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Journal articles on the topic 'Orff-Schulwerk'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 January 2023

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1

Özevin, Banu. "Humanistic, artistic and pedagogic aspects of Orff-Schulwerk music and dance pedagogyOrff-Schulwerk müzik ve hareket eğitiminin insani, sanatsal ve pedagojik yönleri." Journal of Human Sciences 15, no. 1 (January 20, 2018): 8. http://dx.doi.org/10.14687/jhs.v15i1.4991.

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Orff-Schulwerk Music and Movement Pedagogy is a contemporary music education philosophy, born out of the work of composer Carl Orff. Orff-Schulwerk has a holistic understanding in music education which is a combination of music, movement and language. Orff-Schulwerk enables the individual to develop his creative potential in group activities based on improvisation. Orff-Schulwerk's philosophy is that everyone can make music. With this understanding, everyone can take part in the Schulwerk lesson and have the opportunity for artistic expression of self without the distinction of gifted-talented, child-adult, and normal-developmental-disabled. As in many countries of the world, Orff-Schulwerk Pedagogy is used effectively in music education and preschool education in Turkey.In this study, in spite of the fact that it is a built-in structure, the human, artistic and pedagogical aspects of Orff-Schulwerk have been elaborated separately in order to better understand the approach. In the conclusion and discussion section, questions and problems about Orff-Schulwerk Music and Movement Education's place in Turkish Education System and adaptation to Turkish culture were shared.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetOrff-Schulwerk Müzik ve Hareket Eğitimi, besteci Carl Orff’un çalışmalarından doğan, çağdaş bir müzik eğitimi felsefesidir. Orff-Schulwerk, müzik, hareket ve dil ögelerinin birlikte kullanıldığı, doğaçlamalara dayanan, grup aktiviteleri içinde bireyin yaratıcı potansiyelini geliştirmesine olanak sağlayan bütüncül bir müzik eğitimi anlayışıdır. Orff-Schulwerk’in felsefesi herkesin müzik yapabileceği yönündedir. Bu anlayış sayesinde yetenekli-yeteneksiz, çocuk-yetişkin, normal gelişim gösteren-engelli ayrımı olmadan herkes Schulwerk dersi içinde yer alabilir ve kendini sanatsal olarak ifade etme olanağını yakalayabilir. Dünyanın birçok ülkesinde olduğu gibi Türkiye’de de Orff-Schulwerk Pedagojisi müzik eğitimi ve okulöncesi eğitiminde etkin bir biçimde kullanılmaktadır.İçiçe geçmiş bir yapı olmasına rağmen, bu çalışmada yaklaşımın daha iyi anlaşılabilmesi için Orff-Schulwerk’in insani, sanatsal ve pedagojik yönleri ayrı ayrı ayrıntılı olarak irdelenmiştir. Sonuç ve tartışma bölümünde Orff-Schulwerk Müzik ve Hareket Eğitimi’nin Türk Eğitim sistemindeki yeri ve Türk kültürüne uyarlanması ile ilgili sorular ve sorunlar paylaşılmıştır.

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2

Gustina, Susi. "Pendekatan Orff-schulwerk: Meningkatkan Kemampuan Mengajar Calon Guru di Taman Kanak-Kanak." Resital: Jurnal Seni Pertunjukan 20, no. 2 (August 29, 2019): 96–107. http://dx.doi.org/10.24821/resital.v20i2.2591.

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Topik dalam artikel ini akan memfokuskan pada penerapan pendekatan Orff-schulwerk bagi mahasiswa sebagai calon-calon guru di sekolah, termasuk TK. Orff-schulwerk dapat dipandang sebagai suatu pendekatan dalam pendidikan musik. Dalam hubungannya dengan pendidikan dasar, pendekatan ini memfokuskan pada kebutuhan anak dan menumbuhkembangkan musikalitas setiap anak melalui aktivitas-aktivitas dasar (elemental) dalam musik dan gerakan. Pertanyaan yang dikemukakan dalam artikel ini adalah: 1) pendekatan Orff-schulwerk seperti apa yang digunakan calon guru untuk pembelajaran di TK?, 2) manfaat apa saja yang dapat diperoleh calon guru melalui penerapan pendekatan Orff-schulwerk dalam proses pembelajaran?, dan 3) bagaimana calon guru memahami peranan guru dalam pembelajaran di tingkat TK dengan pendekatan Orff-schulwerk?. Metode yang digunakan dalam penelitian ini adalah penelitian tindakan. Penemuan dalam penelitian ini adalah para calon guru memahami bahwa: 1) pendekatan Orff-schulwerk yang dapat digunakan berhubungan dengan eksplorasi – imajinasi – kreasi yang melibatkan musik dan gerakan, 2) pendekatan ini bermanfaat untuk menumbuhkembangkan musikalitas siswa dalam proses pembelajaran di TK, dan 3) calon guru yang menerapkan pendekatan ini berperan sebagai fasilitator yang dapat menciptakan suasana pembelajaran yang menstimuli imajinasi dan kreasi siswa. Kesimpulan dari penelitian ini adalah pendekatan Orff-schulwerk sebaiknya dikuasai oleh para calon guru yang mengajar di sekolah, termasuk TK. Dengan dimilikinya pemahaman atas pendekatan ini, baik secara teoretis maupun praktis, para calon guru tidak hanya meningkatkan pengetahuan mereka untuk menstimuli imajinasi dan kreativitas siswa TK dengan musik dan gerakan, tetapi juga mendukung tercapainya tujuan pendidikan nasional, yaitu pembentukan karakter siswa di sekolah.The Approach of Orff-Schulwerk for Prospective Music Teachers in Kindergarten Schools. The topic in this article focuses on the application of Orff-schulwerk for university students as prospective teachers in school, including kindergarten. Orff-schulwerk can be seen as an approach to music education. In related to primary education, this approach focuses on the children needs and develops children musicality through necessary activities (elemental) in music and movement. Some questions in this article are: 1) what kind of Orff-schulwerk that can be used by prospective teachers in the learning process at kindergarten? 2) what benefits can be obtained by teacher candidates through the application of the Orff-schulwerk approach? And 3) how do prospective teachers who use this approach can understand their role in learning? The method used in this study is action research. The findings in this research are prospective teachers understand that: 1) Orff-schulwerk can be used in related to exploration – imagination – creation that involving music and movement; 2) this approach is useful for developing student musicality in the learning process in kindergarten; and 3) in this approach, prospective teachers are acted as facilitators who can create an atmosphere of learning that stimulate students’ imagination and creation. This study concludes that the Orff-schulwerk approach should be mastered by prospective teachers who teach in schools, including kindergarten. By having an understanding of this approach, both theoretically and practically, prospective teachers not only enhance their knowledge but also support the national education goals, namely the students’ character building in schools.Keywords: Orff-Schulwerk; music education; kindergarten teachers

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3

Supiarza, Hery, Deni Setiawan, and Cece Sobarna. "Pola Permainan Alat Musik Keroncong dan Tenor di Orkes Keroncong Irama Jakarta." Resital: Jurnal Seni Pertunjukan 20, no. 2 (August 26, 2019): 108–20. http://dx.doi.org/10.24821/resital.v20i2.2459.

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Penelitian ini mendiskusikan pola permainan alat musik keroncong dan tenor serta penerapannya pada lagu “Cente Manis” dan “Sambel Cobek”. Kedua alat musik ini merupakan identitas keroncong gaya Jakarta. Penelitian dilakukan dengan pendekatan kualitatif deskriptif dan data dikumpulkan melalui observasi, wawancara, dan dokumentasi. Berdasarkan hasil penelitian ditemukan bahwa asal mula istilah alat musik keroncong berasal dari bunyi alat musik itu sendiri. Istilah tenor merujuk pada istilah suara laki-laki tertinggi. Ditemukan juga teknik permainan alat musik keroncong dan tenor yaitu teknik rasguaedo (prung), strumming, arpeggio dan dengan cara dipetik satu-satu pada setiap senar. Teknik memainkan alat musik keroncong dan tenor tersebut meliputi pola permainan dobel engkel, dobel balik, format dan gaya lama. Permainan keempat pola tersebut bergantung pada lagu yang akan dibawakan dan kesepakatan para personilnya. The Approach of Orff-Schulwerk for Prospective Music Teachers in Kindergarten Schools. The topic in this article focuses on the application of Orff-schulwerk for university students as prospective teachers in school, including kindergarten. Orff-schulwerk can be seen as an approach to music education. In related to primary education, this approach focuses on the children needs and develops children musicality through necessary activities (elemental) in music and movement. Some questions in this article are: 1) what kind of Orff-schulwerk that can be used by prospective teachers in the learning process at kindergarten? 2) what benefits can be obtained by teacher candidates through the application of the Orff-schulwerk approach? And 3) how do prospective teachers who use this approach can understand their role in learning? The method used in this study is action research. The findings in this research are prospective teachers understand that: 1) Orff-schulwerk can be used in related to exploration – imagination – creation that involving music and movement; 2) this approach is useful for developing student musicality in the learning process in kindergarten; and 3) in this approach, prospective teachers are acted as facilitators who can create an atmosphere of learning that stimulate students’ imagination and creation. This study concludes that the Orff-schulwerk approach should be mastered by prospective teachers who teach in schools, including kindergarten. By having an understanding of this approach, both theoretically and practically, prospective teachers not only enhance their knowledge but also support the national education goals, namely the students’ character building in schools.Keywords: Orff-Schulwerk; music education; kindergarten teachers

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4

Orman, Evelyn K., and Harry E. Price. "Content Analysis of Four National Music Organizations' Conferences." Journal of Research in Music Education 55, no. 2 (July 2007): 148–61. http://dx.doi.org/10.1177/002242940705500205.

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We examined the content of the 2002 and 2004 National Biennial In-Service Conferences of MENC: The National Association for Music Education; the 2002 and 2004 Midwest Clinic: An International Band and Orchestra Conferences; the 2002 and 2004 Orff-Schulwerk Conferences; and the 2003 and 2005 American Choral Directors Association Conventions. Each of the 2,302 sessions was examined and classified according to category, subject area, and focus. The largest proportion of categories of sessions at the MENC (74.2%), Midwest (4 7.5%) and Orff-Schulwerk (80.3%) conferences was education, while performance (56.9%) was the largest proportion at ACDA. The predominant subject areas within education were performance for ACDA (53.3%) and Midwest (42.8%), general music (47.1 %) for Orff-Schulwerk, and industry (42.3%) for MENC. The proportion of industry to non-industry sessions at MENC was more than double any of the other conferences examined.

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5

Shamrock, Mary. "Orff-Schulwerk: An Integrated Foundation." Music Educators Journal 83, no. 6 (May 1997): 41–44. http://dx.doi.org/10.2307/3399024.

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Shamrock, Mary. "Orff Schulwerk: An Integrated Foundation." Music Educators Journal 72, no. 6 (February 1986): 51–55. http://dx.doi.org/10.2307/3401278.

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7

Goodkin, Doug. "Orff-Schulwerk in the New Millennium." Music Educators Journal 88, no. 3 (November 2001): 17. http://dx.doi.org/10.2307/3399753.

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8

Tabuena, Almighty C. "Carabo-Cone, Dalcroze, Kodály, and Orff Schulwerk Methods." International Journal of Asian Education 2, no. 1 (March 1, 2021): 9–16. http://dx.doi.org/10.46966/ijae.v2i1.88.

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

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Taylor, Donald M. "Refining Learned Repertoire for Percussion Instruments in an Elementary Setting." Journal of Research in Music Education 54, no. 3 (October 2006): 231–43. http://dx.doi.org/10.1177/002242940605400306.

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The purpose of this study was to examine teaching effectiveness in an elementary music setting using student achievement as a dependent measure. Because Orff Schulwerk instruction is one of the most prevalent pedagogies in elementary music education, this study examined the rehearsal strategies of recognized Orff Schulwerk teachers as they worked to refine learned repertoire for percussion instruments. Eight instructors and their upper elementary students were videotaped in four regular rehearsals each. Systematic analyses of rehearsal frames in which teachers were working to improve student performance revealed fast teacher pacing and a predominance of instructional directives that were procedural (e.g., where to begin playing) rather than musical (e.g., how to perform more accurately or expressively). The majority of students' performance problems were related to precision, often caused by rushing the underlying pulse. Instructional targets were most often related to technique. Students successfully accomplished proximal goals in 63 % of the performance trials in which the targets were verbalized by the teacher prior to performance and in 74 % of the performance trials when the targets were verbalized by the teachers while students were playing. Students were most successful when teachers used clear, explicit directives and positive modeling.

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10

ERCAN, Hazel. "Okul Öncesi Dönem Müzik Eğitiminde Orff Schulwerk Yaklaşımının Kullanılma Durumları." Social Sciences Studies Journal 5, no. 37 (January 1, 2019): 3179–90. http://dx.doi.org/10.26449/sssj.1557.

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11

Burak, Sabahat. "Orff Schulwerk Uygulamalarının Okul Öncesi Öğretmen Adaylarının Müzik Yeteneğine Yönelik." Journal of Turkish Studies 10, Volume 10 Issue 3 (January 1, 2015): 187. http://dx.doi.org/10.7827/turkishstudies.6763.

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12

Hughes, Patricia W. "The Evolution of Orff-Schulwerk in North America (1955–1969)." Bulletin of Historical Research in Music Education 14, no. 2 (July 1993): 73–91. http://dx.doi.org/10.1177/153660069301400201.

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13

Bửu, Nguyễn Đăng. "Bộ gõ cơ thể từ khái niệm đến ứng dụng trong giáo dục âm nhạc." Tạp chí Khoa học 16, no. 4 (September 25, 2019): 170. http://dx.doi.org/10.54607/hcmue.js.16.4.2472(2019).

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Bộ gõ cơ thể (Body Percussion), một công cụ dạy học âm nhạc của phương pháp Orff-Schulwerk, là nghệ thuật tạo nên các âm thanh bằng sự tương tác của các bộ phận của cơ thể. Bài viết gồm những kiến thức cơ bản về bộ gõ cơ thể trong dạy học âm nhạc nhằm giúp giáo viên và sinh viên sư phạm âm nhạc thực hiện tốt nhiệm vụ sư phạm của mình khi chương trình mới được áp dụng trong thời gian tới.

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Kesler, Mary E. "Process vs. Product in the Orff-Schulwerk Classroom: A Vygotskian Perspective." Perspectives: Journal of the Early Childhood Music & Movement Association 6, no. 1 (June 1, 2011): 11–15. http://dx.doi.org/10.1386/ijmec_0185_1.

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Bondurant-Koehler, Shela, and William K. Koehler. "Orff Schulwerk and Kodály in Beginning Group and Private String Education." American String Teacher 48, no. 1 (February 1998): 65–68. http://dx.doi.org/10.1177/000313139804800111.

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Petrović, Milena. "A new concept of teaching and learning ABBA's songs in the university solfeggio classroom." New Sound, no. 59-1 (2022): 25–49. http://dx.doi.org/10.5937/newso22059025p.

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A new interdisciplinary approach of teaching ABBA's songs in university solfeggio classes involves: graphical representation of melodic contours and harmonic progressions; embodied tension and relaxation caused by the (un)expected harmonic patterns/progressions, form and rhythm; aural and visual music analysis of ostinato and drone, as the elemental characteristics of popular music, and Dorian mode, PEN-tatonic and blue tones, as the main Orff-Schulwerk teaching strategies; emotions, experienced in relation to the gradual addition of voices and the chain of dominants; verbality, respecting the use of rhymes in verse translations, and the prosodic stress, musical meter and melodic contour alignment.

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Sogin, David W., and Cecilia Chu Wang. "Music activity reports by music teachers with varying training in Orff Schulwerk." International Journal of Music Education 26, no. 3 (August 2008): 269–78. http://dx.doi.org/10.1177/0255761408092527.

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18

Medvid, T. "CREATIVE DEVELOPMENT OF STUDENTS IN THE MUSICAL AND PEDAGOGICAL CONCEPT OF K. ORFF." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 118–25. http://dx.doi.org/10.33989/2226-4051.2021.23.238263.

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

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Mygdanis, Yannis. "Designing an Musical Educational Software Combining Traditional Music-Pedagogical Methods and Emerging Technologies: The Case of Synth4Kids." International Journal on Integrating Technology in Education 11, no. 2 (June 30, 2022): 103–20. http://dx.doi.org/10.5121/ijite.2022.11207.

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This paper presents the development of Synth4kids, a music educational software for music teachinglearning processes designed to be used for kids aged five to eight years. Synth4kids integrates elements from the traditional music-pedagogical methods –Dalcroze Eurhythmics, Orff Schulwerk, Kodály Method– along with features aligned with incorporating merging technologies in music education –augmented reality, use of tangible interfaces / sensors, eye-tracking processes, QR-codes implementation, and collaborative online music practices– providing new and extended ways of music-making, expression, and learning to the young ages. As a pedagogical tool, it was designed with the ultimate goal to be incorporated into musical-educational activities following a STEAM perspective, based on project-based, inquiry and cooperative learning, transdisciplinarity, as well as game-based, and authentic problemsolving experiences.

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20

Arslan, Ayşen. "Orff schulwerk elementary music applications in interdisciplinary education in chair of primary school education." Procedia - Social and Behavioral Sciences 1, no. 1 (2009): 2546–51. http://dx.doi.org/10.1016/j.sbspro.2009.01.449.

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21

Santamaría Herranz, Pablo, and Silvia Martínez Cano. "Música y arte plástico en el Orff Schulwerk. Una experiencia de integración de las artes en primaria." Padres y Maestros / Journal of Parents and Teachers, no. 375 (September 14, 2018): 46–51. http://dx.doi.org/10.14422/pym.i375.y2018.007.

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Entrevistamos a Pablo Santamaría Herranz, profesor de música y artes plásticas en el CEIP Pintor Rosales de Madrid y especialista en metodología Orff. Se trata de un método musical que involucra a los alumnos y alumnas a que compongan, toquen, canten y bailen con lo que ellos mismos van produciendo, y al mismo tiempo estimula la improvisación de nuevas ideas que les lleven a crear su propio mundo musical. El músico combina el método con otras disciplinas artísticas favoreciendo el descubrimiento y el trabajo interdisciplinar de contenidos, haciendo del tiempo en clase un tiempo gozoso de aprendizaje.

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Santos, Cassiano Lima da Silveira, Maria do Carmo Monteiro Kobayashi, and Maristela de Oliveira Mosca. "Música e movimento a partir da perspectiva da abordagem Orff-Schulwerk: uma fundamentação prático-teórica para crianças pequenas / Music and movement according to the perspective of Orff-Schulwerk: a practical and theoretical foundation for preschool children." Brazilian Journal of Development 8, no. 5 (May 27, 2022): 41583–602. http://dx.doi.org/10.34117/bjdv8n5-578.

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23

Yu, Gyeong Suk, and Jong Du Kim. "Exploration of Teaching Methods for Music Education in the Orff Schulwerk : A Center of Life-long Education Institute." Joural of the Korea Entertainment Industry Association 10, no. 1 (February 29, 2016): 183. http://dx.doi.org/10.21184/jkeia.2016.02.10.1.183.

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Bilen, Sermin. "The effect of cooperative learning on the ability of prospect of music teachers to apply Orff-Schulwerk activities." Procedia - Social and Behavioral Sciences 2, no. 2 (2010): 4872–77. http://dx.doi.org/10.1016/j.sbspro.2010.03.787.

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25

Won, Ji Won, and Kyoung Sun Kang. "The Effects of Group Music Therapy Using Orff-Schulwerk on Parenting Stress and Parenting Self-Efficacy of Working Mothers." Journal of Arts Psychotherapy 14, no. 3 (September 30, 2018): 115–35. http://dx.doi.org/10.32451/kjoaps.2018.14.3.115.

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26

Costantini Avalos, Gabriela Mariana. "Prácticas en el Centro Pedralbes: musicoterapia en educación especial." Revista Científica Estudios e Investigaciones 7 (July 20, 2019): 36. http://dx.doi.org/10.26885/rcei.foro.2018.36.

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El presente trabajo es el resumen de las prácticas de musicoterapia realizadas en el Centro Pedralbes en la Escola de Educación Especial los días lunes de 9 a 10 de la mañana en la ciudad de Barcelona que se desarrollaron desde noviembre de 2017 y finalizaron en mayo del 2018. Se trabajó con un grupo de preadolescentes de entre 12 y 15 de edad cronológica, tres mujeres y un varón. Una de las mujeres y el varón está diagnosticada con TEA, otra de las chicas con Síndrome de Angelman y la última con Síndrome de Rett. Las prácticas consistieron en cuatro fases: observación, establecimiento de empatía, propuestas de intervención y evaluación. En el transcurso de las sesiones, se utilizaron intervenciones basadas en el enfoque de musicoterapia creativa de Nordoff-Robbins que enfatiza en la improvisación musical para promover y desarrollar el potencial del ser de la persona y el Método Orff-Schulwerk que tiene como principio fundamental acercar la música a la persona mediante la tradición oral, los instrumentos de percusión y la prosodia. Las técnicas consistieron en improvisación musical con instrumentos de percusión, viento, madera y metalófonos. Asimismo, se utilizó la danza libre y la escucha de canciones grabadas o interpretadas por la terapeuta para momentos de activación rítmica y relajación.

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Dung, Nguyễn Thị Ngọc, and Nguyễn Đăng Bửu. "MỘT SỐ PHƯƠNG PHÁP GIÁO DỤC ÂM NHẠC PHỔ THÔNG HIỆN ĐẠI." Tạp chí Khoa học 18, no. 2 (February 27, 2021): 271. http://dx.doi.org/10.54607/hcmue.js.18.2.2993(2021).

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

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김유리 and 노진아. "The Effect of a Orff-Schulwerk Music Activity-Based Program on the Communication Skills of Young Children with Developmental Delays in the Inclusive Classroom." Journal of Inclusive Education 6, no. 1 (June 2011): 163–84. http://dx.doi.org/10.26592/ksie.2011.6.1.163.

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ASLAN, Mustafa. "ÖĞRETMENLERİN ORFF-SCHULWERK KAVRAMINA VE UYGULAMALARINA İLİŞKİN GÖRÜŞLERİNİN İNCELENMESİ." Scientific Educational Studies, December 13, 2022. http://dx.doi.org/10.31798/ses.1202483.

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Orff-Schulwerk, çocukların tüm gelişim alanına katkı sunan müzik, ritim ve oyun öğretisidir. Bu öğreti ile çocuklar süreç içinde aktif rol oynadıklarından öğrenmelerini daha da yapılandırmaktadır. Orff-Schulwerk öğretisi okullarda iyi bir öğretim aracı olarak kullanılmaktadır. Oyun temelli bir öğreti olan Orff-Schulwerk öğretisi çocukların ilgisini çekmektedir. Bu perspektifte okullarda çocukların öğrenme süreçlerinde iyi bir teknik olarak kullanılmaktadır. Çalışmanın amacı öğretmenlerin Orff-Schulwerk kavramına ve uygulamalarına ilişkin görüşlerinin incelenmesidir. Bu araştırmanın verileri nitel veri toplama yöntemlerinden görüşme yöntemi kullanılarak toplanmıştır. Konunun kapsamlı incelenmesi için önceden belirlenen başlıklara ilişkin bir tane açık uçlu sorunun olduğu bir görüşme formu hazırlanmıştır. Araştırmanın örneklemini Van ili merkez Edremit, İpekyolu ve Tuşba ilçelerinde Milli Eğitim Bakanlığına bağlı çeşitli kademlerde görev yapan farklı branşlardaki öğretmenler oluşturmuştur. Araştırma sonucunda, Orff- Schulwerk eğitimi öncesi öğretmenler bu kavramı “ritim” olarak tanımlarken; eğitim sonunda öğretmenlerin bu kavrama ilişkin algıları “eğitim-öğretim aracı” olarak oluşmuştur. Öğretmenler Orff uygulamalarını “eğlenerek öğrenme aracı olarak” tanımlamıştır. Araştırmanın diğer sonuçlarına incelendiğinde öğretmenler, Orff-Schulwerk öğretisinin öğrencilerin tüm gelişim alanına katkı sunduğunu ve tüm derslere uygun bir öğreti olduğunu açıklamıştır.

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Jungmair, Ulrike. "Orff-Schulwerk und Kreative Drama." Yaratıcı Drama Dergisi 1, no. 2 (December 15, 2006). http://dx.doi.org/10.21612/yader.2006.017.

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Öztürk, Ali. "Türkiye’de Orff- Schulwerk Yaklaşımının Dünü Bugünü." Yaratıcı Drama Dergisi 1, no. 2 (December 15, 2006). http://dx.doi.org/10.21612/yader.2006.019.

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"Orff-Schulwerk: applications for the classroom." Choice Reviews Online 28, no. 07 (March 1, 1991): 28–3813. http://dx.doi.org/10.5860/choice.28-3813.

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Voigt, Melanie. "Orff Music Therapy: An Overview." Voices: A World Forum for Music Therapy 3, no. 3 (November 1, 2003). http://dx.doi.org/10.15845/voices.v3i3.134.

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This article provides a brief introduction to Orff Music Therapy, an approach to music therapy developed in Germany by Gertrud Orff at the Kinderzentrum München in Munich, Germany. It has been used as a therapy with children with developmental delays and disabilities for over thirty years at the Kinderzentrum München. In the meantime, as a result of training courses, it is also used in numerous other institutions for children and youth with developmental disabilities in Germany. The development of music therapy within the clinical setting of social pediatrics and the use of elements of Orff-Schulwerk are two factors which have had a strong influence upon the philosophy, principles and practice of this form of music therapy. A brief discussion of the historical background, the theoretical foundations and the principles and practice Orff Music Therapy will provide the reader with an overview of Orff Music Therapy. Two clinical examples will illustrate this work.

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Kalyoncu, Nesrin. "Türkiye`de Orff-Schulwerk Uygulamaları Abant İzzet Baysal Üniversitesi Örneği." Yaratıcı Drama Dergisi 1, no. 2 (December 15, 2006). http://dx.doi.org/10.21612/yader.2006.018.

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AYTAÇ, Bahanur, Meryem KARAAĞAÇ TAN, Zeynep GÖK, and Ümit Kubilay CAN. "“ORFF-SCHULWERK ELEMENTER MÜZİK VE HAREKET PEDAGOJİSİNİN TEMELLERİ” KİTAP İNCELEMESİ." Online Journal of Music Sciences, June 30, 2020, 83–96. http://dx.doi.org/10.31811/ojomus.708189.

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BURAK, Sabahat, and Şerife ERDOĞAN. "Yaratıcı Drama ve Orff-Schulwerk Uygulamalarının Müzik Dersine Yönelik Tutumlar Üzerindeki Etkileri." İlköğretim Online, March 15, 2018, 314–35. http://dx.doi.org/10.17051/ilkonline.2018.413775.

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Gvozdevskaia, Galina. "Japanese traditional music and the possibilities of its use in European music education." Paedagogia Musica, 2022, 35–45. http://dx.doi.org/10.24132/zcu.musica.2022.03.35-45.

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This article analyzes of philosophical approaches and methods of teaching musical instru- ments at traditional Japanese schools. These approaches have a long history within the Japanese Iemoto system. This study’s author highlights several similarities between some conceptual settings of the Japanese tradition and Carl Orff’s Schulwerk system. The article formulates a hypothesis about the possibility and expediency of mastering Japanese tradi- tional music in Europe, also considering the pentatonic basis of Japanese modes. The article provides examples of the implementation of this idea (including the improvisational creativity of students on the instruments of Carl Orff in the style of Japanese traditional music) based on a generalization of the author’s practical experience.

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SEVER, Gulsah. "Opinions of Teachers on the Implementation of the Orff-Schulwerk Approach in Online Lessons." International Online Journal of Educational Sciences 13, no. 4 (2021). http://dx.doi.org/10.15345/iojes.2021.04.001.

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