Ostinato Spring 2014 - CARL ORFF CANADA | Music for Children

Transcription

O
Music for Children - Musique pour enfants
stinato
Celebrating 40 years!
Célébrons 40 années!
Music for Children | Musique pour enfants
Orff and Traditional Culture
Orff et la culture traditionnelle
Volume 40,
Number 3,
Spring 2014
Tri-annual Publication of Carl Orff Canada
RCSADS600_Ostinato Ad_2014.15 SUMMER ISSUE 14-03-13 11:34 AM Page 1
Music for Children – Carl Orff Canada – Musique pour enfants
TRAINING FOR THE
BEST BY THE BEST.
Founder and Patron/Fondatrice et patronne d’honneur
Doreen Hall
Honorary Patrons/Patrons émérites
Bramwell Tovey
Sr. Marcelle Corneille
Jos Wuytack
Board of Directors/Conseil d’administration national 2012– 2014
Past-President/Présidente sortant de charge
Cathy Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6
T (604) 946-5132, [email protected]
President/Présidente
Beryl Peters, 500 Laidlaw Blvd., Winnipeg MB R3P 0K9
T (204) 474-1384, F (204) 945-6747, [email protected]
First Vice-President/Première vice-présidente
Marlene Hinz, 3551 Apple Grove, Regina, SK S4V 2R3
Second Vice-President/Deuxième vice-présidente
Liz Kristjanson, 54 Glenbrook Cres., Winnipeg MB R3T 4W4
Treasurer/Trésorière
Eileen Stannard, 44 Second Ave., Ardrossan AB T8E 2A1
If undeliverable please
return to:
Ruth Nichols
7 Regent Street,
Amherst, NS B4H 3S6
[email protected]
Professional Development
Summer 2014
Enrich your teaching with inspiring
courses taught by dedicated experts:
•
•
•
•
Orff Intro, Level I, II. 10-day summer intensives M-F, July 7-18
Orff Seminar: Music From Five Continents with Doug Goodkin, Aug 18-22
Artist Educator Professional Training Level III, M-F, June 9-20
Early Childhood Music Education Training
Membership Secretary/Secrétaire des adhésions
Ruth Nichols, 7 Regent Street, Amherst, NS B4H 3S6
Website
Joanne Linden, 1647-126 Street, Edmonton AB T6W 1R8
Secretary/Secrétaire
Tim Paetkau, 11437 118 Street, Edmonton Alberta, T5G 3J3
H (780) 434-5360, [email protected] or [email protected]
LIMITED
AVAILABILITY
REGISTER
NOW!
Editor/Rédactrice en chef
Catherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4
(T) 647-970-7080, weekends (613) 449-8924, [email protected]
Archivist/Archiviste
Anne Tipler, 12-1735 The Collegeway, Mississauga ON L5L 3S7
Francophone Member at Large/Correspondante francophone
Denise Lapointe, 219 Forest,Pincourt, QC J7V 8E7
T (514) 453-8020, [email protected], [email protected]
Register online at rcmusic.ca
or call 416.408.2825
Carl Orff Canada Aims and Objectives
Music for Children - Carl Orff Canada - Musique pour enfants is a Corporation which operates with the following objectives:
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's objectives in all regions of Canada through a national organization and through regional
chapters;
iii) to produce and distribute a national journal addressing issues relating to the Orff philosophy of music education;
iv) to organize and administer conferences and workshops focusing on quality music education for children; and
v) to cooperate with other music education organizations in order to further the objectives of the Corporation.
Ostinato
Volume 40, Number 3, Spring 2014
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 Catherine West
2
President’s Message / Mot de la présidente Beryl Peters 4
Closing dates for submission are:
June 15st for the Fall Issue
November 15th for the Winter Issue
March 15th for the Spring Issue
Articles
Culturally Responsive Teaching in the Music Room: Ideas and
Takeaways for the Music Teacher Kim Friesen Wiens8
Submissions should be sent to:
Catherine West
Email: [email protected]
L’importance de la culture en éducation musicale Julie Gougeon11
“Donkey Riding:” Unlikely Transportation towards Ellen
Dissanayake and Carl Orff Karin Johnson13
Saskatchewan Orff Chapter: Children’s Day and Cultural Awareness
Marilyn Dyck
16
From My Side of the Desk Moira Milne
16
Infusing World Music Pedagogy in our Classrooms Kerri Kenwell
17
Middle School: A New to You Class – From Blank Canvas to
Work of Art Tean King
21
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 Lucie Allyson
à : [email protected] 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
Book Reviews / Critiques de recueils et DVDs pédagogiques
Mon coffre à surprises par Marie-Claude McDonald
22
Artful-Playful-Mindful by Jane Frazee
23
Orff Schulwerk Courses / Formations Orff24
Chapter Workshops / Ateliers de perfectionnement28
Donations and Gunild Keetman Scholarships31
Take Note / Notez bien...32
Years Ago in Carl Orff Canada33
National Board Business Section / Section du conseil
d’administration national
National Conference / Congrès national
34
36
Curriculum Corner / Boîte à idées
Swinging Along / Va de l’avant Catherine West40
Tõmairangi (Drizzling Rain) Christoph Maubach41
Entre vents et mares, chanson-thème Chantal Dubois43
If undeliverable please return to: Ruth Nichols, 7 Regent Street, Amherst, NS B4H 3S6
Vol. 40, No. 3, Spring 2014
1
From the Editor / Mot de la rédactrice
Catherine West
photo Linda Kooluris Dobbs
It is with great sadness, and not a little avoidance, that I approach the writing of this, my
final column as your National Editor. I have
been a member of the COC National Executive since 2002, including terms as 3rd and 2nd
VP, making me the elephant with the longest
memory in that august group. In that time I
have worked with extraordinary people inside
this organization, and I am using this final column to thank them.
For the inevitable omissions I beg pardon.
First of all I thank ‘my’ presidents (drum roll please!): Leslie Bricker,
Diane Sjoberg, Lucie Allyson, Debra Giebelhaus-Maloney, Cathy
Bayley, Joan Linklater and Beryl Peters. The intelligence, wisdom,
dedication, and energy of every one of these are extraordinary.
Each has brought individual and special talents to the position,
yet without the disruptive and destructive transitions, one to the
next, we see so much in public life. Insert a politician’s name here:
____________! I thank each of them for their friendship, for helping
me to learn my job as a national executive member, and for supporting me in exploring new directions for Ostinato. This past two
years it has been a very special pleasure to work with our President,
Beryl Peters. Beryl has steered the good ship COC with
sensitivity, intelligence, wisdom, endless patience, and a
huge amount of hard work.
Traduction par Denise Lapointe
C’est avec tristesse et un peu d’évitement que j’écris mon dernier éditorial pour la revue Ostinato. J’ai été membre du Conseil
d’administration national de Carl Orff Canada depuis 2002, incluant
mes mandats de 2e et 3e vice-présidente, ce qui me donne le titre de
l’éléphant qui a la plus longue mémoire du groupe! J’ai travaillé
auprès de personnes extraordinaires pendant ces années et je vais
profiter de cette tribune pour les remercier. Je demande pardon pour
les omissions inévitables.
Je veux premièrement remercier « mes » présidentes (roulement
de tambour SVP) : Leslie Bricker, Diane Sjoberg, Lucie Allyson,
Debra-Giebelhaus-Maloney, Cathy Bailey, Joan Linklater et Beryl
Peters. L’intelligence, la sagesse, le dévouement et l’énergie de ces
femmes sont grandioses. Chacune a apporté son cachet individuel
et ses talents particuliers lors de leur mandat de présidente, tout en
assurant une continuité et des transitions positives, contrairement
à ce que l’on pourrait observer dans la vie politique publique. Je
remercie chacune d’elle pour leur amitié, pour m’avoir aidé à apprendre mon travail au sein du Conseil d’administration et pour
leur soutien lorsque j’ai voulu explorer de nouvelles directions
pour Ostinato.
Je remercie également l’éditrice de production, Lannie
Messervey. J’ai travaillé avec Lannie dans un autre projet,
et je connaissais son œuvre dans le site internet de la ville
I also thank our Production Editor, Lannie Messervey. I first
de Toronto. En 2005, nous n’avions pas d‘éditeur pour
worked with Lannie as an editor in another writing project
Ostinato et Lannie a accepté cette charge de travail pour
and knew of her work on the City of Toronto’s website,
un an, le temps de trouver une éditrice parmi les membres
then her full-time job. In 2005 we were without an editor
de COC. J’étais alors 2e vice-présidente, et j’ai pu l’épauler
for Ostinato in the middle of a term, and Lannie gamely Lannie Messervey avec les publications. Le reste est passé à l’histoire – après
accepted the challenge to fill in for a year while an editor
avoir produit trois éditions ensemble, nous étions toutes les
could be found within the membership. As 2nd VP, and a
deux accrochées et j’ai accepté la tâche d’éditrice, à la condition
person who already knew her, I helped out with the publication. The
que Lannie puisse faire partie de notre équipe. Nous ne pouvons
rest is history – after producing three issues of Ostinato together,
pas compter les heures que Lannie a donné, le temps à trouver
we were both hooked, and I accepted the position as Editor, on the
les erreurs, trouver des solutions, faire en sorte que les photos
condition that Lannie stay on the team. Lannie puts countless hours
s’impriment dans une bonne résolution, sans oublier le temps mis
into the publication, catching problems, fighting with photos to
à réviser et à la mise en page. Je remercie Lannie pour son dévoueget them to print better, fact-checking if I have sent her something
ment, ses aptitudes, mais aussi pour son amitié, son enthousiasme
nonsensical, copy-editing, and – oh yes – doing the layout for the
et son précieux soutien.
journal, a huge job which can aptly be compared to herding cats!
J’ai commencé ce travail en gardant en tête la vision de nos fonI thank Lannie not just for the skill and dedication, but especially
dateurs et leur croyance en un organisme bilingue. Le contenu
for her friendship, unfailing enthusiasm and constant support.
francophone et la traduction de l’anglais au français, (la tâche du
I came to this position dedicated to the vision of our founders that
membre francophone), sont une tâche essentielle à la revue Ostinato.
this be a truly bilingual organization. French content and
À différents moments, Lucie Allyson, Denise Lapointe
translation into French or English, the jobs of the Francoet Françoise Grenier ont tour à tour travaillé à ce poste,
phone Member-at-Large, are essential to this publication. At
apportant une qualité hors du commun à tout ce qu’elles
various times Lucie Allyson, Denise Lapointe and Françoise
faisaient. Il peut être un défi pour un chapitre, même s’il
Grenier have filled this position; they bring extraordinarily
est fort, de fournir des articles et des traductions pour
high quality to everything they do. It is a challenge for one
chaque édition de la revue, mais le contenu était toujours
chapter, however strong, to provide content and translation
présent et toujours excellent. Lucie, Denise et Françoise,
for every issue of this journal, but it always arrives, and it Denise Lapointe
avec l’aide de leurs membres québécois, ont produit les
is always excellent. Lucie, Denise and Françoise, with the
articles et ont pris soin de réviser mes éditoriaux, en me
help of their chapter colleagues, have produced this content,
questionnant sur mes idées, elles corrigeaient les coquilles
and also taken responsibility for catching inane sentences or ideas
et m’apportaient leurs suggestions constructives, toujours avec tact
in my editorials, noting omissions and typos, and making very
et discrétion. Mesdames, je vous salue!
useful suggestions, all with skill, tact and discretion. I salute them!
2 Ostinato
J’ai toujours apprécié le mélange de philosophies, de
nouvelles et de pratiques éducatives que l’on retrouve dans
chaque revue, et j’ai toujours tenté de garder cet équilibre
dans chacune des parutions d’Ostinato. Plusieurs articles
anglophones sont venus de vous, les lecteurs, mais il y a
aussi trois personnes qui ont contribué à travers les années :
le membre honorifique Bob de Frece, Karin Johnson et
Marcelline Moody. Karin et Marcelline ont souvent travaillé
dans l’ombre, trouvant des articles, et je suis reconnaissante
pour leur contribution. Marcelline, notre voix des prairies
et puis de la côte ouest, a été présente dans presque chaque
revue. Je sais que certains lecteurs parcourent la revue
à la recherche de ses nouvelles idées pédagogiques! Sa
créativité et sa générosité sont inépuisables. Je remercie
ces trois collaborateurs envers qui je suis reconnaissante.
I have always loved the mix of philosophy, news and practical teaching content in Ostinato, and have tried to keep
that balance in each issue. Articles in English have come
from many of you, the readers, but in addition there are
three providers who have been working with me to gather
this content over many years: Honorary Life Member Bob
de Frece, Karin Johnson and Marcelline Moody. Karin and
Bob have mostly worked behind the scenes, searching out
articles from others, so I am pleased to acknowledge their Bob de Frece
huge contribution to the journal at this time. Marcelline has
been a voice from the prairie, and then from the west coast,
in almost every issue; I know there are readers who flip
first to that page in every new issue to see what wonderful
teaching idea she has written up! Her creative output and
generosity are equally inexhaustible. I acknowledge and
thank all three of these contributors.
We are also lucky to have the contribution of regular book Karin Johnson
reviews from Tammy Stinson, formerly of Waterloo Music.
Tammy is a teacher, an Orff specialist and a mom as well
as an experienced industry representative, so has brought a
very skilled and practical eye to her reviews. She has also
been our Advertising Editor for a number of years and,
along with Liz Kristjianson, chases up ads for every issue
of the journal. Many of you have also contributed book
reviews over the years; these are always most welcome
and useful to readers. Thank-you to everyone who fulfills
this essential role.
Marcelline Moody
I have a final heartfelt thank-you to my personal mentor,
Honorary Life Member Lois Birkenshaw-Fleming. Lois inspired me
with her passion for equity for all children in our schools, with her
musical creativity, and with her determination to get things done.
She taught me much about organization, education, teaching, and
living. Today I continue to admire her as she focuses her energy on
recovering from a stroke she experienced last fall. I know that I am
joined in wishing her well in her recovery by all COC members.
In conclusion, I am drawing on the passionate words of Richard
Gill, who here perfectly expresses my feelings for this remarkable
team and for you, the wider Orff community:
I am over-awed by your know-how, your sincerity,
your genuineness and expertise. You are special
people. Harness these qualities and with your energy
let’s create a new musical world, the world that
Carl Orff, by virtue of deed and example, promised.
Orff, I believe, meant what he said, when he said,
“I have done my part, now do yours.” Let us
regain our perspectives, question our aims and
objectives, and set a clear course towards musical
sanity. If anyone can do it, you people can.*
Thank-you for the privilege of serving as your National Editor.
I know I am bequeathing the position to one whose expertise is
more than equal to the task she is taking on, and I look forward to
supporting our Editor in her new role.
References
* Richard Gill, “On Teaching Music”, speech presented to the American
Orff-Schulwerk Association National Conference in Portland, Oregon,
November 7, 1982, as reprinted in Isabel McNeill Carley Ed., Orff ReEchoes Book II, AOSA, 1985.
Nous sommes chanceux de pouvoir vous offrir les révisions
de nouveaux livres de Tammy Stinson, qui travaillait chez
Waterloo Music. Tammy est une enseignante, une spécialiste Orff, une maman et une représentante industrielle
d’expérience, qui a su apporter un œil critique et pratique
dans ses révisions. Elle a aussi été notre éditrice de publicité
pour quelques années et, avec l’aide de Liz Kristjianson,
elle a déniché toutes sortes de publicités pour chaque revue.
Plusieurs d’entre vous ont écrit des révisions de livres,
ceci s’avérant toujours pertinent et utile pour les lecteurs.
Merci à chacun de vous qui avez rempli ce rôle essentiel.
J’ai un remerciement particulier qui vient du fond du cœur
pour mon mentor personnel, le membre honorifique Lois
Birkenshaw-Flemming. Par sa passion pour l’équité de chaque enfant, sa créativité musicale, sa détermination pour que les choses se
fassent, Lois est une grande source d’inspiration pour moi. Grâce
à Lois, j’ai appris l’organisation, l’éducation, l’enseignement, et
la vie. Aujourd’hui encore, j’admire cette grande dame, sa force et
son énergie à se remettre d’un accident vasculaire cérébral. Je suis
sure que tous ensemble, nous lui souhaitons un prompt rétablissement. Pour conclure, j’aimerais citer les paroles de Richard Gill,
qui représentent mes sentiments exacts envers l’équipe formidable
et toute la communauté Orff :
Je suis ébloui par votre savoir-faire, votre sincérité, votre
authenticité et votre expertise. Vous êtes de gens spéciaux.
En liant ces qualités et votre énergie, nous pourrons créer un
monde musical, un monde que Carl Orff a légué et promis.
Orff, croyait ce qu’il disait quand il prononçait ces paroles :
« J’ai fait ma part, maintenant faites la vôtre. » Ayons une
même perspective, interrogeons nos buts et objectifs et
dressons un parcours précis pour la santé musicale. Si tout
le monde peut le faire, eh bien, vous aussi le pourrez.*
Merci pour le privilège d’avoir servi au titre d’éditrice nationale.
Je sais que je laisse ma place à une personne de grande expérience
et je vais l’appuyer de mon mieux dans son nouveau rôle.
Références
* Richard Gill, “On Teaching Music”, discours présenté au congrès national
American Orff-Schulwerk Association à Portland, Oregon, le 7 novembre 1982, tel que repris par Isabel McNeill Carley Ed., Orff Re-Echoes
Book II, AOSA, 1985.
3
President’s Message / Mot de la présidente
Beryl Peters
Orff Schulwerk as Place
My childhood home is nestled among the boreal
forests of the Canadian shield on the northern
edge of the Whiteshell Provincial Park in Manitoba. It lies on the shores of the Winnipeg River
system and is surrounded by unspoiled lakes,
rivers, and channels. It is a place of enduring,
quiet beauty that never fails to restore the
balance of my soul and nourish my creative spirit. I have carried
that place-based wonder and beauty with me throughout my life.
Place is my conceptual metaphor for life; I have experienced and
understood life in terms of that place.
If life is place, then the world of Orff Schulwerk, too, is place.
My journeys through the landscape and place of Orff throughout
my career and during the past two years as President of Carl Orff
Canada have also been integral and foundational to my life as
educator, arts consultant, and music-maker. The metaphor of Orff
as place highlights the importance of Orff for me. This metaphor
may also illuminate the value of current Orff-based education as
well as provide new ways to think about the future.
Although Orff as place could easily be conceived of as a musical
geography, place is not just a geographical location. Place refers
to ways that meaning is created within a particular environment.
Steele provides a seminal definition of sense of place that is used in
pedagogies of place-based learning: “The pattern of reactions that a
setting stimulates for a person” (1981, p. 12). The setting or place
of Orff stimulates reactions that have guided and shaped my career
and time as President in joyful, life-giving ways. The “pattern of
reactions” for me and for many Orff educators includes a guiding
philosophy, ways of music-making, collaboration, and community.
Orff as place has history and story that provides a sense of belonging
and grounding. In conversations about resisting colonizing practices in education, Greenwood (2009) describes place as a frame
of reference and a point of identity. Writing about aboriginal and
place-based education, Scully (2012) offers this definition of place:
Places are the literal common ground. Exposing the ways
that a different experience of a place and the signifiers
that make meaning out of place can create rich dialogue
and understanding across perspectives. A complex and
rich understanding of place can change the view from
where one is standing. The very best thing that a learner
can say to me is: “I never saw it that way before.” Sharing
perspectives on literal common ground means shared
points of reference seen in a whole new way—a whole
new set of relations to people and to place… p. 152
Orff as place is our common ground. It is the foundation of our
teaching and learning in music education, our frame of reference
and point of identity. I am an Orff music educator. My experiences
in the place of Orff unite me with other Orff educators and provide
a common language, a musical way of being, a means of communicating with other Orff-based educators around the world, and
a particular perspective for making and sharing meaning. Educators
and students share common points of reference and perspectives
about Orff to uniquely see, hear, move, create, improvise, sing, and
4 Ostinato
play “in a whole new way” with every experience and encounter
as we journey together through the Orff landscape.
It has always been a great joy to lead or to participate in a workshop
and hear an educator new to the Orff approach say with excitement,
“I’ve never experienced music like this before!” The complexities,
richness, and relations experienced in the place and landscape of
Orff are limitless and available to all learners regardless of age
or experience. After many decades of involvement in the Orff
approach, I am continually discovering new ways of perceiving,
creating, communicating, and sharing music and approaches to
music education conceived of by Carl Orff and Gunild Keetman.
Jiron (2010) believes that places are also about meaning and relationships. Places are not experienced in the same way from person
to person, “for place is both the context for practice as well as a
product of practice” (p. 131). Orff as place is also experienced differently from province to province, teacher to teacher, and student
to student. Using commonly understood landmarks of speech,
song, instruments, movement, and listening, we imitate, explore,
improvise, and create in unique ways according to the contexts and
experiences of our particular place of Orff.
Wayfinding through place is enabled through landmarks that may
have meaning for a community or just for an individual. Orffbased music landmarks position teachers and learners within the
landscape of Orff and provide direction, purpose, and choices for
decision making as we navigate pathways through the landscape.
When Orff is conceived of as place, the learning pathways are
wide-ranging and multiple, they have various entry and exit points,
and are often emergent.
We use the common landmarks of Orff approaches in different
ways that can distinguish between and orient to diverse Canadian
and global locales, cultures, and traditions. Orff asked us to locate
the child’s own musical culture within the Orff Schulwerk; however, in Canada our classrooms are rich, diverse places without a
singular dominant tradition so we newly create Orff-based place
in our different contexts. Jiron (2010) believes that “places can be
characterized as open, permeable and always in construction” (p.
129) and I’m sure Carl Orff and Gunild Keetman would agree.
Key themes in place-based learning include interdependence,
diversity within and between locales, an appreciation of beauty
and wonder, wholeness, relationships, connections, collaboration,
collective effort, and cultural commons (Gruenewald & Smith,
2014). Place functions as a metaphor for the larger meanings of
the Orff Schulwerk that extend beyond simply learning the tools
and elements to embracing and exploring the key themes offered
by pedagogies of place-based education.
As I near the end of my presidency, I am grateful for the strong
COC connections across our country, the collaboration between
chapters, the positive and nurturing relationships, and the collective
efforts of all our COC membership. I am especially thankful for the
members of the Carl Orff Canada National Executive, who have all
contributed to make Orff as place rewarding, inspiring, sustaining,
and meaningful for me and for other educators across our country. I
look forward to continuing to work as Past President with returning
COC National Executive members. And though I know our outgoing
members remain in this special place of Orff, they will walk new
paths and we will greatly miss having them nearby.
Thank you to our outstanding Past-President Cathy Bayley, who
has so generously provided her wisdom, direction, and unwavering leadership for so many years. Her work to ensure that COC
transitions to the new Canada Not-for-profit Corporations Act was
critical to our association. Our organization will not seem the same
without Cathy and nor will it seem the same without the guidance
of Eileen Stannard, our national treasurer, whom we rightly call
our “national treasure.” Thank you Eileen, for your many dedicated
years of exceptional and unfailing service to Carl Orff Canada. We
have been so proud of your immaculate financial records, reporting,
planning, and management to ensure the ongoing financial health
and national respect for the work of COC.
Thank you to Catherine West, another long-serving member of our
Carl Orff Canada National Executive who leaves footprints in our
hearts and minds forever. Catherine is synonymous with our beloved
journal, Ostinato, and leaves a rich legacy of brilliant editorship
that will inspire generations to come. Ruth Nichols, also a valued
long-standing member of the National Executive, has navigated
COC into new technological landscapes to respond to Chapter
requests for online registration and membership. Thank you Ruth
for rising to that challenge and for the extensive work that involved.
I also express thanks and am grateful to our outgoing Archivist,
Anne Tipler, who has tended so carefully to our precious archives
and who has also graciously accepted the challenge of moving the
COC archives to a new, permanent home in the Faculty of Music
at the University of Manitoba.
Our COC secretarial responsibilities are extensive and became more
so this year with the addition of videoconferences to our yearly
meeting schedule. I thank Laurel Nikolai for her intensive efforts
and dedication as COC Secretary, and I also thank and am deeply
grateful to Tim Paetkau for so quickly mastering and skillfully assuming the duties of COC secretary to serve in a much-appreciated
interim capacity.
The work of the COC National Executive has been done together.
I am so greatly privileged to have shared my place of Orff with the
dedicated and incredibly hard-working members of the National
Executive. You all have my profound admiration and deepest respect. My appreciation and admiration extend to all our dedicated
chapters and their members, and to our incredible Ensemble 2014
Carl Orff Canada National Conference Co-Chairs and committees. I know all our COC membership will join me in applauding
Kristy Fiegehen, Françoise Grenier, James Jackson, and Charlotte
Myers, for their impressive work to create another outstanding and
memorable National Conference!
Our newly created 40th anniversary books and commissioned works
are likewise extraordinary and inspirational! A photobook and historical text with rich, detailed sources collected and edited by Joan
Linklater and Morna-June Morrow (Manitoba Orff Chapter) will be
new resources that every Chapter will want to include in their libraries. Order forms are available on the COC website but supplies are
limited so order yours soon! I would like to congratulate and express
my profound gratitude to Joan Linklater and Morna-June Morrow
for the exciting products of months of dedicated time and effort!
I am delighted to also express enormous appreciation and admiration to COC Honorary Life Member Bob de Frece for his exquisite
work Sing From Your Heart, commissioned by Carl Orff Canada to
celebrate our forty years as an association. The full score is available
at the COC website and has already been joyously heard, along
with his beautiful chorale, The Blessed Art of Music, in schools
and communities across Canada.
In this 40th anniversary year, the metaphor of place may help to
apply new thinking to vision the future of Carl Orff Canada. How
will Orff Schulwerk as place continue to sustain its members and the
students it exists to serve? How will it need to adapt and change in
response to the forces that act upon place? How will Orff as place
help us transform and improve lives?
What will the people who contribute to and construct Orff as creative place need to consider in order for our organization to move
forward into the next 40 years? Who will inhabit this place in the
future? What resources will be needed to ensure longevity of place?
What interactions will be important within our place of Orff and
between other places and communities? How will we care for the
people within our place? What can we do so that our members feel
they belong to this place and are energized, nurtured, supported,
and challenged? How can we honour our historical foundations
and also create spaces in this place for new ways of imagining
Orff Schulwerk?
In the book Geographies of Rhythm: Nature, Place, Mobilities and
Bodies, Wunderlich (2010) observes that:
Places are temporal milieus within which repetitive everyday
activities, spatial patterns and cycles of nature interweave
and orchestrate into bundles of expressive rhythms. These
rhythms are unique to particular locations…. 2010, p. 45
Thank you for the honour of serving as President of Carl Orff
Canada. May the expressive rhythms unique to Orff Schulwerk
sustain and inspire you always.
References
Greenwood (formerly Gruenewald), D. (2009). Place, survivance and
white remembrance: A decolonizing challenge to rural education in mobile
modernity. Journal of Research in Rural Education, 24(10), 1-6.
Gruenewald, D., & Smith, G. (Eds.). (2014). Place-based education in the
global age: Local diversity. New York: Psychology Press.
Jiron, P. (2010). Repetition and difference: Rhythms and mobile placemaking in Santiago de Chile. In T. Edensor (Ed.), Geographies of rhythm:
Nature, place, mobilities and bodies (pp. 129-143). Surrey, England:
Ashgate.
Scully, A. (2012). Decolonization, reinhabitation and reconciliation: Aboriginal and place-based education. Canadian Journal of Environmental
Education, 17, 148-158.
Steele, F. (1981). The Sense of Place. Boston: CBI Publishing Company.
Wunderlich, F. M. (2010). The aesthetics of place-temporality in everyday
urban space: The case of Fitzroy Square. In T. Edensor (Ed.), Geographies of rhythm: Nature, place, mobilities and bodies (pp. 45-56). Surrey,
England: Ashgate.
5
Orff Schulwerk, un endroit
Traduction par Denise Lapointe
La maison de mon enfance est sise dans la forêt boréale au nord du
parc provincial Whiteshell au Manitoba. C’est bordé par la rivière
Winnipeg et une multitude de lacs, rivières et canaux. C’est un lieu
de grande beauté qui réussit à tout coup à me ressourcer, à restaurer l’équilibre de mon esprit et à nourrir ma créativité. Cet endroit
grandiose m’a suivie tout au long de ma vie. Cet endroit est aussi
un concept, une métaphore pour la vie; toute ma compréhension de
la vie est à la base de cet endroit.
Si la vie est un endroit, alors le monde de Orff Schulwerk est aussi
un endroit. Mes voyages à travers les paysages et l’endroit Orff à
travers ma carrière et pendant les deux dernières années au titre de
présidente de Carl Orff Canada, assurent aussi une fondation solide
et intégrale de ma vie comme enseignante, consultante en arts, et
musicienne. La métaphore de Orff Schulwerk comme endroit indique
toute l’importance que revêt Orff pour moi. Cette image illumine
la valeur de l’enseignement selon Orff et me donne de nouvelles
façons de créer le futur.
L’endroit que j’appelle Orff pourrait aussi être vu comme géographie
musicale et non seulement un endroit géographique. L’endroit est
une façon dont l’essence est créée dans un environnement particulier.
Steele nous donne une définition de l’expression endroit dans le
contexte de l’apprentissage basé sur l’endroit. « La séquence des
réactions qu’un endroit stimule chez une personne… » (1981, p. 12).
L’environnement ou l’endroit Orff a stimulé de nombreuses réactions qui m’ont guidée et ont façonné ma carrière et mon temps de
présidence dans la joie et la générosité. La séquence de réactions
a été pour moi et pour de nombreux enseignants « Orfféens », une
philosophie guidant une façon de faire de la musique, dans un esprit
de collaboration et de communauté.
Orff, comme conçu comme un endroit a une histoire et un historique
qui donnent un sens d’appartenance et d’ancrage. Dans de conversations sur les pratiques éducatives colonisatrices, Greenwood (2009)
décrit l’endroit comme étant un cadre de référence et un point
d’identité. Lorsqu’il écrit au sujet des aborigènes et de l’éducation
fondée sur l’endroit, Scully (2012) nous offre sa définition du concept de l’endroit :
L’endroit est le lieu littéral commun. Un riche dialogue
émane de discussions sur les différentes expériences
et compréhensions de l’endroit. Une compréhension
complexe et riche de l’endroit peut changer la vue selon
notre regard. La meilleure chose que l’on puisse dire est :
« Je ne l’ai jamais vu sous cet angle auparavant. » Partager
ses perspectives du lieu littéral commun implique le partage
des points de référence vu sous un nouvel angle – un
nouveau réseau pour les personnes et l’endroit… … p. 152
Orff - l’endroit - est notre lieu commun. C’est la base de notre
enseignement et apprentissage en éducation musicale, c’est notre
cadre de référence et notre point d’identité. Je suis une enseignante
de musique Orff; les expériences dans le monde Orff m’unissent
aux autres enseignants Orff et nous donnent un langage commun,
une façon musicale d’être, un moyen de communication entre tous
les éducateurs Orff dans le monde et un moyen spécial de partager
le comment-faire et le sens. Tant les éducateurs que les étudiants
6 Ostinato
partagent les mêmes points de référence et perspectives d’Orff quand
il s’agit de voir, entendre, bouger, créer, improviser, chanter et jouer
« dans une nouvelle façon » dans le paysage Orff.
Lors des formations, c’est toujours un plaisir pour moi de voir
l’émerveillement des nouveaux enseignants Orff s’exclamer : « je
n’ai jamais fait de la musique de cette façon! » Les complexités,
la richesse et les relations vécues dans l’endroit et le paysage
Orff n’ont pas de limites et sont disponibles pour tous les apprenants, peu importe leur âge et vécu. Après plusieurs dizaines
d’années impliquées dans l’approche Orff, je découvre encore de
nouvelles façons de comprendre, créer, communiquer et partager
la musique et l’éducation musicale selon la pensée de Carl Orff
et Gunild Keetman.
Jiron (2010) croit que l’endroit est un concept de sens et de relations. L’endroit n’est pas vécu de la même façon d’une personne
à l’autre, « car l’endroit est un concept tant du contexte de la
pratique que du le résultat de la pratique » (p, 131). Orff, comme
endroit, est aussi vécu différemment d’une province à l’autre, d’un
enseignant à un autre et d’un élève à un autre. En employant des
bases communes comme le langage, le chant, les instruments, le
mouvement et l’écoute, nous imitons, explorons, improvisons,
créons d’une manière unique selon le contexte et les expériences
de l’endroit particulier Orff.
La vision selon l’endroit est rendue possible par les guides qui ont
du sens pour une communauté ou pour seulement une personne.
La musique selon Orff est un guide musical qui positionne les
enseignants et les apprenants dans le paysage Orff en leur offrant
une direction, un but et des choix pour prendre une décision tout au
long du parcours. Lorsqu’Orff est vu comme un endroit, les sentiers
de l’apprentissage sont tissés comme un réseau, ils sont nombreux,
ils ont de nombreuses ramifications, de nombreux points d’entrée
et de sorties et ils sont souvent émergents.
Nous utilisons les guides communs de l’approche Orff de différences
façons, ce qui permet de distinguer les traditions, cultures locales
ou globales du Canada. Carl Orff nous a demandé de trouver la
culture musicale de chaque enfant à l’intérieur du Orff Schulwerk;
cependant, au Canada, nos classes sont riches et diversifiées sans
aucune tradition dominante, ce qui nous permet de créer un endroit
Orff selon le contexte où nous sommes. Jiron (2010) croit que « les
caractéristiques de l’endroit sont l’ouverture, la perméabilité et il
est toujours en construction » (p. 129) et je suis sure que Carl Orff
et Gunild Keetman seraient d’accord.
Les thèmes phares de l’apprentissage fondé sur l’endroit incluent
l’interdépendance, la diversité interne et externe, l’appréciation de
la beauté, les questionnements, les relations, les connexions, la collaboration, l’effort collectif et la culture commune (Gruenewald &
Smith, 2014). L’endroit est une métaphore pour le sens plus large du
Orff Schulwerk qui dépasse la simple façon d’apprendre les outils
et éléments jusqu’à comprendre et explorer les thèmes phares de la
pédagogie sur l’éducation fondée sur l’endroit.
Le terme de ma présidence arrive à sa fin, et j’apprécie les connexions
solides à travers le pays, la collaboration entre les chapitres, les relations positives et nourrissantes, et les efforts collectifs des membres
de Carl Orff Canada. Je remercie particulièrement tous les membres
du conseil d’administration de COC qui ont contribué à rendre mon
endroit Orff gagnant, inspirant, soutenant et valorisant pour moi et
les autres enseignants du pays. J’ai hâte de continuer de siéger au
Conseil d’administration au titre de présidente sortante. Malgré le
fait que certains membres se retirent du conseil d’administration,
je sais qu’ils auront toujours une place spéciale dans l’endroit Orff;
ils prendront de nouveaux sentiers et nous nous ennuierons de les
avoir tout près de nous.
Un gros merci à la magnifique présidente sortante Cathy Bayley qui
a généreusement prodigué sa sagesse, direction et leadeurship ces
dernières années. Son travail au sein de COC a été bénéfique, elle
a d’ailleurs incorporé COC dans le nouvel acte d’organisme à but
non lucratif. Notre organisation ne serait pas pareille sans Cathy, ni
sans Eileen Stannard, notre trésorière nationale, que nous appelons
affectueusement notre « trésor national ». Merci Eileen pour votre
dévouement, votre travail exceptionnel et votre fiabilité pendant
toutes ces années. Nous sommes fiers de la qualité des records
financiers toujours impeccables, des rapports et planifications assurant une solide santé financière à Carl Orff Canada.
Merci à Catherine West, qui a siégé de nombreuses années au sein
du Conseil d’administration, elle laisse des traces dans nos cœurs
et esprits pour toujours. Catherine rime avec notre revue chérie,
Ostinato, et elle laisse un héritage riche et brillant de sa qualité
d’éditrice qui inspirera les générations du futur. Un gros merci à
Ruth Nichols, qui, à la demande des chapitres, a instauré l’inscription
en ligne. Ce travail est le résultat d’un défi de taille. Je remercie
notre archiviste sortante, Anne Tipler, qui a précieusement gardé
nos archives et les a déménagées dans un local permanent dans la
faculté de musique de l’Université du Manitoba.
Je remercie notre secrétaire Laurel Nikolai pour ses efforts et son
dévouement, je remercie également Tim Paetkau qui a assuré les
tâches de secrétaire par intérim. Les responsabilités du secrétariat
se sont agrandies cette année à cause de vidéoconférences pour les
réunions de différents comités et Tim a réussi tout ceci avec une
main de maître.
Le travail du conseil d’administration de COC s’est fait ensemble.
Je me sens privilégiée d’avoir partagé mon endroit Orff avec tous
les membres dévoués et vaillants du Conseil d’administration
national. Vous avez toute mon admiration et mon respect le plus
profond. Mon appréciation et admiration vont aussi au dévouement des membres des différents chapitres et de l’équipe incroyable du congrès national Ensemble 2014. Joignez-vous avec moi
pour féliciter Kristy Fiegehen, Françoise Grenier, James Jackson
et Charlotte Myers pour leur travail colossal à créer pour nous un
autre congrès national mémorable.
brer ses 40 ans. La partition est disponible sur le site COC. Cette
chanson et son magnifique choral The Blessed Art of Music ont
déjà été entendus dans beaucoup d’écoles du Canada.
En ce 40e anniversaire, la métaphore de l’endroit nous aide à repenser la vision et le futur de Carl Orff Canada. Comment le Orff
Schulwerk comme endroit peut-il soutenir ses membres et étudiants?
Comment devra-t-il changer et évoluer pour répondre aux éléments
qui le façonnent? Comment l’endroit Orff peut-il transformer et
améliorer nos vies?
Dans le livre Geographies of Rhythm : Nature, Place, Mobilities
and Bodies, Wunderlich (2010) observe ceci :
L’endroit est un milieu temporal dans lequel les
activités de tous les jours, les patrons spatiaux et les
cycles de la nature interagissent et s’orchestrent dans
de boules de rythmes expressifs. Ces rythmes sont
uniques dans les locations spécifiques… 2010, p. 45.
Merci de l’honneur d’avoir rempli la tâche de présidente de Carl
Orff Canada. Que les rythmes expressifs uniques au Orff Schulwerk
vous soutiennent et inspirent à tout jamais!
Références
Greenwood (formerly Gruenewald), D. (2009). Place, survivance and
white remembrance: A decolonizing challenge to rural education in mobile
modernity. Journal of Research in Rural Education, 24(10), 1-6.
Gruenewald, D., & Smith, G. (Eds.). (2014). Place-based education in the
global age: Local diversity. New York: Psychology Press.
Jiron, P. (2010). Repetition and difference: Rhythms and mobile placemaking in Santiago de Chile. In T. Edensor (Ed.), Geographies of rhythm:
Nature, place, mobilities and bodies (pp. 129-143). Surrey, England:
Ashgate.
Scully, A. (2012). Decolonization, reinhabitation and reconciliation: Aboriginal and place-based education. Canadian Journal of Environmental
Education, 17, 148-158.
Steele, F. (1981). The Sense of Place. Boston: CBI Publishing Company.
Wunderlich, F. M. (2010). The aesthetics of place-temporality in everyday
urban space: The case of Fitzroy Square. In T. Edensor (Ed.), Geographies of rhythm: Nature, place, mobilities and bodies (pp. 45-56). Surrey,
England: Ashgate.
Nos nouveaux livres souvenirs du 40e anniversaire sont tout
aussi extraordinaires et inspirants! L’album photo, dont ses textes
historiques témoignent de la richesse des sources, est le fruit du
travail de Joan Linklater et Morna-June Morrow (du chapitre du
Manitoba). Tous les chapitres du Canada voudront une copie dans
leur bibliothèque. Les bons de commande sont disponibles sur le
site COC, mais il faut faire vite, car les quantités sont limitées. Je
veux féliciter et remercier les auteures pour leurs efforts et le temps
mis à collectionner le matériel pour cet album.
Je suis ravie d’exprimer mon admiration et appréciation pour le
membre honorifique Bob de Freece pour sa magnifique chanson
Sing From Your Heart, qui a été commandée par COC pour céléVol. 40, No. 3, Spring 2014
7
Culturally Responsive Teaching in the Music Room:
Ideas and Takeaways for the Music Teacher
Kim Friesen Wiens
Over the last number of years, I have noticed
something missing from my music program. I
have had successes in developing lessons that
are creative and innovative for students as well
as producing successful performances with
students making music as the focus. At the end
of the day though, I would leave the classroom
wondering how I could make meaningful connections between me and the students. Was I
teaching material relevant to my students? Through research into
culturally responsive teaching, university courses and in-depth
discussions with music teachers, I have come to realize approaching
music teaching in a new direction would allow me to capitalize on
those areas that were missing, and in so doing engage students in
their learning and make meaningful connections with them.
Culturally Responsive Music Education
Culturally responsive teaching can be defined as using the cultural
knowledge, prior experiences, frames of reference, and performance
styles of ethnically diverse students to make learning encounters
more relevant to and effective for them. It teaches to and through
the strengths of these students. (Gay, 2010, p. 31)
Our classrooms are richly diverse places, filled with teachers,
students, and staff from a wide range of backgrounds. The music
of our students’ lives is extremely varied, and provides unique opportunities for student engagement in the music room. As teachers
we can recognize the various musical experiences of our students
and consider how we can draw on what our students know in the
lessons that we teach them. Culturally responsive teaching is an
excellent way to empower our students “to recognize that their
own cultural identities are valid, acknowledged and respected”
(Fitzpatrick, 2012, p. 54).
Personal Introspection
Teachers first carefully consider their personal music experiences,
beginning in their own childhoods. “The making of music strongly
reflects how it has been learned, and is informed by the particulars
of its transmission” (Campbell, 2004, p. 5). How music teachers experienced music through their formative years will greatly
impact how they teach music to their students. Teachers need to
consider their personal lens as they prepare to teach in a culturally
responsive way. “As music teachers, we bring to the classroom a
rich and multifaceted culture of our own, and we may unknowingly and incorrectly assume that the needs of our students are the
same as ours when we were students” (Fitzpatrick, 2012, p. 55).
By taking time to reflect on our musical upbringing, “we are in a
better position to think critically about the assumptions that we
might unconsciously make due to racial and ethnic differences”
(Fitzpatrick, 2012, p. 55).
Who Are The Students Coming To Music Class?
Culturally responsive music teachers “see and know their students
both as individuals and as members of extended social circles” (Abril,
2013, p. 8). Learning about, and acknowledging the families and
communities of students, will bring validation for the students as
8 Ostinato
they convey “their unique backgrounds, perspectives, knowledge
and skills” (p. 8) in the music room.
Culturally responsive music teachers learn about the students in
their music class and bring the lived musical experiences of their
students into class. By doing so, culturally responsive music teachers
establish “natural ties between in-school work and out-of-school
experiences as a means of decreasing the discontent that many
students feel between these two worlds” (Fitzpatrick, 2012, p. 56).
Student Learning, Critical thinking
“A successful music education program is one in which students
are motivated to learn and where they develop a positive, openminded attitude toward music, even if the materials, activities, and
information it provides are unfamiliar” (Chen-Hafteck, 2010, p. 42).
Giving students the opportunity to think critically about the music
that they are experiencing will enhance learning in music. Critical
thinking begins with providing occasions for students to participate
in, discuss, and ask questions about music from unfamiliar cultures.
By providing these experiences, music teachers are affording their
students the opportunity to develop an “understanding and appreciation of people” (p. 4) from unfamiliar cultures.
Curriculum content
Culturally responsive music teachers are more effective if they
consider the content of what they are teaching in conjunction with:
who they are; who their students are; and what happens musically in
the communities in which their students reside. “Music and materials should be selected with integrity and sensitivity…no matter the
style, genre, or tradition” (Abril, 2013, p. 9). It is the responsibility
of the music teacher to ensure that this occurs. Textbooks, teacher
resources, and other sources of music, be it print or digital, need
to checked and verified for accuracy. This can be accomplished by
using A Checklist for Evaluating Multicultural Materials created
by Judith Cook Tucker (1990). “While in the past 10 years the
ethnic and cultural content of these materials has improved greatly,
[culturally responsive] teachers must recognize the strengths and
weaknesses of this material and adapt it to improve its quality”
(Robinson, 2006, p. 42).
If culturally responsive music teachers reflect on what types of music
they want to explore with their students, then teachers can choose
materials that resonate with students to use in their classrooms.
Both Shaw (2012) and Abril (2013) offer several suggestions for
how music teachers can reach into the rich cultural heritage of
their students to make meaningful connections with music. Abril
proposes ideas such as students writing, blogging, reviewing or
drawing about their music experiences. Shaw (2012) indicates that
collecting information from questionnaires given to students and
their families can be effective tools for gaining insight into family
and community musical experiences. She also suggests, “teachers
can draw upon resources present in the community to learn music
directly from parents, students, and colleagues” (Shaw, 2012, p. 77).
Learning communities
“People of diverse cultures communicate, learn, and even define
the importance of learning in different ways” (Robinson, 2006, p.
44). Culturally responsive music teachers consider that the students
coming to the music room learn in a variety of ways. Chen-Hafteck
(2010) suggests that “in an interactive classroom where students
have opportunities to ask questions and voice their ideas, teachers
can find out whether students have understood what they have been
taught, and the children’s voices become the foundation for future
learning” (Chen-Hafteck, 2010, p. 47).
By giving students the opportunity to partner with the teacher and to
work together toward a common goal, students are empowered and
engaged, creating a successful learning environment. “Affording the
space for collaboration, discussion, questioning, and analyzing can
lead to a deepened understanding of the music and recognition that
interpretations of music are varied and fluid, dependent on context
and perspective” (Abril, 2013, p. 8). As well, this collaborative
approach can “further empower students by engaging them in the
role of social critic” (Shaw, 2012, p. 79).
By considering how the culture of the students impacts the curriculum
content and learning communities, culturally responsive teachers are
working towards a more culturally diverse music education program.
“In doing so, educators have the potential to make music programs
more relevant to the lives of their students” (Abril, 2009, p. 89)
World Musics
While on the surface it may seem that by including world musics in
teaching students, music educators are acting in a culturally responsive way. This may not be entirely the case; culturally responsive
teachers need to consider several factors such as ensuring that “each
piece/work should be set in cultural context, including the source,
when it is performed, by whom, circumstances, etc.” (Tucker, 1990)
when planning to teach world musics. “Multiculturalism has been a
recurrent theme in both general education and music education in
the United States for most of the twentieth century” (Volk, 1998,
p. 15). Canada has also followed this multicultural trend through
much of the twentieth century. “The movement, it must be noted,
has focused less on cultural diversity of the students and the communities from which they come,” (Campbell, 2002, p. 31) and more
on the novelty of singing songs from around the world. As teachers
strive to provide a culturally responsive education for all students,
teaching “to and through the strengths of these students” (Gay, 2010,
p. 31), teachers reflect and plan accordingly on how to properly
incorporate world musics into their music program.
By taking the principles of culturally responsive teaching, acknowledging who you and your students are, and approaching world
musics with careful consideration of the culture from which the
music comes, teachers can better connect and engage students in
their learning experiences.
Takeaways
In considering all the information that I have gathered on the subject of culturally responsive teaching in the music room, I see the
need to provide practical ideas, takeaways for me and other music
teachers to use with our students in order to make those meaningful
connections with them. While I have worked hard to create an indepth list, I recognize that these are just a few possible examples of
what music teachers can do; I know this list will evolve over time.
Who Am I?
1. Write out a brief synopsis of your musical experiences growing
up. Consider the similarities and differences between yourself
and your students. It is through this lens that we see, teach and
work with our students (Campbell, 2004; Fitzpatrick, 2012;
Gay, 2010).
2. Attend world music events and concerts in your area. By attending events for yourself, you can gain an appreciation and
understanding of different musical traditions (See Abril’s 2009
study).
Who Are My Students?
3. Find out who your students are and the role that music plays
in their lives outside of school. Send home a questionnaire for
families to fill in and return. You can make this as simple or
as complex as you would like (Shaw, 2012). Instead of, or in
addition to the questionnaires, take time in class to ask your
students to write, blog or share about their music experiences
at home or in their communities (Abril 2013).
4. Take a drive through the school community. Go to the local
library or the supermarket where the families of your students
shop. Be present in their community so you have a sense of what
your students’ experiences out of school are like (Fitzpatrick,
2012).
How Do I Engage With My Students, Their Families and
Communities?
5. From the information that you receive from your students and
families, actively seek out students, families or members of the
community to share with you about their music experiences.
Take time to meet, visit and hear their musical stories (Shaw,
2012).
6. Have students share their family musical stories with the class.
Make time to have students bring in instruments, songs, stories,
dances to share with classmates and possibly even teach to the
other students in the class (Shaw, 2012).
7. Invite family members or members of the community to come
and share with your students.
How Do I Think, Plan, and Respond to Cultural
Diversity In the Music Room?
8. When introducing songs from around the world, give students
time to ask questions and to share any knowledge they have
on the songs (Chen-Hafteck, 2010).
9. Take time to engage in dialogue with students. Look for similarities and differences between songs from different places.
Act as facilitator while the students engage in dialogue with
each other (Fitzpatrick, 2012).
10. Acknowledge the various celebrations of the students in your
class. Invite students to share musical experiences from these
celebrations. As a teacher, when you introduce a piece for a
particular celebration, provide time for students to share about
their celebrations and the music related to it.
11. Attend celebrations in the community. Possibly take pictures
and ask questions of people participating so that you can come
back to the classroom better informed on the events celebrated
by your students.
What Resources, Support Communities and
Professional Development Activities Do I Access?
12. Consider the pieces, songs and dances that you use in your
class. Do you have a variety of pieces that will engage your
students, including materials from other countries around the
9
world and that reflect the culture of the students in your class?
Collect resources that are rich with quality world music selections, such as those published by World Music Press (Abril,
2013; Gay, 2010; & Shaw, 2012).
13. Find ways to get the accurate pronunciation for songs from
other countries and sing them in their original language. Use
quality listening samples so that students can hear how the song
is supposed to sound (Abril, 2013; Shaw, 2012).
14. Bring in a variety of world instruments, international children’s
literature, posters and maps for students to see and use (Abril,
2013; Gay, 2010).
15. Have music listening examples that showcase quality music
from around the world. (Campbell, 2004; Shaw, 2012).
16. Use high quality DVDs, YouTube clips and other online sources
of music making in unfamiliar traditions as models for yourself
and your students.
17. Seek out other music teachers and engage in conversations with
them about their culturally diverse learners.
18. Look to the university for programs, courses or events related
to world music and/or culturally responsive teaching.
19. Attend workshops put on by local music organizations such as
Orff and Kodály associations.
20. Find out about music lending libraries through the school district,
Orff/ Kodály associations and the university, and go through
resources for help in finding repertoire that is relevant to the
students (Shaw, 2012).
Final Thoughts
As I conclude this article, I think about what prompted this investigation. Making meaningful connections and engaging students in their
learning are key principles to successful music education. Culturally
responsive music teachers start with personal introspection, looking
at who they are and how that differs from their students. Through
this lens, they begin to learn about their students’ musical experiences outside of school. The varied and unique music experiences
of their lives can be a driving force of classroom experiences. By
drawing on these experiences, culturally responsive teachers are
empowering their students and making connections with them.
Culturally responsive music teachers work to select music that is
authentic as well as engaging for the students. Through empowering,
engaging, and connecting with students in music, culturally responsive teachers “make music meaningful and useful in their [students]
lives” (Wade, 2009, p. 1).
References
Abril, C. R. (2013). Towards a more culturally responsive general music classroom. General Music Today, 27(6), 6-11. doi: 10.1177/1048371313478946
Abril, C. R. (2009). Responding to culture in the instrumental music programme: A teacher’s journey. Music Education Research, 11(1), 77-91.
doi:10.1080/14613800802699176
Campbell, P. S. (2002). Music education in a time of cultural transformation. Music Educators Journal, 89(1), 27-32. doi: 10:2307/3399881
Campbell, P. S. (2004). Teaching music globally: Experiencing music,
expressing culture. New York: Oxford University Press.
Chen-Hafteck, L. (2010). Discovering world music and children’s worlds:
Pedagogy responding to children’s learning needs. In A. Clements (Ed.),
Alternative approaches in music education: Case studies from the field (pp.
41-55). Maryland: Rowman & Littlefield Education.
10 Ostinato
Fitzpatrick, K. R. (2012). Cultural diversity and the formation of identity:
Our role as music teachers. Music Educators Journal, 98(4), 53-59. doi:
10.1177/0027432112442903
Gay, G. (2010). Culturally responsive teaching: Theory, research, and
practice. New York: Teachers College Press.
Robinson, K. M. (2006). White teacher, students of color: Culturally responsive pedagogy for elementary general music in communities of color.
In C. Frierson Campbell (Ed.), Teaching music in the urban classroom (pp.
35-53). Maryland: Rowman & Littlefield Education.
Shaw, J. (2012). The skin that we sing: Culturally responsive choral
music education. Music Educators Journal, 98(75), 75-81. doi:
10.1177/002743112443561
Tucker, J. C. (1990). A checklist for evaluating multicultural materials.
Retrieved on March 15, 2014 from www.worldmusicpress.com/wmp/
checklist.php
Volk, T. M. (1998). Music, education, and multiculturalism: Foundations
and principles. New York: Oxford University Press.
Wade, B. C. (2009). Thinking musically: Experiencing music, expressing
culture. New York: Oxford University Press.
Kim Friesen Wiens is on a leave of absence this year in order to
finish her Masters of Education. She has been focusing on culturally responsive teaching in the music room. She lives in Edmonton,
Alberta and works for Edmonton Public Schools where she teaches
music for students in grades one through six.
Coalition for Music
Education in Canada
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.
Coalition pour l’éducation
musicale au Canada
Cet organisme fournit des outils de
promotion, mène des recherches, fait
du lobbying auprès des gouvernements, fournit des conférenciers lors
d’événements et soutien annuellement « Le lundi de la musique »,
premier lundi de mai. Visitez le site
de la Coalition à www.weallneedmusic.com.
L’importance de la culture en éducation musicale
par Julie Gougeon
Introduction
À l’ère de la mondialisation, le Québec du XXIe siècle se transforme rapidement. Près du quart de la population montréalaise
est maintenant immigrante et cette réalité multiethnique se reflète
dans les écoles primaires de la métropole culturelle du Québec. Si
« la culture au sens large englobe la géographie et l›art de vivre
d›une société » (Gagnon, 2006), les enseignants de musique de la
formation générale doivent tenir compte de la pluriethnicité afin de
transmettre aux jeunes élèves montréalais des valeurs d›ouverture
et de respect envers la diversité.
Ainsi, en mettant en perspective les traditions musicales ayant forgé
l’héritage québécois et l’importance de la culture dans l’éducation
musicale, tentons, à la lumière des valeurs communes de notre
société, de répondre à la question suivante : « Considérant la réalité
multiethnique grandissante, que veut-on enseigner des musiques
populaires, dans les écoles primaires, pour assurer une éducation
musicale québécoise réussie? »
1. Les valeurs communes de la société québécoise
D’un point de vue officiel, les candidats à l’immigration permanente
au Québec doivent, en plus de reconnaître l’usage officiel du français
dans le domaine public, accepter d’adhérer aux six valeurs communes
de la société québécoise. Vous les trouverez énumérées sur le site
(Gouvernement du Québec) donné en référence à la fin de l’article.
Dans la mesure où l’enseignant est un médiateur cultivé, il doit
sélectionner personnellement les valeurs qu›il juge pertinentes à
transmettre aux jeunes générations. Le répertoire présenté viendra
vraisemblablement nourrir l›esprit des élèves qui s›ouvrent à une
culture musicale différente de l›environnement familial.
2. Trois traditions musicales ayant forgé l’héritage québécois, ayant 19601
2.1 La tradition musicale française
En tant qu’ancienne colonie du Royaume de France, la tradition
musicale française a fortement influencé la musique québécoise. En
France, on magnifie le soliste afin de laisser une grande place à la
parole et au chant. L’expression dramatique du chanteur est mise à
l’avant-plan, tout comme la valeur poétique du texte. Pour ne nommer
que ceux-là, la chanson française a fait briller : Barbara, Georges
Brassens, Jacques Brel, Juliette Gréco, Édith Piaf et Boris Vian.
Au Québec, on peut remarquer l’importance accordée aux textes
poétiques grâce à l’apparition des boîtes à chansons, ces « lieux
susceptibles (...) d›accueillir la chanson à texte et la parole intimiste
(des chansonniers) » (Surmont, 2010). Claude Léveillée et son ami
Gilles Vigneault ayant été des ambassadeurs des boîtes à chansons
québécoises, un enseignant peut considérer d›enseigner « Le procès
de la petite souris » (Léveillée) et la « Petite berceuse du temps de
la colonie » (Vigneault), car elles sont associées, respectivement, à
la société libre, à l›exercice des droits dans le respect et à la société
pluraliste québécoise.
L›enseignement de la chanson à texte peut aussi se traduire par
l›apprentissage de chansons dont les paroles sont signées de poètes
Je me suis inspirée des propos de Stéphane Aubin, professeur à
l’Université du Québec à Montréal, afin de définir les 3 traditions
musicales aux sources de l’héritage québécois.
1
québécois. Gaston Miron, poète emblématique du Québec, est définitivement une figure marquante qu›il faut introduire aux jeunes
élèves. Cependant, la plupart de ses poèmes ont une connotation...
sensuelle et il est difficile d›en trouver un qui soit adapté aux jeunes
oreilles. « Mon bel amour », chanté avec charme et délicatesse par
Chloé Sainte-Marie, s›inscrit dans les rares poèmes de Miron où je
vois la possibilité de faire chanter les enfants, tout en en étudiant
le texte, avec eux.
De plus, rien n›empêche le professeur de choisir lesdits poèmes
en fonction d›un champ lexical écologiste, l›idée étant de « rendre
accessible et significatif pour l›enfant le texte chansonnier dans un
cadre éducatif à fois formel et informel » (Surmont, 2010).
Afin de mettre en perspective le phénomène des coupes forestières du XXe siècle (élan destructeur d›ailleurs décrié par Richard
Desjardins dans son film documentaire « L›erreur boréale ») un
enseignant averti pourrait présenter la chanson traduite en français
et comiquement interprétée par le duo composé de Paul Daraîche et
de Richard Desjardins, « The Lumberjack » afin de faire découvrir à
l’élève la littérature musicale en lien avec le climat et les ressources
de la nature québécoise. La turlute, cet air chanté en prononçant
rapidement une suite de syllabes sans signification, est répandue
dans le répertoire traditionnel de la chanson québécoise. Il ne suffit
que de penser à Mary Travers, alias La Bolduc pour se le rappeler.
Ici, c’est un Gaspésien et un Abitibien qui racontent, en turlutant,
la vie d’un bûcheron du XXe siècle.
2.2 La tradition musicale « celtique » (Irlande et Îles
Britanniques)
La tradition musicale « celtique » (comprenant l›Irlande et les îles
britanniques) touche aussi à la culture québécoise. Les violoneux
des villages québécois sont non sans rappeler les fiddlers irlandais.
Ainsi, il serait pertinent de présenter aux élèves une écoute comparative des styles classiques et traditionnels telle que le suggère
l’œuvre, d’André Gagnon, intitulée « Petit concerto pour Carignan
et orchestre ». Dans cette pièce instrumentale, le jeu de Ti-Jean
Carignan, le violoneux le plus renommé du Québec, se superpose
merveilleusement au jeu plus classique de l’ensemble à cordes.
Le son particulier des violoneux pourrait aussi être discuté dans
une situation d’apprentissage et d’évaluation mettant en scène une
chorégraphie de la pièce « Le sirop d’érable » du Rêve du diable.
« Notre parlure pas très propre » (comme disait Michèle Lalonde
dans son poème « Speak White ») est ici merveilleusement bien
mise en chanson par Le Rêve du Diable, dont l’album éponyme
résonne dans tant de foyers québécois à la veille du Jour de l’An.
Les chants de huards figurant au récitatif instrumental de la chanson
sont d’ailleurs représentatifs de l’ambiance sonore particulière aux
lacs qui baignent les domaines des érablières québécoises.
Aussi, il est aisé d’imaginer la planification d’une SAÉ qui ferait
apprécier aux élèves la merveilleuse narration d’Albert Millaire
décrivant le cycle des quatre saisons (YouTube : Jean Cousineau)
en accompagnement de l›ensemble des Petits Violons dans la
magnifique « Suite québécoise » de Jean Cousineau.
2.3 La tradition musicale anglo-américaine
La dernière des trois grandes influences musicales ayant influencé la
musique québécoise est celle de nos voisins, les anglo-américains.
11
Le Québec, en héritier musical multiculturel, demeure tout de même
critique des enjeux liés à la sauvegarde de la langue française. Malgré
qu’il accepte l’intégration du joual dans l’écriture des paroles, la
reprise de succès américains par des groupes québécois en langue
française (exemple : les Baronets) représente le « mouvement de
résistance à la mainmise de l’anglais sur la chanson commerciale
» (Surmont, 2010). Ainsi, le joual bien représenté par la chanson «
Mon pays ce n’est pas un pays, c’est une job » (signée par Réjean
Ducharme et chanté par Robert Charlebois) est représentative d’une
réalité historique touchant la classe sociale ouvrière francophone,
ayant été en proie à la domination financière anglophone (je me
suis permis de glisser, ici, une chanson qui ne serait pas présentée
aux cycles de l’école primaire, mais secondaire).
Un peuple francophone apparenté aux Québécois a aussi été touché de près par l’influence culturelle anglo-américaine. Encore
aujourd’hui, les Acadiens demeurent un peuple à l’accent teinté
du déracinement qu’on leur a fait subir. Souvent actifs sur la scène
musicale québécoise (exemples : Marie-Jo Thério et Lisa Leblanc),
je crois qu›il est important de présenter le contexte sociohistorique
et linguistique du peuple acadien aux élèves de l›école primaire.
Pour bien représenter le conflit identitaire propre au peuple acadien,
on peut leur faire travailler la chanson de Zachary Richard (né en
1950, en Louisiane) « Orignal ou caribou » qui a, fait intéressant,
été coécrite avec un Innu du Québec, Florent Vollant, et son petitfils, Émile Culin. D›ailleurs, Zachary Richard dit que cette chanson
est la plus autobiographique de toute son œuvre considérant la crise
identitaire évoquée par les paroles.
3. L’importance de la culture dans l’éducation
musicale
À « une œuvre est d›autant plus haute qu›elle fait entrer en résonnance
plus de cordes de l›âme humaine » (Jdanov, 1948), nous pourrions
ajouter qu›une œuvre est d›autant plus haute qu›elle est critique des
enjeux sociaux et environnementaux de son époque. En effet, en
plus de choisir le répertoire en fonction des qualités de la langue
française, de privilégier des œuvres musicales où l›écologie est la
valeur dominante est pertinent, car « le mot culture renvoie (...) au
sens de culture et d›entretien de la nature en vue de la rendre propre
à l›habitation humaine » (Arendt, 1972). La science et la conscience
écologiques peuvent effectivement être considérées comme étant
les premières réconciliatrices des habitants d›un territoire, toutes
ethnies confondues. L›enseignant est libre de choisir soigneusement un répertoire (appuyé par le domaine général de formation
Environnement et consommation du Programme de formation de
l’école québécoise) qui favorisera l’éveil des consciences, ouvrant
ainsi les élèves à la nécessité de soutenir l’équilibre naturel par une
saine gestion des ressources naturelles.
Claude Debussy n’a-t-il pas écrit : « Ce qu›il faut faire, c›est découvrir les principales impulsions qui ont donné naissance aux œuvres
d›art et le principe vivant qui les constitue » (Debussy, 1914)? La
musique étant le miroir des mœurs de la société dans laquelle elle
a été composée, la musique populaire est une marque critique de
l›histoire des époques et des épreuves traversées.
Conclusion
Pour conclure, nous pouvons affirmer que l’éducation musicale
des jeunes élèves doit être méticuleusement truffée de références
culturelles afin de les amener à devenir un auditoire de qualité
pour les compositeurs d’hier et d’aujourd’hui. De faire connaître la
12 Ostinato
musique populaire et folklorique est ainsi un moyen d’en apprendre
un peu plus sur l’évolution de la pensée et de l’humanité, dans le
cadre d’une société aux valeurs communes définies.
« L’art et la pensée (...) sont la substance même de
la culture générale. L’éducation ne consiste pas à
faire aux enfants des sermons qui vont contre leurs
instincts et leurs plaisirs; elle consiste à assurer une
continuité naturelle entre ce qu’ils ressentent et ce
qu’ils peuvent ou doivent être » (Bloom, 1987).
Bibliographie et médiagraphie :
Arendt, H. (1972). La crise de la culture : 8 exercices de pensées politiques.
Paris: Gallimard.
Bloom, A. (1987). L’âme désarmée. Essai sur le déclin de la culture générale.
Montréal: Guérin Littérature.
Debussy, C. (1914). Une appréciation sur la musique contemporaine.
Interview par M.D. Calvocoressi. Philadelphie: The Etude.
Gagnon, J. et Jasmin P. (2006). Notes d’espoir d’un « joueur de piano ».
Montréal: Triptyque.
Gouvernement du Québec. (s.d.). Consulté le 7 décembre 2013, sur Ministère de l’Immigration et des Communautés culturelles: www.immigrationquebec.gouv.qc.ca/publications/fr/dcs/A-0520-CF-dyn.pdf
Jdanov, A. (1948). Sur la musique - extraits du discours à la rencontre sur
la culture. Moscou, U.R.S.S.
Surmont, J.-N. D. (2010). La poésie vocale et la chanson québécoise.
Québec: Les éditions de L’instant même.
Youtube : Jean Cousineau. (s.d.). Consulté le 7 décembre 2013, sur Youtube
: Jean Cousineau Les Petits Violons (Suite québécoise): www.youtube.com/
watch?v=Lazo_vy4EmM
Julie Gougeon est une étudiante en enseignement de la musique
UQAM, et un membre du conseil d’administration Orff Québec.
Vous êtes francophone ?
Le chapitre Orff-Québec veut
être en contact
avec vous !
Écrivez-nous à
[email protected]
“Donkey Riding”: Unlikely Transportation towards
Ellen Dissanayake and Carl Orff
Karin Johnson
“The profound emotional and transformative
powers of music in human experience are testament
to its antiquity and importance in our species.” 1
A few weeks ago I participated in my school district’s “Primary
Days of Music.” Every year in Burnaby, schools are invited to
participate in this choral festival for all Grade 2 and 3 students. We
learn eight common songs and then an additional two are chosen
by each school and sung on their own. We gather on a morning or
afternoon before spring break, 4 or 5 schools at a time, in the gym of
one of the participating schools and sing for about an hour straight.
This tradition has been going on in Burnaby for over 30 years.
Ten songs is a lot of mostly English lyrics for my mostly ESL students
to learn. But the joy that they get from singing, mastering the songs
and sharing music with all the other children has convinced me to
continue participating in this event. There have been many moments
that have reinforced the value of learning this body of music, mostly
folk songs from Canada and around the world. One that stands out
in particular this year was when I introduced “Donkey Riding.” This
song had not been on the roster for many years. I started by asking
if anyone knew it and was met with a sea of blank stares. And yet
within the first verse and chorus, they were all hooked, singing in
full voice as though this were an old favourite.
My students come from all over the world. They are refugees and
new immigrants who speak, at last count, over 40 different languages.
Some came to Canada several years ago, a few were born here and
some came last month. I don’t think there is one among them from
the Maritimes, where this sea shanty seems to originate. Yet they
clearly sing this song as their own. I cannot explain this phenomenon
in any way other than that “Donkey Riding” speaks to my students
in some fundamental way. It has qualities and characteristics that
they immediately recognize and respond to. I did not have to teach
this song, it taught itself.
I think it’s safe to say that we have all had these kinds of experiences
in our Music classrooms. One of my favourite writer/researchers
in Arts Education, Ellen Dissanayake, says that we are born to participate in the arts. In her article “In the Beginning: Pleistocene and
Infant Aesthetics and Twenty-First Century Education in the Arts,”
Dissanayake defines five aspects of mother/infant interactions her
research shows are universal. She says that within the verbal and
non-verbal communication of mother and child are common components of repetition, formalization (patterning or simplification),
dynamic variation, exaggeration and manipulation of expectation
(surprise). “It is important to realize that adults do not teach babies
to respond to the altered and unusual vocal, visual, and kinesic
(gestural) features that we use with them in early interactions.
Rather, infants teach us to do these things. With their wriggles and
smiles at the features they like best, they reward us so that we want
to keep entertaining them. … It can in fact be said that babies are
born wanting not only interaction but specific kinds of interactions,
or—indeed—specific “operations” performed by their partners…
Notably, these five operations are used by artists in any medium with
effects similar to those achieved by mothers: they attract attention
and create, mold, and sustain emotion.”2
My students’ response to “Donkey Riding” reminded me of how
strong the impulse to engage in art can be. Beyond this particular
song, choral singing in general has a draw for artists of all ages. Dissanayake suggests that the same operations which help to establish the
bond between parent and child are also involved in binding groups
of people together. She describes how during the Pleistocene era,
that is almost all of human history, we lived in “societies of intimates,”3 where small groups of people are dependent on each other
for survival and “binding cooperative relationships are encouraged,
coordinated, and reinforced through frequent rites or ceremonies.”4
It is Dissanayake’s hypothesis that, especially in times of stress
(famine, death etc.) but also for the purposes of entertainment, art
was created using the previously described operations, and engaged
in through ceremonies to fulfill specific needs of individuals and
communities.
I think about what needs singing “Donkey Riding,” actions included
of course, is meeting for my students. Although they don’t all share
one particular stress, many of my students face a variety of challenges including hunger and general instability of their families. It
seems ridiculous to suggest that singing this jovial song from long
ago could help them cope with such serious issues, and yet in some
ways, it may well do just that.
Perhaps our singing of “Donkey Riding” hits all the key operations
for artists of the 7 to 9 year age range or maybe it comprises aspects
that Orff would describe as “elemental.” It is interesting to compare
the operations of mother/infant communication as well as the role
of ceremonies that Dissanayake outlines, with Orff’s explanation
of “elemental,” a key aspect of his approach to teaching music. In
defining “elemental,” Orff says: “What is elemental? The Latin term
“elementarius” means “belonging to the elements,” to the origins, the
beginnings, appropriate to first principles.” Further, what is elemental
music? [It] is never music alone; it is bound together with movement, dance and speech; it is a music that one must make himself,
into which one is drawn in not as listener, but as participant. It is
unsophisticated, knows no large forms or grand structures; instead
it consists of small series forms, ostinatos, and small rondo forms.
Elemental music is near the earth, natural, physical, to be learned
and experienced by everyone, suitable to the child.”5
Dissanayake’s research seems to prove Orff’s notion that there are
artistic structures that come from our “beginnings.” Orff’s inclusion of various components in his definition of “elemental,” (music,
movement, dance and speech), directly reflect Dissanayake’s description of the vocal, visual and kinesic aspects of mother/infant
communication. In particular, Orff mentions “small series forms,
ostinatos and rondo forms” which are examples of the repetition
and patterning that Dissanayake defines. And Orff’s idea that this
is music “to be learned and experienced by everyone” is also key to
Dissanayake’s explanation of the place and role of arts in societies
of intimates. I don’t know that Dissanayake ever met Carl Orff, but
I think they would have had a great deal to talk about.
In the concluding parts of her article, Dissanayake goes on to explore
widely accepted human emotional needs and how they are met by
engagement in the arts. She says: “Although modern humans do not
live in a Pleistocene environment, the emotional needs that evolved
13
as part of Pleistocene psychobiology continue to affect our lives.
Five fundamental psychological needs seem to have been well satisfied in life as it was lived in societies of intimates and particularly
so in their art-filled ceremonies. In modern societies, these needs
may not be so well satisfied and can therefore become a source of
personal suffering and social dysfunction.”6 The basic emotional
needs Dissanayake discusses are mutuality (emotional connection
with another person), belonging, competence and meaning. In
addition Dissanayake proposes another need, that of “artifying”
or what she has referred to in other writings as “making special.”7
Those innate communication proclivities provide us with the tools
to participate in group activities like ceremonies, satisfying our
first four emotional needs, but they also express a need in and of
themselves: “making and responding to the arts.”8
Ellen Dissanayake evidences that we are both born to be artists
and have specific needs that can only be met by engaging in
artistic activities. It seems to me simply a matter of opportunity
as to whether or not that side of our humanity is developed. My
students’ enjoyment of Primary Days of Music caused me to think
about how fortunate they are to attend school where such experiences are possible, and also lead me to wonder where else in their
lives they have the chance to explore art and their own creativity.
Some of the families in my school community come from places
where culture is still practiced by all members of society and they
continue to participate in cultural activities here in Canada. This
stands in stark contrast with current mainstream North America,
where culture is mostly practiced by professional artists or requires
only passive observation of the masses. For my students who don’t
sing, dance or do other art forms at home, the Music Room is one of
the few places for them to engage in these things that Dissanayake
has shown to be integral to our nature.
Vol. 2 (2007). Retrieved from http://ellendissanayake.com/publications/
pdf/EllenDissanayake_HandbookEducResArtsRev.pdf
Givón, T. & Young, P. “Cooperation and interpersonal manipulation in
the society of intimates.” In M. Chibatani (Ed.), The grammar of causation
and interpersonal manipulation, Amsterdam: John Benjamins, 2002, pg
23 –56. As quoted in Dissanayake, “In the Beginning”, pg 2.
3
4
Dissanayake, “In the Beginning”, pg 3.
Orff, Carl. “Orff-Schulwerk: Past and future.” Orff Institute Yearbook,
1973. Reprinted as Orff Echo Supplement, Cleveland: American OrffSchulwerk Association. Retrieved from www.allianceamm.org/resources_elem_Orff.html
5
6
Dissanayake, Ellen. Homo Aestheticus: Where Art Comes From and
Why. Seattle: University of Washington Press, 1995, pg. 39.
7
8
The white pines of the Canadian Northern Shield provided the
pit-props for coal mines and the masts for sailing vessels which
jointly fueled the great engine which was the British Empire. The
‘donkey’ refers to a small crane which was used to load logs into the
holds of these ships. The “Horn” is Cape Horn at the tip of South
America, one of the most storm-ridden and miserable passages for
any sailing vessel – not exactly “fine and warm”. Cardiff Bay is in
Wales – after a long sea voyage, sailor John was ready to live large
back at home with his three-months’ pay, at least until he ran out
of money. This version of the song comes from Edith Fowke, Ed.,
Folk Songs of Canada¸ Vol, I, p. 38. [Ed.]
Rereading words of Ellen Dissanayake leads me to question
whether or not I am providing my students with the opportunities
necessary for their creative and social/emotional development. I
know school is only one part of children’s lives but I think about
how I can refine what we do together towards better meeting their
needs. Fortunately Orff understood these needs and my training in
Orff Schulwerk has set me in good stead. But there is always more
that I can do to broaden my understanding of Orff and develop
my skills as a teacher so that my students might have richer and
deeper experiences. Making connections to thinkers such as Ellen
Dissanayake provides me with new perspectives on Orff’s teachings and particular points to consider while evolving my practice.
My students engagement in singing “Donkey Riding” seems much
more complex and at the same time still very simple. This song is
not my own personal favourite, and I don’t know that Orff would
have considered it “elemental” but my students’ exuberant response
to it inspired a deeper look into where that joy comes from. Riding
a donkey may be an unlikely form of transportation to the likes of
Ellen Dissanayake and Carl Orff, and yet it has proved reliable for
quite a few travelers in the past - so why not?
References
Dissanayake, Ellen. “An Ethological View of Music and Its Relevance
to Music Therapy.” Nordic Journal of Music Therapy, Jan. 2001. Web.
28 Oct. 2012.
1
Dissanayake, Ellen. “In the Beginning: Pleistocene and Infant Aesthetics and Twenty-First Century Education in the Arts.” International
Handbook of Research in Arts Education, ed. Liora Bressler, Chapter 53,
2
14 Ostinato
Advertising in Ostinato
For rates, specs and timelines
please contact our Industry
Representative,Tammy Stinson,
[email protected]
Your students will be interested to learn more about the steam donkey engines celebrated in this famous song. Do go on line to find out
more – one useful site amongst many is www.mendorailhistory.org/1_logging/steam_donkeys.htm. [Ed.]
Did You Know?
You can find up-to-date information
about Orff workshops and Levels
courses across Canada on www.
orffcanada.ca.
15
Saskatchewan Orff Chapter: Children’s Day
and Cultural Awareness
Marilyn Dyck
I have often reflected on how fortunate I am to be an Arts Education teacher. I have the privilege of participating with children as
they create and express themselves through drama, art, music and
dance. I have also discovered that the Arts are a perfect way to learn
about other cultures. As Canada’s cultural landscape continues to
change, the Arts offer understanding of other cultural groups through
investigation of their legends, music and dance. This is where the
Orff process excels!
Sita’s rescue. They selected instruments with just the right timbre
for sound effects of the shadow puppet characters in the drama. Orff
instruments were used to create a musical sound carpet for the entire
story. At the beginning of the day the children experienced all three
workshops including dance, drama and music. They then selected
one part to master and rehearse as a large group, connecting all three
parts together for the performance. Parents and grandparents were
then treated to a wonderful performance of the story of Ramayana
when they returned at the end of the day.
Several students from the school where I teach attended this event.
At the end of the day they were tired but their comments regarding
the day were all positive. They were looking forward to sharing all
the details with classmates on Monday morning! Their parents were
impressed with the final performance and expressed gratitude for
the opportunity their children had to learn about other cultures in
such a creative manner.
Shadow puppets tell the story of Rama and Sita aiding a wounded deer
while banished to the forest by their evil step mother.
Every other year the Saskatchewan Orff Chapter arranges a day for
children in Grades 4 – 6 to participate in a day of activities using
music, dance and drama to perform a story or legend. This year
the story was Ramayana, the Hindu legend of Diwali. As children
walked through the story of Rama and Sita, they learned about the
love this couple shared for each other and their ability to overcome
adversity. When an evil spell is cast upon Sita, Rama comes to her
rescue. The villagers honour their King and Queen upon their return
with a festival of lights which is now known as Diwali.
Throughout the day students listened to the music of India and
created a dance to tell the story of the monkey army that helped in
From My Side of the Desk
Moira Milne
As I pack up my half-eaten lunch, I can hear strains of Beethoven,
French folk songs, minor modes and even O Canada emanating from
my classroom. I trudge down the hall, wondering how I managed to
eliminate all of my down time for last two months. My pink fluorescent bin of wool and ribbon is still tipped over on my desk from
the last round of “belt” tests. Lined up behind the honorary purple
music stand are approximately 20 boys and girls of all makes and
models, waiting for their turn for their next “belt” level.
A requirement of Alberta Education classroom music curriculum
(try to say that five times in a row) is to teach these impressionable
young minds to play a variety of instruments. I choose the recorder,
primarily because I can manage to play it! By pirating an idea of
16 Ostinato
Dance of the monkey army who rescue Sita from Ravana, the ten-headed
demon.
Children’s Day was held at Elsie Mironuck School, Regina, SK,
March 15, 2014. Marilyn Dyck is an Arts Education teacher at an
elementary school in Regina, Saskatchewan. She has been part of
the Saskatchewan Carl Orff Chapter executive since 2009. “belts”, I’ve created 100 wannabe musicians overblowing into their
$4 recorder with as much enthusiasm as if they were performing
on stage with the Arrogant Worms. Every recess (15 minutes in the
morning and 30 minutes at lunch) I have droves of students wanting
to show me their expertise in recorder playing.
So as I eyeball a length of wool to tie around a tenor recorder (which
is about 75 cm long, so needs more wool than the soprano) I smile
encouragingly at the next 10-year-old boy rockin’ out on “Hush
Little Baby” and dutifully hand over his blue belt.
Moira Milne is a music teacher and mother of 4 and is thrilled to
have a school full of aspiring musicians. She teaches classroom
music to students from Kindergarten to Grade 5 at Annie L. Gaetz
School, Red Deer, Alberta.
Infusing World Music Pedagogy in our Classrooms
Kerri Kenwell
Globalization and cultural diversity are key components of current
curriculum trends focusing on 21st century learners. Our society is
increasingly becoming more culturally diverse, as people continue
to immigrate to Canada each year. In twenty years from now, our
students currently entering Kindergarten will see a greater increase
of culturally diverse people as they enter the work force (Alberta
Education, 2010). How will educators prepare our students to be
accepting, tolerant and respectful of cultural differences, languages
and attitudes in the future? The infusion of world music in our
classroom is a great starting point, but can prove to be a daunting
task for music teachers, if not equipped with the proper tools and
information to proceed.
World music education is a pedagogy that brings music of various
cultures into the classroom, with a focus on maintaining authentic
transmission of the music in the way that the people of a particular
culture would learn it, and live it. It supports the increasingly diverse
student population in our school system, and allows children to
develop an awareness of, sensitivity to and tolerance for cultural
differences. Furthermore, world music pedagogy not only teaches
children that there are many different but equally valid forms of
cultural expression in the world (Anderson & Campbell, 2010),
but also opens our minds to accepting the cultural differences that
surround us.
Knowing how to transmit contextual information of a culture, so
that lessons are authentic and meaningful experiences for students
is crucial. World music pedagogy reframes the teacher’s traditional
role as the main knowledge authority, into one of a facilitator. Utilizing the expertise of a culture bearer to teach our students, such
as people from our neighboring communities, our families, postsecondary institutions or people we meet in our travels, is one way
to ensure accuracy in the teaching of world music. Researching a
culture’s traditions, history, political and social issues are ways in
which educators can bring a wealth of contextual information to
student’s learning through world music.
Over the past four years, I’ve had the journey of a lifetime as I’ve
immersed myself in becoming a world music educator. I have spent
time seeking out reliable resources and pedagogical knowledge to
create world music lessons for my students. Working with ethnomusicologists, culture bearers and musicians from various cultures,
and by taking world music courses and workshops, I have begun
to create a repertoire of world music lessons, authenticate multimedia resources and make connections with human resources in
my community. All of these resources have facilitated a paradigm
shift in my teaching, after so many years of being an elementary
music specialist.
My journey with world music began when I took my first graduate
level course in my Masters in Education program at the University
of Alberta, with Dr. Kathy Robinson. I had developed a keen interest
in learning how to infuse world music traditions in my teaching,
and how I could translate that into meaningful lessons in my K-6
music classroom. Since that first course, I’ve continued to seek out
experiences and additional coursework that is centered on infusing world music in the classroom, so that my students would also
benefit from the rich experiences world music education has to offer.
I have always made it a professional goal to make cross-curricular
connections in my teaching where possible, and have realized that
teaching world music is a wonderful way to help students make
meaningful connections to other subjects they study in school. I
was able to further develop this professional goal, when I took the
Smithsonian Folkways Certification Course in World Music Pedagogy at the University of Washington, in the summer of 2013. This
course was offered in conjunction with the Smithsonian Folkways,
an organization founded in 1948 by Moses Asch whose purpose
was to document “people’s music,” spoken word, instruction, and
sounds from around the world. The Smithsonian Folkways has
an amazing website that acts as a reliable resource when teaching
world music.
Listening and viewing are enhanced by extensive
documentation, indexing and search capabilities,
including in-depth features in the online Smithsonian
Folkways Magazine and educational resources in
the Tools for Teaching section of www.folkways.
si.edu. Smithsonian Folkways offers downloads and
streaming video, tools for teaching, in-depth features,
and institutional subscriptions (via Alexander Street
Press) to Music Online/Smithsonian Global Sound®
for Libraries. The initiative provides unparalleled
accessibility to less-often heard voices of people from
all over the world. Smithsonian Folkways will continue
to partner with other audio archives worldwide to
increase global, digital access. (Smithsonian Folkways)
In addition to the above features, each album on the website contains
liner notes; some provide contextual information about the artists,
historical information, text translations, and/or dance & movement
notes. The website also includes interactive videos that are great
teaching resources, as well as free lesson plans using materials that
can be found on the website. This has been an invaluable resource
when I am looking for new materials for my lessons. Knowing
that all of the albums on the Smithsonian Folkways website were
recorded and collected from people in communities worldwide,
makes me confident that I am ensuring the use of authentic recordings in my teaching.
During my time at the Smithsonian Folkways Certification Course
in World Music Pedagogy, not only did I develop a further, in-depth
understanding of how to incorporate world music into my classroom,
this opportunity gave me a chance to build new relationships with
other educators around the world, all with a common interest in
exploring music of various cultures. I met a representative from
the Smithsonian Folkways Institute, created new lessons for my
classroom, received new teaching resources, published a lesson
on the Smithsonian Folkways website, and connected with local
musicians from the university, visiting scholars, and community
members. The culture bearers that we had the privilege to work with
confirmed that there are people in our immediate communities we
can count on to bring world music to our students. The highlight
of this workshop was meeting and working with world-renowned
World Music Educator Dr. Patricia Shehan Campbell. Prior to this
workshop, I had only read about Dr. Campbell’s world music pedagogy and expertise in bringing world music to students. Listening
to the wealth of information that she and all the other professors,
17
culture bearers and participants had to offer during this one week
class was such an enriching experience. This certification course
confirmed my desire to continue on my journey as a world music
educator. The most valuable take-away from this course was a
teaching model that Dr. Campbell presented to us from her book
Teaching Music Globally (Campbell, 2004). The Five Step Model to
World Music Pedagogy has become the framework for the majority
of my world music lessons. This model ensures that students are
engaged fully in experiencing world music and also ensures that
contextual information is included, so as to help the children make
meaning of the music they are learning and to develop a comprehensive understanding of the culture, its people and history. The
steps listed in this model do not need to be followed sequentially,
but used rather as a framework for listening activities that provide
structure to world music lessons.
Five Step Model to World Music
Pedagogy (Campbell, 2004)
•
•
Step Four: Integrating World Music
When [students] study issues surrounding the creation
and performance of music, and consider music as cultural
thought and behavior, they can be adding layers of meaning
to the sonic experience. (Campbell, 2004, pg. 214).
•
•
People make music meaningful and useful in their
lives when they are at liberty to express themselves
in original ways. (Campbell, 2004, pg. 191)
Creating world music based on multiple listening experiences
gives students another opportunity to develop a deeper understanding and appreciation for the role of music in people’s lives.
The process of creating world music is the ultimate measure
of a student’s musical understanding.
•
•
•
The lesson plan that I submitted to the Smithsonian Folkways
website during the certification course was based on this model and
included four lessons introducing the music of India to students
in grades 3-6. I chose to represent this country as a means to meet
my professional goal of making cross-curricular connections for
my grade three students, because they study about India in Social
Studies. Below, is the first of four lessons that I wrote utilizing
the Five Step Model of World Music Pedagogy. The objectives for
these lessons were to teach children about the music of India with a
focus on introductory terminology, elemental concepts, and instrument identification through various singing, listening and playing
opportunities. (Step five of the model “Creating World Music” is
not represented until lesson 4 and the appendix listed in the lesson
has not been included.)
Is this music sung in English?
What part of the world do you think this music might
be from?
What kind of instruments do you hear?
What is the form of the song?
Step Two: Learning through Engaged Listening
We teachers who can provide multiple means for musically
involving our students will succeed in developing their
understanding of the music which people make meaningful
and useful in their lives. (Campbell, 2004, pg. 91)
Engaged listening is the active participation of the listener
while the recorded or live music is sounding. (Campbell,
2004, pg. 91)
•
•
•
Play the rhythm of a musical passage or play the beat
on a non-pitched percussion instrument while listening
to the recording.
Sing along – without the use of notation in order to pay
close attention to the nuances of musical elements and
timbre qualities of the culture.
Learn a movement sequence or basic dance step from
the culture and move along with the recording.
Step Three: Performance as Enactive Listening
The goal of Enactive Listening…is to utilize
listening as the guide to stylistically appropriate
performance. (Campbell, 2004, pg. 126)
•
•
Students listen for specific elements in the music – listening
without doing anything else
•
•
•
Incorporating contextual information such as geographical,
social, political, historical or gender issues in the lessons help
students develop a deeper appreciation for, awareness of and
sensitivity to the culture and the people.
Step Five: Creating World Music
Step One: Learning through Attentive Listening
For teachers who hope to develop the musicianship
of our elementary and secondary school students, it is
worth noting that the more involved they become in the
listening process, the more enriched and complete their
musical understanding can be. (Campbell, 2004, pg. 54)
Previous listening opportunities at this stage have given students an opportunity to approximate the timbre qualities that
the music possesses.
Recording students singing without the music sounding, for
example, will allow them to examine how closely they were
able to emulate the style of the music being studied.
Doing without listening – recreating an aspect of the music
18 Ostinato
Incorporating the Five Step Model
Based on the lesson: Gateway Experiences in the Music of North
India (Smithsonian Folkways) By Kerri Kenwell
Lesson 1: Identifying Instruments in India
Attentive Listening:
•
•
•
Play the following excerpt “Pahan Chunariya” for the students:
Track #202: www.folkways.si.edu/balakrishna-oftravancore/ragas-songs-of-india/world/music/album/
smithsonian
Ask them to identify where in the world the music comes
from. (India)
What kind of musical sounds do you hear? (Tabla, tamboura
(drone), voice) Students may give examples that are not specific
instruments but instead instrument families – such as strings,
woodwinds, skins (drums).
•
•
•
How many musical sounds do you hear? (3) What sound do
you hear first? (A drone) What sounds comes in next? (A voice)
(The tabla enters last)
How does the music make you feel? What might it be about?
(This is a song about Divali, which is a religious Hindu festival
honoring the goddess of wealth. There is much feasting, giftgiving and lighting of lamps.)
The translation of the lyrics for “Pahan Chunariya” are as
follows:
• Divali with a black dress on is dancing with luminously
flickering lamps; Gold, silver, and wealth are praised
by all, but she is satisfied with love and affection even
though one might be poor. Her heart is never empty,
never empty! Divali is dancing. O myself, let me light
a lamp, let me kindle love in the heart, the darkness of
sorrows will be dispelled and will not remain dark, will
not remain dark. Divali is dancing.
Integrating World Music:
• Using a map, ask the students to identify where on the map
India is (or show them).
• There are many kinds of instruments used in North India – See
Appendix A for pictures of a few instruments commonly seen.
Ask students if they are familiar with the names of instruments
used in India: take suggestions.
• Using the link below listen to the description of the
tamboura, tabla and sitar used in Indian music – show
pictures in Appendix A to accompany recording for lesson #1. Track #102 : www.folkways.si.edu/br-deodhar/
presents-the-ragas-of-india/music-instruction/album/
smithsonian
• Another link to follow for the sound of the sitar is:
www.folkways.si.edu/tony-schwartz/the-world-in-mymail-box/celtic-childrens-documentary/album/smithsonian
Attentive Listening: (Show Appendix A while discussing each
instrument)
• How would you describe the sound of the tamboura? (Listen to
the recording from lesson #1 again) Note that the tamboura’s
sound is a drone, a sustained or continuous note or chord
played to accompany music and that rarely changes in pitch.
It provides a tonal center for the musician while they perform
their piece. Each musician will play their music with a tonal
center that is best suited to their singing range.
• What family of instruments would we place the tabla in? Listen
again. (Percussion)
• What family of instruments would the sitar belong to? (Strings)
Listen again to check answer.
• Do you hear the sound of the sitar in the first recording that
we listened to? Listen again. (No)
Tabla
• The tabla is a two-piece drum that is commonly played in North
India. The drum played with the right hand is known as the
tabla and the drum played by the left hand is called the baya
(“left”). Dowels are found under the strings of the outer rim of
the tabla. A hammer is used to tighten the skin by tapping the
dowels either up or down, thus changing the pitch of the drum.
• In a Google search, find a video example of a tabla player to
show to the students as a demonstration of the instrument and
the playing position.
Sitar
• The sitar is a plucked string instrument – show a picture
• The sitar has six or seven main strings and 19 “sympathetic” or
resonating strings that sound without plucking them as a result
of picking up the vibrations from main strings that are plucked.
• It is commonly carved out of teakwood and two dried gourds.
There is one large and one small gourd attached at either end
of the sitar. Their purpose is to amplify the sound.
• The sitar also has twenty movable frets so that the instrument
can be retuned for each melodic form or raga by increasing or
decreasing the spaces between the frets.
Tamboura
• The tamboura instrument has four strings but no frets – show
a picture
• It is used strictly as an accompanying instrument to help the
musician stay in tune.
• The tamboura produces a steady drone throughout a piece to
offer a tonal center to the music.
Engaged Listening
• Play the following piece for students to listen for the sound of
the tabla. Ask them to pat the rhythm of the tabla (as notated
below) when they hear it in the music. Track #202: www.folkways.si.edu/balakrishna-of-travancore/ragas-songs-of-india/
world/music/album/smithsonian
• Ask students to tell if the pattern changes or stays the same.
(Stays the same) What do we call this type of repeating musical
pattern/rhythm?(Ostinato)
• Show the notation for the rhythm they are hearing on the board
and practice saying it, then patting it out on laps.
• Distribute drums that are available in the classroom for playing
the rhythm of the tabla, first without and then with the recording.
• Have the students listen to the tabla part again and ask them
if the drum sounds are all the same or if they sound different.
(They are slightly different in that beat one is a bass tone).
• On the drums ask the children to play a bass tone on beat one
and open tones on beats 2, 3 and 4.
• Play again with the recording.
Tabla
Integrating World Music:
(The following information was retrieved from Folkways Records
Album FI 8366 Liner Notes)
Lesson 1 Assessment:
•
Assess student ability to play the ostinato pattern of the tabla,
demonstrating both bass and open tones on conga, djembe,
dombek or other available drums.
19
Incorporating world music in the classroom, can be an overwhelming
task in terms of where to start, who to work with and what cultures
to cover. The most important considerations that I’ve learned in my
world music studies thus far are to seek out reliable resources and
prepare my lessons so that the information I present is an accurate
representation of the culture we are studying. It is also crucial to
ask yourself why you want to bring a particular culture into your
music program as a starting point. My experience in becoming a
world music educator has allowed me to expose my students to various musical experiences from around the globe that will ultimately
increase their understanding of how people respond and connect to
music as a way of life. It was also the answer to my professional
goal of making cross-curricular connections for my students. Asking yourself this question and finding an answer can prove to be
beneficial in guiding your purpose in teaching world music.
Other considerations for teaching world music include an assurance
that you do each culture justice by researching it thoroughly using
resources such as the Smithsonian Folkways websites, and reliable
teaching resources by Dr. Patricia Campbell, of which there are
many. Culture bearers from your community, families at your school,
musicians, cultural groups in your area, post-secondary institutions
and visiting scholars can all be useful human resources. Remembering that as teachers, we do not have to be the sole authoritative
knowledge source. We can be facilitators of knowledge, by inviting
culture bearers into our classroom.
If it is not feasible to bring culture bearers into your classroom, bring
your classroom to them via Skype or use pre-recorded music sessions
in your classroom using multimedia resources. Ensuring that you
are able to record clear pronunciations of their song, language, and
lyrics for ease of teaching is important when expecting students to
learn from this method. I’ve had great success presenting world music
through PowerPoint presentations that include phonetic transcriptions, along with the language from the culture written out for my
students to learn from. Included are audio and video examples of
lyric pronunciations, any melodic embellishments that might exist,
songs in their entirety and movement sequences when appropriate.
In my quest to become a reliable facilitator of world music, I’ve also
learned how important it is to interview your culture bearer in order
to become more informed about their culture, their people, traditions
and their music before presenting it to your students. Not only does
this practice ensure that you are doing justice for the culture you are
representing in your classroom, it is a sign of respect to your culture
bearer that you are a sensitive world music educator.
World music education is a wonderful portal for educating our
students to be ethical citizens with global sensitivities, who can
communicate and collaborate with others in order to grow as empathetic, open-minded and compassionate individuals. These skills
required for the 21st century also mandate that educators strive for
excellence by pursuing new professional development opportunities,
such as being a world music educator.
References
Alberta Education. Government of Alberta, (2010). Inspiring education:
Dialogue with albertans. Retrieved from Alberta Education Cataloguing
In Publication Data website: http://education.alberta.ca/media/7145083/
inspiring education steering committee report.pdf
20 Ostinato
Anderson, W. M., & Campbell, P. S. (2010). Multicultural perspectives in
music education. (3rd ed., Vol. 1, p. vii). Reston, VA: Rowman & Littlefield
Education.
Campbell, P. S. (2004). Teaching music globally: Experiencing music, expressing culture. (pp. 54-191). New York, NY: Oxford University Press, Inc.
Smithsonian folkways. (n.d). Retrieved from www.folkways.si.edu
Kerri Kenwell is an elementary music specialist with Parkland School
Division in Stony Plain, Alberta. She completed all three Orff levels
at the University of Alberta and is currently in the final stages of
completing her Masters of Education at the University of Alberta.
Noteworthy World Music Resources
1. Teaching Music Globally: Experiencing Music, Expressing Culture – Patricia Campbell – provides a conceptual
foundation for exploring world music
2. Global Music Series – Bonnie C. Wade & Patricia
Campbell – a collection of books that cover the musical
traditions of specific countries & cultures in the world.
3. Tunes and Grooves for Music Education – Patricia
Campbell – over 200 songs, melodies and rhythms for
use in Elementary and Secondary classrooms.
4. Multicultural Perspectives in Music Education – William
M. Anderson & Patricia Campbell – practical, hands-on
lessons for general, choral and instrumental music classes.
Middle School: A New to You Class – From Blank Canvas to
Work of Art
Tean King
They enter to a section from Stravinsky’s
Firebird, “The Infernal Dance,” and sit in a
circle. I see thirty blank canvases sitting in a
hesitant circle gazing at me. I stand and after
scanning to see that others are doing so as well,
they stand; by rote I teach them Goodkin’s “11
pattern” (Now’s the Time, 71-72) using only
ta’s and ti-ti’s.
I have made my first brush stroke on these canvases and I continue without a spoken word. “Hambone, hambone
what do you say?” (echo), “Papa’s gonna buy me a mockin’ jay.”
(echo). Each phrase is followed by the “11 pattern” (Goodkin,
Now’s, 71-72). I have made my second brush stroke. “Welcome
grade 7’s to the first day at your new school. How many of you
have participated in a music class like this before?” Three hands
shoot up. “How many of you have had a music teacher before?”
Ten hands shoot up (Rushowy). I see that some of these canvases
already have beautiful paintings started on them, others still remain
quite blank. “How many of you have read a book to do with a
Mocking Jay (Collins)?” “Does anyone recall the stunning dress
that was made for Katniss?” I hit play on my IPod and the song Girl
on Fire (Keys) begins to play. I ask them to find the beat, and most
can without hesitation. I ask them to tap their bodies somewhere
else when they hear a new section. I ask them to stand if they hear
something new. The lyrics to the “C” section are, “Everyone stands
and she walks by,” so as they stand, I walk around the centre of
the circle to the beat. We sit and complete the song by tapping the
beat of the B section. We play a few name games (Goodkin, Name
Games). The bell rings.
I am giving these students the opportunity to be a part of something
bigger than just them, a musical community. I teach music as a
language. We don’t study rules. We don’t have any desks. We learn
the art of conversation. We play. (Goodkin, Now’s the Time, 7-8)
The work done in an Orff classroom is multi-layered, offers
rewards for students at various stages of development
and is magically satisfying for all participating (Lui, 13).
Exploring the Palette – Building Confidence in the
First Months
I like to hook new intermediate students with high interest pieces.
I pull from everything including: Literature, Folk songs, Classical,
Jazz, Blues, Contemporary/Popular (Tobias, 19-23), Rap, World
Musics and Visual Art as well as great intermediate pieces from
Orff/Keetman, Walt Hampton and Brent Holl to name a few. This
re-enforces social-justice as they learn to appreciate all genres,
styles and forms (Fraser 33-36).
In our first weeks together I get a feel for and record where each
student is (Assessment, for Learning, 27-36), starting with observation and imitation with our voices and then our bodies. We listen,
chant, sing, clap, move, dance, we add body percussion and play.
We explore, imitate and experiment with what we already know and
slowly build our repertoire of speech and body percussion sounds,
learning ostinati and layering in complementary rhythms. We use
what we have learned with our voices and bodies to add non-pitched
percussion (NPP) to songs or chants and we try the various types of
bordun accompaniment. I try to talk as little as is possible; my best
classroom management is to keep them engaged. We move from
one medium to the next, observing, listening, exploring, imitating
and improvising.
I allow them the time to figure out how to work together as a team,
an ensemble, which includes all students where they are at in their
learning (Standards). Up until the middle of October, I have not
written down one mark, just anecdotal notes. Now we take what
we know, work together to generate success criteria, (Assessment,
as Learning, 27-36) and then we create something to call our own
(Shamrock, 41-44). Finally we perform it (I record), watch it, and
then we reflect, respond and analyse. These are my first marks
(Assessment, of Learning, 27-36). We revisit our performance
and polish it up a bit (re-asses) and if we decide we want to share
it with the school, we perform it at the next assembly (As a side
note, a couple of my grade 8 classes would have performed at the
October Character Trait Assembly (Standards), preparing grade 7’s
to want to do so as well.).
So here we are, we’ve created and performed something from what
we already know; it was simple, but fun. The students are all over
the map with what they know, but everyone was successful.
Music Word Wall
During the last six weeks the grade 7 classes have accomplished
our first learning goal which was to experience the Fundamental
Concepts from grades 1-3. At this point I ask the class to reflect on
some of the terms and concepts on their Music Word Wall (all of
the fundamental concepts listed or pictured by grade and Element
of Music). Separated into groups, they are given a small version of
the Word Wall and are asked to discuss it and write down something
we did that they think demonstrates each concept. They pass their
Word Wall from group to group discussing what the other groups
wrote down and adding to each list. I am left with concrete evidence
about what they know and what needs to re-enforced.
This scaffolding process is repeated over the next few months,
this time focusing on the Fundamental Concepts from grades
4-6. I introduce other media: bucket drums (Cutz) (a huge hit,
forgive the pun), and other NPP, ukulele and recorder, as well as
new concepts for pitched percussion. The class has seen the older
classes perform with bass bars and now they get to try them when
internalizing chords I and V, and then I, IV and V. We explore more
complex forms (including rondo, theme and variation, mini-suites,
literary material to theatre, etc.) (Shamrock, 41-44) and begin to
explore absolute pitch.
Handing Over the Brush
Around the beginning of term two we are ready to look at the grade
7 Word Wall. We begin with the 12-bar blues, we put the words from
Hambone into the melody of the 12-bar blues and then the body
percussion changes from the straight ti-ti and ta pattern to swung
eights (Goodkin, 71-72). If you were to walk past my class now you
would hear: a strong chord progression with melodic soldering, the
tambourine and some other NPP adding complementary rhythms,
singing, body percussion, and an improvised melody on the blues
21
scale. You would see movement and joy. But more importantly, as
I look at this class, I no longer see blank canvasses, but the beginnings of masterpieces.
Lui, Louise. “Weaving Together Reggio Emilia and Orff-Schulwerk: Using
Pedagogical Documentation in an Elementary Classroom”, Ostinato,
37(2), Winter 2011, 13.
“Assessment for Learning and as Learning.” Growing Success. Toronto,
ON: Ministry of Education, 2010. 27-36. Print.
Rushowy, Kristin. “Music Education Takes a Hit in Elementary Schools,
Report Finds: Fewer Teachers, Less Access, Especially for Poor Kids.” Toronto Star 22 Apr. 2013, Schools sec.: n. page. Website: thestar.com. 23
Aug. 2013.
Collins, Suzanne, and Phil Falco. The Hunger Games. New York: Scholastic, 2008. Print.
Shamrock, Mary. “Orff-Schulwerk: An Integrated Foundation”, Music
Educators Journal, 83(6), May 1997, 41-44.
Cutz, Olivier. Bucket Music: Learning to the Beat of a Different Drum.
Guelph, Ont.: Talking Drum Educational Resources, 2003. Print.
“Standards of Practice | Ontario College of Teachers.” Standards of Practice.
Ontario College of Teachers, n.d. Web. 20 Aug. 2013. Website: www.oct.
ca/public/professional-standards/standards-of-practice.
References
Fraser, Katherine. “Chill Is My Middle Name: Exploring Social Justice
in an Elementary Music Classroom”, Canadian Music Educator, Winter
2011, 33-36.
Goodkin, Doug. Name Games: Activities for Rhythmic Development. Miami,
FL: Warner Bros. Publications, 1998. Print.
Goodkin, Doug. Now’s the Time: Teaching Jazz to All Ages. San Francisco,
CA: Pentatonic, 2004. 7-8 and 71-72. Print.
Keys, Alicia. “Girl on Fire.” Rel. 22 Nov. 2012. Girl on Fire. Keys, Bhasker,
Salaamremi.com, 2012. Web.
Tobias, Evan. “From Old to New Schulwerk: Addressing Sound Worlds of
Contemporary Popular Music”, The Orff Echo, 43(4), Summer 2011, 19-23.
Tean King has been teaching music for the Niagara District School
Board (Ontario) for 11 years. She is a music specialist with a passion for bringing music to life in the junior and intermediate grades
through the Orff approach. Experimentation, critical challenges,
creation, reflection and performance are how music comes alive
for her students.
Book Reviews / Critiques de recueils et DVDs pédagogiques
Mon coffre à surprises
Par Marie-Claude McDonald
Publisher: CD MCMD 2012
[email protected]; www.marieclaude.ca
Ayaya accompagné au djembé en forme de superbe incantation
simple, mais combien intériorisée.
par Françoise Grenier
Une belle berceuse modale nous enchante à son tour pour finir
avec Parle-moi accompagné sur un rythme de tambour « indien ».
Marie-Claude McDonald, une jeune enfant Orff pleine de talent
qui agrandi, a chanté, est monté sur scène avec Madrigaïa et qui est
devenue une enseignante doublée des qualités et des convictions
d’une maman aimante pour qui la musique est un art de vivre.
Avec ce CD, Marie-Claude a été en nomination pour le prix Western Canadian Music Awards en 2013 et pour le prix JUNO 2014.
Félicitations pour ce magnifique travail si créatif! Il vaut la peine
d’être entendu.
Le CD qu’elle nous offre est truffé de belles idées pour faire bouger
les petits, les faire chanter et les intéresser aux choses simples et
typiques de leur âge. Les accompagnements vivants, colorés et fort
efficaces.
Une belle ressource pour les enseignants en milieu préscolaire et
de la première année du primaire.
Imaginez ce que suggèrent les titres : le Boogie du coléoptère ou la
Danse des bibittes. On bouge, on bouge, on bouge tout!
Puis, on explore les 4 saisons dans Ciel qu’il fait beau!
Dans Le coffret à surprises, tout y est pour se raconter des histoires
et partir en voyage.
Avec Où es-tu, on joue à la cachette, et bien sûr, « c’est à ton tour
de te cacher, je vais compter ! »
Sur un rythme de valse, Viens jouer dans ma cuisine est fort invitant.
Et, « coups de cœur » :
C’est incroyable, mais c’est vrai! Histoire de la transformation
de secrets qui se déforme au fur et à mesure qu’ils sont largement
dévoilés d’une personne à l’autre. Comme dans la vraie vie…
22 Ostinato
Artful-Playful-Mindful
By Jane Frazee
Publisher: Schott
$19.95 in Canada, through St. John’s Music
Reviewed by Catherine West
Jane Frazee is a leader in the world of Orff curriculum, and deservedly so. Her masterful book Discovering Orff (Schott, 1987) led the
way in showing how Orff could be used to deliver all the goals of
the general music curriculum. Her clarity of thought, precision of
purpose and economy of delivery provided direction through the
rich but messy world of Orff materials for many of us. Ms. Frazee’s
second great compendium on curriculum was Orff Schulwerk Today
(Schott, 2006), a miracle of cross-referencing complete with a CD
of listening examples.
The present third volume is an even slimmer and more direct piece
of writing than Discovering Orff. In her own words, “this book
offers a model for a music curriculum built on rhythm and pitch
elements delivered over a period of six years.” (p. vi) Ms. Frazee
here offers a stripped-down Project Model based on five rhythm
and five pitch elements per year, organized in five rhythm-pitch
pairs, for grades 2 through 7. Each new element is presented in
three 30-minute classes: making music (artful), making up music
(playful), and making sense (mindful). Thus, each year consists of
ten of these extended projects. The model is intended to be flexible,
offering a framework to organize curriculum; teachers are encouraged to substitute their own materials, curriculum elements and
goals (“exit skills” in Ms. Frazee’s terminology).
The book does not feature the multiple media and elaborate orchestrations of typical Orff lesson plans, not because they lack
value, but because they are less important than these fundamental
experiences in rhythm and pitch. Ms. Frazee recognizes that there
is a tendency for music performance, rather than music learning, to
drive instruction; this project based model addresses that danger:
“…concentrating exclusively on performance neglects those aspects
of musicianship that are fostered when students are creating and
analyzing original pieces.” (p. 2) She also recognizes the severe
time limits many teachers work under and aims to help teachers put
the essentials first: “layering Orff media is not a fundamental part
of the lesson plan: it is reserved for supplementary development
of the material if time permits. More elaborate pieces for voices
and instruments will be reserved for special experiences….” (p.
26) The pieces here consist of one or two instrumental parts, with
an emphasis on the element being taught.
There are three main sections to the book, the first describes the
three phases of the Project Model, the second describes six sample
projects and the third provides in succinct form one piece suitable
for teaching each of the ten identified elements for each grade. The
second section provides a useful menu of ways to tackle each phase
of the sample projects, a detailed model for developing lessons using
the many strategies in the Orff teacher’s toolkit. Those teachers
looking for more fleshed-out lesson ideas may of course consult
Frazee’s Orff Schulwerk Today or others of her many publications.
Organizing the many wonderful materials and techniques of Orff
Schulwerk into an orderly curriculum can feel like an attempt to
herd cats. I would highly recommend this volume to any teacher
struggling with this challenge – here is a framework which provides
a clear rationale for why and when to use all those ideas. Whatever
your curricular goals, this book will help you to understand how
to use Orff instruction to drive musical learning.
23
24 Ostinato
Courses
Instructors
Dates
University of Manitoba
MANITOBA – WINNIPEG
Vancouver Community College
Downtown Campus
Level I & III Movement
Kim Friesen Wiens
Sue Harvie
Level I Ensemble &
Pedagogy;
Robert de Frece
Level III Ensemble &
Pedagogy
Level I & III Choral
Musicianship;
Wendy Rae
Level I & III Recorder
TBA
Debra Giebelhaus-Maloney,
Eve de Moissac
Levels I and II
Levels I and II
Karen Tole-Henderson,
Brenda Harvey,
Jewel Casselman,
Liz Kristjanson,
Erica Lindgren
Susie Green, Pam Hetrick,
Catherine West & TBA
No Current Course Offerings
BRITISH COLUMBIA – VANCOUVER
BC Chapter with the support of
Burnaby School District
BRITISH COLUMBIA – BURNABY
University of Alberta, Edmonton
Levels I and III
Levels I, II, III
Calgary Orff Chapter
ALBERTA – EDMONTON
Introductory Orff
Schulwerk
Calgary Orff Chapter
ALBERTA – CALGARY
July 2 – 15, 2014
August 11 – 22, 2014
July 21 to August 1,
2014
TBA July 2014
April 8, 15, 22, 29,
May 6, 13, 2014
Note: For up-to-date information about endorsement of Orff courses, see the course listings at www.orffcanada.ca
Institution
Michelle Mielniczek-Loboz
[email protected]
Pam Hetrick
[email protected]
[email protected]
Faith Veikle
Dr. Robert de Frece
[email protected]
Debra Giebelhaus-Maloney
coursedirector@calgaryorff.
com
Debra Giebelhaus-Maloney
coursedirector@calgaryorff.
com
Contact
$700 (Orff certification only)
$800 approx. (Orff certification and U of M credit)
University credit and non-credit options
available
Information subject to change.
www.umanitoba.ca/faculties/music/summer
/summer.html
$770 plus registration and VCC fees
*Orff Levels are accepted by TQS for purposes of
category placement
[email protected]
Faith Veikle
$871.53—includes 3 graduate credits (plus $115.00
application fee for students not enrolled in a program
at the University of Alberta). For more detailed
information about fees, visit:
http://www.registrarsoffice.ualberta.ca/en/CostsTuition-Fees/Undergraduate-Tuition/SpringSummerTuition-for-Canadian-Citizens-and-PermanentResidents.aspx Students not enrolled in a U of A
Program must apply for Open Studies status. Once
accepted into Open Studies, students may then
register in Level I or Level III. Registration by June
1, 2014 is highly recommended.
Location: TBA
Fee: TBA
$395 Early Registration discount available
Location TBA
Cost/Other
Orff Schulwerk Teacher Training Courses/Cours de formation Orff
25
Courses
Instructors
Dates
Royal Conservatory of Music
ONTARIO – TORONTO
Ottawa Chapter / York University /
OCDSB
Broadview Avenue PS, Ottawa
ONTARIO – OTTAWA
Brock University, Faculty of
Education – Centre for Continuing
Teacher Education
Hamilton Campus
ONTARIO – HAMILTON
NS Orff Chapter
NOVA SCOTIA
Introduction to
Orff, and Levels I
and II
Introduction to
Orff and Level I
Orff
Introduction to
Orff : Additional
Qualification in
Primary/Junior
Vocal Music Part
One with Orff
focus
Levels I & II
Hania Krajewski, Kim
Kendrick, Catherine West,
Joy Reeve, Linda Song,
Alison Roy (subject to
change)
Leslie Bricker
Leslie Bricker and TBA
James Jackson, Marg Kristie,
Katrina Pecknold, Catherine
West
July 7-18, 2014
Winter, 2014
May-June 2014,
evenings
July 28-August 8,
2014
Institution
Catherine West (Course
Director)
Royal Conservatory of
Music
273 Bloor St W
Toronto ON M5S 1W2
(416) 408-2825
[email protected]
Leslie Bricker (Course
Director)
(416) 736-5003
[email protected]
Dr. Tony Di Petta
905 – 688-5550 x 4729
[email protected]
Charlotte Myers
[email protected]
Contact
Cost: $895 (subject to change)
Register online from March 2014: www.rcmusic.ca
Ontario teachers, please note: Through a
partnership with OISE the Intro to Orff, Levels I and
II are credited as P/J Vocal Music Parts 1, 2 and 3.
For details contact the Course Director.
Intro and Level I please register early to avoid
disappointment.
Level III will be offered in July 2015.
$685.00
Raiseyouraqedu.yorku.ca (registration)
partnership with York University, the Intro to Orff is
credited as P/J Vocal Music Part 1 and the Level I
Orff is credited as P/J Vocal Music Part 2
$900.00
Ontario teachers, please note: The Intro to Orff is
accredited by the Ontario College of Teachers as P/J
Vocal Music Part 1.
Location: Kingswood Elementary School
Hammond Plains NS (near Halifax)
Members $675 + $25 (registration).
Non-members $695 + $25 (registration) Level II
applicants must be members of Carl Orff Canada.
Cost/Other
26 Ostinato
Courses
Instructors
Dates
Introduction to
Orff
MUS 4806 Didactique de la
musique au
primaire selon Orff
MUS 4806 Didactique de la
musique au
primaire selon Orff
Université du Québec à Montréal
Level I
Université du Québec à Montréal
QUÉBEC – MONTREAL
Under sponsorship of NS chapter
PRINCE EDWARD ISLAND – CHARLOTTETOWN
Music for Five
Continents
ONTARIO – TORONTO
Chantal Dubois
Chantal Dubois
Julie Grierson, Beth Knox,
Marg Kristie
Hania Krajewski, Kim
Kendrick, Alison Roy, Beth
Knox (subject to change)
Doug Goodkin
Session de September
à décembre 2014, les
lundis de 9h00 à
12h00
Session intensive en
mai et juin 2014, les
mardis et jeudis de
18h00 à 21h00
July 21-Aug 1, 2014
Sept to Dec 2014,
Monday &
Wednesday 5 to 8
pm, (6 hrs/wk for 10
wks)
Workshop: August
18, 2014 (9 am to 1
pm)
Course: August 1822, 2014 (5 days)
Institution
Chantal Dubois
[email protected]
Chantal Dubois
[email protected]
James Jackson
[email protected]
Director)
Music
273 Bloor St W
Toronto ON M5S 1W2
(416) 408-2825
[email protected]
Director)
Music
273 Bloor St W
Toronto ON M5S 1W2
(416) 408-2825
[email protected]
Contact
Location: Spring Park Elementary School,
30 Dunkirk St, Charlottetown
Members: $675 + $25 (registration)
Non-members: $695 + $25 (registration)
All information is subject to change.
$895 (subject to change)
Register online from Aug 2014: www.rcmusic.ca
partnership with OISE the Intro to Orff is credited as
P/J Vocal Music Part 1. For details contact the
Course Director.
Cost: Workshop $60, full course $465
Cost/Other
27
Courses
Instructors
Dates
University of Regina
Faculty of Education
SASKATCHEWAN – REGINA
QUÉBEC – SHERBROOKE
QUÉBEC – QUÉBEC
Level I
Janie Fries & Marlene Hinz
(movement)
August 5 – 15, 2014,
8:30 am– 3:30 pm
(no class on Sunday
Aug 10)
Institution
Denise Morstad
[email protected]
(*Currently on sabbatical. Email inquiries will be
answered within 3 days of
receipt.)
Alternate contact: Faculty of
Education Student Program
Centre (306)585-4537
Martine Nadeau, agente de
gestion des études
martine.nadeau@
mus.ulaval.ca
Martine Nadeau, agente de
gestion des études
martine.nadeau@
mus.ulaval.ca
Contact
Cost for the course is approximately $650. Those who
have never registered at the U of R will also be
charged a one-time, non-refundable $100 application
fee.
Orff Level I is a 3.0 credit undergraduate course at
the U of R. It will be listed as EMUS 320 in the 2014
Spring/Summer on-line course catalogue. Please email for further information and/or registration
procedures.
Cost/Other
28 Ostinato
TBA
TBA
October 4, 2014
February 21, 2015
Ideas for Special Occasions –
Bring and Share Session
Celebrating Our 30 Years!
October 4, 2014
January 9, 2015
April 28, 2014
MANITOBA-WINNIPEG
April 25, 2014
MANITOBA-BRANDON
April 26, 2014
Journée pour enfants (Winnipeg,
français)
Children’s Day (Brandon)
Children's Day
BRITISH COLUMBIA-VANCOUVER / LOWER MAINLAND
Starting ‘Orff’ the Right Way
August 20 and 21, 2014
ALBERTA-LETHBRIDGE
Sharing Day
Viva la Musica!
Title
May 3, 2014
ALBERTA-EDMONTON
September 20, 2014
ALBERTA-CALGARY
Dates
Local Music Specialists
Michèle Desponts, Karin
Johnson, Carolann Fraenkel and
Vanessa Fer
TBA
Lethbridge Orff Executive
Sue Mueller
Randy DeLelles and Jeff Kriske
TBA
TBA
Don Dupont and Brian Hiller
Clinician(s)
Le Centre culturel franco-manitobain,
Winnipeg, MB
8:30 am – 3:30 pm
Brandon University, Brandon, MB
8:30 am – 3:30 pm
Lochdale Community School, 6990 Aubrey
Street, Burnaby
9:30 a.m. – 3 p.m.
TBA
7 p.m.
Mike Mountain Horse School, Lethbridge
10 a.m. – 12 noon
Lakeview Elementary School
8:30 – 3:00
Westboro School
9 a.m.
Westboro School
9 a.m.
Westboro School
9 a.m.
TBA
8:30 a.m. – 1:30 p.m.
Location/Time
Chapter Workshops / Ateliers de perfectionnement
Lori Arthur
[email protected]
Lori Arthur
[email protected]
Vanessa Fer,
[email protected]
604-839-5876
Christine Slomp
Christine Slomp
[email protected]
Christine Slomp
[email protected]
Kim Friesen Wiens
[email protected]
Kim Friesen Wiens
[email protected]
Kim Friesen Wiens
[email protected]
Ondrea Mann
[email protected]
Contact
29
Play! Celebrating 40 Years of Orff
in Canada
June 5, 2014
It’s Elemental: Lessons That
Engage
October 18, 2014
4 octobre 2014
QUÉBEC-MONTRÉAL
October 4, 2014
Procédés de composition, créer et
apprécier dans la classe de musique
Orff From Coast to Coast to Coast:
Making Music the Canadian Way!
ONTARIO-WATERLOO-WELLINGTON
Orff Children’s Festival
May 8, 2014
ONTARIO-TORONTO
Oct 4, 2014
ONTARIO-OTTAWA
No Current Workshop Offerings
Games Galore
MOC Stay n’ Play
May 13, 2014
NOVA SCOTIA
Children’s Day (Winnipeg,
English)
Title
April 29, 2014
MANITOBA-WINNIPEG
Dates
Denise Lapointe
Catherine West
Brian Hillier and Don Dupont
TBA
Sean Fitzmaurice
Manitoba Children Orff
Ensembles
TBA
Clinician(s)
Pavillon de Musique de l’Université du Québec
à Montréal, local F-3130
de 13h00 à 15h30
Blessed Sacrament School
367 The Country Way,
Kitchener, ON N2E 2S3
8:30 a.m. . – 1:30 p.m.
Location: TBA –
9 a.m – 1 p.m.
Ettore Mazzolini Concert Hall, Royal
Conservatory of Music
273 Bloor St. W, Toronto (St. George subway)
10 a.m – 11:15 a.m.
St Paul's Presbyterian Church, 971 Woodroffe
Ave
The Forks Market, Winnipeg MB
10:00 am – 2:00 pm
Highbury School, Winnipeg MB
5:00 pm – 7:30 pm
Le Centre culturel franco-manitobain,
Winnipeg, MB
8:30 am – 3:30 pm
Location/Time
Dominique Charland
[email protected]
[email protected]
Batya Levy
[email protected]
check www.ontarioorff.ca for
updates
Batya Levy
[email protected]
(647) 348-3396
Evelyn Pike
[email protected]
[email protected]
[email protected]
Charisse
[email protected]
Lori Arthur
[email protected]
Contact
Dominique Charland
[email protected]
de 9h00 à 15h30
Grant Road School
2501 Grant Rd
Regina, Saskatchewan
9 a.m. – 3:30 p.m.
Julie Duford
James Harding
Summer Course 2014
Elemental Music and Dance Pedagogy
Orff-Schulwerk
July 6 - 12, Orff Institute, Salzburg, Austria
Instructors
Mari Honda, Frajo Kohle, Verena Maschat,
Christoph Maubach, Isabel Rosner and
Doris Valtiner
TBA
Advanced Studies in Music and
Dance
Education Orff-Schulwerk
October 2014-June 2015
For information email shirley.salmon@
moz.ac.at
with your mailing address.
World Village Music Course in
Finland
Village in the Village
July 21–26 2014
For the 16th year in a row this popular
course, sponsored by the Orff-Schulwerk
Association of Finland, will take place in
Valkeala, Finland.
World Village presenters 2014 are:
Spring Fling
Music and Technology
Orff-Institute, Salzburg Special
(English Language) Course
* Mr. Rob Amchin, USA
* Mr. Ari Glage, Austria
* Mr. Ismaila Sané, Senegal/Finland
* Ms. Outi Sané, Finland
All presenters are nationally and internationally known teachers, performers and music
educators. The course language is English.
Register online: www.jasesoi.org/lomake.
html?id=2
March 2015
September 27, 2014
SASKATCHEWAN-REGINA
Saskatoon, Saskatchewan
9 a.m. – 3:30 p.m.
For more information contact
[email protected]
Percussions africaines : danses,
rythmes et créativité
31 janvier 2015
8 novembre 2014 p.m.
Technique vocale et gestuelle de
direction
8 novembre 2014 a.m.
QUÉBEC-MONTRÉAL
[email protected]
Dominique Charland
[email protected]
de 13h00 à 15h30
Marie-Christine Turpin
[email protected]
Dominique Charland
[email protected]
de 9h00 à 11h30
Julie Beaulieu
30 Ostinato
Rythme, mouvement et gestion de
classe au primair
Contact
Location/Time
Clinician(s)
Dates
Title
International English Language
For more information contact Mr.Jukka
Siukonen
[email protected]
Orff Teacher Education Courses /
Formation Orff pour les enseignants
Liz Kristjanson
Once again this year there are many courses for Orff teachers being
offered throughout Canada. Several of them are held during the
summer months while some take place during the school year. The
Introduction to Orff, as well as Level I, Level II and Level III, and
even some exciting Post Level III programs are available in various
locations. The Endorsement Committee of Carl Orff Canada has
been hard at work reviewing the courses to ensure that they meet
COC’s rigorous guidelines. Those who commit to upgrading their
education by completing a course endorsed by Carl Orff Canada
can be assured that the course is recognized internationally and that
it may be used toward their Orff Certification.
We have decided not to publish the endorsement status of each course
in Ostinato from now on, because the information is so often out
of date. For the most current listing of dates and locations of COC
Endorsed Teacher Education Courses in Canada please check the
COC website, www.orffcanada.ca.
Traduit par Denise Lapointe
Encore une fois, cette année, plusieurs formations seront offertes
à travers le Canada. Certaines auront lieu pendant l’été et d’autres,
pendant l’année scolaire. Les cours d’introduction Orff, ainsi que les
niveaux I, II et III, et même les cours postniveaux III seront offerts
dans de différents lieux. Le comité d’approbation de Carl Orff Canada
a révisé tous ces cours afin de s’assurer qu’ils respectent la rigueur
des orientations de COC. Ceux qui suivent une formation endossée
par Carl Orff Canada sont assurés que leurs cours sont reconnus
internationalement et peuvent servir pour leur certification Orff.
Nous avons choisi de ne plus publier le statut de certification de
chaque cours dans la revue Ostinato, car l’information est souvent
désuète. Pour de plus amples informations concernant les cours
reconnus par COC, veuillez consulter le site de COC à l’adresse
suivante : www.orffcanada.ca
Donations to the Gunild Keetman
Scholarship Fund
Thanks to the generosity of all of the chapters of Carl Orff
Canada, the Gunild Keetman Scholarship Committee has
$4000 available to award 2014 applicants. This scholarship
supports teachers entering Level II or III Orff at institutions
across the country. Thank-you to all the donors for continuing this important support of our practitioners. Winners will
be notified of their awards later in the spring, and articles by
all winners will appear in the fall or winter issue of Ostinato
Volume 41.
Gunild Keetman Scholarships
2014
The following people have been awarded Gunild Keetman
Scholarships this year. The scholarships are awarded to
teachers pursuing Orff Level II or III.
Alison Roy
Ontario
Caleb Reimer
Manitoba
Deanne Delage
British Columbia
Joanne Linden
Alberta
Jaclyn Braun
Manitoba
Jill Kimberley
Nova Scotia
Mark Schaub
Ontario
Tanya Turner
Ontario
We wish them all the very best for an enriching and rewarding
course of study this summer.
Cathy Bayley
Chair: Gunild Keetman Scholarship Committee
Orff Foundation Donation /
Don de la fondation Orff
The Orff Foundation has generously donated a gift of $4000 Euros ($5962.21 Cdn) to Carl Orff Canada in honour of our fortieth
anniversary. The National Board has decided to use this funding
towards the redevelopment of the website. The Board hopes that
all members will enjoy the benefits of this very generous donation.
La fondation Orff a donné le montant de 4 000 euros, soit 5 962,
21 $ à Carl Orff Canada pour son 40e anniversaire. Le conseil
d’administration a choisi de prendre ce montant pour mettre à jour
son site internet. Le conseil est confiant que tous ses membres pourront profiter de ceci.
31
The Liselotte Orff Donation to Carl Orff Canada
Eileen Stannard
In 2011, a gift of money was received by Carl Orff Canada from
Liselotte Orff -- $6,732.98. At the April, 2012 Executive meetings, a discussion took place as to the possible use of the gift.
Many ideas were suggested. However, the final decision made by
the National Executive was to share it with our membership right
across Canada – from coast to coast.
• ENSEMBLE: The gift is to be used as part of the banquet
evening celebrating Liselotte Orff’s love of the swing dance
style of music. To celebrate her love of music, they are using
the funds to help pay for a 17 piece local orchestra called the
Jubilee Swing Orchestra.
Eileen Stannard is the Treasurer for Carl Orff Canada.
As a special 40th Anniversary celebration, each Chapter was offered $500 towards some special event, activity or purpose to be
held during the 40th Anniversary Year, with the balance of funds,
$1,232.98 to be given to Ensemble 2014 for use as a special 40th
Anniversary celebration at the conference.
During this spring, this gift has being disbursed to most of our
Chapters and to Ensemble. It is exciting to hear about the projects
and visualize just what this donation has meant, or will mean, to
the membership right across Canada. Each Chapter and Ensemble
have expressed their many thanks for this generous gift. Highlights
of the activities/events include:
• BC: using the funds towards hiring of a professional videographer to film Children’s Day as a promotional opportunity.
• ALBERTA: plans to gather past and present members together
in a celebration banquet in September, 2014. The Chapter will
gather for an evening of reminiscing.
• CALGARY: used the funds to offset the costs for a Children’s
Day event. 60 Grade 4-6 children and their teachers joined
clinicians for a day of music making.
• LETHBRIDGE: Chapter chose to use advocacy and legacy as
their theme. Advocate: produced a postcard – as an advertising
tool; and holding a workshop on “Carl Orff: The Musician and
Mentor” with each participant and member receiving a poster
of Carl Orff for use in their classrooms.
• SASKATCHEWAN: used the funds to design and print new
brochures, designed and printed an advocacy table-top display
for use at events in Regina and Saskatoon.
• MANITOBA: organizing an exciting event that promotes
advocacy for the Orff approach to music education. The event,
entitled Play! The Chapter is producing five large vertical banners to be used at Play! – the banners will feature words such
as CREATE, SING, PLAY, MOVE and EXPLORE.
• ONTARIO: will be using the funds to work with a graphic
designer to update the Ontario Chapter logo. The funds will
be used towards designing, creating and implementation of
this new logo.
• OTTAWA: the funds will be shared by music educators attending Ensemble, 2014. By sharing this wonderful gift, they are
offering partial conference subsidies to a number of Chapter
members.
• WATERLOO-WELLINGTON: on hold for now
• QUÉBEC: the funds will be used to assist members of the
Quebec Executive in attending Ensemble 2014
• NOVA SCOTIA: Plans are still underway for the funds – will
be confirmed following the conference (Ensemble 2014).
32 Ostinato
Take Note / Notez bien...
The Fall 2014 issue of Ostinato will be a rich round-up of
Ensemble 2014 workshop reviews, summer course reports,
and contributions from our members. Now is a great time to
gather your reflections on the school year that is just ending
and send them in a short or long article to us to share with
your music colleagues across the country. We are happy to
include thoughtful articles on any topic related to teaching
music.
Firm deadline for all submissions: June 15, 2014
L’Ostinato de l’automne prochain comportera des résumés
d’ateliers suivis au congrès Ensemble 2014, des résumés des
formations estivales et des articles écrits par nos membres.
C’est maintenant le temps de réfléchir sur l’année scolaire
qui se termine, d’exprimer vos idées et de nous les faire
parvenir dans un article, court ou long, afin de les partager
avec vos collègues musiciens de tout le pays. Nous sommes
heureux de publier des articles inspirés sur quelque sujet
que ce soit relativement à l’enseignement de la musique.
Date limite pour la remise des articles : le 15 juin 2014
Years ago in Carl Orff Canada…
The following is an excerpt from an article first published in Isabel
McNeill Carley Ed., Orff Re-Echoes, Book II, AOSA, 1985. It is
from a presentation Carl Orff made to the University of Toronto
summer school of 1962. It is reproduced here by kind permission
of the American Orff-Schulwerk Association.
Demonstration with Recordings
Carl Orff
(No translator credit available)
Before I play you some recordings, let me say a few words about
the ideas behind the Schulwerk and its organization. Let me quote
from Bernard Thomas’ Introduction to the set of recordings which,
under the title of “Music for Children,” were published by Columbia:
It is often said that Ontogenesis repeats Phylogenesis; which
means, in our case, that the child’s world of play reflects (or
can be likened to) the early archaic stages in the development
of mankind. Poetic manifestations of prehistoric ages are
magic formulas and oracles, rules and customs, proverbs
and riddles, sagas and songs, legends and fairy tales.
The roots of our spiritual development are still visible in children’s
songs and singing games. These are in fact repositories of myth
and cult and often refer to historical happenings as well. Thus, a
children’s song is in itself a piece of early poetry and it is only natural that it should be in dialect – dialect being the oldest stratum of
language. No doubt dialect is superior to written language because
of its wealth of expressions, its power of imagery, because of the
liveliness of its tenure de phrase.
that surrounds us reaches only as far as rationally measurable
relationships are concerned: spiritually, artistically it is sterile.
It is, therefore, pedagogically senseless and of scant interest
to introduce its imagery into the play world of children. The
pictorial flood engulfing our civilization endangers a child’s
subconscious state of mind. The Schulwerk develops the imagination and directs it towards the archetypes in nature and
creation; the child is in contact with positive forces that are
ordering, relaxing and healing.
4. The Schulwerk avoids the pitfalls of progress; yet it would be
a mistake to call it primitive because of its kinship with early
stages of music and language. The pieces it contains are simple,
elementary if you will, yet always meaningful, each one having
a “Gestalt” of its own. But they do not add up to a progressive system in the usual sense of the term. It is the treatment
of musical elements that set the Schulwerk apart from other
systems, which usually start with unison and two-part pieces,
proceeding step by step to more difficult pieces in many parts
and complicated structures. It is true that the Schulwerk also
progresses stepwise – from borduns to parallel chords and
chords in dominant relationship; from modes using two, three
or five tones to those using seven. From major to minor. The
rate of progress, however, depends on a child’s receptivity; this
takes both music and language into consideration.
5. The Schulwerk does not tamper with traditional texts nor does
it invent new ones (except in the case of improvisation). All
the pretty little verses for small fry, the artificial horrors of
kindergarten poetry are excluded. Our texts are taken from
folklore, or else from recognized poets, both lyric and epic.
The oldest and simplest (elemental) forms of musical structure are
best suited to a child’s mentality – organ points (in bass or upper
parts), drones, borduns, ostinati. It is no accident that they all play
a part in the earliest development of polyphony.
6. Schulwerk pieces are not “compositions” in the subjective sense;
they do not depend on inspiration (as the term was understood
in the 19th century), they do not illustrate a text. They are
musical models, typical rather than individual in character.
What then are the characteristics of this Schulwerk, how does it
differ from pedagogical approaches which, superficially at least,
look rather similar to it?
Orff goes on to introduce recordings of a number of pieces from
Volumes I and II of Margaret Murray’s edition of Music for
Children.
1. The Schulwerk avoids false simplification, for a child’s world
is neither primitive nor transitory. On the contrary, a child has
a definite attitude of his own, an attitude characterized by a
limitless imagination, by unbroken fantasy. It is a world that
can be rediscovered by adults; half forgotten through habit and
convention, it can be revived by the magic touch of simple
sayings and songs.
I hope I have succeeded in giving you an outline of the Schulwerk,
of its past achievements, its future possibilities; I hope I was able
to show you that it can serve as a basis for every kind of musical
activity; that such training cannot start too early; that young people
can profit greatly by it; that it can also be of assistance to the future
professional.
2. The Schulwerk has no ambition to be “modern,” for progressing from pentatonic to diatonic modes, it closely corresponds
to the development of the child. It is wrong to disregard the
growth of music in history and to base instruction on the theory
of intervals. The Schulwerk protests against the systematic
rationalization of our elementary music education.
Anyone who has worked with children or young people in the spirit
of the Schulwerk will have discovered that it has a humanizing
influence which transcends its musical function.
3. The Schulwerk avoids introducing, prematurely, concepts
and notions into a child’s play-world which are derived from
the contemporary level of our mechanical civilization. It is
dangerous to imagine that the child’s world has changed, that
we are dealing with “the modern child.” This “modern child”
just does not exist. The world of technology and causality
33
National Board Business Section /
Section du conseil d’administration national
Annual Reports
Members are entitled to receive either hard copies or e-copies of
the most recent annual President’s, Treasurer’s, and Membership
Secretary’s reports (presented at the April 2014 AGM). They are
available on the Members Only page of www.orffcanada.ca.
Rapports annuel
Les membres de COC ont droit de recevoir une copie papier ou copie
électronique des plus récents rapports annuels de la présidente, de la
trésorière et de la secrétaire aux adhésions (présentés à l’assemblée
générale d’avril 2014). Ils sont disponible à la rubrique Members
Only de www.orffcanada.ca.
Gunild Keetman Scholarship
The Gunild Keetman Scholarship is awarded annually to a Canadian
student or teacher who wishes to take an Orff Level II or III course.
Full details about Gunild Keetman and the scholarship application
form are available at www.orffcanada.ca on the Scholarships link.
The deadline for applications is April 15, 2015.
La bourse Gunild Keetman
La bourse Gunhild Keetman est décernée annuellement à un(e)
étudiant(e) canadien(ne) qui souhaite suivre la formation Orff de
niveau II ou III. Les renseignements au sujet de la bourse Gunild
Keetman de même que le formulaire d’inscription sont disponibles
sur le site Internet de Carl Orff Canada : www.orffcanada.ca, sous
le lien « Bourse ». La date limite d’inscription est le 15 avril 2015.
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.
Dons à la fondation de la bourse Gunild Keetman
Les membres et les chapitres sont encouragés à faire des dons à la
fondation de la bourse Gunild Keetman. S’il vous plaît, veuillez
utiliser le formulaire de dons à la fondation disponible sur le site
www.orffcanada.ca sous le lien Scholarships. Des reçus officiels
d’impôt seront émis pour chaque don.
Course Guidelines
Current guidelines for Introductory, Levels I, II, and III courses and
Post Level III Guidelines can be found in Section M of the Policy
and Procedures manual in the Members Only section at www.orffcanada.ca. Course Guidelines for the Course for the Non-Specialist
Teachers are in development.
Lignes directrices des cours Orff
Les lignes directrices pour les formations Orff de niveau Introduction, Niveau 1 et Niveau 2 et pour le niveau Post-niveau 3 se
trouvent à la section “M” du manuel des Politiques et Procédures
sous le lien Members Only sur le site www.orffcanada.ca. Les lignes
directrices de la formation pour les enseignants non-spécialistes
sont 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 can be found
34 Ostinato
in Section N of the Policy and Procedures manual in the Members
Only section at www.orffcanada. For enquiries, contact the Second
Vice-President.
Certificat 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 section « N » du manuel des Politiques et Procédures sous le lien Members only de www.orffcanada.ca. Pour toute
information, veuillez joindre la seconde vice-présidente.
Mentorship Program for Levels Course Teachers
Experienced Orff specialists who are interested in becoming Levels course instructors are invited to apply for Carl Orff Canada’s
Mentorship Program. The guidelines and application can be found
in Sections M and N of the Policy and Procedures manual in the
Members Only section at www.orffcanada. For further information
contact the First Vice-President.
Programme de mentorat pour les enseignants des
formations Orff
Les spécialistes Orff expérimentés qui sont intéressés à devenir
des professeurs des différents niveau de formation sont invités à
s’inscrire au programme de mentorat de Carl Orff Canada. Les
lignes directrices du programme et le formulaire sont accessibles
disponible aux sections « M et N » du manuel des Politiques et
Procédures sous le lien Members Only de www.orffcanada.ca.
Pour toute information supplémentaire, veuillez joindre la première
vice-présidente.
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.
Les avantages de 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
lors des ateliers de formation ainsi qu’aux congrès nationaux. Pour
plus d’information, veuillez consulter le site www.orffcanada.ca
sous la rubrique Pour devenir membre. (Pour recevoir une copie
du formulaire d’adhésion par la poste, veuillez joindre la secrétaire
au membership)
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.
Donation forms can be found in Section M of the Policy and Procedures manual in the Members Only section at www.orffcanada.ca.
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 : the General
Operation Fund, The Gunild Keetman Scholarship Fund, ou au Orff
Mosaic Children’s Travel Fund. Des formulaires sont disponibles
à la section « M» du manuel des Politiques et Procédures sous le
lien Members only de www.orffcanada.ca.
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. The next
application deadline is Feb. 1, 2015; forms can be found in Section
N of the Policy and Procedures manual in the Members Only section at www.orffcanada.ca. Grants may also be available for groups
travelling to other conferences. For more information contact the
National Treasurer.
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 prochaine date limite pour les demandes est le 1er février
2015. Il est aussi possible d’obtenir une aide pour les enfants qui
participent à d’autres congrès. Des formulaires sont disponibles à
la section « N» du manuel des Politiques et Procédures sous le
lien Members Only de www.orffcanada.ca. Pour toute information
supplémentaire, veuillez joindre la trésorière nationale.
Research Grant
Carl Orff Canada awards one research grant of $500 to support
research into Orff Schulwerk. The next application deadline is
June 15, 2015. Details and application forms can be can be found
in Section N of the Policy and Procedures manual in the Members
Only section at www.orffcanada.ca. For more information contact
the Past President.
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
2015. Des détails supplémentaires et le formulaire d’application
sont disponibles à la section « N » du manuel des Politiques et
Procédures sous le lien Members Only de www.orffcanada.ca. Pour
toute information supplémentaire, veuillez vous renseigner auprès
de la présidente sortante.
May Only Good Spirits Guide Us!
(Mi'kmaq Translation for Sing From Your Heart)
Patsy Paul-Martin
Ke' tapikiey
Tapikiey klaman ksitun nutua'ten mataqte'ket
Tapikiaqn na wul-kwija'lultow aqq mawi-tanej, ke'
tapikia'tinej.
Patsy Paul-Martin is the Co-ordinator of First Nations
Educational Cultural Services in Truro NS. We thank her and
Ruth Nichols for providing this translation of our Fortieth
Anniversary song, published in the Winter issue of Ostinato
and available on www.orffcanada.ca.
35
Thank-you to our Ensemble 2014 Sponsors! /
Merci à nos commanditaires Ensemble 2014!
We could not manage the funding and logistics for national conferences without the practical and financial support of our industry
partners. The Ensemble 2014 conference committee, and the membership of Carl Orff Canada extend our thanks to the following very
generous donors, and to all who helped to support the event.
Sans le soutien financier de nos généreux commanditaires et partenaires, nous n’aurions pas pu gérer le congrès national aussi efficacement. Le comité organisateur Ensemble 2014 et les membres de Carl Orff Canada tiennent à remercier chaleureusement tous les
mécènes ainsi que tous les bénévoles qui ont assuré le succès de cet événement.
Platinum Level / Niveau platine
St.John’s Music
Kwestomar
Long & Mc Quade
36 Ostinato
Gold Level / Niveau or
Empire Music
Where the
Music Begins
Bronze Level / Niveau bronze
Goatworks
The Nova Scotia Teachers Union
School Music Sales,
Rentals and Service
Rhythm Band / LP / Remo Percussion
SDM Orff Instruments / Yamaha Recorders
Duplex / Dolmetsch / Aulos / Ariel Recorders
Orff and recorder texts & method books
Now with 60 locations nationally.
Visit our website for the store nearest you.
www.long-mcquade.com
37
38 Ostinato
39
Swinging Along / Va de l’avant
Catherine West
This rousing, bilingual partner song, a favourite of the Girl Guides, is a great fall energizer for your grade 4 and up students. Be sure to
take advantage of all the triplets to make your students aware of that rhythm. Try singing and walking in two different groups, perhaps
in two facing lines, two concentric circles, or even walking freely in space.
40 Ostinato
Tõmairangi (Drizzling Rain)
Christoph Maubach
Christoph presented this lovely Maori song at the recent national conference in Halifax, Ensemble 2014. It appears here with his kind
permission.
41
Translation
Māringiringi māturuturu tōmairangi / Little by little, it trickles down, the drizzling rain.
Kōrehurehu ko ua, ua, ua mai rangi / The hazy rain, rain, rain of our heavens.
Pāhekeheke pātukituki patu ua e / The uneven, pounding, beating rain
Kia tipu, kia ora te whenua e / It will make the land flourish and it sustains the land
Christoph Maubach has an international reputation as an Orff clinician and is an active member of the Orff-Schulwerk Forum in Salzburg. Many members will be familiar with the Shenanigans series of dance recordings which he co-produced. He is a senior lecturer in
the Faculty of Education, University of Hamilton, New Zealand.
42 Ostinato
Entre vents et marées, chanson-‐thème
Atelier Entre vents et marées / Chantal Dubois, animatrice
Mélodie
# 6
& 8
# 6 Ó.
& 8
∑
∑
Introduction
Xylo Sop.
Xylo Alto
Tambourin
provençal
Xylo Basse
Mélodie
# 6
& 8 œœ .. œœ ..
6 œ. œ.
8
f
#
& 68 œœ .. œœ ..
÷
&
Xylo Sop.
&
Xylo Alto
&
Tambourin
provençal
Xylo Basse
÷
&
#
#
#
#
Œ.
∑
Ó.
Ó.
œœ ..
Œ.
œœ ..
Œ.
j
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œœ .. œœ ..
œ. œ.
p
œœ .. œ .
œ.
Œ
j j j
œ œ œ œ.
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Œ.
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Œ.
œ.
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j
j œ œ œ œj
œ
Pour
faire
le tour
œœ ..
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Ó.
œ.
f
œœ ..
du
œ.
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.
*** Travail en atelier pour la créa=on des interludes instrumentaux
j j
j
œ
œ. œ œ œ œ œ œ.
mon -‐ de,
Ó.
œœ .. Œ .
j
œ œ œ.
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il
faut faire u -‐ ne
Ó.
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p
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.
ron
-‐
j j
j
j
œ
œ œ œ œ œ œ . œ œj œj
de. Em -‐ bras -‐ ser l'o -‐ cé -‐ an,
jjj
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le -‐ ver les
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Pa
43
Mélodie
Xylo Sop.
Xylo Alto
Tambourin
provençal
Xylo Basse
Mélodie
&
#
j œ œj
œ œ
œ.
j
j j
j
œ
j œ œ œ œ. œ j œ œ œ
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# .
& Ó
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p
# .
& œœ .
÷
#
& œ.
Xylo Alto
Tambourin
provençal
Xylo Basse
44 Ostinato
œœ ..
œœ ..
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÷
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#
& œœ ..
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.
Œ.
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En -‐ tre vents et
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.
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ma -‐ rées
Sans
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ja -‐ mais s'ar -‐ rê -‐
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.
œ œ œ œ . œj œjœj œ . œj œj œj œ œj œj
œ œ.
JJJ
# jjj
& œ œ œ œ.
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ter
Xylo Sop.
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voi -‐ les en chan -‐ tant.
Ó.
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Tan-‐tôt bâ -‐ bord, tan -‐ tôt tri -‐ bord
œ.
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Paroles et musique: Chantal Dubois ©2014
RCSADS600_Ostinato Ad_2014.15 SUMMER ISSUE 14-03-13 11:34 AM Page 1
Music for Children – Carl Orff Canada – Musique pour enfants
TRAINING FOR THE
BEST BY THE BEST.
Founder and Patron/Fondatrice et patronne d’honneur
Doreen Hall
Honorary Patrons/Patrons émérites
Bramwell Tovey
Sr. Marcelle Corneille
Jos Wuytack
Board of Directors/Conseil d’administration national 2012– 2014
Past-President/Présidente sortant de charge
Cathy Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6
President/Présidente
Beryl Peters, 500 Laidlaw Blvd., Winnipeg MB R3P 0K9
T (204) 474-1384, F (204) 945-6747, [email protected]
First Vice-President/Première vice-présidente
Marlene Hinz, 3551 Apple Grove, Regina, SK S4V 2R3
Second Vice-President/Deuxième vice-présidente
Liz Kristjanson, 54 Glenbrook Cres., Winnipeg MB R3T 4W4
Treasurer/Trésorière
Eileen Stannard, 44 Second Ave., Ardrossan AB T8E 2A1
If undeliverable please
return to:
Ruth Nichols
7 Regent Street,
Amherst, NS B4H 3S6
[email protected]
Professional Development
Summer 2014
Enrich your teaching with inspiring
courses taught by dedicated experts:
•
•
•
•
Orff Intro, Level I, II. 10-day summer intensives M-F, July 7-18
Orff Seminar: Music From Five Continents with Doug Goodkin, Aug 18-22
Artist Educator Professional Training Level III, M-F, June 9-20
Early Childhood Music Education Training
Membership Secretary/Secrétaire des adhésions
Ruth Nichols, 7 Regent Street, Amherst, NS B4H 3S6
Website
Joanne Linden, 1647-126 Street, Edmonton AB T6W 1R8
Secretary/Secrétaire
Tim Paetkau, 11437 118 Street, Edmonton Alberta, T5G 3J3
H (780) 434-5360, [email protected] or [email protected]
LIMITED
AVAILABILITY
REGISTER
NOW!
Editor/Rédactrice en chef
Catherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4
(T) 647-970-7080, weekends (613) 449-8924, [email protected]
Archivist/Archiviste
Anne Tipler, 12-1735 The Collegeway, Mississauga ON L5L 3S7
Francophone Member at Large/Correspondante francophone
Denise Lapointe, 219 Forest,Pincourt, QC J7V 8E7
T (514) 453-8020, [email protected], [email protected]
Register online at rcmusic.ca
or call 416.408.2825
Carl Orff Canada Aims and Objectives
Music for Children - Carl Orff Canada - Musique pour enfants is a Corporation which operates with the following objectives:
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's objectives in all regions of Canada through a national organization and through regional
chapters;
iii) to produce and distribute a national journal addressing issues relating to the Orff philosophy of music education;
iv) to organize and administer conferences and workshops focusing on quality music education for children; and
v) to cooperate with other music education organizations in order to further the objectives of the Corporation.
Music for Children - Musique pour enfants
O
stinato
Celebrating 40 years!
Célébrons 40 années!
Music for Children | Musique pour enfants
Sing From Your Heart
Chantons toujours avec notre cœur
Volume 40,
Number 3,
Spring 2014
Tri-annual Publication of Carl Orff Canada

Ostinato Spring 2014 - CARL ORFF CANADA | Music for Children

Transcription

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