Learning Together / Apprenons ensemble

Transcription

Music for Children - Musique pour enfants
O
stinato
Volume 40,
Number 1,
Fall 2013
Learning Together /
Apprenons ensemble
Apprendre ensemble demain
Anansi Story
Orff-Schulwerk in South Africa is Alive and Well
Open Your Wings: the 15th World Village in Finland
À la rencontre d’un élève qui a un TED (autisme)
en classe de musique
Summer Course Reports
Gunild Keetman Scholarship Winners
National Conference 2014
Mayombe
Mama Paquita
Shepherds Heard An Angel Sing
Tri-annual Publication of Carl Orff Canada
RCSPRT385_Ostinato Ad_2013.14 13-08-27 3:56 PM Page 1
Music for Children – Carl Orff Canada – Musique pour enfants
TRAINING FOR THE
BEST BY THE BEST.
Founder and Patron/Fondatrice et patronne d’honneur
Doreen Hall
Honorary Patrons/Patrons émérites
Bramwell Tovey
Sr. Marcelle Corneille
Jos Wuytack
Board of Directors/Conseil d’administration national 2012– 2014
Past-President/Présidente sortant de charge
Cathy Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6
T (604) 946-5132, [email protected]
President/Présidente
Beryl Peters, 500 Laidlaw Blvd., Winnipeg MB R3P 0K9
T (204) 474-1384, F (204) 945-6747, [email protected]
First Vice-President/Première vice-présidente
Marlene Hinz, 3551 Apple Grove, Regina, SK S4V 2R3
Second Vice-President/Deuxième vice-présidente
Liz Kristjanson, 54 Glenbrook Cres., Winnipeg MB R3T 4W4
Treasurer/Trésorière
Eileen Stannard, 44 Second Ave, Box 23, Ardrossan AB T8E 2A1
If undeliverable please
return to:
Ruth Nichols
7 Regent Street,
Amherst, NS B4H 3S6
[email protected]
Professional Development
Fall 2013 – Spring 2014
Enrich your teaching with inspiring
courses taught by dedicated experts:
• Fall: Orff Intro
• Winter: Orff Level I
• Summer: Orff Intro, Level I, II and Music From Five Continents
with Doug Goodkin
• Artist Educator Professional Training
• Early Childhood Music Education Training
Membership Secretary/Secrétaire des adhésions
Ruth Nichols, 7 Regent Street, Amherst, NS B4H 3S6
Website
Joanne Linden, 1647-126 Street, Edmonton AB T6W 1R8
Secretary/Secrétaire
Laurel Nikolai, 11143-65 Avenue, Edmonton AB T6H 1W4
T: (780) 637-6808, [email protected]
LIMITED
AVAILABILITY
REGISTER
NOW!
Editor/Rédactrice en chef
Catherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4
(T) 647-970-7080, weekends (613) 449-8924, [email protected]
Archivist/Archiviste
Anne Tipler, 4099 Wheelwright Cres. , Mississauga ON L5L 2X3
Francophone Member at Large/Correspondente francophone
Denise Lapointe, 219 Forest,Pincourt, QC J7V 8E7
T (514) 453-8020, [email protected], [email protected]
Register online at rcmusic.ca
or call 416.408.2825
Check in with our website regularly for ongoing
opportunities for you and your students.
rcmusic.ca
Carl Orff Canada Aims and Objectives
Music for Children - Carl Orff Canada - Musique pour enfants is a Corporation which operates with the following objectives:
i) to encourage the development throughout Canada of a holistic music
education program for children based upon the pedagogical philosophy and approach of Carl Orff;
ii) to encourage, promote and fulfill Carl Orff Canada's objectives in all regions of Canada through a national organization and through regional
chapters;
iii) to produce and distribute a national journal addressing issues relating to the Orff philosophy of music education;
iv) to organize and administer conferences and workshops focusing on quality music education for children; and
v) to cooperate with other music education organizations in order to further the objectives of the Corporation.
Ostinato
Volume 40, Number 1, Fall 2013
OSTINATO
is the journal of Music for Children – Carl Orff
Canada – Musique pour enfants.
It is published three times yearly.
From the Editor / Mot de la rédactrice Catherine West2
Closing dates for submission are:
June 15st for the Fall Issue
November 15th for the Winter Issue
March 15th for the Spring Issue
Articles
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.
President’s Message / Mot de la présidente Beryl Peters 3
Apprendre ensemble demain Louise Morand
7
Anansi Story Nadia L. Hohn
8
30 Years Ago In Ostinato…Orff-Schulwerk In South Africa
is Alive and Well Lois Birkenshaw
11
Open Your Wings: the 15th World Village at the Valkeala Folk
High School in Finland Danielle Treacy
13
À la rencontre d’un élève qui a un TED (autisme)
en classe de musique Nathalie Jacques
15
Book Reviews / Critiques de recueils et DVDs pédagogiques
On s’amuse avec les compositeurs Deborah Ziolkoski18
The University of Manitoba Joan Linklater 19
La Formation Orff à Montréal Iryna Peredero 20
The Year of the Flood (RCM) Catherine West
21
Gunild Keetman Scholarship Winner Reports
23
Orff Schulwerk Courses / Formations Orff
26
Tous les textes en français doivent être envoyés
en format Word.doc or Word.rtf à Lucie Allyson
à : [email protected] et en copie
conforme à Catherine West à : west.catherine@
sympatico.ca
Chapter Workshops / Ateliers de perfectionnement30
Les opinions exprimées par les auteurs des
articles et les lettres envoyées à la rédaction ne
reflètent pas nécessairement celles de Music for
Children – Carl Orff Canada – Musique pour
enfants et n’engagent que leur propre responsabilité.
Si par mégarde certains droits d’auteur n’ont pas
été respectés, nous vous prions de nous excuser
et de nous en avertir pour que nous puissions
régulariser la situation rapidement.
www.orffcanada.ca
Publication agreement #40012987
National Executive Section /
Section du conseil exécutif national
Business Section
33
Take Note
34
National Conference 2014
35
Curriculum Corner / Boîte à idées
Mayombe Françoise Grenier
39
Mama Paquita for Beginning Alto Recorder Catherine West
40
Shepherds Heard An Angel Sing Birthe Kulich
41
If undeliverable please return to: Ruth Nichols, 7 Regent Street, Amherst, NS B4H 3S6
Vol. 40, No.1, Fall 2013
1
From the Editor / Mot de la rédactrice
Catherine West
photo Linda Kooluris Dobbs
I have three stories to
share with you in this
column. The first is
my first meeting with
the Orff community.
In 1981 I first heard
to word “Orff” in a
course I was taking
from Donna Wood on Early Childhood
Music Education. I was enchanted with
the course and felt, as so many have, that
I had encountered a key to a door that had
been closed to me for a long time. Eager
for more, I followed up with the local Orff
chapter and turned up at their next event,
which happened to be an Annual General
Meeting. The president was Lois Fallis, and
there were about 15 of us present. To my
astonishment, and excitement, the AGM
part of the meeting was rushed through in
about 10 minutes. Then this gregarious,
eager, welcoming group of women leapt to
their feet and began a sharing session. We
did all the games, songs and orchestrations,
then scribbled them down, everyone eager
to help each other get all the details right,
not just about the music, but about the allimportant teaching process.
My most significant experience of professional musicians, up to that moment, was
an unhappy year spent at the University of
Toronto’s Faculty of Music; I fled to another
university after a single year because I
could not bear the petty-minded, jealous,
exclusionary world I encountered there.
At that Orff meeting I discovered a route
back to a career I loved, not only because
of a philosophy I could cleave to, but also
because it was a community I could enjoy
being part of, one that welcomed everyone
and where shared knowledge and mutual
mentorship were taken for granted.
My second story is about a grade 4 student I
am currently teaching. K is a sweet-natured
boy, but takes a long time to absorb new
concepts, and is somewhat passive in music
class. He receives academic supports as a
student with some delays. He had to borrow
a recorder every week for music class all
during the fall, and it was obvious that he was
not doing any practicing in between music
classes. I contacted his mother to ask for
some support and gave him opportunities to
work with another student during our class
practice time to help him catch up. Mom
came through, and all of a sudden this child
2 Ostinato
was getting a star in his book every week for
practicing three times, and could play his
BAG pieces with confidence. Immediately I
asked him to help another student who was
struggling, and all of a sudden K became
a leader in the class, a role he now carries
out consistently. Such a little thing – but
so important!
My third story is not about music education.
I have recently had the privilege of being
with my daughter and her husband for the
birth and early weeks of their son’s life, and
now have a new role in my life – that of
Granny. I took a leave so that I could stay
with the little family to cook, clean, wash
the diapers and do the shopping – so the
parents could have time and energy just
to learn to be parents. I did all of that, but
unexpectedly for me, I also had a role in
passing on my expertise. My daughter and
son-in-law had attended so many preparation classes and read so many books I had
not imagined my contribution would be
important, but in fact they looked to me
during the labour (what to do so you don’t
give birth in the elevator!) and for help with
breast-feeding, settling a baby, diaper rash,
and so on. I had knowledge to share.
The common thread in these stories is that, in
authentic communities, acquiring and passing on knowledge are democratic processes.
All of us are knowledge-keepers and all of
us have a role in both sharing our knowledge
and learning from others. People who care
about and research topics such as Leadership (with a capital “L”) have discovered
that successful companies often encourage
exactly this kind of culture, especially such
technology giants as Apple and Google. As
a result all the members of an organization
have ownership, have room to flourish as
individuals, and are fully engaged agents,
not being ‘done to’ but ‘doing’.
At its best Carl Orff Canada has always
been this kind of organization, one where
wonderful ideas spring up everywhere and
spread like weeds – or wildflowers, to use
Carl Orff’s analogy. In this first-ever online
issue of Ostinato, the first issue in our landmark fortieth year, you will encounter stories
and ideas from the many experiences Orff
teachers have had to learn from each other.
Using this newer medium we can continue
this vital tradition of mentorship reaching
across provincial and national boundaries.
Enjoy the materials and inspiring stories
here as you start another school year, and
remember that your Orff colleagues are always there to share an idea, solve a problem,
or celebrate with you.
Traduction de Denise Lapointe
Dans cet éditorial, j’ai trois histoires à
partager avec vous. La première concerne
ma première rencontre avec la communauté Orff. C’était en 1981 où j’ai entendu
le mot ‘Orff’ pour la première fois lors
d’une formation sur l’éducation musicale
des jeunes enfants avec Donna Wood. J’ai
été ravie par cette formation et une porte
s’est ouverte sur une avenue qui m’était
fermée jusqu’à ce moment. Curieuse, j’ai
fait appel au chapitre Orff local et je me
suis présentée à leur prochain évènement
qui était leur assemblée générale annuelle.
La présidente était Lois Fallis et il y avait
une quinzaine de membres présents. À ma
grande surprise, la réunion s’est déroulée en
10 minutes. Ensuite, le groupe s’est levé et
a commencé une session de partage. Nous
avons tout fait : les jeux, les chansons, les
orchestrations, nous les avons notés, tous
prêts à s’entraider pour bien noter les détails,
pas seulement de la musique, mais aussi pour
noter les points saillants de l’importance du
processus et de stratégies d’enseignement.
Jusqu’à ce moment, mon expérience était
une année malheureuse passée à la faculté
de musique de l’Université de Toronto. Je
me suis inscrite à une autre université, car
je ne pouvais pas souffrir les petits esprits,
la jalousie et ce monde d’exclusion dans
lequel je vivais. Lors de cette réunion Orff,
j’ai découvert un chemin vers un travail que
j’aime, pas seulement à cause de la philosophie à laquelle j’adhérais, mais parce que
j’aimais faire partie de cette communauté
qui était accueillante et généreuse par son
partage de connaissances et de mentorat.
Ma seconde histoire est le récit d’un élève
de 4e année. K. est un garçon de nature
douce, mais lent lors de l’apprentissage de
nouveaux concepts et il est souvent passif dans le cours de musique. Il reçoit de
l’aide en orthopédagogie. Tout le long de
l’automne, il a emprunté une flûte à bec,
c’était évident qu’il ne pratiquait pas à la
maison. J’ai appelé sa mère pour son appui
et j’ai offert à l’élève de venir répéter avec
un autre élève pour qu’il puisse rattraper
le travail. La mère a donné son appui et il
recevait une étoile dans son cahier de pratique chaque semaine lorsqu’il pratiquait
trois fois dans la semaine, il a réussi à jouer
ses pièces avec confiance. Alors, je lui ai
demandé de venir aider un autre élève qui
avait de la difficulté, et tout à coup, T. est
devenu un chef dans la classe, un rôle qu’il
s’approprie de façon constance. Un petit
geste, mais combien important!
Ma troisième histoire ne touche pas
l’éducation musicale. J’ai eu le privilège
d’être avec ma fille et son mari pour la
naissance et les premières semaines de leur
fils, j’avais donc un nouveau rôle, celui de
grand-mère. J’ai pris un congé pour rester
avec la nouvelle petite famille pour cuisiner,
nettoyer, lessiver et magasiner afin que les
nouveaux parents puissent prendre leur
temps et énergie pour apprendre à devenir
des parents. Voilà que je devenais passeuse
de connaissances. Ma fille et mon gendre
ont assisté à des cours prénataux et ont lu
tellement de livres que je ne croyais pas
que ma contribution serait importante, mais
c’est à moi qu’ils posaient leurs questions
sur l’accouchement, l’allaitement, comment
coucher et apaiser un bébé, les couches les
éruptions cutanées et autres questions qu’on
se pose lorsqu’on a un nouveau bébé. J’avais
des connaissances à partager.
Le fil conducteur de ces histoires est que,
dans toutes communautés authentiques,
l’apprentissage et le passage des connaissances sont un processus démocratique.
Nous sommes tous des banques de connaissances, mais nous avons un rôle à jouer tant
sur le partage de connaissances que pour
apprendre des autres. Les gens qui étudient
et qui ont à cœur les sujets somme le leadeurship ont découvert que les compagnies
couronnées de succès (Apple, Google) encouragent souvent ce genre de culture, ayant
comme résultat que les employés ont de la
place pour évoluer, réaliser leur potentiel
et ils deviennent des agents engagés qui ne
subissent pas, mais qui agissent.
Carl Orff Canada a toujours été ce genre
d’organisation, une où les idées fleurissent
partout et se propagent comme de mauvaises
herbes – ou fleurs sauvages – pour utiliser
l’analogie de Carl Orff. Dans cette toute
première édition numérique, la première
du 40e anniversaire de Carl Orff Canada,
vous découvrirez des histoires et idées que
les enseignants de musique ont apprises de
chacun. C’est en utilisant ce véhicule que
nous pouvons contribuer à la tradition vitale
de mentorat qui réunit les frontières provinciales et nationales. Nous vous souhaitons
de savourer le matériel et les histoires toutes
aussi inspirantes les unes que les autres afin
de bien commencer une autre année scolaire,
et veuillez garder en tête que vos collègues
Orff sont toujours là pour partager une idée,
résoudre un problème et célébrer avec vous.
Vous êtes francophone ?
Le chapitre Orff-Québec veut
être en contact
avec vous !
Écrivez-nous à
[email protected]
President’s Message / Mot de la présidente
Beryl Peters
At the start of every
new school year, I try
to use my reflections on
the past year to inform
my goals for the coming one. This year I am
placing a greater focus
on advocacy for music
education as one of my
personal and professional goals. This focus
is the result of both highly motivating as
well as challenging encounters with varying attitudes towards music education that
I have experienced this past year.
The highly motivating encounters begin
with my work as part of Carl Orff Canada.
Collaborating with our wonderful COC
National Executive, with our dedicated COC
Chapter Presidents and their hard-working
executives, and with our awe-inspiring
national Conference chairs and committee
members never fails to inspire and encourage me. With so many committed music
educators giving time and resources so
generously to sustain and further quality
music education in Canada, I believe the
future of music education for all is full of
promise.
I have seen the commitment from COC
members yield positive results in exciting
and transformative ways this past year.
We were thrilled when Bob de Frece accepted an invitation and commission from
COC to compose an Orff work for voice
and instrumental ensemble to honour and
celebrate our upcoming 40th anniversary.
Reports from our COC Chapters point to
innovative workshops, new outreach and
networking efforts, advocacy video and
poster projects, pioneering social media
endeavors, membership drives, new and
expanded Children’s Day ventures, and
Children’s Orff Festivals to name just a few
of the inspiring efforts we’ve heard about.
I was also inspired by Music Monday initiatives this year. On Music Monday, May 6,
2013, I was delighted to hear our Manitoba
Premier and Minister of Education speak to
the importance and value of music education as they introduced the final concert of
our Manitoba Music Month Concert Series
that I help organize at the Manitoba Legislative Building each year. The final concert
held in conjunction with Music Monday,
included student performances led by our
own COC National 2nd Vice-President Liz
Kristjanson. The concert featured over 200
students from five Manitoba schools singing
the Music Monday song on the steps of the
Legislative Building Grand Staircase. They
sang along with a live webcast projection
of Chris Hadfield performing the I.S.S. (Is
Somebody Singing) song in the International
Space Station. While in space, Commander
Hadfield led over a million students, teachers, and community members in song here
on earth across Canada and beyond.
The tremendous awareness for the importance of music and music education created
through joint Music Monday efforts by Chris
Hadfield, the Barenaked Ladies, the Coalition for Music Education, and Canadian
music educators and students points to the
significant potentials for other advocacy
efforts planned by Carl Orff Canada and
our Canadian Orff Chapters this coming
year as we celebrate the 40th anniversary
Vol. 40, No.1, Fall 2013
3
of Carl Orff Canada in 2014.
We are joined by many others in our arts
advocacy efforts. As part of a lead-up to Canada Day this past summer, the Huffington
Post blog team asked prominent Canadians
what one aspect of our country they would
like to change. Karen Kain, artistic director of Canada’s National Ballet, responded
with a piece entitled “What I Would Change
About Arts Education in Canada.”
In her response, Karen Kain remarked, “If
I could change one thing about Canada, it
would be to place a greater emphasis on
the study and practice of arts education
at every level” (Kain, 2013, para. 2). Ms.
Kain went on to note the current exclusive
focus in Canadian schools on STEM subjects—science, technology, engineering,
and mathematics.
The term STEM is accredited to a variety
of American sources although it is used
by ministries and jurisdictions around the
world. On the Whitehouse “Educate to Innovate” site President Obama advocates for
science, technology, engineering, and math.
Obama declares, “We need to make this a
priority to train an army of new teachers
in these subject areas” (The White House,
2013, para. 1).
Canada also embraces STEM education.
The Harper government has stated its commitment to “achieving continued growth in
the science, technology, engineering and
math sectors to help grow our economy”
(Government of Canada, 2012, para. 2)
with a variety of significant Youth STEM
and STEM educational funding projects.
Countries around the world are similarly
investing in STEM initiatives and education
and are developing action plans to further
STEM education and skills.
The importance of STEM fields to Canadian
and world economies is not in question here.
As Steven Ross Pomeroy stated in a guest
blog for “Scientific American”:
Renewing our focus on STEM is an unobjectionably worthwhile endeavor. Science and
technology are the primary drivers of our
world economy...But there is a growing
group of advocates who believe that STEM
is missing a key component – one that is
equally deserved of renewed attention,
enthusiasm and funding. That component is
the Arts. If these advocates have their way,
STEM would become STEAM. (Pomeroy,
2012, para. 2-3)
4 Ostinato
The STEAM not STEM movement is
gaining traction around the world. Various
websites advocate this stance including
STEAM--not STEM at http://steam-notstem.com. This website declares its mission
“is to have business leaders, arts professionals, educators and others work together to
educate governments, the public and the
media to the need for returning Arts to the
national curricula. China and others have
determined, as we must, that STEAM education is a national priority issue” (STEAM,
2013b, Mission statement, para. 1).
Even Elmo of Sesame Street fame is joining the STEAM movement. The Sesame
Street Press Release for last year’s Season
43 announced “New S-T-E-A-M Curriculum Adds the Arts to Existing Science,
Technology, Engineering and Math Focus”
(Sesame Workshop, 2012, Press Release,
para. 1). The intention is certainly laudable
but whether the addition of the arts to the
Sesame Street curriculum is because the
arts are valued as critical and important
literacies for artistic meaning-making and as
important ways of knowing the world rather
than simply entertainment or as engaging
educational tools may be up for debate.
What is not debatable from my perspective
as a curriculum developer, researcher, educator, and as an Orff-based music specialist
is that STEM education is not sufficient;
“we must have STEAM education – our
future is at risk otherwise” (STEAM,
2013a, About, para. 4). Those risks factors
are multiple and varying and include the
marginalization of students whose artistic
ways of knowing are not as valued as print,
numeracy, and technology literacies in our
STEM-centered society.
Karen Kain, in her Canada Day blog, points
to the vital contributions of the arts to the
health of our democratic society through
the potential for “recognizing the individuality of every person and insisting that
every individual has a voice that matters” (
Kain, 2013, para. 5). The individuality of
each student and the importance of every
student voice are highly valued in the Orff
approach to music education. As we state
on our Carl Orff Canada website, the Orff
approach to music education “is for all
children” (Carl Orff Canada, 2013, What
is Orff Schulwerk, para. 2).
In an increasingly technological world,
we are in danger of losing what Carl Orff
might have called our “humus of the spirit”
(Orff, 1963, para. 19). In a speech given
by Dr. Carl Orff to the opening of the Orff
Institute in Salzburg in October 1963, Carl
Orff testified:
Elementary music, word and movement,
play, everything that awakens and develops
the powers of the spirit, this is the “humus”
of the spirit, the humus without which we
face the danger of a spiritual erosion...Just as
humus in nature makes growth possible, so
elementary music gives to the child powers
that cannot otherwise come to fruition. It
must therefore be stressed that elementary
music in the primary school should not
be installed as a subsidiary subject, but as
something fundamental to all other subjects.
(Orff, 1963, para. 19, 20)
The philosophy of music for all children
so richly transmediated by Carl Orff and
Gunild Keetman, has resonated with music
educators in Canada since the 1950s. In
1954, a young student named Doreen Hall
who was studying at the Faculty of Music,
University of Toronto received a scholarship
to study with Orff and Keetman in Salzburg,
and the rest is Canadian Orff history.
As it is for students and educators today,
the Orff experience was transformative for
Doreen Hall those many years ago. After she
returned to Canada, Doreen Hall advocated
for the Orff approach and subsequently
founded Carl Orff Canada in 1974. In the
40 years since Doreen Hall established Carl
Orff Canada, the Orff approach has become
an integral part of music education in schools
and universities across Canada.
In this upcoming school year, let’s celebrate the 40th anniversary of COC in 2014
with a renewed commitment to advocate
for “Music for Children—Musique pour
Enfants.” Carl Orff Canada has exciting
initiatives planned to both celebrate and
advocate for music for all children. Stay
tuned and join in!
Did You Know?
You can find up-to-date information
about Orff workshops and Levels
courses across Canada on www.
orffcanada.ca.
Traduction de Denise Lapointe
Au début de chaque année scolaire, je me
remémore les bilans des dernières années
afin de me fixer de nouveaux objectifs pour
l’année qui vient. Cette année, mon but
tant personnel que professionnel sera de
miser sur l’importance de s’engager dans la
défense de l’éducation musicale. Ce but est
le résultat de rencontres avec des gens dont
les attitudes envers l’éducation musicale
diffèrent, mais qui me donnent des défis
des plus motivants.
Une des rencontres les plus motivantes
était lors de mon travail auprès du conseil
d’administration de Carl Orff Canada. La
collaboration avec ce magnifique CA national, les présidents de chapitres et leurs
conseils ainsi que le comité organisateur du
prochain congrès ne cessent de m’inspirer
et de m’encourager. Tous ces gens engagés
donnent généreusement leur temps et des
ressources dans le but de soutenir et améliorer l’éducation musicale au Canada. Je
crois que le futur de l’éducation musicale
est prometteur.
Cette année, j’ai vu l’implication des
membres de COC donner de résultats
positifs, excitants et évolutifs. Nous avons
été enchantés de voir que Bob de Freece
accepte de composer une œuvre vocale et
instrumentale pour célébrer notre 40e anniversaire. Les rapports des présidents sont
emplis de projets innovateurs, de créations
de nouveaux réseaux, de vidéos d’appui,
d’affiches, de collecte de matériel des membres, de nouvelles idées pour les journées
mondiales de l’enfance et de festivals Orff
pour enfants, qui ne sont que quelques
exemples de projets qui témoignent de
l’effort de l’équipe Orff.
Le Lundi en Musique 2013 m’a beaucoup
touché cette année. En effet, le 6 mai 2013,
j’ai été ravie d’entendre le premier ministre
du Manitoba et le ministre de l’Éducation
parler de l’importance et de la valeur de
l’éducation musicale lorsqu’ils ont présenté
le concert de fin d’année de la série de concerts du mois de la musique du Manitoba,
une série à laquelle je participe en tant
qu’organisatrice à l’édifice législatif du
Manitoba. Le dernier concert a eu lieu le 6
mai en honneur du Lundi en Musique, on y
a entendu des élèves de notre 2e vice-présidente Liz Kristjanson. Ce concert réunissait
plus de 200 élèves issus de cinq écoles du
Manitoba pour chanter la chanson-thème
du Lundi en Musique sur les marches de
l’édifice législatif, ils ont chanté en temps
réel avec une projection en direct de la
prestation de I.S.S. (Is Somebody Singing)
de Chris Hadfield depuis sa station spatiale.
Le commandant Hadfield a fait chanter
plus d’un million d’élèves, d’enseignants
et autres membres de différentes communautés sur la Terre.
La perception de l’importance de la musique et de l’éducation musicale créée par
les efforts conjoints de Chris Hadfied, des
Barenaked Ladies, de la coalition pour
l’éducation musicale et des élèves et enseignants canadiens pointent vers un potentiel
signifiant pour l’avancement des efforts de
Carl Orff Canada et des chapitres canadiens
lorsque nous célèbrerons le 40e anniversaire
de Carl Orff Canada en 2014.
Nous ne sommes pas seuls pour faire avancer
la cause des arts. L’été dernier, une question
a été publiée sur le blogue du Huffington
Post demandant aux artistes éminents canadiens de nommer un aspect du pays qu’ils
souhaiteraient voir changer. Karen Kain,
directrice artistique du Ballet National du
Canada a répondu avec ce titre: « Voici ce
que je changerais dans l’éducation artistique
au Canada ».
Dans sa réponse, Karen Kain fait la remarque : si je pouvais changer une seule
chose au Canada, ce serait de donner une
plus grande importance sur l’étude et la
pratique de l’éducation artistique, et ce,
pour chaque niveau ». (Kain, 2013, para.
2). Mme Kain a relaté l’exclusion des arts
dans les écoles canadiennes des matières
STEM : science, technologie, ingénierie
(engineering en anglais) et mathématique.
L’importance des secteurs STEM au Canada et pour l’économie mondiale n’est pas
mise en question ici. Comme Steven Ross
Pomeroy cite dans son blogue “Scientific
American” :
Renouveler l’importance de STEM est
une tentative non objective qui en vaut la
peine. Les sciences et les technologies sont
les premiers éléments de l’économie mondiale… mais un groupe de partisans croient
qu’il manque un élément important, un qui
mérite autant d’attention, d’enthousiasme
et de financement. Et cet élément c’est les
Arts. Si ces partisans s’avéraient exacts,
STEM deviendrait STEAM. (Pomeroy,
2012, para. 2-3)
Le mouvement STEAM, et non STEM,
gagne des cordes partout dans le monde.
Plusieurs sites Internet parlent de STEAM
et non STEM comme http://steam-notstem.
com Ce site déclare comme mission de
“ réunir les chefs d’entreprise, arts, professionnels, enseignants, et autres pour
travailler ensemble pour éduquer les gouvernements, le public et les médias au besoin
de remettre les arts au curriculum national.
La Chine et autres pays ont déterminé que
l’éducation STEAM est une priorité nationale. (STEAM, 2013b, Mission statement,
para. 1).
L’acronyme STEM est accrédité à plusieurs
sources américaines, même s’il est utilisé par
différents ministères et juridictions partout
dans le monde. Même à la Maison-Blanche,
le président Obama prêche pour STEM,
pour « éduquer pour innover ». Obama
dit : « Nous avons la priorité de former les
enseignants dans ces quatre matières ». (The
White House, 2013, para. 1).
Même le personnage Elmo de la série pour
enfants Sesame Street s’est rallié au projet
STEAM. On a pu lire dans une revue de
presse de Sesame Street, l’annonce dans
le cours de sa 43e saison, que le nouveau
curriculum STEAM doit ajouter les arts
aux sciences, technologies, ingénieries
et mathématiques. (Sesame Workshop,
2012, Press Release, para. 1). L’intention
est louable, mais, si l’ajout des arts dans
le programme de Sesame Street a comme
raison que les arts sont valorisés comme
littératies critiques et importantes pour le
savoir-faire artistique et comme une façon
de comprendre le monde plutôt qu’un simple
loisir ou un engagement éducationnel, peut
faire l’objet d’un débat.
Le Canada suit ces mêmes traces. Le gouvernement Harper a statué sur son « engagement pour la croissance des secteurs
des sciences, technologies, ingénierie et
des mathématiques pour l’essor de notre
économie » (Gouvernement du Canada,
2012, para. 2). D’autres pays à travers le
monde sont tout aussi impliqués par le
projet STEM en investissant en éducation
et en développant des plans pour améliorer
l’éducation et les savoir-faire.
Ce qui est indéniable et incontestable
selon moi, en tant que développeur de
curriculum, chercheur, enseignante et
spécialiste Orff, est que l’éducation de
STEM est insuffisante, « nous devons avoir
l’éducation STEAM- sinon notre futur est
à risque » STEAM, 2013a, About, para.
4). Ces facteurs de risque sont multiples et
comprennent la marginalisation des élèves
dont l’intelligence artistique est forte mais
qui n’est pas aussi valorisée que l’écriture,
Vol. 40, No.1, Fall 2013
5
la numératie ou les technologies dans une société centrée sur
l’approche STEM.
Dans son blogue canadien, Karen Kain démontre la contribution
vitale des arts pour une société démocratique en santé à travers le
potentiel pour « reconnaitre l’individualité de chaque personne et
soutient que chaque individu a une voix importante. » (Kain, 2013,
para. 5). Tant l’individualité de chaque élève et l’importance de leur
voix sont une priorité dans l’approche Orff. On dit sur le site de
Carl Orff Canada que la musique est pour tous les enfants. (Carl
Orff Canada, 2013, What is Orff Schulwerk, para. 2).
Dans un monde où la technologie prend de plus en plus de place,
nous sommes en présence d’un danger de perdre ce que Carl Orff
a nommé « l’humus de l’esprit ». (Orff, 1963, para. 19). Lors de
l’ouverture de l’Institut Orff à Salzbourg, voici ce que disait Dr
Carl Orff à ce sujet :
« La musique élémentaire, les paroles, le mouvement, le jeu et tout
ce qui éveille et développe les pouvoirs de l’esprit, c’est cela l’humus
de l’esprit, un humus dans lequel nous faisons face à un danger
d’érosion spirituelle… Tout comme l’humus est responsable de la
croissance dans la nature, la musique élémentaire est nécessaire au
murissement et à la réalisation de l’enfant. C’est pour cette raison
que la musique élémentaire ne doit pas être une matière seconde,
mais bien une matière fondamentale à part entière ». (Orff, 1063,
para. 19, 20).
Le principe que la musique est pour tous les enfants tel que proposé
par Carl Orff et Gunild Keetman est intégré chez tous les enseignants
de musique du Canada depuis les années 1950. En 1954, une jeune
étudiante du nom de Doreen Hall de l’Université de Toronto, recevait
une bourse pour aller étudier avec Orff et Keetman à Salzbourg et
le résultat de ceci constitue toute l’histoire de Carl Orff Canada.
Comme pour tous les enseignants et élèves aujourd’hui, l’expérience
Orff fut un moment catalyseur pour Doreen Hall à cette époque.
Suite à son retour au Canada, elle a publicisé et plaidé en faveur de
l’approche selon Orff et elle fondé Carl Orff Canada en 1974. Au
cours des derniers 40 ans, l’approche Orff est devenue une partie
intégrale de l’éducation musicale dans les écoles et universités
canadiennes.
En 2014, nous célèbrerons ensemble le 40e anniversaire de Carl Orff
Canada par un renouvèlement du plaidoyer pour « Musique pour
Enfants – Music for Children ». Carl Orff Canada vous présentera
des idées pour célébrer et soutenir la musique pour tous les enfants.
Surveillez le prochain Ostinato et joignez-vous aux réjouissances!
References
Carl Orff Canada. (2013). What is Orff Schulwerk. Retrieved from
www.orffcanada.ca/aboutus.htm
Government of Canada. (2012). Harper Government Invests in
Future Innovators. Retrieved from http://actionplan.gc.ca/en/news/
harper-government-invests-future-innovators
Kain, K. (2013, June 28). What I would change about arts education in Canada. Retrieved from www.huffingtonpost.ca/karen-kain/
arts-education-canada_b_3503443.html
Orff, C. (1963). Orff-Schulwerk - Past and Future. Retrieved from
www.vosa.org/aboutorff/?pageID=17
6 Ostinato
Pomeroy, S. R. (2012). From stem to steam: Science and art go
hand-in-hand. Retrieved from http://blogs.scientificamerican.com/
guest-blog/2012/08/22/from-stem-to-steam-science-and-the-artsgo-hand-in-hand/
Sesame Workshop. (2012). Season 43 press release. Retrieved from
www.sesameworkshop.org/season43/news/press-release
STEAM. (2013a). About. Retrieved from http://steam-notstem.
com/about
STEAM. (2013b). Mission Statement. Retrieved from http://steamnotstem.com/
The White House. (2013). Educate to Innovate. Retrieved from www.
whitehouse.gov/issues/education/k-12/educate-innovate
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.
Par Louise Morand
Apprendre ensemble est un thème cher aux
pédagogies nouvelles. L’idée de former une «
communauté d’apprentissage » à l’école avec
une pédagogie différenciée, centrée sur les
besoins et intérêts des élèves (et même leur type
d’intelligence), dans une perspective d’inclusion sociale et d’ouverture multiculturelle, tous
ces objectifs font partie du paysage familier des
enseignants d’aujourd’hui. Ils contrastent avec
le modèle « bancal » d’éducation d’hier décrié par Paulo Freire :
l’éducation vue comme le transfert d’une somme de savoir depuis
les comptes bien garnis de l’enseignant vers ceux, à peu près vides,
des élèves.
Le grand tournant vers les approches nouvelles en éducation, où
l’élève joue un rôle plus actif dans la construction de son savoir,
s’est produit un peu partout dans les pays développés dès le début
du 20e siècle notamment avec l’influence de Montessori, Dewey
et Piaget. Dans le Québec de la Révolution tranquille, la réforme
de l’éducation qui a marqué la fin du cours classique et la laïcisation des écoles, a porté ce vent nouveau du changement (et le
vent depuis n’a pas cessé de souffler. Certains professeurs disent
même commencer à se sentir passablement décoiffés, mais ceci
nous éloigne de notre sujet).
L’idéologie qui anime la plus récente réforme québécoise de l’éducation s’inspire des travaux du psychologue russe L.S. Vygotsky.
Contemporain de Piaget dont il a été un critique, Vygotsky a fait
valoir l’importance de l’environnement social de l’enfant dans
son apprentissage. Alors que Piaget a décrit un enfant explorateur
de son environnement et construisant ses structures cognitives à
partir de ses propres expériences sensori-motrices et symboliques
(d’où l’appellation de théorie « constructiviste »), Vygotsky a
décrit l’enfant comme un être au centre de relations sociales, qui,
tout en continuant à explorer et construire son savoir à partir de
ses propres expériences, peut réussir davantage s’il bénéficie de
l’aide d’un adulte ou d’un pair plus avancé que lui, capable de se
mettre à son niveau pour l’amener à progresser. Notamment en lui
rendant accessibles les éléments de la culture et du langage qui
serviront à son développement (d’où l’appellation de théorie «
socioconstructiviste »).
L’idée que l’adulte, l’enseignant, ou le camarade plus compétent
doivent être capables d’agir à partir des limites de l’enfant, de
ses capacités sensori-motrices, intellectuelles et culturelles, pour
l’amener plus loin, ce que Vygotsky appelle la « zone proximale
de développement », est au cœur de cette théorie. Et c’est aussi un
élément qui suscite la controverse. Selon une perspective libérale de
l’éducation, c’est de la discipline elle-même, la musique en ce qui
nous concerne, que devraient découler les contenus, les concepts,
les pratiques que les enseignants choisissent d’enseigner, en fonction
de leur connaissance de l’art et des valeurs esthétiques et morales
qui les animent. Ainsi, si la polyphonie vocale, les œuvres de Bach,
Mozart et Beethoven, le grand répertoire pour piano romantique
et impressionniste, les chefs d’œuvres de la modernité et autres
musiques du monde et de poésie constituent des joyaux de l’art
musical, c’est vers eux que les enseignants doivent tourner leurs
regards et attirer ceux de leurs élèves.
Des philosophes de l’éducation, dont Baillargeon (2009) , font valoir
que le renouveau pédagogique actuel, avec un curriculum axé vers
les intérêts et besoins des élèves, le développement des compétences
par l’exploration et le jeu, l’expression personnelle à travers des
projets de création dans l’esprit du socioconstructivisme, alors que
les élèves n’ont pas encore les repères culturels pour alimenter leur
imagination, n’offre rien pour assurer la transmission culturelle
de notre art. Force est de constater qu’ils ont raison. Lorsqu’on
considère la prolifération d’insipides karaokés techno pop, et autre
musique industrielle pour soutenir les premiers pas à la flûte et au
xylophone, l’interprétation des grandes œuvres de Star Académie
et autres vedettes à potins lors des concerts de fin d’année, le jeu
libre avec objets sonores qui tient lieu d’expression artistique, tout
cela nous donne à penser que la zone proximale de développement
a l’épaisseur d’un vernis à ongles.
Mais il n’y a pas lieu de se décourager. Les théories de Piaget et
Vygotsky sont maintenant considérées par plusieurs chercheurs
comme désuètes. Si les nouvelles théories de l’apprentissage
montrent que le jeu est toujours à la base du développement humain,
la notion d’individu est de plus en plus remise en question (Fagen,
2011) . Il devient évident que les humains se coconstruisent en
relation avec tous les autres êtres vivants et inanimés du cosmos,
dans un espace-temps incluant à la fois le passé, le présent et le
futur. Bientôt nous pourrons à nouveau faire entendre à nos élèves
des œuvres de Dowland et Falla, parce nous aurons compris que
parents, enfants, direction d’école et enseignants (sans oublier le
personnel non enseignant), avec la bâtisse de l’école, son terrain
de jeu, le quartier environnant et le climat, tout cela contribue à
construire ce que nous sommes. Nous pourrons véhiculer davantage de sens que d’information, être davantage en interrelation
avec nos élèves qu’en interaction avec eux. Nous pourrons entrer
pleinement, adultes, vieillards et enfants, dans le jeu intemporel
qui fait de nous des humains.
Il faudra sans doute attendre quelques décennies avant qu’une
nouvelle réforme de l’éducation vienne traduire cette théorie en
curriculum. Et c’est peut-être tant mieux. Car cela nous laissera le
temps de nous approprier notre art, apprendre à mieux le connaître,
l’apprécier et le partager. Nous avons encore le temps de travailler ensemble pour nous communiquer nos meilleures façons de
faire, nos idées et nos réussites. Et qui sait si les élèves de demain
n’écouteront pas des pièces pour guitare de Fernando Sor et des
sonates pour flûte de Telemann sous des tentes à oxygène où nous
irons à tour de rôle nous nettoyer les poumons du méthane ambiant?
Peut-être même chanteront-ils en polyphonie après l’orage chaque
après-midi, histoire de rythmer la journée et harmoniser les esprits.
Qui sait si demain la musique ne sera pas davantage ce qu’elle peut
être : un art. Un art qui nous rassemble et nous soutient.
Baillargeon, N. (2009). Contre la réforme. La dérive idéologique
du système d’éducation québécois. Coll. Champ Libre, Montréal :
Presses de l’Université de Montréal.
1
Fagen, R.M. (2011). Play and development. In Pellegrini, A.D.
(Ed.), The Oxford handbook of the development of play. New York :
Oxford University Press,p.83-1
2
Louise Morand est enseignante en musique au primaire à la commission scolaire des Affluents et chargée de cours en éducation à
l’UQAM et l’université McGill.
Vol. 40, No.1, Fall 2013
7
Anansi Story
Nadia L. Hohn
This Anansi Story was based on an African-Jamaican folktale that was told to me by my father. I would like to dedicate
my retelling to the late Olive Lewin and Louise “Miss Lou” Bennett who contributed to Jamaican language, poetry, and
folk music preservation. This story is told in an interactive, oral storytelling style and requires a bit of improvisation.
It is also written with many Jamaican patois phrases intermittently to create the voice of the characters. Jamaican
patois, sometimes called Jamaican Creole by linguists, is an English-lexified creole language with West African
influences spoken primarily in Jamaica and the Jamaican diaspora (http://en.wikipedia.org/wiki/Jamaican_Patois).
Jamaican patois spellings are also used. For example, “fe” is written instead of “for”, “mek” instead of “make”. I
have shared the story with my students in Jamaican patois at times, but you may choose to read the story in standard
English. Join-in instructions for class participation appear in the left column.
Once upon a time, there was a spider named Anansi.
Walking
Anansi is a spider, Anansi is a man
Anansi is West Indian and West African
Anansi come to Canada on a Banana Boat
Anansi is a trickster who likes to nyam a lot
One morning, Anansi was awaken by his wife Patsy who whispered:
Softly (p)
“Anansi, Anansi, please buy some bananas. The pickney soon wake up and be hungry too.”
But Anansi was a lazy spider who didn’t like getting up in the morning, so Patsy said it a little louder:
louder (mf)
Anansi turned over and groaned, pulling the pillow over his head. So Patsy yelled even louder.
Loudest (f)
But it was already too late. Junior, Liza, Delroy, Velma, and John, five of Anansi’s six pickney, woke up from their sleep and sprung out
of their beds with growling bellies. Mummy Patsy shushed and told them to be quiet so they would not wake baby Winston. They cried…
Tip-toeing
Daddy, daddy we so hungry
Feed we daddy, feed we daddy
Daddy, daddy we so hungry
We pickney belly is so empty
Anansi couldn’t sleep any longer. He sprung out of bed and Mama Patsy gave him 3 shiny pennies to buy the bananas.
Skipping
To market, to market, to buy some bananas
To buy some bananas for family and me
Me only have 3 pennies for the bananas
1… and 2… and… 3
Anansi was almost out the gate but being the lazy spider he was, he realized he did not want to carry home all of those bananas from the
market. So he decided to make it as easy as possible for himself. He untied the family jackass, Horsey, with him long tail. “Hee haw!
Hee Haw!” Horsey brayed as Anansi got on his back and rode to market.
Galloping
To market, to market, to buy some bananas
To buy some bananas for family and me
Me only have 3 pennies for the bananas
1… and 2… and… 3
Anansi arrived at the marketplace and he looked for the banana stall. Suddenly he heard someone singing. It was a beautiful lady wearing
a wide hat and she sang:
8 Ostinato
He used his 3 pennies to try to bargain with the banana lady at the banana stand. He begged and begged for her to lower her price but
the best price she could give him was 2 bananas for each of his pennies. Anansi got on Horsey’s back and went home with 6 bananas.
Galloping
See Anansi galloping, galloping
Down the country road
Coming from the market place
Back with a heavy load.
The closer Anansi got to his house, the more his tummy started to grumble. Then, he got an idea. He got off Horsey, opened the gate and
tied him to the post. He proudly held the hand of bananas above his head and marched through his yard.
Marching
Anansi comes a marching home
Hurrah, Hurrah
He has bananas for everyone
Hurrah, Hurrah
For Liza, Fitzroy, Junior, John,
Velma, and one fe Winston.
So he opens up the gate
And walks around to the back
Drum Drum Drum Drum
Drum Drum Drum Drum
Vol. 40, No.1, Fall 2013
9
As soon as the pickney heard Anansi coming through the gate,
they got very excited.
Mango spice: 44 Caribbean songs by Conolly, Yvonne; Ling, Maggie
London: A. & C. Black, 1981
Jumping Yum Yum Yum Yum
‘Nanas to nyam
Daddy, Daddy (tiptoeing chant), Yum Yum (jumping chant) and
Crawling (crawling chant) by Nadia L. Hohn
In my tum
Yum Yum Yum Yum
We will eat them
One by one
Anansi pulled off each of the six bananas to give to his pickney—
one for Delroy, one for Junior, one for John, one for Velma, one
for Liza, and one mashed up for baby Winston. As soon as the
children began to peel their bananas, Anansi started to tremble and
drag himself on the ground.
Crawling
Lahd me so hungry,
Me feel like me gwine drop
Wife and pickney beg you,
Spare a half fe you ol’ Pops.
Just gimme half a what you have, no?
Liza, Fitzroy, Junior, John,
Oono help me out, no please, even you too baby
Winston
De hunger mek me grovel and pant fe me life
I beg you just one half Patsy, me dear and faithful
wife
To Market, To Market to Buy Some Bananas (skipping and galloping chants)
Based on the nursery rhyme To Market, To Market
Words by Nadia L. Hohn
Songs for the Nursery, 1805
Bananas, traditional Jamaican folk song
The version here is close to how I would actually sing it and the
version that I heard. The first time I heard the song it was sung to
me during a car ride home from a relative’s funeral fifteen years
ago and I transcribed it based on my memory. Then I heard a ska
version sung by the Aggrolites on the children’s show Yo Gabba
Gabba which had simpler verses and lots of repetition. This is an
oral traditional song so there should be room for improvisation (i.e.,
repeating certain phrases, returning to the chorus).
See Anansi Galloping (galloping song)
Based on the song See The Ponies Galloping by Coleman and Thorne
(as found in Donna Wood’s Move, Sing, Listen, Play)
Anansi Comes A Marching Home (marching song)
Based on Traditional American song The Ants Go Marching One
by One
De six pickney dem looked at Anansi with sadness and concern.
Without hesitation, they broke off half their bananas and gave
them to Anansi.
Leaping (leaping song)
Melody from the traditional American song The Old Grey Cat is
Sleeping (see Donna Wood’s Move, Sing, Listen, Play)
“Here you go, Daddy,” said baby Winston.
Glossary of Jamaican patois words
“Surely you’re too kind,” Anansi said grabbing each of the bananas
as he crept further away. The pickney looked at their leftover half
bananas, then at each other, then at Mama Patsy. The whole family
looked at Anansi with his six banana halves held in each leg. She
asked, “A what kind of trick is this?” But, it was too late. By the time
they recognized the trick, Anansi was already leaping out the door.
gwinegoing
nyam
eat, term is of African origin
oonoo
you, as in a group of people, term is of African
origin
pickney
children, term is of African origin
Leaping Anansi is a leaping
Leaping leaping
Anansi is a leaping
Out the house
He’s stuffin’ the bananas
‘Nanas ‘nanas
He’s stuffin’ the bananas
Into his mouth
Origins of the songs in the Anansi Story
Anansi is a Spider (walking song)
Adapted from the original “Anancy the spiderman” by Manley
Young and Chris Cameron
10 Ostinato
Nadia L. Hohn, BA (Hon.), B.Ed., MEd, has been a teacher with the
Toronto District School Board since 2003. She is an inaugural staff
member of the first publicly funded Africentric elementary school
in Canada where she currently teaches Core French and kindergarten/primary Music. Nadia is also a workshop presenter and a
candidate in the Early Childhood Music Education program at the
Royal Conservatory of Music and has completed Orff Level 1 and a
Dalcroze course. Nadia is also a children’s and non-fiction writer
who was first-runner up for the Helen Issobel Sissons Award 2013.
She is currently a singer with the Heritage Singers, a Caribbean
folk-choir. Nadia hopes to start her PhD in 2014 about Africentric
and arts education, creative writing, and Jamaican folk music and
folklore. You can reach Nadia at [email protected].
Thirty Years Ago in Ostinato…
Orff-Schulwerk In South Africa is Alive and Well
Lois Birkenshaw
In the December 1983 issue of Ostinato (Bulletin No. 25) the following article by Honorary Life Member Lois Birkenshaw-Fleming
appeared. With Lois’ permission it is reprinted here. This was a
sensitive time in South Africa’s history when the country was politically isolated and apartheid still operated. Lois’ impressions of the
very different cultures she experienced shed light on the situation
still challenging that troubled country to this day.
For four weeks I conducted workshops and gave lectures to students,
teachers and administrators of schools, teacher training colleges,
and universities in Pretoria, Johannesburg, Port Elizabeth, East
London, Pietermaritzburg, Cape Town, Stellenboshch, and Paarl.
The schedule was gruelling and entailed a lot of travelling, but it
was an unforgettable experience.
There was a great amount of interest shown in the Orff approach.
Most of the groups I worked with numbered well over sixty, and
the amount of time I spent with each group varied from just two
hours in a morning, to as much as six or eight hours spread over
two to three days. Some of those attending had no previous Orff
training, and others had taken courses in Salzburg. Hazel Walker
Cunnington, who is the national president of the Orff Association,
has spent several years giving workshops throughout the country,
and others have lectured on their speciality – movement, recorder,
and so on.
Orff approach. The most common text-books are called Fun With
Notes, and were written by Philip McLachlan, who was for many
years a professor at Stellenbosch University and a leader in music
education. The music in these books contains folk songs from many
lands, including our own “Land of the Silver Birch”.
Orff-Schulwerk is a fairly new arrival in the classroom, and although
the number of instruments available in the schools, training colleges
and universities is quite staggering, the teachers and students are
still eager for ideas of just how to implement the Orff philosophy.
South Africans are truly bilingual. Every child is required to study
Afrikaans and English from Grade 1, and complete fluency in
both languages is a requirement before advancement is possible in
education, the government, or industry. The television is state run,
and operates for six hours a night: three hours in each language.
Our Canadian series The Beachcombers was showing at the time,
and it did seem odd to hear the characters talking Afrikaans in the
middle of the British Columbia wilderness.
Afrikaaner teachers are always looking for material in their own
language, and so a great number of the songs and poems I used
in the workshops went through instant translation. “Head and
Shoulders Baby, Yes, Yes” became “Kop en Skouers Baba, Ja, Ja”.
Many of the traditional Afrikaaner songs are being published in
choral settings, and are being used increasingly in the classroom.
Every two years the Association brings a speaker or speakers to
South Africa, to conduct a lecture tour. The first pair were Heidid
Weidlich and Miriam Samuelson, followed at two year intervals by
Margaret Murray, Elizabeth Nichols, Arnold Burkart, and, this year,
me. In between these visits, there have been national conventions
in various centres, and the local chapters run workshops during the
year, very much as we do.
Black African music is also gaining some importance although
it is much harder to teach because of its very involved rhythmic
structure, which is generally unfamiliar to people of European
descent. The African believes that two people playing together play
“in each others’ spaces”: that is, they don’t double up on parts to
make them important, but rather comment on one another’s part,
and thereby heighten the impact of each.
South Africa, like Canada, has the disadvantage of being a country
of vast distances: from Johannesburg to Cape Town is approximately
one thousand miles. It also has the problem of being isolated from
the rest of the world. Whereas we take for granted the easy flow of
ideas (especially Orff ideas) across the border with the USA, South
Africans have to look to Salzburg, England, America, or Australia,
all of which are thousands of miles away. Thus the dissemination
of ideas is frustratingly slow.
All this was explained to me by Andrew Tracey. Andrew lives in
Grahamstown, and has an office at Rhodes University, where he
teaches mostly Black students about their own musical heritage,
which is now largely forgotten. Andrew’s father, Hugh Tracey, was
considered the foremost authority on African music, and he and
Andrew had a magnificent collection of authentic native instruments, which is now housed in the Grahamstown museum. Andrew,
besides being extremely knowledgeable, is also very talented in
performing in the African idiom.
When I went, it was, of course, their winter. All the schools, colleges
and universities were in session, and I could see them under their
working conditions. This was fascinating, and I was able to discern
fairly quickly how the educational process operates.
There are four separate educational systems – White, Coloured (i.e.,
mixed race), Indian and Black. This separation extends from preprimary (our early childhood education) right up through teacher
training and university. The courses of study are fairly well laid
out and prescribed, even in music, and the main emphasis in the
music curriculum is on a singing programme. The kind of music
studied in every system tends to be of English and European origin, with a great amount of emphasis placed on folk music. This
makes it fairly easy to find materials which can be adapted to the
While explaining to me the bare basics, he played a small, native
harp made from tortoise shell. One hand played one rhythm; the
other played a second, contrasting rhythm; and occasionally Andrew
added a third rhythm, in the form of an African song.
In an article for The Orff Beat [the national journal of the South
African Orff-Schulwerk Association. Ed] (Vol. 11, No. 2), Andrew
quoted an English missionary, Fr. A.M. Jones.
You have two drums of different pitch, two drummers, and two
parts to be played.
Vol. 40, No.1, Fall 2013
11
some are setting up nursery schools and training teachers to work
in these facilities. An idea of the need for this kind of enriched,
pre-school experience can be gained when one realizes that for
every child in the programme there are about two hundred who
are waiting to be placed.
I was taken to see three schools outside Pietermaritzburg, and three
in Soweto, which houses over a million people, just outside Johannesburg. In each school the children sang for us, and showed us
their games. It was a revelation to see approximately sixty children,
aged two to five, standing quietly, with no pushing, poking, or tears,
waiting their turn to “perform”. And perform they did. I didn’t hear
one out-of-tuner, nor did I see a child who was not absolutely on
the beat, clapping to the song, marching or performing the actions.
I have never felt so totally redundant. The White schools, of course,
are just like our schools: there are many children who can’t sing
in tune or keep a beat.
The second drummer is not considered to be coming in on the
second beat of the first drummer’s part, but rather is establishing
his own beat.
This complete difference in rhythmic concept is fascinating, but
makes it difficult to adapt African music to traditional school music.
Hazel Cunnington and Andrew Tracey are searching for ways
to bring African music into the curriculum of the whole system,
but particularly into the lives of the urban Blacks, who have lost
their tradition entirely. They feel that the Orff approach, with its
emphasis on rhythm, poly-rhythms, speech and movement could
be an excellent vehicle.1
Andrew and his wife Heather have a small factory which has produced kalimbas (a version of the traditional thumb piano) for years.
At present, they have branched into constructing xylophones to be
used in the Orff approach. The notes are made from an indigenous,
African wood called sneezewood – for what reason, no one was able
to tell me. The Chopi tribes have made their wonderful xylophones
from this wood for many centuries because of its exceptional hardness and ringing tone. The early settlers also used sneezewood, but
for fence posts, door sills, and rafters.
It seems that this wood was impervious to rot. Andrew has been
buying up old fence-posts to turn into notes for xylophones. There
is a full, diatonic, alto xylophone, a bass xylophone, and a “log”
xylophone which has no sounding box and is tuned to the pentatonic scale. The tone of these instruments is absolutely splendid,
and blends happily with the other instruments. I brought home a
log xylophone, and I must say that having it is worth all the trouble
of getting it past the customs officials in Johannesburg, New York
and Toronto. 2
Many of the people I met and stayed with are working with students
in the Black townships. Some are teaching in existing schools, while
12 Ostinato
I also felt redundant when one of the workshop participants took me
to the Soweto Teacher Training College, where she works. This college has over seven hundred students, and is in a fine, well-equipped
building, donated entirely by the Oppenheimer family. I met with
the nursery school teachers-to-be and taught them some songs,
one of which was “Liza Jane”. The second time we sang it, these
students broke into four-part harmony! Later, the award-winning
school choir sang several selections, varying from madrigals to
the unofficial Black anthem, “Nkosi Sikelel’i Afrika”. It was truly
wonderful. The tone and blend of the voices was excellent, and I
heard several members of the bass section whom the Metropolitan
Opera would do well to hire.
South Africa is a beautiful land. The country around Cape Town,
with its mountains and lush valleys, the stark grandeur of the
Transvaal; and the tropical vegetation of Natal province all make
an indelible impression on one’s mind.
It is also a troubled land, with no easy solutions to its problems.
So many times in the past I have been struck by the fact that the
Orff philosophy attracts people who are warm, joyous, creative
and non-rigid in their approach – not only to music, but to life in
general. I found this once again, in South Africa. The Orff people
there seem dedicated to giving all children as fine an education as
is possible, and to opening up their hearts, minds and souls to the
best in life, through music. It was a rare privilege to meet these
people and to work with them.
References
For a further discussion of African music see “Music of Africa: Some
Practical Beginnings,” Ed. Mary Robinson Ramsay. Bulletin No. II,
March 1979. Mary lived in Durban, South Africa for years, and was
active in the Orff movement there.
1
Lois has since donated this instrument, which still sounds beautiful,
to the Orff program at the Royal Conservatory. Ed.
2
Lois Birkenshaw-Fleming retired from a long career as an author,
internationally acclaimed workshop clinician, course instructor,
Director of the Royal Conservatory’s Orff teacher training program,
and lead teacher of the Toronto Board of Education’s Orff department. She is an Honorary Life Member of Carl Orff Canada and
lives in Toronto, where she continues to take an active interest in
all things Orff. Ed
Open Your Wings: the 15th World Village at the Valkeala Folk
High School in Finland
Danielle Treacy
Imagine yourself standing on a dock overlooking a large, quiet lake. The water is so clear
you can see the bottom, and the lake is surrounded by peaceful forest. Across the water
to your right, you can see the face of a rocky slope going into the water. Now turn around
and slowly walk up the forested hill to the yellow school building. Feel free to stop and
pick some blueberries along the way.
This is the setting of the 15th World Village at the Valkeala Folk High School in Finland.
Yes, the country that has been in the news so much lately for its successes in education,
high rankings for quality of life, treatment of mothers, and for Baby Boxes. The host of our
week is JaSeSoi ry, the Finnish Orff-Schulwerk Association. Funding has been provided
by the National Council for Music, a division of Arts Promotion Centre Finland. World
Village has been organized by an outstanding team of six volunteers: Hanne Horto, Harri
Hölttä, Jouni Kettunen, Anne Klemettilä, Heli Raatikainen, and Jukka Siukonen.
The organizing team arranged a bus to take us from the Kouvola train station the rest of
the way to Valkeala Folk High School, where we enjoyed apartment style accommodation
and a kitchen staff who ensured that we were very well fed throughout the course. I had
attended both a jazz course with Doug Goodkin and World Village in 2012 with JaSeSoi,
so arriving at the Kouvola train station was like returning home to family, full of excited
chatter and warm hugs.
Participants showing off their new kanteles.
World Village consisted of 25 academic workshop hours and 23 academic hours of other
guided cultural and pedagogical activities. Our presenters this year were Lenka Pospísilová
(Czech Republic - Orff pedagogue, music educator), Soili Perkiö (Finland - Orff pedagogue,
music educator), Ismaila Sané (Senegal/Finland - musician, choreographer, pedagogue)
and Outi Sané (Finland - musician, kantele pedagogue). In addition to the four presenters
and six team members, Outi and Ismaila’s three children participated with us, and we had
36 participants who came to World Village from Australia, Canada, the Czech Republic,
Finland, Hong Kong, Norway, Russia and the USA. Sixteen of the participants were attending World Village for the first time. During the week we also had some special guests
come to visit, including the Philomela choir, and Christiane and Ernst Wieblitz from the
Orff-Institute in Salzburg who celebrated their 50th wedding anniversary with us.
It is difficult to describe the experience of World Village in words. JaSeSoi president Juuso
Kauppinen talked about the three facets of Orff-Schulwerk: Artistic, Pedagogical and
Humanistic. All three were certainly strong
throughout World Village. Lenka took us
on playful journeys filled with imaginative
storytelling. Soili’s lessons flowed seamlessly integrating everything from improvisation
to drama, from mathematics to activities that
stimulate the brain. Ismaila taught us djembe
technique and new patterns and songs from
West Africa. And Outi, assisted by her 13
year old daughter Aminata, taught us Finnish
children’s songs and folk music on an instrument that was new to many of us, Finland’s
national instrument, the kantele. Outi had
both 5- and 11-string kanteles available for
us to use during the course, but many of us
chose to take advantage of her offer and order
our own instrument in advance.
Beyond the artistic and pedagogical sides
of the workshops, I felt that the humanistic
side was perhaps the strongest. It permeated
every lesson and every activity outside of
our lessons. It really felt that this had been
a goal for the organizers and I felt my soul
being nourished by the music, participants,
presenters, organizers, and activities. Evening activities included a “Garden Party”
the first night, performances by the Finnish
women’s choir Philomela on Wednesday,
and a “Village Fest” on the last evening.
Philomela had just returned from winning
the European Choir Championships in
Graz, Austria. They sang for us twice in the
evening, and their performance of Suden
Aika (The Age of Wolf) was one of the
most moving musical experiences I have
had. During the “Village Fest” on Friday,
dinner was interspersed with performances
and sharing by participants. Some performances were organized by participants from
the same country to share a song or dance
from home. Perhaps next year, we might have
a Canadian group share. In addition to these
events, every night there was the opportunity
to go to sauna and go swimming in the lake.
We also had an evening around the campfire,
singing, playing ukulele, kantele and guitar,
and grilling sausages and other snacks. On
another evening there was a pancake supper,
of course accompanied by music making.
Finally, because this year’s theme was “Open
Your Wings” the organizing team arranged
a trip to a local airport so that those who
wanted had the opportunity to go for a fifteen
minute flight in a glider airplane. My group
Vol. 40, No.1, Fall 2013
13
enjoy coffee, tea and snacks on the deck of the main building in the partial shade created by
the nearby forest. For me, this time on the deck was another highlight of my week. Ismaila had
brought drums with him and was playing, and a few of us joined in. We were drumming and
singing for so long that my hands became sore, but I just couldn’t stop. When Ismaila went
to the runway to watch the planes take off and land, a Finn, an American, and I continued to
practice singing and drumming the song Ismaila had just taught us so that we could perform
it to welcome everyone back as they returned from the runway and their flight.
Finnish kantele pedagogue Outi Sané
accompanies the class during one of our
lessons.
was the first to go, and one by one we put
on a parachute and sat in the front seat of a
small glider with the pilot in the seat behind
us. The view from about 400 meters in the
air was, of course, beautiful and the feeling
of gliding silently through the air like a kite
was so exhilarating and peaceful. Since 33
participants chose to go gliding, we had some
time to relax near the runway, watching others
take off and land. We also had some time to
14 Ostinato
The organizing team and presenters with the 36 participants from Australia, Canada,
the Czech Republic, Finland, Hong Kong, Norway, Russia and the USA.
Next summer, World Village will be held from 21-26 July, 2014. Outi and Ismaila will be
presenters again, and Ismaila will also be teaching West African dance. The Orff pedagogues
will be Ari Glage (Austria) and Dr. Rob Amchin (USA). If you would like more information about World Village or JaSeSoi ry you can visit www.jasesoi.org. I am also happy to
answer any questions I can. More information about the women’s choir Philomela can be
found at www.philomela.fi. Both JaSeSoi and Philomela can also be found on Facebook.
Danielle Treacy is an Orff Specialist from Toronto who has been living overseas for ten years.
She has taught K-6 music in Egypt and Singapore, and has recently moved back to Finland.
À la rencontre d’un élève qui a un TED1 (autisme)
en classe de musique
Nathalie Jacques
mon choix s’est arrêté spontanément sur les étudiants de mon groupe
universitaire, tous des titulaires de classe en adaptation scolaire au
préscolaire, au primaire ou au secondaire pour la clientèle TED (je
suis la seule spécialiste en musique dans ce groupe). J’ai voulu partager avec eux une découverte que j’avais faite quelques semaines
Quand un être humain vient au monde, aucun auparavant qui a eu un impact majeur sur ma manière d’enseigner
manuel d’instruction ne l’accompagne. Dès son à ces enfants. Pour ce faire, l’idée du jeu de rôle me semblait aparrivée, sa quête d’identité commence. À un mo- propriée. Je les ai donc jumelés deux par deux : l’un d’eux jouait
ment ou à un autre, le contact avec les gens de le rôle de l’enseignant en musique et l’autre, celui de l’élève TED.
son entourage, aidé par sa capacité d’imitation, Les réactions n’ont pas tardé : « Mais... nous ne sommes pas des
fait son oeuvre : l’enfant, comme tous les autres, enseignants en musique !!! Comment allons-nous faire ? » Je les
ai rassurés en leur expliquant que la matière enseignée n’avait pas
s’identifie aux siens et se construit.
d’importance ici. Qu’il valait même mieux qu’ils baignent dans une
Pour nous, parents ou pédagogues, tout cela est situation nouvelle, loin de toute influence d’approches pédagogiques
bien rassurant. Faute de mode d’emploi, nous comptons sur cette connues qui, en temps normal, les guident et les rassurent dans
trajectoire développementale commune à tous pour suivre l’enfant leur pratique quotidienne auprès de ces élèves. Après cette courte
dans son développement. Nous avons, en quelque sorte, un modèle, période de discussion, l’activité a commencé. Chaque membre de
une référence commune, à commencer par l’être humain que nous l’équipe recevait une enveloppe différente selon leur rôle respectif.
sommes.
Le contenu des enveloppes, qui devait être gardé secret entre les
participants, est présenté ci-dessous :
En pédagogie musicale, cette forme de « stabilité » nous permet de
concevoir des programmes, d’utiliser des approches et une progres- L’enseignant de musique
sion pédagogique qui correspondent à cette évolution connue des Mise en situation
pédagogues. Mais qu’en est-il lorsque nous perdons nos points de Vous travaillez aujourd’hui en classe spéciale avec un groupe
repère? Lorsque l’être humain devant nous semble, à première vue, d’élèves qui ont un TED de bas niveau, c’est-à-dire qu’en plus des
fondamentalement différent de ce que nous sommes?
symptômes de base (la trilogie autistique), les enfants manifestent
L’article suivant a été publié dans l’édition Ostinato printemps
2013 avec quelques erreurs. Nous nous excusons auprès de Nathalie
Jacques et de nos lecteurs pour ces coquilles. Nous sommes heureux
de vous le présenter de nouveau.
Heureusement, pour les enfants qui ont un TED comme pour nous,
nous avons comme point de départ la recherche pour nous guider
dans notre démarche. Si nous ne savons pas encore aujourd’hui
quelle est la cause de l’autisme, nous savons que les personnes qui
en sont atteintes ont toutes, à des degrés différents, des traits en
commun. Je fais référence ici à la trilogie autistique : déficit de la
communication verbale ou non verbale, déficit au niveau des relations
sociales et des capacités d’interactions et enfin, des manifestations
comportementales telles que des intérêts restreints, des stéréotypies
et un désir d’immuabilité.
plusieurs limites intellectuelles. Le groupe est formé de 5 élèves.
Un TES les accompagne. Vous faites travailler les enfants en ateliers
individuels au sein de votre classe de musique. Pendant ce temps,
vous voyez chaque élève un à un et vous avez comme objectif de
leur apprendre à jouer « Au clair de la lune » au xylophone. Pendant
que vous voyez chaque enfant dans votre espace d’enseignement,
le TES s’occupe de gérer les 4 autres élèves qui sont dans les autres
ateliers. Vous disposez de 10 min/élève.
Votre tâche
Vous voici en face de Charlotte, 6 ans, TED de bas niveau. Vous
ne la connaissez pas encore. Vous ne savez rien de ses forces ni
de ses difficultés musicales, académiques et comportementales
puisque son enseignant n’a pas eu le temps de vous transmettre les
informations à son sujet. Aujourd’hui, et pour les autres cours qui
suivront, vous avez planifié lui apprendre les 6 premières notes de
la chanson « Au clair de la lune » au xylophone pour qu’elle puisse
éventuellement les reproduire seule. L’enveloppe contient tout le
matériel pédagogique nécessaire pour cette première leçon. Vous
disposez de quelques minutes pour vous préparer suivies de 10
minutes de rencontre avec Charlotte.
La personne autiste a cette difficulté d’être parmi les autres, d’être
consciente de son « soi-vivant-une-expérience » 2 dans l’ici et
maintenant. Elle a du mal à comprendre nos conventions qui, très
souvent, ne font aucun sens pour elle. Comme si elle avait du mal
à décoder et comprendre la vie et son environnement. Selon BaronCohen, la personne autiste, à des intensités variables et différentes
selon les atteintes, manifeste en quelque sorte une « cécité mentale
» 3. Or, la comparaison ici est tentante : ne manifestons-nous pas
également une forme de « cécité mentale » lorsque nous sommes
en présence d’un enfant ayant un TED (autisme) à qui nous devons
enseigner la musique ? Autrement dit, voyons-nous clair dans sa Matériel pédagogique de l’enseignant en musique contenu dans
manière d’être et de faire afin de choisir une approche pédagogique l’enveloppe :
qui lui convient ?
• Paroles de la chanson « Au clair de la lune »
J’ai tenté une expérience dans le cadre d’un de mes cours de deux- • Images de la chanson « Au clair de la lune »
ième cycle au DESS en intervention éducative auprès des élèves • Des papiers buvards
TED à l’UQAM. Il nous était demandé de créer une activité de • Du papier collant
sensibilisation pour cette clientèle dans notre milieu scolaire. Or, • De la gommette
Vol. 40, No.1, Fall 2013
15
Caractéristiques :
1 banderole de pastilles de couleurs
Ses difficultés :
• Elle parle peu, elle dit quelques mots seulement (aucune
phrase complète) mais elle comprend les consignes
1 banderole avec le nom des notes
Do
Ré
Mi
Fa
Sol
La
Si
Do
• Lorsqu’elle est assise sur une chaise, elle est agitée, elle
secoue ses mains dans les airs («flapping») et elle cherche
1 banderole avec les chiffres de 1 à 8
1
2
3
4
5
•Elle ne reconnaît pas les lettres ni les chiffres
•Elle a des problèmes de motricité fine (elle ne parvient
pas à tenir une baguette de xylophone)
6
7
8
1 banderole avec les notes de musique dans la portée
• Des ciseaux
• 1 feuille de papier vierge
• 1 crayon à la mine
L’élève qui a un TED (personnage fictif)
Nom : Charlotte, 6 ans, TED de bas niveau, c’est-à-dire qu’en plus des
symptômes de base (la trilogie autistique), Charlotte manifeste plusieurs
limites intellectuelles.
s’asseoir par terre en indien. Cette position la calme.
Ses forces :
•Elle aime beaucoup la chanson «Au clair de la lune».
Elle la frappe dans ses mains lorsqu’elle l’entend.
• Elle est capable de fredonner l’air au complet en y
ajoutant quelques mots ici et là.
•Elle sait lire la musique
•Elle connaît bien ses couleurs
•Elle a un très bon sens du rythme
Les participants disposaient d’une dizaine de minutes pour
lire les consignes et se préparer à jouer leur rôle. Ils se sont
ensuite placés avec leur partenaire pour vivre l’expérience
pendant une autre dizaine de minutes. À la fin de l’activité,
j’ai demandé à ceux qui jouaient le rôle de l’élève avec un
TED de se retirer. Par surprise, j’ai distribué et fait remplir le
questionnaire suivant aux enseignants qui jouaient le rôle du
professeur de musique :
Grille d’observation de l’enseignant (élaborée par Nathalie Jacques)
Répondre aux questions suivantes :
Pendant l’atelier de xylophone avec Charlotte,
vous avez remarqué que...
1.
Charlotte comprend les consignes
2.
Charlotte fait des phrases complètes
3.
Charlotte s’exprime avec quelques mots seument
4.
Charlotte reconnaît les lettres
5.
Charlotte reconnaît les chiffres
6.
Charlotte reconnaît les couleurs
7.
Charlotte sait lire la musique
8.
Charlotte éprouve des problèmes à tenir son maillet
9.
Charlotte semble plus à l’aise de jouer avec sa main gauche
10. Charlotte reste bien assise sur sa chaise
11. Je sais quand et pourquoi Charlotte fait du flapping avec ses mains
12. Charlotte est capable de fredonner « Au clair de la lune »
13. Charlotte chante «Au clair de la lune» avec toutes les paroles
14. Charlotte chante «Au clair de la lune» en insérant quelques paroles
15. Charlotte n’a pas de rythme
16 Ostinato
Oui
Non
Peut-être
Je ne
sais pas
Résultats de l’activité : tous les participants qui jouaient le rôle
de l’enseignant en musique, sans exception, ont adapté minutieusement leur xylophone à l’aide du matériel mis à leur disposition
avant l’arrivée de leur élève. L’intention de départ était bonne
et astucieuse : adapter l’instrument de musique pour faciliter
l’apprentissage de la chanson, chacun appréhendant à sa façon les
difficultés à venir et les stratégies pour les contrer, cela en fonction
de ses connaissances et des expériences acquises avec le temps
auprès des autistes. Or, aucun enseignant ne connaissait les forces
et les difficultés académiques, musicales et comportementales de
Charlotte avant qu’ait lieu cette première rencontre. Lorsque le jeu
de rôle a débuté, les choses ont commencé à se compliquer. Tel
que prévu, les participants de toutes les dyades qui jouaient le rôle
de Charlotte refusaient de s’asseoir sur leur chaise, faisaient du
«flapping», échappaient leur maillet de xylophone, s’exprimaient
difficilement verbalement, etc. Les fous rires n’ont pas tardé à se
faire entendre dans la salle, mais le malaise était palpable, chaque
personne qui jouait l’enseignant de musique ne sachant trop quoi
faire avec son élève. Tout ce qu’ils avaient prévu dans leur démarche
pédagogique fonctionnait peu ou pas du tout. Quand ils ont appris
que Charlotte savait lire la musique, tous se sont mis à rire et à
réfléchir à voix haute: «C’est vrai, ces enfants sont surprenants
parfois! On a même pas pensé vérifier, à l’aide du matériel qui
était mis à notre disposition, les capacités de Charlotte...!» Quant
au questionnaire surprise, plusieurs ont avoué ne pas avoir porté
attention à plus de la moitié des critères pendant le jeu de rôle tant
ils étaient absorbés par la démarche pédagogique qu’ils avaient
choisie pour enseigner à leur élève.
C’est à la suite de cette expérience que je leur ai fait part d’une
réflexion toute simple qui a changé ma vie en matière de pédagogie musicale auprès de ces enfants: observer d’abord, adapter ou
modifier nos approches pédagogiques ensuite, s’il y a lieu. Parce
qu’il y a autant de façons de faire en éducation musicale qu’il y
a d’élèves qui ont un TED. Et il en est de même pour toutes les
matières enseignées à l’école. Tout comme nous, les élèves ayant
un TED ne viennent pas au monde avec un manuel d’instruction.
Mais une chose est sûre: tout comme nous également, ces élèves
ont appris et ils apprennent tous les jours. Seulement, leurs lunettes
sont différentes des nôtres. C’est à nous, pédagogues, d’aller à leur
rencontre pour tenter de voir la vie à travers leurs yeux. Et pour
chacun de ces élèves, nous pourrons adapter notre approche afin de
la rendre accessible et significative pour l’enfant. Afin d’illustrer ces
propos, je reprendrai l’exemple de Charlotte et de sa courte leçon
au xylophone pour partager avec vous ce que je ferais aujourd’hui
dans cette situation.
Observer d’abord
J’utiliserais notre première rencontre pour recueillir des informations. Bien sûr, cette cueillette de données peut se faire de différentes
façons, en fonction du contexte de votre classe et de ce que vous
cherchez à obtenir comme renseignement. Pour ma part, voici les
étapes que je suivrais:
1. Observer d’abord quelques instants Charlotte, assise à
mes côtés. Le xylophone est caché sous un drap afin de ne
pas influencer son comportement. Comment se comportet-elle? Semble-t-elle accepter ma présence? Me porte-t-elle
intérêt? Peut-elle communiquer? Peut-elle interagir avec moi?
S’exprime-t-elle verbalement? Manifeste-t-elle des comportements étranges? etc. Concernant les connaissances de Charlotte
(lettres, chiffres, couleurs, notes de musique, etc), je prendrais
le temps de les vérifier tout simplement en utilisant du matériel
pédagogique semblable à celui contenu dans l’enveloppe. Je
lui demanderais de me donner, par exemple, le chiffre 3, le
carré bleu, le carré rouge, la note «ré», la note de musique
«la», etc. Je chanterais «Au clair de la lune» en observant si
elle connait la chanson, si elle chante avec moi. Si Charlotte le
fait, je peux porter attention à la qualité de sa voix: la justesse
et la souplesse de sa voix chantée, la présence de modulations
vocales ou non, etc. Puis, je vérifierais si elle comprend bien les
paroles de la chanson «Au clair de la lune» en l’encourageant
à me montrer les images au fur et à mesure que je la chante.
Au préalable, je placerais les images dans le désordre.
2. Observer Charlotte improviser seule au xylophone, sans
aucune contrainte, afin d’obtenir son portrait musical à
l’instrument:
Aspect technique du jeu instrumental:
•
La mélodie:
•
•
•
•
Son jeu spontané au xylophone est-il organisé rythmiquement? (par exemple, présence de petites cellules
rythmiques qui se répètent) Etc.
Les nuances:
•
Semble-t-il y avoir présence de recherche mélodique ou
le jeu semble plutôt exécuté de façon aléatoire?
S’il y a présence d’une mélodie, est-elle organisée? Y
a-t-il de petites cellules mélodiques qui se répètent?
Y a-t-il de la variété dans son jeu mélodique ou joue-telle continuellement les mêmes notes?
Utilise-t-elle l’instrument de façon mélodique ou plutôt
comme une percussion? Etc.
Le rythme:
•
Joue-t-elle à deux mains, un maillet dans chaque main?
Y a-t-il alternance des mains dans son jeu? Tient-elle
ses maillets avec rigidité, avec souplesse ou mollement?
Est-elle latéralisée? A-t-elle du mal à tenir le ou les
maillets? Etc.
Son jeu musical est-il nuancé? Joue-t-elle avec les
pianissimo et les fortissimo par exemple? Fait-elle des
crescendo, des decrescendo? Utilise-t-elle différentes
intensités? Etc.
Le tempo:
•
Y a-t-il de la variété dans la vitesse d’exécution de son
improvisation?
3. M’introduire dans le jeu musical de Charlotte:
•
•
•
Accepte-t-elle que je joue sur son xylophone avec elle?
Comprend-elle le concept du tour de rôle?
Reprend-elle spontanément quelques idées musicales
que j’exécute? (imitation)
Vol. 40, No.1, Fall 2013
17
Adapter ensuite
Durant mes observations, je ne perds pas de vue mon objectif premier qui est de lui enseigner les 6 premières notes de la chanson
«Au clair de la lune». Mine de rien, nous en avons déjà commencé
l’apprentissage en la chantant ensemble. Seulement, le reste de ma
démarche va différer de celle que j’aurais choisie spontanément si
je n’étais pas passée par cette cueillette d’informations. Pour commencer, j’adapterais les maillets du xylophone en grossissant les
manches pour lui permettre de bien les tenir puisque j’aurais remarqué
que Charlotte les échappe continuellement. Ensuite, je me serais
assise par terre avec Charlotte puisque cela semble beaucoup plus
confortable pour elle et qu’elle se calme dans cette position. Enfin,
je choisirais, dès le départ, d’introduire la partition musicale pour
lui enseigner les notes et la mélodie au xylophone puisque j’aurais
découvert, à mon grand étonnement (!), que Charlotte sait lire la
musique! L’exemple est peut-être un peu exagéré, j’en conviens, mais
il sert à illustrer le fait qu’avec ses enfants, rien n’est impossible.
Conclusion
Prendre ce temps d’observation avec l’enfant qui a un TED, c’est
lui donner la chance de partir de ce qu’il sait, de ce qu’il aime et de
ce qu’il est capable de faire dans l’ici et maintenant, toujours dans
le but de l’amener plus loin dans ses apprentissages et de faire en
sorte qu’ils soient significatifs pour lui. Cela permet également de
choisir et d’adapter notre approche pédagogique en fonction de sa
trajectoire développementale qui diffère de l’enfant dit «neurotypique» ou «normal». Aussi, nous devons toujours garder en tête que
cette trajectoire peut évoluer très rapidement, du jour au lendemain.
Par conséquent, nous ferons en sorte que nos interventions pédagogiques se modifient en même temps que son évolution, selon nos
observations et en fonction de la relation qui s’installe entre lui et
nous au fil des semaines. Surtout, il faut éviter les jugements sans
fondements et toujours aller à la rencontre de l’élève qui est autiste
en gardant les yeux, les oreilles, le coeur et l’esprit bien ouverts.
References
TED pour trouble envahissant du développement. Cet acronyme
changera sous peu pour TSA ou trouble du spectre de l’autisme.
L’autisme fait partie de la famille des TED.
1
2
Jordan, R., Powell, S., (1997), « Les enfants autistes, les comprendre,
les intégrer à l’école », Paris : Masson ; chapitre 6, p. 109
3
www.persee.fr/web/revues/home/prescript/article/enfan_0013-7545_1999_num_52_3_3153
Nathalie Jacques
[email protected]
Enseignante en musique à la CSA
Animatrice d’ateliers de pédagogie musicale pour la clientèle
EHDAA
Actuellement étudiante au DESS en intervention éducative auprès
des TED à l’UQAM
Un merci tout spécial à Delphine Odier-Guedj et à Jean Horvais,
professeurs au département d’éducation et formation spécialisées
de l’UQAM, pour leur contribution à la révision de cet article.
18 Ostinato
Book Reviews / Critiques de recueils et
DVDs pédagogiques
On s’amuse avec les compositeurs,
volume 1
Version originale en anglais de Deborah Lyn Ziolkoski. (Fun with
Composers)
Denise Lapointe
Ce livre est maintenant disponible
pour les francophones tant pour la
classe d’immersion que les écoles
de langue française. Un outil incontournable pour l’appréciation
musicale. La traduction a été faite
par Nicole Lafrenière et Carole
Freynet-Gagné. Le but de ce livre
est de faire connaître la musique
classique sous une forme ludique
par le biais de chanson, jeux, et
orchestrations simples pour les
enfants du préscolaire et des 1er et
2e cycles du primaire, quoique ces
activités puissent être adaptées pour le 3e cycle.
Le livre a des pages reproductibles où l’on retrouve des images des
compositeurs, biographies, musicogrammes et pictogrammes de
vocabulaire. Chacune des activités comprend une histoire pour la
mise en contexte, les partitions, des idées de lecture et d’arts plastiques. Du matériel audiovisuel est fourni avec le livre : un CD des
versions chantées et instrumentales ainsi qu’un DVD où l’on peut
visionner les leçons d’apprentissage démontrant quelques stratégies
d’enseignement, et le résultat final des activités proposées par l’auteur.
Les pièces à l’écoute sont : Les noces de Figaro de Mozart, la danse
slave de Dvorjak, le Menuet en sol de Bach, la Polka tritsch-tratsch
de Strauss, le Minuetto de Mozart, la Polka pizzicato de Strauss,
l’Aquarium de Saint-Saëns, la Symphonie no 14 de Haydn et la
Marche persane de Strauss.
Les thèmes exploités sont la santé, la nutrition, les animaux de la
ferme, les rois, les reines et leurs danses, le cirque, la famille, les
amis, les insectes, les papillons, les poissons, l’océan, et les pirates.
C’est un excellent matériel pour faire découvrir le langage disciplinaire tout en s’amusant.
Ce livre est disponible pour 99,95 $ sur le site Internet www.funwithcomposers.com
Summer Courses 2013
The 33rd Anniversary of the Orff Certification Program at the Marcel A.
Desautels Faculty of Music University of Manitoba
Joan Linklater
Program Coordinator
Contact 2014 coordinators: Michelle Loboz at michelle.mielniczek@
gmail.com or Karen Tole-Henderson at [email protected]
July 2013 marked the 33rd anniversary of the Orff Certification
Program at the University of Manitoba. We spent ten days full of
hard work, excitement and joy.
The success of our program is due to our outstanding instructors who
brought a depth of wisdom, experience and passion to our program.
Jewel Casselman: Recorder Levels I and II
Brenda Harvey: Basic Orff Level II
Liz Kristjanson: Choral Techniques Level I and II
Joan Linklater: Basic Orff Level I
Dianne Sjoberg: Movement Level II
Erica Lindgren: Movement Levels I
Enrolment was high this year, with students from all areas of
Manitoba. Among the participants there were a large number of
undergraduate students from the Integrated Music Education Program at the University of Manitoba as well as many students and
practicing teachers from Winnipeg and rural areas of Manitoba. It
was enriching to have both undergraduates and in-service teachers
singing and dancing side by side.
University of Manitoba Orff Certification Program 2013 Instructors Left to Right: Karen Tole-Henderson, Liz Kristjanson, Erica Lindgren,
Joan Linklater, Brenda Harvey, Dianne Sjoberg, Jewel Casselman
When I think about our students I am absolutely sure that the children in our schools are in very good hands and that music education
will continue to blossom and grow in Manitoba as a result of their
dedication and hard work.
The program was held on the beautiful University of Manitoba
campus where we all enjoyed warm Winnipeg weather and warm
Winnipeg hospitality.
The Manitoba Orff Chapter served a delicious luncheon that gave
the summer Orff students a chance to hear about the many ways the
Manitoba Orff Chapter contributes to the strength of music education
in Manitoba. Sean Fitzmaurice, president of MOC made a special
presentation to the 2013 recipients of the Helen Neufeld Memorial
Scholarships; Christina Gouriluk and Kathleen Donnelly. Congratulations also to Lynn Bremault Parent, one of the 2013 recipients of
Carl Orff Canada’s Gunild Keetman Scholarship.
A highlight of this year’s program was the series of special seminars when, each morning, students in both levels started the day by
singing and dancing together.
The final sharing was, as always, a wonderful event, as students
shared some of their favourite pieces with each other and their
friends and families. Morna-June Morrow, founding president of
the Manitoba Orff Chapter, and Beryl Peters, president of Carl Orff
Canada brought heartfelt messages and congratulations to the 2013
Orff students. The event was especially joyful because the night
before the sharing, level I student Adrian Hofer became the proud
father of a brand new baby boy named Seth.
University of Manitoba 2013 Orff Certification Program participants
In July 2014 we plan to offer Levels I and II of the Orff Certification
Program. Enrolment is usually high, so please register early. Visit:
http://umanitoba.ca/faculties/music/prospective/summer/Orff.htm
Vol. 40, No.1, Fall 2013
19
Summer Courses 2013
La Formation Orff à Montréal
Iryna Peredero
C’est durant l’année scolaire 2012-13 que j’ai découvert les ateliers
offerts par l’association Orff-Québec à Montréal. Chaque fois,
j’étais absolument fascinée par cette pédagogie et cet été, j’ai eu la
chance de suivre la formation Orff de niveau 1 à Montréal.
Je suis très reconnaissante envers Orff-Quebec non seulement d’avoir
organisé ces cours si importants pour les enseignants de musique,
mais aussi de m’avoir accordé la bourse Marcelle Corneille. Cette
aide financière est un signe de confiance qui me touche, me donne
des ailes et m’encourage énormément. Merci beaucoup!
Les deux semaines de formation intensive sont devenues pour moi
un nouveau point de départ dans ma profession, une sorte de révélation qui m’a permis de réviser plusieurs points de l’enseignement
de la musique. Françoise Grenier, Guylaine Myre, France BourqueMoreau, Martin Dagenais déployant une grande énergie, la passion, le professionnalisme et l’humour m’ont donné une source
d’inspiration pour toute l’année scolaire prochaine, et j’ai déjà hâte
d’aller à l’école et d’explorer avec les élèves tout ce que j’ai appris.
Je profite de cette tribune pour souhaiter à tous les enseignants une
bonne rentrée et une excellente année scolaire remplie de projets
remarquables et de réussites exceptionnelles.
Orff à Montréal
Iryna était la récipiendaire de la bourse Marcelle Corneille
2013. Elle habite au Québec depuis trois ans. Avant son arrivée
à Montréal, elle était une enseignante de musique en Ukraine. En
restant toujours très passionnée par sa profession, elle achève le
BAC en enseignement de la musique de l’UQAM (Université du
Québec à Montréal). Enthousiaste, dynamique et pleine d’énergie,
Iryna commence à travailler pour la Commission scolaire de
Montréal cette année.
20 Ostinato
Iryna Peredero, récipiendaire de la bourse
Marcelle Corneille 2013
Summer Courses 2013
Year of the Flood: Summer 2013 at the Royal Conservatory, Toronto
Catherine West
On July 2 an eager group of teachers assembled in our beautiful
old-and-new building in downtown Toronto for the start of four
different levels of Orff teacher training. That “old-and-new” reference will become important later – read on! This was our fifty-first
year of offering Orff courses at the North American Orff “mother
ship”, and once again the energy and creativity of our amazing
participants did not waiver through two weeks of singing, playing,
moving, listening and creating together. Our outstanding instructor
team consists of: Linda Song (Basic Orff Intro), Joy Reeve (Basic
Orff Level I), Catherine West (Course Director and Basic Orff
Level II), Vera Flaig (Basic Orff Level III), Hania Krajewski
(Movement), Alison Roy (Vocal) and Kim Kendrick (Recorder).
We welcomed members of the Ontario Chapter executive, who
arrived with goodies and a membership pep-talk as usual, but this
year also for a special occasion: to honour Hania Krajewski with
a Lifetime Membership to the chapter. This sign of recognition is
richly deserved by Hania, who has contributed to the Orff community across the country in so many ways, but who has been especially
influential in her role as movement instructor for the conservatory
Orff courses. Thank-you to chapter president Marion Roy and the
Ontario chapter executive for this important act of recognition.
right back to the studs. Some pianos and equipment were lost but
most instruments, including the contents of the percussion studio,
were saved. Fortunately the Orff program is housed in an OLD
part of the building which remained high and dry even in its basement location. Those nineteenth-century builders knew their stuff!
Many staff and students had challenging trips home that night,
through a city with no power, no street lights, some completely
flooded roads, and public transit at a standstill in many places.
We Torontonians know enough to not ask for sympathy after
the calling-in-the-army-for-a-snowstorm fiasco but this was a
very challenging situation nonetheless! To our relief the building
did open again the next morning – just – and we did not have to
cancel classes.
After that piece of drama, the title for our Closing seemed very
apt: The Risk Review (inspired by an idea of Judy Thomas’). Once
again the sharing session surpassed all expectations. Memorable
risk-taking moments abounded with all levels involved in multiple
performances. One member of the Intro course was a professional
circus performer who helped the class to develop a choreography
with hoops for “Jenny the Juvenile Juggler”, and sculpt amazing
headgear out of balloons. Level I’s risk was to create a performance
piece from scratch all about how to make an Orff orchestration –
which had the audience in stitches. Level II performed the world’s
fastest Street Song – and no one was hurt! Level III explored the
theme of risk with a vivid recreation of the Arnold Lobel fable,
“The Camel Dances”, using the Phrygian mode of course.
An extraordinarily moving performance of Rita McNeil’s “Working
Man” song was arranged by Hania Krajewski: using ideas from Sally
Carline’s book, Lesson Plans for Creative Dance Connecting with
Literature, Arts and Music (reviewed by Hania in the Spring 2013
Hania Krajewski, RC movement instructor,
honoured by the Ontario Chapter
On July 9 Toronto experienced more rain in a single day than has
ever been recorded, breaking the previous record set by Hurricane
Hazel in 1955 (and yes, sadly, I am old enough to remember that
hurricane vividly!). Orff staff and students were still hard at work
scattered all over the building at 7 in the evening when the facilities staff came to inform us that the building had flooded and was
closing. Coming out of our office we gazed in wonder at the sight
of a waterfall pouring through the beautiful glass ceiling of the
atrium which joins the new and old wings. We subsequently found
out that an entire basement wing – a NEW wing of the building –
flooded right up to neck level and everything had to be ripped out
RC Level II:
L. to r. row 1:Julie Tai, Allison Tiller, Rachel St. Louis; row 2: Lisa
Lariault, Phil Cada, Marci Saunderson; row 3: Beth Jack, Tean King,
Alli Schmidt, Joshua Ball; row 4: Cara Lipsett, Adam Mason, Cheryl
Hill
Vol. 40, No.1, Fall 2013
21
Ostinato), Hania helped the Intro course participants to create a
sequence showing the toil, effort, danger, and sense of community
described in the song, while the Level I teachers gave a powerful
performance of the song. Once again Hania showed us why the
honour she received earlier in the week was so richly deserved.
Next summer three levels of Orff training will be held July 7-18
(Intro, Orff I and II) and Doug Goodkin will return with his popular
course “Music from Five Continents” August 18-22. For up to date
information, go to www.orffcanada.ca and to register, closer to
the time, www.rcmusic.ca. You are reminded that the Intro course
and Level I usually fill very quickly so be sure to register by the
end of April. The Intro to Orff/AQ Part 1 is also running this fall,
and Level I/AQ part 2 will run in the spring, as evening courses.
Where the
Music Begins
The Introduction to Orff course performs “Jenny the Juvenile Juggler”
by Dennis Lee
School Music Sales,
Rentals and Service
Rhythm Band / LP / Remo Percussion
SDM Orff Instruments / Yamaha Recorders
Duplex / Dolmetsch / Aulos / Ariel Recorders
Orff and recorder texts & method books
Now with 60 locations nationally.
Visit our website for the store nearest you.
Proud Level III grads: L.to r. row 1: Synthia McEachern, Kathi TothSwitzer, Danielle Treacy, Kim Kendrick (recorder instructor), Diane
Ball; row 2: Marcia Bunston, Suzanne Kovac, Charlotte Harvey, Joan
Spares, Denise McGuire, Eugene Negrii, Wilfred Burrows
www.long-mcquade.com
22 Ostinato
Gunild Keetman Scholarship Winners 2013
Marci Saunderson
Level II, Royal Conservatory
of Music in Toronto
just pedagogy and instruction; it was filled
with laughter, positivity, encouragement,
and satisfying enjoyment.
Sibila meeko? Parako. Radit!
Marci Saunderson lives in Burnaby, BC
where she teaches K-4 music full time at a
Crofton House School in Vancouver. She is
a recent graduate of the Early Childhood
Music Education program at the Royal
Conservatory of Music in Toronto and plans
to complete Orff Level III in the future.
These strange words seem to resonate with
me after two weeks of intense learning at
the Royal Conservatory for the summer
Orff Levels courses. Surely they don’t mean
much to the outside world, but in the course
I participated in, they mean friendship, risk,
dedication, and musicianship. As a Level II
candidate, I was aware that the course was
going to be lots of hard work, late nights,
early mornings, and practicing over and over
and over. Indeed, I had all these things, but
I also had a lot more.
I had the opportunity to meet and network
with several other teachers within various
school boards in the surrounding area,
including some from other parts of Canada. I had the chance to gain numerous
new ideas and resources for the classroom
from peers, teachers, books, and specialty
workshops. I had the challenge to stretch
myself as a musician and teacher, spending countless hours lost in homework and
sometimes just plain lost. I had the privilege
of learning from esteemed instructors who
are passionate about what they do, who are
extremely knowledgeable in the field, and
who continually advocate for music in our
schools. I had a magnificent teacher who
was patient with our (sometimes rowdy)
group and who guided us with gentleness
and constant support. I had the pleasure
of learning as a teacher some days, and
at other times learning as a child other
days as I danced and moved around large
spaces, played xylophones and recorders,
and participated in singing games with my
new friends.
All of these experiences only added to my
intense desire to work in the field of music
education. As a new graduate entering into
my career, I have many ideas, ambitions,
and passion for young students learning
music. Now that I am even more equipped
with material to use in the classroom, I feel
more confident with my skills and appreciate
the chances I will have to practice them in
various music classrooms in my area. I am
grateful for the opportunity I had to take
this course and to expand my knowledge
during the warm days of summer. Although
challenging and exhausting at times, this
Orff course was filled with much more than
See a picture of Marci in the group shot of
Level II at the RCM on page 21.
Cara Lipsett
of Music in Toronto:
Weaving Magic, Wading
Through Flood Waters, and
Practising Late into the Night!
In his book The Magic Weaver, Sir John
Jones, an inspiring educator, speaker, writer,
and advocate for children, talks about the
powerful impact teachers can have on young
people and how learning can make a profound difference in their lives. In a recent
Elementary PD day keynote address in Ottawa, Sir John asked teachers to think about
the people in their lives who inspired them,
who “wove magic” for them personally in
their formative years. He challenged us to
think of the qualities that these people had
and to develop those qualities in ourselves
so that we could make a difference in the
lives of the young people we see every day.
The Summer Orff Teacher training courses
at the Royal Conservatory in Toronto are
taught by clinicians who bring the foundations of music, movement, voice, and
Orff pedagogy to life and weave their own
brand of magic. These inspiring teachers
challenge you to bring your personal best
forward and are dedicated to improving the
quality of music education in our province.
They are also keenly aware that a teacher
who feels comfortable and more confident
in his or her own musical journey will be
more likely to deliver an engaging musical
experience to students.
If you want to build your capacity as a
music teacher and/or be able to deliver an a
quality music and Integrated Arts program
in your regular classroom to your students
then completing the Orff Levels courses
may be a great option for you. The levels
build capacity gradually and the atmosphere
fostered by the instructors is one of learning
in a collaborative, supportive environment.
Each clinician shares their expertise freely
and is incredibly open to helping each
teacher’s journey in the Orff process.
All clinicians are full time teachers and/
or professional musicians who also teach
courses, publish their work, and manage to
have families as well! What could be more
inspiring than instructors who just finished a
busy teaching year coming in with enthusiasm, love of music, and a real desire to help
teachers create magical musical experiences
for their students? Throughout the two-week
experience, teachers are challenged to bring
their own musicianship to a higher level and
to start writing and orchestrating their own
Cara (r) with classmates
Vol. 40, No.1, Fall 2013
23
songs. These courses are definitely worth the
time, money, and effort. Be prepared to do
nothing else though during the two weeks as
it requires your full attention. Many people
were at the Conservatory practising until
8 or 9pm in order to be ready for the next
day’s presentations for example.
Understanding how our students feel when
faced with a new learning challenge is a
very important part to becoming a more
understanding and effective teacher. In the
Level II course for example, teachers learn
the alto recorder and have to demonstrate
their proficiency with two playing tests and
an ensemble piece. For many people it was
a new instrument and a new way of thinking. The two week music immersion of the
summer course was tremendous as people
were practising every day, several times a
day and the progress was amazing. Some
people were challenged by the orchestrations, others by conducting in hybrid meter,
and others by choreographing a movement
piece. There was a challenge for everyone.
Many of the people in the course practised
together and helped each other learn the new
notes and rhythms. This collegiality brought
everyone to a higher level of musicianship
and made the challenges manageable.
As a classroom teacher I especially like
how poems and stories are the foundations
of the Orff experience. Creating a melody
for a poem or a musical re-enactment of
a favourite picture book were worthwhile
assignments that I will be able to present
in my class come September. A special
thank you to the wonderful Level II teachers : Kim Kendrick (recorder), Alison Roy
(Vocal), Hania Krajewski (Movement),
and of course, Catherine West (Orff Pedagogy, Course Director, author of the Orff
Teachers Handbook, new grandmother
(!) and much more) for an unforgettable
experience.
Cara Lipsett lives in Ottawa and is entering
her twenty-first year of teaching in the
elementary panel. She’s looking forward
to sharing all she learned in the Level 2
Orff course with her Grade 5/6 students
and On-Site student teachers from Ottawa
University this year.
24 Ostinato
Lisa Lauriault
of Music in Toronto
I was thrilled to learn that I was a recipient
of the Gunild Keetman Scholarship. Both
the Introduction to Orff and Orff Level I
courses were valuable experiences which
sparked my passion for bringing Orff into
the classroom. I was ready to gain more
tools for my toolbox, knowing fully well
that it meant working into the early hours
of the morning on daily compositions and
teaching assignments.
A highlight for me was something that happened early on in the course. One morning,
there was a major delay on the subway, and
unfortunately one of our instructors was
stranded on the train, quite far away and
unable to make it to class on time. My colleagues and I wondered what we should do
with our time and before you know it, one of
our talented colleagues volunteered to teach
the class a very fun and simple movement
exercise that teaches the concept of rondo
form. This reminded me that as teachers, we
can learn from our students as well.
Each one of my students brings their own
experiences and knowledge, and often times
surprise me with how creative they can be!
As teachers, we need to continually involve
our students in the creative process and we
may learn something from them too. That is
essentially what we as teachers did for the
duration of the course, and I'm so grateful
for the opportunity to have learned alongside
such talented professionals.
Many thanks to Carl Orff Canada for allowing me to pursue my Orff training this
summer. I encourage others to take a risk
and enrol in Level II! It was a rewarding
experience, and I look forward to seeing
what Level III has in store!
Lisa lives and teaches in Stouffville, Ontario. She is an Itinerant Music teacher for
Grades 4-8 in the York Catholic District
School Board.
Lisa Lauriault (r) shares a dramatic moment
with movement instructor Hania Krajewski
Our instructors, Catherine West (Basic
Orff), Kim Kendrick (recorder), Hania Krajewski (movement), and Alison Roy (vocal),
shared their expertise and challenged us to
take risks. It was very fitting that the theme
of this year was “risk”, which is something
we did a lot of during the two weeks. In the
“Land of Level II”, we explored hexatonic
mode, more complex orchestrations, irregular meter, folk dances, and more, but
the most challenging for me was learning
the alto recorder. For somebody with perfect
pitch, hearing one note but seeing it notated
differently was truly mind boggling! I realized that my students probably experience
feelings of confusion and may feel like this
many times during the week. Experiencing
that feeling of confusion first hand reminded
me to be as patient and encouraging towards
my students as my own instructors and colleagues were to me.
Patrick Kelly
Level II, University of Alberta
I had an opportunity this summer to participate in a great learning adventure as I
completed the Orff Level II course at the
University of Alberta. I am pursuing my
Masters of Education, Elementary, and
this course was an accepted course for my
studies. I have previously completed, in
my undergrad studies, three levels of Orff
training. When I discovered I could rekindle
my relationship with this course, I jumped
at the chance.
Bob DeFrece, our course instructor, is a
master teacher and a great person. He guided
us through every day and brought me to a
realization of the intricacies of orchestration of a song. His daily teaching model
was inspiring to take in and I learned much
through this observation. He is sensitive to
the music of Orff Schulwerk and possesses
a musical sensibility that comes from years
of active teaching. Thank you Bob for
providing this model and allowing me to
reconnect with the principles and process
of Orff Schulwerk.
Courtney Richard was the movement
instructor for the course. Her daily movement classes were filled with movement exploration and creation. The movement class
enabled me to grow in my own movement
comfort. This was a valuable experience as
I feel more equipped to guide my students
through movement and dance classes.
Courtney used brain-based research in her
teaching through the use of Anne Gilbert’s
Brain-compatible Dance Education. This
textbook is very useable and accessible, a
valuable resource I will use in my teaching. Courtney walked us through the dance
concepts of Space (place, size, level, direction, pathway, focus), Time (speed, rhythm),
Force (energy, weight, flow), and Body
(parts, relationships, shapes, balance). We
were also given the opportunity to work in
groups and create a folk dance. This process
was very valuable as we needed to keep the
dance simple enough to understand and also
interesting. I now feel more confident to lead
my students through movement and dance
in my classroom. Thank you Courtney!
Wendy Rae was the recorder instructor for
the course. The Alto recorder grew more
comfortable under our fingers as we progressed through the two weeks. The mellow
sound (and partially lower register) of the
alto, was a great way to expand my musicianship as a player. This made me aware
of going beyond the soprano recorder in
my teaching and showing the students that
there is more to the Schulwerk method if
they are willing to expand their knowledge.
I had the chance to play the bass recorder
in our group performance and enjoyed this
opportunity. Thank you for the guidance
and patience Wendy!
This course has been a great way to approach my coming year with a new and
fresh perspective. I thank Carl Orff Canada
for the financial support and am grateful
for the tireless work of all the volunteers
on the National Executive. These courses
continue to provide teachers across Canada with the knowledge and experience
required to deliver quality music programs
in our country. Thank you for the chance to
experience this once again!
Lynne Brémault Parent
Level II, Manitoba
I would like to thank Carl Orff Canada for
this scholarship. I am very grateful for the
opportunity provided with the Orff training
program.
I had the privilege of participating in this
year’s Orff Level II Certification program
through the University of Manitoba in
Winnipeg. I use the term “ privilege” deliberately. With our highly qualified teachers - Brenda Harvey, Dianne Sjoberg, Liz
Kristjanson, and Jewel Casselman - guiding
us through many lessons condensed into 10
days of classes, my 13 talented hardworking
colleagues and I were able to further develop
our Orff music skills in Basic Orff, Movement, Choral Techniques, and Recorder.
Why Orff-Schulwerk? Well to me, it just
makes sense. The many components of this
musical approach allow its participants to
develop their musical intelligence - which
embodies many of the Multiple Intelligences. Whether it be through movement
and dance, singing, playing instruments
(such as body percussion, the family of
recorders, barred instruments, and various percussion), playing musical games,
learning music, improvising and creating
music, we are transported through musical
experiences which allow us to discover
our surroundings, literature, cultures, art,
drama, history, math and sciences … not
to mention musical terminology. The Orff
process engages its participants in interactive social activities. What a wonderful
way to experience music and our world.
Furthermore, anyone and everyone, no
matter their abilities and skills, can develop
within this framework.
I learned too many things during this course
to name them all. However the concept
of elemental music is definitely going to
influence my teaching. Elemental music
is key in Orff style orchestration. Space is
required, allowing the melody to shine. The
orchestration decorates and embellishes the
melody in a simple manner, providing an
appropriate rhythmic movement to support
the mood of the piece. This openness also
allows room for improvisation. Creatively
assembled, unity of music and movement is
thus created. Imagine sitting beside a field
on the prairies. Eyes closed, just listen to
the wind singing its melody as the birds and
the crickets chirp and the plants rustle their
leaves. Being from the prairies, to me that
is elemental music at its best!
I would like to encourage anyone who is
considering taking the two-week course. We
had the opportunity to learn from professors
who love and believe in what they do. We
also had the opportunity to learn alongside
outstanding teachers from whom we can
also learn and with whom we can network.
The Orff Certification Program enriches the
way we teach and how our students learn
and find their place in music. Whether we
appreciate, sing, play, dance, create and/or
perform – everyone can become a musical
citizen !
Lynne Brémault Parent resides in a small
town south of Winnipeg and presently
teaches at École régionale Saint-JeanBaptiste. She teaches high school and
the music program kindergarten to grade
12 - Orff, guitar and band. Lynne is also
a singer-songwriter and enjoys performing
solo and with with her sisters.
Nouveau! : inscription en
ligne
COC vous offre le choix de
payer votre inscription en ligne.
Allez à www.orffcanada.ca/
membership.htm pour renouveler ou payer votre adhésion.
NEW! Online Membership
COC is pleased to provide the
convenience of online payment
for membership. Go to www.
orffcanada.ca/membership.htm
to create or renew your membership now!
Vol. 40, No.1, Fall 2013
25
26 Ostinato
Levels I, II, III
Calgary Orff Chapter
Levels I and II
Level I, II, III
Intro to Orff
Post Level III
Orff Afrique
Master Class;
Traditional African
Music and
Multicultural
Pedagogical
Approaches in
'Non-African'
Classrooms
Vancouver
Community College
Downtown Campus
BC Chapter with the
support of Burnaby
School District
BC Chapter with the
support of Burnaby
School District
BRITISH COLUMBIA-VANCOUVER
Alberta
University of Alberta,
Edmonton
ALBERTA-EDMONTON
Introductory Orff
Schulwerk
Courses
Calgary Orff Chapter
ALBERTA-CALGARY
Institution
Dr. Kofi Gbolonyo
Cathy Bayley
Susie Green, Pam
Hetrick, Catherine West
& TBA
Sue Harvie: Level I
Ensemble & Pedagogy
Dr. Robert de Frece:
Level II Ensemble &
Pedagogy; Level I & II
Choral Musicianship
Wendy Rae: Level I &
II Recorder
Courtney Richard:
Level I & II Movement
TBA
Debra GiebelhausMaloney, Eve de
Moissac
Instructors
Aug 26-Aug 30
9:00-3:00
Aug 26-Aug 30
9:00-3:00
August 11 – 22,
2014
July 22 to
August 2, 2013
TBA July 2014
April 8th, 15th,
22nd, 29th, May
6th, 13th 2014
Dates
Faith Veikle
[email protected]
Faith Veikle
[email protected]
Pam Hetrick
[email protected]
Dr. Robert de Frece
[email protected]
Debra Giebelhaus-Maloney
[email protected]
[email protected]
Contact
Renewal of
endorsement
pending
Renewal of
endorsement
pending
Renewal of
endorsement
pending
Endorsed by Carl
Orff Canada
Renewal of
endorsement
pending
Renewal of
endorsement
pending
Endorsement
$400.00
$300.00
$770 plus registration and VCC fees
*Orff Levels are accepted by TQS for
purposes of category placement
$750.00—includes 3 graduate credits (plus
$100.00 application fee for students not
enrolled in a program at the University of
Alberta). Students not enrolled in a U of A
Program must apply for Open Studies status.
Once accepted into Open Studies, students
may then register in Level I or Level II.
Registration by June 1, 2013 is highly
recommended.
TBA
$395 Early Registration discount available
Location TBA
Cost/Other
Orff Schulwerk Teacher Training Courses/Cours de formation Orff
Vol. 40, No.1, Fall 2013
27
Courses
Royal Conservatory of
Music
Lori Moccio
Introduction to
Orff
Hania Krajewski, Kim
Kendrick, Beth Knox
no courses to announce at this time
Introduction to
Orff : Additional
Qualification in
Primary/Junior
Vocal Music Part
One with Orff
focus
ONTARIO – TORONTO
Ottawa Chapter / York
University / OCDSB
ONTARIO – OTTAWA
Brock University,
Faculty of Education –
Centre for Continuing
Teacher Education
Jewel Casselman:
Recorder I and II
Brenda Harvey: Basic
Orff II
Liz Kristjanson: Choral
I and II
Erica Lindgren:
Movement I
Joan Linklater: Basic
Orff I
Dianne Sjoberg:
Movement II
Instructors
no courses to announce at this time
Levels I and II
ONTARIO – HAMILTON
NS Orff Chapter
NOVA SCOTIA
University of
Manitoba
MANITOBA-WINNIPEG
Institution
Sept–Dec 2013
5 to 8 pm, Mon
& Wed (6
hrs/wk for 10
wks)
March-June
2014, 1 night
per week
July 2 – 15,
2014
Dates
Catherine West (Course Director)
Royal Conservatory of Music
273 Bloor St W
Toronto ON M5S 1W2
(416) 408-2825
[email protected]
Dr. Tony Di Petta
Brock Glenridge Ave
St. Catharines, ON L2S 3A1
(905) 688-5550 x 4729
[email protected]
Michelle Mielniczek-Loboz
[email protected]
Contact
Renewal of
Endorsement
pending
Application for
endorsement is being
submitted
Endorsement
pending
Endorsement
Cost: $895 (subject to change)
Register online from July 2013:
www.rcmusic.ca
Ontario teachers, please note: Through a
partnership with OISE the Intro to Orff is
credited as P/J Vocal Music Part 1. For
details contact the Course Director.
$900.00
Ontario teachers, please note: The Intro to
Orff is accredited by the Ontario College of
Teachers as P/J Vocal Music Part 1.
University credit and non-credit options
available
Information subject to change.
www.umanitoba.ca/faculties/music/summer
/summer.html
Cost/Other
28 Ostinato
Courses
Intro, and Levels I
and II
Music for Five
Continents
Music
Music
MUS 4806 Didactique de la
musique au
primaire selon
Orff
MUS 4806 Didactique de la
musique au
primaire selon
Orff
Université du Québec
à Montréal
Université du Québec
à Montréal
QUÉBEC-MONTREAL
Orff Level I
Music
ONTARIO – TORONTO
Institution
Chantal Dubois
Chantal Dubois
Doug Goodkin
Kendrick, Catherine
West, Joy Reeve, Vera
Flaig, Linda Song,
Alison Roy
Kendrick, Catherine
West (subject to change
Instructors
Session
intensive en mai
et juin 2014, les
mardis et jeudis
de 18h00 à
21h00
Session de
septembre à
décembre 2013,
les lundis de
9h00 à 12h00
Workshop:
August 18, 2014
(9 am to 1 pm)
Course: August
18-22, 2014 (5
days)
July 2014
March – May
2014
5 to 8 pm, Mon
& Wed (6
hrs/wk for 10
wks)
Dates
Chantal Dubois
[email protected]
Chantal Dubois
[email protected]
273 Bloor St W
Toronto ON M5S 1W2
(416) 408-2825
[email protected]
273 Bloor St W
Toronto ON M5S 1W2
(416) 408-2825
[email protected]
273 Bloor St W
Toronto ON M5S 1W2
(416) 408-2825
[email protected]
Contact
Renouvellement de
l'approbation en
attente.
Renouvellement de
l'approbation en
attente.
Renewal of
endorsement as a
Post Level III course
pending
Renewal of
Endorsement
pending
Renewal of
Endorsement
pending
Endorsement
Cost: TBA
Cost: TBA
Register online from March 2014:
www.rcmusic.ca
partnership with OISE the Intro to Orff,
Levels I and II are credited as P/J Vocal
Music Parts 1, 2 and 3. For details contact
the Course Director.
Intro and Level I please register by early
April to avoid disappointment.
Cost: $895 (subject to change)
Register online from July 2013:
www.rcmusic.ca
partnership with OISE, the Orff level one is
credited as P/J Vocal Music Part 2. For
details contact the Course Director.
Cost/Other
Vol. 40, No.1, Fall 2013
29
MUS 2610 –
Instrumentarium
Orff et flûte à bec
Courses
MUS 2610 –
Instrumentarium
Orff et flûte à bec
University of Regina
TBA
SASKATCHEWAN-REGINA
Université de
Sherbrooke / Cours
offert par la Faculté de
musique de
l’Université Laval
QUÉBEC-SHERBROOKE
Faculté de musique de
l’Université Laval
QUÉBEC-QUEBEC
Institution
TBA
Chantal Dubois
Chantal Dubois
Instructors
TBA
Session de
janvier à mars
2014, les
vendredis de
8h30 à 11h30 et
12h30 à 15h30
Session
intensive en
janvier – février
2014, les lundis
de 8h30 à 11h30
et 12h30 à
15h30
Dates
Denise Morstad
[email protected]
(306)585-4522
Martine Nadeau, agente de gestion des
études
martine.nadeau@ mus.ulaval.ca
Martine Nadeau, agente de gestion des
études
martine.nadeau@ mus.ulaval.ca
Contact
This course has been
endorsed by Carl
Orff Canada
Endorsement
Course code is EMUS 320-060 (Course ref
#21016). For details of credit hours, tuition,
book purchase and accommodation contact
Denise Morstad
Cost/Other
30 Ostinato
The Choral Conductor’s Way:
Explore, Create, Emote
Children’s Day
January 18, 2014
March 15, 2014
TBA
Sharing Day
February 8, 2014
May 3, 2014
Imitation to Improvisation: It’s All
in the Process
Christmas Concert ‘Bring and
Share’
Orff for the Generalist –
Celebrating 40 Years of Carl Orff
Canada
Carl Orff: Musician and Mentor –
Part One
Carl Orff: Musician and Mentor –
Part Two
September 20, 2013
October 18, 2013
February 20th or 21st , 2014
March 15, 2014
March 29, 2014
ALBERTA-LETHBRIDGE
TBA
October 5, 2013
ALBERTA-EDMONTON
In the End, It’s All in about
PROCESS
Title
September 21, 2013
ALBERTA-CALGARY
Dates
Lethbridge Executive
Jo Ella Hug
TBA
Wendy Rae
Brian Hillard and Don Dupont
TBA
Adam J. Con
Jo Ella Hug
Clinician(s)
TBA
8:30 a.m. – 2 p.m.
TBA
8:30 a.m. – 2 p.m.
Southwest Alberta Teacher’s Convention
Time: TBA
Mike Mountain Horse School, Lethbridge
2 p.m. – 4 p.m.
St. Basil Education Centre
620 – 12 B St. North, Lethbridge
9 a.m. – 3 p.m.
Westboro School
Time: 9 a.m.
Westboro School
Time: 9 a.m.
Westboro School
Time: 9 a.m.
Dalhousie Elementary School
4440 Dallyn Street NW, Calgary AB
8:30 a.m. – 2 p.m.
8:30 a.m. – 1:30 p.m.
8:30 a.m. – 1:30 p.m.
Location/Time
Chapter Workshops / Ateliers de perfectionnement
Christine Slomp
[email protected]
Christine Slomp
[email protected]
Christine Slomp
[email protected]
Christine Slomp
[email protected]
Christine Slomp
[email protected]
Kim Friesen Wiens
[email protected]
Kim Friesen Wiens
[email protected]
Kim Friesen Wiens
[email protected]
Ondrea Mann
[email protected]
Ondrea Mann
[email protected]
Ondrea Mann
[email protected]
Contact
Vol. 40, No.1, Fall 2013
31
Title
Tried and True
Children's Day
January 25, 2014
April 26, 2014
October 19, 2013
Ready, Set, Go!
Children’s Day
March 1, 2014
ONTARIO-TORONTO
Music, Drama and Dance in the
Primary Years: the Arts as a
Foundation
October 5, 2013
ONTARIO-OTTAWA
September 21, 2013
Something Old, Borrowed, or New
Sharing Session: Choral Gems
November 6, 2013
NOVA SCOTIA
The Dot and the Line
Sept 21, 2013
BRITISH COLUMBIA-VANCOUVER / LOWER MAINLAND
Dates
Sue Harvie
TBA
Leslie Bricker
TBA
TBA
Cathy Bayley
TBA
James Harding
Clinician(s)
Claude Watson School for the Arts,
130 Doris Avenue, Toronto
9 a.m. – 1 p.m.
St. Paul’s Presbyterian Church
971 Woodroffe Avenue
Ottawa
9 a.m. – 1 p.m.
St. Paul’s Presbyterian Church
971 Woodroffe Avenue
Ottawa
9 a.m. – 1 p.m.
École Bois-Joli
211 Portage Avenue, Dartmouth, NS
9:30 a.m. – 1 p.m.
Lochdale Community School, 6990 Aubrey
Street, Burnaby
9:30 a.m. – 3 p.m.
Street, Burnaby
9:30 a.m. – 3 p.m.
Street, Burnaby
9:30 a.m. – 12 p.m.
Street, Burnaby
9:30 a.m. – 3 p.m.
Location/Time
Batya Levy
[email protected]
(647) 348-3396
Evelyn Pike
[email protected]
(613) 226-1806
Evelyn Pike
[email protected]
(613) 226-1806
[email protected]
Faith Veikle,
[email protected]
(604) 327-7262
Faith Veikle,
[email protected]
(604) 327-7262
Faith Veikle,
[email protected]
(604) 327-7262
Faith Veikle,
[email protected]
(604) 327-7262
Contact
32 Ostinato
Fun With Composers
Title
La musicothérapie : une approche à
découvrir
Danse créative au cours de musique
Percussions et créativité
2 novembre, 2013
25 janvier, 2014
25 janvier, 2014
Fall Classic – World Music
Kathak Dancing and Storytelling
September 28, 2013
March 14, 2014
SASKATCHEWAN-REGINA
Événement spécial avec le
spécialiste américain Brent Holl /
Orff global
A Bountiful Musical Harvest:
Growing a well-rounded program
with seeds of the Orff Approach
5 octobre, 2013
QUEBEC-MONTREAL
October 28, 2013
ONTARIO-WATERLOO-WELLINGTON
February 2, 2014
ONTARIO-TORONTO
Dates
Rosa Mirijello-Haynes
Pam Hetrick
Marise Demers
Marie-Pierre Girard-Lauriault
Guylaine Vaillancourt
Brent Holl
Jane Wamsley
Deborah Ziolkoski
Clinician(s)
Saskatoon, Saskatchewan
9:30 a.m.
Ecole Victoria School , Saskatoon
9:30 a.m.
Pavillon de Musique de l’Université du Québec
à Montréal, local F-3130
de 012 h 30 à 15 h3 0
de 9 h 00 à 11 h 30
de 13 h 00 à 15 h 30
de 9 h 00 à 15 h 30
Blessed Sacrament School
367 The Country Way,
Kitchener, ON N2E 2S3
8:30 a.m. . – 1:30 p.m.
Upper Canada College Prep School,
200 Lonsdale Road, Toronto
9 a.m. – 11 a.m.
Location/Time
Heather Lake
(306) 653-2602
[email protected]
Heather Lake
(306) 653-2602
[email protected]
Dominique Charland
[email protected]
www.orffquebec.ca
Dominique Charland
[email protected]
www.orffquebec.ca
Dominique Charland
[email protected]
www.orffquebec.ca
Dominique Charland
[email protected]
www.orffquebec.ca
[email protected]
Batya Levy
[email protected]
(647) 348-3396
Contact
National Executive Business Section /
Section du conseil exécutif national
Annual Reports
Members are entitled to receive either hard copies or e-copies of
the most recent annual President’s, Treasurer’s, and Membership
Secretary’s reports (presented at the April 2013 AGM). They are
available on the Members Only page of www.orffcanada.ca.
Rapports annuel
Les membres de COC ont droit de recevoir une copie papier ou copie
électronique des plus récents rapports annuels de la présidente, de la
trésorière et de la secrétaire aux adhésions (présentés à l’assemblée
générale d’avril 2013). Ils sont disponible à la rubrique Members
Only de www.orffcanada.ca.
Gunild Keetman Scholarship
The Gunild Keetman Scholarship is awarded annually to a Canadian
student or teacher who wishes to take an Orff Level II or III course.
Full details about Gunild Keetman and the scholarship application
form are available at www.orffcanada.ca on the Scholarships link.
The deadline for applications is April 15, 2014.
La bourse Gunild Keetman
La bourse Gunhild Keetman est décernée annuellement à un(e)
étudiant(e) canadien(ne) qui souhaite suivre la formation Orff de
niveau II ou III. Les renseignements au sujet de la bourse Gunild
Keetman de même que le formulaire d’inscription sont disponibles
sur le site Internet de Carl Orff Canada : www.orffcanada.ca, sous
le lien « Bourse ». La date limite d’inscription est le 15 avril 2014.
Donations to the Gunild Keetman Scholarship Fund
Members and chapters are encouraged to make donations to the
Gunild Keetman Scholarship fund. Please use the donations form
at www.orffcanada.ca, on the Scholarships link. Official receipts
for income-tax purposes will be issued for all donations.
Dons à la fondation de la bourse Gunild Keetman
Les membres et les chapitres sont encouragés à faire des dons à la
fondation de la bourse Gunild Keetman. S’il vous plaît, veuillez
utiliser le formulaire de dons à la fondation disponible sur le site
www.orffcanada.ca sous le lien Scholarships. Des reçus officiels
d’impôt seront émis pour chaque don.
Course Guidelines
Current guidelines for Introductory, Levels I, II, and III courses and
Post Level III Guidelines can be found in Section M of the Policy
and Procedures manual in the Members Only section at www.orffcanada.ca. Course Guidelines for the Course for the Non-Specialist
Teachers are in development.
Lignes directrices des cours Orff
Les lignes directrices pour les formations Orff de niveau Introduction, Niveau 1 et Niveau 2 et pour le niveau Post-niveau 3 se
trouvent à la section “M” du manuel des Politiques et Procédures
sous le lien Members Only sur le site www.orffcanada.ca. Les lignes
directrices de la formation pour les enseignants non-spécialistes
sont en préparation.
Post Level III Certificate
Members who have successfully completed their Orff Level III,
and have taken three endorsed Post Level III courses may apply for
their Post Level III certificate.The application form can be found
in Section N of the Policy and Procedures manual in the Members
Only section at www.orffcanada. For enquiries, contact the Second
Vice-President.
Certificat post-niveau III
Les membres qui ont complété avec succès le niveau III et qui ont
suivi trois cours approuvés de post-niveau III peuvent demander
un certificat « post-niveau III ». Le formulaire d’application est
disponible à la section « N » du manuel des Politiques et Procédures sous le lien Members only de www.orffcanada.ca. Pour toute
information, veuillez joindre la seconde vice-présidente.
Mentorship Program for Levels Course Teachers
Experienced Orff specialists who are interested in becoming Levels course instructors are invited to apply for Carl Orff Canada’s
Mentorship Program. The guidelines and application can be found
in Sections M and N of the Policy and Procedures manual in the
Members Only section at www.orffcanada. For further information
contact the First Vice-President.
Programme de mentorat pour les enseignants des
formations Orff
Les spécialistes Orff expérimentés qui sont intéressés à devenir
des professeurs des différents niveau de formation sont invités à
s’inscrire au programme de mentorat de Carl Orff Canada. Les
lignes directrices du programme et le formulaire sont accessibles
disponible aux sections « M et N » du manuel des Politiques et
Procédures sous le lien Members Only de www.orffcanada.ca.
Pour toute information supplémentaire, veuillez joindre la première
vice-présidente.
Become a Member!
Members receive this journal three times a year, contact with a local
chapter, and reduced admission to workshops and conferences. Go
to www.orffcanada.ca and click on Join Carl Orff Canada.
Devenez membre !
Les membres reçoivent trois fois par année la revue Ostinato ; ils
sont affiliés à un chapitre local qui leur donne accès à tarifs réduits
lors des ateliers de formation ainsi qu’aux congrès nationaux.
Celebration and Memorial Donations
Remember your friends and relatives in a unique and special way.
Make a tax deductible donation to Music for Children – Carl Orff
Canada – Musique pour enfants. Donations can be made to any of
the following funds: the General Operation Fund, The Gunild Keetman Scholarship Fund, or the Orff Mosaic Children’s Travel Fund.
Donation forms can be found in Section M of the Policy and Procedures manual in the Members Only section at www.orffcanada.ca.
Dons commémoratifs
Pour souligner d’une façon unique et spéciale le souvenir d’amis ou
de parents, vous pouvez faire un don déductible d’impôt à Music
for Children – Carl Orff Canada – Musique pour enfants. Ces dons
peuvent être faits à n’importe lequel de ces fonds : the General
Operation Fund, The Gunild Keetman Scholarship Fund, ou au Orff
Mosaic Children’s Travel Fund. Des formulaires sont disponibles
à la section « M» du manuel des Politiques et Procédures sous le
lien Members only de www.orffcanada.ca.
Vol. 40, No.1, Fall 2013
33
Application for Financial Assistance:
Children’s Performing Groups
Grants are available to help defray the travel costs of taking a
children’s Orff performance to the national conference. The next
application deadline is Feb. 1, 2014; forms can be found in Section
N of the Policy and Procedures manual in the Members Only section at www.orffcanada.ca. Grants may also be available for groups
travelling to other conferences. For more information contact the
National Treasurer.
Demande d’aide financière pour les groupes d’enfants
Il est possible d’obtenir une aide financière pour aider à payer les
frais de voyage des groupes d’enfants participant à notre congrès
national. La prochaine date limite pour les demandes est le 1er février
2014. Il est aussi possible d’obtenir une aide pour les enfants qui
participent à d’autres congrès. Des formulaires sont disponibles à
la section « N» du manuel des Politiques et Procédures sous le
lien Members Only de www.orffcanada.ca. Pour toute information
supplémentaire, veuillez joindre la trésorière nationale.
Research Grant
Carl Orff Canada awards one research grant of $500 to support
research into Orff Schulwerk. The next application deadline is
June 15, 2014. Details and application forms can be can be found
in Section N of the Policy and Procedures manual in the Members
Only section at www.orffcanada.ca. For more information contact
the Past President.
Bourse pour soutenir la recherche
Carl Orff Canada offre une bourse de 500 $ pour soutenir la recherche
reliée au Orff Schulwerk. La prochaine date butoire est le 15 juin
2014. Des détails supplémentaires et le formulaire d’application
sont disponibles à la section « N » du manuel des Politiques et
Procédures sous le lien Members Only de www.orffcanada.ca. Pour
toute information supplémentaire, veuillez vous renseigner auprès
de la présidente sortante.
Advertising in Ostinato
For rates, specs and timelines
please contact our Industry
Representative,Tammy Stinson,
[email protected]
Take Note / Notez bien...
Our Winter 2014 issue of Ostinato will celebrate 40 Years of
Carl Orff Canada with a retrospective look at our history and
accomplishments. Each chapter is preparing a submission for this
issue, but we are also looking for your personal reminiscences
and photos. Please think now about what you can contribute
to this meaningful issue.
L’édition de la revue Ostinato de l’hiver 2014 portera sur
les célébrations des 40 ans de Carl Orff Canada par une
rétrospective de notre historique et réalisations. Pour cette
revue, chaque chapitre doit présenter un texte, des photos et
des anecdotes. C’est le temps de penser à la façon dont vous
voulez contribuer à cet événement important.
Firm deadline for all submissions: Nov 15, 2013
Date limite pour la remise des articles : le 15 nov 2013
Looking Ahead in Ostinato
Our Spring 2014 issue will have Orff and Traditional Culture
as its theme. Orff always maintained that the Schulwerk should
be based on and nourished by the culture of each country where
it takes root, but how do we interpret that mandate in our twentyfirst century global society? We are looking for articles which
examine the role of music teachers as culture bearers, consider
the role of folklore in our teaching repertoire, review the place
of children’s literature in our music programs, or reflect on any
other aspect of this very important topic.
Aller de l’avant dans la revue Ostinato
L’édition printemps 2014 aura comme thème : Orff et la
culture traditionnelle. Orff a toujours maintenu que le
Orff Schulwerk devrait être basé et nourri par la culture
inhérente à chaque pays, mais comment interprétons-nous
ce mandat au 21e siècle? Nous recherchons des articles
qui examinent le rôle des musiciens éducateurs comme
passeurs culturels tout en considérant l’importance du
folklore dans notre répertoire pédagogique, la place de la
littérature pour enfants dans nos programmes musicaux
et tout autre aspect qui peut se rattacher à ce sujet.
Firm deadline for all submissions: March 15, 2014
34 Ostinato
Date limite de remise des articles : 15 mars 2014
23rd National Conference | 40e anniversaire
Music for Children Carl Orff Canada Musique pour Enfants
Avril
Halifax April 10 -13, 2014
Marriott Harbourfront Hotel | Halifax | Nova Scotia
www.orffcanadaconference2014.com
Online registration starting November 15, 2013
Inscriptions en ligne dès le 15 novembre 2013
Randy De Lelles and Jeff Kriske|USA
Chantal Dubois|Québec
Maria Eppensteiner|Austria
Kwasi Dunyo|Ontario
Doug Goodkin|USA
Sue Harvie|Alberta
Martha Healy|Nova Scotia
Nicole Lafrenière|Manitoba
Christoph Maubach|NewZealand
Josée Mayrand|Québec
Guylaine Myre|Québec
Colleen Putt|Nova Scotia
Marion Roy|Ontario
Brian Tate|BritishColumbia
Angela Warren|Newfoundland
Deborah Ziolkoski|British Columbia
A way to...
ABC... créer/ Paysage sonore
Music Dance Music
Drum your Stories
Jazz it up
Play, Play, Play
Discover Folk Repertoire
Dance Mozart / Strauss
Elemental... Music
Gumboot
Musical Highlights
Stomp!
Folk dancing/ Jigs/ Reels
Ceilidh
Games/ Songs
Choral
Halifax Regional School Board Children's Orffestra
Recorder
Composers...
Jubilee Swing Orchestra
Les Voix d’Acadie
Vol. 40, No.1, Fall 2013
35
Ensemble 2014
Conference registration at a glance
Coup d’oeil à l’inscription au congrès
Carl Orff Canada Conference Ensemble 2014 will be held at the Marriot Harbourfront Hotel in Halifax.
Le congrès de Carl Orff Canada Ensemble 2014 aura lieu à l’hôtel Marriot Harbourfront à Halifax.
Official online registration will be open on November 15 2013
L’inscription en ligne ouvrira le 15 novembre 2013.
Register early and take advantage of the early bird fee. See below.
Inscrivez-vous tôt au congrès et profitez de tarifs réduits. Réservez votre chambre en mentionnant que
vous êtes inscrits à Ensemble 2014.
All Conference attendees must be members of Carl Orff Canada. Non-members will automatically be
enrolled as members for one year (a $60. membership fee will be added to the conference fee). Tous
les congressistes doivent être membres de Carl Orff Canada. Les non-membres adhéreront
automatiquement à l’organisme pour un an. Le coût de cette adhésion est de 60$.
Conference fee /Coûts du congrès
Before March 1, 2014 / Avant le 1er mars 2014 :
• Regular member / Membre régulier : $400
• Non Member / Non-membres : $400 +$60 (Membership fee, coût d’adhésion)
After March 1, 2014 / Après le 1er mars 2014 :
Regular member /Membre régulier : $450
• Non Member / Non membres : $450+ $60 (Membership fee, coût d’adhésion)
Other registrations / Autres inscriptions :
• Student / étudiants: $300
• Retired Full / retraités: $350
• Daily Friday / le vendredi : $250
• Daily Saturday / le samedi : $250
Hotel : Marriott Harbourfront
Toll-free 1-888-236-2427
Réservez en français 1-866-580-6279
Special Room Rates for Ensemble 2014/Coût d’une chambre :
Single or double occupancy /occupation simple ou double : $160
Premium room / chambre haut de gamme : $190
Before coming, get acquainted with Halifax / Avant de venir, découvrez Halifax à distance sur :
http://www.destinationhalifax.com
Looking forward to having you with us! Our seabound coast is calling!
Au plaisir de vous voir avec nous! Nos rives maritimes vous appellent!
36 Ostinato
Ensemble 2014
Drum roll please! Yes, we are now less than a year away from the
biggest event in our Nova Scotia Chapter’s history, the hosting of
the Carl Orff Canada National Conference. I hope you Orff members
have already put a big X on your calendar for April 10th to 13th,
2014 for “Ensemble 2014”, the 23rd annual National Conference
and also marking the 40th anniversary of Carl Orff Canada. We have
assembled an amazing conference team, including our co-hosts from
Ottawa, Kristy Fiegehen, and Quebec, Françoise Grenier, who are
busy putting together a conference of a lifetime for you and music
educators everywhere. I want to share some of the excitement with
you and ask you to spread the word to all your musical colleagues
that this is an event NOT TO BE MISSED!
Where to begin, perhaps with the setting? The newly renovated
Halifax Marriott Harbourfront Hotel, located at one end of our
beautiful Halifax waterfront, plays host with some of the most
stunning waterfront views in the city. It places you at the heart of
Halifax’s commercial and tourist center. Their wonderful ballrooms,
exhibit spaces and fine food are all a part of the National Conference experience.
Our presenters are of course the key ingredient. Being the first Orff
conference held here since the 70’s, we have assembled an “A” list
of presenters many of whom have published resources available
for your further enlightenment. Doug Goodkin will be returning
to Nova Scotia from San Francisco, after his successful visit last
fall at our NSMEA conference. Doug will share more of his vast
experience and deliver the keynote address. Randy De Lelles and
Jeff Kriske, writers of the excellent “Game Plan” curriculum guide
will be here from Las Vegas. “Fun with Composers” creator, Deborah Ziolkosky (B.C.), will be here with a new volume and bringing along Nicole Lafrenière (Manitoba) to present the new French
versions of the series. From the Orff Institute in Salzburg, Austria
we are thrilled to have Maria Eppensteiner joining us. Coming all
the way from New Zealand we have Christoph Maubach, another
Orff Institute regular. Closer to home we have African Drum master Kwasi Dunyo (Ontario), Choral composer Brian Tate (BC), as
well as Sue Harvey (Alberta), Richard Dubé (Sask.), Marion Roy
(Ontario), and Angela Warren (Nfld.). For our French educators,
besides Nicole, from Quebec we have Chantal Dubois, Guylaine
Myre and Josée Mayrand who will take us on a “Gumboot” adventure. Our own Nova Scotian culture will be represented by the
wonderful Martha Healy, a Helen Creighton Folklore enthusiast,
and Colleen Putt, folk dance specialist extraordinaire. We are still
working on a couple of other showstoppers for you too. As part of
our 40th Anniversary Celebration Lois Birkenshaw- Fleming will
be hosting a panel in a round table discussion on “Orff Then and
Now”. How will I choose workshops?
Beyond a wonderful location and amazing presenters the National
Conference registration will include an opening evening Ceilidh,
the grand Opening Ceremony, two and a half days of workshops,
many wonderful Children’s performances, exhibitors from across
Canada, a Gala Evening Concert, a formal Banquet and dance
featuring the Jubilee Swing Orchestra and much, much more.
Finally, and perhaps most importantly, it is a chance to come together
and celebrate music education at its best and to build friendships
with colleagues from across Canada and around the world. We are
not alone. Visit our website for the latest news and watch for our
registration page to be up by mid-November. Let’s sing, dance and
play “tout ensemble”.
James Jackson co-chair “Ensemble 2014”
Roulement de tambour s'il vous plaît!
Eh! oui, nous sommes maintenant à moins d'une année du plus
grand événement qui aura lieu en Nouvelle-Écosse cette année : le
Congrès national de Carl Orff Canada et la célébration de son 40e
anniversaire. Je sais que vous, les membres de Carl Orff Canada,
avez déjà mis grand X sur votre calendr Ensemble 2014ier du 10 au
13 avril 2014 pour venir célébrer avec nous lors de ce 23e congrès
de C.O.C. Ensemble 2014.
Une formidable équipe incluant nos co-présidentes d'Ottawa et du
Québec, Kristy Fiegehen et Françoise Grenier, s’affairent corps
et âme à préparer LE congrès de votre vie…
Permettez-moi de partager avec vous mon grand enthousiasme et
vous demander de passer le mot à tous vos collègues : voici un
événement À NE PAS MANQUER!
Par où commencer? Peut-être par la mise en scène?
L'hôtel, Marriott Harbourfront de Halifax nouvellement rénové
est situé à une extrémité de notre beau bord de mer. C’est là que
vous serez accueillis, au cœur du centre commercial et touristique
d'Halifax. Ses magnifiques salles de danse, ses espaces d'exposition
et son excellent menu font partie de l'expérience de notre congrès
national.
Nos ingrédients clés : les animateurs. Parmi eux, il y en a que vous
connaissez fort probablement à cause de leurs publications. Eh!
bien, vous pourrez travailler avec eux en personne! Par exemple,
c’est Doug Goodkin de San Francisco qui prononcera le discours
d'ouverture. Vous pourrez ensuite vous inspirer de sa riche et
généreuse expérience lors de ses ateliers. Jazz et improvisation
sont au menu.
Randy de Lelles et Jeff Kriske auteurs de l’excellent ouvrage
Game plan viendront de Las Vegas pour vous. L’auteure de Fun
with Composers Deborah Ziolkosky de la Colombie Britanique
sera de la partie de même que Nicole Lafrenière du Manitoba qui
présentera la version française de l’ouvrage.
En provenance d’autres continents, nous sommes ravis d’avoir
avec nous Maria Eppensteiner de l’Institut Orff de Salzbourg
avec qui vous laisserez conduire la musique pour danser et laisser
la danse mener votre musique. Avec elle, vous ferez aussi de de
l’improvisation percussive à souhait. Un autre habitué de l’Institut
Orff, Christoph Maubach de Nouvelle-Zélande vous ramènera
directement au concept de l’élémentaire.
À mi-chemin, le maître de percussions africaines Kwasi Dunyo
- Ontarien d’adoption - vous fera chanter et jouer la musique du
Ghana. Aussi de l’Ontario, Marion Roy vous enchantera avec les
jeux et chansons typiques des cours d’école selon les saisons. Avec
l’Albertaine Sue Harvie, on dit bonjour, on se cache, on devine… tout
est prétexte à jouer : typique du développement artistique à la Orff.
Vol. 40, No.1, Fall 2013
37
Côté francophone et québécois, nous avons invité Chantal Dubois
pour ses paysages et chants de marins et son ABC du verbe créer.
Avec Guylaine Myre, attendez-vous à innover : vous prendrez le
chemin de l’improvisation et de la création en passant par… le
Stomp! Enfin, Josée Mayrand vous emmènera dans une enlevante
aventure de Gumboot.
De la Nouvelle-Écosse Martha Healy et Colleen Putt, toutes deux
extraordinaires folkloristes vous feront découvrir des chansons,
des jeux chantés et des contes de la collection Helen Creighton et
des danses typiques des Maritimes.
Et, pour chanter et encore chanter, nous avons invité Brian Tate,
de la Colombie Britanique : à fréquenter absolument! Enfin, c’est
avec Angela Warren de Terre -Neuve que vous verrez combien
elle est agréable et intéressante à jouer… cette flûte à bec. Afin
de souligner notre 40e anniversaire, Lois Birkenshaw- Fleming
animera une table ronde intitulée “Orff, hier et aujourd’hui”. Comment arriverai-je à choisir parmi les ateliers?
38 Ostinato
En plus d'un magnifique emplacement et d’animateurs des plus
inspirants, votre inscription à Ensemble 2014 comprendra : une
soirée pré-congrès avec un Ceilidh (prononcer Quéli) c’est-à-dire
une soirée de sets carrés; la grande Cérémonie d'ouverture matinale
du vendredi; deux jours et demi d'ateliers; plusieurs prestations de
groupes d’enfants; un salon d’exposants; un Concert de gala; un
banquet où on racontera l’histoire de notre association qui fête ses
40 ans, et une soirée de danse mettant en vedette le célèbre Jubilee
Swing Orchestra de Halifax.
Avec tout cela, et peut-être est-ce le plus important, le congrès vous
donne la chance voir l'enseignement de la musique à son meilleur et
de construire des amitiés avec des collègues de partout au Canada
et du monde entier. Vous n’êtes pas seuls ! Alors, venez chanter,
danser et jouer tous Ensemble…
Au plaisir de vous voir nombreux avec nous!
James Jackson co-président de Ensemble 2014
Mayombe
Françoise Grenier
(Le Mayombe est le Congo démocratique du Sud)
Métrique : alternance 3/4 4/4 = 7/4
Tempo : rapide
Mise en train :
• Texte dit comme en secret dans l’oreille de chacun
• Apprentissage du texte par imitation (texte complet)
• En marchant sur les temps forts en marquant le point final avec un geste
• Avec accompagnement du tambour sur les temps forts
• Ajout de percussion au choix sur temps faibles
Mise en scène : incantation vocale scandée, en cercle.
• Agenouillés, en cercle on frappe le rythme avec les mains au sol vers le centre du cercle en scandant les paroles.
• On reprend en jouant avec les nuances (crescendo, diminuendo, etc.)
• On travaille le geste du point final.
• On se disperse dans la salle. On reprend le tout en marchant sur les temps forts et en se dirigeant vers le centre. On s’accroupit sur
le point final. On reprend le jeu en frappant les pulsations sur le sol avec crescendo et geste choisi sur point final.
Vol. 40, No.1, Fall 2013
39
40 Ostinato
Shepherds Heard an Angel Sing
This is a simple Christmas song for beginning recorder class, and can be taught very simply:
an-gel
heard an
Shep-herds
Al-lesing,
Shep-herds
lu
Al-le
an-gel
heard an
lu,
Al-lesing,
lujah.
The children can make up more verses. (These can be more secular in content, if more appropriate for your teaching context. Ed)
The B part is a dance. Introduce by suggesting, “The road to Bethlehem was long, so the shepherds amused themselves by
dancing and playing.” The final form could look like this:
A
recorders and instruments
song with instruments (2 verses)
B
dance, perhaps with teacher playing AR part
A
song with instruments (2 more verses) with instruments
recorders and instruments, incorporating the AR part as a counter-melody if you wish
Have fun creating the dance!
This orchestration and lesson appeared originally in Ostinato #25 (Dec 1983). COC Honorary Lifetime Member Birthe
Kulich has been active in the Canadian Orff world for many years and is well-known as the author of many resources,
including the Friendly Bear Songbook and (along with Joe Berarducci) the Windsongs recorder series.
Vol. 40, No.1, Fall 2013
41
42 Ostinato
RCSPRT385_Ostinato Ad_2013.14 13-08-27 3:56 PM Page 1
Music for Children – Carl Orff Canada – Musique pour enfants
TRAINING FOR THE
BEST BY THE BEST.
Founder and Patron/Fondatrice et patronne d’honneur
Doreen Hall
Honorary Patrons/Patrons émérites
Bramwell Tovey
Sr. Marcelle Corneille
Jos Wuytack
Board of Directors/Conseil d’administration national 2012– 2014
Past-President/Présidente sortant de charge
Cathy Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6
President/Présidente
Beryl Peters, 500 Laidlaw Blvd., Winnipeg MB R3P 0K9
T (204) 474-1384, F (204) 945-6747, [email protected]
First Vice-President/Première vice-présidente
Marlene Hinz, 3551 Apple Grove, Regina, SK S4V 2R3
Second Vice-President/Deuxième vice-présidente
Liz Kristjanson, 54 Glenbrook Cres., Winnipeg MB R3T 4W4
Treasurer/Trésorière
Eileen Stannard, 44 Second Ave, Box 23, Ardrossan AB T8E 2A1
If undeliverable please
return to:
Ruth Nichols
7 Regent Street,
Amherst, NS B4H 3S6
[email protected]
Professional Development
Fall 2013 – Spring 2014
Enrich your teaching with inspiring
courses taught by dedicated experts:
• Fall: Orff Intro
• Winter: Orff Level I
• Summer: Orff Intro, Level I, II and Music From Five Continents
with Doug Goodkin
• Artist Educator Professional Training
• Early Childhood Music Education Training
Membership Secretary/Secrétaire des adhésions
Ruth Nichols, 7 Regent Street, Amherst, NS B4H 3S6
Website
Joanne Linden, 1647-126 Street, Edmonton AB T6W 1R8
Secretary/Secrétaire
Laurel Nikolai, 11143-65 Avenue, Edmonton AB T6H 1W4
T: (780) 637-6808, [email protected]
LIMITED
AVAILABILITY
REGISTER
NOW!
Editor/Rédactrice en chef
Catherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4
(T) 647-970-7080, weekends (613) 449-8924, [email protected]
Archivist/Archiviste
Anne Tipler, 4099 Wheelwright Cres. , Mississauga ON L5L 2X3
Francophone Member at Large/Correspondante francophone
Denise Lapointe, 219 Forest,Pincourt, QC J7V 8E7
T (514) 453-8020, [email protected], [email protected]
Register online at rcmusic.ca
or call 416.408.2825
Check in with our website regularly for ongoing
opportunities for you and your students.
rcmusic.ca
Carl Orff Canada Aims and Objectives
Music for Children - Carl Orff Canada - Musique pour enfants is a Corporation which operates with the following objectives:
i) to encourage the development throughout Canada of a holistic music
education program for children based upon the pedagogical philosophy and approach of Carl Orff;
ii) to encourage, promote and fulfill Carl Orff Canada's objectives in all regions of Canada through a national organization and through regional
chapters;
iii) to produce and distribute a national journal addressing issues relating to the Orff philosophy of music education;
iv) to organize and administer conferences and workshops focusing on quality music education for children; and
v) to cooperate with other music education organizations in order to further the objectives of the Corporation.
Music for Children - Musique pour enfants
O
stinato
Volume 40,
Number 1,
Fall 2013
Learning Together /
Apprenons ensemble
Open Your Wings: the 15th World Village in Finland
Orff-Schulwerk in South Africa is Alive and Well
Anansi Story
Keetman Scholarship Winners
Mayombe
Shepherds Heard An Angel Sing
Tri-annual Publication of Carl Orff Canada

Learning Together / Apprenons ensemble

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