The ABC'S of ORFF PEDAGOGY
Printed with Permission
By Jos Wuytack, Orff Levels 2007, University of Memphis
Jos Wuytack is a retired Professor of Pedagogy at the Lemmen-Institute,
University of Leuven, Belgium and internationally renowned authority in Orff
Schulwerk. He has taught over 1,000 Orff courses and 46 countries; is author of
numerous compositions and books translated into eight languages. He is the
1996 recipient of Pro Merito Award from the Carl Orff Foundation. 2007 is his
36th consecutive year to teach Orff Schulwerk at the University of Memphis.
When using the Orff approach, every music educator must be aware of some
general pedagogical principles. The most important is the principle of totality:
every learning process starts with a total general impression from which
differentiations must then be made. In order to be appreciated, each
characteristic requires the child’s personal involvement. Integration follows
when the process is completed and the elements are put back into the organized
whole.
Activity is the key to real enjoyment of a music experience. All good music
training is based on active participation. The children must feel and live the
music vocally as well as instrumentally.
Creativity is the high point of activity. Everyone must learn to improvise:
anyone who does not speak a language precisely is difficult to understand.
Music too is a language which must be learned. It is not sufficient to simply
reproduce music: a language is a means of communication and personal
exchange. If music is creative, it can be the ideal medium for self expression.
There exists an infinite variety of possibilities, which express a fundamental
vitality to experience, to test, and to take shape in the new creation.
Community is the pulse of a social experience: singing, dancing and playing
are group activities. This is not an individual music education aimed at the most
gifted. Every child is able to contribute according to his/her own abilities. Each
individual is broadened, learning discipline and losing his complexes and shyness.
Theory must not be neglected: music education has to be a training. Good
results cannot be obtained without conscious learning. Certainly music is joyful,
enthusiastic and interesting but based on a constantly growing knowledge. There
are many lively ways to introduce theory in game form.
Pedocentry is a “condition sine qua non” for successful music education.
Children have the need to play (ludic element). They play with joy and gravity.
The teacher has to know the psychology of the child, his points of interest, his
dreams, fantasies, feelings, his games, songs, rounds and dances, his language,
nonsense syllables and his love of animals and nature.
Motricity helps to balance the child’s personality! Body percussion,
movement and instrumental activities provide an equilibrium, developing
coordination, new abilities and skills, which make the child more open to the
magic of beauty.
All of these didactics together form the resume of our teaching:
ABC’S
Activity, Artistry, Articulation
Balance between Brains, Breathing, Body in Beauty
Creativity, Compassion and Community
By Jos Wuytack, Orff Levels 2007, University of Memphis
Jos Wuytack is a retired Professor of Pedagogy at the Lemmen-Institute,
University of Leuven, Belgium and internationally renowned authority in Orff
Schulwerk. He has taught over 1,000 Orff courses and 46 countries; is author of
numerous compositions and books translated into eight languages. He is the
1996 recipient of Pro Merito Award from the Carl Orff Foundation. 2007 is his
36th consecutive year to teach Orff Schulwerk at the University of Memphis.
When using the Orff approach, every music educator must be aware of some
general pedagogical principles. The most important is the principle of totality:
every learning process starts with a total general impression from which
differentiations must then be made. In order to be appreciated, each
characteristic requires the child’s personal involvement. Integration follows
when the process is completed and the elements are put back into the organized
whole.
Activity is the key to real enjoyment of a music experience. All good music
training is based on active participation. The children must feel and live the
music vocally as well as instrumentally.
Creativity is the high point of activity. Everyone must learn to improvise:
anyone who does not speak a language precisely is difficult to understand.
Music too is a language which must be learned. It is not sufficient to simply
reproduce music: a language is a means of communication and personal
exchange. If music is creative, it can be the ideal medium for self expression.
There exists an infinite variety of possibilities, which express a fundamental
vitality to experience, to test, and to take shape in the new creation.
Community is the pulse of a social experience: singing, dancing and playing
are group activities. This is not an individual music education aimed at the most
gifted. Every child is able to contribute according to his/her own abilities. Each
individual is broadened, learning discipline and losing his complexes and shyness.
Theory must not be neglected: music education has to be a training. Good
results cannot be obtained without conscious learning. Certainly music is joyful,
enthusiastic and interesting but based on a constantly growing knowledge. There
are many lively ways to introduce theory in game form.
Pedocentry is a “condition sine qua non” for successful music education.
Children have the need to play (ludic element). They play with joy and gravity.
The teacher has to know the psychology of the child, his points of interest, his
dreams, fantasies, feelings, his games, songs, rounds and dances, his language,
nonsense syllables and his love of animals and nature.
Motricity helps to balance the child’s personality! Body percussion,
movement and instrumental activities provide an equilibrium, developing
coordination, new abilities and skills, which make the child more open to the
magic of beauty.
All of these didactics together form the resume of our teaching:
ABC’S
Activity, Artistry, Articulation
Balance between Brains, Breathing, Body in Beauty
Creativity, Compassion and Community
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