FMEA Simply Schulwerk - Florida Music Educators Association and ...

Simply Schulwerk ~ Sue Mueller, clinician Florida Elementary Music Educator’s Association January 11-­‐13, 2013 Tampa, Florida 4:00-­‐5:00 pm Friday, January 11, 2013 TCC 15-­‐16 Carl Orff’s visionary teaching philosophy is rooted in the belief that through active participation in speech, song, play, movement and improvisation the child becomes the active music maker, the composer. The Schulwerk offers many varied ways to teach and extend lessons. Through canon, rondo, improvisation and ostinato we will explore, extend and energize activities aimed at the K-­‐6 grades. Carl Orff and Gunild Keetman were composers inspired by the interrelationships of the spoken word, dance and music. The Schulwerk approach uses active participation in speech, song, instrumental play, movement and improvisation. Speech is one of the key elements in the Orff Schulwerk approach not only because speech is an inherentlyrhythmic action, but because Orff was the only one of the major educational philosophers to use speech in such arhythmic and harmonic way. In the Schulwerk approach, teachers often make the transition from speech torhythmic activities through body percussion - clap, patschen, stomp and snap- then to melody or song and finallyto instrument playing. This is natural for a child. Many music concepts are best experienced through speech andmovement first. The word rhythms of the text of proverbs, rhymes, poems, haiku, prose, to mention a few, and themeaning of those words teach not only rhythmic lessons, motivate movement, melody, texture and form but alsoprovide opportunity to explore life lessons.• Stress: When speaking, individuals do not give equal emphasis to all syllables. Spoken Englishhas an iambic rhythm or a pattern of unstressed syllables followed by stressed ones.• Pitch: Pitch in spoken language refers to the perceived frequency of sound. Higher frequencies ofsound produce higher pitch than lower frequencies of sound.• Tone: Tone is the quality of sound that portrays feelings or changes in meaning.• Duration: The rhythm of speech has a time or duration element.

Say What You MeanAim: Experience 6/8 meter using speech. Grade Level: K-1Anticipatory set:• Discuss the meaning of the text. Talk about speaking in a courteous, sincere manner with friends,teachers, parents. Include in the discussion the reasons for speaking sincerely when expressing thanks,forgiveness, etc.Process:• Teach the text poem using the echo process until secure.• Speak the rhyme in different ways, exploring voice timbres that illustrate different emotions such as anger,delight, friendship, helpfulness, etc.• Speak the text twice clapping the word “say.”• Speak the text twice and patsch the word “mean.”• Speak the text twice clapping and patsching selected words.• Repeat above sequence, internalizing the words “say” and “mean.”• Replace text with body percussion internalized.Play an elimination game:• Speak the text, replacing the word “say” with claps.• Speak the text, replacing the words “say” and “mean” with claps and patsches.• Internalize the entire text, replacing the words “say” and “mean” with claps and patshces.o Hint: To keep students together “feeling” the pulse, the teacher may need to play an external pulseon a drum.o Create a word chain using “heart expressions.”• Arrange the four heart expressions in desired order at student’s suggestion.• Speak the four measure pattern of expressions in interesting voice timbres.Performance suggestions:Introduction:ABASpeak rhyme twice using expressive voice timbre.Speak rhyme twice with body percussion on selected words.Speak four measure pattern of words in hearts twice.Speak rhyme twice with body percussion on selected words.Extensions:• Transfer body percussion to non-tuned percussion.o Transfer body percussion to found sounds.o Transfer body percussion to an action or gesture.o Transfer body percussion to barred instruments playing any two notes of chosen pentatonic scale.o Students create new expressions to replace the four heart expressions.Standards and objectives:National Standards :• Performing on instruments, alone and with others, a varied repertoire of music.• Composing and arranging music within specified guidelines.Lesson objectives:• Experience 6/8 meter using speech and body percussionPlease?Thank you.I’m sorry.You’re welcome.

Music and movement are natural partners. Movement is an essential component of the Schulwerk.“Out of movement, music. Out of music, movement.” Dorothee GüntherMovement and rhythm are basic elements of nature: changing seasons, ebb and flow of tides, heartbeat, sleeppatterns, walking and running. Movement to rhythm and pulse plays an important facet in developing students’sense of coordination and body awareness. Physical response to music is an effective and fun way to teach thebasic elements of music. Movement is natural to the child, and can provide a means of expression, release ofenergy and develop community. Starting with reaction training, to moving in and through space in different waysusing a variety of meters, the child learns balance, rhythm, and develops a toolbox for creativity.Movement activities in the music classroom should be aligned with a child’ s development of motor skillsbeginning with simple behaviors, such as walking, and progress to more challenging and complex activities.Simple to complex guided movement experiences provide a natural basis for expression and understanding gearedto the child’s development and the elements being taught. Consider many types of movement exercises in yourteaching.~ Spatial and body awareness~ Movement that teaches musical concepts~ Creative and expressive movementImprovisation: The role of improvisation permeates all aspects of the Schulwerk process. The student whoimprovises and creates his/her own movement, melody, rhythm and accompaniment is better prepared to solveproblems in other areas of life and in a variety of contexts. Improvisation and the Orff Schulwerk process developthe child’s intellectual, social, emotional and aesthetic awareness.Jump rope rhyme: Don’t say ain’t.Uh, uh.Your mother will faint.Oh yeah.Your father will fall in a bucket of paint. Oh no, dad’s gonna ground me,wish I hadn’t said that word.Your sister will cry.She always cries.Your brother will die.Of embarrassment.The dog and the cat will say goodbye! Oh well, I guess it’s my fault,I’ll never say ain’t again!Process:• Students learn to speak the words in green.• Teacher speaks the words in black.• Put the word rhythms on body percussion, hand drums, tubanos, or non-tuned percussion.• Practice without words.• Now, students improvise their own rhythms in response to teacher playing the first part.

We Are OneUsing a familiar folk song or literature in the students’ repertoire, show pulse, measure and phrase through movement: §§§Sing a familiar song in the student’s repertoire. Divide students into four groups. One group creates a movement to show • Pulse • Length of a measure • Length of a phrase • Melodic rhythm • As a variation: Each group creates a way to show all of the above within their group. Share with class. Using the children’s book We Are One by Jennifer Black, we will take the song below and weave it into the story. We will determine the accompaniment according to the elements of music explored above. Many thanks to West Music Co. and Beatin’ Path Publications for their support of this session.