MENC: The National Association for Music Education

Orff-Schulwerk: An Integrated Foundation

Author(s): Mary Shamrock
Source: Music Educators Journal, Vol. 83, No. 6 (May, 1997), pp. 41-44
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for
Music Education
Stable URL: http://www.jstor.org/stable/3399024
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 ENCORE
m

ORFF-SCHULWERK

AN INTEGRATED FOUND
This article on the methodologies andpractices ofOrf-Schulwer
in the Music Educators Journal in February 1986

BY MARY SHAMROCK

inging, saying, dancing, play-

ing-hardly unusual activities
in elementary music educa-
ax

\s You!
'S FOR E:VERYO?4F? THE
tion. Along with improvisa-MUS?C,
tion and creation of new
forms in each of the areas, these con-
stitute the means for learning in the
active approach to music education
known as Orff-Schulwerk. They are
considered central because they are
part of the child's natural behavior- 'too
play.
A precise definition of this approach
is difficult to formulate. Carl Orff LIT

described it as an "idea" for integrating

the performing arts-music and move- I VM? I&

ment specifically, but also speech and

drama. He also described it as a "wild

flower," poetically conveying the mes-

sage that it flourishes best in a natural
setting without much cultivation.1 This
image is meaningful to experienced
Orff-Schulwerk represents a pedagogy that guides students through several phases of musical development:
Schulwerk teachers who realize how
exploration, imitation, improvisation, and creation.
one facet can lead naturally and organi-
cally to another and become something
Orff-Schulwerk can be described as speech in rhythmic and dramatic con-
much more exciting than ever could be
attained through careful planning. Buta model for the design of learning texts, improvise simply in all of these
experiences; its main thrust is musicalareas, and combine materials into
it is misleading to think that the Schul-
werk has no specific content and learning, but it has strong implications original forms. The learning activities
for cultural and social learning as well. take place in a group context; ideally,
requires no tending; we need to differ-
The teacher employs the central activi-each individual learns to cooperate in
entiate between wild flowers and weeds.
ties described to nurture student group activity as well as contribute to
it, with
development in musical skills and in confidence in his or her own
Mary Shamrock is professor of music at Califor- abilities as well as appreciation for
understandings. The goal is develop-
nia State University, Northridge, and a past pres- ment of individuals who are comfort- those of others.
ident of the American Orff-Schulwerk Associa- able with active music making-they Orff-Schulwerk is often called "ele-
tion.
can sing, move, play instruments, usemental" music making, meaning that

MAY 1997 41

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the materials used in all areas should children. Gunild Keetman, a young ments alone, s
musician who had been particularly
be simple, basic, natural, and close to rhythm patter
significant in Guntherschule activity,
the child's world of thought and fanta- figures. The s
sy. Though considered most applica- was especially important in preparing taught to child
these broadcasts, which became a
ble at the elementary school level, the is not the prim
approach has been adapted widely for resounding success. Teachers in Ger- are resources to which teachers can

use with mentally and physically many requested taped copies so they refer for rhythmic, melodic, and har-
handicapped children. It carries the could begin such music making them-monic ideas for developing compara-
selves. The continuation of this work
potential for effectiveness with any age ble exercises and materials with their
own students. Some discrepancies
with children, and especially the
group or population that can benefit
from a basic but creative music experi- need to be recognized; for instance, in
efforts of Keetman, led to the publica-
tion of the five volumes known as
ence-preschoolers, college students, Book I, the simple three-note songs
senior citizens. In each instance, the
Orff-Schulwerk: Musik fiir Kinder have accompaniments far beyond the
level of children who would be inter-
capabilities and interests of the group (Schott, Mainz, 1950-54). A later vol-
must be taken into careful considera- ested in singing such songs. But the
ume (Paralipomena, 1977) contains
tion. songs themselves and the types of
items considered essential to the origi-
nal set but not included at that time.2
accompaniment remain valid models
The Guntherschule for consideration in developing similar
The "idea" began in the 1920s materials.

when the German composer Carl Orff Orff and his colleagues felt strongly
(1895-1982), together with colleague 0 . . . . . that this idea for active, creative music
Dorothee Gunther, opened the Gun- making could be relevant for music
therschule in Munich to provide a set- education throughout the world; each
ting for musicians and dancers to inte- country or culture has only to adapt it
grate their arts. Students worked according to its own musical heritage
through the day and into the nightA successful
and cultural traditions. Lateradap
editions
experimenting, creating, and reshap- or adaptations of the original German
ing their creations. Those specializing
of the Schulwerk
volumes have been prepared and pub-
lished in many countries, including
in dance also learned to sing and play requires great mu
to understand the totality more com- Canada (1956), Sweden (1957),
pletely; in like manner, the musiciansand cultural sensiti
Flemish Belgium (1958), England
had to develop a certain facility in (1958), Argentina (1961), Portugal
movement. The instruments used (1961), Japan (1963), Spain (1965
were early versions of what we and 1969), France (1967), Wales
presently know as Orff instruments- (1968), Czechoslovakia (1969), Tai-
barred percussion modeled after a type wan (1972), Denmark (1977), Korea,
of African xylophone and built to and the United States (1977-1982).
Orff's specifications. This intensely The process of translation from
creative group of dancers and musi- one culturePoint
The Starting to another is far from sim-
cians became well known, touring Rhythm is ple. One of the basic premises of the
considered the
Schulwerk ismaterials,
point for these
throughout Europe; a high point was that each culture should w
the planning and execution of the patterns the begin with its own
basis for speech and song
rhyth
music/movement performance that heritage-rhymesword
opment. Simple and proverbs, chil-
ser
opened the 1936 Olympic Games later in dren's chants,
examples in games, and songs. In
challeng
Berlin. Hundreds of school children meters. The melodic
some mate
cultures, these may be based on
were involved in the on-field perfor- rhythm and melody
with three tones patterns quite dif-
(sol-mi-la),
mance-it was a triumphant moment. ferent from the original German mod-
the major pentatonic, the
In subsequent years, the political cli- els. A successful adaptation
major, and proceeds with of the e
mate and wartime conditions severely the various Schulwerk
church idea requires great
modesmusical
curtailed Guntherschule activities, begins with and cultural sensitivity;drone
simple teachers must a
although it continued to function. Itpatterns, proceeding objectively
have the ability to look to repe at
their own heritage
was bombed several times and finallyshifts and simple and needs. Thecha
chord
destroyed completely in 1945. seeds of Orff-Schulwerk
I-IV-V, and the chaconne have indeed pa
been transplanted
The ideal of integrating music and A cursory look at the to areas oforig
the
movement in a creative context did world far
lished volumes is broader
morethan indicated by
conf
not die, however. In 1948, Orff and the listing of
enlightening. publications. In some
There is a
his colleagues were invited by the explanatory instances
material; they have died out com-
instea
Bavarian Radio System to present a pletely, in some instrumen
filled with songs, they are surviving
series of broadcasts using the idea with paniments, minimally,
little pieces
and in some they are flour- f

42 MUSIC EDUCATORS JOURNAL

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ishing as well as actively seeking new poser of stage works. These also same basic elements and format may
directions for growth. As evidence of extend the term "musical" to mean anbe used repeatedly, but the essence of
this, a number of countries now have the pedagogy is that each group of
integration of all the performing arts.
active associations devoted to the sup- Therefore the Schulwerk represents participants
in must go through the "dis-
port and promotion of Orff-Schul- covery learning" process of experi-
microcosm the totality of Orff's work.
werk. Our own American Orff-Schul- menting, selecting, evaluating, dis-
werk Association (AOSA), with some carding, and finally combining materi-
5,000 members, is by far the largest. als in a way that satisfies that parti-
cular group. If the "product" of a
What Is "Orff-Schulwerk"? given lesson or set of lessons is particu-
As used in the United States and in larly worthy, the group may want to
much of the world, the term "Orff- share it with other children or with
Schulwerk" in a restricted sense can parents. Ideally, any performances
refer to the repertoire contained in the given as part of an Orff-oriented cur-
original or adapted volumes, plus the
The teacher must always
riculum should come directly from the
many supplements included in thisbe prepared to assume a classroom process.
series. A great many other books have If truly committed to the Orff ped-
appeared in recent years, primarily in leadership role. agogical ideal, a teacher will strive to
English-speaking countries, which are become a facilitator rather than a
also intended for teacher use but are director. As the children gain in skills
not considered part of the original EUEE .NE.
and understanding, they should take
Schulwerk repertoire. increasing responsibility for working
The term "Schulwerk," or simply out musical and movement tasks and
"Orff," is used more significantly to in contributing to the total lesson
identify a pedagogy, a general proce- process. The teacher must always be
dure for guiding children through sev- The phases just described
prepared to assume a leadership mayrole
eral phases of musical development:used in whatever order needed to when needed in helping the children
(1) exploration-discovery of the pos-
accomplish the goals of a particular
bring their ideas to fruition; as in all
sibilities available in both sound and lesson and of a more long-term other
plan. ventures, nothing succeeds like
movement; (2) imitation-developing
Certainly experience in the firstsuccess,
two and if the students can be
basic skills in rhythmic speech and
phases is a prerequisite to work in the toward a satisfying result they
guided
body percussion (clapping, finger
third and fourth. The Schulwerk itself
will be all the more willing to contin-
establishes no set sequence of materi- ue and extend such efforts.
snapping, thigh slapping or patschen,
als; this must be determined by each
foot stamping, and others), in rhyth-
mic and free movement through teacher according to the needs of the "Set" Music
space, in singing, and in playing particular program. The development An Orff program can all too easily
instruments-nonpitched percussion, of musical literacy is also flexible; Orffbecome oriented toward performance
the special Orff pitched percussion
felt it should definitely be part ofof set pieces; when this happens, the
(xylophones, glockenspiels, metallo-
Schulwerk learning, but gave no direc- class or ensemble is just another ele-
tives on how it should be accom-
phones), and the recorder as melody mentary level performance organiza-
instrument; (3) improvisation-plished. Many Orff teachers in theA teacher can teach song
tion.
extending the skill with these compo- melodies and set instrumental parts to
United States use movable do solfPege
nents to the point where each individ-
along with the hand signals and rhyth-
children, using many of the imitative
ual can initiate new patterns and com-
mic syllables associated with the techniques
Kodi- that are also employed in
binations as well as contribute to ly method. Literacy is to be considered
the "process" type lesson-clapping,
a means
group activity based on this ability; (4) rather than a goal in the patschen, echo singing, and so on.
creation-combining material approach.
from Notation can also be used. Songs and
any or all of the previous phases into
The term "process" is often used to pieces learned in this way can be per-
original small forms such as rondos,
describe the series of steps through formed with much skill and musicali-
theme and variations, and mini-suites;
which the teacher guides the students ty, in the same sense that a school
and of special significance, transform-
to reach short- or long-term goals. In a band or chorus can perform set music
ing literary material (fables, stories,
larger perspective, the Schulwerk is with sensitivity and precision. Most
and poems) into miniature "theater
considered a process rather than a Orff teachers do teach their groups
pieces" through whatever components
product-oriented methodology. The this way from time to time to intro-
seem appropriate-natural or rhyth-
interactive activity of a particular les- duce new ideas and provide them with
mic speech, movement, singing, and result in something quite sig-
son may aural models. Often a lesson will be
playing instruments. At this point, the for that group that day, but
nificant built around a piece from the origin
essence of the pedagogy merges rarely
with in material to be used with repertoire or some other source. It
Orff's extensive production as aother
com-classes in the same way. The must be made clear, however, that the

MAY 1997 43

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ensemble type of musical learning and
performance cannot be considered
Orff pedagogy in any complete sense.
And what about "real" music
Beethoven, Bach, Stravinsky, the Beat-
les, the Who? There is no prescribed nw

plan, but this music relates on two lev-

els. First, the understanding of musical
elements gained through experience
//
on a limited scale, with Orff materials
and procedures, can be considered a
basis for expansion into material from
any style or period. Second, Orff S' N
teachers are more and more frequently
integrating recorded music into their
lessons-as a motivation, as compari-
son, and often with the direct purpose
of developing an understanding of a
particular piece through specially
structured activities in sound or move-
ment (this is often termed "active lis-
Playing instruments helps students learn imitation as well as improvisation.
tening").
The development of highly skilled
musical performers is beyond the
scope of the Schulwerk. An Orff back- take risks; the improvisation implicit tory Schulwerk experiences.3 Every
ground should contribute to a well- in the process at all levels must be year, a number of American teachers
rounded musicianship for those who truly that, and the result is not always study at the Orff Institute in Salzburg,
study particular instruments, either satisfying or exemplary. But the same Austria, which offers an intensive train-
concurrently or after the Orff experi- teacher is willing to evaluate and try ing in Schulwerk music making and
ence. The basic vocabulary of musical again, perhaps with a slightly different especially in movement. At present, a
skills will provide a foundation upon approach to the same task. In order to special course is offered every two years
which more specialized training can carry out the Schulwerk idea to its for English-speaking students (accep-
build. Experience in a number of fullest, a teacher needs background tance through application only).
school systems in the United States and skills in both music and move- Experienced teachers often find
has supported this premise-children ment, but in practice all degrees that
ofthe Orff-Schulwerk framework
coming into band and orchestra pro- both can be found. Classroom teach- puts into perspective many of the
grams with an Orff background have ers can do a great deal, especially with
techniques they have used and found
adapted much more easily to the new the speech and rhythmic materials. effective for years. Others find it the
mode of music making than those The Orff approach is especially well door to a new-found, exciting, fulfill-
without one. suited to integration with the class- ing approach to music education. It
The Orff pedagogical design room curriculum, as topics relevant need to never be dull, never routine, for
appeals to teachers who like the chal- current studies and interests can be either students or teacher. Together
lenge of finding different routes to the selected for music/movement exten- they can explore, discover, and devel-
same goals and the flexibility of being sion.
op as they sing, say, dance, and play.
able to select and develop materials The primary mode of Orff teacher
Notes
according to the needs of particular training in the United States at present
classes and situations. Many become is the summer course; such courses are 1. Carl Orff (trans. Margaret Murray),
attracted to the pedagogy because for held at a number of colleges and uni- "Orff-Schulwerk: Past and Future," Orff-
the first time they as individuals find versities throughout the country Institute
and Jahrbuch 1963, reprinted in OrffRe-
an outlet for musicality in a total con- are two or three weeks in length. Train-
Echoes (AOSA, 1977).
text; they may be fine performers but ing includes classes in basic Orff tech- 2. Further information on the historical
have never known the satisfaction of niques and procedures (application
aspects of the Schulwerk can be found in Carl
moving, ensemble playing, or especial-
with speech, singing, body percussion,
Orff (trans. Margaret Murray), Documenta-
movement, recorder, pitched tion
ly of improvising and creating. The and(English ed.), Vol. 3, "The Schulwerk"
Orff teacher must have a sense of unpitched percussion, and sometimes (New York: Schott Music, 1978).
adventure and enjoy the challengesupplementary
of topics as well). Each of
3. For information on membership and
the
striking out in new directions with theapproximately seventy chapters of
workshops, write to American Orff-Schul-
students. To truly implement the the
ped-AOSA has a yearly calendarwerk of Association, PO Box 391089, Cleve-
agogy, a teacher must be willing to
workshops land, OH 44139-1089. 0
that provide good introduc-

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