These case studies offer a rich and detailed picture of participants’ engagement with the Orff approach, and their perception of its relevance and applicability in their respective school settings.
In response to the research question (RQ 1), ‘What led the teachers to a course of study in the Orff approach?’ – it became clear that, although some participants actively sought out Orff workshops as a result of prior knowledge, others attended their first workshop by chance and with no prior knowledge at all. The table below summarises findings related to this research question. However, regardless of the circumstances surrounding this initial experience of the approach, all participants continued to undertake workshops in Orff pedagogy as a result of their perception that these workshops offered valuable professional development in relationship to their various roles in music or performing arts education in their
Table 4.1: Summary findings related to Research Question 1
Context at time of initial experience of Orff
approach
Reasons for undertaking P/D in the Orff approach
Qualifications in Orff approach
Karen Generalist teacher moving to specialism
Serendipitous
School offered opportunity to attend PD
Level 3 ONZA certification
Gladys Generalist teacher moving to
specialism Serendipitous - Affirmation of ‘musicality’ by colleagues led her to attend music education workshops -
Level 4 ONZA certification
Kate Private music teacher &
generalist classroom teacher Serendipitous Instrumental tutor in Orff workshop Level 4 ONZA certification
Alex Generalist teacher moving to
specialism Chose Orff approach as result of desire for increase in knowledge and skill with a practical orientation
Level 3 ONZA certification
Phoebe Undergraduate student Chose Orff approach as a result of perceived relevance to teaching context Level 4 ONZA certification PG; ORFF pedagogy (Salzburg)
Belle Generalist teacher/ music teacher out-of-school music classes
Chose Orff approach. Curiosity aroused by seeing Orff approach in work of colleagues
PG Diploma in Orff Melbourne Level 4 ONZA certification
Francis Undergraduate student Chose Orff approach as a result of perceived relevance of approach to teaching context
Level 4 ONZA certification
Rosie Music specialist Chose Orff approach as a result of
perceived relevance of approach to teaching context
Level 4 ONZA certification
Henry High school music teacher Chose Orff approach Seeking increase in knowledge and skills specific to composition
Level 4 ONZA certification
As reported earlier, Phoebe found early-career, postgraduate Orff workshop experiences stale, prescriptive and overly childish. However, later workshops with teachers, whose creative musicianship she found inspiring, led her to endorse the approach as a non-prescriptive, flexible and artistic approach to teaching music. Similarly, Francis reported frustrations with what he called the ‘aesthetic of the pentatonic’ in his first experiences of the Orff approach during his undergraduate course of study. However, he returned with interest to material from this
workshop once he was in a teaching role, deciding retrospectively that the approach had relevance for his current teaching context.
Regardless of such differences in response to initial experiences, all participants’ interest had been captured because of an emphasis on participatory music-making, variously described as ‘fun’, ‘joyful’, ‘creative’, ‘hands-on’, and because they perceived the approach’s potential effectiveness in addressing the needs of pupils in their particular classroom context. Changes in participants’ thinking about and knowledge of music as a creative and multi-dimensional form of art-making occurred during initial and subsequent workshops, and impacted upon their practice as they engaged in applying their own perceptions and understanding of
Orff principles and processes in their individual school contexts. These changes will be discussed in Chapter 6.
Francis’s comment that ‘no two Orff practitioners are the same’ was borne out in this sample of teachers and reflected in the variety of settings, the diversity of material used and the contrasting personal teaching styles. Nevertheless,
considerable similarities in terms of such emphases as the following were evident: participation for all; welcoming of student input; largely whole class and/or group teaching rather than individual or one-to-one engagement; the use of tuned and untuned percussion; and the inclusion of exploratory and improvisational activities.
The participants’ active engagement with Orff principles and processes
corresponded with the range of principles and processes associated with the Orff approach that were evident in the lessons I observed. These are summarised below.
Table 4.2: Summary of typical Orff approach foci evident during observed lesson
Typical Orff Approach foci evident during observed lesson
Pedagogical principles
Karen Alex Phoebe Belle Francis Kate Gladys Henry
Simple to complex • • • • • • Imitation • • • • • • • Opportunity for exploration • • • • • • • • Opportunity for improvisation • • • • • • • • Emphasis on ‘aesthetic’ • • • • • • An emphasis on playfulness • • • • Enabling participation by all • • • • • • • • Enabling success for all • • • • • • • • Enabling shared leadership • • • • • • • •
Table 4.2 continued
Material Karen Alex Phoebe Belle Francis Kate Gladys Henry
Orff and Keetman material Orff-based materials (Contemporary) • • • Original material (teacher) • • Original material (Student) • • • • • • • • Rhyme, poetry, prayer • • • •
Stories and picture
books • • •
Art works and/or
natural objects • • • • Material referencing N.Z culture • • • • Material referencing Maoritanga • • • Material referencing non- N.Z culture • • Material from popular culture • • •
Structures Karen Alex Phoebe Belle Francis Kate Gladys Henry
Free-form e.g.,
soundscape) • • • • • •
Ostinato • • • •
Question & answer • • • • •
Rondo • • • •
Canon
Tonalities Karen Alex Phoebe Belle Francis Kate Gladys Henry
Pentatonic modes • • • • • Church modes Diatonic • • • • • • Bordun accompaniments • • • Shifting triad accompaniments Cadential pattern accompaniments • •
Table 4.2 continued
Activities Karen Alex Phoebe Belle Francis Kate Gladys Henry
Movement (inc. body percussion) • • • • • • • Singing and/or speaking • • • • • Playing instruments • • • • • • • Tuned percussion • • • • • • • Untuned percussion • • • • • • Recorder • Other instruments • • • • • • • Found sounds • • • • • • Listening • • • • • • • • Reading or writing notation •
The following chapter will present findings under a range of headings and sub- headings concerned with emergent themes across participants, which will further illuminate the over-arching focus of this thesis, i.e., a critical analysis of the Orff approach as practised by a range of practitioners in the Aotearoa New Zealand school setting.
Chapter Five
Beliefs and practices
5
It is the supreme art of the teacher to awaken joy in creative expression and knowledge Albert Einstein
Drawing upon questionnaire, interview, observation and focus group data, this chapter will continue to address the research questions addressed in Chapter Four. In addition, the two research questions related to the Aotearoa/New Zealand context will be addressed:
• What part do considerations of the indigenous culture of Aotearoa/New Zealand play when considering the application of The Orff approach to Aotearoa/New Zealand?
• What do the participants suggest is the relationship between the principles of the Orff approach and the new Curriculum: Sound Arts?
Analysis of the above data yielded a number of themes, which will be presented in this chapter under three headings:
• The Orff approach and professional practice
• The Orff approach and the Aotearoa/New Zealand school context • The Orff approach in action in Aotearoa New Zealand school settings.