It was during my work as a public school music teacher that I became introduced and interested in the Orff -Schulwerk process, and consequently completed the 3 levels of certification courses offered here in the United States. I was under the excellent tutelage of Judy Body, Arvida Steen, and Jane Frazee during my training courses. I have always felt my decision to become a music therapist was in large part based on my training and experience as an "Orff teacher." I learned many techniques that enabled all the children in my classroom to have a successful experience in moving, speaking, creating, and performing music. I use many of these same tools in the music therapy session, and it is actually hard to separate sometimes what I do as something I learned as a music therapist, as opposed to what I learned as a teacher using the Orff philosophy.
I. Session Planning
A typical session includes either a greeting song or greeting chant to recognize each individual in the group and to provide an opportunity for that group member to contribute in a way that is comfortable.
The greeting chant format is based on rondo form that is used so often in the Orff-Schulwerk. Students speak, and/or play a chant that either refers to their general well-being, or to current events. Structure is maintained throughout the activity by alternating the saying/playing of the chant with each individual response.
Cognitive or Academic focus is often approached next while the students are most attentive and involved in the process. The Orff process teaches us to experience and do before making the concept a cognitive awareness. This approach works well in the therapy setting through introducing song material, games, instrumental playing, improvisation and a variety of activities before attempting to generalize a concept to verbal communication or other social settings.
Using the pentatonic, blues, modal skills as a basis for improvisation on both piano, resonator bells, and Orff instruments is an important form of melodic communication in the therapy setting.
Movement time is very important to keep the energy going in the group, and of course, in the therapy setting, a very important part of teaching developing fine and gross motor skills. As in the Orff process, reinforcing concepts through movement is also a multi-sensory approach to kinesthetic learning. In other words, movement in the therapy setting might be reinforcing the cognitive concepts of left and right.
Phyllis Weikart basic music and movement approach is used with the preschool classes in developing beat awareness and leading to walking, skipping, galloping, etc. to music. The same approach is used in building skills to increase psychomotor functioning in children with disabilities.
Review or relaxation is a time needed in groups to feel rewarded for their work, to feel successful about their accomplishments, and to further instill a new concept in a relaxed setting. It is also a good time to begin transitioning to a closing activity.
Closure or good-bye song concludes all the sessions by affirming each student's contribution, presence and saying good-bye in a way that those with severe cognitive disabilities understand that routine leads to a relationship of returning commitment.
II. Building on Successes
In both the Orff-Schulwerk process and the Music Therapy Process, goals and objectives are reached in a systematic, sequential process through building on previous skills learned. Objectives are updated in a way that continues the use of the learned skill and generalizing that skill to other settings, or to the next desired step.
III. No Child Left Behind
A current focus in the education setting is to believe and work toward the idea that all children can learn important skills necessary for functioning in society. That philosophy has always been present in the Orff-Schulwerk classrooms, and a similar belief by music therapists in that we can encourage growth and improvement in our assigned individuals.
About Lorinda Jones
Biography
MA, MT-BC, Music Therapy Services of Central Kentucky, providing contract services in the school setting and adult day programs. Practicum Supervisor at University of Louisville Music Therapy Department.
It was during my work as a public school music teacher that I became introduced and interested in the Orff -Schulwerk process, and consequently completed the 3 levels of certification courses offered here in the United States. I was under the excellent tutelage of Judy Body, Arvida Steen, and Jane Frazee during my training courses. I have always felt my decision to become a music therapist was in large part based on my training and experience as an "Orff teacher." I learned many techniques that enabled all the children in my classroom to have a successful experience in moving, speaking, creating, and performing music. I use many of these same tools in the music therapy session, and it is actually hard to separate sometimes what I do as something I learned as a music therapist, as opposed to what I learned as a teacher using the Orff philosophy.
I. Session Planning
The greeting chant format is based on rondo form that is used so often in the Orff-Schulwerk. Students speak, and/or play a chant that either refers to their general well-being, or to current events. Structure is maintained throughout the activity by alternating the saying/playing of the chant with each individual response.
Using the pentatonic, blues, modal skills as a basis for improvisation on both piano, resonator bells, and Orff instruments is an important form of melodic communication in the therapy setting.
Phyllis Weikart basic music and movement approach is used with the preschool classes in developing beat awareness and leading to walking, skipping, galloping, etc. to music. The same approach is used in building skills to increase psychomotor functioning in children with disabilities.
II. Building on Successes
In both the Orff-Schulwerk process and the Music Therapy Process, goals and objectives are reached in a systematic, sequential process through building on previous skills learned. Objectives are updated in a way that continues the use of the learned skill and generalizing that skill to other settings, or to the next desired step.
III. No Child Left Behind
A current focus in the education setting is to believe and work toward the idea that all children can learn important skills necessary for functioning in society. That philosophy has always been present in the Orff-Schulwerk classrooms, and a similar belief by music therapists in that we can encourage growth and improvement in our assigned individuals.