10Curriculum Standards Basic Level III v 4 2

8/12/2019 10Curriculum Standards Basic Level III v 4 2

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AOSA: NBT Curriculum Standards Basic Level III Page 10-1Copyright 2012 by the American Orff-Schulwerk Association v 4.2 / November 5, 2012

Section 10:

AOSA Teacher Educat ion Curriculum Standards

Basic Standards: Level III

V 4.2 / November 5, 2012

TABLE OF CONTENTS

Introduction ........................................................................................................................................................................................................................2Teacher Educati on Curriculum Standards Basic Level III: Learning Object ives .........................................................................................................3Teacher Educati on Curriculum Standards Basic Level III: L earning Outcomes ..........................................................................................................8

Notes .............................................................................................................................................................................................................. 8


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IntroductionThis document outlines the learning outcomes and learning objectives for Basic: Level III of Orff Schulwerk teacher education. The outcomes andobjectives have been separated into two sets of matrices: learning outcomes and learning objectives.

To compare and contrast all outcomes and objectives for all three levels, see Section 6: Curriculum Standards Matrix.


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Teacher Education Curriculum Standards Basic Level III: Learning Objectives

Speech Unpitched AndBody

percussion

Singing PitchedPercussion And

Recorder

Movement ImprovisationOrchestrationComposition

Pedagogy

After completing this level of education, students will be able to:

Time,Rhythm,

AndMeter

Extend speechperformances in2/4, 3/4, 4/4,6/8, 5/8, and 7/8meters

Extend rhythmicperformanceandimprovisation in2/4, 3/4, 4/4,6/8, 5/8, and 7/8meters andirregular andchangingcombinations

Combinerhythmicpatterns inpolymetriclayering

Performrhythmicallyfree structures

Extend singingmelodies in 2/4,3/4, 4/4, 6/8,5/8,and 7/8 meters

Extendperformanceandimprovisation in2/4, 3/4, 4/4,6/8, 5/8, and 7/8meters andirregular andchangingcombinations

Combinerhythmicpatterns inpolymetriclayering

Playrhythmicallyfree structures

Perform metricstructuresincluding 2/4,3/4, 4/4, 6/8,5/8, and 7/8meters, andirregular andchangingcombinations

Extendimprovisation in5/8, 7/8, andchangingmeters onrecorder andpitchedpercussioninstruments.

Analyze andcompare/contrast Level IIteachingproceduresmodeled by theinstructor andpeers

Teach rhythm inan accurate

manner, cueinglearners with aninviting physicalgesture

Develop alesson plan thatteaches aconcept inrhythm, andteach thelesson using avariety of Orffmedia


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percussion


Recorder


Pedagogy

Melody Speak withexpressive

vocal inflection

Extend bodypercussion

sounds andtechniquesbeyond the fourstandard levels

Sing in alldiatonic modes

Sing recitativeusing a selectedtext

Play melodiesand

improvisationsin all diatonicmodes

Combinepatterns inpolymetriclayering

Play melodiesand improvisa-tionsincorporating

Major and Minorharmonychanges: I-V, I-IV- V, i-v, i-V, I-vii, i-VII

Create a varietyof levels to

express musicalcontour andphrase

Createmovementthemes inresponse tomelodicmaterial

Respond tomodal, Major,

and Minormaterial throughmovement

Extend vocalimprovisation in

all diatonicmodes

Improvisevocally overchord changes:I-V,i-v, I-IV-V, I-VII, i-VII

Teach vocaland

instrumentalmelodies usinga variety oftechniques,including vocalmodeling,gesture, andbodypercussion

Develop alesson plan thatteaches a

concept inpitch/melody orrhythm

Teach theprepared lessonusing a varietyof Orff media

Acc om-pani-mentTexture

Performcomplexlayered speechpieces

Perform choralspeech (e.g.poems forseveral voices)or Greek drama

Demonstrateeffectiveaccompa-niment

techniques forbodypercussion andplayingunpitchedpercussion

Sing chord rootaccompa-niments for amelody

requiring a I-Vchord change

Sing chord rootaccompa-niments for amelodyrequiring

Play accompa-niment patternsfor melodiesrequiring chord

changes: I-V, i-v, i-V, I-VII, i-VII, I- ii, I-IV, I-IV-V

Play usingthree-mallettechnique

Perform:o solo/small

group/largegroup

Develop andperform:omovement

formationsomovement

ostinatiomovement

Compose amodal melodyandaccompany

withbordun/droneand ostinato

Arrange aMajor melodyrequiring I- Vchord change

Teachinstrumentparts, modelingeffective

ensembleleading andsequence

Develop arecorderimprovisationlesson


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percussion


Recorder


Pedagogy

harmonychanges: I-V, I-IV- V, i-v, i-V, I-

vii, i- VII

accompa-niments

ochoreo-

graphystrategies

accompa-niment

Compose acounter-melodyfor a diatonicmelody or folksong(paraphony ordiaphony)

Arrange amelodyrequiringharmonic chordchanges: i-v, I-

V, I-vii, i-VII

Arrange amelodyrequiring I-IV-Vchordaccompa-niment

Compose amodal melodyandaccompany

withbordun/droneand ostinato

Arrange aMajor melodyrequiring I-Vchord change


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percussion


Recorder


Pedagogy

accompa-niment

Form Extendspeechpieces usingsimple forms:oquestion-and-

answeroABAorondo

Demonstratemusical formthrough use of:

orhythmically

contrastingostinati

oshifts in rangeochanges in

timbre, texture,and/or dynamiclevel

Sing variationsto a givenmelody

Emphasizeform by makinginstrumentalperformancedecisions

Play a themeand variations

Extend musicalform throughmovement:ophraseoelemental

forms AA,AB, ABA,oechooquestion-

and-answeroantiphonalocanono

rondooverse/chorus folkdance

otheme andvariations

orhythmicallyfreestructures

Extendcompositionalforms

Use referencesto form as anaid in teaching

Timbre Speak withvarying vocaltimbres in both

rhythmic andnon-rhythmiccontexts

Extend timbrepossibilities inbody

percussion

Create musicusing foundsounds and byplayinginstruments innon-

Model a clearvocal tonewithout

excessivevibrato

Increase timbrepossibilities

Moveexpressively inresponse to

timbre stimuli

Demonstrateartistic choicesfor

instrumentation

Performaleatoricexplorationsand improvisa-tions usingvarying vocaltimbres

Teachawareness ofinstrumental

and vocal colors


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percussion


Recorder


Pedagogy

conventionalways

Expression

Speak withvaryingdynamics andvocal inflection

Extend movingexpressively,using the bodyas a musicalinstrument

Model ananimated effectwhen singing

Make artisticchoices in soloand ensembleinstrumentplaying

Shapemovement forperformance

Use the body asa visual,musicalinstrument

Make artisticchoices ininstrumentationandarrangement

Modelexpressivemusicianship inteaching

Modelexpressivesinging andplaying


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Teacher Education Curriculum Standards Basic Level III: Learning Outcomes

Notes

Speech: Speech materials used in all levels should include a variety in form and literary mood, with ample potential for creative experimentation. At thislevel, more complex forms may be introduced for broader and deeper poetic exploration and experimentation.

Performing body percussion and playing unpitched percussion instruments : The Orff Approach specifically integrates instrumental play into thelearning process, using body percussion, unpitched and pitched percussion instruments, and recorder. Other instruments, including authenticinstruments from world cultures, may also be used along with Orff instruments , though sensitivity to their timbres in relation to the Orffinstruments must be carefully considered.

Students in all levels should demonstrate competence in performing parts learned through imitation and from notation, and improvising rhythms in bodypercussion and on unpitched percussion instruments. The ability to use many different instruments offers teachers variety in choices of teaching toolsfor the classroom. Performing body percussion and playing unpitched percussion instruments reinforces rhythmic and melodic concepts and skills anddevelops sensitive ensemble musicianship.

Singing: In the Orff approach, singing is recognized as fundamentalan invaluable means forindividual and group musical expression. Singingrequires and develops the highest degree of pitch sensitivity and security, thus being essential in the development of total musicality. Songs should be

carefully chosen to expand musical repertoire and vocabulary. They should be pedagogically useful and of exemplary musical quality. The instructorshould model appropriate vocal range and quality, healthy posture, and breathing necessary for well-supported singing.

Playing pitched instruments: The barred pitched-percussion instruments provide a light accompaniment for childrens singing and an effectiveensemble for instrumental performance, and are excellent teaching tools for melodic and harmonic concepts.

Movement : Movement is a pillar of Orff Schulwerk. Movement, music, and speech share roots in the elements of time and rhythm, permeating throughall the aspects of the Schulwerk. Level III lessons and materials should inspire expressive movement as it relates to music and speech, increasestudent understanding of historical and folk dance forms, and extend comprehension of the role and importance of dance.

Improvisation, Composition, Orchestration: Improvisation permeates all skill areas in the Orff Schulwerk teacher education curriculum. As MargaretMurray has stated, you are helping teachers to discover and practice their own melodic and rhythmic creative potential so that they can help the

children they teach to discover theirs.

Melodic improvisation is the precursor of composition, which can then lead to orchestration of the melodies invented. Composition and arrangement ofsimple forms are necessary component in the Orff Schulwerk teacher-education curriculum.

In the development of Orff and Keetmans prototype materials, the elemental concept resulted in music constructed simply from basic materials.Acquaintance with these materials provides an essential basis for individual and group efforts in composing and arranging. Certain rules andguidelines are useful in defining the extended style. Essential to the Orff Schulwerk approach, however, is the freedom to experiment and explore


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various options. Students should demonstrate in composition and arrangement assignments that they understand and have control of the musicalmaterial.

Pedagogy: While the development of the teachers own musicianship and creative potential is at the heart of Orff Schulwerk Teacher Education, theultimate goal of this personal growth is to make the individual a better teacher of children. The role of pedagogy must go beyond the teaching of a piecein the elemental stylethe piece is not an end in i tself but a means to musical understanding for the child.

Lessons developed by students at all levels should be designed to bring children to conceptual understanding of musical elements and develop theirmusical skills in the active and creative atmosphere that characterizes the Orff approach. In this process, the teacher must always be a model of artisticmusicianship, guiding children toward musical understanding.


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Speech Unpitched AndBody percussion


Recorder


Pedagogy

During classes at this level of education, students will:

Extend speakingin 2/4, 3/4, 4/4,6/8, 5/8, and 7/8meters

Perform layeredspeech pieces ata sophisticatedlevel

Explain anddemonstrate use

of vocal timbresin speaking

Explain anddemonstratespeaking withvarying dynamicsin vocal inflectionin composed andimprovisedcontexts

Perform aleatoric

explorations andimprovisationsusing varyingvocal timbres

Demonstrateimprovisationand composition:

Continueperformingrhythms in 2/4,3/4, 4/4, and 6/8meters

Perform 5/8 and7/8 meters,includingirregular andchangingcombinations

Demonstraterhythmicpatterns inpolymetriclayering

Performrhythmically freestructures

Continuedemonstration of

effectiveaccompa-nimenttechniques inbody percussionand unpitchedpercussionplaying.

Continue singingmelodies in 2/4,3/4, 4/4, 6/8, 5/8,and 7/8 meters

Explore recitativeusing a selectedtext

Sing chord rootaccompa-niments for a

melody requiringa I-V chordchange

Sing chord rootaccompa-niments for amelody requiringharmonychanges: I-V, I-IV-V, i-v, i-V, I-vii,i-VII

Continue singingvariations to agiven melody

Continue tomodel a clearvocal tonewithout

Continue playingand improvisingin 2/4, 3/4, 4/4,6/8, 5/8, and 7/8meters, and inirregular andchangingcombinations

Continue playingmelodies andimprovisations inall diatonicmodes

Combinepatterns inpolymetriclayering byplaying melodiesandimprovisationsincorporatingMajor and Minor

harmonychanges: I-V, I-IV-V, i-v, i-V, I-vii, i-VII

Play accompa-niment patternsfor melodiesrequiring chord

Perform metricstructuresincluding 2/4,3/4, 4/4, 6/8,5/8, and 7/8meters, andirregular andchangingcombinations

Createmovementthemes inresponse tomelodicmaterial

Respond tomodal, Major,and Minormaterialthroughmovement

Performmovement insolo, small-group, andlarge-groupsettings

Use movementformations

Extend aleatoricexplorationsand improvi-sations usingvarying vocaltimbres

Extendcomposingusing modalmelodies andaccompa-niments withbordun/droneand ostinati

Arrange a Majormelodyrequiring I-Vchord changeaccompa-niment

Improvise

vocally andinstrumentallyin all diatonicmodes

Improvisevocally andinstrumentallyover chord

Teach rhythm inan accuratemanner, engaginglearners with well-planned cues.

Teach vocal andinstrumentalmelodies using avariety oftechniques,including vocalmodeling, gesture,and bodypercussion

Teach instrumentaltechnique andparts in an artisticfashion

Use references toform as an aid inteaching

Teach awarenessof instrumental andvocal colors

Model expressivesinging andplaying

Demonstrate


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Recorder


Pedagogy

Use improvisedvocal sounds asatmospheric

background forpoems, stories,and otherdramaticsituations, andfor movement

Develop speechcompositionsfrom texts ororiginal materials

Demonstratenotation

Use graphicsymbols as astimulus for vocalresponse

Create graphicsymbols asnotation for vocalsounds

Demonstrateintegration asfollows:oDevelop

speechcompositionscombining

Perform musicalform through use

of rhythmicallycontrastingostinati, shifts inrange, changesin timbre,texture, and/ordynamic level

Extend timbrepossibilities inbody percussionthrough moreadvanced

techniques

Create musicusing foundsounds and byplayinginstruments innon-conventionalways

Demonstrate

correcttechnique whenperforming thelayers of bodypercussion(stamp, pat, andclap/snap) andother body

excessive vibrato

Continue to

model ananimated affectwhen singing

Improvise vocallyover chordchanges: I-V, i-v,I-IV-V, I-VII, i-VII

Continue singingcounter-melodiesbased on theprinciples of

diaphony(contrary motion)and paraphony(parallel motion)

Continue singingmelodies andimprovisingvocally in alldiatonic modes:oMajor: Ionian,

Lydian,Mixolydian

oMinor: Dorian,Phrygian,

Aeolian

changes: I-V, i-v,i-V, I-VII, i-VII, I-ii, I-IV, I-IV-V

Play using three-mallet technique

Explore form bymakinginstrumentalperformancedecisions

Create themeand variations

Extend timbre

possibilitiesthrough moreadvancedtechniques

Explore artisticchoices in soloand ensembleinstrumentplaying

Demonstrate:ocorrect posture

and mallettechniques forplaying thevarious sizes ofxylophones,metallo-phones,and glocken-

effectively

Develop

movementostinati

Createmovementaccompa-niment

Demonstrateeffectivechoreographystrategies

Perform phrase,

elementalforms, AA, AB,

ABA, echo,question-and-answer,antiphonal,canon,rondo, andverse/chorusfolk dance

Perform theme

and variationsin movement

Performrhythmicallyfree movementstructures

Demonstrate

changes: I-V, I-IV-V, i-v, i-V, I-vii, i-VII

Arrange a Majormelodyrequiring I-Vchord accompa-niment

Compose acountermelodyfor a diatonicmelody or folksong

(paraphony ordiaphony)

Arrange amelodyrequiringharmonic chordchanges: i-v, I-V, I-vii, i-VII

Arrange amelodyrequiring I-IV-V

chord accompa-niment

Make artisticchoices ofinstrumentationinarrangements

pedagogical skillby:odeveloping at

least one lessonplan teaching aconcept inpitch/melody orrhythm

oteaching thelesson(s) to theclass using avariety of Orffmedia.


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Recorder


Pedagogy

such elementsas bodypercussion,

vocal effects,movement inspace, andinstrumentalparts asaccompa-niments orsections

oDevelopspeechcomposi-tionswith improvisa-

tions in longerdramaticcontexts

oDevelopspeechaccompa-niment tomovementimprovisa-tionsand composi-tions

sound gestures.

Demonstrate

correct holdingand playingtechnique forunpitchedinstrumentsincludingidiophones andmembrano-phones.

spielsomultiple mallet

technique

otremolooability to

improvise in alldiatonic modes

oability toimprovise in aMajor scaleover a I-V or I-IV-V accompa-niment

Play melodiesandimprovisationson soprano andalto recorderscomfortably by:oplaying in two

octaves in alldiatonic modes

ousing a varietyof meters andrhythmicallyfree structures

oadding otherrecordervoices asavailable

Play melodiesandimprovisationsincorporating

body responseto timbre stimuli

Shapemovement forperformance

Use the bodyas a visual,musicalinstrument

Reviseinstrumentation

choices basedon listening toperformance onpitchedinstruments


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Recorder


Pedagogy

Major and Minorharmonychanges: I-V, I-

IV-V, i-v, i-V, I-vii, i-VII

Play and leadensemble musicknowledgeably,with:oattention to

formostyleoinstrument-

ation

Extend timbrepossibilitiesthrough moreadvanced techniques

Improvisemelodicallythroughdecoration of thethird, divisions,ornaments, andother techniquesfrom models

Improvisemelodies overdescendingtetrachord,chaconne, andbass patterns


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Recorder


Pedagogy

Make artisticchoices in soloand ensembleplaying

Develop processand content forrecorderpedagogyincludingtechnique andensemblemusicianship

10Curriculum Standards Basic Level III v 4 2

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