Dr Michael Chandler
Back to the Basics: Using Keetman’s Elementaria
Gunild Keetman's 'Elementaria' (1974) serves as a "fundamental, practical handbook for Orff-Schulwerk." Participants in this session will engage in a variety of meaningful elemental music and movement learning activities suitable for children in the primary to intermediate grades (K–6). The activities—found within the pages of this primary source of the Schulwerk—will introduce and reinforce the most fundamental elements of music: rhythm, melody, texture, expressive elements, and form. Session activities will demonstrate techniques for including improvisation, composition, understanding basic concepts of orchestration, and combining creative movement with music. The session will focus on a return to the basic tenets of the Schulwerk while also serving as an introduction to teachers of any experience level who are new to elemental music and movement pedagogy.
All-Out Session & Main Session details coming soon!
Orff Pastiche: Music, movement and arts integration
Beginning with acute listening activities participants will experience Orff teaching processes with examples from diverse cultures. Songs, rhymes, dance movements, and story provide invitational jump off points for artful experiences in process and outcome. Throughout this session playful explorations facilitate a feel for the sound of voices and instruments.
All-in Session Title & Session Description coming soon!
Dancing Animals – How animal movements can help us to improve expression in dance
The topic of "animals" can give us a straight approach to the child’s lifeworld. Many lesson plans, stories and movies are about animals. We see animals everywhere around and we have the opportunity to observe their habits and movements. What can we learn from them? What can we transform to human beings? What is the importance of animal moves for dancing? Together we find out the essentials of animal movements and how to bring it to dance.
Moving Pictures - Famous Art Works as Inspiration for Dancing
Art works of famous visual artists as paintings or sculptures can inspire us to interpret an atmosphere or colours, postures, shapes or abstract forms. How can we bring it to three dimensional shapes and movement in space? Different approaches of dance composition for different stages of experience and age will be explored, practiced and brought to a movement form or small compositions.
"Kolo kolo"/ "Moko moko" - Two Japanese picture books with onomatopoetic words
We play with words, nonsense words and sounds in combination with movement. How can a story of a picture book be an inspiration for movement in accordance with sounds? We improve our articulation, discover the connection of breath and movement and add music instruments to bring together all three elements of the Orff Schulwerk: music, dance and speech.
The Queen of Colours" (by Jutta Bauer) - A picture book as an inspiration for a dance piece
This picture book provides a wide range of possibilities in performing the story. Together we will create a realisation plan which can be filled with dance, music and voice - according to the specific target groups.
NOTE: Some of these sessions will be repeated & Andrea will also present an All-in and All-Out Session - Titles & Session Descriptions coming soon!
Dr Julie Scott
Body Percussion: Sing, Say, Move, and Play!
Chances are, you have experienced body percussion in Orff Schulwerk. Teachers stamp, pat, clap, and snap “echo patterns” as warm-ups, as preparation to introduce or review a rhythm duration, or as a way to gain students’ attention. Although the latter of the uses can be unmusical and even punitive, body percussion can be artistic and expressive, providing opportunities to serve as a music-making medium. Once students are adept at patting, clapping, and walking to the steady beat, they can begin performing ostinatos on body percussion to accompany poems, chants, and songs. In addition, they can perform artistic, motivating “stand-alone” pieces from sources such as Rhythmische Übung by Gunild Keetman. This hands-on session will include a demonstration of the pedagogical process and final performance of: 1) a song with body percussion accompaniment; 2) a speech piece with body percussion accompaniment; and 3) a stand-alone body percussion piece that will be performed on its own and on unpitched percussion instruments with movement and improvisation. Suggestions for modeling body percussion artistically will be discussed, modeled, and practiced. Ideas for sequential teaching of body percussion skills will also be discussed. Come prepared to join in the fun with pieces that students of all ages will love!
Julie Scott &
Recorder Ready: Artistry, Creativity, and Literacy
Playing the recorder provides upper elementary-age students (Grades 3–6) many opportunities to experience musical artistry and creativity while developing music literacy. Julie and Michael will demonstrate teaching strategies for effective recorder instruction through a variety of repertoire accessible to all levels of players. Attendees will participate in learning strategies for selecting age- and grade-appropriate recorder repertoire that is motivating for students of varying abilities and meets their instructional needs. Participants will experience techniques for getting the most benefit from recorder repertoire through differentiated instruction that includes adapting it to include improvisation, adding to or modifying it to make it more accessible, and using it to teach music literacy in a sequential and student-centered manner. Simple techniques make it possible to introduce other voices of recorders such as the bass, tenor, and alto so students can experience a consort sound earlier rather than later—or never. This ultimately leads to children enjoying music more through recorder playing.
Music Drama - Elemental Style – jump into the play!
In the field of arts education one should not treat all children equally in terms of standard objectives and content. A main aim is to stop working in a routine way and to take more into account the individuality of the children in the different creative activities in the wide field of the Elemental Music and Dance Education. The individual possibilities and wishes of the children should be prominent. All human beings, even when they are the same age, show very different inclinations, abilities and skills in term of music, dance and play activities.
Come and play – creative work with sound and rhythm
Let’s start with Improvisation and song accompaniment with body percussion and sounding materials from everyday objects. Further Models will offer room for creative engagement with voice, material, instruments and movement to develop new skills and to expand repertoire and resources.
Creative Games with Boomwhackers
A try out with creative games that stimulate and encourage the motivation and personal responsibility of children and adolescents. Boomwhackers will be used for rhythmical games with sound and movement, for accompaniment of songs and improvisation.
African Drumming - featuring Brianna Slattery & Kofi Kunkpe
African Orchestral Ensemble
We will explore the use of djembes, dununs (bass drums), shakers and bells to create an exciting polyrhythmic orchestra that layers and weaves traditional rhythms together.The potential of African drumming lays in its accessibility and inclusivity. People of all ages, backgrounds and abilities can learn to drum quickly. The learning curve is gentle and the music can be as simple and as complex as you like. Basic playing skills can be learnt in a matter of minutes and the music itself can be easily adapted to any group.Drumming also encourages movement and kinaesthetic learning. Directing and responding to the music through dance is an integral part of the West African ensemble. Moving to the music allows for further opportunities for self-expression.Drumming is about more than music. It exercises the brain and the body together. It teaches us how to work together, how to lead, be creative, and generates a strong sense of inclusion.
Let's Go Musos, Let's Go!
Chants and cheers are synonymous with sport games and competitions. Without even realising the inherent musicality of these well-known motifs, crowds actively engage in rhythmic spoken, melodic slogans and war crys.
Both familiar and new chants will be explored and developed using body percussion and props gathered from sport games. Un-tuned and tuned percussion instruments will be included to develop the chants.
In addition, class Orff repertoire will be reformulated into original chants based on the participants' favourite sport teams and subsequently reassembled into a musical sport extravaganza.
The workshop is focussed on the early Childhood classroom, but the ideas presented will be able to be extended and adapted for older students. No prior experience required.
Supermassive Black Hole
This session will involve participants learning simple rhythmic ostinato to play along with a rock piece. The ostinato will be played on chairs (junk percussion) with the aim of also using improvisation to support compositions. This will then lead into performance development.
Orff-Schulwerk (Affective) Flow Indicators - Play, Sing and Move in Flow
Supported by a wide range of sources, Orff-Schulwerk approach (OSA) provides a means for awakening the potential for “being musical”, meaning to be able to understand and use music and movement as forms of expression and communication. In the OSA approach, natural behaviours are firstly directed into responding to and making music. Carl Orff’s idea about Music Education was always to put the practical work in the foreground. Everyone (children, adults, seniors) have “musical potential”, but need to experience, act, enjoy, feel and interact in order to get a cognitive, affective and social development (holisticity). Departing from these philosophical principles, using rhymes, games, songs and dances from different parts of the world (including Latin countries) we will play, sing and move with the natural sense of play, involved on a lifetime of knowledge and pleasure through personal musical, social and cultural experience and development, without exclusion, but by all means inclusive. In the end of this workshop, using AFIMA, we will collect and share the lived emotions, in order to discuss if OSA can boost Flow States/Optimal Experiences indicators (Flow Theory).
Orff-Schulwerk at Senior Age: a portuguese example
Portugal is the country with the highest number of active Senior Universities (SU). This work shares emotions experienced at the Orff-Schulwerk approach ‘Music, Movement and Dance’ weekly classes from a SU of Northern Portugal, as well as the personal and the social impact as evaluated by senior students (n=45) with ages comprised between 59-82 years old, during one semester (2017/2018). The Orff-Schulwerk (OS) classes involves speech activities to encourage active music making, singing, body (and Orff Instrumentarium) percussion, movement and dancing, in the search for a holistic development. The results of this case study recognize that everyone (children or adults) have “musical potential”, but need to experience, act, enjoy, feel and interact in order to get a musical, cognitive, affective and social development (resuming the Carl Orff’s idea about inclusive Music Education).
With theoretical support on Flow Theory (Csikszentmihalyi work), the collection and data analysis occurred based on the adaptation of AFIMA - Adapted Flow Indicators in Musical Activities (Custodero work).
The results indicate that senior students lived high degrees of positive emotions of AFIMA. Therefore, according to their own testimony, all the experienced emotions seem to have relevant impact in their personal/social lives.
From a critical perspective, it should be noted that these results couldn’t be generalized. However, it would be interesting to discuss the impact that this study may have on the awareness and on the consequences in social policies of appreciation of Music Education in the active, productive and healthy ageing, as well on a intergenerational approach.