ORFF SCHULWERK - Creative music and movement education by Susie Davies-Splitter The Orff Schulwerk was founded by Carl Orff, a German composer and music educator who lived from 1895 - 1982 and colleague Gunild Keetman (1904 - 1991). ‘Schulwerk’ means school work but it can be used with any age group of students, including adults. Since 1926, Orff had been closely associated with youngsters through his work at the Gunther-Schule - a school of gymnastics, dance and music. In 1948 he was requested by the Bavarian Radio to prepare a series of music programs for children in the elementary school. Orff’s experiences and collected material over the years were condensed into five volumes known to us as the ‘Music for Children’. These books are translated into many languages and are known throughout the world. In 1963, the Orff-Institute in Salzburg, Austria was opened and marked a new development in the Orff Schulwerk as an accepted pedagogical approach and a way to teach and learn music. As a result, Orff Schulwerk also known as the ‘Orff approach’, has been extended into special education, geriatric and therapeutic settings. Orff Schulwerk is “Music for Children”, designed for ALL children, a unique music learning approach. Each child contributes according to his/her ability. It is a general artistic education rather than a method of music instruction. Orff Schulwerk is based on things children naturally like to do such as sing, chant rhymes, dance, clap, etc. These instincts are directed into learning music by hearing and making music first, then reading and writing it later. This is the same way we all learn our language. “I wanted to discover a way of reviewing the natural unity of music and movement, a way that would be available not only to a few natural artists but would solve the educational problem of awakening and stimulating a love of dancing and music making - a general freedom of expression and receptivity.” Carl Orff (1963) Features of the approach include; 1.Hearing and making music first, then reading and writing it later. This is the same way we all learn our language. If we hear, feel, think and do - we will remember and understand. 2.Music for everyone. Everyone can contribute to the experience regardless of age or ability. ‘The Orff process can help facilitate successful experiences through sequentially planned activities that help avoid frustration, lots of movement that channels children’s abundant energy, a balance of aural, visual and physical learning, relevant material, pleasing and challenging to the child’ Doug Goodkin (1993) 3.Child Centered approach - The approach is child centered focused around what the child loves to do such as chant, sing, move, play, role play, explore, discover and create. ‘Orff Schulwerk celebrates the elements of play, improvisation, creativity and child like freshness that sets it apart from general music education practises’ Doug Goodkin (1993) As educators, if we nurture these things that children love to do in a safe, fun and developmentally appropriate environment there is every chance that children will become active listeners and participants in the joys of music making throughout their lives. 4.Ideas centred on the fundamental unity of music including Speech, Singing, Movement and Instruments which are integrated to teach the elements of music. 5.Mind, body and spirit - The approach is hands on, voices raised, hearts open and minds switched on. It brings the heart, body and mind together through its integration of speech, song, movement, playing and improvisation. ‘We must add the world of the body and heart to the world of the mind if we are to have children use their full capacity to think’. Dee Coulter. (in Goodkin 1993, page 14) 

Carl Orff says - .....’music gives to the child powers that cannot otherwise come to fruition...the imagination must be stimulated; and opportunities for emotional development, which contain experience of the ability to feel, and the power to control the expression of that feeling, must also be provided’ (1963) 6.Liberty and Freedom, health, healing and harmony - The experience can enable us to feel free with our creative spirit being eager to dance and play, vocalise and create – improvisation becomes a joy If all children are involved in elemental music from a young age then there will ultimately be more health, healing and harmony in the world. Let’s work towards making music an important part of our lives, and our children’s lives. People involved in this creative music and movement approach on a regular basis can develop abundant confidence and self esteem and experience great joy. It can help to achieve health and well being as it taps into their creativity providing opportunities for musical expression. 7.A wholistic education. An Orff approach helps to educate the whole individual intellectually, physically, socially, emotionally, aesthetically and creatively through active music making, individual input and group improvisation. 8.Percussion instruments especially designed for children to play. a. Untuned (non- melody instruments): including Tambours, Tambourines, Woodblocks, Claves, Sleigh Bells, Castanets, Triangles, etc. b. Tuned (melody instruments): including Xylophones, Glockenspiels and Metallophones that are all high quality barred instruments. By removing the detachable bars, the child need only play those notes required. These instruments offer good musical sound immediately, and used in an ensemble (group) situation, the playing helps children to become sensitive listeners and considerate participants as well as enhance the child’s confidence, love of music and ability to succeed. 9.Rhythmic and melodic techniques. Some of these techniques are: a. Echo The imitating of rhythmic and melodic patterns through clapping, singing, moving and body percussion. b. Ostinato A repeated pattern which provides an accompaniment for a song, rhyme or melody on an instrument. c. Canon (A round) A group of people are divided into small groups. Group A begins the song, dance, rhyme or melody/rhythm on instrument; Group B begin a little later, then Group C and so on. d. Question / Answer A rhythm or melody is sung, spoken, demonstrated through movement or played on an instrument in the form of a question to another person. That person is required to answer with a different rhythm or melody. e. Pentatonic Scales This is a scale of five notes which when played in any combination, still produces sounds that are harmonious. The use of this scale gives children the confidence to make music without the worry of making a mistake or unpleasant sound. C pentatonic scale uses C D E G A bars (remove F and B) G pentatonic scale uses G A B D E bars (remove C and F). 10.Improvisation This is discovered music rather than composed music, created spontaneously from what the child considers will sound appropriate in the musical experience, drawing on the various rhythmic and melodic elements the child has learnt. 11.Working from the simple to the more complex and challenging. 

With the use of the Orff techniques, the children begin with simple tasks and gradually transfer to more complex and challenging activities according to their ability. Children of varying abilities and ages can partake in an Orff experience together as each contributes according to his or her understanding and stage of development. 12.Social Music Making The social value of group music making is reinforced in this approach as is the importance of individual creative contributions. 13.No demands on children for high musical skills Children can immediately begin making music that is both stimulating and satisfying, without the demand for technical ability. 14. A creative teaching process. In comparison to traditional music teaching children can be involved in one piece of music in many different ways through singing, moving, body percussion, playing etc. The children can have input into the arrangement, composition and performance. 15.Growing, evolving and changing - The approach grows, evolves and changes in line with the cultural environment and the timeline as the purpose of education is transformation. Criticisms There are several criticisms of the approach. 1.Some base their opinions of the approach on the brown books (“Music for Children’ Volumes 1 - 5) . This is not a true assessment as participation in a number of workshops is essential to appreciate the essence of the Schulwerk. Even observation is inadequate. Orff’s own preface to the final volume says “...this first attempt to lay the foundations in print can only include a fragment of the inherent possibilities.” (1954) 2.The approach takes teachers quite some time to have an intimate knowledge of the style of Schulwerk which cannot be gleaned from a book. Teachers must be prepared to constantly participate in workshops, courses and conferences to stimulate the body and mind and prompt one’s imagination and creative spirit. 3.It is not a rigid method of instruction with every step written down for the teacher to use. Orff teachers must be prepared to invent their own curricula according to the ages and abilities of the students. 4.It is possible to interpret the Schulwerk in different ways which can cause friction within Orff movements. The fact that Orff wrote very little about his ideas on teaching, often makes it difficult for communication and interpretation. 5.Some say that the development of the voice is being neglected in favour of instrumental technique. It is an integrated approach where playing, chanting, singing, moving and creating should all have equal value. 6.Another criticism is that the Schulwerk approach is nothing more than a gimmicky bag of tricks designed to capture student attention for short periods of time but neglecting the teaching of musical concepts. Steve Calantropio writes “The beauty of the approach is that it empowers us with the ability to provide musical experiences that are both satisfying in their developmental processes and that arrive at a product that is musical, sensitive and gratifying to both listener and performer.” Conclusions The Orff Schulwerk is a way of teaching and learning that I had been searching for. An opportunity to be playful, inventive, creative and at the same time experience the joys of music. However the Schulwerk is not for all teachers. Those who use this approach successfully need endless supplies of energy, enthusiasm and imagination, a willingness to let their students make creative contributions, a willingness to involve children in active music making, to be flexible and to take risks in teaching. 

Orff was a passionate gardener – he observed that in the parts of his garden where he had sowed the seed in a row, the overall effect was not as pleasing as where he had tossed the seeds in haphazard fashion. ‘The teacher is constantly evolving as life is evolving. Orff is a wonderful exposition of that life, of the excitement that life is, that which is constantly changing.’ Avon Gillespie References Choksy, L. (2003). Making Music Together. Paper presented at the XVI International Kodály Symposium, New South Wales, Australia. Goodkin, D. (2006) The ABC’s of Education. San Francisco: Pentatonic Press. Fiske, E. B. (Ed) (1999) Champions of Change: The Impact of the Arts on Learning. Washington: www.aep- arts.org/PDF%20Files/ChampsReport.pd Goodkin, D. (1993). Reflections on Orff Schulwerk – a collection of articles USA, Goodkin Hill, C. & Yates, S (2004) Stress, humour and health website www.chy.com.au Hoermann, D. (1984) A Developmental Music Program, Stage 1 Teacher’s Manual. Sydney: Educational Supplies. Lierse, A. (1997). Six reasons why all students should have a music education. Counterpoint pp 40-45 Pearce, C. (2003). Address about more music education to Commonwealth of Australia House of Representatives Mon 10th Feb, 2003 Snyder, S. (1999) Is music important? How do you know? Counterpoint PP 45-49 Orff, C. & Keetman, G. (1954) Orff Schulwerk Music for Children, Volume V (Margaret Murray edition) Schott, London Orff, C. (1963) Speech given by Orff. Published by Schott in the 1963 Orff Institute Jahrbuch. English translation by Margaret Murray: ‘Orff Schulwerk Past and Future’