location/Time
Chapter Workshops / Ateliers de perfectionnement
[email protected]
[email protected]
[email protected]
Batya Levy
[email protected]
check www.ontarioorff.ca for
updates
Batya Levy
[email protected]
(647) 348-3396
Evelyn Pike
[email protected]
Vanessa Fer,
[email protected]
604-839-5876
Vanessa Fer,
[email protected]
604-839-5876
Contact
National Executive Business Section /
Section du conseil exécutif national
AGM Announcement
The Annual General Meeting of Music for Children – Carl Orff
Canada – Musique pour enfants will be held on April 11 at 11:4512:45 in the Marriott Harbourfront Hotel, Halifax. The agenda will
be available at www.orffcanada.ca by March 15, 2014. To receive
the information by post, contact the National Secretary.
Annonce de l’assemblée générale annuelle des
membres
L’assemblée générale annuelle des membres de Music for children
– Carl Orff Canada – Musique pour enfants aura lieu à l’hotel
Marriott Harbourfront, Halifax, le 11 avril 2014 de 11 :45 à 12 :45
heures. Les détails concernant l’ordre du jour seront disponibles
à www.orffcanada.ca à partir du 15 mars 2014. Pour recevoir ces
informations par la poste, veuillez joindre la secrétaire nationale.
Annual Reports
Members are entitled to receive either hard copies or e-copies of
the most recent annual President’s, Treasurer’s, and Membership
Secretary’s reports (presented at the April 2013 AGM). They are
available on the Members Only page of www.orffcanada.ca.
Rapports annuel
Les membres de COC ont droit de recevoir une copie papier ou copie
électronique des plus récents rapports annuels de la présidente, de la
trésorière et de la secrétaire aux adhésions (présentés à l’assemblée
générale d’avril 2013). Ils sont disponible à la rubrique Members
Only de www.orffcanada.ca.
Gunild Keetman Scholarship
The Gunild Keetman Scholarship is awarded annually to a Canadian
student or teacher who wishes to take an Orff Level II or III course.
Full details about Gunild Keetman and the scholarship application
form are available at www.orffcanada.ca on the Scholarships link.
The deadline for applications is April 15, 2014.
La bourse Gunild Keetman
La bourse Gunhild Keetman est décernée annuellement à un(e)
étudiant(e) canadien(ne) qui souhaite suivre la formation Orff de
niveau II ou III. Les renseignements au sujet de la bourse Gunild
Keetman de même que le formulaire d’inscription sont disponibles
sur le site Internet de Carl Orff Canada : www.orffcanada.ca, sous
le lien « Bourse ». La date limite d’inscription est le 15 avril 2014.
Donations to the Gunild Keetman Scholarship Fund
Members and chapters are encouraged to make donations to the
Gunild Keetman Scholarship fund. Please use the donations form
at www.orffcanada.ca, on the Scholarships link. Official receipts
for income-tax purposes will be issued for all donations.
Dons à la fondation de la bourse Gunild Keetman
Les membres et les chapitres sont encouragés à faire des dons à la
fondation de la bourse Gunild Keetman. S’il vous plaît, veuillez
utiliser le formulaire de dons à la fondation disponible sur le site
www.orffcanada.ca sous le lien Scholarships. Des reçus officiels
d’impôt seront émis pour chaque don.
Course Guidelines
Current guidelines for Introductory, Levels I, II, and III courses and
Post Level III Guidelines can be found in Section M of the Policy
50 Ostinato
and Procedures manual in the Members Only section at www.orffcanada.ca. Course Guidelines for the Course for the Non-Specialist
Teachers are in development.
Lignes directrices des cours Orff
Les lignes directrices pour les formations Orff de niveau Introduction, Niveau 1 et Niveau 2 et pour le niveau Post-niveau 3 se
trouvent à la section “M” du manuel des Politiques et Procédures
sous le lien Members Only sur le site www.orffcanada.ca. Les lignes
directrices de la formation pour les enseignants non-spécialistes
sont en préparation.
Post Level III Certificate
Members who have successfully completed their Orff Level III,
and have taken three endorsed Post Level III courses may apply for
their Post Level III certificate.The application form can be found
in Section N of the Policy and Procedures manual in the Members
Only section at www.orffcanada. For enquiries, contact the Second
Vice-President.
Certificat post-niveau III
Les membres qui ont complété avec succès le niveau III et qui ont
suivi trois cours approuvés de post-niveau III peuvent demander
un certificat « post-niveau III ». Le formulaire d’application est
disponible à la section « N » du manuel des Politiques et Procédures sous le lien Members only de www.orffcanada.ca. Pour toute
information, veuillez joindre la seconde vice-présidente.
Mentorship Program for Levels Course Teachers
Experienced Orff specialists who are interested in becoming Levels course instructors are invited to apply for Carl Orff Canada’s
Mentorship Program. The guidelines and application can be found
in Sections M and N of the Policy and Procedures manual in the
Members Only section at www.orffcanada. For further information
contact the First Vice-President.
Programme de mentorat pour les enseignants des
formations Orff
Les spécialistes Orff expérimentés qui sont intéressés à devenir
des professeurs des différents niveau de formation sont invités à
s’inscrire au programme de mentorat de Carl Orff Canada. Les
lignes directrices du programme et le formulaire sont accessibles
disponible aux sections « M et N » du manuel des Politiques et
Procédures sous le lien Members Only de www.orffcanada.ca.
Pour toute information supplémentaire, veuillez joindre la première
vice-présidente.
Become a Member!
Members receive this journal three times a year, contact with a local
chapter, and reduced admission to workshops and conferences. Go
to www.orffcanada.ca and click on Join Carl Orff Canada.
Devenez membre !
Les membres reçoivent trois fois par année la revue Ostinato ; ils
sont affiliés à un chapitre local qui leur donne accès à tarifs réduits
lors des ateliers de formation ainsi qu’aux congrès nationaux.
Celebration and Memorial Donations
Remember your friends and relatives in a unique and special way.
Make a tax deductible donation to Music for Children – Carl Orff
Canada – Musique pour enfants. Donations can be made to any
of the following funds: the General Operation Fund, The Gunild
Keetman Scholarship Fund, or the Orff Mosaic Children’s Travel
Fund. Donation forms can be found in Section M of the Policy
and Procedures manual in the Members Only section at www.
orffcanada.ca.
Dons commémoratifs
Pour souligner d’une façon unique et spéciale le souvenir d’amis ou
de parents, vous pouvez faire un don déductible d’impôt à Music
for Children – Carl Orff Canada – Musique pour enfants. Ces dons
peuvent être faits à n’importe lequel de ces fonds : the General
Operation Fund, The Gunild Keetman Scholarship Fund, ou au Orff
Mosaic Children’s Travel Fund. Des formulaires sont disponibles
à la section « M» du manuel des Politiques et Procédures sous le
lien Members only de www.orffcanada.ca.
Application for Financial Assistance:
Children’s Performing Groups
Grants are available to help defray the travel costs of taking a
children’s Orff performance to the national conference. The next
application deadline is Feb. 1, 2014; forms can be found in Section
N of the Policy and Procedures manual in the Members Only section at www.orffcanada.ca. Grants may also be available for groups
travelling to other conferences. For more information contact the
National Treasurer.
Demande d’aide financière pour les groupes d’enfants
Il est possible d’obtenir une aide financière pour aider à payer les
frais de voyage des groupes d’enfants participant à notre congrès
national. La prochaine date limite pour les demandes est le 1er février
2014. Il est aussi possible d’obtenir une aide pour les enfants qui
participent à d’autres congrès. Des formulaires sont disponibles à
la section « N» du manuel des Politiques et Procédures sous le
lien Members Only de www.orffcanada.ca. Pour toute information
supplémentaire, veuillez joindre la trésorière nationale.
Research Grant
Carl Orff Canada awards one research grant of $500 to support
research into Orff Schulwerk. The next application deadline is
June 15, 2014. Details and application forms can be can be found
in Section N of the Policy and Procedures manual in the Members
Only section at www.orffcanada.ca. For more information contact
the Past President.
Bourse pour soutenir la recherche
Carl Orff Canada offre une bourse de 500 $ pour soutenir la recherche
reliée au Orff Schulwerk. La prochaine date butoire est le 15 juin
2014. Des détails supplémentaires et le formulaire d’application
sont disponibles à la section « N » du manuel des Politiques et
Procédures sous le lien Members Only de www.orffcanada.ca. Pour
toute information supplémentaire, veuillez vous renseigner auprès
de la présidente sortante.
Take Note / Notez bien...
Our Spring 2014 issue will have Orff and Traditional Culture as
its theme. Orff always maintained that the Schulwerk should be
based on and nourished by the culture of each country where it
takes root, but how do we interpret that mandate in our twentyfirst century global society? We are looking for articles which
examine the role of music teachers as culture bearers, consider
the role of folklore in our teaching repertoire, review the place
of children’s literature in our music programs, or reflect on any
other aspect of this very important topic.
L’édition printemps 2014 aura comme thème : Orff et la culture
traditionnelle. Orff a toujours maintenu que le Orff Schulwerk
devrait être basé et nourri par la culture inhérente à chaque pays,
mais comment interprétons-nous ce mandat au 21e siècle? Nous
recherchons des articles qui examinent le rôle des musiciens
éducateurs comme passeurs culturels tout en considérant
l’importance du folklore dans notre répertoire pédagogique,
la place de la littérature pour enfants dans nos programmes
musicaux et tout autre aspect qui peut se rattacher à ce sujet.
Firm deadline for all submissions: March 15, 2014
Date limite pour la remise des articles : 15 mars 2014
Looking Ahead in Ostinato
The Fall 2014 issue of Ostinato will be a rich round-up of Ensemble 2014 workshop reviews, summer course reports, and
contributions from our members. Now is a great time to gather
your reflections on the school year that is just ending and send
them in a short or long article to us to share with your music
colleagues across the country. We are happy to include thoughtful articles on any topic related to teaching music.
Aller de l’avant dans la revue Ostinato
L’Ostinato de l’automne prochain comportera des résumés
d’ateliers suivis au congrès Ensemble 2014, des résumés des
formations estivales et des articles écrits par nos membres.
C’est maintenant le temps de réfléchir sur l’année scolaire qui se
termine, d’exprimer vos idées et de nous les faire parvenir dans
un article, court ou long, afin de les partager avec vos collègues
musiciens de tout le pays. Nous sommes heureux de publier
des articles inspirés sur quelque sujet que ce soit relativement
à l’enseignement de la musique.
Firm deadline for all submissions: June 15, 2014
Date limite de remise des articles : 15 juin 2014
51
52 Ostinato
53
54 Ostinato
55
56 Ostinato
Logo for National Conference 2016 to be held in
Saskatoon, Saskatchewan
57
Curriculum Corner / Boîte à idées
Sing From Your Heart / Chantons toujours avec notre coeur
Robert de Frece
Our Curriculum Corner this issue is a very special one. Honorary
Member and Contributing Editor Robert de Frece was commissioned
by Carl Orff Canada to produce a song to celebrate our forty years
as an association. Sing From Your Heart is the wonderful result.
Those of you attending the Ensemble conference in Halifax this April
will hear a thrilling performance of the song. In the meantime we
encourage you to perform this in your own school in conjunction
with a regular performance, Music Monday celebration, or simply
as a class activity. In 2014, let’s “sing from our hearts” from coast
to coast to coast!
The melody is below. To access the full score go to
www.orffcanada.ca.
Cette rubrique de la boîte à idées est toute particulière, car c’est
Robert de Frece, éditeur et patron émérite de Carl Orff Canada, qui
a reçu la commande pour composer une chanson en honneur du 40e
anniversaire de l’association. Chantons toujours avec notre cœur
en est le vibrant témoignage. Les participants du congrès Ensemble
qui aura lieu à Halifax en avril 2014 auront le plaisir d’entendre
cette magnifique œuvre. Nous vous encourageons à interpréter cette
chanson avec vos élèves ou lors des lundis de la musique. En 2014,
chantons toujours avec notre cœur dans les quatre coins du pays!
La partition est ci-dessous. Pour la partition complète, veuillez aller
au site www.orffcanada.ca.
How the Song Came to Be
Robert de Frece
I have always been fascinated by history, especially how things
“came to be.” During an e-mail conversation with Ostinato Editor,
Catherine West, I mused that members of Carl Orff Canada might
be interested in knowing how Sing From Your Heart/Chantons
toujours avec notre coeur, the piece that I was commissioned to write
in celebration of the 40th Anniversary of COC, was created. When
Catherine agreed, I realized that I had “given myself an assignment.”
What follows is an account of how the composition had its genesis.
been directing choirs. While I am “theoretically” retired, I still direct, the University of Alberta Mixed Chorus, the choir in which my
wife, Cathy, and I met when we were students at the U of A. Cathy
sings in Greenwood Singers, an Edmonton choir that I founded in
1980 and still direct. I firmly believe that singing, like movement,
is organic and is at the centre of the Orff process since it through
singing that children can truly demonstrate melodic understanding.
It thus took me very little time to realize that the text of the piece
should be about singing and the joy that music brings into our lives
when we join together in song.
When COC President Beryl Peters contacted me in the spring of
2013 about writing a piece, we agreed that getting permission to
set an existing poem to music would present all sorts of copyright
issues, so I said that I would write the text as well as the music.
Having begun my career as a teacher of Choral Music at the junior
and senior high school levels, this year marks 45 years that I have
I created a melody in a minor mode and realized after it was complete that I had chosen to leave out the sixth degree of the scale.
As much as I love the Dorian mode, I think that if the 6th degree
were in the melody, the mode would be Aeolian! I wrote the words
and the melody in June of 2013 and decided to “test drive” it in the
Choral Musicianship class during the Orff Schulwerk Certification
58 Ostinato
Program at the University of
Alberta in July. The students
learned the melody quickly
and enjoyed creating their
own movement for it. In
order to pay homage to the
wonderful heritage of the
music passed down to us by
Orff and Keetman, I decided
in September to accompany
the melody with a shifting
i-VII accompaniment as
modeled for us in Volume IV
of Music for Children.
My decision to add an instrumental interlude with a
melody played on soprano
recorder was to allow time for
the performers to move from one large circle for the unison section
to 4 smaller circles for singing and moving in canon. I had always
found, in my work with children, that having each part in a canon
stand or move in circle formation allowed them to hear their own
part more prominently within their circle while still hearing the
harmony created with the other voices. The children that I taught
in the U of A Child Study Centre gave this formation the moniker,
“canon balls,” a name that I have often quoted to my adult students
since I can blame the pun it on children in grades 4 and 5 who
created it. As I worked through to the end of the piece, I realized
that, with my love of the choral music of the Renaissance, I have
always enjoyed hearing a tierce de Picardy at the end of a motet in
a minor mode, so I chose to have the piece end on a major chord.
I shared the first draft of the piece with Beryl Peters via e-mail
on November 5, 2013. Shortly after I had sent it, Beryl replied
“Just as your e-mail arrived, I was meeting with a team of music
educators reviewing our new Music curriculum, so we stopped to
sing together! The canon works beautifully and I only wish we
had Orff instruments here as well. But some of our voices took the
instrumental parts so we had great fun!”
Beryl then contacted Denise Lapointe and asked her if she would
write a French translation of the text. How fortunate we are to
have a fine musician such as Denise who was able to capture the
essence of the text using French words that fit the rhythm of the
melody so well.
Thus, Sing From Your Heart/Chantons toujours avec notre coeur
was completed. My only regret in this whole process is that I will
be unable to attend the conference in Halifax to hear the premiere
performance of the piece. While I cannot to be there to join in the
celebration of the 40th Anniversary of Carl Orff Canada, I will be
making music as I conduct Greenwood Singers in a concert entitled
Music for the Soul that same weekend. And as I reflect on this little
piece of history, I realize how appropriate it is that I had chosen
this theme for my choir’s concert. Music does feed the soul, and
that is why we do the work that we do, bringing music into the
lives of children.
“And now . . .” to quote the American radio broadcaster, Paul
Harvey, “you know the rest of the story.”
Robert de Frece is Professor Emeritus of Music and Music Education at the
University of Alberta in Edmonton, Alberta where he directs and teaches
in the Department of Elementary Education’s Orff Schulwerk Certification
Program. He has also taught in Orff summer programs at Hofstra University
(Hempstead, New York), Trinity University (San Antonio, Texas), Bowling
Green State University (Bowling Green, Ohio), the University of South
Florida (Tampa Florida), the State University of New York at Potsdam,
and the University of Illinois at Champaign/Urbana. Dr. de Frece is coauthor of two music series published by Macmillan/McGraw-Hill, Share
the Music and Spotlight on Music. Other publications include Hooray
for Singing, Singing Round the Year and two musicals co-authored with
Sue Harvie: Mi-Re-Do The Game Show and Brought to You By (Alfred
Publishing). He has presented Orff workshops across the United States
and Canada and in the People’s Republic of China.
L’origine de la chanson
Par Robert de Frece, traduit par Denise Lapointe
J’ai toujours été emballé par l’histoire, particulièrement sur l’origine des choses. Lors d’un échange de courriels avec Catherine
West, l’éditrice d’Ostinato, nous avons pensé que les lecteurs
d’Ostinato seraient intéressés de connaître comment j’en suis venu
à composer Sing From Your Heart/Chantons toujours avec notre
cœur, une chanson qui est le résultat d’une commande de Carl Orff
Canada pour célébrer son 40e anniversaire. Quelle tâche je venais
de m’attribuer! Vous lirez dans les prochaines lignes l’histoire de
la genèse de cette œuvre.
C’est au printemps 2013, que la présidente de COC, Beryl Peters,
m’a proposé de composer une musique pour un poème existant, mais
comme ceci peut engendrer toutes sortes de difficultés au niveau
de droits d’auteur, donc j’ai décidé de composer aussi le texte.
J’ai commencé ma carrière comme professeur de chorale dans les
écoles secondaires et cela fait maintenant 45 ans que je dirige des
chorales. Bien que je sois « retraité », je dirige toujours la chorale
mixte de l’Université d’Alberta, où lorsque j’y étais étudiant, j’ai
rencontré Cathy qui allait devenir mon épouse. Cathy chante dans
le chœur Greenwood Singers d’Edmonton, chorale que j’ai fondée
en 1980, et que je dirige encore. Je crois fermement que le chant,
tout comme le mouvement, est organique et qu’il est au centre de
l’approche Orff, puisque c’est par le chant que les enfants peuvent
démontrer leur compréhension mélodique. Il a été évident pour moi
que les paroles de cette chanson devaient parler de chant et de la joie
que la musique nous procure lorsque nous chantons tous ensemble.
J’ai composé une mélodie dans le mode mineur et réalisé, une fois
terminée, que j’avais omis le sixième degré de la gamme. Autant
que j’apprécie le mode dorien, je crois que la présence de la sixte
aurait donné le mode éolien! J’ai écrit les paroles et la mélodie en
juin 2013 et je l’ai testée au cours de la formation chorale du programme de certification Orff Schulwerk de l’Université d’Alberta
en juillet 2013. Les étudiants ont appris la mélodie rapidement et
ont eu du plaisir à créer les mouvements pour l’accompagner. En
hommage à l’héritage laissé par Orff et Keetman, j’ai choisi en
septembre dernier d’accompagner la mélodie d’une progression qui
alterne entre les accords I – VII, comme démontré dans le volume
IV des livres Music for Children.
J’ai décidé d’ajouter un interlude instrumental dont la mélodie est
jouée par la flûte à bec soprano pour donner le temps aux interprètes
de se déplacer du grand cercle de la section chantée à l’unisson à
59
quatre plus petits cercles lors du chant et du mouvement en canon.
Lors de mon travail avec les enfants, j’ai remarqué que la formation d’un cercle pour chaque voix d’un canon leur permettait de
mieux entendre leur voix tout en entendant l’harmonie créée par les
autres voix. Mes élèves à qui j’ai enseigné au centre pour enfants
de l’Université d’Alberta ont donné le surnom à cette formation
de « boule de canon », un nom que j’ai fréquemment cité à mes
étudiants adultes. Et puis, je peux facilement mettre la responsabilité
du jeu de mots sur les enfants de 4e et 5e année qui l’ont inventé.
En avançant vers la fin de la pièce, j’ai réalisé qu’en plus de mon
amour du chant choral de la Renaissance, j’ai toujours aimé entendre
la tierce de Picardie à la fin d’un motet dans le mode mineur. J’ai
donc choisi de terminer cette chanson par un accord majeur.
J’ai partagé par courriel la première version de la chanson avec
Beryl Peters en novembre 2013. Peu de temps après lui avoir
envoyé ce courriel, Beryl me répond : « tout comme votre courriel
arrivait, j’étais en train de travailler avec des spécialistes en musique
pour réviser le curriculum musical et nous avons tout arrêté pour
chanter ensemble! Le canon est magnifique et j’aurais aimé avoir
des instruments Orff avec nous, mais nous avons chanté les parties
instrumentales et nous avons eu bien du plaisir! »
Beryl a ensuite demandé à Denise Lapointe de traduire les paroles
de la chanson. Nous sommes privilégiés que Denise ait pu capter
l’essence du texte et utiliser des mots qui suivent le rythme et la
mélodie si bien.
60 Ostinato
Et voilà que Sing From Your Heart/Chantons toujours avec notre
cœur fut terminé. Mon seul regret est que je ne serai pas présent au
congrès de Halifax pour entendre la première de cette œuvre. Bien
que je ne puisse participer aux célébrations du 40e anniversaire de
Carl Orff Canada, je ferai quand même de la musique, car je dirigerai le chœur Greenwood Singers dans un concert intitulé Music
for the Soul (musique pour l’âme) cette même fin de semaine. En
pensant à cette histoire, je réalise que ce titre est très approprié pour
le thème de ce concert. La musique nourrit l’âme et c’est la raison
pour laquelle nous faisons le travail que nous faisons, en amenant
de la musique dans la vie des enfants.
Et maintenant, pour citer Paul Harvey, l’animateur américain de
radio : « maintenant, vous connaissez la fin de l’histoire ».
Robert de Frece est professeur émérite de musique et éducation musicale
à l’Université d’Alberta à Edmonton. Il y enseigne et dirige le programme
de certification Orff Schulwerk au département d’éducation musicale au
primaire. Il a aussi enseigné les formations d’été à l’Université Hofstra
(Hampstead, New York), l’Université Trinity (San Antonio, Texas), l’Université Bowling Green State (Bowling Green, Ohio), l’Université de la Floride
du Sud (Tampa, Floride), l’Université d’état de New York à Potsdam et
l’Université d’Illinois à Champaign/Urbana. Dr de Freece est le coauteur
de deux séries musicales (Share the Music et Spotlight on Music) publiées
chez Macmillan/McGraw-Hill. On peut noter d’autres publications telles
que Hooray for Singing, Singing Round the Year et deux comédies musicales coécrites avec Sue Harvie : Mi-Re-Do The Game Show et Brought
to You By (Alfred Publishing). Il a présenté des formations Orff partout
aux États-Unis, au Canada et en République de Chine.
RCSPRT385_Ostinato Ad_2013.14 13-08-30 3:21 PM Page 1
Music for Children – Carl Orff Canada – Musique pour enfants
TRAINING FOR THE
BEST BY THE BEST.
Founder and Patron/Fondatrice et patronne d’honneur
Doreen Hall
Honorary Patrons/Patrons émérites
Bramwell Tovey
Sr. Marcelle Corneille
Jos Wuytack
Board of Directors/Conseil d’administration national 2012– 2014
Past-President/Présidente sortant de charge
Cathy Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6
President/Présidente
Beryl Peters, 500 Laidlaw Blvd., Winnipeg MB R3P 0K9
T (204) 474-1384, F (204) 945-6747, [email protected]
First Vice-President/Première vice-présidente
Marlene Hinz, 3551 Apple Grove, Regina, SK S4V 2R3
Second Vice-President/Deuxième vice-présidente
Liz Kristjanson, 54 Glenbrook Cres., Winnipeg MB R3T 4W4
Treasurer/Trésorière
Eileen Stannard, 44 Second Ave., Ardrossan AB T8E 2A1
If undeliverable please
return to:
Ruth Nichols
7 Regent Street,
Amherst, NS B4H 3S6
[email protected]
Professional Development
Fall 2013 – Spring 2014
Enrich your teaching with inspiring
courses taught by dedicated experts:
• Fall: Orff Intro
• Spring: Orff Level I
• Summer: Orff Intro, Level I, II and Music From Five Continents
with Doug Goodkin
• Artist Educator Professional Training
• Early Childhood Music Education Training
Membership Secretary/Secrétaire des adhésions
Ruth Nichols, 7 Regent Street, Amherst, NS B4H 3S6
Website
Joanne Linden, 1647-126 Street, Edmonton AB T6W 1R8
Secretary/Secrétaire
Laurel Nikolai, 11143-65 Avenue, Edmonton AB T6H 1W4
T: (780) 637-6808, [email protected]
LIMITED
AVAILABILITY
REGISTER
NOW!
Editor/Rédactrice en chef
Catherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4
(T) 647-970-7080, weekends (613) 449-8924, [email protected]
Archivist/Archiviste
Anne Tipler, 4099 Wheelwright Cres. , Mississauga ON L5L 2X3
Francophone Member at Large/Correspondante francophone
Denise Lapointe, 219 Forest,Pincourt, QC J7V 8E7
T (514) 453-8020, [email protected], [email protected]
Register online at rcmusic.ca
or call 416.408.2825
Check in with our website regularly for ongoing
opportunities for you and your students.
rcmusic.ca
Carl Orff Canada Aims and Objectives
Music for Children - Carl Orff Canada - Musique pour enfants is a Corporation which operates with the following objectives:
i) to encourage the development throughout Canada of a holistic music
education program for children based upon the pedagogical philosophy and approach of Carl Orff;
ii) to encourage, promote and fulfill Carl Orff Canada's objectives in all regions of Canada through a national organization and through regional
chapters;
iii) to produce and distribute a national journal addressing issues relating to the Orff philosophy of music education;
iv) to organize and administer conferences and workshops focusing on quality music education for children; and
v) to cooperate with other music education organizations in order to further the objectives of the Corporation.
O
Music for Children - Musique pour enfants
stinato
Celebrating 40 years!
Célébrons 40 années!
Music for Children | Musique pour enfants
Sing From Your Heart
Chantons toujours avec notre cœur
Volume 40,
Number 2, Winter 2014
Tri-annual Publication of Carl Orff Canada

Ostinato Winter 2014 - CARL ORFF CANADA | Music for Children

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