An Approach to Musical Education
An Approach to Musical Education
Carl Orff’s approach to music education encompasses all facets of musical expression. The learning takes place in an essentially active way, where imitation and exploration progress to improvisation and music literacy. Speech, song, movement and instruments are the vehicles used to teach rhythm, melody, form, harmony and timbre. It is built on the idea that a child must be able to feel and create rhythms and melodies before being attempting to read and write music. Orff believed that before an attempt in order to ‘understand’ the concept of a musical language, a child must first experience it. It is important to note that many of his students had not had previous musical training.
- Orff placed rhythm at the centre of his pedagogy.
- Improvisation and creation were inherent to his teaching methods.
- Emphasised ‘the body’ as an instrument of rhythmic exploration.
- Made the ostinato serve as the form-giving element in all improvisations.
- Instruments were used that enhanced/reinforced the children’s aural perception as well as
the visual relationship of intervals.
Through tuned and non-tuned percussion instruments, movements, games, singing, rhythmic exploration and drama, the Orff student learns of his own innate musical talents in a way that is immediately successful and rewarding.
The Orff process addresses every aspect of introducing a musical language to children that I believe to be important. Children are understandably aware of tempo and pace before they develop an ear for tone; much behavior is rhythmical in nature, such as speech and movement. Children’s games are also often dependent on rhythmic ability (skipping with a rope etc.). This seems to be the clear starting point for a musical program that hopes to develop musical literacy within the group.