mmed740/pmed740 orff level 3 summer 2016 michelle...

TheUniversityoftheArts320S.BroadStreetPhiladelphia,PA19102uarts.educs.uarts.edu/sms

MMED740/PMED740OrffLevel3Summer2016

MichelleFellaPrzybylowski• MichelleFellaPrzybylowski• ContactPhone:215-837-5160• [email protected]

Required Texts/Materials: Music For Children , Margaret Murray Ed.  Volume  I; SCHOTT Music For Children , Margaret Murray Ed.  Volume  II; SCHOTT Music For Children , Margaret Murray Ed.  Volume  III; SCHOTT Music For Children , Margaret Murray Ed.  Volume IV; SCHOTT Music For Children , Margaret Murray Ed.  Volume V; SCHOTT Volume III & V are new to students that have taken their Level I & II at an AOSA approved course *These materials will be provided to students on Day 1 of this course. Suplemental Material: Spielbuch Fur Xylophon I, SCHOTT Spielbuch Fur Xylophon II, SCHOTT Rhythmische Ubung, SCHOTT Pieces and Processes - Calantropio, Steven, New York: Schott, 2005. Stücke für Flote und Trommel -Keetman, Gunild. Mainz: Schott, 1984. RECORDERS and BOOKS Recorder Consort 1 (Steve Rosenberg) - Boosey & Hawkes, ISMN M-060-02279-1

ProgramObjectives:(eachareaincludesthespecificobjective)• Demonstratetheapplicationofpedagogicalandmethodologicalmeanstoteachmusicandemployeffectiveteachingmethods• Utilizetechnologyindiversewaysasateacherandinsupportofstudentlearning• Communicateandcollaboratewithpeersindiversemusicalenvironmentsandschoolcommunities• Arecreativeandinnovativemusicianswhosharethesemusicalstrengthswiththeirlearnersthroughteaching

Understandthediversecultural,communal,andlearningneedsof21stcenturystudentsPedagogyWhilethedevelopmentoftheteacher’sownmusicianshipandcreativepotentialisattheheartoftheOrffapproach,theultimategoalofthispersonalgrowthis

Michelle Fella Przybylowski Orff Schulwerk Level III 2016 [email protected]

tomaketheindividualabetterteacherofchildren.Theroleofpedagogymustgobeyondtheteachingofapieceintheelementalstyle—thepieceisnotanendinitselfbutameanstomusicalunderstandingforthechild.ThelessonsdevelopedbyLevelIIIstudentsshouldbedesignedtobringchildrentoconceptualunderstandingofmusicalelementsanddeveloptheirmusicalskillsintheactiveandcreativeatmospherethatcharacterizestheOrffapproach.Inthisprocess,theteachermustalwaysbeamodelofartisticmusicianship,guidingchildrentowardmusicalunderstanding.

Thestudentwill:

•teachrhythminanaccuratemanner,cueinglearnerswithaninvitingphysicalgesture•teachvocalandinstrumentalmelodiesusingavarietyoftechniques,includingvocalmodeling,gesture,andbodypercussion•teachinstrumentaltechniqueandpartsinanartisticfashion

•usereferencestoformasanaidinteaching•teachawarenessofinstrumentalandvocalcolorsmodelexpressivesingingandplaying

LevelIIIstudentsshoulddemonstratepedagogicalskillby: •developingatleastonelessonplanthatoutlinestheteachingaconceptinpitch/melodyorrhythm •teachingthelesson(s)totheclassusingavarietyofOrffmedia.

CourseDescriptionOrffLevelIIIwillfocusonpedagogyofmorecomplexmusicfromMusicforChildrenVolumesI,II,III,IV&Vaswellaseclecticfolkmusicandmorecomplexmusicalelements,includingsyncopation,meter,permutationsofl6thnotes,melody,themeandvariation,chaconne,irregularspeech/poetryandiconicnotation,withanemphasisonimprovisationanddrama.Recorderstudieswillexploreawiderangeofmusic,includingSchulwerksourcematerials,traditionalfolkmusic,andhistoricalandmodernrepertoire.MovementclasseswillincludeamoredetailedstudyofLaban'smovementefforts,folkdancesincomplexmeter,andmorecomplexchoreographysynthesizingalldanceelementsstudiedthusfar.Speech

SpeechmaterialsusedinLevelIIIshouldincludevarietyinformandliterarymood,withamplepotentialforcreativeexperimentation.Morecomplexformsmaybeintroducedforbroaderanddeeperpoeticexplorationandexperimentation.Thestudentwill: •speakin2/4,3/4,4/4,6/8,5/8,7/8meters •Performlayeredspeechpiecesatasophisticatedlevel •Useavarietyofvocaltimbresinspeaking •Speakwithvaryingdynamicsandvocalinflection •PerformaleatoricexplorationsandimprovisationsusingvaryingvocaltimbresSinging IntheOrffapproach,singingisrecognizedasfundamental—aninvaluablemeansforindividualandgroupmusicalexpression.Singingrequiresanddevelopsthehighestdegreeofpitchsensitivityandsecurity,andisessentialinthedevelopmentoftotalmusicality.Songsshouldbecarefullychosentoexpandmusical


repertoireandvocabulary.Theyshouldbepedagogicallyusefulandofexemplarymusicalquality.Theinstructorshouldmodelappropriatevocalrangeandquality,healthyposture,andbreathingnecessaryforwell-supportedsinging.

Thestudentwill: •singmelodiesin2/4,3/4,4/4,6/8,5/8,and7/8meters •singinalldiatonicmodes •explorerecitativeusingaselectedtext •singchordrootaccompanimentsforamelodyrequiringaI-Vchordchange •singchordrootaccompanimentsforamelodyrequiringharmonychanges(I-V,I-IV-V,i-v,i-V,I-vii,i-VII) •singvariationstoagivenmelody •modelaclearvocaltonewithoutexcessivevibrato •modelananimatedaffectwhensinging •improvisevocallyinalldiatonicmodes •Improvisevocallyoverchordchanges(I-V,i-v,I-IV-V,I-VII,i-VII)

LevelIIIstudentsshoulddemonstratetheabilitytosingmelodiesandimprovisevocallyinalldiatonicmodes:

MAJOR•Ionian•Lydian•Mixolydian MINOR•Dorian•Phrygian•Aeolian


Melodicenrichmentwillalsoincludesingingcountermelodiesbasedontheprinciplesofdiaphony(contrarymotion)andparaphony(parallelmotion).InstrumentsTheOrffApproachspecificallyintegratesinstrumentalplayintothelearningprocess,usingbodypercussion,non-pitchedandpitchedpercussioninstrumentsandrecorder.Otherinstruments,includingauthenticinstrumentsfromworldculturesarealsosometimesusedalongwiththestandardOrffinstrumentarium.

1. PerformingBodyPercussion&PlayingUnpitchedPercussionInstruments

StudentsinLevelIIIshoulddemonstratecompetenceinperformingpartslearnedthroughimitationaswellfromnotationandimprovisingrhythmsinbodypercussionandonnon-pitchedpercussioninstruments.Theabilitytousemanydifferentinstrumentsoffersteachersvarietyinchoicesofteachingtoolsfortheclassroom.Performingbodypercussionandplayingnon-pitchedpercussioninstrumentsreinforcesrhythmicandmelodicconceptsandskillsanddevelopssensitiveensemblemusicianship.Thestudentwill: •performrhythmsin2/4,3/4,4/4,6/8,5/8,7/8metersandirregularandchangingcombinations •combinerhythmicpatternsinpolymetriclayering •performrhythmicallyfreestructures •demonstrateeffectiveaccompanimenttechniquesinbodypercussionanduntunedpercussionplaying. •emphasizemusicalformthroughuseofrhythmicallycontrastingostinati,shiftsinrange,changesintimbre,texture,and/ordynamiclevel •Increasetimbrepossibilitiesinbodypercussionthroughmoreadvancedtechniques. •Createmusicusingfoundsoundsandbyplayinginstrumentsinnon-conventionalways.

StudentsinLevelIIIshoulddemonstrate: •Correcttechniquewhenperformingthelayersofbodypercussion(stamp,pat,clapsnap)andotherbodysoundgestures. •correctplayingtechniqueonmembranophones,includingthecorrectholdingandstrikingtechniquesforthehanddrum,tambourine,bongos,conga,snaredrumbassdrumandtimpani. •correctholdingandplayingtechniquefornon-pitchedidiophones(METALS:triangle,fingercymbals,suspendedcymbal,cowbell,gong,belltree,chimetreejinglebells,flexi-tone)(WOODS:claves,woodblocks,castanets,templeblocks,slitdrum,maracas,rattles,cabasa,sandblocks,guiro,vibra-slap).

2. PlayingPitchedBarredInstruments

Thebarredpitched-percussioninstrumentsprovidealightaccompanimentforchildren’ssingingvoicesandareexcellentteachingtoolsformelodicconcepts.

Thestudentwill: •playandimprovisein2/4,3/4,4/4,6/8,5/8,7/8,andirregularandchangingcombinations •combinerhythmicpatternsinpolymetriclayering •playrhythmicallyfreestructures •playmelodiesandimprovisationsinalldiatonicmodes •combinepatternsinpolymetriclayering •playmelodiesandimprovisationsincorporatingmajorandminorharmonychanges:(I-V,I-IV-V,i-v,i-V,I-vii,i-VII)


•playaccompanimentpatternsformelodiesrequiringchordchanges:I-V,i-v,i-V,I-VII,i-VII,I-ii,I-IV,I-IV-V •playusing3-mallettechnique •exploreformbymakinginstrumentalperformancedecisions •Playthemeandvariations •Increasetimbrepossibilitiesthroughmoreadvancedtechniques •Makeartisticchoicesinsoloandensembleinstrumentplaying

LevelIIIstudentsshoulddemonstrate: •correctpostureandmallettechniquesforplayingthevarioussizesofxylophones,metallophonesandglockenspiels •multiplemallettechnique •tremolo •abilitytoimproviseinalldiatonicmodes •abilitytoimproviseinamajorscaleoveraI-VorI-IV-VaccompanimentRecorderTechniqueTherecorderservesseveralfunctionsinOrffclassrooms.Firstandmostimportant,itservesasateachingtool,Thestudentshouldplaybothsopranoandaltorecorderswithproficiencyandhaveexperienceswithtenorandbassrecorders.

StudentsshouldbeabletoimproviseonsopranoandaltorecordersoveraI-Vchordprogression.

Improvisation,Composition,Orchestration

ImprovisationpermeatesallskillareasintheOrffSchulwerkteachereducationcurriculum.AsMargaretMurrayhasstated,“youarehelpingteacherstodiscoverandpracticetheirownmelodicandrhythmiccreativepotentialsothattheycanhelpthechildrentheyteachtodiscovertheirs.”Melodicimprovisationistheprecursorofcomposition,whichcanthenleadtoorchestrationofthemelodiesinvented.Compositionandarrangementofsimpleformsis,thus,anecessarycomponentintheOrffSchulwerkteacher-educationcurriculum.InthedevelopmentofOrffandKeetman’sprototypematerials,theelementalconceptresultedinmusicconstructedsimplyfrombasicmaterials.Acquaintancewiththesematerialsprovidesanessentialbasisforindividualandgroupeffortsincomposingandarranging.Certain“rules”andguidelinesareusefulindefiningtheextendedstyle.EssentialtotheOrffSchulwerkapproach,however,isthefreedomtoexperimentandexplorevariousoptions.Studentsshoulddemonstrateincompositionandarrangementassignmentsthattheyunderstandandhavecontrolofthemusicalmaterial.

Thestudentwill: •performaleatoricexplorationsandimprovisationsusingvaryingvocaltimbres[SeeSPEECH] •composeamodalmelodyandaccompanywithbordun/droneandostinato •arrangeamajormelodyrequiringI-Vchordchangeaccompaniment •improvisevocallyandinstrumentallyinalldiatonicmodes[SeeSINGING]


•improvisevocallyandinstrumentallyoverchordchanges(I-V,I-IV-V,i-v,i-V,I-vii,i-VII)[SeeSINGING] •composeamodalmelodyandaccompanywithbordun/droneandostinato •arrangeamajormelodyrequiringI-Vchordaccompaniment •composeacountermelodyforadiatonicmelodyorfolksong(paraphonyordiaphony) •arrangeamelodyrequiringharmonicchordchanges(i-v,I-V,I-vii,i-VII) •arrangeamelodyrequiringI-IV-Vchordaccompaniment •makeartisticchoicesofinstrumentationinarrangements •importanceofbeingabletoHEARthecompositiononinstrumentsandREVISEinstrumentationchoices

Pedagogy

Whilethedevelopmentoftheteacher’sownmusicianshipandcreativepotentialisattheheartoftheOrffapproach,theultimategoalofthispersonalgrowthistomaketheindividualabetterteacherofchildren.Theroleofpedagogymustgobeyondtheteachingofapieceintheelementalstyle—thepieceisnotanendinitselfbutameanstomusicalunderstandingforthechild.ThelessonsdevelopedbyLevelIIIstudentsshouldbedesignedtobringchildrentoconceptualunderstandingofmusicalelementsanddeveloptheirmusicalskillsintheactiveandcreativeatmospherethatcharacterizestheOrffapproach.Inthisprocess,theteachermustalwaysbeamodelofartisticmusicianship,guidingchildrentowardmusicalunderstanding.

Thestudentwill: •teachrhythminanaccuratemanner,cueinglearnerswithaninvitingphysicalgesture •teachvocalandinstrumentalmelodiesusingavarietyoftechniques,includingvocalmodeling,gesture,andbodypercussion •teachinstrumentaltechniqueandpartsinanartisticfashion •usereferencestoformasanaidinteaching •teachawarenessofinstrumentalandvocalcolors •modelexpressivesingingandplaying

LevelIIIstudentsshoulddemonstratepedagogicalskillby: •developingatleastonelessonplanthatoutlinestheteachingaconceptinpitch/melodyorrhythm •teachingthelesson(s)totheclassusingavarietyofOrffmedia.


StudentLearningOutcomesAttheconclusionofthisgraduatemusiceducationcourse,studentswill:

- DeepencontentandcomplexityofthefoundationaltenetsofOrffSchulwerkthroughthevariousmedia.- Understand,planandactivelyusecomplexmusicalelements,improvisationanddramatocreateanactivemusiccurriculumintheschoolsetting- DeepenandbroadenmovementfoundationsthroughadetailedstudyofLaban- Deepenandbroadenrecorderproficiencyskillsthroughtraditionalfolkmusic,Schulwerksourcematerials,historicalandmodernrepertoire

GradingCriteriaandAssessmentMethods

Courseassessment,evaluationandgradingisbaseduponthreefactors:(1)completionofallhomeworkassignments(2)activeengagementindailycoursestudiesand(3)inthecompletionofthefinalwrittenandteachingassignmentBelowistherubricthatwillbeutilizedbyfacultytoassessandevaluatestudentsinthesethreecategoriesoflearningandunderstanding.

Basic Average SuperiorPre-assignment

Providesbasic/unsatisfactorycontentandconceptsinpreparationforthiscourse.

Accuratelyidentifiescontentandconceptsrelevanttothiscourse.

Demonstratesadeepunderstandingandpreparationofcontentandconceptsrelevanttothiscourse.

Duringclassformativeassessments

Failstoactivelyengageincoursecontent,application,andengagementofdailycoursework.

Engagesactivelyincoursecontentandapplicationofconceptsindailycoursework.

Demonstratesathoroughanddeepengagementincoursecontent,applicationandunderstandingofdailycoursework.

Final/Post-assignment

Doesnotadequatelycompletethefinalassignment.Assignmentmayhavebeensubmittedlate.Poororganizationandlackofdepthofknowledgeevidenced.

Finalassignment/post-assignmentevidencesappropriatestructureandorganization,understandingofcoursegoalsandoutcomes.Itissubmittedontime.

Finalassignment/post-assignmentisfluidandengaging.Itisorganized,wellstructuredandclear,andevidencesadeepunderstandingandapplicationofcoursegoals.Itissubmittedontime.


TheGradingPolicycanbefoundintheCourseCatalogue.

AcademicIntegrityPolicyAprimarytenetofthiscourseistopreparestudentsforprofessionalresponsibilitiesasteachers.Thetimelyarrivaltoclassaswellasthedailypreparationandengagementincoursestudiesisessential.

UniversitypolicyonAcademicIntegritymaybefoundintheUArtscatalog.

Ifstudentsarenotclearaboutwhatconstitutesplagiarism,youmightrecommendIntroductiontoResearchandDocumentationavailableontheUniversityLibrarieswebsite.

AbsencesDuetothecompressednatureoftheten-dayintensivecoursestructure,absencesfromclasswillnotbeaccepted.Studentswhoarrivelatetoclassorleaveearlywillbeheldaccountableformissedtimethroughadditionalassignmentstobecompletedoutsideofcoursehours.TechnologyPoliciesonTechnologymaybefoundintheCourseCatalogue.ClassFormatAllsummermusicstudiescoursesthatmeetin-personaten-dayintensivecoursestypicallyrunningfor8hoursperday.Studentsareresponsibleforpreparationofmaterials,forengagingincoursecontentasperthecoursedescription,andinbeingresponsivetocompletionofALLcourseworkasdetailedinthecourseoutline.

EducationalAccessibilityStudentswhobelievetheyareeligibleforcourseaccommodationsundertheADAorSection504orhavehadaccommodationsormodificationsinthepast,shouldcontacttheOfficeofEducationalAccessibilityat215-717-6616oraccess@uarts.edutoarrangeforappropriateaccommodationsandtoobtainanaccommodationsletter,ifapplicable.Facultycanprovidecourseaccommodations/modificationsonlyafterreceiptofanapprovedaccommodationsletterfromtheOfficeofEducationalAccessibility.Accommodationletterscanbeprovidedtoqualifiedstudentsatanytimeduringthesemester,butgradesearnedbeforetheletterisreceivedbythefacultycannotbechanged.

CourseOutlineAllsyllabusaresubjecttochange.


MOVEMENT SPEECH SINGING BODY

PERCUSSION

UNPITCHEDPERCUSSION

PLAYING

RECORDER

PITCHEDPERCUSSION

IMPROVISATION

COMPOSITION

ORCHESTRATION

PEDAGOGY

RHYTHM&METER

TIMENOTBOUNDBYRHYTHM

•Performmetricstructuresincluding2/4,3/4,4/4,6/8,5/8,7/8,andirregularandchangingcombinations

•Speakin2/4,3/4,4/4,6/8,5/8,7/8meters

•Singmelodiesin2/4,3/4,4/4,6/8,5/8,and7/8

meters

•Recitative

•Performrhythmsin2/4,3/4,4/4,6/8,5/8,7/8metersandirregularandchangingcombinations

•Combinerhythmicpatternsinpolymetriclayering

•Performrhythmicallyfreestructures

•bodymusic

•Playandimprovisein2/4,3/4,4/4,6/8,5/8,7/8,andirregularandchangingcombinations

•Combinepatternsinpolymetriclayering

•Rhythmicallyfreestructures

•Performexplorationsandimprovisationsinvariousmeters

•performnon-metricimprovisations

•Teachrhythminanaccuratemanner,cueinglearnerswithphysicalgesture

•Developalessonplanthatteachesaconceptinrhythm,usingavarietyofOrffmedia.

MELODY

•Movementthemesasmelodicmovementmaterial

•Physicalresponsetomodal,majorandminormaterial

•Singinalldiatonicmodes

•explorerecitativeusingaselectedtext

•Explorebodypercussionsoundsandtechniquesbeyondthefourstandardlevels

•Playmelodiesandimprovisationsinalldiatonicmodes

•Combinepatternsinpolymetriclayering

•Playmelodiesandimprovisationsincorporatingmajorandminorharmonychanges:(I-V,I-IV-V,i-v,i-V,I-vii,i-VII)

•improvisevocallyinalldiatonicmodes

•Improvisevocallyoverchordchanges

(I-V,i-v,I-IV-V,I-VII,i-VII)

•Composeamodalmelodysuitableforbordun/droneandostinatoaccompaniment

•ComposeamajormelodyrequiringI-Vchordchangeaccompaniment

•Teachvocalandinstrumentalmelodiesusingvocalmodeling,gesture,andbodypercussion

•Developalessonthatteachesaconceptinpitch/melodyandteachthelessonusingavarietyofOrffmedia.


ACCOMPANI-

MENTAND

TEXTURE

•Solo/smallgroup/largegroup

movementformations

•Movementostinati

•Moveeffectivemovementaccompaniment

•Choreographystrategies

•Performcomplexlayeredspeechpieces

•Performchoralspeech,poemsforseveralvoices,Greekdramaforms

•SingchordrootaccompanimentsforamelodiesrequiringaI-V,I-IV-V,i-v,i-V,I-vii,andi-VIIchordchanges

•Demonstrateeffectiveaccompanimenttechniquesforbodypercussionandplayinguntunedpercussion

•Playaccompanimentpatternsformelodiesrequiringchordchanges:I-V,i-v,i-V,I-VII,i-VII,I-ii,I-IV,I-IV-V

•Playusing3-mallettechnique

•Composeamodalmelodyandaccompanywithbordun/droneandostinato

•ArrangeamajormelodyrequiringI-Vchordchange

Accompaniment

•Composeacountermelodyforadiatonicmelodyorfolksong(paraphonyordiaphony)

•Arrangeamelodyrequiringharmonicchordchanges(i-v,I-V,I-vii,i-VII)

•ArrangeamelodyrequiringI-IV-Vchordaccompaniment

•Teachinstrumentalpartsandtechnique

artistically

•Modeleffectiveensembleleadingfromwithin

Developarecorderimprovisationlesson

FORM •Phrase,elementalforms,AA,AB,ABA,echo,question/answer,antiphonal,canon,rondo,verse/chorusfolkdance

•themeandvariations

•Rhythmicallyfreestructures

•Singvariationstoagivenmelody

•Reviewofknownforms

•Emphasizemusicalformthroughuseofrhythmicallycontrastingostinati,shiftsinrange,changesintimbre,texture,and/ordynamiclevel

•Emphasizeformbymakinginstrumentalperformancedecisions

•Playthemeandvariations

*Usereferencestoformasanaidinteaching


TIMBRE •Bodyresponsetotimbrestimuli

•Useavarietyofvocaltimbresinspeaking

•Modelaclearvocaltonewithoutexcessivevibrato

•Increasetimbrepossibilitiesinbodypercussionthroughmoreadvancedtechniques.

•Createmusicusingfoundsoundsandbyplayinginstrumentsinnon-conventionalways.

•Increasetimbrepossibilitiesthroughmoreadvancedtechniques.

•Makeartisticchoicesofinstrumentationinarrangements

*Teachawarenessofinstrumentalandvocalcolors

EXPRESSION •Shapemovementforperformance

•Thebodyasavisual,musicalinstrument

•Speakwithvaryingdynamicsandvocalinflection

•Modelananimatedaffectwhensinging

•Thebodyasmusicalinstrument

•Makeartisticchoicesinsoloandensembleinstrumentplaying

•Makeartisticchoicesininstrumentationandarrangement

•Modelexpressivesingingandplaying

IMPROVISATION explorationswithtime,polymetric/polyrhythmicpiecesprevalentinsomeAfricanmusics,

mmed740/pmed740 orff level 3 summer 2016 michelle...

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