The Life and Teachings of Carl Orff

1. The Life and Teachings of Carl Orff Presented by: Courtney Moore

2. The Early Years • Born in Munich on July, 10th 1895 • In 1900 Orff received instruction for piano, organ and cello. • In 1911 Orff wrote approximately 50 songs to texts of classical authors.

3. The Early Years Continued • In 1913 Orff wrote his first opera "Gisei“, after a Japanese legend • Until 1914 he studied at the academy of the clay and tone art in Munich. • 1914Short term war service in World War I

4. 1924 to 1935 • 1924 Carl was the joint founder along with Dorothée Günther of the "Guenther school", which aimed at a new connection of movement and music. • 1930-1935 Publication of his educational work in the musical "school work for children"

5. Carmina Burana • 1937 Premier of Carmina Burana • Secular Songs for soloist and chorus with Accompanying Instruments • A compilation of songs that are performed to mime and dance

6. Carl Orff’s Beliefs • He described himself as a wild flower • He aimed to provide stimulation for new independent growth • He believed music was never conclusive and settled, but always developing and always growing and flowing

7. Guentherschule • A school for gymnastics, music, and dance • Aimed at rhythmical education and a reciprocal interpenetration of movement and music education • Students would acquire a well-developed technique of improvisation

8. Orff Instruments • Pitched percussion instruments with wooden and metal bars • Xylophones, metollophones, glockenspiels, various drums, cymbals, woodblocks, rattles, viola da gambas, and lutes

9. Rhythmic Training • Carl Orff believed that rhythmic training should not start after adolescence, but during the first schools years and even earlier • In his teaching method, movement, singing, and playing become a unity

10. Music in the Elementary Classroom • "Elementary music is never music alone but forms a unity with movement, dance and speech. It is music that one makes oneself, in which one takes part not as a listener but as a participant. It is unsophisticated, employs no big forms and no big architectural structures, and it uses small sequence forms, ostinato and rondo. Elementary music is near the earth, natural, physical, within the range of everyone to learn and to experience it, and suitable for the child"

11. A Musical Starting Point • Melodic: The cuckoo-call (a falling third) • A melodic range of notes: The five-note pentatonic scale that has no semi tones • Speech: name-calling, counting out rhymes and the simplest of children’s rhymes and songs

12. The Orff Institute • The department “Orff Institute" at the University for Music in Salzburg is devoted to the teaching and research of music and dance education as well as to the documentation and further development of Orff Schulwerk.

13. Orff Schulwerk • Orff published a five volume work “Music for Children” which is called Schulwerk. • These works have been translated and adapted around the world. • Orff’s Schulwerk involves children in creative activities that include singing, playing, and moving in ways that are natural to them. • Children’s speech – texture, dynamics, pitch patterns, and rhythms – is the basis for musical development.

14. “Elementary music, word and movement play, everything that awakens and develops powers of the spirit, this is the ‘humus’ of the spirit, the humus without which we face the danger of spiritual erosion” “Everyone can learn elementary music, bit those who want to teach, especially those in primary schools, must learn it unconditionally. Only when primary schools have laid the foundations can the secondary schools build up a successful musical education” Two quotes from Carl Orff

15. “Ich habe das Meinige gethan…” • “I have done my part… now do yours”

16. References: • Mark, M. (1986). Contemporary music education (2nd ed.). New York: Schirmer • Orff, C. Orff-Schulwerk: Past and Future. • This Speech, given by Professor Dr. Carl Orff at the opening of the Orff Institute in Salzburg on the 25th of October, 1963, is published by kind permission of B. Schotts Soehne, Mainz, from the Orff Institute Jahrbuch 1963. The Translation is by Margaret Murray.