Pedagogy / Pédagogie - CARL ORFF CANADA | Music for Children

Transcription

O
Music for Children - Musique pour enfants
stinato
Volume 33,
Number 3,
Spring 2007
Pedagogy / Pédagogie
A Cognitive Shift: Orff Schulwerk as a Means
Rather than as an End
Un changement cognitif : Orff Schulwerk
un moyen plus qu’une fin en soi
An Exploration of Pangaea
La Pédagogie: l’enseignant et l’enseigné
Orff Schulwerk? What Do People Say?
Using Children’s Literature to Teach Music
Chansons, turlute et folklore québécois
Danse Dou Ska Dou
Dégénération du groupe Mes Aïeux
Jack and the Beanstalk
Tri-annual Publication of Carl Orff Canada
Music for Children – Carl Orff Canada – Musique pour enfants
Founder and Patron/Foudatrice et patronne d’honneur
Doreen Hall
Honorary Patrons/Patrons émérites
Sr. Marcelle Corneille
Mario Duschenes
Hermann Regner
Jos Wuytack
National Executive/Conseil d’administration national 2006 - 2008
Past-President/Présidente sortant de charge
Lucie Allyson, 325 Hickson, St. Lambert, Québec J4R 2N9
T (450) 672-9860, Fax (450) 672-0984, lucie.allyson@internet.uquam.ca
President/Présidente
Debra Giebelhaus-Malhoney, 1212 Killearn Ave. S.W., Calgary, AB, T2V 2N4
T (403) 258-3466, Fax (403) 258-3975, debra@singmoveplayc.com
First Vice-President/Première vice-présidente
Joan Linklater, 88 Tunis Bay, Winnipeg, MB, R3T 2X1
T (204) 261-1893, Fax (204) 474-7546, joan_linklater@umanitoba.ca
If undeliverable please
return to:
Laureen Schellenberg,
6844 Upper Canyon Place,
Delta, BC V4E 2M2
Second Vice-President/Deuxième vice-présidente
Cathy Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6
cathybayley@telus.net
Third Vice-President/Troisième vice-présidente
Anne Cameron, 27 Cox Lake Road, Hammonds Plains, NS B3Z 1K7
T (902) 835-2760, Fax (902)826-3310, annecameron@eastlink.ca
Secretary/Secrétaire
Eve de Moissac, 701 18th Ave. N.W., Calgary, AB T2M 0V2
T (403) 282-1935, evemoissac@digitalhomes.net
Treasurer/Trésorière
Eileen Stannard, 52065 Range Road 204, Sherwood Park, AB, T8G 1G3
T (780) 922-3175, estann@interbaun.com
Membership Secretary/Secrétaire des adhésions
Laureen Schellenberg, 6844 Upper Canyon Place, Delta, BC V4E 2M2
T (604) 594-6934, Fax (604) 584-9010, laureenschellenberg@dccnet.com
Editor/Rédactrice en chef
Catherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4
T (416) 653-7080, Fax (416) 653-5651, west.catherine@sympatico.ca
Francophone Member at Large/correspondente francophone
Françoise Grenier, 10220 Rue Clark, Montréal, QC, H3L 2R9
T (514) 387-1605, grenf@sympatico.ca
Archivist/Archiviste
Diane James, 60 Livingstone Avenue, Toronto, ON M6E 2L8
T (416) 789-9281, dgac@istar.ca
hereinafter referred to as the Corporation
The objectives of the Corporation are:
i) to encourage the development throughout Canada of a holistic music
education program for children based upon the pedagogical philosophy and approach of Carl Orff;
ii) to encourage, promote and fulfill Carl Orff Canada objectives in all regions of Canada through the national organization and regional chapters;
iii) to produce and distribute periodic publications addressing issues relating to the Corporation’s objectives;
iv) to organize and administer periodic conferences and workshops with agenda and curricula relating to the Corporation’s objectives; and
v) to cooperate with other music education organizations in order to further the objectives of the Corporation.
Ostinato
Volume 33, Number 3, Spring 2007
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
2
President’s Message/Mot de la présidente
3
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: west.catherine@sympatico.ca
Articles and letters to the editor express the
viewpoints of the authors, and do not imply
endorsement by Music for Children – Carl Orff
Origins of songs and poems in this publication
have been traced whenever possible, and copyright
clearance obtained when necessary. If despite this,
any copyright that has been infringed upon
unwittingly, we apologize, and ask that we be
informed in order that the necessary permission
may be obtained.
OSTINATO
est la revue de Music for Children – Carl Orff
Elle paraît trois fois par année et les dates limites
pour soumettre les textes sont :
le 15 juin pour le numéro de l’automne,
le 15 novembre pour le numéro de l’hiver,
le 15 mars pour le numéro du printemps.
Tous les textes en français doivent être envoyés en
format Word.doc or Word.rtf à Françoise Grenier
à : grenf@sympatico.ca et en copie conforme à
Catherine West à : west.catherine@sympatico.ca
Les opinions exprimées par les auteurs des
articles et les lettres envoyées à la rédaction ne
reflètent pas nécessairement celles de Music for
Children – Carl Orff Canada – Musique pour enfants
et n’engagent que leur propre responsabilité.
Si par mégarde certains droits d’auteur n’ont pas
été respectés, nous vous prions de nous excuser
et de nous en avertir pour que nous puissions
régulariser la situation rapidement.
www.orffcanada.ca
Publication agreement #40012987
5
Rather than as an End Robert DeFrece
Un changement cognitif : Orff Schulwerk un moyen
6
plus qu’une fin en soi Robert DeFrece
From the Prairie Marcelline Moody
8
La Pédagogie: l’enseignant et l’enseigné Anne-Marie Grosser
10
Orff Schulwerk? What Do People Say? Joe Berarducci
12
The Orff-Schulwerk Volumes in Today’s14
Music Programs Joan Linklater
Workshop Reviews / Résumés d’atelier
Voix et mouvement : la voix qui danse18
avec Geneviève Dussault Denise Lapointe
20
with Joan Linklater Julie Vereschagin & Erin Thomsen
Chansons, turlute et folklore québécois 23
avec Monique Jutras Denise Lapointe
Book Reviews / Critique de recueils et DVDs pédagogiques
This Is Your Brain on Music: The Science of a Human Obsession Catherine West
It’s Elemental: Lessons That Engage and It’s Elemental 2:
More Lessons That Engage Tammy Stinson
24
25
National Conference / Conférence Congrès nationale
Encore: La crème de la crème
26
Orff-Schulwerk Courses / Formations Orff
30
Chapter Workshops / Ateliers de perfectionnement
33
National Executive Section /
Section du conseil exécutif national
36
Curriculum Corner / Boîte à idées
Jack and the Beanstalk Hania Krajewski and Jon McMurray
Activités pour le troisième cycle du primaire avec Dégénération
du groupe Mes Aïeux Louise Morand
Take Note / Prenez note que...
38
39
40
If undeliverable please return to: Laureen Schellenberg, 6844 Upper Canyon Place, Delta, BC V4E 2M2
Vol. 33, No. 3, Spring 2007
From the Editor
Catherine West
The present issue of
Ostinato is devoted
to the topic of
Pedagogy. Articles
by several leaders
in the field examine
aspects of this huge
topic, especially in
relation to concept-based teaching,
or teaching for understanding. Orff
designed the flexible sequence that is
articulated in the Music for Children
volumes with musical concepts in
mind. When we compare his vision
of the process of learning to the
learning theories we now embrace
– Piaget, constructivism, multiple
intelligences, Bloom’s taxonomy
of learning objectives, integrated
curriculum, and so on – there is a
remarkable fit between Orff Schulwerk
and modern educational theory.
Our writers stress, however, that we
must understand and follow the original
Orff philosophy in order to hold a worthy
place in today’s education system,
although the content will change over
time. That philosophy holds that students
must be creative in order to experience
mastery and understanding – it is
through creating something (through
improvisation and/or composition) that
students synthesize, apply, transfer,
process, manipulate and absorb musical
concepts.
...there is a remarkable fit
between Orff Schulwerk
and modern educational
theory.
We are delighted to welcome three
new regular columnists, in addition
t o M a r c e l l i n e M o o d y, w h o s e
column began in the Winter issue:
Joe Berarducci, Robert De Frece
and Anne-Marie Grosser. These
distinguished practitioners are all gifted,
creative teachers and writers – we are
Ostinato
fortunate to have the benefit of their
wisdom and experience.
We hope that you will find something
to inspire the creativity in you, the
teacher, in these pages, whether it
is a discussion, a lesson idea or a
connection with another teacher or
resource. Looking ahead to the summer
and next fall, we hope that you will
take advantage of the many courses and
workshops that are available to you.
Mot de la rédactrice
Ce numéro de l’Ostinato est consacré à
la pédagogie. Des articles de praticiens
reconnus sur cet immense sujet traitent
de sa relation avec l’enseignement
des concepts de base ou, autrement
dit, l’enseignement pour comprendre.
Orff a pensé à une séquence flexible
que l’on retrouve dans Musique
pour enfants gardant toujours en
tête l’enseignement de concepts
musicaux. Quand on compare sa vision
des processus d’apprentissage aux
théories que nous mettons actuellement
en pratique – pensons à Piaget, au
constructivisme, l’intégration des
matières, etc. – il existe une remarquable
corrélation entre le Orff Schulwerk et
les théories modernes d’éducation.
Nos auteurs, soutiennent que nous
devons comprendre et suivre la
philosophie originale de C. Orff de
façon à détenir une place respectable
dans le système d’éducation actuel
bien que le contenu puisse changer.
Cette philosophie suppose que les
élèves soient créatifs, qu’il atteignent
une certaine une compréhension et
expertise. C’est en créant quelque chose
(en improvisant et ou en composant)
qu’ils peuvent synthétiser, appliquer,
transférer, traiter, manipuler et intégrer
les concepts musicaux.
Nous sommes ravis d’accueillir trois
nouveaux rédacteurs – en plus de
Marcelline Moody qui s’est jointe à
nous l’hiver dernier – Joe Berarducci,
Robert De Frece et Anne-Marie
Grosser. Ces trois grands praticiens
sont de talentueux professeurs et
auteurs. Nous avons la chance de
pouvoir bénéficier de leur généreuse
contribution.
... il existe une
remarquable corrélation
entre le Orff Schulwerk
et les théories modernes
d’éducation.
Nous espérons que vous, enseignants,
trouverez dans ces pages de quoi
inspirer votre créativité, que ce soit
une discussion, une idée de leçon ou
un lien avec un autre enseignant ou
ressource. Avec l’été puis l’automne
qui s’en viennent, nous espérons que
vous tirerez avantage des nombreuses
formations et ateliers qui s’offriront à
vous.
Wishing you all successful spring
concerts, and a rejuvenating summer,
Av e c n o s m e i l l e u r s s o u h a i t s
de bons concerts et de bon été de
ressourcement!
Reviewers Needed
If you are interested in writing
reviews of new publications for
Ostinato, please send an email to
west.catherine@sympatico.ca.
President’s Message
Debra Giebelhaus-Maloney
Where there is music there is joy!
As the seasons
change and spring
turns into summer,
I encourage you to
enjoy every musical
moment with your
students.
Every day in our teaching we have
what I like to call ‘ah ha’ moments that
illustrate why we do what we do. One of
my four year olds flew into class, eager
to share his exciting discovery: “Did
you know that if you swallow [sic] all
the words of Humpy Dumpty you can
hear it in your feet at the playground
but no one else can? You can make
your own secret foot songs! AND ...
if you go on the swing, you can say it
in your head while you go back and
forth! You can change the words and
NO ONE will know!” Over the last few
weeks we had been focusing on beat
versus rhythm using as many different
mediums as possible – including the
composition of ‘foot songs’. I had
asked them to take their ‘rhythm stories’
everywhere they went that week. This
young man discovered that he could take
charge of both the rhythm and beat in
whatever he was doing. He internalised,
intellectualised and analysed as he took
his musical learning out of the classroom
into the world.
On the other end of the spectrum, in my
January residency a grade six student
discovered the power of the ostinato.
What started as boredom while waiting
in the car for his folks turned into a
‘car symphony’ with his sibling and
friends. There was such excitement
that they brought the car symphony to
school the next day and transferred it
to found sounds, unpitched and pitched
instruments.
Recently, as I listened to an elementary
choir sing each phrase with such pure
sweet tone, I closed my eyes and felt
shivers dance up and down my spine.
The choir completed their beautiful
melodic piece and, with my eyes still
closed, I revelled in that final moment.
A little voice broke the silence and said
to the conductor, “Teacher, I think the
judge is sick – her eyes are rolling!”
There it was, right from the mouth of
babes!
I share these moments with you to
affirm that what we are doing as
educators is so exciting and so very
valuable. Continually I remind myself
to try and look at learning through my
students’ eyes. Their eyes are wide
open with eagerness to learn and a
desire to share. The solid pedagogy of
the Orff philosophy provides numerous
opportunities for ‘playing’ the music
while we learn!
On January 20th of 2007, the Western
Presidents from Carl Orff Canada
gathered in Calgary for a wonderful
weekend of learning and sharing. As
we listened to stories from across
the west it affirmed for me once
again why so many children within
our borders are having those ‘ah ha’
moments through their music training.
Across this nation there is such brilliant
leadership that starts with each of you
in your classrooms. I left our gathering
awed by the many strengths, wisdom
and leadership that each participant
brought to the table, knowing that they
were returning to a music community
of like minds. We came together as
individuals and left as a respectful,
stronger body of inspired colleagues,
music educators and friends. In May
the Eastern Presidents will gather
in Montreal – it will be an exciting
opportunity to grow as we learn about
music education in the east!
Surround yourself with new musical
experiences. Make music with your
friends and family. I wish each of you
the opportunity to reenergize this spring
and summer.
On behalf of the membership, I would
like to extend a warm thank-you to each
of the National Executive Members
of Carl Orff Canada for their many
volunteer hours over the year, and their
continued dedication to music education
through this organization.
May music follow you
wherever you go!
Continually I remind
myself to try and look
at learning through my
students’ eyes.
Did You Know?
Up-to-date information about
Orff workshops and Levels
courses across Canada is listed on www.orffcanada.ca.
Take time this summer to fill your soul
with fresh ideas and discover some
learning through programs and classes.
Spend time with your colleagues in
a Levels or Post Level III course.
Mot de la Présidente
Debra Giebelhaus-Maloney
Là où il y a de la musique, il y a de la joie!
À mesure que les saisons changent et que
le printemps fait place à l’été, je vous
souhaite de goûter chaque moment de
musique avec vos élèves!
grande que le lendemain, il a repris cette
« symphonie » à l’école et la transposa
comme « sons trouvés » aux instruments
de percussion.
de l’Est se réuniront à Montréal – ce sera
une occasion de plus pour grandir en
apprenant ce qui se passe en éducation
musicale dans l’Est.
Chaque jour dans notre enseignement,
nous avons des instants
d’émerveillement – Ah! – qui illustrent
bien pourquoi nous faisons ce que
nous faisons.
Puis, récemment, en écoutant une
chorale de l’élémentaire chanter chaque
phrase avec tant de pureté, j’ai fermé
mes yeux et j’ai senti plein de frissons
me monter dans le dos. La chorale finit
sa ravissante pièce pendant que moi,
gardant les yeux fermés, je continuais
à savourer cet exquis petit moment.
Cet été, prenez le temps de nourrir
votre esprit avec des idées fraîches
et découvrez de nouvelles façons
d’apprendre à travers les cours et
formations. Prenez du temps avec
vos collègues dans les formations de
niveaux et post-niveaux III. Entourezvous de nouvelles expériences
musicales. Faites de la musique avec
votre famille et vos amis, et faites le
plein d’énergie!
L’un de mes petits de quatre ans est
arrivé en « volant » dans la classe pour
partager une excitante découverte :
« Saviez-vous que si on avale [sic] les
paroles de Humpty Dumpty (comptine
anglaise) au terrain de jeu, on peut
les sentir dans nos pieds et personne
d’autre ne les entend? On peut aussi
faire nos propres « chansons de pieds
» secrètes! Et dans les balançoires,
on peut les chanter dans notre tête en
avançant et reculant. On peut même
changer les paroles et PERSONNE ne
s’en rendra compte! ». Au cours des
dernières semaines, nous avions fait
un travail particulier sur la pulsation et
le rythme avec autant de moyens que
possible incluant des compositions
de « chansons de pieds ». J’avais
demandé à mes petits d’emporter
leurs « histoires de rythmes » avec
eux partout où ils allaient. Ce petit
bonhomme découvrait alors qu’il
pouvait contrôler tant le rythme que la
pulsation peu importe ce qu’il faisait. Ce
qu’il avait appris en classe de musique,
il se l’appropriait, l’intellectualisait,
l’analysait et l’étendait à son monde
de tous les jours.
À l’autre bout du cursus scolaire,
pendant ma résidence en milieu scolaire
de janvier, un élève de 6e année a
découvert la puissance de l’ ostinato.
Alors qu’il attendait ses parents dans la
voiture, ce qui aurait pu être un moment
ennuyeux se transforma en création de
« symphonie automobile » avec ses
frères et ses amis. L’excitation était si
Ostinato
Je partage ces moments avec vous pour
affirmer que ce que nous faisons comme
éducateurs est tellement excitant
et plein de valeur. Je me rappelle
continuellement qu’il faut essayer de
voir l’apprentissage à travers les yeux
de mes élèves. Leurs yeux sont grands
ouverts avec l’envie d’apprendre et de
partager. La pédagogie sous-jacente à la
philosophie Orff offre de nombreuses
opportunités de « jouer » avec la
musique tout en apprenant.
Le 20 janvier 2007, les présidents(tes)
Orff de l’Ouest canadien se sont
réunis(es) pour une magnifique fin
de semaine d’apprentissage et de
partage. Les récits de chacun me disent
pourquoi tant d’enfants à l’intérieur
de nos frontières ont de ces instants
d’émerveillement – Ah! – au cours de
leur éducation musicale. En effet, dans ce
pays, il existe un brillant leadership qui
commence avec chacun de vous dans
vos classes. J’ai quitté notre rencontre
inspirée par les forces multiples, la
sagesse et le leadership que chaque
participant a démontré à notre table,
sachant que chacun retournait dans sa
classe dans le même état d’esprit.
Nous nous sommes réunis comme
individus, nous nous sommes quittés
comme équipe forte et respectueuse
de chacun, de musiciens éducateurs et
d’amis. Au mois de mai, les présidents
Au nom de nos membres, je veux
remercier chaleureusement chaque
membre du conseil exécutif de Carl
Orff Canada pour leurs nombreuses
heures de bénévolat pendant l’année et
leur continuel dévouement à la musique
par le biais de cet organisme.
Que la musique vous suive
partout!
Je me rappelle
continuellement qu’il
faut essayer de voir
l’apprentissage à travers
les yeux de mes élèves.
A Cognitive Shift:
Orff Schulwerk as a Means Rather than as an End
Robert de Frece
Orff-Schulwerk has been an important
It has become apparent to me that
force in Canadian music education for
many teachers have fallen into the trap
over fifty years. As Canadians, we can
of training children to perform what I
look with pride to the role that Arnold
facetiously term “Orff tricks”. Dogs,
Walter and Doreen Hall played in
seals and chimpanzees are trained to do
introducing this powerful approach to
tricks in the circus. Is our role to train
North America. The Orff Approach is
children or to educate them?
unique in its development of children’s
Why has this training mentality seemed
creativity and imagination. In the
to dominate much of our practice? I once
twenty-first century, however, we need
thought that, perhaps, teachers had
to examine how the approach is being
become slaves to
used in Canadian
I term this the “lily-pad” method. Because
classrooms. Is Orff
they were always
Schulwerk at the
approach to teaching— taught through
core of the teaching
hopping from one piece to i m i t a t i o n i n
of the curricular
another without there being workshops and
goals for elementary
levels courses,
school music in any relationship or curricular
they persisted in
each province or
pathway between them. teaching as they
is it a side bar—a
were taught. A
highly motivational undertaking that
discussion with a colleague led me to
has very little relationship to the music
see the other and “darker side of the
curriculum?
force.” Can it be that some teachers are
I would assert that the totality of
subconsciously led to this teaching style
children’s experience in some programs
as a quest for power? “You can learn to
consists of one Orff activity after
perform this piece only from me; I will
another without any purpose other
train you to do it but you can never do
than the performance of the piece. An
it on your own.” Surely, our motivation
instrumental work from the Schulwerk
for teaching music to children should
Volumes or a song orchestrated by the
be to help them to become independent
teacher is taught through imitation.
musicians, ultimately making our role
Movement is added and the complete
as teachers less and less necessary.
piece is performed in class. The teacher
The irony is that Orff Schulwerk is the
then takes the children on to another
most powerful way to realize the goals
similar experience in which they learn
and objectives outlined in provincial
another piece through imitation. I
curricular documents. We have the
term this the “lily-pad” approach to
gifts of the various Orff media (speech,
teaching—hopping from one piece
singing, body percussion, playing of
to another without there being any
instruments, and movement) through
relationship or curricular pathway
which we can reach students with
between them.
differing learning styles. If, however,
It is interesting to note that the
teachers persist in training children
approach outlined above will cause
to perform without understanding,
no concern to school administrators.
ultimately, someone is going to say,
As a matter of fact, the principal will
“The king has no clothes!” In other
be rightly impressed at the music
words, “If children in classrooms using
teacher’s skill in training the children
the Orff approach are unable to achieve
to perform such amazing musical feats.
the goals of the provincial curriculum,
The operative word, here, is “training.”
Orff Schulwerk is therefore a flawed
way of teaching and should be banned
in our schools.” What a sad loss that
would be when the problem is not with
Orff-Schulwerk at all but in the way it
is being used.
Why is it that children in some Orff
programs never become musically
literate, learning everything through
imitation, when Orff himself noted
that, in the long-run, it is not possible
to make progress without notation?
And sadly, it seems that there is less
and less opportunity for children
to be creative in the classrooms of
teachers who purport to embrace the
Orff philosophy. The alternative is to
use the Orff approach as the powerful
tool that it is.
Over the past 25 years, my central
interest has been the use of the Orff
approach in teaching musical concepts
and skills. And never have I felt, in
my work with the children in the
University of Alberta Child Study
Centre or with the undergraduate
and graduate students I have had the
pleasure of teaching, that focusing on
conceptual understanding and skill
development has detracted from the
joy and creativity that characterizes
Orff Schulwerk. I have certainly been
aware that some of my Orff colleagues
have seemed surprised that I would
dare to use pieces from the Volumes as
vehicles for teaching musical concepts.
These musical masterpieces, written
for children by Orff and Keetman,
are outstanding pedagogical tools,
not sacred artifacts in a museum. To
deny their use as conduits leading to
musical understanding for children is
akin to never using works by Bach or
Beethoven as listening examples in
lessons for children because these are
masterpieces that should never be used
for the teaching of concepts of pitch,
rhythm, harmony, form or timbre.
Perhaps the most difficult aspect of
conceptual teaching through OrffSchulwerk is the cognitive shift required
of us as teachers. We must remember
that the piece of music is the means and
not the end. Using Orff strategies as
teaching tools does not diminish their
musical integrity, whether the materials
be the musical masterpieces written
...our use of Orff Schulwerk
to realize the goals of the
curriculum is the ultimate
form of advocacy for the
efficacy of this powerful and
exciting way of teaching
music to children.
for children by Orff and Keetman or
folk-song arrangements written by
the teacher. We do not have to treat
the pieces in the volumes, or any Orff
orchestrations, as sacred texts - they are
meant to be manipulated and altered
to support the teaching goals of the
situation. And we must never lose sight
of the fact that we are music teachers,
not Orff teachers, and that our use of
Orff Schulwerk to realize the goals of
the curriculum is the ultimate form
of advocacy for the efficacy of this
powerful and exciting way of teaching
music to children.
Robert de Frece is Professor of Music
and Music Education at the University
of Alberta in Edmonton Alberta. He has
presented Orff workshops and courses
across North America, in Hawaii, and
in the People’s Republic of China. He
teaches in the Orff Schulwerk summer
program at Hofstra University in
Hempstead, New York, and is an author
of two major music series published by
Macmillan/McGraw-Hill.
Ostinato
Un changement cognitif :
Orff Schulwerk un moyen plus
qu’une fin en soi.
Depuis 50 ans, Orff-Schulwerk
s’est avéré une force importante de
l’éducation musicale canadienne.
Comme Canadiens, on peut voir avec
fierté le rôle que Doreen Hall et Arnold
Walter ont joué en introduisant en
Amérique cette puissante approche
pédagogique. En effet, l’approche Orff
est unique quant au développement
de la créativité et de l’imagination
de l’enfant. Au 21e siècle, cependant,
nous devons voir comment cette
approche est utilisée dans les classes.
Le Orff Schulwerk est-il au cœur des
programmes d’enseignement de la
musique à l’école primaire dans chacune
des provinces ou reste-t-il en marge
– et donc très peu en relation avec le
programme de musique?
Je pourrais presque affirmer que
l’ensemble de l’expérience des enfants
de plusieurs milieux d’enseignement
se fait en sautant d’une activité Orff
à une autre sans autre motif que celui
de l’exécution de la pièce. Une pièce
instrumentale tirée des volumes du
Schulwerk (Musique pour enfants) ou
une chanson orchestrée par l’enseignant
est enseignée par imitation. On y ajoute
du mouvement puis on exécute la pièce
en classe. L’enseignant prend une autre
pièce qu’il enseigne de nouveau aux
enfants par imitation. C’est ce que
j’appelle l’approche « du calepin » qui
saute d’une pièce à une autre sans qu’il
y ait vraiment de lien ou de chemin
pédagogique entre elles.
Il est intéressant de noter que cette
démarche ne semble pas causer de
remise en question de la part des
administrateurs. En effet, le directeur
de l’école sera réellement impressionné
par l’habileté de l’enseignant à
entraîner les élèves à faire de tels
exploits musicaux. Ici, le mot actif est
« entraînement ». Il m’apparaît comme
très clair, que plusieurs enseignants sont
tombés dans ce que j’app e l l e r a i s l e
« numéro Orff ». Les chiens, les phoques
et les chimpanzés sont entraînés pour
faire des numéros au cirque. Notre rôle
est-il d’entraîner ou d’éduquer?
Pourquoi cette mentalité d’entraînement
semble-t-elle dominer notre pratique?
J’ai déjà pensé que, peut-être, les
enseignants étaient devenus esclaves
de la méthode? Que parce qu’on leur
avait toujours enseigné par imitation
dans les ateliers et les formations, ils
reprenaient cette façon de faire dans leur
enseignement. Une discussion avec un
collègue m’a amené à voir le côté plus
sombre de la « force »… Se pourrait-il
C’est ce que j’appelle
l’approche « du calepin » qui
saute d’une pièce à une autre
sans qu’il y ait vraiment
de lien ou de chemin
pédagogique entre elles...
que des enseignants pratiquent de cette
façon par soif inconsciente de pouvoir?
« Vous ne pouvez apprendre cette pièce
qu’avec moi? » « Je vais vous entraîner à
l’exécuter, mais vous ne pourrez jamais
le faire sans moi? »
Ironiquement, le Orff-Schulwerk est
un moyen puissant pour atteindre les
objectifs décrits dans les programmes
ministériels. Nous avons les avantages
d’avoir de nombreux outils Orff
(le langage, le chant, la percussion
corporelle, le jeu instrumental et le
mouvement) à travers lesquels on
peut offrir aux élèves différents modes
d’apprentissage. Par ailleurs, si les
enseignants persistent à entraîner les
élèves à exécuter sans comprendre,
au bout du compte, on pourra affirmer
que
« le roi n’a pas de vêtements! ».
En d’autres termes, si les enfants
n’arrivent pas à atteindre les objectifs
du programme des ministères, le OrffSchulwerk fait alors défaut et devrait
être banni de nos écoles. Quelle triste
perte ce serait, sachant que le problème
n’est pas dû au Schulwerk lui-même,
mais à son application.
qui se renouvelle sans cesse par des
arrangements musicaux de qualité
et de compositions qui serviront de
ressources pour enseigner les habiletés
et les concepts musicaux.
L’alternative est de mettre en pratique
l’approche Orff comme le moyen
puissant qu’il est vraiment. Pourquoi
des enfants de certains programmes
Orff n’arrivent-ils pas à connaître la
musique? Pourquoi apprennent-ils tout
par imitation alors qu’Orff lui-même
remarquait qu’à la longue il n’était pas
possible de progresser sans apprendre
la notation? Et malheureusement, il
me semble qu’il y ait de moins en
moins d’occasions pour les élèves
d’être créatifs dans les classes dont
les enseignants disent adhérer à la
philosophie Orff.
De plus, il ne faut jamais
oublier que nous sommes
des enseignants en musique
et non de professeurs Orff et,
que notre pratique du OrffSchulwerk pour atteindre les
buts des programmes est la
meilleure façon de montrer
l’efficacité de cet outil pour
enseigner la musique aux
enfants...
Depuis 25 ans, je me suis appliqué à
utiliser l’approche Orff pour enseigner
les habiletés et concepts musicaux. Et
jamais je n’ai senti – dans mon travail
avec les enfants au University of Alberta
Child Study Centre ou avec les étudiants
des premier et deuxième cycles
universitaires à qui j’ai eu le plaisir
d’enseigner – que de mettre l’accent
sur les habiletés et la compréhension
des concepts empêchait la joie et la
créativité qui caractérisent le OrffSchulwerk. J’ai certainement été
conscient que certains collègues Orff
étaient surpris de me voir utiliser des
pièces des volumes (Musique pour
enfants) pour enseigner des concepts
musicaux. Ces petits chefs-d’œuvre
musicaux, écrits pour les enfants
par Orff et Keetman, sont des outils
pédagogiques extraordinaires et non pas
des artefacts pour les musées.
Peut-être, le plus difficile avec le
Orff-Schulwerk est de concevoir
le changement cognitif exigé chez
l’enseignant. Nous devons nous
rappeler que la pièce musicale est
un moyen et non une fin en soi. Peu
importe si le matériel utilisé est une
pièce écrite pour les enfants par Orff et
Keetman ou une chanson folklorique
arrangée par l’enseignant, quand on
utilise les stratégies Orff comme moyens
d’enseignement, nous nous servons de
ces pièces d’abord pour atteindre nos
objectifs sans, par ailleurs, en diminuer
la valeur musicale. De plus, il ne faut
jamais oublier que nous sommes des
enseignants en musique et non de
professeurs Orff et, que notre pratique du
Orff-Schulwerk pour atteindre les buts
des programmes est la meilleure façon
de montrer l’efficacité de cet outil pour
enseigner la musique aux enfants.
Il aussi temps de reconnaître que
dans l’approche Orff, il doit y avoir
plus qu’une interminable reprise
des courtes pièces de Musique pour
Enfants. Orff décrivait le Schulwerk
comme une fleur sauvage qui croît là
où le vent l’a emportée. Motivés par
l’aspect « magique » qui caractérise
l’approche Orff, on doit garder notre
esprit ouvert à une activité créatrice
Robert de Frece est Professeur agrégé
de musique et d’éducation musicale à
l’Université d’Alberta à Edmonton. Il
a donné des ateliers et des formations
à travers l’Amérique, à Hawaï et
en Chine. Il enseigne le Schulwerk
durant l’été à l’université Hofstra à
Hempstead, New York; il est l’auteur
de deux ouvrages musicaux publiés par
Macmillan/McGraw-Hill.
Vous êtes
francophone ?
Le chapitre Orff-Québec veut être
en contact avec vous !
Écrivez-nous à
orffquebec@orffquebec.ca
Formulaires et
documents de référence
Plusieurs formulaires et documents de référence habituellement
présents dans Ostinato sont
maintenant disponibles sur notre
site Internet : bourse Gunhild
Keetman; liste des formateurs; les
publications Orff; et plus encore.
Notez que pour entrer dans la
section membres du site www.
orffcanada.ca, on doit sélectionner
la rubrique membres seulement.
Thoughts from the Prairie
Marcelline Moody
From the earliest
music classes
children should
be encouraged to
express themselves
musically and to
discover their
creativity with
guidance, but not
interference, from the teacher. If the
results of this creativity are to be
recorded, and if students are to discover
the creativity of others, especially
the masters, some form of notation is
needed. Eventually, it becomes obvious
that traditional notation is a very useful
tool in the study and enjoyment of
music.
One of the earliest lessons in notation
can be the reading, and writing
of Graphic Notation. Children can
be encouraged to interpret vocally,
instrumentally, even kinaesthetically,
graphic “scores” incorporating lines,
dots, squiggles, etc.
On the whole, there are no wrong
answers and each child can perform the
vocal and kinaesthetic interpretations
without feeling threatened. Or the class
can be divided into half, or smaller
groups, and only one section performs
while the others listen/watch.
If the “score” involves three symbols,
as above, the teacher can suggest to
the students that three different nonpitched percussion (NPP) instruments
are used, one for each symbol. (There
can be discussion before the next step
as to the appropriateness of instrumental
choice. For example, perhaps a ‘dry’
instrument, not a gong, is used for the
dots. Then again, this can be something
that is discovered and decided after the
next step.)
Ostinato
Put small groups together to interpret
the “score” in their own way, with the
instruments of their choice. (Depending
on the level at which this exercise is
done, the suggestion can be made that
the students might like to make the
repetitions of the symbols different in
some way, but that they need to write
down how they want to indicate the
differences, e.g., softer, louder, slower,
etc.) Have each group perform its
interpretation.
This exercise, or variations on it, can
be incorporated into the curriculum of
any grade. As well as providing Graphic
Scores of squiggles and dots, the teacher
can use artworks, especially by artists
such as Paul Klee, or patterns on wall
paper, or a classmate’s sweater to be
“read” and interpreted. Music is all
around us and inspiration for musical
composition can be derived from our
surroundings also.
The other side of the coin is for the
teacher to create sounds either vocally
or with NPP instruments, and for the
students to write their interpretation of
the sounds graphically.
Eventually, it becomes obvious
that traditional notation is a
very useful tool in the study
and enjoyment of music.
I. Exploring Possibilities
Have each student take a NPP
instrument
•
•
•
•
Move with it
Play it
Consider its shape
Consider its sound
•
Incorporate movement into
the action of playing it. (All
playing requires movement –
make the movements artistic and
meaningful.)
Music is all around
us and inspiration for
musical composition
can be derived from our
surroundings also.
II. Composing
•
Make a short composition and write
it down using graphics or notation
of any description to indicate what
is to be played. (The teacher can
include other requirements, e.g., a
crescendo, a ritardando, etc.) The
teacher moves around the room to
monitor what is being done, guiding
if necessary, but not taking over.
•
Share your composition with 2 or
3 other people.
III. Creating a Form and Notating
Lesson Plan I: Invented
Notation Rondo
Working with older students who are
accustomed to reading and creating
Graphic Scores, try the following. It
can take up to four or five lessons, but
can be done in two if the group is more
experienced and the classes are long
enough. It can also become pretty
noisy in a constructive way, so other
teachers and administration might need
to be warned!
•
Make a rondo, choosing one of the
compositions to be the recurring
A section, and the three other
compositions to be the B, C, D
sections.
•
The composition is now practiced to
the group’s satisfaction, following
a written score.
•
Write out clearly the final
composition in graphics or notation
of any description, with any details of
performance included, and identify
the group to whom it belongs.
IV. Communicating with Notation
•
The Rondo groups sit in a large circle; pass the compositions around the circle
so that no group is playing its own composition.
•
Each group studies and practices the composition it has received.
•
Each group performs the received composition and the composing group is
asked for its “judgement” – always positive of course.
•
Students will see how notation needs to be explicit to realize the composer’s
vision, and that a standard notation (traditional notation) is necessary to be
able to play the works of the masters such as Bach and Beethoven.
Lesson Plan II: An Exploration of Pangaea
The following is a suggestion for the exploration of Graphic Score writing based
on an already composed piece of classical contemporary music: a portion of
Pangaea by Canadian composer Jeffrey Ryan. This piece is to be found on a CD
Variations on a Memory recorded by the Thunder Bay Symphony Orchestra. The
same process could be used with many contemporary pieces.
•
•
•
•
The graphic or the notation for the ticka ta rhythm on the drum should
be very regularly spaced on the page
as it is part of the 7/8 meter rhythmic
pattern and can be a framework for
the other graphics.
•
Each student should indicate his/her
line at the beginning with an icon in
his/her specific colour. Obviously
they do not begin together but be
aware of another’s instrument for
the moment of each entry
•
Be economical with space – don’t
cover too much area too fast, or
paper will run out. This section
lasts until 5:12. The students will
be crowded, but it will work.
I. Experiencing graphic notation
•
•
If students are not experienced in graphic score reading and writing, begin with
some simple examples, including silences, and pitch differences e.g.,
Play figures on the piano or sing/speak sounds with the voice and have students
write graphically their conception of what it is they are hearing. Don’t play
or vocalise too fast and be sure to repeat the pattern exactly, probably several
times. Perhaps write out your scheme before playing so that it is always the
same. e.g.,
[The “chords” are just clusters of notes; the highs and lows
are really high and low]
II. Notating
•
Play the recording at 3:37. Ask the students what they hear – Instruments?
Rhythms? Pitches? Dynamics? N.B. the drum rhythm: ti-cka ta, and also the
viola pizzicato which sounds like bongos or tom toms and continues until
4:23.
•
Play the section again. On a long piece of paper (20 – 25 feet), five students,
each with a different coloured marker, will notate graphically the music that
they hear, one each for:
•
•
woodwind,
brass
two for strings, (sustained
sound and pizzicato sound)
III. Assessing, Revising and
Reflecting
• Play recording again and follow the
score through.
•
Discuss and repeat, changing the
score if desired. Pay attention to
how students have indicated the
crescendos, etc.
Marcelline Moody is a member of the
Ostinato Editorial Board. She recently
retired from her position as a music
specialist in Winnipeg, teaches the
Orff Levels Summer Courses at the
University of Manitoba, and gives
workshops internationally. In June of
2004 she received the Arts in Education
Award from the Manitoba Foundation
for the Arts.
drum (change to Cymbal at the end)
piano
La Pédagogie : l’enseignant et l’enseigné
Anne-Marie Grosser
Française, vivant en France, je travaille
depuis plusieurs décennies sur ce
thème :
Pédagogie – Musique – Mouvement
J’ai travaillé avec la plupart des groupes
d’âges (crèche, classes enfantines,
enfants d’âge scolaire, adolescents et
adultes)
•
•
dans des milieux très divers (crèche,
milieu scolaire, conservatoire de
musique et de danse, en université
et, en donnant des stages de
Pédagogie, musique, mouvement
auprès de spécialistes de la petite
enfance, d’enseignants scolaires,
de professeurs de musique,
de professeurs de danse, de
psychomotriciens, etc.)
dans des pays différents (beaucoup
en France et en Suisse, mais aussi au
Québec, à Madagascar et à l’Ile de
la Réunion, au Chili et au Pérou).
Tout au long de mes années de travail,
j’ai pris de nombreuses notes sur mon
travail d’enseignante et les nombreuses
réflexions que cela a inévitablement
provoquées et, ces dernières années,
j’ai commencé à mettre ces réflexions
en forme.
Malgré leurs différences, les pédagogies
actives se sont toutes inspirées des
recherches et des écrits des grands
psycho p éd ag o g u es q u e f u r en t
Montessori, Decroly, Wallon, Piaget,
Freinet, Dolto …
L’apport fondamental des pédagogies
actives est certainement d’avoir prôné
de remplacer l’abstraction par du
concret, par du vécu. L’enseignant doit
être convaincu que ce sont les curieux
et les désobéissants qui font avancer
le Monde!
L’enfant ne doit pas apprendre par
procuration,
mais par expérimentation
en éveillant et en développant sa
curiosité.
L’expression « pédagogie ouverte
» a, sur pédagogie active, ce sens
supplémentaire d’évolutif : une
pédagogie ouverte se doit d’évoluer
avec chaque groupe, chaque individu,
chaque enseignant et chaque époque.
Une pédagogie ouverte n’est jamais
conclusive.
Quelles sont les bases fondamentales
d’une pédagogie ouverte?
1. L’enfant
Sans vouloir être « catéchiste », c’est
le fruit de toute cette expérience que je
propose aujourd’hui sur le thème de
Le mot « enfant » prend ici le sens de «
l’enseigné » qu’il soit enfant, adolescent
ou adulte.
L’importance de la musique dans
le développement de l’enfant. Il est
évident, que l’apport de la musique est
absolument tributaire de l’enseignant,
de la pédagogie employée et du matériau
musical proposé. C’est pourquoi j’ai
partagé mes écrits en deux parties : 1. la
pédagogie et l’enseignant, 2. le matériau
musical; en voici la première partie :
Être centré sur le développement de
l’enfant et
non sur le seul savoir à lui transmettre
et
respecter les rythmes naturels de
l’enfant.
La pédagogie et l’enseignant
Les années 60 furent l’âge d’or des
pédagogies actives : Martenot, Kodaly,
Willems, Dalcroze, Orff. Dalcroze et
surtout Orff ont retenu mon attention, car
il prônait le lien musique-mouvement.
10 Ostinato
2. L’intérêt et la motivation
L’ennui est l’antidote absolu de
l’apprentissage.
Pour entrer dans l’apprentissage,
l’enfant doit y trouver constamment un
intérêt et une motivation.
3. Le Jeu
Le jeu est particulièrement négligé
dans l’enseignement traditionnel, parce
que paraissant dénué de signification
importante. Pourtant, le Jeu (avec un
J majuscule) n’est pas qu’un simple
divertissement, c’est un puissant
levier d’apprentissage, chez tous les
mammifères et plus particulièrement
chez l’enfant humain.
Le Jeu répond à un besoin
fondamental et mobilise une force
vitale d’apprentissage.
Par l’intérêt qu’il suscite, l’enfant
s’investit totalement dans le jeu. Pour
s’en convaincre, il suffit d’être attentif à
la joie des plus jeunes et à l’application,
la concentration, la gravité même
dont les plus grands font preuve pour
réussir.
4. Le Groupe
« De tous les arts, la musique est l’art
communautaire par excellence. »
(Varèse)
Organiser des groupes sans élitisme
entre les participants, sans exclusion
et sans perdant.
L’erreur, la non-réussite de l’enseigné,
n’est jamais à imputer à l’enseigné,
mais à l’enseignement. La non-réussite
vient d’un palier, d’une étape antérieure,
complémentaire et non encore proposée.
C’est seulement avec cette croyance
inébranlable que
une pédagogie ouverte est une
pédagogie de la réussite.
5. L’interdépendance de la musique
et du mouvement
Proposer une interdépendance de la
musique et du mouvement
6. L’improvisation et la créativité
Sans créativité, il ne saurait y avoir de
pédagogie ouverte.
« La vie nous est donnée, non pour
être conservée, mais pour être
transformée » (Rodari1)
Apprentissage et créativité doivent
s’interpeller et se développer
simultanément.
7. Mise en garde, non pas des
pédagogies, mais de leurs
utilisations.
Les pédagogies actives sont d’un
emploi beaucoup plus exigeant que
les pédagogies réceptives courantes
et beaucoup d’enseignants s’y sont
fourvoyés.
a. Par anti-autorité excessive (en
France, surtout après Mai 68, beaucoup
d’enseignants ont perçu les pédagogies
actives comme des pédagogies à
opposer à l’enseignement traditionnel
et dans le rejet de toute autorité).
b. Par adhésion excessive à une méthode
et non à la pédagogie proposée dans
cette méthode.
Dans « a », il n’y a ni pédagogie, ni
formation musicale, car
L’enfant a besoin de l’adulte pour
apprendre.
Une pédagogie ouverte est une
pédagogie des difficultés vaincues.
Dans « b », l’enseignant oublie sa
personnalité, car quelle que soit la
pédagogie active à laquelle on adhère,
il faut garder cette certitude que seuls
Dalcroze, Willems ou Orff pouvaient
enseigner Dalcroze, Willems ou Orff…
D’une part, parce qu’un Maître, aussi
grand soit-il, est toujours du passé et
que les enfants, qui sont en face de nous,
sont d’aujourd’hui… donc
aucune pédagogie ne peut être
conclusive.
D’autre part parce qu’aucun de nous n’a
le vécu ni de Dalcroze, ni de Willems,
ni de Orff.
Chacun de nous a son propre vécu,
sa propre pensée, ses propres goûts,
sa propre synthèse de tout ce qu’il a
reçu…et
si l’on ne reconnaît pas sa propre
individualité,
comment reconnaître et prendre en
considération,
les multiples personnalités qui sont en
face de nous ?
Pour conclure cette première partie,
voici la dernière certitude illustrée par
un conte bien connu :
Un moine, un brigand, un avare et un
peintre voyageaient ensemble…
Un soir, ils trouvèrent refuge dans une
grotte.
Le moine murmura :
« La paix de cet endroit me rapproche
de Dieu ! »
Le brigand se dit :
« Tiens, tiens! quel repaire idéal pour
mes compagnons et moi-même! »
L’avare pensa :
« Hé, hé! voici un lieu idéal pour cacher
mon trésor »
Et le peintre s’extasia :
« Ces ombres, ces lueurs, ces couleurs
sont l’expression de l’art, le plus parfait
qui soit. »
in : Rodari, Giani. Grammaire de
l’imagination. Paris, Les éditeurs
français réunis, 1979.
1
À suivre…
Honneur au mérite à Lucie Allyson
Le concours des
prix Essor, parrainé
par le ministère
de l’Éducation,
du Loisir et du
Sport, a pour objet
d’encourager
et de reconnaître les efforts de
concertation entre les pédagogues
et les responsables scolaires, et de
souligner la qualité et l’excellence
des actions de celles et ceux qui
ont contribué à la réalisation d’un
projet pédagogique, artistique et
culturel dans leur milieu scolaire. Le
Ministère contribue à l’attribution
d’une bourse pour les projets gagnants
d’un deuxième prix régional Essor.
En plus de la bourse récompensant
le projet gagnant du deuxième prix
national, il attribuera, pour une
troisième année, le prix particulier
Isabelle-Aubin1. Cette année, c’est
Lucie Allyson du chapitre Orff
Québec qui, avec ses collègues en arts
de l’École Buissonnière, a remporté
ce prix Isabelle Aubin.
Lucie Allyson œuvre dans le milieu
Orff depuis de nombreuses années et
a su se démarquer comme présidente
régionale puis nationale Carl Orff
Canada. Grâce à elle, l’association
occupe une place dominante dans le
monde de l’éducation musicale au
Canada et au Québec. Elle reste au
sein de l’organisme qui bénéficie de
sa grande expertise.
En 1992, Lucie se joignait à une
équipe de pédagogues pour fonder
l’École Buissonnière où les arts
sont à la base de l’éducation de
niveau primaire. Elle instaurait alors
l’approche pédagogique Orff pour
donner accès à la musique de façon
créative.
La Bocca di Leone présentée par
un groupe d’enfants de l’École
Buissonnière lors du dernier congrès
Carl Orff Canada à Toronto en avril
2006 est au cœur du projet qui a
remporté le Prix Isabelle Aubin.
Le chapitre du Québec est fier de
cette réalisation et présente ses
chaleureuses félicitations à Lucie
Allyson et à son équipe pour leur
travail exceptionnel!
Extrait de la description du prix
Essor 2006 , gouv. Québec.
1
11
Joe Berarducci
•
A British Columbia music
educator compared it to “paint by
number”.
•
A professor says that it lacks
musicality or inspiration.
•
My introduction to Orff Schulwerk
was less than captivating or
imaginative.
•
Many educators and parents think
the approach is only for young
children.
•
Schools find it to be expensive.
•
One principal said that teachers
using Orff Schulwerk could not
meet the requirements set out in
the Fine Arts Instructional Resource
Package.
that Orff is only for young children.
Although learners may feel that they are
well beyond the pre-intellectual stage
of development, I have found that for
most of us, active experience precedes
in-depth understanding. If we observe
how music is learned in non-western
cultures we notice a strong reliance on
the experiential, whatever the age of
the participant. Additional support for
the pre-intellectual approach is the fact
that up to Grade 3 learning is definitely
maximized when learners first interact
experientially with the ideas.
The word elemental is closely associated
with Orff Schulwerk. The term has
several meanings:
...the highest order of
demonstrating mastery
of any subject is to use
the elements and ideas
of the subject to express
personal meaning
1. “Elemental music is never music
alone but forms a unity with movement,
dance and speech.”1 Frequently parents
tell me that they believe that their child
is musical. When I ask how they have
come to this conclusion, they answer
that when music is played the child
moves or dances. I believe the child
is demonstrating the universality of
elemental music and, incidentally, the
parent is describing it. Unfortunately,
in some current teaching practice
movement is merely something added
on after the song is sung and the
instruments played. This does not
honour the word elemental.
I believe that the Orff approach has
a timeless strength that honours and
includes the music of all epochs,
with a philosophy that encompasses
an appetite for music of many ages
and styles, and a distaste for musical
isolationism. In this article I explore
some of the basic characteristics of Orff
Schulwerk in support of this belief.
2. Elemental music always begins with
simple material - rhythms, melodies and
forms – and complexity is achieved by
combining and developing the ideas.
This is in contrast to the sophisticated
music of the Classical tradition that
dominates our western thinking about
music. The music of other cultures
is definitely created in this elemental
way.
One of the fundamental strengths
of Orff Schulwerk is that it is preintellectual. The term means that
experience needs to precede abstract
conceptualization. When this word
is mentioned many people assume
3. “Elemental music is music that one
makes oneself, in which one takes
part not as listener but as participant”2
Western musical tradition places great
emphasis on creating sophisticated
audiences. I wonder if the symphonies of
Are these comments legitimate, or have
these critics observed practitioners who
use the name but do not follow the tenets
of Orff? A colleague of mine said,
They who dance are thought mad by
those who cannot hear the music.
12 Ostinato
our country are suffering because people
really need to participate in music rather
than only observe it and listen to it? In
so many ways we are a passive society.
Teaching in an elemental, participatory
style requires a great deal of energy to
overcome the inertia evident in many
learning environments. Elemental
music is not for the faint of heart.
4. “Elemental music is near the earth,
natural, physical, within the range of
everyone to learn it and experience
it and suitable for the child.”3 Some
people enjoy music that only they
have the skill to perform, whereas
others want to engage in music that
everyone can participate in. Did this
dichotomy always exist or, if not, what
factors created it? Certainly European
musicians discovered, over a period
of time, that identity and money could
be earned by being unique among the
many.
This cult of the unique is certainly
evident in our pop culture from the
1960s to the present. Groups like The
Beatles, the Barenaked Ladies, and
many others try to be distinct in name
and style to attract our attention and
feed our insatiable appetite for novelty.
The human need to interact with music
is powerful and basic, but once it is
intertwined with money and prestige,
access to it is dramatically altered.
Because Orff Shulwerk does not focus
on novelty or uniqueness, it is easy to
understand why some people find it less
than satisfying.
Orff Schulwerk is also meant to be
creative. Creating in a music context
occurs in two ways: composing and
improvising. Again western tradition
almost totally excludes improvisation
– save for jazz – and composing is left
to the elite. Yet the highest order of
demonstrating mastery of any subject
is to use the elements and ideas of the
subject to express personal meaning.
This requires reflection, and reflection
requires time – both at a premium in
the 21st century. Orff felt that a music
experience was incomplete without
creativity. In classrooms this is the part
that looks and sounds untidy – therefore
is avoided or done in a way that does not
does not mean that we teach every
lesson in a specific order or sequence
– it represents a whole philosophy of
teaching.
Everything presented thus far points
to the final uniqueness of Orff
Schulwerk; it is collaborative.
If we choose to call ourselves This collaboration has to occur in
Orff teachers our practice several ways. The learners must
should reflect Orff’s principles. work together in the process of
If we do not, the opinions of our developing the work, sometimes
in small groups and frequently
critics may be justified as the whole group. The teacher
must be willing to collaborate
with the students so that the
allow for maximum personal benefit. (I
learning can be personalized. Teachers
acknowledge that time and behaviour
should collaborate with colleagues as
are ongoing challenges for busy music
well, and this collaboration requires
teachers.)
cooperation and time. Some may believe
A holistic experience is achievable if
that the time saved by accepting and
we make our approach pre-intellectual,
following one leader can be better
elemental and creative. It will then
used, but I believe that the time spent in
involve the body, mind and spirit. I
collaboration is beneficial. Many music
teachers find collaboration a challenge
continue using this approach and being
an advocate because of what I observe
and do not know how to facilitate it,
when children are actively involved in
as their own training in band, choir or
music making.
private lessons allowed for little or no
collaboration.
Much of the focus of many music
classes, both private and group, is
If we choose to call ourselves Orff
on presenting a product. This is the
teachers our practice should reflect
antithesis of Orff Schulwerk where the
Orff ’s principles. If we do not,
emphasis is on the process. What are the
the opinions of our critics may be
implications of this choice?
justified.
First of all we need to be aware that the
work is always in progress; concerts
are merely one more step in the
process. Secondly, the process needs
to have input from the participants,
again a challenge because of time and
behaviour. Because the participants
are involved in decisions, the work
should never look/sound the same, and
therefore the learning will be unique
and personal.
Allowing the experience to evolve
requires that the teacher be immersed
in the diversity and multi-dimensional
possibilities of Orff Schulwerk. If the
teacher has only been rinsed in the ideas,
the students will receive a sprinkling,
both insufficient for gaining maximum
benefits from the experience. Process
Joe Berarducci is a past president and
honorary life member of Carl Orff
Canada and a member of the Ostinato
Editorial Board. He teaches piano,
theory and choir in Kelowna BC, and
is well known across North America as
an Orff instructor and clinician.
Orff, Carl. (1977). “Orff Schulwerk:
Past and Present”. Orff Re-echoes:
Selections from the Orff Echo and the
Supplement. Ed. Isabel McNeil-Carley
(AOSA) p.6.
1
2
Ibid.
3
Ibid
Additions to “Hand Drumming
in Grade Five”
(Ostinato, Winter 2007)
The following steps were omitted from
the copy of this article that was sent to
Ostinato. We thank the authors, Nathan
Toft and Jane Smith, for getting in
touch with us, and sending the complete
information.
Step 7: The Drum Head
We stretched the packing tape tightly
across the head of the drum and made
sure that the tape was distributed evenly.
We also stretched the tape around the
rim to help hold the tape in place. We
learned that not all packing tape brands
are equal. Cheaper varieties tended to
slip and break more easily.
Playing the Sonotube drum
Remind students to avoid playing
the drum too hard. The packing tape
will slip and the cardboard will bend.
Also, students need to avoid playing
the edge of their drum because it can
really hurt.
Tones
The three main tones we used were:
Bass:
palm hits the centre
Open:
finger tips hit the
edge for a higher
sound
Side:
play the side of the
drum
Grid Notation
While many of the patterns we worked
on were presented orally, we read some
rhythm patterns using a grid system,
similar to that used by hand drums. We
use symbols to represent the various
sounds on the Sonotube drum. (You
can see a sample of grid notation in
the original article in Ostinato or the
Recorder.)
Contact
To learn more about Jane and Nathan’s
innovative programs visit their
wonderful class websites: Nathan
Toft’s Grade 5NT Class Website: 5nt.
ca. Jane Smith’s Grade 5JS Class
Website: portable1kids.ca. Contact
them personally at: nathan.toft@ocdsb.
ca and jane.smith@ocdsb.ca.
13
The Orff-Schulwerk Volumes in Today’s Music Programs
Joan Linklater
Ye s , t h e O r f f Schulwerk volumes
are still relevant
in today’s music
programs.
The five volumes
of Carl Orff and
Gunild Keetman’s
Orff-Schulwerk Music for Children
were first published in German between
1950 and 1954 by Schott Publishing
Company. The first English edition was
published between 1958 and 1966.
...we may not currently
write Orff arrangements
in the style that Gunild
Keetman and Carl Orff
used 53 years ago, but
we certainly continue to
enjoy performing and
using this material in our
classrooms today.
In keeping with the improvisational
nature of the Orff approach, the material
in the volumes is presented without
lesson plans or teaching strategies. Thus
teachers and students can take these
examples and use them in meaningful
ways at any time and the material
will never be outdated or out of style.
The volumes are full of beautifully
constructed and finely crafted
exercises that serve as springboards
for imaginative development. The
material is intended to be altered
and modified and used in a variety of
contexts. The pieces can be used as
body percussion pieces or non-pitched
percussion pieces. They can be played
on pitched melodic instruments or used
for creating movement pieces. They can
be expanded through improvisation or
small sections can be extracted. The
material in the Schulwerk provides
fertile ground for the imaginations of
teachers and students.
14 Ostinato
Please see page 16 for an example of how I recently used a piece from the
Schulwerk with my students. This material is found on page 67 of volume I of
the Orff-Schulwerk. It appears in volume I as the A section of a rhythmic rondo
for body percussion.
In this lesson I incorporated this piece into the study of the book by Graeme
Base called Jungle Drums. I added speech and transferred the body percussion to
African drums. The students created movement to accompany the drumming. As
I read the story the students performed the piece with drumming, speech, body
percussion and movement.
Synopsis
Ngiri is very upset because he is the smallest warthog
in Africa. He meets Old Nyubu, the oldest and wisest
animal in the jungle. Nyubu gives Ngiri a set of magic
drums. Several times during the story Ngiri plays his
magic drums with startling results. Each time he plays
his drums, students perform this piece.
The learning outcomes of the lesson focus on the students’ ability to perform
the rhythmic material found in the piece. In addition to the musical outcomes,
the experience addresses the multicultural and cross curricular elements that
are so important in today’s schools. The obvious connections with the language
arts and social studies programs make the lesson very meaningful for children.
Furthermore, students take ownership of the material because it allows for their
creative input.
This is an example of how I have recently used a piece from the Schulwerk. This
was meaningful to my students at the time that we did it. I hope that you will be able
to take pieces from the Schulwerk and explore them in ways that are meaningful
to you and your students.
Children today enjoy the magic, musicality and beauty
of the orchestrations in the
Orff-Schulwerk volumes.
The style of Orff orchestrations has changed considerably since the Carl Orff and
Gunild Keetman wrote the five volumes of the Orff Schulwerk. The orchestrations
in the volumes are often very thick and heavily scored; rhythmically they are often
very static. An example of this kind of thick orchestration found on page 124 of
volume I. Please see page 17 for an excerpt from Instrumental Piece #38.
All five accompaniment parts use unchanging eighth-note movement with
occasional sixteenth-note groups. The relentless eighth notes are played by alto
xylophones, triangle, rattles, sleigh bells and timpani/hand drums; the result is
intensely exciting. The positioning of the sixteenth note groups adds forward drive
and a wonderful sense of phrasing. The B section uses speech, “hi-ya, hi-ya,”
in increasingly rapid rhythmic figures accompanied by stamping and clapping.
The juxtaposition of these two contrasting sections is very dramatic. The rhythm
and choice of instrumentation creates a highly energized piece. It is beautifully
constructed and extremely exciting to play and hear. Students love performing this
piece and they learn much about rhythm and form through the experience.
It is interesting that this is not the kind
of orchestration that is taught in many
Orff courses today. Currently, students
in Orff teacher training courses are
taught to write using a much more
transparent and sparse style. Today,
we try to write with “lots of air spaces”
and we create instrumental parts that
complement rather than duplicate each
other rhythmically.
The material in the
Schulwerk provides
fertile ground for the
imaginations of teachers
and students.
Even though we do not write using the
thick style of orchestration that Orff
and Keetman used in the volumes,
I believe that we should nonetheless
use these pieces in our teaching.
These original orchestrations provide
fertile ground for developing our
children’s musicality because they are
constructed so brilliantly. Furthermore,
these materials provide us with many
opportunities to develop our students’
creativity. In the world of classical
music, today’s composers write music in
the style of the 21st century. They do not
write music in the style of Bach because
musical styles have evolved since that
time. Yet, we still enjoy performing
and listening to Bach’s compositions.
Likewise, we may not currently write
Orff arrangements in the style that
Gunild Keetman and Carl Orff used 53
years ago, but we certainly continue to
enjoy performing and using this material
in our classrooms today.
The material in the five volumes of the
Orff-Schulwerk is the foundation and
basis of the Orff approach. It behooves
Orff educators to explore its depth and
richness. This material is just as relevant
and useful today as it was when it was
first written. The orchestrations in the
Schulwerk are absolutely wonderful and
our children today enjoy their magic,
musicality and beauty just as much as
children did when they were first written
over 53 years ago.
Bibliography
Base, Graeme. (2004) Jungle Drums.
Toronto: Doubleday Canada.
Carl Orff & Gunild Keetman. (1958)
Orff-Schulwerk, Music for Children
Volume I. Ed. Margaret Murray.
Toronto: Schott.
Joan Linklater is an assistant professor
of music and chair of the music
education department at the Faculty
of Music, University of Manitoba.
She teaches courses in elementary
music education and aural skills and
coordinates the highly respected Orff
Certification Program at the University
of Manitoba. She is currently first vice
president of Carl Orff Canada.
The Orff Schulwerk
system gives answers
to a changing world. It
is never complete, and
makes the world more
human and available.
Wolfgang Hartman, Executive
Director, Carl Orff Foundation,
Austria
Presentation for ISME World
Conference, Kuala Lampur, July
2006
Permission for reproduction of music examples
for this article was obtained from European
American Music Music Distributors, LLC, Agent
for Schott Music Ltd.
Coalition for Music Education in Canada
If you have an emergency
need (your music program
is collapsing, your budget is
disappearing, your space is
being taken away...) this is the
first place you should turn for
help. 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. We
encourage all Carl Orff Canada
members to consider joining the
Coalition as members.
Forms and resource lists
Many of the notices, forms,
applications and resource lists
you are used to seeing in Ostinato
are now permanently available
to you on the website: Gunild
Keetman Scholarship, Clinician
List, Orff Publications, and
many more. You will find short
notices about these items in our
National Executive Section on
pages 36 and 37. Remember
that to log in to the Members
section of www.orffcanada.ca
you use the userid ‘membersonly’
(without quotation marks) and the
password ‘carmina’.
You can also find wonderful
advocacy materials on a website
sponsored by the Music Educators’
National Conference (MENC – the
American national organization),
www.supportmusic.com.
15
Visual
Listen listen listen listen listen I hear the drums.
AF- RI- CA AF-
Jungle, jungle, jungle drumming,
Jungle, jungle, jungle drumming,
RI-CA
BEAT
Orff/Keetman ORFF/SCHULWERK MUSIC FOR CHILDREN, volume I, Margaret Murray edition, p. 67.
©1958 by Schott Music Ltd., © renewed, All rights reserved. Used by permission of European American Music Distributors LLC,
sole U.S. and Canadian agent for Schott Music Ltd.
16 Ostinato
Orff/Keetman ORFF/SCHULWERK MUSIC FOR CHILDREN, volume I, Margaret Murray edition, p. 124.
©1958 by Schott Music Ltd., © renewed, All rights reserved. Used by permission of European American Music Distributors LLC,
sole U.S. and Canadian agent for Schott Music Ltd.
17
Résumé d’atelier
Chapitre du Québec
Voix et mouvement : la voix qui danse
avec Geneviève Dussault
Denise Lapointe
En ce froid après-midi de janvier, nous
sommes une fois de plus conviés à
l’UQAM pour nous réchauffer, nous
utiliserons la voix pour générer des
mouvements expressifs et habités.
Nous avons d’abord expérimenté des
exercices simples alliant souffle, voix,
rythme et mouvement pour ensuite
apprendre une courte chorégraphie
dans laquelle la voix et le corps
s’unissent dans la danse. Pour finir la
journée, nous avons créé notre propre
enchaînement des éléments vus et appris
durant l’atelier.
Et à ce moment, Geneviève nous a fait
expérimenter des mesures de 3 et de 5
temps pour conclure avec une danse
créée en 15 temps. De quoi déstabiliser
tout musicien réglé en mesures de 4
pulsations!
L’animatrice, Geneviève Dussault, a
étudié la musique ainsi que différentes
techniques de danse (classique,
baroque, de la Renaissance, indienne
et contemporaine). Son enseignement
pratique intègre les principes
dynamiques de Laban et de Bartenieff
à l’étude du rythme pour créer un
style original et facilement adaptable
à différentes clientèles.
(Un groupe prononce les sons ta
- - na et l’autre groupe prononce
les sons –din ge- tom).
Exercice :
•
Placer les participants en 2 cercles
concentriques et
•
marcher sur une pulsation de
noires en avançant et reculant
en prononçant les cinq syllabes
tadingenatom.
•
L’exercice est ensuite répété en
croches.
Un excellent travail de concentration!
Pour les plus jeunes :
•
Chanter une voyelle qui dure 4
pulsations puis se placer en statue
dans un niveau (par ex. : haut,
moyen ou bas).
On inspire en 4 pulsations puis on
change de voyelle et de niveau, et
on garde la posture.
Pour nous réchauffer
•
nous avons marché sur une pulsation
de noires en disant la syllabe ta sur
la noire,
•
•
puis toujours en marchant sur un
rythme de noires, nous devions
dire les syllabes tati en croches et
toccatina en doubles-croches.
L’atelier s’est terminé par un travail de
création où chaque participant devait
•
Au son Dou émis par l’animatrice
nous devions changer de
direction,
•
au son d’un frappement des mains,
nous devions nous arrêter.
Nous avons observé que notre démarche
changeait selon les syllabes utilisées :
des pas plus lourds avec le son ta et des
pas plus légers avec le toccatina.
Ensuite nous avons utilisé différents
mouvements de bras et des pas de patins.
18 Ostinato
•
se trouver un mouvement en
trois pulsations inspiré des
différentes dynamiques de
mouvement (impulsif, impact,
continu, ondulatoire, staccato ou
de rebond).
•
Un son ou un souffle s’est ajouté
au mouvement choisi.
•
Ensuite des groupes de trois
personnes ont été formés et chacun
a appris le mouvement et le son des
autres pour former une phrase de 9
pulsations.
•
Une fois mémorisée, la phrase
devait comprendre un moment
de silence pour avoir au total 15
pulsations.
Je vous laisse avec une petite danse
d’inspiration indienne : Dou Ska Dou,
accompagnée d’un tambour. Cette danse
est un canon à trois voix. Elle nous a été
proposée par Geneviève Dussault qui a
su nous donner un souffle de jeunesse
à la danse créative où voix, rythmes et
mouvements sont réunis ensemble pour
former un tout indissociable.
Détentrice d’une maîtrise en musique,
Denise Lapointe enseigne la musique
aux élèves du primaire à la commission
scolaire des Trois-Lacs en banlieue de
Montréal depuis 20 ans.
E l l e e s t m e m b re d u c o n s e i l
d’administration Orff-Québec depuis
quelques années et rédige les résumés
des ateliers présentés par le chapitre
du Québec.
Nous avons d’abord
expérimenté des
exercices simples alliant
souffle, voix, rythme et
mouvement pour ensuite
apprendre une courte
chorégraphie dans
laquelle la voix et
le corps s’unissent dans
la danse.
19
Workshop Review
Lethbridge Chapter
with Joan Linklater
Julie Vereschagin and Erin Thomsen
Many teachers from six local school
districts had the opportunity to explore
literature in the music classroom
with Joan Linklater from Winnipeg,
Manitoba on January 19, 2007. We
began our morning with “Inken
Tinken” (see page 21), a lively poem
from Eenie Meenie Manitoba by
Robert Heidbreder. We spoke the poem
in unison, then as a canon with words
and body percussion. (See the lesson
plan below) We explored the story
Goldilocks and the Three Bears and
the nursery rhyme Hickory Dickory
Dock through body percussion, high/
low voices, movement and pitched
percussion. There was energy and
excitement in the room as we worked
with Graeme Base’s Jungle Drums. In
groups of four, we created movements
that complemented the sound of
African drums and the rhythms of
the jungle. (This lesson is described
in greater detail in Joan Linklater’s
article, “The Orff-Schulwerk Volumes
in Today’s Music Programs” on pages
14 to 16.)
A circus theme, based on Circus by
L. Ehlert, was next; participants took
on roles as tightrope walkers, clowns,
peanut vendors and many other circus
acts. This experience was funny and
entertaining as adults let go of their
inhibitions and played like children.
The creative energy was rejuvenating.
Bruce Grant, the Orff Doctor from
Edmonton, supplied a variety of
instruments, giving us the opportunity
to experience jazz through listening to
Miles Davis and improvising on pitched
instruments. Ben’s Trumpet by Rachel
Isadora was the inspiration for this
activity. The morning concluded as the
group reflected on What a Wonderful
World we live in, through the music of
20 Ostinato
Louis Armstrong and the illustrations
of G.D. Weiss.
The afternoon session focussed on
mixed meter. We sang, danced and
played in 7/8 in a Greek dance called
Kalamationos. We were challenged by
a changing meter listening activity from
Les Miserables where we “notated”
the measures to illustrate the patterns
of 2/4 and 5/4 measures. Student
conducting was suggested as a means
for helping children to understand the
beat groupings. We explored Unsquare
Dance by Dave Brubeck in movement,
concentrating on understanding the
three different groupings for a seven
beat pattern. To help focus the listening
we followed a map which was then
connected to form. It was a challenge
for us as adults to stretch the boundaries
of the music we most often experience,
but in the breakdown of the complex
rhythm we saw the connection to our
own.
We were treated to an Albertan story,
Drumheller Dinosaur Dance, which fits
nicely with both Grade Three Science
and Grade Four Social Studies. The
repeating line from the story was the
foundation of an ostinato that was used
in canon, then as a springboard for
composing 6/8 rhythms of our own,
and then creating movement. Engine,
Engine Number Nine, a classic, gave
an opportunity to improvise a short four
beat pattern - an activity even small
children can manage. This reminded
us that improvisation can be included
in many of the pieces we already
teach by adjusting the final form. To
end the day, Joan shared one of her
own compositions, Pickety Land,
again in 6/8 time with a dance and
accompaniment. (This selection is
published in Mosaic/Mosaïque, Ed.
Birkenshaw-Fleming).
Joan shared many techniques: bringing
wonderful literature into our music
rooms, using complex rhythmic
patterns, language and movement to
internalise musical understandings, as
well as using recordings to illustrate
musical concepts. Thank you, Joan for a
fantastic day of music and literature.
Music is language and
language is music.
Desperately seeking
photographs!
Ostinato would love to publish
more photographs from your
events across the country. Please
send your contributions to west.
catherine@sympatico.ca.
Inken Tinken: A Lesson Plan by Joan Linklater
Approximate Level
Grade 3
Material
Inken Tinken Robert Heidbreder, “Inken Tinken,” Eenie Meenie Manitoba (Toronto, Kids Can Press Ltd, 1996);
Movement by Joan Linklater
Formation: Standing in a circle
Inken Tinken wild
Walk to the right: step
step
step
life,
lost your horse in Yellowknife.
step
step
step
clap clap clap
Inken Tinken gander goose, rode in - stead a
Walk to the left:
step
Inken Tinken moose got stuck, took a
Face the centre:
reach up
step
step
step
reach down
step
step
hairy moose.
clap clap clap
Tuk - to - yak-tuk truck.
roll arms
stamp stamp stamp
Behavioral Objective
The child will be able to perform a movement canon while speaking the poem “Inken Tinken.”
Previously Mastered Skills
The child is able to speak the poem “Inken Tinken” in unison.
The child is able to walk on the beat while speaking this poem.
The child is able to perform the movement to “Inken Tinken” in unison.
The child is able to anticipate the end of the phrases in “Inken Tinken.”
Process
The students speak the poem. Try using a variety of dynamics, tempi, and styles of speaking. (i.e., scared, proud,
cheerful, mad)
The students tap the beat while speaking the poem.
The students tap the floor on each “step” and clap at the end of each phrase.
21
Speak the poem in canon. Students do voice 1 and teacher does voice 2.
Speak the poem in canon but reverse the voices. Try saying the poem inside your head.
The students stand and walk in response to the teacher’s drum beat.
The students walk and speak the poem.
Students do all of the movements, imitating the teacher.
Students do the movements without the teacher.
Students do the movements while the teacher performs the second part in canon. The students perform voice 1 and the
teacher performs voice 2.
Repeat but reverse the voices.
Perform the actions in circle formation in unison.
Perform the actions using 2 concentric circles. One circle starts be moving to the right and the other circle moves to
the left.
Repeat in canon.
If this all seems very easy, try with 3 concentric circles in a 3-part canon.
Perform the canon with actions only, while internalizing the words of the poem.
Assessment
1
unable to perform
2
3
experiences
inaccurate
some difficulty performance 4
5
accurate
musical &
performance performed with ease
Do you know where your Orff qualifications are?
Some of our members have recently discovered that it may not be as easy as they thought to provide verification
of their Orff qualifications. The University of Alberta’s Office of Continuing Professional Education closed down,
leaving no records of those who took Levels courses but did not need a university credit. The Royal Conservatory
of Music experienced a fire that wiped out some of the records in Toronto.... So the moral is: hang on to those old
certificates! (If you are stuck, get in touch with the course director or instructor and they can usually provide a
letter of verification.)
22 Ostinato
Résumé d’atelier
Chapitre de Québec
avec Monique Jutras
Denise Lapointe
Nous avions été conviés un beau samedi
de novembre pour approfondir nos
connaissances sur le chant folklorique et
la turlute du Québec. Quel après-midi!
Nous nous sommes délié la langue, on a
joué des cuillers et même des os! Mais
commençons par le début et voyons ce
qui définit un chant folklorique.
Le chant folklorique représente les
traditions oralesd’unpeuple: ses chansons,
sa musique, ses danses, ses contes, ses
légendes et bien d’autres coutumes
transmises de génération en génération
et de bouche à oreille. Le folklore est
d’origine anonyme et inconnue. Les
communautés francophones partagent
le même folklore, tant au Québec, en
Ontario, aux États-Unis (Louisianne
et Nouvelle-Angleterre) qu’en Europe.
De plus, on note que cette musique
a subi une influence anglo-saxonne
(Angleterre, Écosse et Irlande). Parce
que le folklore est de tradition orale et
parce que les chansons ont traversé le
temps, les régions et les pays, il existe de
multiples versions d’une même chanson.
À titre d’exemple, pensons aux 300 à
400 versions recensées de la chanson
Trois beaux canards.
4. la chanson énumérative (bonne pour cultiver la mémoire) et chantée dans un
seul souffle pour épater son auditoire, ex : Alouette;
5. la chanson brève, pour les enfants, ex : Fais dodo;
6. la chanson sur des timbres, peut aussi servir à créer avec les élèves, ex : La
mère Michel, Le roi Dagobert, Napoléon;
Il peut être intéressant de demander à nos élèves d’identifier les éléments du folklore
qui font partie de leur vécu– chansons, des comptines, des jeux, des contes et des
objets provenant de la tradition orale. On peut leur demander de faire une recherche
auprès de leurs grands-parents. Voici quelques exemples connus d e s é l èves :
F r è r e J a cques, Au clair de la lune, Ma p’tite vache a mal aux pattes, Le petit
chaperon rouge, le jeu de tague, le violon, jouer des cuillers, danse en set carré, la
tire Sainte-Catherine, les courtes-pointes, des ceintures fléchées, des rouets, des
chevaux de bois, etc.
Les chansons folkloriques comprennent souvent des refrains de turlute, une autre
tradition orale qui consiste à faire des onomatopées pour imiter le son du coup
d’archet sur le violon. Les violoneux turlutaient leurs airs avant de jouer. La turlute
était aussi utilisée par nos ancêtres lorsqu’ils n’avaient pas d’instruments de musique
à leur portée. On parle aussi de turlurer pour imiter le son d’autres instruments de
musique comme la flûte, la cornemuse, la vielle et la guitare.
On peut classer les chansons folkloriques
en six grandes catégories :
. la chanson en laisse - de la poésie
avec des règles précises - née
avant le 13e siècle, ex : À la claire
fontaine;
2. la chanson à strophes, dont les
couplets ont des longueurs variées,
ex : Chevaliers de la table ronde
(chanson à boire);
3. la chanson à dialogue, plus récente
que les deux précédentes, qui
viennent du 17e siècle et qui était
une mode littéraire dans les salons
où les participants pouvaient
jouer la comédie, ex : J’ai un beau
château;
Pour vous délier la langue, voici quelques modèles de turlutes que vous pourrez
accompagner en jouant des cuillers, des os ou de tapements de pieds avec le
rythme de base : deux croches, noire ou le ti-galop. Il est à noter que la noire est
sur le temps fort.
Merci à Monique Jutras pour cet après-midi rempli de turlutes, de chansons
et de rythmes. Vivement, sortez vos cuillers, vos os, vos guimbardes, vos petits
bonshommes gigueurs, tapez du pied et chantez!
Détentrice d’une maîtrise en musique, Denise Lapointe enseigne la musique aux
élèves du primaire à la commission scolaire des Trois-Lacs en banlieue de Montréal
depuis 20 ans. Elle est membre du conseil d’administration Orff-Québec depuis
quelques années et rédige les résumés des ateliers présentés par le chapitre du
Québec.
23
Book Reviews / Critiques de recueils et DVDs pédagogiques
This Is Your Brain on Music:
The Science of a Human Obsession
Daniel Levitan, Dutton, 2006. IBSN
0-525-94969-0. $32.50 in Canada.
Reviewed by Catherine West
Our brains have such exact memories of
particular pieces of music that even nonmusicians usually sing familiar songs in
the correct key, with the correct vocal
timbre, without a pitch cue. Even nonmusicians can hear only 1/10 of a second
of a familiar recording and identify the
correct recording from a selection of ten.
And yet, if the same music is played at
a different tempo, in a different key,
on different instruments, with different
dynamics, with a completely altered
orchestration, the ear still recognizes
that this is the same piece of music which suggests that our memory of the
music consists of much more than those
tiny precise details of timbre and pitch.
So does the brain remember music by
storing tiny little details of exact pitch
and timbre, or by generalizing an overall
impression of the piece – for example,
its melodic contour?
Mysteries such as these intrigue Daniel
Levitan and prompted him to enter the
field of psychology and neuroscience
after an earlier career as a session
musician, sound engineer and record
producer. He now runs the Laboratory
for Musical Perception, Cognition, and
Expertise at McGill University, and has
a gift for communicating his learning
that also makes him a sought-after radio
interviewee and live presenter. In this
book he captures both the content of
his research, and the research of others,
and also the excitement of the research
journey – reading this, you believe that it
is fun to be a scientist. Levitan’s quest is
to examine why music matters so much
– he focusses on the human experience
in authentic musical situations, and then
looks for and conducts the brain research
that will explain that experience. In the
puzzle presented above, he concludes
(after many intriguing experiments)
24 Ostinato
that our brains see every piece of music
as an exemplar (not a prototype), an
exemplar that can be remembered in
every detail but can also be categorized
as like or unlike other presentations of
the same music.
At times the book can get quite
technical, but is a stimulating read
throughout. Levitan explains how
the research increasingly shows that
many parts of the brain are involved
in music perception. From an Orff
teacher’s perspective it is affirming to
learn that parts of the brain associated
with movement, social interaction, and
emotions, are also involved in music
perception. It is also helpful to know
that language and music do share some
areas of overlap, but are also very
separate, so much so that damage to a
speech centre may leave music abilities
intact, or vice versa. He explains the
importance of beat and metre – they
set up expectations that the patterns in
the music will continue – and a lot of
our pleasure in listening occurs because
the patterns are violated, often in subtle
but important ways. Intriguing details
emerge, such as how tunes get stuck in
your head – ear worms is the technically
correct term. I am sure that all readers
will have many small epiphanies as they
link something in their own experience
to the larger explanation that is offered
here.
Levitan establishes that “even those of
us who lack explicit training in music
theory and performance have musical
brains, and are expert listeners” (206)
and laments the chasms in our culture
between musical experts, everyday
musicians, and those who do not see
themselves as musicians. He validates
the importance of even minimal
amounts of music education: “Even
just a small exposure to music lessons
as a child creates neural circuits for
music processing that are enhanced
and more efficient than for those who
lack training. Music lessons teach us
to listen better, and they accelerate our
ability to discern structure and form in
music, making it easier for us to tell
what music we like and what we don’t
like” (190). All of us who spent many
years practicing an instrument will be
intrigued to know that it takes 10,000
hours of practice to be an expert – at
anything – and that the great musical
performers out there have all done their
10,000. (Other factors are, of course,
also at work in the making of an artist,
and Levitan considers these.)
The book concludes with two fascinating
chapters considering the question of
how musical taste is formed, and how
music may have arisen in the evolution
of the human species: “As a tool for
activation of specific thoughts, music is
not as good as language. As a tool for
arousing feelings and emotions, music
is better than language. The combination
of the two – as best exemplified in a love
song – is the best courtship display of
all.” (261)
This brief survey does not do justice
to the depth of Levitan’s research, nor
to the entertainment value of actually
reading the book. His humane and often
witty authorial voice, and his use of
stories, analogies and anecdotes, often
linked to his deep knowledge of popular
music, make this book an enjoyable
read for musicians and music-lovers
alike. The learning and insight he offers
us make it an essential one.
Book Reviews / Critiques de recueils et DVDs pédagogiques
It’s Elemental: Lessons That Engage and
It’s Elemental 2: More Lessons That Engage
by Don Dupont and Brian Hiller
(Memphis Musicraft Publications)
Reviewed by Tammy Stinson
Here are two great resources for teachers
looking for help in fulfilling their
curricular requirements. Each book is
divided into the following concepts:
Rhythm, Melody, Form, Texture and
Harmony. The second book has an extra
section focussing on Timbre. These are
broken down further into three songs,
one for each specified group - early,
middle and upper elementary students.
The material presented contains
traditional, folk and original songs
and poems as well as orchestrations,
movement and game suggestions. All
lessons integrate the elements of Orff
Schulwerk through singing, speech,
movement and instrument playing. The
orchestrations are simple and can be
adjusted to suit the needs and abilities
of your students.
Although each lesson is provided with a
step-by-step process, these are meant as
guidelines and users are encouraged to
adapt them. It is helpful to have a well
thought-out template, and this is what
makes these resources so noteworthy.
Everything is laid out for teachers,
from the body percussion to the text
phrases to the possible extensions.
As any busy teacher will tell you, a
well-organized resource like this is
valuable even to the seasoned veteran.
The key is to have room to grow, and
these books are a springboard for new
activities, encouraging the teacher to try
creative challenges and experiences in
the classroom.
The focus and skills are clearly
identified at the beginning of each
lesson, so developing an assessment
strategy is straightforward. Teachers
can ensure that students have an
understanding of the concept being
taught and that they can demonstrate
this understanding through their
perform a n c e s , e x t e n s i o n s a n d
culminating experiences.
The two books are definitely worth
a look!
Song titles include:
It’s Elemental: This Little Song, One
Bottle O’ Pop, Chicken on the Fence
Post, Teddy Bear, Rocky Mountain,
America America, Hear the Train,
Georgie Porgie, Mary Lee We Rolla
Long, Two Four Six Eight, One Two
Three Four Five, Hear the Bells, Down
Came a Lady, Springtime Magic, Viva
la Musica
It’s Elemental 2: ‘Round and ‘Round,
Mother Goose is on the Loose, Li’l
Liza Jane, Strawberry Shortcake, Fais
Dodo, Laughing Laughing, Ride a Fine
Horse, Fudge Fudge, Sansa Kroma,
Sing a Song of Sixpence, Welcome
to Music, Tongo, Two Little Apples,
Down in the Valley, Riddle Me So!,
The Little Mouse, Pease Porridge Hot,
Instrument Rondelet.
Tammy Stinson is an Orff specialist who
is currently on maternity leave from her
position as the manager of educational
sales for Waterloo Music.
Research Studies in Orff Schulwerk
Produced by Dr. Cecilia Chu Wang and Dr. David Sogin, from the School of Music, University of Kentucky, as well
as Dr. Carlos Abril, School of Music, Northwestern University and Dr. Daniel Johnson, School of Music, University
of North Carolina, this is a bibliography on the Web (a “Webliography”) about the Orff Method. The website provides
some information about the approach and the database of resources, which can be browsed by author, title or source.
The database can also be searched.
Go to http://www.intute.ac.uk/artsandhumanities/cgi-bin/fullrecord.pl?handle=20070213-134941
25
26 Ostinato
27
28 Ostinato
29
30 Ostinato
31
32 Ostinato
Post Level III Courses
Students taking Endorsed Post Level III courses must be Orff Level III
graduates before taking the course in order to count the course as part of
their Post Level III Certificate Program. For further information please
contact Cathy Bayley at cathybayley@telus.net.
33
34 Ostinato
35
National Executive Business Section /
Section du conseil exécutif national
Become a Member!
Members receive this journal three
times a year, contact with a local
chapter, and reduced admission to
workshops and conferences. Go to www.
orffcanada.ca and click on Join Carl
Orff Canada (To receive a copy of the
Membership application form by post,
contact Membership Secretary Laureen
Schellenberg at 604-594-6934.)
Les avantages à devenir
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, à des ateliers de formation
ainsi qu’aux congrès nationaux. Pour
plus informations, veuillez consulter le
site www.orffcanada.ca sous la rubrique
Pour joindre Carl Orff Canada. (Pour
recevoir une copie du formulaire
d’adhésion par la poste, veuillez
contacter la secrétaire au membership,
Laureen Schellenberg au 604-5946934).
Donations to the Gunild
Keetman Scholarship Fund
Members and chapters are encouraged
to make donations to the Gunild
Keetman Scholarship fund. Please use
the donations form at www.orffcanada.
ca, on the Scholarships link. Official
receipts for income-tax purposes will
be issued for all donations. (To receive
the donations form by post, contact
Secretary Eve De Moissac at 403-2821935.)
Dons au fonds de la bourse
Gunild Keetman
Les membres et les chapitres sont
encouragés à faire des dons au fonds
de la bourse Gunild Keetman. S’il vous
plaît, veuillez utiliser le formulaire de
dons au fonds disponible sur le site
www.orffcanada.ca sous la rubrique
Scholarships. Des reçus officiels
d’impôt seront émis pour chaque don.
(Pour recevoir le formulaire par la poste,
36 Ostinato
veuillez joindre la secrétaire Eve De
Moissac au 403-282-1935.)
Canadian Orff Publications List
Carl Orff Canada publishes a list
of Canadian Orff Publications on
the Members Only page of www.
orffcanada. If you know of new
publications that should be added to
the list, please contact Third VP Anne
Cameron at annecameron@eastlink.ca.
(To receive the list by post, contact Anne
Cameron at 902-835-2760.)
Liste des publications canadiennes sur la pédagogie Orff
Carl Orff Canada publie la liste
des publications canadiennes sur la
pédagogie Orff à la rubrique Membres
seulement sur le site www.orffcanada.
ca. Si vous connaissez de nouvelles
publications qui devraient être ajoutées
à cette liste, veuillez joindre la troisième
vice-présidente Anne Cameron à
annecameron@eastlink.ca. (Pour
recevoir la liste par la poste: Anne
Cameron au 902-835-2760.)
Orff Clinicians
A List of Canadian Orff Clinicians is
available on the Members Only page
of www.orffcanada.ca. If you would
like to apply to be included on the list,
or know of someone who should be
included, please contact Third VP Anne
Cameron at annecameron@eastlink.
ca. (To receive the list by post, contact
Anne Cameron at 902-835-2760.)
Animateurs Orff
La liste des animateurs Orff au
Canada n’est disponible que sous la
rubrique Membres seulement de www.
orffcanada.ca. Si vous voulez que votre
nom ou le nom d’une autre personne
paraisse sur cette liste, veuillez joindre
Anne Cameron au annecameron@
eastlink.ca. (Pour recevoir la liste par
la poste :Anne Cameron au 902-8352760.)
Course Guidelines
Current guidelines for Introductory,
Levels I, II, and III, and Post Level
III courses are available from Debra
Giebelhaus-Maloney, President at
dmgm@shaw.ca or 403-258-3466.
Course Guidelines for the Course
for Non-Specialist Teachers are in
development.
Lignes directrices des cours
Orff
Pour obtenir les Lignes directrices
actuellement en vigueur pour
l’enseignement des cours
d’Introduction, des niveaux I, II, III,
et des cours post niveau III, veuillez
joindre la présidente, Debra GiebelhausMaloney, à dmgm@shaw.ca ou au 403258-3466. Les Lignes directrices pour le
cours aux enseignants non-spécialistes
est actuellement en préparation.
Post Level III Certificate
Members who have successfully
completed their Orff Level III, and
have taken three endorsed Post Level
III courses may apply for their Post
Level III certificate.The application
form is available on the Courses page of
www.orffcanada.ca. For any enquiries,
contact Second Vice-President,
Catherine Bayley at cathybayley@
telus.net.
Certificat de post-niveau III
Les membres qui ont complété avec
succès le niveau III et qui ont suivi
trois cours approuvés de Post-niveau
III peuvent demander un certificat
« Post-niveau III ». Le formulaire
d’application est disponible à la rubrique
Formation à www.orffcanada.ca. Pour
toute information veuillez joindre la
seconde vice-présidente Catherine
Bayley à cathybayley@telus.net.
Celebration and Memorial
Donations
Remember your friends and relatives
in a unique and special way. Make a
tax deductible donation to Music for
Children – Carl Orff Canada – Musique
pour enfants. Donations can be made to
any of the following funds: the General
Operation Fund, The Gunild Keetman
Scholarship Fund, or the Orff Mosaic
Children’s Travel Fund. Please use
the form at www.orffcanada.ca on the
Donations page. (To receive a copy
of the form by post, contact Treasurer
Eileen Stannard at 780-922-3175.)
Dons commémoratifs
Pour souligner d’une façon unique
et spéciale le souvenir d’amis ou de
parents, vous pouvez faire un don
déductible d’impôt à Music for Children
– Carl Orff Canada – Musique pour
enfants. Ces dons peuvent être faits à
n’importe lequel de ces fonds: General
Operation Fund, The Gunild Keetman
Scholarship Fund, ou au Orff Mosaic
Children’s Travel Fund. Veuillez
consulter la rubrique Dons sur le site
www.orffcanada.ca. (Pour obtenir une
copie de ce formulaire par la poste,
veuillez joindre la trésorière Eileen
Stannard au 780-922-3175.)
Application for Financial
Assistance: Children’s
Performing Groups
Grants are available to help defray the
travel costs of taking a children’s Orff
performance to the national conference.
Applications are due by Feb. 1 each
year, and can be obtained from the
National Secretary, Eve de Moissac, at
edemoissac@digitalhomes.net or by
phoning (403) 282-1935. Grants may
also be available for groups travelling to
other conferences – please enquire.
Demande d’aide financière pour
les groupes d’enfants
Il est possible d’obtenir une aide
financière pour aider à payer les frais
de voyage des groupes d’enfants
participant à notre congrès national.
La date limite pour les demandes est
le 1er février de chaque année. Il est
aussi possible d’obtenir une aide pour
les enfants qui participent à d’autres
congrès. Veuillez vous renseigner auprès
de Eve de Moissac, secrétaire nationale.
Courriel:edemoissac@digitalhomes.net;
Tél. : (403) 282-1935.
Research Grant
Carl Orff Canada awards one research
grant of $500 to support research into
Orff Schulwerk. The next application
deadline is June 15, 2007. Details and
application forms can be obtained
from Past President, Lucie Allyson, at
lucie.allyson@internet.uquam.ca or by
phoning (450) 672-9860.
Bourse pour soutenir la
recherche
Carl Orff Canada offre une bourse de
500$ pour soutenir la recherche reliée
au Orff Schulwerk. La prochaine date
butoire est le 15 juin 2007. Veuillez vous
renseigner auprès de Lucie Allyson,
présidente sortante. Courriel : lucie.
allyson@internet.uquam.ca ; Tél. :
(450) 672-9860.
Certificate Courses:
Orff, Kodály, Dalcroze Eurhythmics,
Suzuki Violin, Suzuki Cello
Advanced Certificate:
Early Childhood Music Education
Continuing Education:
Vocal Pedagogy, Piano Pedagogy
416.408.2825
www.rcmusic.ca/communityschool
The Royal Conservatory of Music
Toronto: 90 Croatia Street (Dufferin & Bloor)
Mississauga: 850 Enola Avenue (Cawthra & Lakeshore)
37
Hania Krajewski and Jon McMurray
The Orff process is based on an
education of the body. It is through
movement that children can discover
the full joy of music making or music
appreciation. For this reason Orff
levels courses include sessions in
movement. Musicality is not merely
an intellectual activity, but involves
a holistic interconnection between
the body, emotions and mind as they
respond to music. Musical movement
also requires being in space through
time, using various forms and qualities
of energy while relating to the music.
A Level I Movement assignment at
the Royal Conservatory course in
Toronto asks participants to come up
with appropriate 2 to 4 line rhythmic
chants/songs (existing or original text)
to accompany 8 modes of large motor
movements (walk, gallop, skip, hop,
march, tip-toe, crawl, jump). With each
example, the rhythm and meter need
to be carefully considered so that a
young child can respond in role through
movement, developing motor control
and internalizing kinaesthetically
musical qualities such as beat, tempo,
and phrasing etc. And these basic
locomotor steps will become the
building blocks for more difficult dances
later in the older grades.
Jack and the Beanstalk was submitted
by Jon McMurray this past fall. Any
group of 3 to 7 year olds would have
a wonderful time dramatising this
story. The original text and thematic
integration are simple but clever and
delightful. Have fun trying this tale out
with your young students. The chants
can be initially introduced through
small motor gestures, having the hands
simulate each movement, e.g., patschen
on lap for the walking. Each chant can
be repeated two to four times before
moving on in the story in order that
children may have a chance to explore
38 Ostinato
and internalise each of the movements.
Accompany each chant with a different
small percussion instrument.
1. WALKING to the Market:
– drum or rhythm sticks
Going to the market to sell my cow
Mommy says we need money now.
2. SKIPPING happily
having traded cow for beans:
– wood block
Magical beans, magical beans
Plant them in the ground with me.
Magical beans, magical beans
They’ll grow up tall, you will see.
3. JUMPING up the tall
beanstalk which has now grown:
– tambourine
Jump onto the beanstalk and climb up
high
Jump up the branches till you reach
the sky.
4. HOPPING in the oven where
Jack is hidden from the Giant:
– finger cymbal, triangle or wood
block
Hot! Hot! Stay off the ground, If your
Foot gets burnt, don’t make a sound
5. CREEPING/TIPTOEING OR
CRAWLING out of the breadbox
where Jack hid after the oven
was too hot:
– sand blocks or cabasa
Out of the bread box slowly creep
(tip-toe or crawl), past the giant fast
asleep
Take with you the magic hen. Best
you don’t come back again.
6. TIP-TOEING past the Giant with the stolen gold and hen:
– finger cymbal or triangle
The giant’s asleep, don’t make a
peep!
This bag of gold is for you to keep.
7. MARCHING/STOMPING of
the Giant who has been
awakened:
– drum
Fee fi fo fum, I smell the blood of a
Canadian
Be he alive or be he dead, I will grind
his bones to make some bread.
8. LIGHT RUNNING/TIP TOEING to eighth notes as Jack flees from the Giant:
– woodblock
Run Jack! This ain’t no joke that
giant eats all kind of folk.
Don’t look back and don’t slow down
‘cause that old giant will take you
down.
9. GALLOPING off into the
sunset:
– woodblock
Ride, ride and gallop away
Jackie man you saved the day!
You got the cash, you found a wife,
Now ride away, enjoy your life!
Hania Krajewski is the Movement
Instructor for all levels in the Royal
Conservatory of Music Orff Courses
(Toronto). She recently retired from her
job as a music and drama specialist for
the Toronto Catholic District School
Board. She is well-known across the
country as an Orff clinician and has
presented workshops at a number of
national conferences.
Jon McMurray is currently taking the
year-long Level I course at the Royal
Conservatory of Music. He is a trained
percussionist, and an experienced
performer. He is currently a primary
music teacher at Firgrove Public School
in the Toronto District School Board.
Activités pour le troisième cycle du primaire avec Dégénération
du groupe Mes Aïeux.
Louise Morand
Voici la séquence d’activités que j’ai présentées à mes groupes de 6e année.
. En équipe de deux, je distribue une enveloppe contenant les 4 premières
phrases mélodiques découpées de la chanson Dégénération du groupe Mes
aieux. Ces phrases ont été numérotées au hasard de 1 à 4. Chaque équipe doit
écouter la chanson et observer les courbes mélodiques des 4 fragments pour
les replacer dans le bon ordre. Chaque équipe inscrit sur une feuille les chiffres
correspondant à l’ordre des séquences entendues. Je ramasse les feuilles et
on corrige.
4. Je présente des photos d’une
famille traditionnelle québécoise
(17 enfants) ainsi que d’autres
photos d’archives1 que j’ai fait
agrandir et plastifier. Ces photos
me servent à raconter quelques
histoires sur le Québec d’antan,
mes expériences familiales, les
réjouissances du temps des fêtes,
l’école d’antan et la façon dont on
déblayait les rues en hiver avant
l’invention des souffleuses (on est
en janvier).
5. Explication du rythme de triolet
de doubles-croches qui marque
l’introduction. Pratique des rythmes
en percussion corporelle en chantant
la chanson avec le disque.
6. Pratique des rythmes au djembé
par groupe de 6 élèves pendant que
les autres pratiquent la mélodie au
xylophone ou au clavier.
7. Interprétation des rythmes au
djembé avec le disque par groupe
de 6 élèves, pendant que les autres
chantent et accompagnent avec
diverses petites percussions et la
batterie.
8. Essais d’interprétation de la chanson
à deux voix.
2. Je distribue les paroles de la chanson et on chante avec le disque (à l’endos
de la feuille se trouve la mélodie).
3. J’ai écrit les rythmes d’accompagnement entendus dans la chanson au tableau
et je les pointe et les exécute lorsqu’ils surviennent lors d’une troisième
écoute (exemple 2).
9. En complément d’activité, je fais
entendre un extrait de musique
africaine 2. Cela nous entraîne
vers une improvisation collective
en faisant alterner les élèves
aux djembés et aux diverses
percussions. Pour mettre les élèves
en contexte, j’explique que dans
certains villages africains isolés,
la tradition voulait que des joueurs
de tambour se relaient pour faire
entendre des rythmes en continuité
pendant des heures. Cette présence
constante des tambours servait
de signalement pour les autres
39
villages à proximité, elle servait
à communiquer des messages et
sécuriser la communauté. Nous
tenterons donc de faire comme
eux, pendant une période de 50
minutes.
Cette séquence s’est déroulée sur 4
périodes de 54 minutes, à raison d’une
période par semaine. La dernière
période a été consacrée tout entière à
l’improvisation collective. Les jeunes
de 6e m’ont signifié dès le début de
l’année qu’ils ne voulaient pas jouer de
la flûte. C’est pourquoi il n’y en a pas eu.
Il serait toutefois facile de l’introduire
comme accompagnement ou pour la
mélodie principale. Il est aussi facile
d’introduire un accompagnement de
xylophone. La chanson est en sol
mineur et comporte seulement deux
accords (I et V).
Tirées de Mathieu, J., Lacoursière, J.
(1991) Les mémoires québécoises SteFoy : Presses de l’Université Laval.
1
CD Guem et Zaka, Follow me records,
1978.
2
Take Note / Bloc notes
Ostinato Fall 2007
The focus of the Fall 2007 Issue
of Ostinato will be rejuvenation: a
potpourri of articles, reflections on
summer programs, and updates on
chapter doings. Please pick up a pen (or
a computer keyboard) and let us know
how you are getting on in your particular
journey as an Orff practitioner – this is a
good time to introduce new discussion
topics, raise concerns, or celebrate
successes in print. As always, if you
do not have time to write an article, but
would be willing to be interviewed on a
topic of interest, please let us know. We
also appreciate hearing from you about
books we should review or topics we
should cover.
la plume ou votre clavier et à nous
raconter comment vous vous en sortez
comme praticien Orff – voici un bon
moment pour apporter de nouveaux
sujets de discussion, d’exprimer vos
préoccupations ou de faire part de vos
réussites. Si vous n’avez pas le temps
d’écrire, mais que vous aimeriez être
interviewé sur un sujet, veuillez nous
en faire part. Nous apprécions aussi
vos suggestions de livres ou de sujets
que vous aimeriez voir traités dans
l’Ostinato.
L’Ostinato de l’automne 2007
La thématique de l’Ostinato de
l’automne portera sur le ressourcement : un pot-pourri d’articles reflétant
les activités de l’été et les projets des
chapitres. Nous vous invitons à prendre
Courriel / S.v.p. veuillez acheminer
vos textes à Catherine West
west.catherine@sympatico.ca.
Firm due date for all submissions:
June 15.
Date de tombée pour tous les articles :
15 juin.
Tous les textes en français doivent être
envoyés en format Word.doc or Word.
rtf à Françoise Grenier à : grenf@
sympatico.ca et en copie conforme à
Catherine West à : west.catherine@
sympatico.ca
Member Contacts
Members of Carl Orff
Canada can find any
member’s contact
information on the
Members Only section
of www.orffcanada.ca.
Remember that you log in
using “membersonly” as
your id and “carmina” as
the password. (Don’t use
quotation marks.) If you wish
to have your name removed
from the list, contact
Laureen Schellenberg at
laureenschellenberg@
dccnet.com.
40 Ostinato
Founder and Patron/Foudatrice et patronne d’honneur
Doreen Hall
Honorary Patrons/Patrons émérites
Sr. Marcelle Corneille
Mario Duschenes
Hermann Regner
Jos Wuytack
National Executive/Conseil d’administration national 2006 - 2008
Past-President/Présidente sortant de charge
Lucie Allyson, 325 Hickson, St. Lambert, Québec J4R 2N9
T (450) 672-9860, Fax (450) 672-0984, lucie.allyson@internet.uquam.ca
President/Présidente
Debra Giebelhaus-Malhoney, 1212 Killearn Ave. S.W., Calgary, AB, T2V 2N4
T (403) 258-3466, Fax (403) 258-3975, debra@singmoveplayc.com
First Vice-President/Première vice-présidente
Joan Linklater, 88 Tunis Bay, Winnipeg, MB, R3T 2X1
T (204) 261-1893, Fax (204) 474-7546, joan_linklater@umanitoba.ca
If undeliverable please
return to:
Laureen Schellenberg,
6844 Upper Canyon Place,
Delta, BC V4E 2M2
Second Vice-President/Deuxième vice-présidente
Cathy Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6
cathybayley@telus.net
Third Vice-President/Troisième vice-présidente
Anne Cameron, 27 Cox Lake Road, Hammonds Plains, NS B3Z 1K7
T (902) 835-2760, Fax (902)826-3310, annecameron@eastlink.ca
Secretary/Secrétaire
Eve de Moissac, 701 18th Ave. N.W., Calgary, AB T2M 0V2
T (403) 282-1935, evemoissac@digitalhomes.net
Treasurer/Trésorière
Eileen Stannard, 52065 Range Road 204, Sherwood Park, AB, T8G 1G3
T (780) 922-3175, estann@interbaun.com
Membership Secretary/Secrétaire des adhésions
Laureen Schellenberg, 6844 Upper Canyon Place, Delta, BC V4E 2M2
T (604) 594-6934, Fax (604) 584-9010, laureenschellenberg@dccnet.com
Editor/Rédactrice en chef
Catherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4
T (416) 653-7080, Fax (416) 653-5651, west.catherine@sympatico.ca
Francophone Member at Large/correspondente francophone
Françoise Grenier, 10220 Rue Clark, Montréal, QC, H3L 2R9
T (514) 387-1605, grenf@sympatico.ca
Archivist/Archiviste
Diane James, 60 Livingstone Avenue, Toronto, ON M6E 2L8
T (416) 789-9281, dgac@istar.ca
hereinafter referred to as the Corporation
The objectives of the Corporation are:
i) to encourage the development throughout Canada of a holistic music
education program for children based upon the pedagogical philosophy and approach of Carl Orff;
ii) to encourage, promote and fulfill Carl Orff Canada objectives in all regions of Canada through the national organization and regional chapters;
iii) to produce and distribute periodic publications addressing issues relating to the Corporation’s objectives;
iv) to organize and administer periodic conferences and workshops with agenda and curricula relating to the Corporation’s objectives; and
v) to cooperate with other music education organizations in order to further the objectives of the Corporation.
O
Music for Children - Musique pour enfants
stinato
Volume 33,
Number 3,
Spring 2007
Pedagogy / Pédagogie
Rather than as an End
Un changement cognitif : Orff Schulwerk
un moyen plus qu’une fin en soi
An Exploration of Pangaea
La Pédagogie: l’enseignant et l’enseigné
Danse Dou Ska Dou
Dégénération du groupe Mes Aïeux
Tri-annual Publication of Carl Orff Canada

Pedagogy / Pédagogie - CARL ORFF CANADA | Music for Children

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