DIDACTIC MODELS BASED ON THE ORFF-SCHULWERK IDEAS Sofía López-Ibor (San Francisco - Madrid) “Music starts in the human being. It does not start with the instruments, by playing the first position or the first chord. First starts with your own silence, and you have to preapre yourself by listening to your own breath and pulse” “ Carl Orff 1932 THEME 1 – GAMES- Working with the 5 senses How can we teach a dance, song or game so that the children are immediately engaged and motivated to learn more? How can we develop material so that their learning expands far beyond simply learning a piece? How can we make sure that the students understand the historical and cultural context of the material? This workshop will explore these questions through our own direct experience and shared reflection. Children learn through play, and traditional children’s games are a natural springboard for acquiring language, social awareness, mathematical reasoning and physical coordination. This workshop will give teachers a useful repertoire of songs, rhymes and games in different languages and will model fun ways to present and extend these materials in the classroom. Why games? Because they are fun! And although some adults might think that playing has nothing to do with work musical games teach melody, harmony, rhythm, cooperation and many other things. Our job as teachers is research and looks for traditional games, play them and find variations to suit our teaching purpose. Games are always meaningful for children. How do we teach games? Playing them! The teaching process should always be playful. It doesn’t make any sense to start a song analyzing its musical content first, or using it for reading or writing. Sources to learn games: I like to learn them with people that play them in the real life! Every game has its own rules and variations according to a town, a street, a school or a family. Many game songs have an ancestral meaning that has been lost, or have nonsense words because the original ones have been transformed in the oral transmission process over generations. It is very interesting to compare games from different countries and see how the rules and the structure are similar. I love playing games in music class. They are both interactive and fun. Every time we learn a game, we learn a rhyme to go with it. Playing these games is important, because kids can run around and get hyper at the same time they are learning. I also think it is important that the teachers play so that they can really see what kinds of things we do when we are having fun! And they can then learn ho to do more stuff that teaches us music while we are having a blast! (Emma Roos- 10 years old )
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DIDACTIC MODELS BASED ON THE ORFF-SCHULWERK IDEAS Sofía López-Ibor (San Francisco - Madrid) “Music starts in the human being. It does not start with the instruments, by playing the first position or the first chord. First starts with your own silence, and you have to preapre yourself by listening to your own breath and pulse” “ Carl Orff 1932
THEME 1 – GAMES- Working with the 5 senses How can we teach a dance, song or game so that the children are immediately engaged and motivated to learn more? How can we develop material so that their learning expands far beyond simply learning a piece? How can we make sure that the students understand the historical and cultural context of the material? This workshop will explore these questions through our own direct experience and shared reflection. Children learn through play, and traditional children’s games are a natural springboard for acquiring language, social awareness, mathematical reasoning and physical coordination. This workshop will give teachers a useful repertoire of songs, rhymes and games in different languages and will model fun ways to present and extend these materials in the classroom. Why games? Because they are fun! And although some adults might think that playing has nothing to do with work musical games teach melody, harmony, rhythm, cooperation and many other things. Our job as teachers is research and looks for traditional games, play them and find variations to suit our teaching purpose. Games are always meaningful for children.
How do we teach games? Playing them! The teaching process should always be playful. It doesn’t make any sense to start a song analyzing its musical content first, or using it for reading or writing.
Sources to learn games: I like to learn them with people that play them in the real life! Every game has its own rules and variations according to a town, a street, a school or a family. Many game songs have an ancestral meaning that has been lost, or have nonsense words because the original ones have been transformed in the oral transmission process over generations. It is very interesting to compare games from different countries and see how the rules and the structure are similar. I love playing games in music class. They are both interactive and fun. Every time we learn a game, we learn a rhyme to go with it. Playing these games is important, because kids can run around and get hyper at the same time they are learning. I also think it is important that the teachers play so that they can really see what kinds of things we do when we are having fun! And they can then learn ho to do more stuff that teaches us music while we are having a blast! (Emma Roos- 10 years old )
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SENSORY INTEGRATION [Sensory Integration and the Child. Jean Ayres. Los Angeles Western Psychological Services (1979) A Parent’s Guide to Understanding Sensory Integration. (1986)] Games are also a wonderful way of working on Sensory Integration. The Theory of Sensory Integration and Sensory Integration Dysfunction was described by the occupational Therapist Jean Ayres in Los Angeles (California) What is Sensory Integration? It is the process of organizing and interpreting all sensory experiences including touch, movement, body awareness, sight, sound, and the pull of gravity. For most children sensory integration develops in the course of ordinary childhood activities. But for some children sensory integration does not develop as efficiently as it should. When the process is disordered a number or learning problems arise, or behavior may become evident. It a child is suspected of having sensory integrative disorder an evaluation should be conducted by a qualifies therapist, and the child will be guided through activities that challenge his ability to respond appropriately to sensory input.
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Some signs or Sensory Integrative Dysfunction- • Children overly sensitive or under-reactive to touch or movement,
sights or sounds • Easily distracted • Activity level is very high or very low • No self-control • Social and emotional problems • Clumsiness, or they appear not to care! • Difficulty making transitions • Delays in academic achievement
THE SENSES A- Seeing, hearing, smelling, tasting, touching- receive external
information coming from outside of the body B- Hidden senses that we cannot control- sensory system of the
internal organs, that regulate the body ( hunger, thirst, digestion, temperature, sleep, mood…)
C- Vestibular sense- Process information about movement, gravity and balance- receives information thought the inner ear.
D- Proprioceptive sense- Process information about body position and body parts- receives information through muscles, ligaments and joints
HOW CAN WE HELP INTEGRATE ALL THE SENSES?
Finger games, clapping games and rhythmic coordination games are based on touch and sight.
Movement activities, dances and group games help the vestibular sense and the proprioceptive sense.
All games help the social skills and emotional world of the child.
ABRA A RODA- (Brazil) A movement game in which the group decide about hand and body motions. (see score) ARAKATAIA (Ivory Coast0 A call and response game. Arakataia- Oia Arakataia- Oia Osim osim sim – Osim I learned this game many years ago by Kuome Sereba. In the tradition the children make a gesture after saying the call and they have to imitate a leader. In our class we used it as an opportunity to train our memory by adding more and more sound gestures.
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NAME GAME (James Harding) Sitting in a circle, the participants say their name following a given pulse and adding 2 at the time. Then we create musical patters by saying those names with opposite musical qualities or parameters. (Loud- Soft, fast and slow, etc…) Here we are together with Sofia (clap clap) Hre we are together with Carmen, Lola. Here we are together with Sofia (clap clap) THUMB WAR (Usa- Spain)
1 2 3 4 I declare a thumb war! RAM RAM RIP (Malaysia) Six fingers out and catch the thumb!
COUNTING FINGERS (Japan) It is interesting to see that finger positions to count are different in each country. We learn the Japanese way and we try to do it in canon, one hand follows the other. ONE POTATO (African-American)
One, two potato, three potato, four Five potato, six potato, seven potato, more
TYA TYA TSUBO (Japan)
The copy is from a Japanese text book. I learned the game by Mayumi Takai (Brazil)
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SNAIL SNAIL (Spain, England)
Caracol col col Saca los cuernos al sol Que tu padre y tu madre Ya los sacó Snail snail put out your horns And I´ll give you bread and barley corns
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THEME 2- LANGUAGE AND SPEECH
CAIMARUSA (Colombia) An ice-breaker dance for young children. 2 rows of dancers, first couple improvises. Cast off, bridge and couple 2 becomes number 1 UNA DO LI TRA (Puerto Rico)
Una do li tra Elele mengua Un sofete colorete Una do Ii tra Counting feet. Also patting in the back and guessing who is the last person to have their hands on the person who is it… Variation- Patting the beat and feeling fingers on the back TEXT IN CANON
ROLLY POLLY (Australia)
Rolly Polly Rolly Polly up up up Rolly Polly Rolly Polly out out out Rolly Polly Rolly Polly clap clap clap Rolly Polly Rolly Polly lay them in your lap
Interpret with opposites (loud-soft, etc) Working with a text
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THEME 3- WORKING WITH SMALL PERCUSSION INSTRUMENTS AKATA BAKATA (Bulgaria) Akata bakata cukata be Abel fabel domine Niki piki dramatiki Fl’ong! BULGARIA
Sometimes one of the hardest things in the class is to give the material to the children. This is a Bulgarian song with nonsense meaning . I used a hand game with a rhyme to have students take one instrument from the basket. A clap is passed around the circle and if the person gets caught at the end of the game… that person is out!. Once every person has an instrument we do the following games.
1. Play or not. Put the instrument in the floor and play only when the teacher plays.
2. Pass one beat around the circle starting with the teacher. When the beat comes back to the teacher we all play together one more beat.
3. As above with 2 or 3 beats, or with a particular rhythmic pattern (Variations on Akata) One person points around the circle and the last person at the end of the rhyme is “out”. n our version that person will be “in” by playing a special duet with the teacher. We can also let everyone that has a similar instrument play along. GAME WITH 3 HOOPS (James Harding)
A player steps on the circles and the group responds by making a sound. The conductor can step in 2 or 3 hoops at the same time Variation- While singing the song CAIMARUSA, one player skips around the circle. In the lai, lai, lai part steps on one of the hoops and that group improvises along some rhythms.
WOOD
DRUMS
METAL
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THEME 4- BODY PERCUSSION SHASAY THE DONUT- (USA) An Irish dance in which the participants start in 2 concentric circles.
A- Facing your partern- right hand turn 8 steps going back to place, left hand turn 8 steps, dosi dos right and left.
B- Couple number one goes inside the donut and shashay until going back to place again. All follow. Next time couple 2 starts.
ECHO Echo clapping in a circle Using a simple movement structure to lead an echo clapping exercise. The group moves with 4 steps in and 4 out the circle, and in the way in a leader claps a rhythm. Everyone repeats on the way out.
Why in a moving circle? Because the steps help us to keep the beat, and helps us understand the length of the pattern. After several examples clapping the teacher added other body percussion and vocal sounds. Question- Answer We tried this musical form in many ways: answers with the same length as the question or much shorter/ longer, or using some of the rhythmic elements form the question.
• Nonsense speech • Body percussion
Simultaneous imitation- canon While the teacher pats the students clap and vice versa. We keep a pattern of 4 beats. Little by little the leader changes the clapping of patting pattern to create a canon.
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Reflection Imitation is perhaps the most common form of learning. Echoing is a particular kind of imitation that can be very useful- the teacher performs and then gives space for the students to imitate. It is a classic form of getting attention in schools- clapping the rhythm until the class echoes back. Unfortunately, most teachers don’t use echo clapping in a musical way, forgetting to put nuance (dynamic, articulation and dimension) into their clapping patterns. Good echo-clapping is a tool for awakening careful listening. Recommended reading- Elementaria Gunild Keetman Chapter 2
CLAPPING GAME 3 people (Ghana) 3 people play in the game. Who ever starts the pattern becomes the leader of the game and the other need to follow.
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24
JUEGO DE GHANA (Ewe)
6
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BODY PERCUSSION – SASA SASA Sasa is a dance from Polynesia. There is Samoan and Tongan versions and I learned the patterns from the British teacher music teacher Chris Blanchard. Her source for learning it was a singer from the trio Manahuri called Mary Thorby. The dance is performed with everyone sitting on the floor or chairs. The leader of the Sasa accompanies the motions with a drum. Call: Togie togie togie Response: E A togie Hey hey- ho Mili Mili (milli Lima): rub hands together Patia : High clap Po: Low clap Lua pate: 2 high claps Lua pate male po: 2 high one low Totofa: Claps HH LL H Saoni: Slap your legs Tulloloh: go to sleep Nofo: wake up, sit down Tahova: wave with one hand pat with the other Talofa: 3 claps and talofa (greeting) right, left and up (4 x) Shiva: waves Sun: knees, shoulders, head, sunshine, clap (and same thing backwards) Thunder Lightning Storm Wind Rain Sea lion Bird Crocodile Snake Nima nima -5 high 5 low (2x) 3 high 3 low (2x) 2 high 2 low (2x) 1 high 1 low SHU! (coda)
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You can check lots of Samoan or Tongan Sasa videos on the internet. I specially like one about the music standards in the New Zealand schools and the ones from the Tamaki intermediate school- a group of children have filmed and instructional video…
THEME 5- PLAYING WITH OBJECTS Any object can be an inspiration to do movement, keep the beat and improve the skills and group communication. THE BOMB Participants in a circle. 2 objects pass as fast as you can from hand to hand until they meet. The two people that make the EXPLOXION have to run until finding a spot again. Whoever comes second gets out. PASSING THE CUP- Passing materials in an organized way to your students is a pleasure! I try to use as many resources to keep the children paying attention and focused. All the cups shoul travel to the right at the same time. RITMO DE TRES- 3 people are plating a rhythm on the floor with the cup at the same time and the pattern moves around like a wave. EXPLORE= The sounds you can make with the object. The teacher has a clear signal to stop
Samoa
Tonga
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Double double this this Double double that that Double this double that Double double this that USA Add a gesture for each word and follow the secquence of the rhyme to perform them. I am currently working on a book which is a rhyme collection from all over the world. (La Gallina Francolina. Pentatonic Press) I have found MANY poems with a similar structure:
Choco choco la la Choco choco te te Choco la Choco te Choco la te (Spain- Chile)
Üch kere a a a Üch kere b b b Üch kere a Üch kere b Al-fa-be!
(Turkey) Dwama dwama tuk tuk Dwama dwama tam tam Dwama tuk Dwama tam Dwama tuk tam (Bulgaria)
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Dikole- (Cameroon) Francis Corpataux is professor of Music Education in the University of Sherbrook (Quebec-Canada). His particular field of research has been recording children’s songs all around the world and they are published by Arion in a collection called “Les Chants des Enfants du Monde”. There is also a DVD about children’s games.
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MUSIC NOTATION WITH CUPS (Sofia Lopez-Ibor) Show the beat, the pulse and subdivission.
• Clapping • Clap and pat or other body percussion • With onomatopoeic • With words • Music dictation
I invented the game out of the necesity to teach a piece by Steve Reich!
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THEME 6- Integrated learning. TRAINS
Train of names- One person starts the train simply saying their name, and we add people on the train little by little. Imagine the train goes under a tunnel Imagine there is an earthquake Imagine the train is carrying elephants Dance- Kolo (Yugoslavia) (The recording I use is from Gary King and The Shennanigans) This is not a traditional dance, I am using the music to do a movement . Game: Participants in rows follow a leader. When they hear the drum the move to the back part of the train. Music Listening- The Caipira train (Heitor Villa Lobos- Brazil) Share ideas about the piece in a group. ENGINE ENGINE (Usa) Engine engine number 9 Going down Chicago Line If the train stops by the track Do you want your money back Yes No Maybe so Speech piece over melodic ostinato Train game 2- 2 by two the person in the back steps on the off beat. Steve Reich- 2 trains/ Paraguay- El tren Lechero/ Ellington- The A Train/ Bobby Mc Ferrin- Train music Create pieces based on paintings by 5 years old. We will reflect about integrated learning how the art project was improved or affected by the music experience. The basic experiences in this class are inspired by the Project Zero and Theory of Multiple intelligences by Howard Gardner.
1. The class is prepared thinking of how to work with all intelligences and learning styles.
2. At the heart of teaching for understanding there are some generative questions.
3. Applying a thinking routine is essential for learning. What topic is worth understanding?
4. Evaluation- how can we tell in the students understand?
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“Performances of understanding” In this unit we give the students A- the opportunity of understanding information in multiple ways, (they
have explored the concept of tempo, dynamics, beat etc with their body, painting, in group compositions, with language and in a mathematical way)
B- the possibility of expanding that information (In the class the students not only explored music and dance in a group but they had the opportunity to listen to pieces by real composers that are exploring the same ideas).
C- the opportunity to apply the information in a new way (we can apply the terms and situations learned today to other themes in music. For example, we can do a class about clocks or mechanical dolls in which we can explore the same set of ideas…)
ARAKATAIA (Costa de Marfil) Aprendí esta pregunta-respuesta del professor Kuome Sereba de Costa de Marfil. La adaptación que he hecho para la clase consiste en un juego de gestos sonoros que se añaden de forma acumulativa. Lo utilizo como un juego para comenzar la clase de música o danza Pregunta respuesta
