CREATIVE DEVELOPMENT OF STUDENTS IN THE MUSICAL AND PEDAGOGICAL CONCEPT OF K. ORFF

The essence of K. Orff’s musical and pedagogical concept is considered in the article; the importance of the creative development of students of secondary schools is revealed. The meaning of 'elementary music,' which is connected with movement, dance, and word and creates a basis for the child’s development, is clarified. The five-volume collection 'Orff-Schulwerk. Musik für kinder' is analyzed; its role in creating analogues in different countries is revealed. The problem of stimulating the creative potential of the individual by means of the music-pedagogical system is highlighted. The instruments of the children’s orchestra developed by K. Orff together with K. Sachs are described, which included melodic and noise percussion instruments, the simplest wind, and strings. The principle of active music-making and creative development of personality on the basis of playing children’s musical instruments, rhythmic movements, dance, and pantomime is analyzed. The role of rhythmic, vocal, and instrumental improvisations for the creative development of students is revealed. The curriculum at the Orff’ Institute is covered, which included the methods of teaching children’s musical instruments, a course of rhythmic exercises, choreography, conducting, solfeggio, instrumentation. The work ‘Theory and practice of music and aesthetic education according to the system of K. Orff’ (by E. Kurishev, L. Kurisheva) is analyzed, which highlights the practical experience of Ukrainian teachers in the classroom and extracurricular activities with students. The countries that have shown interest in Orff's pedagogy and continue to work actively on this system are listed. K. Orff's conviction is formulated that the art of the future is inherent in the nature of human abilities and it is only necessary to create conditions for the creative development of the individual.

Carabo-Cone, Dalcroze, Kodály, and Orff Schulwerk Methods

This study emphasizes findings from literature reviews that aimed to describe and present the current teaching strategies in Music education. These teaching strategies are one of the needed primary skills of Music teachers to address the learning challenges, competencies, and diverseness of the existing curriculum, help them to explore the needs of the students, and give them a framework of what could be the best and appropriate strategy in delivering a lesson. This study employed a descriptive method to gather information about present conditions through a library method and literature review. The data were analyzed using explanatory synthesis. Based on the literature review, the researcher identified four well-known teaching strategies in Music education: the Carabo-Cone Method, Dalcroze Method, Kodaly Method, and Orff Schulwerk Approach. The researcher used four criteria in synthesizing reviews such as the proponent, foundation, philosophy, and methodology. Conclusion of the results and discussions, the four teaching strategies also varied in four indicators, yet similarly focused on using the senses for holistic growth and development and providing all students with the opportunity to be successful. The quality of education depends mostly on the part of the teacher. The different Music teaching strategies serve as a guide to fulfilling the purpose satisfactorily that a teacher and a student needs. It is recommended to analyze its implications towards different modes of learning as global education facing numerous challenges in terms of economic crisis, pandemic, and educational incapability and inequalities that could affect the educational system.

MỘT SỐ PHƯƠNG PHÁP GIÁO DỤC ÂM NHẠC PHỔ THÔNG HIỆN ĐẠI

Chương trình Giáo dục Phổ thông mới 2018 đang trong quá trình triển khai thực hiện; trong đó, các yêu cầu cần đạt được chi tiết hóa đến từng cấp học và lớp học; song hành cùng một số công cụ dạy học âm nhạc như đọc nhạc qua kí hiệu bàn tay, hòa tấu nhạc cụ gõ, vận động cảm thụ theo nhạc… Đây cũng chính là các công cụ tiêu biểu trong các phương pháp giáo dục âm nhạc của Kodály, Dalcroze, Orff-Schulwerk vốn đã và đang được áp dụng rộng rãi tại nhiều quốc gia. Mỗi phương pháp có triết lí giáo dục và quy trình sư phạm riêng, tương thích với đối tượng học sinh và mô hình lớp học cụ thể. Nghiên cứu “Một số phương pháp giáo dục âm nhạc phổ thông hiện đại” được chia làm hai phần. Bài viết này trình bày Phần 1 với nội dung giới thiệu các kiến thức chuyên sâu cũng như sự khái quát hóa của từng phương pháp trong bối cảnh giáo dục cụ thể, làm nổi bật đặc trưng của từng phương pháp, qua đó tăng cường khả năng vận dụng thực tiễn linh hoạt và khoa học.

The Role of Orff Approach to Music Education

The German-born music educator and composer, Carl Orff began to develop his own music education system in the 1920s and 1930s. This paper gives a concise review of the Orff concept from historical, educational theoretical, and methodological aspects based on available literature. Topics include the Orff instrumentation as the defining methodological element of the Orff concept, the internationalization of the Orff concept in America, as well as the training of current Orff educators. Keywords: Orff Schulwerk, music education, alternative music pedagogy

Orff Schulwerk

Ardith Collins writes about the wonderful and historical, evolving background to the Orff Schulwerk approach. With this approach, children learn music in a setting that is similar to teaching children a language through the concepts of play, sing, speak, and move. The approach is about process teaching, where higher value is placed on the learning process rather than the final product of the performance. Orff Schulwerk is child-centered music education with imitation, exploration, improvisation, and creativity at its core. Amy M. Burns demonstrates ways to utilize technology to assist students with various learning styles in creating, exploring, and making music.

Technology Integration with the Orff Schulwerk Approach

Amy M. Burns integrates technology into the Orff Schulwerk approach so that students with various learning styles can successfully create and make music. With the recent developments of teaching through distance learning, these lessons assist elementary music educators in teaching from a traditional classroom setting to teaching in an online platform. In addition, the supplemental website gives teachers downloadable manipulatives to successfully use in a variety of learning environments.

Using Technology with Elementary Music Approaches

Using Technology with Elementary Music Approaches is a comprehensive guide to how to integrate technology into the popular elementary music approaches of Dr. Feierabend’s First Steps, Kodály, and Orff Schulwerk. It also includes ideas of integrating technology with project-based learning (PBL). It is written for elementary music educators who want to utilize technology in their classrooms, or possibly fear using technology but are looking for ways to try. It can be used by new teachers, veteran teachers, teachers with very limited technology, teachers with 1:1 devices in their music classroom, and undergraduate and graduate students. Edited and authored by Amy M. Burns, this book contains ideas, lessons, a supplemental website for resources, and examples that are field-tested and utilized in her own elementary music classroom. Burns has successfully integrated technology into her elementary music classroom for over two decades. She is a sought-after presenter and keynote speaker for integrating technology into the elementary music classroom and has written three additional books and numerous articles on the subject. She has also won four music education awards at state and national levels. In addition, the summary of each approach was written by four excellent elementary music educators and experts in the approaches: Dr. Missy Strong (Feierabend), Glennis Patterson (Kodály), Ardith Collins (Orff Schulwerk), and Cherie Herring (project-based learning (PBL) with music technology).