Bibliografías temáticas / Orff-Schulwerk

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Literatura académica sobre el tema "Orff-Schulwerk"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 27 de enero de 2023

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Artículos de revistas sobre el tema "Orff-Schulwerk"

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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, n.º 1 (20 de enero de 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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Gustina, Susi. "Pendekatan Orff-schulwerk: Meningkatkan Kemampuan Mengajar Calon Guru di Taman Kanak-Kanak". Resital: Jurnal Seni Pertunjukan 20, n.º 2 (29 de agosto de 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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Supiarza, Hery, Deni Setiawan y Cece Sobarna. "Pola Permainan Alat Musik Keroncong dan Tenor di Orkes Keroncong Irama Jakarta". Resital: Jurnal Seni Pertunjukan 20, n.º 2 (26 de agosto de 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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Orman, Evelyn K. y Harry E. Price. "Content Analysis of Four National Music Organizations' Conferences". Journal of Research in Music Education 55, n.º 2 (julio de 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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Shamrock, Mary. "Orff-Schulwerk: An Integrated Foundation". Music Educators Journal 83, n.º 6 (mayo de 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, n.º 6 (febrero de 1986): 51–55. http://dx.doi.org/10.2307/3401278.

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Goodkin, Doug. "Orff-Schulwerk in the New Millennium". Music Educators Journal 88, n.º 3 (noviembre de 2001): 17. http://dx.doi.org/10.2307/3399753.

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Tabuena, Almighty C. "Carabo-Cone, Dalcroze, Kodály, and Orff Schulwerk Methods". International Journal of Asian Education 2, n.º 1 (1 de marzo de 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, n.º 3 (octubre de 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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ERCAN, Hazel. "Okul Öncesi Dönem Müzik Eğitiminde Orff Schulwerk Yaklaşımının Kullanılma Durumları". Social Sciences Studies Journal 5, n.º 37 (1 de enero de 2019): 3179–90. http://dx.doi.org/10.26449/sssj.1557.

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Tesis sobre el tema "Orff-Schulwerk"

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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 Music
Department 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.
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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 University
This 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 Música
O 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 y 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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Libros sobre el tema "Orff-Schulwerk"

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Wang, Cecilia Chu y D. Gregory Springer, eds. Orff Schulwerk: Reflections and directions. Chicago, USA: GIA Publications, 2013.

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Orff-Schulwerk: Applications for the classroom. Englewood Cliffs, N.J: Prentice Hall, 1991.

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Osterby, Patricia M. Orff Schulwerk in North America, 1955-1969. [Urbana: s.n.], 1988.

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Regner, Hermann. 25 Jahre Orff-Schulwerk Gesellschaft in der Bundesrepublik Deutschland. Gräfelfing: Mediapress, 1987.

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Shamrock, Mary. Orff Schulwerk: Brief history, description, and issues in international dispersal. Cleveland, Ohio: American Orff-Schulwerk Association, 1995.

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Lange, Diane M. Together in harmony: Combining Orff Schulwerk and music learning theory. Chicago, Il: GIA Publications, 2005.

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Fischer, Cornelia. Gunild Keetman und das Orff-Schulwerk: Elementare Musik zwischen künstlerischem und didaktischem Anspruch. Mainz: Schott, 2009.

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Shamrock, Mary Elizabeth. Applications and adaptations of Orff-Schulwerk in Japan, Taiwan and Thailand. [Los Angeles: s.n.], 1988.

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Wilhelm, Keller. Musikalische Lebenshilfe: Ausgewählte Berichte über sozial- und heilpädagogische Versuche mit dem Orff-Schulwerk. Mainz: Schott, 1996.

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Kugler, Michael. Die Methode Jaques-Dalcroze und das Orff-Schulwerk Elementare Musikübung: Bewegungsorientierte Konzeptionen der Musikpädagogik. Frankfurt am Main: P. Lang, 2000.

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Capítulos de libros sobre el tema "Orff-Schulwerk"

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Burns, Amy M. "Orff Schulwerk". En Using Technology with Elementary Music Approaches, 139–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190055646.003.0007.

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Ardith Collins writes about the wonderful and historical, evolving background to the Orff Schulwerk approach. With this approach, children learn music in a setting that is similar to teaching children a language through the concepts of play, sing, speak, and move. The approach is about process teaching, where higher value is placed on the learning process rather than the final product of the performance. Orff Schulwerk is child-centered music education with imitation, exploration, improvisation, and creativity at its core. Amy M. Burns demonstrates ways to utilize technology to assist students with various learning styles in creating, exploring, and making music.
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Beegle, Amy y Judith Bond. "Orff Schulwerk". En Teaching General Music, 25–48. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199328093.003.0003.

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Szalai, Tamás. "The Role of Orff Approach to Music Education". En Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/6.

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The German-born music educator and composer, Carl Orff began to develop his own music education system in the 1920s and 1930s. This paper gives a concise review of the Orff concept from historical, educational theoretical, and methodological aspects based on available literature. Topics include the Orff instrumentation as the defining methodological element of the Orff concept, the internationalization of the Orff concept in America, as well as the training of current Orff educators. Keywords: Orff Schulwerk, music education, alternative music pedagogy
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Burns, Amy M. "Technology Integration with the Orff Schulwerk Approach". En Using Technology with Elementary Music Approaches, 143–72. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190055646.003.0008.

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Amy M. Burns integrates technology into the Orff Schulwerk approach so that students with various learning styles can successfully create and make music. With the recent developments of teaching through distance learning, these lessons assist elementary music educators in teaching from a traditional classroom setting to teaching in an online platform. In addition, the supplemental website gives teachers downloadable manipulatives to successfully use in a variety of learning environments.
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"Orff/Schulwerk, provides each participant EXERCISE PROGRAM". En You Bring Out the Music in Me, 51–54. Routledge, 2012. http://dx.doi.org/10.4324/9780203056479-12.

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Dorfman, Jay. "Models of Music Pedagogy and Their Influences on Technology-Based Music Instruction". En Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0005.

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Pedagogical approaches to teaching music have developed into mature curricular structures. The most prominent music pedagogies have features in common that can inform the new pedagogy of TBMI, and we should learn from the success of these approaches as we develop technology-based methods that will lead students to musical ends. In the section that follows, I will briefly summarize some of the major pedagogical approaches that are in use in today’s music classrooms. Then, I will offer lessons that we can learn from examining traditional music teaching that apply to the development of the TBMI approach. Saliba (1991) described the Orff-Schulwerk approach to music education as “pedagogy to organize elements of music for children through speaking, singing, playing, and dancing” (p. vii). This approach, which dates to early 19th-century Germany, combines basic musical elements into small forms such as songs and patterns in order to make musical material manageable for young children (Saliba, 1991). Carl Orff ’s approach to music education was based on his personal experiences and his belief that integrating music and movement was fundamental to music learning processes (Frazee & Kreuter, 1987; Frazee, 2006). Performing, listening, improvising, and analyzing music are all characteristic activities of Orff -Schulwerk music lessons. An important trait of this approach is its emphasis on children feeling musical elements (through active experience) prior to conceptualizing their understanding of the elements. Other distinguishing characteristics of the Orff pedagogy include the use of ostinati as accompaniment for singing and movement at varying levels of complexity and the use of simple instruments as a means for children’s immediate expression (Wheeler & Raebeck, 1977). Creativity is central to the original Orff-Schulwerk model of music pedagogy, as is the teacher’s role in facilitating that creativity. “[Orff ’s] instructional plan includes provisions for several kinds of original work. . . . The teacher should be prepared to help children notate their musical ideas, evaluate the music they produce, and relate their creative eff orts to the study of musical form and style” (Landis & Carder, 1990, p. 110).
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Beegle, Amy. "Playing with Orff and Classroom Instruments". En General Music, 38–55. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197509012.003.0003.

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Abstract This chapter begins with a discussion of the relevance of playing classroom instruments in general music settings with children ages 5–12. It provides ideas for defining and categorizing musical instruments that can be used in general music. Pedagogical models based on the Orff Schulwerk approach are illustrated through instructional plans (including assessments) for applying instrumental play and playfulness with children in educational settings with different levels of resources. Applications of musical instruments found in many North American general music classrooms (small percussion, recorders, and barred Orff instruments) as well as body percussion, bucket drums, and found sounds are presented. Technologies such as YouTube play-along videos, apps for musical creativity and recording, and online musical instruments are included to elucidate ways to make music meaningful to learners of different ages, abilities, and cultures, with brief mention of virtual teaching during the COVID-19 pandemic.
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Dorfman, Jay. "Models of Music Pedagogy and Their Influences on Technology-Based Music Instruction". En Theory and Practice of Technology-Based Music Instruction, 19–29. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197558980.003.0002.

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This chapter contains brief overviews of several existing models of music pedagogy: Orff-Schulwerk, the Kodály approach, the Suzuki method, Music Learning Theory (MLT), and Dalcroze eurhythmics. The chapter synthesizes descriptions of these approaches into a set of shared features, which serve to establish a framework for examining thinking about music instruction. Each of these approaches includes musical goals, instructional and learning objectives, values, suggestions or mandates for particular materials, instructional sequences, teaching behaviors, and methods of assessment. Viewing these models of music pedagogy as a whole leads to the construction of the approach described in this book called Technology-Based Music Instruction.
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Vasil, Martina. "Nonformal Teaching and Informal Learning: Popular Music Education and Orff Schulwerk". En The Bloomsbury Handbook of Popular Music Education. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350049444.ch-018.

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Actas de conferencias sobre el tema "Orff-Schulwerk"

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Xiong, Xiaoyu. "Assessment with Orff-Schulwerk Pedagogy in the Chinese Junior High School Music Classroom". En 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.067.

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Gustina, Susi. "The Application of the Orff Schulwerk Approach to Improve the Pedagogical Competency of Teacher Candidates". En 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008545400590065.

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De Ioris, Luca, Fabrizia Moggio y Carlo Giovannella. "Beyond the "Orff Schulwerk", Toward a New Approach to the Technology Enhanced Musical Education". En 2012 IEEE 12th International Conference on Advanced Learning Technologies (ICALT). IEEE, 2012. http://dx.doi.org/10.1109/icalt.2012.189.

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