Ostinato Winter 2010 - CARL ORFF CANADA | Music for Children

Transcription

Music for Children - Musique pour enfants
O
stinato
Volume 36,
Number 2, Winter 2010
Sortir des sentiers battus! /
Orff Outside the Box!
Children’s Day with a Touch of Gold
Project Overseas in Dominica
Developing Musical Literacy with a SMART
Board
The Orff Approach and 21st Century Curriculum
Thoughts from the Edge/ Penser au-delà des limites
You Say Midas, and I’ll Say Modas
Bringing “Leaves” to Life
Orff with Seniors
Audition active pour les tout-petits
It was Twenty Years Ago Today
The Art and Science of Teaching
“Amazing Grace”: Grace Nash
Des bulles musicales … un art spontané!
When Birds Begin to Sing
Tri-annual Publication of Carl Orff Canada
Music for Children – Carl Orff Canada – Musique pour enfants
Founder and Patron/Fondatrice et patronne d’honneur
Doreen Hall
Honorary Patrons/Patrons émérites
Sr. Marcelle Corneille
Jos Wuytack
National Executive/Conseil d’administration national 2008 – 2010
Past-President/Présidente sortant de charge
Debra Giebelhaus-Maloney, PO Box 36072, 6449 Crowchild Trail, SW Calgary AB T3E 5R0
T (403) 258-3466, F (403) 258-3975, [email protected], [email protected]
President/Présidente
Joan Linklater, 88 Tunis Bay, Winnipeg, MB, R3T 2X1
T (204) 261-1893, W (204) 474-6194, F (204) 474-7546, [email protected]
First Vice-President/Première vice-présidente
Catherine Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6
T (604) 946-5132, [email protected]
Second Vice-President/Deuxième vice-présidente
Beryl Peters, 500 Laidlaw Blvd., Winnipeg MB R3P 0K9
H (204) 474-1384, B: (204)474-9339, F (204) 885-3930, [email protected]
Third Vice-President/Troisième vice-présidente
Ruth Morrison, 120 Sutton St., Fredericton NB E3B 6L4
If undeliverable please
return to:
Ruth Nichols
8 Melrose Street
Amherst NS B4H 3M9
Secretary/Secrétaire
Joanne Linden, 1647 - 126th Street SW, Edmonton AB T6A 0N3
Treasurer/Trésorière
Eileen Stannard, 44 Second Ave, Box 23, Ardrossan AB T8E 2A1
Membership Secretary/Secrétaire des adhésions
Ruth Nichols, 8 Melrose Street, Amherst NS B4H 3M9
Editor/Rédactrice en chef
Catherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4
Francophone Member at Large/Correspondente francophone
Denise Lapointe, 219 Forest , Pincourt QC J7V 8E7
Archivist/Archiviste
Batya Levy, #2405 - 30 Malta Avenue, Brampton ON L6Y 4S5
T 905.450.7875, [email protected]
hereinafter referred to as the Corporation
The objectives of the Corporation are:
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 objectives in all regions of Canada through the national organization and regional chapters;
iii) to produce and distribute periodic publications addressing issues relating to the Corporation’s objectives;
iv) to organize and administer periodic conferences and workshops with agenda and curricula relating to the Corporation’s objectives; and
v) to cooperate with other music education organizations in order to further the objectives of the Corporation.
Ostinato
Volume 36, Number 2, Winter 2010
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 Denise Lapointe
à : [email protected] et en copie conforme à
Catherine West à : [email protected]
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.
From the Editor / Mot de la rédactrice
2
President’s Message / Mot de la présidente
4
Children’s Day with a Touch of Gold, Michelle Panagiotou
Project Overseas in Dominica, Glenn deVerteuil
Developing Musical Literacy with SMART™ Board Interactive
Whiteboard Technology, Joanne Linden The Orff Approach and 21st Century Canadian Music Education
Curriculum for the 21st Century, Beryl Peters Thoughts from the Edge / Penser au-delà des limites,
Marcelline Moody
You Say Midas, and I’ll Say Modas, and We Pulled the Whole
Thing Off! Marcelline Moody
Bringing “Leaves” to Life, Brenda Chorney
Orff with Seniors, Ada Vermeulen
Audition active pour les tout-petits, Richard Roy
It was Twenty Years Ago Today…James Jackson 7
8
11
12
13
14
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15
Articles
The Art and Science of Teaching: A Personal Journey,
Don Dupont & Brian Hiller
“Amazing Grace”: Grace Nash on her 100th Birthday!
Morna-June Morrow
Book Reviews / Critiques de recueils et DVDs pédagogiques
How the Gimquat Found Her Song, Marion Roy
Intery Mintery, Tammy Stinson
Course Reports
Level I at Vancouver Community College, Miyuki Johanson
Level II in Vancouver, Lisa Reimer
Leslie Bricker’s “Orff for the Classroom Teacher” Course,
Michelle Skene
16
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19
20
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Orff-Schulwerk Courses / Formations Orff
23
Chapter Workshops/ Ateliers de perfectionnement
27
National Executive Section /
Section du conseil exécutif national
30
Curriculum Corner / Boîte à idées www.orffcanada.ca
4
6
Des bulles musicales ... un art spontané, Céline Sévigny
When Birds Begin to Sing, Joy Reeve
Take Note / Notez bien...
31
32
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Publication agreement #40012987
If undeliverable please return to: Ruth Nichols, 8 Melrose Street, Amherst NS B4H 3M9
Vol. 36, No. 2, Winter 2010
1
From the Editor / Mot de la rédactrice
Catherine West
What impression does
the larger music-teaching community have of
Orff in our country? We
generally encounter
approval and encouragement, but the recent
inclusion of a derogatory reference to Orff in
a national educational journal warns us not
to be complacent. Some of our colleagues
believe that Orff is limited to a narrow
tonal vocabulary, simplistic materials, and
traditional forms and harmonies. We must
be able to articulate why and how we are
practitioners of best practices in education,
practices that not only follow, but also
lead the way in challenging how things are
done - practices that can shake hands with
the best of recent technology, research into
how brains work, educational trends, and
musical vocabularies.
Accordingly we have assembled an issue
devoted to “Orff Beyond the Box” – a
snapshot of Orff across the country in 2010,
especially showcasing creative teaching
practices that extend the definition of classroom music education. We believe that you
will be inspired to read about the ways our
Orff community is pushing the boundaries
of music education in every province, and
hope that there will be ideas you can adapt
for your own practice, and share with your
music teaching colleagues.
One of the pillars of the Orff approach,
although he is rarely identified as such, is
the iconic, and iconoclastic, music educator
and Canadian composer, R. Murray Schafer.
Schafer’s ideas are completely embedded in
the Canadian Orff approach, so completely
embedded that many music teachers are not
aware that the listening games and soundscapes they program as a matter of course
are originally Schafer’s ideas. Activities
such as composing with found sounds, or
graphic notation, or sounds in the environment can often be traced to Schafer’s “earcleaning” influence; he invented the term
“soundscape”.
Schafer’s ideas developed during an extraordinarily fertile time for Canadian musical
composition, the latter half of the twentieth
century. Canadian music educators are now
turning to this music and discovering it to
be a rich source of material for inspiring
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their students’ creativity. There is a large
repertoire of music that provides exciting
entry points for students, for example, music
based on visual arts, music inspired by the
Canadian landscape, music inspired by
folk song, music that makes use of graphic
scores and unconventional instruments, or
instruments from world music. The province
of Québec leads the rest of the country in
honouring composers Claude Vivier and
Gilles Tremblay, providing kits to music
classes as part of the celebrations.
My colleague (COC Past President) Alison
Kenny-Gardhouse and I are currently working with the National Arts Centre Orchestra
on a Canadian Composers kit. That kit will
be available in English and French in the
spring of 2010 and will, we hope, provide
teachers with some additional tools for learning about and listening to the wonderfully
diverse and appealing world of Canadian
music. The kit also contains a feature spread
on R. Murray Schafer and the educational
activities it contains feature many Schafer
activities – activities many Orff teachers
will find to be very familiar!
Anyone who saw the opening ceremonies
for the last COC Winnipeg conference
where hundreds of school children created
a dramatic movement realization of Glenn
Buhr’s “Akasha – Sky” will not doubt the
possibilities for working with this wonderful
body of repertoire through the philosophy
and techniques of the Orff approach, and
using it to inspire a new generation of young
composers. We hope you will continue to
be aware of our Canadian repertoire and
use it to inspire your students’ musical
creativity.
So if you see an eye roll when the word
“Orff” is mentioned, do something to communicate the currency and validity of our
work, perhaps using some of the stories
in this issue as examples. Do come to the
UNITE 2010 conference in Winnipeg this
April to be inspired in your own turn – I
hope to see you all there!
Quelle impression la communauté élargie
a-t-elle de la pédagogie Orff au pays?
Généralement, nous en entendons dire du
bien et avons des témoignages d’approbation
et d’encouragement. Pourtant, un article
récemment paru dans une revue d’éducation
musical déroge à cela et nous met en garde
de donner dans la complaisance. Certains de
nos collègues croient que la pédagogie Orff
se limite à un vocabulaire tonal limité, à du
matériel simpliste et à des harmonies et des
formes traditionnelles. Nous devons pouvoir
dire pourquoi et comment nous pratiquons
les meilleurs façons d’enseigner, façons qui
ouvre la voie à une pratique où l’on relève
des défis de manière créative, qui peuvent
en outre s’accorder avec les plus récentes
technologies, la recherche sur le fonctionnement du cerveau, les courants en éducation
et les vocabulaires musicaux variés.
Aussi, nous avons intitulé ce numéro Orff
pour sortir des sentiers battus qui se veut
un portrait des spécialistes en musique à
travers le pays d’après leur pratique créative.
Nous croyons que vous serez inspirés par
les façons de faire des spécialistes Orff de
chaque province pour repousser les limites
de l’éducation musicale et que vous pourrez
les adapter à votre enseignement et les
partager avec vos collègues.
L’un des piliers de la pédagogie Orff,
bien que rarement identifié comme tel, est
l’unique et iconoclaste compositeur canadien R. Murray Schafer. En effet, les idées
de Schafer sont tellement intégrées dans
l’approche Orff canadienne que plusieurs
enseignants ne savent pas que les activités
d’audition, de paysages sonores enseignés
aux élèves sont des idées originales de
Schafer. Les activités comme la notation
graphique – audiogramme –et les jeux avec
les sons de l’environnement prennent source
dans les activités d’éducation de l’oreille de
Schafer, c’est d’ailleurs lui qui a inventé ce
terme de « paysages sonores ».
Schafer a développé ses idées durant une
période extraordinairement fertile en composition musicale au Canada, la dernière
partie du vingtième siècle. Les enseignants
en musique se tournent maintenant vers cette
musique et découvrent une source riche de
matériel capable d’inspirer la créativité de
leurs élèves. En effet, il existe un grand
répertoire très accessible axé sur les arts
visuels, les chants folkloriques, le vaste
paysage canadien, la musique qui fait appel
aux instruments non traditionnels ou qui
viennent d’ailleurs.
Le Québec ouvre la voie au reste du pays
en rendant hommage aux compositeurs
Claude Vivier et Gilles Tremblay. En effet,
chaque classe a reçu une trousse d’activités
musicales à leur sujet.
Ma collègue Alison Kenny-Gardhouse (ancienne présidente COC) et moi travaillons
actuellement à monter une trousse pédagogique sur les compositeurs canadiens
avec l’orchestre du Centre National des
Arts. La trousse sera disponible en français
et en anglais au printemps 2010 et offrira
des outils additionnels pour faire découvrir et apprécier la diversité de la musique
canadienne. Cette trousse comprendra
également une rubrique sur la pédagogie de
R. Murray Schafer que certains enseignants
reconnaîtront sûrement!
Ceux qui ont assisté à la cérémonie
d’ouverture du dernier congrès national ont
pu voir une création scénique sur la musique
d’Akasha-Sky de Glenn Buhr produite
par des centaines d’enfants. Il n’y a aucun
doute que l’on puisse travailler ce répertoire
dans l’esprit de la philosophie Orff et qu’il
servira d’inspiration à toute une nouvelle
génération de compositeurs canadiens. Nous
espérons que vous continuez de découvrir
la musique canadienne et l’offrez comme
source d’inspiration à vos élèves.
Si vous voyez quelqu’un lever les yeux au
ciel en entendant le mot Orff, faites lui part
de la validité de votre travail en utilisant,
peut-être même, des exemples tirés de ce
numéro.
Enfin, à votre tour, venez vous laisser
inspirer au congrès UNITE 2010 à Winnipeg en avril prochain. J’espère vous y
voir tous!
In Memoriam
1938-2010
Jacques Hétu
Un compositeur contemporain
pas comme les autres
Néo-classique, lyrique et coloriste
Actif jusqu’au bout de sa vie, il a
assisté à la création de son Concerto pour deux guitares, interprété
par André Roy et Marc Deschênes
et l'Orchestre Métropolitain, le 14
janvier dernier. Sa 5e Symphonie
avec chœur, sur un poème de Paul
Éluard, Liberté, qui sera jouée par
l'Orchestre symphonique de Toronto,
le 3 mars.
President’s Message / Mot de la présidente
Joan Linklater
Greetings to you all and
best wishes from Carl
Orff Canada. I hope you
have experienced much
beautiful music making
with your children this
year and that you feel
enriched and motivated
to continue to bring the
very best out of each and every one of your
students.
In November I attended the American OrffShulwerk Association’s national conference
in Milwaukee and subsequently returned to
my job with renewed respect and enthusiasm for teaching and the Orff approach.
At the AOSA conference, I was honoured
to bring greetings from Carl Orff Canada
and to march in the conference banner
parade with our COC banner. One of the
most significant parts of the experience
for me was attending the North American
Alliance Committee meeting. This committee is made up of the presidents, first vice
presidents and past presidents of both the
American Orff Schulwerk Association and
Carl Orff Canada, and meets at every AOSA
and COC national conference. Attending
this meeting with our past president Debra
Giebelhaus-Maloney was a great privilege,
and I encourage you to read the article in
this issue for more information about the
NAAC meeting.
Perhaps even more importantly, the AOSA
conference was a spring board for me to
think about our own upcoming Carl Orff
Canada national conference UNITE 2010
that will be held in my home city of Winnipeg on April 29 – May 2, 2010. It’s hard
to believe that the conference is only a few
months away and the work that began more
than four years ago will finally be revealed
to us all.
Visit the UNITE 2010 website www.
unite2010.ca for news about this amazing
opportunity and plan to attend UNITE 2010
to learn more about the Orff approach, to
connect with other music educators, to explore new resources, and to rejuvenate. We
are all looking forward to welcoming you
to Winnipeg and UNITE 2010; One World,
One Voice, One Song/un monde, une voix,
une chanson.
Traduction par Denise Lapointe
Au nom de Carl Orff Canada et en mon nom
personnel, je vous offre les meilleurs vœux
qui soient pour la nouvelle année. J’espère
que votre expérience musicale avec vos
élèves a été enrichissante pour tous et qu’elle
vous motive pour faire sortir le meilleur de
chacun en cette nouvelle année.
En novembre dernier, j’ai assisté au congrès
américain Orff-Shulwerk à Milwaukee.
J’en suis revenue avec un enthousiasme
renouvelé pour enseigner et, encore une
fois, pleine de respect pour l’approche
pédagogique Orff. J’ai eu l’honneur d’y
transmettre les vœux de Carl Orff Canada et de porter la bannière de COC au
défilé d’ouverture. Par ailleurs, l’une des
choses les plus significatives pour moi a
été de participer au comité de l’Alliance
nord-américaine. Ce comité est formé de
présidents, de premiers vice-présidents
et de présidents sortants des associations
américaines et canadiennes. Ce comité se
réunit lors de chaque congrès canadien et
américain. J’ai eu le plaisir d’être accompagnée par Debra Giebelhaus-Maloney notre
présidente-sortante. Je vous encourage à
lire le résumé de cette rencontre dans ce
numéro.
Ma présence au congrès américain m’a
aussi propulsée vers notre propre congrès
UNITE 2010 qui aura lieu du 29 avril au 2
mai 2010 dans ma ville natale, Winnipeg.
En effet, je réalisais que nous ne sommes
plus qu’à quelques mois de notre propre
congrès et que le travail qui a commencé il
y a quatre ans va enfin porter fruit.
Je vous invite à jeter un coup d’œil à
l’adresse www.unite2010.ca où vous trouverez tous les renseignements nécessaires
pour assister au congrès ou pour savoir
davantage sur l’approche pédagogique Orff.
Nous espérons vivement vous rencontrer à
Winnipeg pour le congrès UNITE 2010; One
World, One Voice, One Song/Un monde, une
voix, une chanson.
3
Orff Outside the Box in BC
With thanks to the BC Chapter for permission to reprint this from
the Chapter newsletter, Impulse. Compare the very different treatment given the King Midas story in the “You Say Midas” article
later in this issue. Ed.
Michelle Panagiotou
As a “musical”
classroom teacher who is relatively new to the
Orff approach, I
had been looking forward to
witnessing Orff
in action with
kids. The B.C.
Orff Chapter’s
biannual Children’s Day was
held on Saturday, May 2nd at
Edmonds Community School in Burnaby, and it was the perfect
opportunity. Four Master Teachers gave over 60 Grade 4 and 5
students a musical and dramatic experience of a Greek Odyssey.
Students rotated through four different stations while bringing to
life the story of King Midas and his golden touch. As one of the
teacher observers, I had the pleasure of accompanying one group of
students through all four stations, seeing how each Master Teacher
used different threads of the Orff approach in a way that allowed
the children to weave a beautiful tapestry. At the sharing session
at the end of the day, I was astonished and delighted to see how it
all came together in an incredible performance.
Michele Denny used an intriguing recording entitled “Dreamcatcher”
by Secret Garden to inspire the children to create a movement piece.
The students listened to the recording and then discussed what emotions the music portrayed and when the mood of the music changed.
Next, Michele engaged the students in mirroring and shadowing
movement activities, led by her to start and then working in pairs
to the music. A few children were selected to play Midas and the
Dreamcatchers and were given direction to develop their own movement sequence. This sequence was to depict Midas contemplating
his gift/curse while being protected by the Dreamcatchers from the
darkness that surrounded him. The rest of the children worked with
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Michele and developed their mirroring and shadowing movement
as a representation of ‘the darkness’. Finally, in pairs they faced off
and created a powerful ‘challenge sequence’ depicting King Midas’
struggle. The more active participants enjoyed this immensely.
At the second station I found myself singing “King Midas Touch”
right along with the students and I couldn’t sit still as Jeannie Denault
taught them the instrument parts. She expertly demonstrated how
to incorporate body percussion, pitched instruments, non-pitched
percussion, and steel drums; just when I thought there couldn’t
possibly be more, she added movement, allowing the children to
create their own improvised dances. The kids were having a blast,
and Jeannie made it look so easy!
Margaret Inglis led the next station and taught the students an
instrumental piece from Orff Schulwerk Vol. II p.96. First she had
the children sing a skeleton of the melody in this piece, notated
on the chalk board and using solfège. Then they sang it this way
again but this time thinking the note letter names (doh = C) as
well. Margaret sang the skeleton of the melody phrase by phrase
in solfège while the class echoed her using letter names. The piece
was then sung in its entirety using letter names and then played on
the instruments while singing the letter names. A few new notes
were added to start to fill in the skeleton. Each time a change was
made, it was sung first and then played. After a few rounds of adding
notes, the melody was complete and the skeleton was transformed
into Orff’s original work. Next, the students played the melody on
their recorders, and finally accompaniment parts were introduced.
I was amazed at how quickly it all came together and how the
students rose to the challenge.
“Elemental” music was integrated with drama and expressive
speech at the final station presented by Bruce Sled. Bruce’s goal
was to add tension to the climax of the story – when King Midas
turns his only son into a golden statue. Bruce taught his own
recorder arrangement, “Midas, Midas is so Foolish!” using cards
he had prepared in a pocket chart. Each card contained one bar of
music with the words written on the front of the card and the note
names and rhythms on the back. The children all learned to sing
the song first, echoing Bruce phrase by phrase. Then the melody
was transferred to the recorder. I was fascinated by the way he led
the children to “discover” what was on the backs of those colourful
cards. I was impressed with his ability to gauge how difficult the
children were finding each step, and how he adjusted the process
to suit their needs. In the end there were parts for children of every
ability level to perform, and Bruce made sure each child knew how
important his or her role was in portraying the story.
Children’s Day 2009 was a great success! The students had a wonderful time and I hope all the teacher observers were as inspired as
I was. And the parents? The warm rounds of applause as well as
a request for an encore performance of the opening round, which
was granted, revealed their response. Many thanks to the Master
Teachers and the B.C. Orff Chapter for a truly enriching and rewarding experience!
Michelle has been teaching in Burnaby, BC for seven years, and
is currently teaching part-time in a Grade 6/7 French Immersion
class at Aubrey Elementary. She has a musical background, but is
new to Orff, having just completed her Introduction to Orff Course
this past Spring. She is currently very much involved in the music
education of her 3 children aged 19 months to 5 years old.
Vous êtes francophone ?
Le chapitre Orff-Québec veut être en contact
avec vous !
Écrivez-nous à
[email protected]
The Orff Institute of the University
Mozarteum in Salzburg, Austria
The Special Course 2010-2011
Advanced Studies in Music and Dance Education
Orff Schulwerk
October 2010-June 2011
The Orff Institute is the center of the international movement in
music and dance education. This year-long university course addresses teachers at a post-graduate level from all over the world
who have already had training or experience in music and dance
education based on the pedagogical concepts of Orff Schulwerk.
It offers experienced music and dance teachers an intensive and
concentrated study of one of the world's most well-known integrative methods in music and dance pedagogy. The approach is based
on the historical Orff Schulwerk that has been further developed
according to contemporary aesthetic education. The participants,
coming from different cultural backgrounds, are encouraged to
transfer and adapt this pedagogy to the specific needs of their
own cultures
For further information please contact:
The Special Course, Orff Institute
Department for Music and Dance Pedagogy
University Mozarteum
Frohnburgweg 55
A-5020 Salzburg, Austria
Tel: 0043-662-6198-6100
Fax: 0043-662-6198-6109
e-mail: [email protected]
website: www.orffinstitut.at
If anyone is thinking of doing the Special Course in Salzburg,
take it from one who has done it that it is worth it!
It’s a year of mind-stretching (and body-stretching!) immersion in our chosen philosophy of music education taught by
master teachers with fabulous ideas and techniques.
I loved every minute of it and credit it with opening a whole
new understanding of what I was doing and what I wanted
to do. The brilliance of Orff Schulwerk is that it is so vast
and profound in its application, like the wild flowers that
Carl Orff likened it to. Each path through the wild flowers is
unique and full of possibilities, leading to a common goal of
the joy of understanding through doing.
And I’m not even mentioning the joy of living in Salzburg
for a year!
In the words of Nike: Just do it!
Marcelline Moody
Deadline for Applications: March 1, 2010
5
Orff Outside the Box in BC
Glenn deVerteuil
This past July, I had the honour of representing
BC teachers in conjunction with the Canadian
Teachers Federation (CTF) in Project Overseas. This volunteer teaching experience sends
Canadian teachers to parts of Africa, Asia and
the Caribbean. I was sent to the tiny island of
Dominica, part of the Leeward Island chain in
the Caribbean Sea where I taught music. I was
working with local teachers, helping them to
improve their skills. Other members of my team came from Ontario
and Newfoundland and taught Literacy, Match and Computers.
Every morning at 8am, the day began with all the students in the
program gathering in the school courtyard for devotions. 80% of
Dominicans are Roman Catholic, so having a bible reading, prayer
and singing hymns during school time was completely normal to
them. The singing was something to behold. Without any music,
the participants would eagerly sing hymns in four part harmony! I
couldn’t believe my ears. My first thought upon hearing this was,
“Why was I brought here to teach music? They all could sing in
tune and improvise harmonies!” (and this was all students in the
program, including the math, literacy and computer groups)
After devotions, students went off to their respective classes. My
group consisted of 16 individuals with a wide variety of musical
backgrounds. While some were working on the A.R.C.T. equivalent
in piano, others could not read music at all. There are few specialists in the Dominican elementary system and as in BC, teachers
are expected to teach everything. To top that off, people wanting
to become teachers need only to complete high school, and then
write an exam. This created even more variety as I had beginner
and veteran teachers in my program.
Students in Dominica do not have access to the various pitched
and non-pitched instruments that we often use in our Orff classrooms, but they do have a very successful recorder program. I was
happy to pass on some of tricks that I have learned when teaching
recorder to both beginner and more advanced students. My more
experienced teachers were able to assist those who had not played
recorder since they were in elementary school, if at all.
After a mid-morning break, the remaining time (until 1pm) was
spent on choral singing. I chose “Al Shlosha D’varim” by Allan
Naplan to focus on tone, open vowels, blend, part singing and
range. I had to introduce Donnelly and Stid’s “The Pirate’s Life”
as the Pirates of the Caribbean series was filmed off the coast of
Dominica. Another hit was Ruth Dwyer’s arrangement of “Shake
the Papaya Down” with lots of percussion instruments thrown in
for good measure. And I was taught how to properly pronounce
certain words in this song with a true Caribbean accent. Thanks to
the generous support of my school, my local union and the BCTF
I was able to purchase supplies such as octavos, percussion instruments, movement scarves, books and other accessories to donate
to the teachers I worked with in Dominica. They were extremely
grateful for these gifts, as they live in a country with very basic
classroom supplies.
Representatives of the Dominican Association of Teachers were
extremely gracious hosts to me and my Canadian co-teachers. They
provided us with food and drink at break times, and transported us
daily from our accommodation in the city of Roseau to our teaching
school as well as to the shops to purchase basic provisions. They
also took us on a tour of the island where we were able to visit
waterfalls, emerald pools, sulphur spas, beaches, the jungle and so
much more. A particular highlight for me was hearing the island’s
university choir, The Sixth Form Sisserou Singers, in concert. They
performed a varied selection of pieces, from Renaissance motets to
modern pop, and a short self written musical, composed of several
favourite calypso melodies. Not only did they sound fantastic, but
they also looked splendid in their colourful outfits.
Unfortunately, 2008 was the last chance BC teachers were eligible
to partake in Project Overseas as the BCTF has now withdrawn
from the CTF. I hope that the BCTF will find other means to provide
teachers a chance to work in other volunteer teaching projects around
the world where help is needed. It was an amazing experience that
I highly recommend to all my colleagues.
The first part of my teaching day usually involved singing games
for primary and intermediate students. Games such as “Doggie
Doggie”, “Magic Key” and “Down by the Banks” brought immense
joy to the teachers as they were played and sung. Once enough
games had been learned, participants in my class had to show
their creativity by inventing their own game, and then teaching it
to the class. Time was also spent on basic theory, such as reading
basic melodic and rhythm notation, augmented with activities that
encouraged creativity in the classroom.
6 Ostinato
Glenn deVerteuil received his Level III Orff certificate while completing his Diploma in Education at UBC and he has been teaching
elementary music at McKechnie Elementary School in Vancouver
for the past 11 years. He has also appeared in numerous productions with Vancouver Opera as a member of the chorus.
Orff Outside the Box in Alberta
Developing Musical Literacy with SMART™ Board Interactive
Whiteboard Technology
Joanne Linden
Learning music concepts through speech, singing, playing, moving,
and creating is holistic, child-centred, and pedagogically sound. It
is, of course, also the Orff way. Experiencing music through aural,
visual, kinaesthetic, and emotional modes ensure that each child
will make connections with the music skills and concepts we teach.
When a musical concept has been sung, played, spoken, moved to,
experienced, then, and only then, is the child truly ready to make
the connection to the more abstract labelling of that concept. Effectively scaffolding the learning from the concrete and experiential
to the abstract and theoretical is essential.
that as the students were physically moving the pitch icon to the
correct position on the single-line staff, they were much more aware
of where the pitch was in relation to the beat and to the text, as well
as to whether the pitch was a sol or a mi. Moreover, (and this has
always been a conceptual struggle), they were not placing pitch
icons in the “empty” space on the other side of the single-line staff,
under a beat that had already passed, but were seeing the melody
as a truly left-to-right progression of pitches that continue to line
up under the next beat.
My explanation for the improvement? I believe that it is because
of the kinaesthetic act of actually moving the icon into place in the
direction of the melody (underscoring the idea of movement of
sound through time), and reinforced by the visual aspect of seeing
the pitches line up under the beat and above the text of the song.
In my music classroom, I have had the opportunity to use a SMART
Board interactive whiteboard to help bridge this learning. SMART
Boards are a hands-on interactive technology where students can
manipulate images, text, sounds, links…your imagination is the
limit! The “ah-ha” moment for me came last year as I was teaching
my grade one students how to represent a bi-tonic (sol-mi) song,
after singing it, moving to it, and playing a game with it. As in
previous years of teaching this concept to grade one students, this
group’s experience of the concept ensured that they understood
and could demonstrate the difference between the higher and
lower pitch…we were ready to make the move to the abstract and
theoretical. This year however, instead of using cut-out felt hearts
to show beat and cut-out felt stars to represent the pitches, I used
my SMART Board. I basically transferred my old manipulatives
to a prettier and more appealing format. Same thing, just flashier…
or so I thought!
What I started to notice was that the children were much more
aware of where the steady beat lined up with the text of the song
(hmmm....a stronger literacy – music connection...). Then I noticed
SMART Board interactive whiteboard technology in my music room
is helping my students make gains in musical literacy by providing
a kinaesthetic link from their experience of music concepts to a
more abstract understanding of those concepts.
Joanne Linden teaches grade K-6 Music with Edmonton Public
Schools. She holds a B.Mus. (vocal performance) from the University of Saskatchewan, a B.Ed. (after degree) from the University
of Alberta, and has her Level III Orff certification. Joanne is the
Secretary and Webmaster for Carl Orff Canada, Webmaster for
the Alberta Orff Chapter, and served on the steering committee
for the 2008 National Orff Conference. Before pursuing a career
as a teacher, she taught private voice lessons in her home studio
as well as at Bethany Bible Institute (Saskatchewan), Northwest
Bible College (Edmonton), and at Grant MacEwan Community
College’s summer voice camp. Joanne has sung with Edmonton
Opera for the past 14 years and directed a children’s Music Enrichment Choir for Edmonton Public. Joanne has presented in
servicing of music teachers for Edmonton Public Schools and will
be presenting a workshop for the Alberta Chapter of Carl Orff
Canada in April of 2010.
7
Orff Outside the Box in Manitoba
The Orff Approach and 21st Century Canadian Music
Education Curriculum for the 21st Century
Beryl Peters
The wind whispers through the last shivering leaves clinging to stripped branches.
Raised voices of the wind, now moaning
and sighing, join those of cold raindrops.
They sing their winter coming song.
The final notes of a glockenspiel are allowed
to die away in the silence of my classroom
and suddenly, the magic is broken as the
teacher candidates break into applause. The
small group sharing their “Winter Coming”
song continues to hold their final position.
There are trees and branches of varying
levels and shapes; some candidates are
leaves curled, twisted, and resting on the
ground. A graphic score of the performance
piece is displayed on the cork board behind
the students. We are sharing music and
movement “Soundscapes” created by small
groups of teacher candidates and inspired
by contemporary class readings, discussion,
and listening. We are exploring music the
Orff way. Avon Gillespie describes the “elusive and
abstract” (p. ix) philosophy of the Orff
approach in Teaching Music in the TwentyFirst Century (Choksy, Abramson, Gillespie,
Woods, & York, 2001). He states that exploration of sound in the Orff process “begins
with environmental sounds and sounds
without organization” (p. 107). He believes
that children must discover the qualities of
sound for themselves while simultaneously
contributing to the group or ensemble. A
goal of our initial classroom experiences
is to engage in this kind of individual exploration and experience of environmental
sounds while building musical community.
To encourage sense of community, Gillespie
tells us, is a major goal of all Orff practice.
But first we have to learn how to listen to
the sound around us. In “Soundscape Studies: Listening with Attentive Ears” we discover that “becoming
an attentive and critical listener is a learned
skill toward which soundscape studies
can contribute” (Ferrington, 2003, p. 42).
Soundscapes are described as “acoustic
environments that include both natural and
human-made sound” (p. 43). Our starting
point is to listen attentively to the acoustic
environment of our classroom which we
broaden to include a walk through our
8 Ostinato
facility and finally the natural environment
outside our building. Out in the crisp air of
a dying fall in Winnipeg, we collect sounds
from the acoustic environment and record
them in sound journals. We listen for varying
timbres, the range of low to high pitched
sounds, sounds of varying volume and
expression, and ways the sounds combine
and layer in and out to create texture and
harmony.
One group explores the sounds of the parkade and records the loud, short slamming of
car doors and the low, sustained grumble of
running vehicles. Another group explores
the layers of sound heard in a work site.
They record the sharp, rhythmic staccato of
jackhammers, the roar of heavy machinery,
the high-pitched whine of circular saws,
loud, occasional shouts from workers, and
the sound of heavy, clanging chains. They
sketch the contrasting textures to show the
sound layers and shifting harmonic combinations. Other groups focus on outdoor areas
where nature is allowed to speak. A group
stands among the bare trees, fascinated with
this opportunity to listen so carefully to
wind scraping across branches and swirling
around leaves, merging with the increasing
intensity of the sound of raindrops.
In her latest book, Orff Schulwerk Today,
Jane Frazee states that “listening is central
to all Orff experiences” (2006, p. 19). The
Canadian composer, R. Murray Schafer
would agree. My students are intrigued with
Schafer’s famous “There are no ear-lids”
statement (Paynter, 1991, p. 40). R. Murray
Shafer is also known world-wide for his conceptual interpretation of soundscape (The
New Soundscape, 1969; The Tuning of the
World, 1977) and the creation of the World
Soundscape Project which resulted in various publications including The Vancouver
Soundscape book and CDs (1978a, 1997).
Our class analysis of listening excerpts from
The Vancouver Soundscape helps create
understanding and awareness of acoustic
environments and focuses attention on the
kinds of soundscape documentation that
Truax (2008) notes is becoming increasingly
practiced worldwide.
Our class participants do not attempt to
document their soundscapes in the same
manner as The Vancouver Soundscape. We
are not recording the sounds of our local
outdoor environment through technological
means. Instead, our class uses graphics
and print text to journal sounds from their
acoustic environments for subsequent transmediation through pitched and nonpitched
instruments, body percussion, voice, and
movement. We strive for the qualities Jane
Frazee observes in Orff classrooms, where
“self-expression is encouraged and valued,
musical experiments are carried out, and
tolerance for differing views is practiced”
(2006, p. 18). Students (and teacher candidates) experience music through multimedia performance, improvisation and
composition, listening, and analysis (Frazee,
2006). These are the Orff elements and
processes we explore as we re/create and
transform the acoustic environments into
new and original musical works.
We turn to the new draft Manitoba Music
curriculum framework (Manitoba Education,
Citizenship and Youth, 2008) to scaffold
our learning experiences in multi-media,
improvisation, composition, listening and
analysis. We integrate outcomes from the
four essential learning areas: Music Language and Performance Skills; Creative
Expression in Music; Understanding Music
in Context; and Valuing Musical Experience. We choose three General Learning
Outcomes (GLOs) from Creative Expression
to organize our learning experiences. In the
Creative Expression learning area, “Students
collaboratively and individually generate,
develop, and communicate ideas in creating
original and interpretive music for a variety
of purposes and audiences” (p. 18).
The first GLO states: “Students generate
and use ideas from a variety of sources
for creating music” (p. 18). Our source
for generating ideas is the acoustical environment surrounding our classroom and
building. After sound ideas are collected,
teacher candidates return to the classroom
to share ideas in their small groups and
engage in discussion and musical analysis
of them. Montgomery (2002) and Frazee
(2006) emphasize the importance of facilitating student reflection, analysis, and
interpretation for musical understanding.
As Frazee suggests, we name and describe
the musical elements in our listening experience. Teacher candidates analyze their
sound collections for pitch, rhythm, texture,
timbre, and expressive elements including
tempo, dynamics, and articulation. We adapt
a set of essential questions developed by
the American Orff educator Jay Broeker
and described by Jane Frazee (2006). These
questions are designed to help students
analyze elements of music in their listening,
creating, and performing experiences. We
examine guiding questions such as, “Does
the piece [acoustic environment] include
mostly pitched or unpitched sounds?...
How are ranges of voices or instruments
[or sounds] used? Narrow range (all high,
all low)? Wide range?...At what point are
many different sounds played at once? Only
a few sounds?...Were the dynamics varied or
the same throughout? Were changes sudden
or gradual?...Is there a contrast of smooth
with detached sound?” (p. 113). Teacher candidates make their sound selections and are now ready to “develop ideas
into music, creatively interpreting music
elements, techniques, and compositional
tools,” GLO II in Creative Expression
(Manitoba Education, Citizenship and
Youth, 2008, p. 18). They make appropriate
choices of pitched and nonpitched instruments, voice, and body percussion to represent sound qualities heard in the acoustic
environment. Again, we model questioning
to help guide choices. “Which instrument
has sound qualities that are short and sharp?
Loud and sustained?” Once instrument
and voice choices have been selected and
organized, the next step in our process is to
record our musical ideas. In her early work,
Discovering Orff (1987) Frazee states, “Orff
teachers have no rigidly prescribed systems
of teaching musical literacy” (p. 29). Frazee
believes that graphic notation conveys
to young children the understanding that
symbols can represent sound and leads
naturally to contemporary notation. Once
again, we find strong connections between
the work of Canadian composer R. Murray
Schafer and the Orff approach and we turn
to Schafer’s graphic scores as inspiration
for our own graphic score creation. Along
with various Schafer examples, we examine
graphic score models from Frazee (1987;
2006), Freed-Garrod (2000), Berberian
(1967), and online graphic score sources
such as Graphic Scores (Jones, www.mtrs.
co.uk/graphic.htm and Graphic Scores
(Shannon, 2000, www.musicatschool.co.uk/
year_7/Graphic_Scores/Scores.PDF).
Teacher candidates are given sufficient time
to plan their compositions, explore instrument possibilities, sketch ideas, and importantly, have opportunities and time to reflect,
“rehearse, revise and refine” (Manitoba
Education, Citizenship and Youth, 2008,
p. 23). Reflection is critical to successful
learning and current assessment practices
and it is a vital part of the Orff approach.
Doug Goodkin points out that it is “not
enough to just learn fun activities, exciting
material, clever processes—the Orff teacher
[and student] must be a reflective thinker as
well as an active doer” (2004, p. vii).
Some groups include speech and movement,
music’s indispensable partners in the Orff
approach (Goodkin, 2004). Speech elements and movement qualities add deeper
and richer layers of meaning as part of
the creative, interpretive transmediation
process from acoustic environment. When
teacher candidates determine their work
is “finished” they “interpret, perform, and
share their own and others’ music” (GLO
III) (Manitoba Education, Citizenship and
Youth, 2008, p. 18). A final group reflection
to “share and explain personal responses”
(p. 39), to analyze the music performances
and “explain what and how the music is
communicating” (p. 40) brings us to the
moment where teacher candidates break
into spontaneous applause.
The teacher candidates in our class have
been encouraged and activated to engage
in meaningful music making in ways both
Carl Orff and R. Murray Schafer would, I
hope, approve. At a speech Carl Orff gave
at the opening of the Salzburg Orff Institute
he said, “I encouraged the activation of the
students by the playing of their own music,
that is, through improvisation and composing it themselves. I therefore did not want to
train them on highly developed art instruments, but rather on instruments that were
preferably rhythmic, comparatively easy to
learn, primitive and unsophisticated” (Orff,
1983). Schafer held similar views on music
education and voiced this main objective for
music education: “To try to discover whatever creative potential children may have
for making music of their own” (Paynter,
1991, p. 42).
Our class soundscapes introduced us to
processes inherent in the Orff approach
and set the stage for further and deeper
exploration of Orff-based media and pedagogy. This approach is timeless and finds
relevance and meaning in diverse cultures,
historical periods, and societies. The joy of
Orff approaches can be experienced in music
education classes exploring African drumming or the music of Canadian composers
like R. Murray Schafer. Orff approaches
are appropriate and meaningful to realize
Music Education curriculum for 2010 and
far beyond. Doug Goodkin affirmed the
transcendence of the Orff approach when
he described Orff’s affinity for musical
practices outside of Western art music,
pointing to “a broader idea of what music
and music making is” (2004, p. 193-194). As
one teacher candidate expressed at the end
of our class, “I listened today with different
ears. I found music I never heard before. And
I created music I never knew I had.”
References
Berberian, C. (1967). Stripsody. New York:
C. F. Peters Corporation.
Choksy, L., Abramson, R. M., Gillespie, A.
E., Woods, D., & York, F. (2001). Teaching
music in the twenty-first century (2nd ed.).
Upper Saddle River, NJ: Prentice Hall.
Ferrington, G. (2003). Soundscape studies:
Listening with attentive ears. Telemedium,
The Journal of Media Literacy, 49/50(1),
42-45.
Frazee, J. (1987). Discovering Orff: A
curriculum for music teachers. New York:
Schott Music.
Frazee, J. (2006). Orff Schulwerk today:
Nurturing musical expression and understanding. New York: Schott Music.
Freed-Garrod, J. (2001). Soundbursts:
Making meaning with music. Vancouver,
BC: Dancing Dragon Press.
Goodkin, D. (2004). Play, sing, & dance:
An introduction to Orff Schulwerk. New
York: Schott Music.
Jones, R. Graphic scores. Retrieved November 12, 2009, from www.mtrs.co.uk/
graphic.htm.
Manitoba Education, Citizenship and
Youth. (2008). Kindergarten to grade 8
music: Manitoba curriculum framework
of outcomes for arts education. Winnipeg,
MB: Author.
Montgomery, A. P. (2002). Teaching
towards musical understanding: A handbook for the elementary grades. Toronto:
Prentice Hall.
Orff, C. (1983). Orff-Schulwerk past and
future. Retrieved November 12, 2009 from
www.vosa.org/paul/orff_speech.htm.
9
Paynter, J. (1991). Personalities in world music education no.
13—R. Murray Schafer. International Journal of Music Education, 18, 40-44.
Traux, B. (2008). Soundscape composition as global music:
Electroacoustic music as soundscape. Organized Sound, 13(2),
103-109.
Schafer, R. M. (1969). The new soundscape. Vienna: Universal
Edition.
World Soundscape Project. (1978a). No. 2 The Vancouver soundscape. In R. M. Schafer (Ed.), The Music of the Environment Series.
Vancouver: A.R.C. Publications.
Schafer, R. M. (1977). The tuning of the world. New York: Knopf;
reprinted as The soundscape: Our sonic environment and the tuning
of the world. Rochester, VT: Destiny Books, 1994.
World Soundscape Project. (1997). The Vancouver Soundscape
[CD]. Vancouver: Cambridge Street Publishing, CSR-2CD 9701.
Shannon, L. (2000). Graphic scores. Retrieved November 12,
2009 from www.musicatschool.co.uk/year_7/Graphic_Scores/
Scores.PDF.
Orff-Institut Salzburg
International Summer Course
Elemental Music And Dance Education: Orff-Schulwerk
July 4 – 10, 2010
Directed by Rainer Kotzian
Duration: 40 hours
Language: All classes will be taught in English.
Course fee: approx. € 330,- (Euros).
Accommodation: Schloss Frohnburg, Student Residence Internationales Kolleg, etc.
Application forms will be available from January 2010 on from the Secretary of the Orff-Institute,
A-5020 Salzburg, Frohnburgweg 55, Austria.
Tel.:0043/662/6198/6100,
fax: 0043/662/6198/6109
e-mail: [email protected]
10 Ostinato
Thoughts from the Edge
Marcelline Moody
I love the theme of this issue, because thinking
“outside the box” is something I seem to have
found myself practising for some years now,
especially since the year I spent at the Orff
Institute in Salzburg doing the Special Course
where we interacted with chairs in movement
class and composed with vacuum cleaners and
sundry mundane articles.
An article in the Summer 2008 CMEA journal
accused Orff Schulwerk of being stuck in the pentatonic. How
misinformed is this! Apart from the modal adventures with students
as described elsewhere in this issue, I’d like to mention some of
the projects music teachers have involved their students in with
the participation of the Winnipeg Symphony Orchestra.
For many years Manitoba music teachers have practised strategies,
based on the principles of Orff Schulwerk, to prepare their students
to be better listeners at the WSO elementary school concerts. As
well, huge numbers of students have participated in the concerts
in many ways: through singing, moving, playing recorder, strings
and drums, interpreting sound through art, writing poetry, and
composition.
Through these media we have explored:
The whole was much more than the sum of its parts – our “box”
had truly overflowed!
In other years teachers and their students have developed choreography that represents the music being played at the concerts and have
performed live with the orchestra. We have danced masterworks
such as Smetana’s Moldau, Holst’s Planets, Piazolla’s Spring, with
finesse and understanding: students are so “in tune” with the music
that they immediately know if the orchestra makes a mistake (which
rarely happens of course!).
Involving students as performers began 13 years ago with a huge
choir singing with the orchestra – a choir from a different school
division for each concert. Since then, a choral year alternating with
a movement year, many schools have had their students dance with
the orchestra. The concerts now include recorder, strings, drumming,
art work and composition as media for student involvement. All this
provides students with a reason to be thankful for Orff Schulwerk
which is its inspiration.
Marcelline Moody is a member of the Ostinato Editorial Board
and now lives in Victoria, BC. She will be presenting a seminar
with Tanya Derksen of the Winnipeg Symphony Orchestra about
the Orff-WSO projects at UNITE 2010. An example of Marcelline’s
process is included in the next article.
•
not only the pentatonic, but modes and diatonic harmony
•
different forms of dance, from energetic branles through stately
minuets to jazz and tango
•
creative movement, drama and story-telling
Penser au-delà des limites
•
art from classical times to the present
Traduction de Denise Lapointe
•
the magic of words and the economy and subtlety of poetry
•
instrumental excellence (Last year recorders replaced the
trumpets in a performance of the Hornpipe from Handel’s
Water Music with the orchestra)
•
composing for and performing with the orchestra
J’adore le thème de cette revue, car, pour moi, penser hors des
sentiers battus est ce que je fais depuis plusieurs années, surtout
depuis mon passage à l’Institut Orff de Salzbourg où j’ai assisté
à une formation où on a créé à partir de chaises, d’aspirateurs et
autres objets de notre environnement.
Last year, the theme of the concert was “The Elements” – water,
fire, air, and earth – and one of the pieces was a Rondo composed
by the students. Six teachers worked with their students throughout
the year:
•
exploring the acoustic properties of water with various tools
such as hands, sponges, straws, glasses
•
finding ways to represent fire, such as popping bubble wrap
and using speech, movement and colour
•
improvising wonderful atonal and tonal material with voice
and recorder and exploring unusual sound sources such as
didgeridoo, conch shell and thundersheet for air
•
devising intricate rhythms on drums, sticks, clay pots, rocks
for earth.
•
composing melodies for an A section that was transcribed for
and performed by the orchestra
Dans l’un des articles de la revue CMEA (été 2008), on reproche
au Orff Schulwerk d’être cramponné au seul mode pentatonique.
Quelle méprise! En plus d’expériences modales avec les élèves
(dont on parle ailleurs dans ce numéro), j’aimerais vous présenter
quelques projets auxquels les élèves ont participé lors de leur collaboration avec l’Orchestre symphonique de Winnipeg.
Depuis plusieurs années, les spécialistes de musique Orff du Manitoba se sont donné le mandat de former leurs élèves à développer leur
écoute selon l’approche Orff afin de mieux apprécier les concerts de
l’Orchestre symphonique de Winnipeg présentés en milieu scolaire.
De plus, un grand nombre d’élèves ont participé à ces concerts soit
en jouant de la flûte à bec, des instruments à cordes et percussions,
en dansant, en chantant et en interprétant le son par l’art visuel, la
poésie et la composition.
Ainsi, nous avons exploré :
•
les modes pentatoniques, les gammes modales et diatoniques;
11
•
différentes formes de danse, en passant par un branle énergique,
un menuet, un jazz et même un tango;
•
•
le mouvement créatif, l’art dramatique et la narration de
contes;
•
l’art visuel – de l’époque classique à l’époque contemporaine;
Le tout était beaucoup plus que la somme de ses parties, notre
sentier a dépassé les balises!
•
la magie des mots, l’économie de mots et la finesse typiques
de la poésie;
•
l’excellence instrumentale (l’an dernier, les flûtes à bec ont
remplacé les trompettes de l’orchestre dans l’œuvre Water
Music de Händel);
•
La composition pour orchestre et l’interprétation avec orchestre;
L’année dernière, dans le cadre d’un concert de l’orchestre dont le
thème était Les éléments – l’eau, le feu, l’air et la terre – l’une des
pièces était un rondo composé par les élèves. Supervisés par six
enseignants tout au long de l’année, ils ont travaillé :
•
Les propriétés acoustiques de l’eau avec les mains, éponges,
pailles et verre;
•
différentes façons de sonoriser le feu avec du papier d’emballage
à bulles, la parole, le mouvement et la couleur;
•
les mondes tonal et atonal des sons de l’air avec les flûtes à bec,
la voix, les coquillages, les didgeridoos, et feuilles de métal;
•
des rythmes sur tambours, bâtons, poteries et roches pour la
terre;
la composition d’une mélodie pour la section A du rondo qui
serait interprétée par l’orchestre.
Au cours des années précédentes, les élèves et leurs enseignants
ont composé des chorégraphies sur quelques pièces jouées par
l’orchestre – la Moldau de Smetana, Les planètes de Holst et Le
printemps de Piazolla. Ils ont aussi dansé leur réalisations devant
le public. Ils était tellement en accord avec la musique, qu’ils auraient pu déceler une erreur de la part de l’orchestre (ce qui arrive
très rarement, bien sûr!)
Ce projet de participation active des enfants avec l’orchestre a
débuté il y a 13 ans par une grande chorale formée des chorales
de chaque région. Depuis, on alterne entre année chorale et année
mouvement. De nombreuses écoles ont eu le privilège de danser
avec l’orchestre. Aujourd’hui, la flûte à bec, les cordes, les percussions, l’art visuel et les compositions multimédias font partie des
concerts de l’orchestre. Tout ceci donne aux élèves l’occasion de
remercier l’Orff Schulwerk pour son inspiration.
Marcelline Moody est membre éditorial d’Ostinato et réside à Victoria, C.-B.. Lors du prochain congrès UNITE 2010, elle présentera
avec Tarya Derksen de l’Orchestre symphonique de Winnipeg, un
atelier portant sur les projets conjoints Orff et l’orchestre de Winnipeg. Vous pourrez lire dans ce numéro un exemple de son processus
d’enseignement dans « You Say Midas and I’ll Say Modas ».
You Say Midas, and I’ll Say Modas,
and We Pulled the Whole Thing Off!
(With thanks to the Manitoba Chapter for permission to reprint
this from the chapter newsletter, Manitoba Modes. Compare the
very different treatment of the King Midas Story in the Children’s
Day article earlier in this issue. Ed.)
Marcelline Moody
For about 12 years I have been involved with the Manitoba
Chamber Orchestra in various education outreach activities with
children, in particular several composition projects where students
have composed pieces that have been transcribed for orchestra
and played by the MCO, often with active participation by the
students concerned.
In June 2004 the year-long project was the composition of a
children’s opera based on the story of King Midas. Since Midas
was King of Phrygia, we decided that the whole thing would be
written in the 6 medieval modes, Ionian, Dorian, Phrygian, Lydian, Mixolydian, and Aeolian. Each school worked in a different
mode. I was tempted to call it King Modas, but we decided that
the public might think we couldn’t spell, so we left it with the
original spelling.
From 738-695 BC, King Midas ruled the part of the ancient world
called Phrygia, (which is now Turkey), and the idea of using the
modes spread from there: anything to do with Midas was in the
Phrygian; We called his daughter Dorian; We brought Silenus from
12 Ostinato
travels in Ionia and the god Dionysius from travels in Aeolia. We
were guilty of a little alteration of history in order to incorporate the
Lydian: Croesus The King of Lydia, who ruled from 560-546 BC
(some 130 years AFTER Midas) was, bless his heart, responsible
for standardizing Greek coinage, so anything to do with money
was in the Lydian mode, and through some clever manipulation of
the lyrics and some clumsy servants tripping over and mixing up
Midas’s counting, we were able to incorporate the MIXolydian.
[It is not the first time that History has been distorted to fit a storyline, and I’m sure it won’t be the last. Rest assured that the students
all knew of our re-arranging of the facts.]
We modelled the appearance of Dionysius on the 3rd section of
Carmina Burana – the influence of Carl Orff was a motivator
in the conception, creation and realization of this piece. Several
other pieces were inspired by harmonies or rhythms from the Orff
Schulwerk volumes.
The project has enabled the study, not only of music and composition, but also of dance and drama. As well, we have touched on
history, geography, mythology, architecture, costume, and ancient
Greek Drama. And we went far beyond the pentatonic!
Each school participated in at least 6 composition workshops
throughout the year starting in September. The workshops included:
•
a dramatic focus with improvisation of dialogue and movement
•
composition techniques, especially the use of ostinato and
question and answer, and an understanding of harmonization
•
study of the elemental style of pieces found in the Orff Schulwerk volumes
•
creation of dances
•
discussion of Greek history, architecture, costume
•
discussion of Greek Drama, the importance of the Chorus,
etc.
In March we had one massed meeting where the students (about 100
of them) met each other and heard each other’s splendid efforts at
composition. We began learning the massed numbers at that time
and discussed the logistics of the performance.
In April, Boyd Mackenzie, violinist and arranger of the music for
the MCO, began visits to the schools to hear what the students
had composed on Orff instruments, recorder and voice. In May
he returned with the conductor and four other players to play the
music as he had arranged it for the student composers and to discuss
with them articulations, phrasings, etc. The students were thrilled
by this attention and encouragement.
Brenda Chorney
This fall I introduced my Grade 1s to a song
called "Leaves". After learning it by rote and
exploring the melodic contour (I share it with
my Grade 1s on a bulletin board with the melody
pictorially notated), I invited the students to tell
the story of the song. They started with creative
movement "being leaves". I introduced scarves
and they carefully and creatively chose colours
and explored different "leaf dancing" ideas. I
continued to ask them what else we could do to
help tell the story. Over time, they added trees (to which the leaves
attached before the song began), foxes and bunnies (animals to see),
crows and owls (birds to hear) and the wind.
With a minimum of rehearsal time the huge project began to take
its final shape. Auditioning for soloists and rehearsing with those
selected took place on Saturdays. Teachers and students at the
schools practised overtime, rehearsing the dances, dialogue, chorus
parts and soloist roles.
Finally, June 3rd arrived. We had a full dress rehearsal with the
orchestra in the morning and gave our first performance for schools
in the afternoon. Then came the evening performance. The students
excelled themselves, as did the orchestra, the behind-the-scenes
people, and everyone involved. It was a huge success and hard to
believe it was over so soon.
It was a unique and wonderful experience for everyone involved.
On students’ evaluation sheets done after the performance there
was not one negative comment. Most students remarked on how
good it was for their self esteem, their sense of co-operation, and
that they had learned many new things, particularly about Ancient
Greece, Modes, and Triads. And they had learned about the Manitoba
Chamber Orchestra: “I didn’t know that there was an MCO, and that
they don’t always play boring music”. My favourite comment on
the evaluation sheets was “...that I could sing, dance and compose,
and do anything I want if I try”.
The project also afforded a continued connection between music
education and one of Manitoba’s leading arts bodies – the Manitoba
Chamber Orchestra. All the students have attended at least one
concert given by the MCO during this year’s season, and we hope
that they will continue to be concert-goers for all their lives.
(It is hoped that the opera will be published in a form suitable for
performance with Orff instruments. There are VHS videos available of the performance and DVDs. If anyone is interested, please
contact Marcelline Moody at [email protected].)
The final form became:
•
introduction – began with the wind and animals and birds
(leaves were attached to the trees)
•
the song (the animals decided to take cover under a tree so the
dancing leaves didn't trip on them) during which the wind and
the birds continued as the leaves danced and fell down
•
the coda – animals moved around the woods again with the
birds and wind fading away.
We shared the final performance with the classroom teachers.
Through the Orff process we had transformed a simple song into
a work of art, created by the students themselves.
Brenda Chorney teaches Grades 1 -3 Music at Happy Thought
School in East Selkirk, Manitoba. She is Past President of the
Manitoba Orff Chapter and Treasurer for UNITE 2010. She is the
2009 recipient of the Morna-June Morrow Award for Excellence
in Music Education in Manitoba.
Did You Know?
You can find up-to-date information
about Orff workshops and Levels
courses across Canada on www.orffcanada.ca.
13
Orff Outside the Box in Ontario
Orff with Seniors
Ada Vermeulen
Teaching seniors is hard, but extremely rewarding, work. As the presenter, you are the
instructor, entertainer and caretaker all at once.
The following views are based on my experience
of working with seniors in approximately 12
different residences, for a total of 150 hours.
When approaching a group of seniors, an important thing to keep in mind is that “slow is fine”.
Seniors have all the time in the world; you don’t
have to keep them busy in order to maintain their interest. Your
presence alone is a great stimulation for them. Then, when you start
to offer them musical tidbits, their interest is really piqued.
The most important thing that I had found in order to gain their
trust and interest was learning their names. I had my seniors sit in a
semi-circle. I shook their hand as they entered the room and learned
their names. By the time they were all there I had memorized their
names and started the session by offering a song which involved
their names. This made me vulnerable in their eyes – singing by myself – which made them less reluctant to sing themselves later on.
Working with seniors you bring cheer and stimulation to places
where they are not abundant. You form the connection with everyday
things, such as the weather, traffic, family ties, the latest news, the
working world and life in general. Rewards are there for you, as
well as for them: you have made a difference in their day.
Ada Vermeulen is a highly experienced Itinerant Orff Instructor
for the Toronto District School Board. She is the author of three
books of bilingual singing games (Songs to Play and Sing, More
Songs to Play and Sing and Yes Today We Sing and Play). Known
nationally as an Orff clinician, she has presented at Carl Orff
Canada national conferences.
Sortir des sentiers battus au Québec
Audition active pour
les tout-petits
Finding material that suits many backgrounds can be a challenge.
If you are going to work at Buena Casa Vecchia in Little Italy, you
are not going to get far with “Oh Danny Boy”! As my sessions were
not singalongs, but Orff sessions, I avoided the use of the piano as
much as possible. However, having the piano was a must for certain
segments, such as the grand finale: singing and playing.
Seniors have physical and mental challenges. In any given group
there were folks that had arthritis, dementia, vision and hearing
problems, reluctance and shyness. There might be interruptions on
account of them having a visitor; they may need to leave early for
medication or go to the bathroom; or they want “to go home”. They
are either cold or hot, they have walkers that they don’t want to part
with, or they are in wheelchairs. All sessions varied; the combination of residents changed almost every week, as participants were
preoccupied elsewhere, or had moved to “other floors”.
In terms of the Orff component, my seniors were quite happy to
clap their hands, pat their thighs, stamp their feet and play the beat
on an instrument. However, they were reluctant to play an entire
xylophone. It intimidated them. Single, two-hand or one-hand instruments (tone-bars, drums, bells, maracas) were the most satisfactory.
The best part of the session was where we sang known songs while
they maintained the beat on a simple instrument.
In order to stimulate some of the “higher functioning” residents
I used lots of visuals; I incorporated simple theoretical concepts.
Depending on the response and interest, I would go further with
that. The “lower functioning” residents would just sit and wait it out.
The more able seniors would be grateful for the fact that someone
realized they still had a mind.
I always had stuffed animals and picture books on hand and many
visual aids. It was worthwhile taking the time to go around the group
so they could look at, or feel, a particular item. “Slow is fine”; they
all love to hold Bingo for a moment.
14 Ostinato
Par Richard Roy
(Cette activité s’inspire d'un atelier de danse créative avec Nicole
Campeau, enseignante à la Commission scolaire des Patriotes)
Musique : L'aquarium, extrait du Carnaval des animaux de
Camille Saint-Saëns
Chaque élève est en position fixe et cache un foulard dans la paume
de sa main… Le foulard représente un poisson.
•
Lorsque le premier thème débute, l'élève libère le foulard et
se déplace dans l'espace. Il fait bouger son foulard en suivant
les phrases musicales de la flûte… Le poisson nage.
•
Lorsqu'on entend le deuxième thème musical (sons descendants
et exécuté au piano) l'élève s’arrête et fait descendre doucement
son foulard jusqu'au fond de l'eau… Le poisson se repose.
•
On répéter ces deux séquences de mouvement en respectant
la reprise des thèmes musicaux.
•
Lorsqu'on entend le troisième thème musical au carillon suspendu (sons ascendants), l'élève fait bouger son foulard vers
le haut avec de petits gestes rapides… Le poison saute hors
de l'eau pour se nourrir.
•
Lorsqu'on entend la finale (sons descendants au piano), l'élève
fait descendre son foulard jusqu'au sol… Le poisson s'est
endormi.
Richard est enseignant à la Commission scolaire Marie-Victorin
et un membre du C.A. de Orff-Québec.
Orff Outside the Box in Nova Scotia
It was Twenty Years Ago Today…
James Jackson
When I began teaching elementary classroom
music 20 years ago, I was fortunate enough
to start my career in Langley, B.C., followed
by Halifax NS. Both of these districts had
strong music programs in their schools and I
had wonderful mentors to help me along. At
around the 10 year mark, though, I was feeling
like I needed a change. I just wasn’t satisfied
with my teaching. It felt like I was in a box. It
came down to this: I didn’t feel I was teaching music in a way that
allowed the children to discover the “magic” that had first drawn
me to music. Not that I was doing a bad job, but I knew there had
to be a better way. Disenchanted, I was considering a move to
school administration. Thank goodness for Orff Level One! It let
me out of the box.
So to begin my reflection on my twenty years of teaching music, I
asked why music? The arts are a uniquely human expression which
no other species participates in. They are, in many ways, our greatest accomplishment. Children need to be involved in this human
endeavor. Music, the most universal and accessible of all the arts,
truly can speak to us all. It can transport us, sweep us away, and
take us other places. We can be so “in the moment” that everything
else disappears. Children need to “play” with the arts, manipulate
them, experiment with them and just have fun with them. Music is
frequently the only art form available in any consistent manner at
the elementary level and taught by a trained practitioner. We carry
a heavy responsibility.
at the interesting patterns of dots on the page together, he offers to
play it on the piano. He plays it perfectly, with the sequences very
exact and the notation now totally understandable. Upper elementary boys dance their hearts out with each other in our dance sets to
the jigs and reels of Cape Breton. I realize one day that one of the
quietest kids in the school is in my choir, my band and the school
string program. A bouncy grade four student asks eagerly if he is
allowed to take his recorder composition home. A special needs child,
who can barely put two words together in a row and is shy about
speaking, sings “Charlie over the Ocean” perfectly, by himself, as
he skips around the circle tapping his classmates’ heads.
In conclusion, as I grow as a music educator, my focus seems to have
become simpler. Through “joy”, “play” and “togetherness” I am
hopefully giving my students a lifelong love of music. Everything
I do now in my class is, as I tell them,” serious fun”. We work hard,
are challenged, and have a great time doing it. This is the beauty of
Orff, and, after twenty years, it is why I still look forward to going
to school each day.
James Jackson teaches elementary music in the outskirts of Halifax
at Hammond Plains School, Hammond Plains NS.
Next I asked why Orff? After twenty years of teaching music, the
last ten with Orff, it now comes down to three words, “joy”, “play”
and “togetherness”! I know of no other musical pedagogy that is
more holistic for the child or offers the kind of “interconnectedness”
that its ensemble work enables. The “joy” in the voices as a grade
three class experiences a four part, layered speech ostinato, later
moved onto non-pitched percussion. The giggles as a primary class
“walks the words” of “Engine, Engine” and “play” with the quick
phrase “Halifax Line”. The smiles as a grade four class discovers
they can combine the contrasting body percussion rhythms with
the text of “A Lemon and a Pickle” and the grade six students, all
of who are so anxious to show off their 16 beat hand jive/ body
percussion sequences they have created “together” with their
partners. Then there are the grade threes deep in concentration as
they improvise on the mallet instruments to the text of “Peach,
Pear, Apple, Plum” and the grade twos who are so excited when
they hear and add a simple orchestration to a familiar singing
game. Watching grade two students mirroring perfectly to Satie’s
Gymnopedie #1 or listening to a grade 5 class totally feeling the
groove of a five part African non- pitched percussion piece they
are performing “together”. These are some of the daily “joys” of
an Orff classroom as we “play” “together” with music. Orff is so
broad and so inclusive. It can touch us all.
Then there have been those rewarding moments of being a teacher.
A grade two student, who is considered a problem student, brings
me some musical notation of songs he has written. After we look
15
The Art and Science of Teaching: A Personal Journey
Don Dupont and Brian Hiller
Looking back at our early careers as music educators it is
evident that Orff Schulwerk
was a turning point in our
work with children. Prior to
our early experiences with
this multi-faceted approach,
we struggled with ways to
provide a classroom experience that was hands-on, creative, exciting and always developing.
It was our early work with the ideas presented by Carl Orff and
his colleague, Gunild Keetman that brought us the inspiration we
were so desperately seeking. Orff Schulwerk (literally meaning,
School Work in German) encourages the students to be the music
makers. They are the vehicles through which classrooms become
creative and inviting places to be. The melding of natural activities
which include chanting, singing, movement, recorder and instrument playing provides a multitude of opportunities for learning
and expression.
One of the most influential experiences with Orff Schulwerk came
when we were students in the certification program at Hofstra University in Long Island, New York. It was there under the tutelage
of Carol Huffman and Robert de Frece that we developed the tools
and ideas of Orff Schulwerk. Our professors inspired us to expand
our thinking and we were eager to bring their wonderful, creative
ideas back to our schools. Our classroom climate changed as our
students picked up on our enthusiasm and became excited with the
prospect of participating fully in the music making process in an
active, rather than passive way.
We now had a grasp of the “Art” of teaching. We were learning
how to instill in our students an excitement toward the creative
possibilities in Music. They were developing ownership and we
were growing as facilitators in the music making process. But we
still struggled with the age-old question of “What to teach when?”
We were still concerned about the “nuts and bolts” of curriculum
development. It was the “Science” of teaching that we were lacking. Since Orff and Keetman did not offer a curriculum per se, we
set out to design a scope and sequence for our K-4 music program
based on National and New York State standards using the elements
of Rhythm, Melody, Form, Texture, Timbre and Harmony. It was
our goal to present skills and concepts in a developmentally appropriate step-by-step sequence that taught the children skills that
we valued without impacting the creativity the students craved. We
wanted them to have fun, be engaged but also articulate to others
what exactly they were learning in Music!
In the paragraphs that follow, we share our philosophy and curricular goals which were presented at a recent Board of Education
meeting around the time when severe cuts were being made in
our programs.
At the elementary levels students develop musical skills through
singing, chanting, moving and instrument playing. In our classrooms, these ideas are often integrated into one learning activity,
encouraging students to be the music makers. For example, children
may learn a traditional folk song, identify the form and style, add
movement and instrumental accompaniment and develop ideas
16 Ostinato
for contrasting sections. This multi-faceted approach fosters active
music participation and gives individual students an opportunity to
express themselves using various forms of music- making. Through
this process, children are learning to become not only independent
musicians but interdependent members of a community of learners.
The music room is a place where children participate, discover,
investigate, learn and perform. The result is an experience that not
only builds musical knowledge but helps students develop a positive
attitude toward music and the music making process.
Every elementary student in our district attends Music once a week.
As in any other discipline, music has its own tools, materials, concepts and skills which are developed with increasing understanding
over time. For each concept or skill taught, the student must pass
through a learning sequence to assimilate and build understanding. Children experience skills and concepts through an eclectic
hands-on approach which incorporates singing, chant and poetry,
instrument playing, and movement as well as improvisation. The
major approaches to teaching music skills and concepts, Orff
Schulwerk, Dalcroze and Kodály, are integrated to create a wellrounded music program.
In kindergarten, children participate in a variety of singing games,
movement activities and dances to develop a feeling of steady
beat. Students learn to differentiate between speaking and singing
voice. They learn many songs and begin to develop the ability to
sing in tune. Many call and response activities foster good listening skills.
In first grade, students begin linking words and music. Beginning
experiences with text are aided by repetition, rhyme, rhythm, pattern
and predictability. Students learn to differentiate between steady
beat and rhythm. The rhythms of quarter note and two eighth notes
are introduced along with the quarter note rest. Students manipulate
these rhythms with a variety of poems, nursery rhymes, and story
songs. They transfer rhythms to percussion instruments and begin
to experience improvisation. They match pitches with hand signs
to aid in pitch recognition and in-tune singing.
In second grade, students continue to make connections between
sound and symbol. Previously learned rhythms are played, sung,
moved to and improvised through a variety of songs and dances.
The students learn the half note and its rest. Experiences with
instrumental accompaniment begin on the barred instruments and
students begin to create contrasting sections in compositions.
In third grade students begin integrating a music vocabulary to learn
about spatial awareness, dynamics and form. Rhythmic reading
incorporates the quarter note, eighth notes, half note and whole
note. Accompaniments at the xylophones and other instruments
become more complex. Students are asked to sing in tune using
the full pentatonic (5 note) scale as well as singing in two part
canon. The recorder is introduced as a tool to foster instrumental
playing and note reading. Singing in major and minor keys is
introduced. Students begin to create and notate their own original
compositions.
In fourth grade students sing three and four part canons in tune.
Additional tones are added to complete the major diatonic scale.
Note reading is enhanced through recorder playing and barred
instrument playing. The division of the beat into four equal parts
(sixteenth notes) is introduced. Students are asked to perform
rhythms and improvise using question/answer phrases. Listening
and musicianship is emphasized as students perform as an orchestra
on the instruments.
Students at each grade level participate in a musical performance
each year. These plays are often based on literature or a unit of
study in Social Studies and often incorporate singing, movement
and instrument playing. All students attend these performances to
develop audience participation skills.
Although most of our students will not make music their professional careers we can provide them with a sound education that
is thoughtful, engaging and meaningful. Mastering both the Art
and Science of teaching takes many years to develop. As teachers
we are growing and learning along with our students. Even with a
total of 50 years of teaching between us, we are still energetic and
eager to learn both as teachers and musicians. Orff Schulwerk is
what you bring to it. We have given the children much of the power
in creative decisions in the classroom and the results have been
rewarding to observe. So much of what we bring to the students
is our love and enthusiasm for learning. We hope this will always
be a part of their lives.
Don Dupont and Brian Hiller teach elementary music in Westchester County, New York and are both Adjunct Professors at Hofstra
University (Hempstead, Long Island). They both received their
Orff Schulwerk training at Hofstra University and completed the
Master Class in Orff Schulwerk at Memphis State University. Mr.
Dupont and Mr. Hiller present workshops at music conferences at
both the national and state levels as well as for Orff-Schulwerk
Chapters around the country. They are levels instructors at the Orff
Schulwerk teacher education program at Hofstra University.
Mr. Dupont holds a B.F.A. in Voice from the State University
of New York College at Purchase and an M.S. degree in Music
Education from Western Connecticut State University. Mr. Hiller
holds a B.S. degree in Education from the State University of New
York College at Oswego and an M.A. in Education from Manhattanville College. He holds dual certifications in both elementary
and music education.
They are co-authors of four books: It’s Elemental; Lessons That
Engage; It’s Elemental 2, More Lessons that Engage; Earth, Water,
Fire, Air! A Suite for Voices, Narrator and Orff Instruments, and
Make a Joyful Sound (Memphis Musicraft Publications). More
information at www.briananddon.com
Advertising in Ostinato
For rates, specs and timelines
please contact our Industry
Representative,Tammy Stinson,
[email protected]
17
“Amazing Grace”: Congratulations to ex-Advisory
Board Member Grace Nash on her 100th Birthday!
Morna-June Morrow
Grace C. Nash celebrated her 100th birthday
on November 19th, 2009. All three sons,
many grandchildren and great-children
(14) and extended families from the USA
and Norway came to celebrate this special
milestone of a very, very remarkable lady
in the nursing home where she now resides
in Tallahassee, Florida. When I wished
her happy 100th birthday, she replied, “I
wouldn’t want to do it again!” and when I
asked her how many great-grandchildren
she had, she replied “14 – at least that I
know about.” Typical Grace with her very
keen sense of humour.
Grace wrote many music education books
during her long career as a teacher, called
Music With Children, plus many other
books. Carl Orff Canada’s Founder, Doreen
Hall asked Grace to be on the Advisory
Board of Carl Orff Canada in 1974 so we
would have a direct connection with the
American Orff-Schulwerk Association. In
June of that year, I took a week-long course
with Grace at St. Mary’s College in North
Dakota. Because all the course participants
were staying in the dormitories on campus,
I met Grace and her husband, Ralph, in
the evenings and we had wonderful times
together talking about many things. As I was
the editor of the Manitoba Music Educator
at the time, I interviewed Grace about her
long career.
After graduating from Ohio Wesleyan
University with majors in violin and music
education, she added the tenor saxophone
to her violin studies so she could play in
the band and orchestra. She was awarded
violin scholarships from the Cleveland
Institute of Music in 1934 and earned her
Masters at Chicago’s Musical College the
next year. To help with expenses, Grace
became a strolling musician with her violin and saxophone at a night club. While
travelling on a train she met her future
husband, Ralph who was a mechanical
engineer from the state of Washington. He
was working for an American Company in
the Philippine Islands. She invited him to
listen to her play at the night club which he
did, and a mere five days later he proposed
to her! They were married in Manila on
October 24, 1936.
18 Ostinato
Grace was a member and soloist with the
Manila Symphony, a music critic for the
Manila Bulletin, developed a Junior Orchestra and co-founded a Children’s Art
Center. She only returned to the States in
1940 to let her family meet her two sons,
Ralph Stanley and Gale.
At this point in the interview, Grace became
suddenly quiet and simply said that there
was a period of three years she could not
talk about. I was rather puzzled but did not
ask any questions. She then continued on
about her work with music educators in the
subsequent decades.
It was about a month later that I was talking with Jane Frazee from Minneapolis-St.
Paul and when I spoke of my recent interview with Grace, Jane filled me in on the
“missing three years”. Grace, Ralph and
their two young sons spent 1942-1945 in a
Japanese prison camp in the Philippines. I
was shocked to say the least.
Grace flew up to Winnipeg for the second
National Carl Orff Conference and I had a
chance to entertain her in my home. During the next several years, I met Grace at
various Orff conferences and eventually she
descrubed her internment during the war
to me. Although the women and children
were separated from the men in the camp,
she added with the usual twinkle in her eye,
“But I did see Ralph on occasion and nine
months later, our third son, Roy, was born.”
Grace said she wanted to write a book about
her experiences during those fateful years
but the time was not quite right.
While travelling up the escalator at the
AOSA conference venue in Las Vegas in
1984, I spotted Grace coming down on the
other side, and she shouted to me, “I’ve done
it! It’s at the publishers now!” Not only did
I receive an autographed copy, but while
visiting Arizona at Christmas time a few
years later, Grace took me out for lunch and
then we returned to her home in Scottsdale,
to have a visit with Ralph. Two things I
remember distinctly. Their backyard was
full of orange and grapefruit trees. The other
was Grace’s study and on the wall was an
enlarged framed reproduction of the cover
of her book THAT WE MIGHT LIVE – A
Story of Human Triumph During World War
II. We talked about the difficulty she had
in writing the book, the people who were
lost during those years and the heartache
of fighting disease in the camp with her
young family. I treasure my autographed
copy of that book.
For years I would receive a Christmas poem
from Grace relating the last year’s family
activities. She always had a gift for writing
poetry and just last year, finished a book of
poetry with her long-time Orff associate,
Janice Rapley.
And then, one year the Christmas greetings stopped coming. I knew that Ralph
had passed away on Christmas Eve, 1988.
I wondered how Grace was doing. One
day, I googled her name and was delighted
to find she was now in a nursing home in
Tallahassee, near her youngest son, Roy. I
e-mailed Roy and found out that Grace had
survived two bouts of cancer, two broken
hips and arm, a stroke, was having difficulty
in seeing and was now wheelchair bound,
but that she was as spry as ever in her mind
and full of humour. She is referred to in the
nursing home as “Amazing Grace”, and
amazing she is. I telephoned her on her 98th
and 99th birthday and was delighted to have
a wonderful conversation this morning on
her centenary birthday. I have also read the
sequel to the first book, Five Came Home,
telling of their difficult transition back to
normal life in the USA.
If any music educators want to read two
extraordinary books of human triumph,
I would heartily recommend both these
books. They may be ordered on-line from
Roy Nash at [email protected]
Morna-June Morrow is the founding
president of the Manitoba Orff Chapter
and served on the MOC executive for 20
years and the national executive of Carl
Orff Canada for 17 years. In recognition
of her outstanding contribution to Carl
Orff Canada and music education she was
awarded an honorary life membership in
1994. She is recognized internationally as
a handbell director and clinician and is
currently president of the Winnipeg Music
Festival.
How the Gimquat Found Her Song: A Musical Journey in
Search of a Song
Featuring the Toronto Symphony Orchestra and Platypus Theatre
Written and acted by Peter Duschenes
Study Guide created by Connexionarts
Teacher’s Guide: 30 pages, DVD, CD, instrument flashcard photos
$49
Available at St. John’s Music/Waterloo Music or directly from the
TSO (www.tso.ca).
Copyright 2009
Reviewed by Marion Roy
Connexionarts has done it again! They have created a resource that
is teacher friendly and that is easy to use in the music classroom.
This resource can be used to explore music in different historical
periods, to study instruments in the orchestra, to listen and respond,
to visualize and to explore character education topics.
Finding your voice can be a daunting task. This new resource by
Connexionarts shows how music changes over time as composers find their own personal voice. ‘Everybody has a unique voice/
identity and it takes time to figure out what it is.’ To explore this
idea, the creators have created a fable that is told through story on
an engaging and delightful DVD. The DVD uses a combination
of real video of the Toronto Symphony Orchestra playing at Roy
Thomson Hall, and computer generated animation of the time
traveling. Each selection used on the 58 minute DVD is included
on a separate CD for further investigation. Composers on the CD
include Bizet, Vivaldi, Bach, Mozart, Berlioz, Brahms, Offenbach,
and Ravel.
The story is about a unique bird called the Gimquat who meets up
with a magician called Griffin the Great. Griffin the Great agrees to
help the Gimquat solve her problem – being a bird without a song!
Together they travel through time to listen to different types of music
that may appeal to the Gimquat. Their journey ends in the Canadian
wilderness where she realizes that her song is the loon call. On their
journey together, they experience the music of the Monastery, the
Medieval Market, Bach, the Opera, Nature and Jazz.
la carte’ will find this resource easy to take door to door, and easy
to use in the classroom. With Kenny-Gardhouse and West as a part
of the writing team – you know that the Orff approach has guided
their lessons. Lessons are creative, interesting and authentic.
The easy to use study guide includes 4 main sections: Big Ideas/
Strategies, Viewing Guide, Lesson Plans and Appendix. Included
is a DVD, CD and photo instrument flashcards. Each Chapter of
the DVD is divided up in the teacher study guide. Suggestions for
quick activities are given as well as longer activities. Each activity,
whether long or short, is directly tied to the Ontario curriculum and
is cross curricular. The book itself is easy to use with the ringed
spine and easy to access secure page for the DVD and CD.
Exciting to teachers will be the thorough lesson plans included at the
end. The lesson plans take specific music expectations and explore
them thoroughly using chapters from the DVD and/or a specific
track on the CD. The lessons appeal to different learning styles
of our students. Everything you need is included in this resource:
graphic organizer samples, sample pieces of music, biographies
of the composers, brief descriptions of the time periods, materials
required and teacher tips.
There are many resources offered by industry but few compare
to this one for exploring music from historical periods as well as
engaging children in thinking about what their own voice might
be. It is a relief to finally find an excellent resource with a unique
Canadian perspective to it. Whether you are new to music education
or you are a veteran, you will appreciate this new resource as you
continue your own journey in search of your own song.
Marion Roy is an Orff Specialist and Music teacher for the Peel
district Board of Education at Oscar Peterson Public School in
Mississauga where she teaches grade 1 – 5 music. She is currently
the President of the Ontario Orff Chapter.
“How the Gimquat Found Her Voice” engages children and draws
them into music from different historical periods through the colourful DVD and the delightful actor/puppet relationship between wizard
and bird. Moving back and forth between real (the orchestra) and
fantasy (time traveling) is fascinating. The authors have kept both
the classroom teacher and music specialist in mind. All music terms
are defined to assist those new to them while many activities can
be explored further if desired by the teacher. Teachers teaching ‘a
Carl Orff Canada website
www.orffcanada.ca
To visit the members only page, contact the national
membership secretary for the password.
Doreen Hall Scholarship Winner
Narae Lee received an award of $1483 this year in
support of her studies as a Music Education major at
the Music Faculty, University of Toronto. Read more
about Narae in our Spring 2010 issue.
19
Intery Mintery: Nursery Rhymes for Body, Voice and
Orff Ensemble
by Doug Goodkin
Pentatonic Press @ 2008. 204 pages. $32.50
Reviewed by Tammy Stinson
Intery Mintery is a collection of 48 tried-and-true activities from 34
years of work at the San Francisco School. The book is intended
for both music and classroom teachers, acknowledging the fact
that either will have different backgrounds and therefore different outcomes. The lessons are simple enough to understand, and
the author encourages teachers to be open to discovering other
possibilities with the children. Intery Mintery is divided into two
sections: the first part includes activities for voice, body percussion
and movement; the second features rhymes arranged for the Orff
instrument ensemble.
The first section is described as “Activities for all Ages”. What is
required is nothing more than a teacher, a group of students and
an active imagination. This section is designed to rekindle the
fascination for words, syllables and phonemes, “to re-animate
the dance of language” and to dance to it. Through name games,
body contortions and rhyme, children are moving figuratively
and literally through the nuts and bolts of language, discovering
consonants and vowels, letter shapes and formation, spelling,
nouns, verbs, homonyms, alliteration, and much more. There is
a natural progression from simple to complex, from the phoneme
to the poem. All the while, a musical vocabulary is expanding as
students experience, in logical sequence, beat, rhythm, colour,
ostinato, rondo, etc. For further activities and deeper explanations,
Goodkin refers to some of his other books by Alfred Publications:
Name Games and A Rhyme in Time.
The second section is for pre-school to Grade 5. It is written to
model a logical harmonic and melodic sequence for children, providing arrangements for beginning (K-2), intermediate (Gr. 2-4)
and advanced (Gr. 3-5) Orff ensembles. The activities progress
through the basic concepts expected in the first and second grade
curriculum, to transposition and the soprano recorder, to modes
and shifting meters, and finishing with a most comprehensive and
complex, cross-curricular “integrated performance”, which happens to be the book’s title.
Each title is followed by the focus, or focuses, for the activity and
each piece is completely notated. The author also provides subsections, offering preparation ideas, a teaching process and suggestions,
lesson variations, and where possible, extension ideas for Language,
Math, History, PE, Art and Music classes. Primarily the goal is to
experience how nursery rhymes can help develop musical skill and
understanding and how music can animate language study.
Nursery rhymes are fun, and many teachers, particularly musical
teachers, are aware that they can also have a lifelong effect on our
children. “This book is about the things that capture children’s
imagination and speak to their heart – rhymes, poetry, music,
dance, stories and celebration.” It is no surprise that the author
of Intery Mintery has decided to take us back to the basics and
remind us of the treasures that can be found in our memories and
20 Ostinato
in many a Mother Goose book. Doug Goodkin offers a personal,
philosophical and practical way to teach music through language
and enhance literacy programs with music. Enjoy his honest and
learned approach to teaching and delight in some of his humour
along the way: his travels in Chile, his explanation why it is okay
for children to sing about beer, and hopping aboard a street car
with his accordion while caroling with neighbours. Goodkin’s final
words challenge teachers to take an active role in exposing our
students to the wonderful nursery rhymes we were able to recite
long before we could read or write. Share a song or a poem with
someone each and every day!
Tammy Stinson is an Orff Specialist and Ontario teacher who has
worked as an Educational Sales Director for Waterloo Music in the
past. She is Carl Orff Canada’s Book Review Editor and Industry
Representative.
Publication News
Carl Orff Canada Honorary Member Lois BirkenshawFleming contributed an article on the use of music in
working with children who have had cochlear implants
to the recent publication, Hearing-Feeling-Playing:
Music and Movement With Hard-of-Hearing and Deaf
Children (Zeitpunkt Musik, Forum Zeitpunkt) Ed. Shirley
Salmon.
Shirley, an early childhood specialist, is well known to the
Orff community as co-director of the summer program
of the Orff Institute in Salzburg. Her book Hello Children
was reviewed in the Spring 2009 edition of Ostinato.
Congratulations to Lois and to Shirley!
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.
Orff Courses
Level I inVancouver
Level II in Vancouver
Miyuki Johanson
Lisa Reimer
The two weeks that I spent completing the Orff Level I Training
were incredibly enjoyable, engaging, useful, and exciting. I was
nervous and slightly apprehensive about beginning this course
because I am an Elementary Generalist teacher and not a Music
specialist. However, I quickly learned that this course would benefit
anyone who works with children. I have acquired ideas that I can
use in a regular classroom and I have learned how beneficial it is to
transfer the elemental concept of Carl Orff across the curriculum.
Students have more opportunities to learn when concepts are simple
and then they are given the chance to create using these concepts.
Through the different exercises we did, I saw how easy it would be
to encourage creativity and improvisation in the classroom.
Thank you, Carl Orff Canada, for honouring
me with the 2009 Gunild Keetman scholarship.
You made it possible for me to complete Level
II at Vancouver Community College under the
stellar tuition of Joe Berarducci (Basic Orff)
and Susie Green (Movement). The program
at VCC is made possible by our beloved and
enthusiastic Pam Hetrick. Every student in this
summer program is grateful for her tireless dedication to providing
world-class Orff teacher training in Vancouver. Pam, we cannot thank
you enough. The faculty you put together is truly outstanding. Bon
voyage; we will miss you while you’re away in France this year!
I was very impressed by the amazing compositions of the class
and even the ideas that I, myself, contributed. One of my favourite
aspects of the course was the opportunity to create. All of the different components of the course (Basic Orff, Recorder, Movement,
and Special Topics) were well planned and always engaging. It
would not be possible to choose a favourite component because
they were all incredibly exciting and useful. However, perhaps the
most important thing I have acquired from this course is an increased
level of confidence in using, creating and teaching music.
Level II brought me closer to understanding the philosophy behind
the Schulwerk. Joe simplified the “uniquenesses” of Orff: elemental,
process-based, creative, collaborative, pre-intellectual, experiential,
holistic and child-honouring. We learned that our programs need
to consistently offer learning opportunities through the different
Orff activity types: body, voice, instruments, creating, listening,
literacy and ensemble. This concrete framework dissolved my
sense of ambiguity surrounding the philosophy and will enable me
to teach in an Orff style in my elementary music classroom, and
my high school choral classroom, and to lead the eighty children
in my children’s choir, Zing. Also tremendously helpful was Joe’s
“instrumental menu” outlining the different functions of the barred
instruments. It was as if a light bulb was switched on in my head.
Arranging for these instruments was demystified!
The course went above and beyond my expectations and I look
forward to putting it the things I have learned into practise. I also
look forward to completing the Level II Orff Training next summer.
I cannot thank the BC Orff Chapter enough for providing me with
a scholarship to complete this wonderful course which opened my
eyes to the endless possibilities I will have with my students using
the Orff approach.
Miyuki is native of Burnaby, BC and is presently working as a
teacher on call for both New Westminster and Burnaby School
Districts. She notes that many of the activities from her Orff course
come in very handy when she enters a class she has never been
in before. She hopes to find a placement in Kindergarten or early
primary in the future, and will continue to use her Orff training
in her classroom.
Susie Green created a brilliant balance between teaching us movement technique and giving us the opportunity to create. I am inspired
by her dedication to Laban technique as a movement vocabulary with
children, and know I will also use it in my choral directing. Every
day we did grounding yoga postures and breathing. Her formidable
sharing of different learning styles helped me understand further
how to honour the child’s spirit, body and soul. What inspired
me most of all was the idea of cross-curricular opportunities with
movement; language arts, social studies, science, etc. The creative
possibilities are endless! I’m sure we don’t know how truly lucky
we are to have such an internationally renowned Movement teacher
as Susie Green at VCC.
21
Joe asked us to ask ourselves: Am I an Orff teacher or an ‘eclectic’
teacher? Am I truly creating an arts-integrated process-based program, or am I sacrificing real learning opportunities for product? Do
I produce “show-trax” concerts that are void of any developmentallyappropriate material at the insistence of my administration and/or
parents? Am I able to justify what I do to staff/parents who may
not support/understand me? To quote Joe, this year, I have a new
mantra from Level II: I’m never in a hurry with children. This will
guide me through my classes…. Even at the crucial point: two
weeks before concerts begin…
Lisa is the Founding Artistic Director of Zing! Children’s Choir,
for ages 6-17, and a choral teacher at the Little Flower Academy
in Vancouver for ages 13-18.
Leslie Bricker’s “Orff for the Classroom
Teacher” Course
Michelle Skene
Michelle Skene is a Grade 4 Teacher at Bridlewood Community
Elementary School in Kanata, Ontario.
22 Ostinato
Teachers live for them. Those breakthrough
moments when your students reach that
next level. The Royal Conservatory can help
you make those moments happen. We are
a global leader in professional development,
offering the best in certification courses
for early childhood educators and K-12
classroom teachers. Explore issues relevant
to teaching today, connect with fellow
educators, and learn new techniques that
will transform your classroom.
PROGRAMS OFFERED THIS
SPRING &
SUMMER
Orff Pedagogy:
Level 1 – Spring
Orff Introductory:
Levels 1, 2, 3
– Summer
REGISTER NOW!
rcmusIc.ca
JOIN OUR ONLINE MAILING LIST
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Leslie Bricker’s music course for non-music teachers didn’t miss
a beat! (And now that I’ve taken the course, I actually know what
that means!) This 6-session class was a fantastic introduction to the
many of the major concepts in primary/junior music instruction. It
gave the classroom teacher everything they need to do a more than
decent job of teaching an engaging music program. Each night,
for 3 ½ hours, Leslie took us on a delightful journey. We sang, we
danced, we acted, we played instruments, and in doing so we not only
learned how to teach music, but how to enhance other areas of the
curriculum with music at the same time. Leslie expertly addressed
important concepts such as beat, rhythm, melody, tempo, tone colour,
key signatures, pentatonic scales, proper technique for playing and
singing...we even learned how to conduct! Every song we learned
was fun and engaging. I couldn’t wait to get to school the next day
to share my new knowledge with my junior level students. By the
end of the course, I had a binder full of activities, a CD of songs,
and enough knowledge to feel I could actually answer technical
questions about the Ontario Music Curriculum. Leslie stayed true
to her Orff beliefs and taught us the importance of learning music
through a multi-sensory approach. She came to class every night
full of passion, humour and energy and patiently answered every
question. Leslie gave us a great collection of activities to use, but
more importantly, taught us the joy of teaching music. It was an
inspiring 6 weeks. I highly recommend the course. Thanks to the
school board and to the Orff chapter for making it happen!
Teachable
Moment.
The Royal Conservatory is located at
273 Bloor St. W., just west of Avenue Rd.
Creative: stcworks.ca
In the Ottawa area music specialist are few and
far between. The preparation time for teachers is given to the French instruction which
begins in Kindergarten. As a result of this,
classroom teachers must, whether they have a
music background or not, meet the curriculum
requirements of the Ontario Music Curriculum.
Many teachers do not feel comfortable doing
this. Leslie Bricker has offered a new “Orff
for the Classroom Teacher” course to help classroom teacher feel
more comfortable teaching music. Michelle Skene is one teacher
that took this course recently. Here are her reflections.
23
University of
Manitoba
MANITOBA
Vancouver
Community College
Downtown Campus
Levels I, II,
and III
Level I, II, III
Carolyn Boyes, Jewel
Casselman, Sue
Harvie, Joan
Linklater, Marcelline
Moody, Dianne
Sjoberg, Ruth
Wiwchar
Pam Hetrick, Joe
Berarducci, Catherine
West, Susie Green
(subject to change)
Level I – Sue Harvie
Level III – Robert de
Frece
Movement – Laurel
Nikolai
Recorder – Wendy
Rae
LeveIs I and III
University of
Alberta
BRITISH COLUMBIA
TBA
LeveIs I, II, and
III
Calgary Orff Chapter
Debra GiebelhausMaloney
Eve de Moissac
Instructors
Introductory
Orff Schulwerk
Courses
Calgary Orff Chapter
ALBERTA
Institution
July 5 - 16,
2010
August 9 - 20,
2010
July 19 – 30,
2010
July 5-16,
2010
Spring 2010
Dates
(204) 474-6194
[email protected]
65 Dafoe RoadWinnipeg,
Manitoba R3T 2N2
Joan Linklater
Marcel A. Desautels Faculty of Music
University of Manitoba
Pam Hetrick
[email protected]
Dr. Robert de Frece
[email protected]
See above
Debra Giebelhaus-Maloney
[email protected]
[email protected]
Contact
Renewal
of endorsement
pending
Renewal of
endorsement
pending
Renewal of
endorsement
pending
Endorsement
Credit and non-credit options
available
$725 plus registration and VCC fees
*Orff Levels are accepted by TQS
for purposes of category placement
• 3 Graduate or Undergraduate
credits.
• Students not currently registered in
a program at the University of
Alberta must apply for Open Studies
Status which takes 10 days.
Registration by June 1, 2010 is
recommended. Please note that the
Open Studies registration fee is
applied toward the cost of the course.
• Accommodation available at St.
Joseph’s College on the U of A
campus. For further information:
www.ualberta.ca/~stjoseph/residenc
e/summer.html
Renewal of Endorsement pending
TBA
Cost/Other
Orff Schulwerk Teacher Training Courses/Cours de formation Orff
24 Ostinato
Orff for the
Classroom
Teacher
Orff Level I
and II
TBA
Courses
Royal Conservatory of
Music,
Toronto
Level I
ONTARIO – TORONTO
Ottawa Chapter
ONTARIO – OTTAWA
NS Orff Chapter
NOVA SCOTIA
St. Thomas University
NEW BRUNSWICK
Institution
Basic Orff –
Catherine West
Movement – Hania
Krajewski; Recorder
and Vocal – Kim
Kendrick
Leslie Bricker
James Jackson /
Catherine West (Basic
Orff)
TBA (Recorder &
Movement)
Nancy Tucker
(Choral)
Subject to change
Debra Giebelhaus
Maloney
Dr. Ruth Morrison
Instructors
Mar 22-June
2, 2010
Monday and
Wednesday
evenings 5 to
8 pm
Spring 2010
TBA
July 19 – 30,
2010
July 19 – 30,
2010
Dates
Catherine West
Royal Conservatory of Music
273 Bloor St W
Toronto ON M5S 1W2
Registration: (416) 408-2825 or
www.rcmusic.ca
Enquiries: (416) 408-2824 # 465
[email protected]
Leslie Bricker
131 Wesley Avenue
613-729-7129
[email protected]
Patti Marshall
18 Kohar Court
Eastern Passage, NS, B3G 1N5
902-463-7433
[email protected]
506-455-0109
[email protected]
120 Sutton Street
Fredericton, NB, E3B 6L4
Dr. Ruth Morrison
Contact
Renewal of
endorsement
pending
Renewal of
endorsement
pending
Endorsement
Cost $925
Ontario teachers, please note:
Through a partnership with OISE
Level I is credited as P/J Vocal
Music Part 2. For details contact the
Course Director.
$125.00
Kingswood Elementary School
Hammonds Plains
Cost/Other
25
Intro, Levels I,
II, II
Music,
Toronto
MUS 22271 Didactique de
la musique au
préscolaire /
primaire II
selon
l’approche
Orff
Post Level III
Université de
Sherbrooke / Cours
offert par la Faculté
de musique de
l’Université Laval
la musique au
préscolaire /
primaire II
selon
l’approche
Orff
QUEBEC – SHERBROOKE
Faculté de musique
de l’Université
Laval
QUEBEC
Music,
Toronto
ONTARIO – TORONTO
Courses
Institution
Chantal Dubois
Chantal Dubois
Steven Calantropio
Teri Dunn, Hania
Krajewski, Kim
Kendrick, Catherine
West, Joy Reeve,
Vera Flaig and TBA
(subject to change)
Instructors
Session
intensive /
Hiver 2010 en
février, mars
et avril les
vendredis de
8h30 à 11h30
et 12h30 à
15h3
Session
intensive /
Hiver 2010 en
janvier février, les
lundis de 8h30
à 11h30 et
12h30 à 15h30
Workshop
only (August
23) OR fiveday course
(August 2327).
July 5-16,
2010
Dates
Yvaine Gagnon
(418) 656-2131 poste 4308
[email protected]
Yvaine Gagnon
(418) 656-2131 poste 4308
[email protected]
See above
See above
Contact
Endorsed as a Post
Level III
component
Levels I, II, III:
Renewal of
endorsement
pending
Intro: not endorsed
(different model)
Endorsement
Cost TBA
Cost $925
Ontario teachers, please note:
Through a 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.
Cost/Other
26 Ostinato
Courses
University of Regina
SASKATCHEWAN
Chapitre OrffQuébec
QUEBEC
Chapitre OrffQuébec
QUEBEC
Université du
Québec à Montréal
Level I
Orff Niveau II
Orff Niveau I
la musique au
primaire selon
Orff
QUEBEC – MONTREAL
Institution
Janie Fries and Marlene
Hinz
Chantal Dubois,
France BourqueMoreau, Geneviève
Boulanger
Guylaine Myre,
France BourqueMoreau, Geneviève
Boulanger
Chantal Dubois
Instructors
Tues August 3
- Fri August
13, 2010
(including
class on Sat
August 7)
Du 10 au 23
juillet
Du 10 au 23
juillet
Session
intensive en
mai et juin les
mardis et
jeudis de
14h00 à 17h00
Dates
Denise Morstad
Faculty of Education
University of Regina
(306) 585-4522
[email protected]
Françoise Grenier
www.orff-quebec.ca
[email protected]
Françoise Grenier
www.orff-quebec.ca
[email protected]
Chantal Dubois
[email protected]
Contact
Renewal of
endorsement pending
Approuvé par Carl
Orff Canada
Approuvé par Carl
Orff Canada
Endorsement
TBA
Cost/Other
27
•
Historical Dance & Brain Dance
April 10, 2010
Tempo Conference
Fall Fiesta
October 23, 2010
Sharing Session
October 22, 2010
February 06, 2010
MANITOBA
January 22, 2010
TBA
TBA
October 2, 2010
LETHBRIDGE
Weaving Movement
January 16, 2010
CALGARY
Drum, Dance, Chant!
Title
January 23, 2010
BRITISH COLUMBIA
Dates
Bob de Frece
Bob de Frece
Maureen Dunn (Atlantic Folk
Dances), Carolyn VanderBurgh
(Music of South Africa), Eila
Peterson (Musicianship)
Wendy Rae
Rick Layton
Susie Green
Anna Mansbridge
Sherryl Sewepagaham
Clinician(s)
TBA
.
Mennonite Brethren Collegiate Institute
180 Riverton St., Winnipeg
9:00 a.m. – 2:00 p.m.
University of Manitoba
Room 200
Time: TBA
Holy Spirit Board Office
602 12 St B North
9:00 a.m. – 3:00 p.m.
Ranchlands Community School
610 Ranchlands Blvd. N.W.
8:30 a.m. – 1:30 p.m.
Ranchlands Community School
610 Ranchlands Blvd. N.W.
8:30 a.m. – 1:30 p.m.
Confederation Park Elementary,
4715 Pandora Street,
Burnaby, BC V5C 2C2
9:30 a.m. – 3:00 p.m.
Confederation Park Elementary,
4715 Pandora Street,
Burnaby, BC V5C 2C2
9:30 a.m. – 3:00 p.m.
Location/Time
Chapter Workshops / Ateliers de perfectionnement
See above
See above
[email protected]
Kathleen Schell
[email protected]
403-381-3103a
See above
Ondrea Mann
[email protected]
See above
Karin Johnson
604-732-5668
[email protected]
Contact
28 Ostinato
Créa-sons
Plaisir dans le monde de la
percussion
Appliquer la démarche Orff dans
une classe
23 janvier 2010
6 février 2010 (Remis au 13
février en cas de mauvais
temps)
13 mars 2010
QUEBEC
March 27, 2010
TBA (ECE and Primary Orff)
Jo Ella Hug
October 16, 2010
OTTAWA
Orff-Schulwerk: You Gotta Love
It!
That Good Ol’ Song and
Dance
Title
February 7 2010
ONTARIO
January 30, 2010
NOVA SCOTIA
Dates
Guylaine Myre
Michel Viau
Félix Boisvert
Christie Bitar
Jeff Kriske Randy DeLelles
Jeff Kriske Randy DeLelles
Monica Punke (choral),
Colleen Putt (dance)
Clinician(s)
Montreal
Pavillon de musique de l’UQAM
1440, rue Saint-Denis (coin Maisonneuve)
3e étage local F-3080
Montréal (Québec) H2X 3J8
Local F-3080
de 12h30 à 15h30
Quebec
Université Laval
Pavillon Louis-Jacques-Casault, local 1271
1055, avenue du Séminaire, Université Laval,
Québec G1V 0A6
de 9h30 à 15h30
Montreal
Local F-3080
de 12h30 à 15h30
Bell's Corner's United Church,
3955 Richmond Road
9:00 a.m. - 1:00 p.m.
Upper Canada College
9:00 a.m. – 12 noon
Upper Canada College
10:00 a.m. – 4:00 p.m.
Kingswood Elementary School,
34 Vrege Ct. Hammonds Plains, NS
9:00 a.m. – 1:00 p.m.
Location/Time
[email protected]
[email protected]
[email protected]
[email protected]
See above.
Suzanne Waller
[email protected]
905-383 4819
Deb MacIsaac
[email protected]
Contact
29
Fall Classic 2010
September 25, 2010
September 25, 2010
Fall Workshop
WATERLOO-WELLINGTON
Children’s Day: Legend of the
Qu’Appelle Valley
(for students in Grades 4-6)
Jeux de danse
Title
March 20, 2010
SASKATCHEWAN
10 avril 2010
QUEBEC
Dates
TBA
Sue Harvey
Shelly Mooney & Friends
Irèene Galesso
Clinician(s)
Blessed Sacrament School
367 The Country Way
Kitchener , Ontario, N2E 2S3
8:30 a.m. – 2:00 p.m.
Jack MacKenzie School
3838 Buckingham Dr. E.
Regina, SK
9:00 a.m – 3:30 p.m
9:00 a.m – 3:30 p.m
Jack MacKenzie School
3838 Buckingham Dr. E.
Regina, SK
Montreal
Local F-3080
de 12h30 à 15h30
Location/Time
MJ Schropp
[email protected]
See above
Marlene Hinz
[email protected]
306 789-8344
[email protected]
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 29, 2010, 3-5 pm
in Salon A of the Hotel Fort Garry, Winnipeg, Manitoba. The agenda
will be available at www.orffcanada.ca by March 15, 2010. 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 Fort Garry, Salon A, Winnipeg, Manitoba, le 29 avril
2010 de 3 à 5 heures. Les détails concernant l’ordre du jour seront disponibles à www.orffcanada.ca à partir du 15 mars 2010.
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 2009 AGM). Please
contact the National Secretary.
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 2009). À cet effet, veuillez contacter la secrétaire
du conseil exécutif national.
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. The deadline
for applications is April 15, 2010.
Course Guidelines
Current guidelines for Introductory, Levels I, II, and III, and Post
Level III courses are available from the National President. Course
Guidelines for the Course for Non-Specialist Teachers are in development.
Lignes directrices des cours Orff
Pour obtenir les Lignes directrices en vigueur actuellement pour
l’enseignement des cours d’introduction, des niveaux I, II, III, et
des cours post-niveau III, veuillez joindre la présidente. Les Lignes directrices pour le cours aux professeurs non-spécialistes sont
actuellement 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 is available
on the Courses page of www.orffcanada.ca. 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 rubrique Courses 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
on the Carl Orff Canada website at www.orffcanada.ca. For further
information please contact Joan Linklater, chair of the COC mentorship committee at [email protected].
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. La
date limite d’inscription est le 15 avril 2010.
Programme de mentorat pour les enseignants des
formations Orff
Les spécialistes Orff expérimentés qui sont intéressés à devenir des formateurs pour les niveau sont invités à s’inscrire au
programme de mentorat de Carl Orff Canada. Les lignes directrices du programme et le formulaire sont accessibles sur le site
Internet de Carl Orff Canada à : www.orffcanada.ca. Pour aplus
d’informations, veuillez contacter Joan Linklater présidente du
programme de mentorat à : [email protected].
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. To receive
the donations form by post, contact the National Secretary.
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. To
receive a copy of the Membership application form by post, contact
the Membership Secretary.
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 la rubrique Scholarships. Des reçus
officiels d’impôt seront émis pour chaque don. Pour recevoir le
formulaire par la poste, veuillez joindre la secrétaire nationale.
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. Pour
de plus informations, veuillez consulter le site www.orffcanada.ca
sous la rubrique Join Carl Orff Canada. (Pour recevoir une copie
du formulaire d’adhésion par la poste, veuillez joindre la secrétaire
au membership.
30 Ostinato
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. Please use the form at www.orffcanada.ca on the Donations
page. To receive a copy of the form by post, contact the National
Treasurer.
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 : General Operation
Fund, The Gunild Keetman Scholarship Fund, ou au Orff Mosaic
Children’s Travel Fund. Veuillez consulter la rubrique Donations sur
le site www.orffcanada.ca . Pour obtenir une copie de ce formulaire
par la poste, veuillez joindre la trésorière nationale.
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. Applications are due by February 1 each year, and can be obtained from
the National Secretary. Grants may also be available for groups
travelling to other conferences – please enquire.
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 date limite pour les demandes est le 1er février de chaque
année. Il est aussi possible d'obtenir une aide pour les enfants qui
participent à d'autres congrès. Veuillez vous renseigner auprès de
la secrétaire 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, 2010. Details and application forms can be obtained from 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
2010. Veuillez vous renseigner auprès de la présidente sortante.
Curriculum Corner / Boîte à idées
Par Céline Sévigny
Vous savez tous que l’observation ou la création
d’une œuvre d’art peut bonifier merveilleusement l’écoute d’une œuvre musicale. Ainsi,
le fait de regarder attentivement une image en
suivant ses contours ou ses détails peut aider
les enfants à mieux sentir les mouvements et les nuances de la
musique qu’ils écoutent.
Il y a quelques années, j’ai fait un beau projet dans mon école
avec un artiste-peintre invité. Notre thème : Les Quatre saisons
de Vivaldi.
Les enfants ont d’abord écouté l’un des mouvements des Quatre
saisons de Vivaldi tout en regardant de beaux paysages. Puis, nous
avons parlé de l’œuvre en général, des couleurs qui représentaient
les saisons ainsi que du tempo que monsieur Vivaldi avait choisi
pour décrire chacune d’elles. Ensuite, nous avons déroulé une grande
bande de papier blanc sur le plancher de la cafétéria sur laquelle
les enfants allaient faire une œuvre visuelle qui représenterait
l’écoute des Quatre saisons. (Chaque classe devait représenter
une saison différente).
Nous avons donné de la peinture à bulles* aux enfants pour qu’ils
soufflent des bulles en suivant la vitesse et l’intensité des sons qu’ils
entendaient dans la musique. Les enfants se sont laissés prendre
au jeu. Plusieurs semblaient danser tout autour de la cafétéria. Les
bulles de couleur tombaient sur le papier et éclataient. Les couleurs
se mélangeaient et se superposaient. Le résultat fut surprenant et
très joli! Nous avons fait sécher les feuilles de papier puis nous
les avons découpées en différentes grandeurs et nous les avons
laminées. Depuis ce jour, les murs de notre école sont égayés par
ces joyeuses œuvres d’art spontané!
* Recette de la peinture à bulles :
•
¼ de tasse d’encre de chine de différentes couleurs
•
¼ de tasse glycérine liquide (se trouve en pharmacie)
•
½ de tasse de savon à vaisselle transparent
•
Quelques gouttes de saccharine
Céline Sévigny est enseignante à la Commission scolaire Sir Wilfrid
Laurier et un membre du C.A. de Orff-Québec.
31
Curriculum Corner / Boîte à idées
Joy Reeve
Joy Reeve is an Orff and music specialist teaching at John G
Althouse Middle School for the Toronto District School Board.
She is also a Basic Orff Instructor for the Royal Conservatory of
Music's Introductory and Level I Orff courses. Her first book, You
Can Walk, You Can Talk, You Can Orff! was published by Mayfair Books in 2008. This song will be included in her next book, a
collection of materials for the primary years, to be published by
Mayfair Books this year.
Take Note / Notez bien...
The Spring 2010 issue of Ostinato has as its focus the Middle
School Learner. We are soliciting articles that deal with the
specific challenges and joys of teaching grades 5 to 9 using
the Orff approach. We know that middle school learners are
social, impulsive, kinaesthetic, short on attention, long on
transitions, and need to be honoured as the young adults they
are (or are becoming). Please let us know how Orff helps you
to work with this student profile in your classroom.
Firm deadline for all submissions: March 15, 2010
L’Ostinato du printemps 2010 aura pour thème : « les élèves du 3e
cycle du primaire et du 1er cycle du secondaire ». Nous sommes
à la recherche d’articles qui décrivent ou explorent des façons
de mettre Orff en pratique avec cette clientèle. Si les préadolescents nous procurent de la joie à leur enseigner, ils nous donnent
aussi de défis intéressants à relever par leur besoin de se faire
féliciter, d’être appuyés dans les transitions, leur impulsivité et
leur appartenance sociale. S’il vous plaît, racontez-nous ce que
vous faites quand vous accueillez ces jeunes dans votre classe
de musique.
Date limite pour la remise des articles : le 15 mars 2010
32 Ostinato
Founder and Patron/Fondatrice et patronne d’honneur
Doreen Hall
Honorary Patrons/Patrons émérites
Sr. Marcelle Corneille
Jos Wuytack
National Executive/Conseil d’administration national 2008 – 2010
Past-President/Présidente sortant de charge
Debra Giebelhaus-Maloney, PO Box 36072, 6449 Crowchild Trail, SW Calgary AB T3E 5R0
T (403) 258-3466, F (403) 258-3975, [email protected], [email protected]
President/Présidente
Joan Linklater, 88 Tunis Bay, Winnipeg, MB, R3T 2X1
First Vice-President/Première vice-présidente
Catherine Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6
Second Vice-President/Deuxième vice-présidente
Beryl Peters, 500 Laidlaw Blvd., Winnipeg MB R3P 0K9
H (204) 474-1384, B: (204)474-9339, F (204) 885-3930, [email protected]
Third Vice-President/Troisième vice-présidente
Ruth Morrison, 120 Sutton St., Fredericton NB E3B 6L4
If undeliverable please
return to:
Ruth Nichols
8 Melrose Street
Amherst NS B4H 3M9
Secretary/Secrétaire
Joanne Linden, 1647 - 126th Street SW, Edmonton AB T6A 0N3
Treasurer/Trésorière
Eileen Stannard, 44 Second Ave, Box 23, Ardrossan AB T8E 2A1
Membership Secretary/Secrétaire des adhésions
Ruth Nichols, 8 Melrose Street, Amherst NS B4H 3M9
Editor/Rédactrice en chef
Catherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4
Francophone Member at Large/Correspondente francophone
Denise Lapointe, 219 Forest , Pincourt QC J7V 8E7
Archivist/Archiviste
Batya Levy, #2405 - 30 Malta Avenue, Brampton ON L6Y 4S5
T 905.450.7875, [email protected]
hereinafter referred to as the Corporation
The objectives of the Corporation are:
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 objectives in all regions of Canada through the national organization and regional chapters;
iii) to produce and distribute periodic publications addressing issues relating to the Corporation’s objectives;
iv) to organize and administer periodic conferences and workshops with agenda and curricula relating to the Corporation’s objectives; 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
Volume 36,
Number 2, Winter 2010
Sortir des sentiers battus! /
Developing Musical Literacy with a SMART
Board
The Orff Approach and 21st Century Curriculum
Thoughts from the Edge/ Penser au-delà des limites
You Say Midas, and I’ll Say Modas
Orff with Seniors
Audition active pour les tout-petits
It was Twenty Years Ago Today
The Art and Science of Teaching
“Amazing Grace”: Grace Nash
Tri-annual Publication of Carl Orff Canada

Ostinato Winter 2010 - CARL ORFF CANADA | Music for Children

Transcription

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