1 Presented by Annamaria Paolino AFMLTA Conference, Darwin NT 8
th July 2011 [email protected]
Slide 2
A QUOTE FROM CARL ORFF 2 Since the beginning of time, children
have not liked to study. They would much rather play, and if you
have their interest at heart you will let them learn while they
play, and then, eventually, they will find they have mastered
childs play. This I true of any skill, but particularly, it is true
of music. (Carl Orff )
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Italo-Australian Grew up in a musical household Primary Music
specialist Primary Italian specialist Use Music to teach Italian
and vice versa Orff-Schulwerk practitioner MY BACKGROUND
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Organised languages Learnt codes which are built up in blocks
Used for expression and communication Innate human universals Used
to transmit knowledge Rhythm, pitch and sound dependent Elements of
all cultures BOTH MUSIC AND LANGUAGES ARE 4
Slide 5
Traditionally considered that music is RB and language LB.
Research has found that while the LB retains a language bias, both
sides actually process music. This promotes network thinking as
both sides of the brain is being used at the same time. It is
believed that if network thinking in not encouraged than the side
of the brain not used will remain dormant and impoverished. This is
essential to teaching. BRAIN RESEARCH 5
Slide 6
Music and song triggers many brain chemicals which in turn
triggers many receptors within the brain encouraging the brain to
work as a network. Norepinephrine: responds to novelty and assists
the brain in remembering what was presented. THE BRAIN, MUSIC AND
LANGUAGES 6
Slide 7
Affective reasons: Makes the learner less anxious and more
receptive to learning = Active involvement Cognitive reasons:
Repetition Practice Automation = Deep memory retention Linguistic
reasons: Provide meaningful chunks of language = Encouraging
communication WHY SONG/MUSIC IN L2 CLASSROOM 7
Slide 8
To find out if; Other primary teachers of Italian used music to
teach Italian. Other primary teachers of Italian shared a similar
background to me. How and why music was being used in the Italian
classroom. Primary Italian teachers in WA would consider the Orff-
Schulwerk approach appropriate for use in their classroom. AIMS OF
MY RESEARCH
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Common practice in junior classes Used in isolation or a
supplementary activity Cultural artefact Teachers lack confidence
Curricular frill Music = songs and singing Teachers want a song for
every topic they teach CURRENT PRACTICE 9
Slide 10
Lack of use of music with upper primary classes Lack of teacher
confidence Lack of PL opportunities for teachers Lack of
appropriate resources available AREAS OF NEED IDENTIFIED
Slide 11
Developed in the 1930s by German composer Carl Orff. It is not
a method. It is a multisensory approach. The Orff-Schulwerk
Approach; singing, chanting, clapping, creating, dancing and
keeping beat. These are instincts, directed by hearing, prepares
students for reading and writing. This learning process is the same
one that is employed when language is being learned. WHAT IS
ORFF-SCHULWERK 11
Slide 12
LETS HAVE SOME FUN!!!
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Orff Schulwerk is unique Offers students opportunities to play,
clap, sing, move and create in a supportive, nurturing and
inclusive environment Mastery of Orff-Schulwerk is a lifes work but
everyone can use these simple principles Process involves moving
from the simple to complex in small steps, ensuring student success
Think about how you learnt a song or rhyme as a child. DISCOVERING
ORFF-SCHULWERK 13
Slide 14
Orff did not want teachers to imitate his classroom practices.
Orff lessons consist of a focus, a level of understanding to be
achieved and a performance to demonstrate understanding. The aims
of an Orff-Schulwerk curriculum is to; develop a self-sufficient
student, to motivate, enhance skill acquisition and encourage
participation. CURRICULUM WITH AN ORFF INFLUENCE 14
Slide 15
The Orff-Schulwerk tradition uses many procedures that are
common in many musical cultures around the world such as oral
learning, movement and improvising. Orff-Schulwerk is a holistic
approach based on the understanding that humans are made up of more
than anatomical parts and that as teachers we need to consider the
physical, emotional, social, cultural and cognitive parts also.
ORFF-SCULWERK AND THE INTERCULTURAL 15
Slide 16
In order for foreign language teachers to use Orff principles
in the classroom, they do not need to be musical they need to be
able to make their language come alive rhythmically; that is they
need to have rhythm. (Pritikin, n.d., p.4) ORFF-SCHULWERK IN THE L2
CLASSROOM 16
Slide 17
Beat Rhythm Syllabification Ostinato WHAT DO I NEED TO KNOW?
17
Slide 18
Provide countless opportunities where students can play with
sounds of language = SING and VOCALISE Articulation of phonics
Allow students to feel the language Use Orff-Schulwerk techniques
WHAT DO I NEED TO DO? 18
Slide 19
Creative Inventive with their own actions and body percussion
sounds Free to explore the language Free to explore the instruments
ALLOW THE STUDENTS TO BE 19
Slide 20
Allowed them to self reflect on their teaching Flexible and
easy to integrate Relevant and contemporary Increased their
awareness of the cognitive process Improved students language
ability Provided students with reinforcement and scaffolding
Increased students linguistic understanding IT ENGAGED THE
STUDENTS!!! TEACHERS RESPONSE TO ORFF-SCHULWERK
Slide 21
Engaging as they were actively involved in their learning
Providing reinforcement and scaffolding to their learning Increased
their linguistic understanding as the activities assisted memory
retention INCREASED THEIR CONFIDENCE!!! STUDENT RESPONSE TO
ORFF-SCHULWERK
Slide 22
Students will take songs outside the classroom and will go on
performing or listening to them long after the lesson has finished.
Unlike drills, which usually slip from the students minds when they
leave the classroom, songs can last a lifetime and become part of
ones culture. (G.Ianterno and M.P. Salerno, cited in Kramer, 2001)
CONCLUSION 22
