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Varelas, Dimitris. "Orff-Schulwerk applications in Greek settings." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272706.
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Chang, Ling-Yao. "A COMPARISON OF THE ORFF-SCHULWERK MUSIC EDUCATION APPROACH." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/173.
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AN ABSTRACT OF THE THESIS OF Ling-Yao Chang, for the Master of Music degree in Music Education, presented on 13 April 2010, at Southern Illinois University Carbondale. TITLE: Comparison of the Orff-Schulwerk Music Education Approach in the United States and Taiwan MAJOR PROFESSOR: Dr. Pamela Stover The Orff-Schulwerk approach is a common and popular approach in the United States and Taiwan. In this paper, this paper compares the music classes in the United States and Taiwan. If the music teachers can see the differences in music education between the two countries then they can think about their teaching and learn new strategies with what works in other countries. In addition, music educators can consider using the Orff-Schulwerk approach in the future. This study is a two-pronged approach to discover more about the implementation and attitudes toward the Orff-Schulwerk (music and movement education) approach of teaching in the United States and Taiwan. What are the teachers' and students' attitudes and thoughts about the Orff-Schulwerk approach? First, surveys for teachers and students using quantitative and qualitative response was given. Orff-Schulwerk teachers in Taiwan and America were given questionnaires by e-mail or in person. The questions were multiple choice, with space provided for additional comments. From these surveys, selected music teachers who were highly trained in the Orff-Schulwerk approach were viedo-taped while they were teaching grades 2-6. Target teachers in Taiwan and in the United States have studied at the Orff Institute or have additional Orff-Schulwerk teacher training. Teachers were asked about their preference for various Orff-Schulwerk, their attitudes in class and what they learned. Second, selected classes were video taped to observe the students' activities in Orff-Schulwerk music classes in both Taiwan and the United States. After the classes were video-taped, the students were given a survey in person. This was a paper and pencil Likert-scale short questionaire about their attitudes of different the Orff-Schulwerk elements. The results show that the Orff-Schulwerk teachers in America and Taiwan were similar in their teaching techniques. However, the students were different. Taiwanese students did not perform much or answer questions. In the fifth grade, Taiwanese students did more music composition, even though they liked composition less than playing musical games. American students were more active in class and liked to perform in class. The American classrooms that observed focused on playing the Orff instruments. Although both the Orff-Schulwerk was implimented in both countries, the differences observed were mostly cultureal differences and not a result of teaching techniques.
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Szopinski, Sarah. "Beyond the method book: integrating movement, exploration, and improvisation into the elementary piano lesson." Kansas State University, 2016. http://hdl.handle.net/2097/32865.
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Master of MusicDepartment of Music, Theatre, and Dance
Frederick Burrack
Prominent elementary music methods like Orff-Schulwerk, Kodaly, Suzuki, Music Learning Theory, and Dalcroze Eurhythmics share a belief in a sound-before-symbol approach: delaying notation instruction in order to first develop audiation, musical vocabularies, and concrete musical experiences. Unfortunately, piano pedagogy has not taken the same journey, with method books continuing to center on reading from the earliest. While piano pedagogy has made great strides as a professional music community, now it must adopt the same sound-before symbol approach of its general music colleagues, making room for experiential and creative activities as a core component of instruction. Through the integration of movement, exploration, and improvisation activities like the included examples, teachers can move beyond strict adherence to the method book, and change their focus from notational literacy to authentic musicianship.
4
Champion, Susan Michele. "The musical activities found in selected Orff-Schulwerk elementary music classrooms /." Full text available from ProQuest UM Digital Dissertations, 2006. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1410676541&SrchMode=1&sid=5&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1218549012&clientId=22256.
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Brandon, Joani Somppi. "Orff Schulwerk: the development of teacher training in the United States, 1958-1980." Thesis, Boston University, 2013. https://hdl.handle.net/2144/10946.
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Thesis (D.M.A.)--Boston UniversityThis study examines teacher training in Orff Schulwerk in the United States and how the training system currently in practice was initially developed. Since the first Orff Schulwerk teacher training, conducted by Gunild Keetman at the Mozarteum in Salzburg, Austria in 1953, teachers have been seeking ways to adapt the Schulwerk approach to classrooms. By the mid-1950s teachers were traveling to Austria from throughout the world to learn how to use these ideas and publications. By the early 1960s interest was growing in the United States as evidenced by the founding of the national organization, now the American Orff-Schulwerk Association (AOSA), in Muncie, Indiana in 1968. Teacher training courses sprang up like "wildflowers," a term often used in the movement, in universities and local school systems during this period. The history of teacher training in the Orff Schulwerk approach in the United States is chronicled here, including why and how it evolved from free-form workshops exploring the creativity of Orff Schulwerk into a three-level sequential curriculum. The time line begins with those offered in the late 1950s through the establishment of the first AOSA Course Guidelines for Levels I, II, and III in 1980. Special focus is given to the development of teacher training programs listed as certification courses by the AOSA Higher Education Committee in The Orff Echo (Spring 1977). Responding to the need for some level of common practice in the burgeoning training programs that sprang up throughout the nation, members ofthis AOSA committee selected three models and organized the Level II and III guidelines into three curricular tracks, based on common practice in the curriculum outlines from the more than thirty programs surveyed. Common goals were determined, but differences arose over the length of courses and content sequence in Levels II and III. The compromise decided upon allowed for creative license when designing how to organize the material. This information was compiled from interviews with early teachers of Orff Schulwerk training courses in the USA, a study of archived materials from individuals and universities, a review of journal articles, dissertations, and theses, and AOSA video-recorded interviews.
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Cunha, João Cristiano Rodrigues. "Da abordagem Orff-Schulwerk ao desenvolvimento do ’eu musical’ : flow em processos de ensino/aprendizagem de educação musical." Doctoral thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/12492.
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Doutoramento em MúsicaO presente trabalho visa discutir a relação entre a abordagem Orff-Schulwerk e o desenvolvimento do ‘Eu Musical’ em contexto de Educação Musical no 2.º Ciclo do Ensino Básico genérico português. Na tentativa de verificar, analisar e tentar compreender esta relação, o processo empírico fundamentou-se na Flow Theory, desenvolvida por Mihaly Csikszentmihalyi. O enquadramento teórico conduziu à elaboração do ‘Modelo Multidimensional de Eu Musical’ (‘MoMEuM’), o qual, partindo da abordagem Orff-Schulwerk, procurou bases epistemológicas na Flow Theory, nas vertentes Cultural, Social e Positiva da Psicologia, bem como no Embodiment. A componente empírica do estudo teve como base metodológica a investigação-ação. Nesse sentido, o professor-investigador acompanhou, de forma longitudinal, o percurso de 50 alunos no referido contexto e procurou verificar, através do FIMA - Flow Indicators in Musical Activity, a vivência de ‘experiências ótimas/estados de fluxo’ em atividades/estratégias pedagógicomusicais baseadas na abordagem Orff-Schulwerk e, por conseguinte, no desenvolvimento do ‘Eu Musical’. A análise e interpretação de dados sugere que a abordagem Orff-Schulwerk promove a ocorrência de ‘experiências ótimas/estados de fluxo’ e, no quadro do presente estudo, impulsiona o desenvolvimento do ‘Eu Musical’.
The present work aims to establish a relation between the Orff-Schulwerk approach and the development of the ‘Eu Musical’* in the context of Musical Education taught at the second level of basic teaching (5th and 6th grade of Portuguese Basic Education). In order to verify, analyze and understand this relation, an empirical method was used based on the Flow Theory, extensively studied and discussed by Mihaly Csikszentmihalyi. The theoretical background direct us to the proposal of a multidimensional model (‘Modelo Multidimensional de Eu Musical’ - MoMEuM’), that starting from the Orff-Schulwerk approach, try to put together the epistemological foundations of the Flow Theory, adding Cultural, Social e Positive aspects of Psychology, complemented by aspects of the Embodiment. The Empirical component of this study has a methodological support based on a direct process oriented by research-action. To fulfill these objectives, the professor/researcher followed and interact directly, in a longitudinal way, on the activities of 50 students on this topics. FIMA - Flow Indicators in Musical Activity and AFIMA - Adapted Flow Indicators in Musical Activity were used to attest the testimony (feeling) of ‘optimal experiences/flow states’ in musical activities/strategies based on the Orff-Schulwerk approach, with strong implications on the development of the ‘Eu Musical’ (‘MoMEuM’). The analysis and interpretation of the data collected suggests that the Orff- Schulwerk approach promotes ‘optimal experiences/flow states’ and, in the frame of the present study (‘MoMEuM’), enhances the development of the ‘Eu Musical’. * The concept ‘Eu Musical’ (translated as ‘Musical Self’) is defined, in this work, on the basis of the theoretical-epistemological framework of the multidimensional model proposed (‘Modelo Multidimensional de Eu Musical’ - MoMEuM’).
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Kennedy, Lori C. Parisi Joseph. "A short term study of the effects of the Orff-Schulwerk musical approach on reading fluency and reading comprehension in second-grade students." Diss., UMK access, 2007.
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Thesis (M.MusEd.)--Conservatory of Music. University of Missouri--Kansas City, 2007."A thesis in Music Education." Typescript. Advisor: Joseph Parisi. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 8, 2008. Contains bibliographical references (leaves 137-144). Online version of the print edition.
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Paolino, Annamaria. "An interdisciplinary intervention : the potential of the Orff-Schulwerk approach as a pedagogical tool for the effective teaching of Italian to upper primary students in Western Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2012. https://ro.ecu.edu.au/theses/557.
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Since the second half of the twentieth century, Italian has been the second language spoken in Western Australia. In the primary school sector, there are over two hundred Italian teachers engaged with primary students. Many Italian teachers also use music/song as a pedagogical tool. The first part of the research examines the extent that music/song is used in primary Italian classes, as well as how and why they are used. The second part of the research centres on the use of the Orff-Schulwerk approach as an integrated music approach to teaching Italian. The research examines the success of a trialled intervention with a group of upper primary Italian language teachers, as well as exploring the support that is required to support Italian as a second language specific to upper primary contexts.
The research findings conclude that the novelty of the Orff-Schulwerk approach is considered effective in the teaching and learning of Italian. However, the research also highlights a number of constraints, which need to be addressed if teachers are to provide students with a rich and engaging curriculum.
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Johnson, Sherry Lynn. "The Orff Schulwerk Resource Web Site /." 2001. http://www.hartfordjt1.k12.wi.us/teachlounge/sljwebl/index.html.
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LIU, Pei-Ching, and 劉沛晴. "An Arts Learning Project for Young Children : Orff Schulwerk Revisited." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/73d7h4.
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碩士國立臺北藝術大學
藝術與人文教育研究所
102
The Orff Approach, stemming from the core concept of “Elementare”, combines rhythm, dance, language, interaction, participation, and interdisciplinary connection in music learning. In line with the contemporary arts education and learning theories, the Orff Approach seeks for integration of disciplines, communities engagement, and local culture in its pedagogy, and multisensory learning experience is stimulated through the natural sense of “play” thus encouraging the development of children’s learning. This study revisited the Orff Approach in the context of contemporary arts education, children development, and music learning. Accordingly, a young children arts learning program was designed and carried out in an affiliated kindergarten of a public elementary school. As a reflective practitioner, the researcher performed an arts education action research, keeping documentary by sound and video recording, and photographing. Through participation observation, interview, and questionnaire survey, data was collected and analyzed, where the learning of young children in the research program was studied, and the possibility of developing young children arts education program using Orff Approach was examined. The main results obtained from this research are：Ⅰ)The philosophy and methods of Orff Approach have gone through diverse practices and the development of different cultures, and they emphasize connections across domains, multi-sensory experiences, integration of learning, implementation and creation……,and the spirit of connecting to local living, and are able to respond to the core spirit of contemporary art education.Ⅱ)The Early Childhood Art Learning Program, based from the Orff Approach, helps carry out a rich learning experience for young children.
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Lee, HUI-CHI, and 李慧琪. "The Experimental Teaching of Orff-Schulwerk Method on Bunun Folk." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/79492009628120486808.
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Zhe-Wei, Yang, and 楊晢暐. "The Research of Applying Orff-Schulwerk Teaching Ideas to Elementary Schools’ Recorder Groups." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/61935661602106546930.
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碩士國立新竹教育大學
音樂學系碩士班
95
This is research in motion. The purpose is to apply Orff-Schulwerk teaching ideas in the training course for recorder group students and to improve students’ basic music capability which has been poor thus far. This approach can elevate the performance standard. I took 26 students as my research project from a recorder group of an elementary school in Taichung. In my curriculum, there are Orff teaching methods such as : Body movement, ostinato, canon, speech, instrumental ensemble that go with the basic recorder training. In this process, I am the actual instructor assisted by another 2 teachers and with some specialist scholars in this related field as a study group. I collected related articles, information in advance and kept a diary during the teaching process, the interview records of students and assistant teachers, the tests before and after the class etc. We also took the suggestion from some specialists. We analyze, categorize and come up with the conclusion as follows. 1. Recorder Training Group Emerging Orff-Schulwerk Teaching is Highly Accepted by the Recorder Students. （1）students enjoy the curriculum very much. （2）Among the Orff courses “Instrumental Ensemble” is the students’ favorite. 2. Orff course in the recorder training has a noticeable effect. （1）It helps students with their sense of rhythm. （2）It improves students with their sense of hearing. （3）Student’s playing ability makes a great deal of improvement after engaging in Orff training. （4）It helps team cooperation. （5）It helps mutual communication and works better between teachers and students. （6）It improves the accuracy of the students’ performance and promote an constructive attitude. At last, the above conclusions are to offer a concrete suggestion and references for the continuing training of our schools recorder groups. These ideas are also for school executives, educational organizations, parents and those who care about Orff teaching.
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Taylor, Donald Mount. "Beating time: refining learned repertoire for percussion instruments in an Orff ensemble setting." Thesis, 2004. http://hdl.handle.net/2152/1269.
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Sanborn, Raymond Joseph. "The contribution of Doreen Hall to the development of Orff-Schulwerk in Canada, 1954--1986." 2005. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=362489&T=F.
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Kuang-Tsu, Chiang, and 江寬慈. "The study of Orff-Schulwerk development in Taiwan by Liu Jiashu the music teaching career." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/05931149687005571949.
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碩士國立新竹教育大學
音樂學系碩士班
101
The research in this thesis mainly focuses on Liu Jiashu's music teaching career. Her music teaching processes are recorded and arranged, and the developing track of the Orff-Schulwerk in Taiwan is also discussed. Since 1984, Liu has been devoting herself to the promotion of the Orff-Schulwerk in Taiwan. Researcher arranged and recorded her processes, teaching materials edition, creation and promotion practices of the Orff-Schulwerk . Through the arrangement of interviews and literature reviews, this research presents Liu's music teaching processes, from her growing environment to her devotion to the promotion of the Orff-Schulwerk, by time as the longitude and society and education environment as the latitude, showing the blend between Liu's music teaching career and the development of the Orff-Schulwerk in Taiwan. There are five chapters in this thesis. Chapter one is the preface. Chapter two is the background of Liu's music teaching, describing the whole story of her family, study background, period of elementary school teacher, and contact with the Orff-Schulwerk. Chapters three and four, the key research points in this thesis, are Liu's music teaching practices, mainly describing the background, turning point and process that push her to establish the music studio. In these chapters, Liu's music teaching and the development of the Orff-Schulwerk in Taiwan are also arranged. Chapter five is the conclusion, from the influence aspects of personal characteristics, family and society, analyzing the nutrients that cultivate Liu's music life and how she became the role of worker for promoting iv Orff-Schulwerk; inducing the connections between the developing processes of Liu's music teaching career, and the development of contemporary society and music education; analyzing Liu's teaching ideas toward Orff-Schulwerk practices and the patterns of her long-term devoted teaching, so as to outline the picture of the development of Orff-Schulwerk in Taiwan and its enlightenment to nowadays music education and implication of the times; and finally, proposing related suggestions for follow-up researches.
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Peixoto, Heitor Costa Aguiar de Castro. "Prática de ensino supervisionada em Ensino de Educação Musical no Ensino Básico." Master's thesis, 2014. http://hdl.handle.net/10198/9956.
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O presente relatório de estágio representa o culminar de um ciclo de estudos no
Mestrado em Ensino de Educação Musical no Ensino Básico, frequentado nos anos
lectivos de 2012/2013 e 2013/2014. Este relatório engloba toda a Prática de Ensino
Supervisionada realizada nos 1.º, 2.º e 3.º Ciclos do Ensino Básico assim como todo o
enquadramento teórico, reflexões e conhecimentos adquiridos nestes dois anos. Mais do
que toda a intervenção pedagógica realizada, este relatório pretende ainda demonstrar a
aprendizagem, as experiências e mudanças que este ciclo de estudos teve sobre mim.
Partindo de duas abordagens pedagógico-musicais, como a Teoria da Aprendizagem
Musical de Edwin Gordon e a abordagem Orff-Schulwerk de Carl Orff, procura-se
definir e implementar estratégias que se adaptem às necessidades de cada aula nunca
perdendo de vista o objectivo final: o desenvolvimento da musicalidade nos alunos e a
sua motivação e sensibilização para a música e artes em geral.The following report represents the climax of a cycle of studies on Master Degree in Music Education on Basic Education, attended in the academic years of 2012/2013 and 2013/2014. This report contains all of the Supervisioned Teaching Practice done in the 1.º, 2.º and 3.º Cycles of Basic Education as so as all the theoretical framework, reflexions and knowledge’s acquired in this two years. It tries to show the learning curve, the experiences and the changes that this cycle of studies had on me, more than it tries to the show the entire pedagogic intervention done. Based on Edwin Gordon’s Music Learning Theory and Carl Orff’s Orff-Schulwerk Approach, it is tried to define and implement strategies that adapt to the needs of each class although never losing sight of the main goal: the development of students musicality and their motivation and sensiblization towards music and arts in general.
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Lai, Mei-Fang, and 賴梅芳. "An Action Research of Applying Orff-Schulwerk in Tonal Sensibility and Singing Ability for Third Graders." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/41002673463453324249.
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碩士臺北市立大學
音樂學系碩士在職專班
103
The purpose of the study is to explore the effects of applying Orff-Schulwerk in tonal sensibility and singing ability on third graders. The researcher has discussed the related literatures, which comprises the theoretical basis of the study. The participants were twenty third graders in class A of Hillside elementary school from Peitou district of Taipei City. Through the action research, expectations can be improved tonal sensibility and singing ability on third graders, and provide for future reference music teachers’ teaching. The purposes of this study include: 1.to discuss Orff-Schulwerk applied in the teaching plan implementation in tonal sensibility and singing ability on third graders. 2.to discuss the students’ learning effectiveness of applying Orff-Schulwerk in tonal sensibility and singing ability.3.to discuss how to resolve the difficulties and solutions which happened when teaching the third graders. Bodily-movements, singing, instrumental ensemble and improvisations are employed during the eighteen teaching periods, which including the learning achievement test. The instruments of the study were classroom observation, teaching reflection journal, student learning achievement test, and student response questionnaire. SPSS 2.0 was used to analyze the data of the pre-test and post-test in tonal sensibility and singing ability. Based on the study results, the following conclusions are drawn: 1. Applying Orff-Schulwerk in tonal sensibility and singing ability on third graders is feasible. Not only can increase the ability of students to learn when to focus, but also can improve the problem of teaching students to distinguish the ability to listen to and sing the correct pitch. 2.After application of Orff-Schulwerk in tonal sensibility and singing ability on third graders, we found that students had significant progress in singing ability, but there is no significant difference between before and after in tonal sensibility. Aside from that, 90% of the participants state that applying Orff-Schulwerk in music course could enhance their learning interests and improve their tonal sensibility and singing ability. they enjoy bodily-movements and instrumental ensemble the most. 3. Teaching instruments and environment may be hard to change, but teachers’ profession and teaching problem may be improved by teachers' self-education. Based on mentioned above, suggestions were made for educational organizations, school administrations, arts and humanities’ teachers in terms of teaching practice, and future research for teaching and research considerations. Keywords: tonal sensibility, singing ability, Orff-Schulwerk
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Peixoto, Inês Margarida Silva. "Prática de ensino supervisionada em Ensino de Educação Musical no Ensino Básico." Master's thesis, 2014. http://hdl.handle.net/10198/9908.
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O presente relatório é o resultado da experiência da Prática de Ensino Supervisionada
no 1º, 2º e 3º Ciclos do Ensino Básico, levada a cabo no ano letivo 2012/2013 e
2013/2014, no âmbito do mestrado em Ensino de Educação Musical no Ensino Básico.
Através de diversas estratégias baseadas na abordagem Orff-Schulwerk e, tendo sempre
em vista uma educação multicultural, tentou-se que os alunos experienciassem uma
vivência musical ativa e participativa de modo a, não só alargar os seus conhecimentos
musicais, como também desenvolver a criatividade e sociabilidade. A componente
empírica do trabalho teve como base metodológica a investigação-ação. Partindo da
análise e reflexão do contexto em que decorreu a Prática de Ensino Supervisionada em
cada um dos Ciclos, planificou-se toda a prática letiva a fim de concretizar os objetivos
previamente traçados. A análise e discussão dos resultados descritos parecem evidenciar
um incremento na motivação pessoal dos alunos para a Educação Musical.The present report is the result of the experience of Supervised Teaching Practice in the 1st, 2nd and 3rd cycles of basic education, carried out in the academic year of 2012/2013 and 2013/2014, integrated on the Masters in Teaching Music Education in Primary School . Through several strategies based on the Orff-Schulwerk approach, and, emphasizing the multicultural education, we tried to provide to the students an active and participatory musical experience not only to, extend their musical knowledge, but also to develop creativity and sociability. The empirical component of the report was based on a methodological research-action investigation. Based on the analysis and reflection of the context in which held the Supervised Teaching Practice in each of the cycles, we planned the teaching practice in order to achieve the objectives previously outlined. The analysis and discussion of the results described, seem to indicate an increase in the personal motivation of the students for the Music Education.
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Koňaříková, Karolína. "Využití principů Orffova Schulwerku ve výuce hudební výchovy na Základní škole generála Františka Fajtla DFC v Letňanech." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-367591.
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The diploma thesis examines Orff Schulwerk as a system of thoughts applicable to music education and its use at General František Fajtl DFC Primary School in Prague 9. It briefly introduces Carl Orff as a pedagogue in the first part. It further describes the formation of Orff Schulwerk in Germany, its basic thoughts, its adaptation in Czechoslovakia and the birth of the Czech Orff's School. This thesis focuses in detail on a school, where music education is taught according to principles of Orff Schulwerk - General František Fajtl DFC Primary School in Letňany. Several chapters are also devoted to the founder of this concept Lenka Pospíšilová and her other projects. The last part of the thesis deals with the teaching of music education in classes with musical specialisation in the first and second grade of this primary school. Based on the research, it compares the teaching process of the two first-year classes with and without musical specialisation in the school year 2016-2017.
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Soares, Maria Joana Serrano. "Prática de ensino supervisionada em ensino de Educação Musical no Ensino Básico." Master's thesis, 2015. http://hdl.handle.net/10198/12020.
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O presente trabalho tem como objetivo geral relatar as experiências de ensinoaprendizagem
desenvolvidas durante a Prática de Ensino Supervisionada (PES) no 1º, 2º
e 3º Ciclos do Ensino Básico no ano letivo 2012/2014, no âmbito do Curso de Mestrado
em Ensino da Educação Musical no Ensino Básico (MEEME), da Escola Superior de
Educação (ESE) do Instituto Politécnico de Bragança (IPB).
São relatadas experiências ensino-aprendizagem com base no enquadramento teórico
devidamente sustentadas em literatura científico-pedagógica, de modo a consolidar as
estratégias de ensino utilizadas da PES na Escola Augusto Moreno pertencente ao
Agrupamento de Escolas Abade Baçal.
Através da utilização de uma metodologia baseada no modelo de investigação-ação,
procurei envolver todos os alunos nas atividades desenvolvidades no decorrer deste
estágio.
As diversas estratégias baseadas nos princípios da Orff-Schulwerk, pretendem
evidenciar uma forma de trabalho na qual se utilizam elementos originais tomados como
modelos que estimulam a criatividade aliados à música, ao movimento e palavra.
Numa fase final, os resultados descritos parecem demonstrar um desenvolvimento
motivacional dos alunos no que concerne à disciplina de Educação Musical.The present work has overall objective of reporting the teaching and learning experiences developed during Supervised Teaching Practice (PES) in the 1st, 2 nd and 3rd Cycles of Basic Education in the academic year of 2013/2014, under the Masters Program in Teaching of Music Education in Basic Education (MEEME), of Education College (ESE) of the Polytechnic Institute of Bragança (IPB). Learning- Teaching experiences are reported based on the theoretical framework, properly supported by scientific-pedagogical literature, in order to consolidate teaching strategies used in the PES classes at Augusto Moreno School wich belongs to the Abade Baçal Group of Schools. Though the use of a methodology based in action-research, I tried to involve all students in the developed activities during this pedagogical intervention. The various strategies based on the principles of Orff-Schulwerk, intend to highlight a form of promote creativity allied to music, movement and word. In this final stage, the described results demonstrate a motivational development of the students, regarding Music Education course.
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Brooke, Sarah. "Giving flight to the Imagination : using portraiture to tell the story of Orff Schulwerk and a family music education setting." Thesis, 2016. https://vuir.vu.edu.au/35778/.
Full textAbstract:
The Orff Schulwerk approach to music and movement education actively seeks to provide flight to the imagination through a playful, inclusive, engaging, creative and artistic pedagogy. As an approach to classroom music education it focuses on participatory music making in groups encompassing the social and emotional needs of the student. Orff educators interpret the Schulwerk in different ways, and as a non-prescriptive approach to music and movement education, this is to be welcomed. However, this freedom in interpretation has led to a variety of beliefs and practices, some of which bear little resemblance to how the Schulwerk was envisaged by its creators, Carl Orff and Gunild Keetman. What seems to be lacking within much of the Orff community is a framework of philosophical understandings in which our practices can be placed.
Reflecting on whether my own understandings of Orff Schulwerk lacked legitimacy prompted me to interrogate and consider my own practice, and investigate the philosophy of Orff Schulwerk. This investigation is presented in Part 1 of this thesis and I propose seven principles of Orff Schulwerk as a framework for understanding the overarching philosophy. I suggest that adopting such a framework allows for the creative freedom Orff educators enjoy whilst maintaining the integrity of the approach.
In Part 2 of this thesis I tell the story of a research project I conducted with primary school children and their families. Volunteers participated in a project led by me as the teacher learning music together through the Orff Schulwerk approach.
As the educator/researcher of this project, the methodology of portraiture is well suited as a frame(work) for my research. It promotes a narrative writing style and makes visible the personhood of the researcher and the humanness of the participants. Portraiture supports the significant reflective component.
Findings from the research project demonstrate beneficial outcomes in families learning music together through the pedagogy of Orff Schulwerk. These families reported positive experiences from their involvement in the program: musically, socially and personally.
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VÁCHOVÁ, Pavlína. "Prvky Orffova Schulwerku v českém všeobecném školství." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-371694.
Full textAbstract:
Thesis work is focused on possibilities of the practical use of the elements of Orff Schulwerk in the Czech general education and is divided into theoretical and practical part. The theoretical part is given to the person Carl Orff, Schulwerku in general, the Czech Schulwerku, music education and Czech Orff of the company. Readers are briefly presented biographical data personality Carl Orff, his teaching and the composer's activity. Furthermore, it is acquainted with the history of the Schulwerku, its principles, basic elements and metodology. Can be in the thesis work a glimpse of the mission of the music education depending on the Orff Schulwerk. At the end of the theoretical part is a mention of the seminars of the Czech Orff of the company. In the practical part the reader is acquainted with the methodology, conduct, results and a summary of the research the use of Orff´s set of instrumentars in primary schools in Czech Budejovice and the surrounding area. Here are the insights and individual suggestions for the use of musical instruments in music education. The last section is devoted to examples of educational games using Orff´s instrumentars.
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Pereira, Davide Morais. "Uma prática baseada na vivência, no canto e no crescimento da global criança." Master's thesis, 2019. http://hdl.handle.net/10198/23139.
Full textAbstract:
Este trabalho tem como objetivo apresentar o resultado da minha Prática de Ensino Supervisionada
no 2.º Ciclo do Ensino Básico, que serve para a conclusão do Mestrado em Educação Musical no
Ensino Básico, da Escola Superior de Educação do Instituto Politécnico de Bragança. Baseia-se
na narrativa de todas as experiências e aprendizagens da área da música desenvolvidas durante a
prática exercida em turmas de 5.° e 6.° ano. O enquadramento teórico que consubstanciam o fazer
musical e a componente prática que apresento, fundamenta-se principalmente na abordagem Orff-
Schulwerk de Carl Orff e na Pedagogia Musical Ativa de Jos Wuytack. Atravs destas
abordagens e da literatura consultada, obtive ferramentas que me permitiram experimentar,
planificar, recontextualizar e desenvolver o meu eu profissional, onde constru os primeiros
alicerces como futuro docente de Educação Musical. As metodologias utilizadas, das quais destaco
a observação direta, questionários e autorreflexão permitiram a obtenção de resultados sobre a
minha prática, no que concerne ao ser professor, bem como ao trabalho com os alunos. Neste
sentido, considero ter evoluído e apresentado uma aprendizagem gradual como docente e que o
impacto das minhas ações pedagógicas resultou na aprendizagem constante e crescente dos alunos.This work aims to present the result of my Supervised Teaching Practice in the 2nd Cycle of Basic Education, which serves to complete the Master in Music Education in Basic Education, from the Higher School of Education of the Polytechnic Institute of Bragança. It is based on the narrative of all the experiences and learning in the area of music acquired during the practice exercised in classes of 5th and 6th year. The theoretical framework that substantiates musical making and the practical component that I present, is based mainly on Carl Orff's Orff-Schulwerk approach and Jos Wuytack's Active Musical Pedagogy. Through these approaches and the literature consulted, I obtained tools that allowed me to experiment, plan, recontextualize and develop my professional I, where I built the first foundations as a future Music Education teacher. The methodologies used, of which I highlight direct observation, questionnaires and self-reflection allowed to obtain results about my practice, with regard to being a teacher, as well as working with students. In this sense, I consider to have evolved and presented a gradual learning as a teacher and that the impact of my pedagogical actions resulted in the constant learning and growing of the students.
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Li, Lan, and 藍儷. "The Application of Orff-Schulwerk Teaching Ideas to Recorder Teaching Methods of the Fourth-Grade Students in Elementary School~An Example of Recorder’s Melodic Composition." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/28748163221999522190.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
98
Abstract This research is dedicated to exploring the influence of integrating Orff-Schulwerk teaching ideas with recorder’s melodic composition instruction on pupil’s recorder’s melodic compositional content and interest. The research employs quasi-experimental research, a quantitative research method, and chooses subjects from all fourth-grade classes at an elementary school in Taichung County. The two ramdomly selected classes were then divided into experimental group and control group and were instructed under two different recorder curricula. The experimental group received recorder teaching methods integrated with Orff-Schulwerk teaching ideas and the control group was taught by Kang Hsuan recorder teaching methods. Both of them were pretested before the starting of this experiment. During this thirteen-week experimental period, the experimental group received recorder’s melodic composition instruction once a week to nurture their recorder’s melodic compositional ability and interest. After the experiment, the students were evaluated with the Recorder’s Melodic Composition Test and the Recorder’s Melodic Composition Interest Test, both designed by the researcher. The test results and students’ compositional works were analyzed to compare the differences of students’ recorder’s melodic compositional ability and interest between the experimental group and the control group. Descriptive Statistics, Independent Samples t-test and One-way Analysis of Variance were used to facilitate data analysis. The result indicated that (1) regarding the recorder’s melodic compositional content, the teaching methods integrated with Orff-Schulwerk teaching ideas excelled the Kang Hsuan recorder teaching methods in improving the variety and richness of students’ compositional works; (2) regarding the recorder’s melodic compositional interest, the teaching methods integrated with Orff-Schulwerk teaching ideas excelled the Kang Hsuan recorder teaching methods in improving students’interest levels. Based on the findings, deficiencies and limits of this research, the researcher gave several specific opinions for elementary school teachers, schools, parents, educational administrations, and further researches.
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Womack, Sara Chandler Trotman. "A comparison of the effects of Orff Schulwerk and traditional music instruction on selected elements of music achievement in third, fourth, and fifth grade students." 2008. http://purl.galileo.usg.edu/uga%5Fetd/womack%5Fsara%5Fc%5F200808%5Fedd.
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Caetano, Pedro Duarte Fonseca da Silva. "Prática de Ensino Supervisionada em Ensino de Educação Musical no Ensino Básico." Master's thesis, 2016. http://hdl.handle.net/10198/18872.
Full textAbstract:
Este relatório tem como base relatar e fundamentar as práticas pedagógicas implementadas ao longo da minha Prática de Ensino Supervisionada, durante o ano letivo de 2016/2017 na Escola Paulo Quintela, em Bragança. Pude observar, durante o período dedicado ao conhecimento do contexto escolar, que os alunos apresentavam défice de experiências práticas na Educação Musical que promovessem a criatividade. Para colmatar o problema detetado, reforcei a minha numa prática ativa e na análise da revisão literária com enfoque a várias pedagogias e abordagens musicais de referência. Deste modo e, assente numa panóplia de autores, tais como Edgar Willems, Christopher Azzara, John Paynter, Murray Shaffer, Zoltan Kódaly, Jos Wuytack, entre outros entendi que a minha prática e experiência profissional fosse baseada nas suas filosofias. A minha atenção recaiu ainda em Carl Orff, cuja abordagem Orff-Schulwerk, se tornou o enfoque da minha atuação para explorar, a partir de experiências musicais, a criatividade dos alunos. A metodologia seguida procurou acentar numa Investigação-Ação em Educação Musical, no sentido de uma atitude sempre em crescendo para a construção de uma prática e experiências musicais profícuas.This report intends to report and to base the pedagogical practices implemented throughout my Supervised Teaching Practice, during the academic year 2016/2017 at the Paulo Quintela Basic School in Bragança. During the period dedicated to the knowledge of the school context, I could observe that the target students had a lack of practical experiences in music education that promoted creativity. In order to overcome the problem, I reinforced mine in an active practice and in the analysis of the literary revision with a focus on several pedagogies and reference musical approaches. Thus, based on a number of authors, such as Edgar Willems, Christopher Azzara, John Paynter, Murray Shaffer, Zoltan Kódaly and Jos Wuytack, among others, I understood that my practice and professional experience was based on his philosophies. My attention fell on Carl Orff, whose Orff-Schulwerk approach became the focus of my performance to explore, from musical experiences, the creativity of students. The methodology followed sought to emphasize a Research-Action in Music Education, in the sense of an ever-growing attitude towards the construction of a practice and fruitful musical experiences.
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Si, Shu-Ping, and 石淑萍. "The action research of applying Orff-Schulwerk teaching in music education process for people with moderate and severe intellectual disabilities -- an example of Noisy Angels Percussion Band." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/47697824204255664629.
Full textAbstract:
碩士國立新竹教育大學
特殊教育學系碩士班
99
The purpose of this study was to apply Orff-Schulwerk approach into the music education for the people with moderate and severe intellectual disabilities during the teaching process. The action research was used to implement in the study. It was intended to improve the learning attitude and elevate their music ability level for people with intellectual disabilities. There were 12 adults with moderate and severe disabilities in St. Joseph Social Welfare Foundation Sunrise Opportunity Centre joining a band called Noisy Angels Percussion Band. The whole music education course was designed by the researcher and the Orff teaching elements such as body movements, speech and instrumental ensemble were integrated. The researcher is the main instructor. In addition, 2 class teachers and 4 experts in special education and music education supported the research. Observations, interviews, assessments and teaching diaries were used to collect data. The findings were as follows: (1) It was evident that for people with moderate and severe intellectual disabilities, Orff-Schulwerk teaching was one of the ideal music education models and could be achieved by starting to divide the people into small groups and ended by the whole team instrumental ensemble. In the teaching process, colors, numbers, games and rhythms were used as teaching strategies for people with moderate and severe intellectual disabilities. The instructions needed to be designed based on the daily life and continuous musical themes. The instructors needed to pay more attention to the students’ physiological limitations with intensive and supportive teaching aids. (2) The 12 adults with moderate and severe intellectual disabilities made a remarkable progress no matter in Orff instrument, rhythm instrument or in instrument ensemble. The 12 participants achieved positive change with different degree and it explained the complete teaching process in this study proved a significant success; (3) The professional growths for the research were presented by conducting action research on this study that Orff teaching approach could help people with moderate and severe intellectual disabilities to participate in learning music and achieved the teaching goals. In the meantime, the researcher also gained the positive and flexible teaching attitude. Finally based on the research findings, the suggestions for this study and future researches were presented.
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Nováková, Monika. "Metodika práce s lidovou písní na 1. a 2. stupni ZŠ v duchu Orff-Schulwerku." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-349397.
Full textAbstract:
Diploma thesis Orff-Schulwerk Approach to Folk Songs for Elementary School Education consists of two parts: theory and practice. The first theoretical describes the basic Orff-Schulwerk thesis for education at the elementary schools in the lessons of Music or in the preparatory units of children choirs. Author introduces Carl Orff biography, circumstances of Orff-Schulwerk creation and its characteristics which is compared to the psychological theories, mainly with the flow phenomenon. The thesis covers the implementation of the Orff-Schulwerk approach to the Czech Framework Education Programme. Author compares studies describing the results of Orff-Schulwerk method in comparison to other methods. The research has not confirmed the thesis, that Orff-Schulwerk has better results in the music education field. The abroad studies confirmed, that Orff-Shulwerk approach is suitable for working with children with special educational needs. On the basis of the sources and literature, the author assumes that Orff-Schulwerk can lead to more intense interest in music and culture itself. Furthermore, the author enriches Orff's approach by ideas and approaches of two known pedagogues and composers: Zontán Kodály and Émile Jaques-Dalcroze. The diploma thesis covers their curriculum and those pedagogical...
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Teixeira, Paula Alexandra Ornelas. "Prática de ensino supervisionada em ensino de Educação Musical no ensino básico." Master's thesis, 2018. http://hdl.handle.net/10198/20589.
Full textAbstract:
Este trabalho representa o culminar da Prática de Ensino Supervisionada do curso de Educação Musical no Ensino Básico, da Escola Superior de Educação, no Instituto Politécnico de Bragança. Pretende apresentar, descrever, analisar e refletir as experiências de ensino/aprendizagem realizadas no âmbito da minha Prática de Ensino Supervisionada no ano letivo de 2018/2019, no 2.º Ciclo do Ensino Básico – 5.º e 6.º anos de escolaridade. Tendo por base principal a abordagem Orff-Schulwerk, com enfoque em outras abordagens, métodos e pedagogos, as atividades e experiências musicais desenvolvidas em contexto de sala de aula com as crianças procurou atingir os seguintes objetivos: (1) vivenciar a música; (2) utilizar o corpo, como instrumento principal; (3) atividades práticas, a partir do jogo musical; (4) utilizar instrumentos não convencionais; (5) conhecer e aprender repertório de música tradicional; (6) fomentar o espírito crítico; (7) sensibilizar para as limitações físicas ou motoras. Para atingir os objetivos delineados, foram realizadas aulas com a aplicação de diversas melodias e repertórios, de preferência tradicionais, jogos diversos utilizando alguns softwares nomeadamente o Jclick, utilização de instrumentos não convencionais para acompanhamento de algumas músicas e até mesmo para interpretação das mesmas. Destaco o último objetivo por se tratar de uma temática que procurou a sensibilização dos alunos para a surdez e para a qual foram realizadas atividades musicais tendo como base a Língua Gestual Portuguesa. Entendo que o trabalho desenvolvido, com a utilização de várias abordagens pedagógicas, proporcionaram o enriquecimento do trabalho realizado em sala de aula e um maior e melhor resultado na aquisição de conhecimentos, por parte dos alunos.This work represents the culmination of the Supervised Teaching Practice of the Music Education in Basic Education course, at the Higher School of Education, at the Bragança Polytechnic Institute. It aims to present, describe, analyze and reflect the teaching / learning experiences carried out under my Supervised Teaching Practice in the 2018/2019 school year, in the 2nd Cycle of Basic Education - 5th and 6th grade . Based on the Orff-Schulwerk approach, other approaches, methods and pedagogues, the activities developed were aimed at: (1) helping children to experience music; (2) greater use of the body as the main instrument; (3) play activities, such as games; (4) use of unconventional instruments; (5) learning of traditional musics; (6) focus on rhythm, and body rhythms; (7) develop critical thinking in students; (8) dtudent awareness of people with physical or motor limitations. For this purpose, classes were held with the apprehension of various songs, mainly traditional, playing various games using some softwares like Jclick, the use of unconventional instruments to accompany some music and even to perform them. I especially highlight the activity which purpose was the students' awareness of deafness by learning Portuguese Sign Language. I believe that the use of various pedagogical approaches only enriched the work done in the classroom, and I find it visible in the final results.
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Cabral, Rúben David Fernandes Gonçalves. "Prática de ensino supervisionada em ensino de Educação Musical no Ensino Básico." Master's thesis, 2016. http://hdl.handle.net/10198/13964.
Full textAbstract:
O presente relatório reflete o percurso da Prática de Ensino Supervisionada nos 1.º, 2.º e 3.º Ciclos do Ensino Básico, que decorreu durante o ano letivo 2014/2015, no âmbito do Mestrado em Ensino de Educação Musical no Ensino Básico. Partindo do modelo de Investigação-Ação, o desenvolvimento de atividades/estratégias fundamentadas em abordagens de pedagogia musical ativa, com especial foco na abordagem Orff-Schulwerk, evidenciaram que atividades musicais baseadas na percussão corporal e no movimento/dança se revestem de efeitos bastante positivos no ensino-aprendizagem em Educação Musical, fortalecendo, assim, o desenvolvimento das competências previstas para esta disciplina no quadro do Currículo Nacional do Ensino Básico.The present report is the result of the experience of Supervised Teaching Practice in the 1st, 2nd and 3rd Basic Education Cycles, carried during the academic year of 2014/2015, integrated on the Masters Degree in Teaching Music Education in Basic School. Following the methodological research-action investigation, the development of activities/strategies grounded on active musical pedagogy approaches, with special on Orff-Schulwerk approach, demonstrate that musical activities based on body percussion and movement/dance show quite positive effects on teaching/learning in Musical Education, strengthening the development of foresee skills for this subject in Nacional Curriculum for the Basic School.