8Curriculum Standards Basic Level I v 4 2

8/12/2019 8Curriculum Standards Basic Level I v 4 2

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AOSA: NBT Curriculum Standards Basic Level IPage 8-1Copyright 2012 by the American Orff-Schulwerk Association v 4.2/ November 5, 2012

Section 8:

AOSA Teacher Educat ion Curriculum Standards

Basic Standards: Level I

V 4.2 / November 5, 2012

TABLE OF CONTENTS

Introduction ........................................................................................................................................................................................................................2

Teacher Educati on Curriculum Standards Basic Level I: Learning Objecti ves ...........................................................................................................3

Teacher Educati on Curriculum Standards Basic Level I: Learning Outco mes ............................................................................................................7

Notes .............................................................................................................................................................................................................. 7


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IntroductionThis document outlines the learning outcomes and learning objectives for Basic: Level I of Orff Schulwerk teacher education. The outcomes and objec-tives 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 I: Learning Objectives

Speech Unpitched AndBody percus-

sion

Singing Pitched Percus-sion And Re-

corder

Movement ImprovisationOrchestrationComposition

Pedagogy

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

Time,Rhythm,

And Me-ter

Perform naturalspeech rhythmsand rhythmicbuilding blocks

Speak simplerhymes in 2/4,4/4, , and 6/8meters

Speak poemswith body per-cussion ostinati

Perform speechbeginning withanacrusis

Perform 2-, 3-,and 4-levelbody percus-sion in echo,conversation,and improvisa-tion

Play in 2/4, 4/4,and 6/8 meters

Play patternstransferredfrom speech

Sing melodiesin 2/4, 4/4, ,and 6/8 me-ters

Perform beatand rhythm

Perform osti-nato patterns

Play rhythmicechoes

Play accentedand unac-cented notes

Play speechrhythms

Play and im-provise in 2/4,4/4, , and6/8 meters

Play patternstransferredfrom speech

Perform me-tered and un-metered non-locomotor andlocomotormovement

Move in duple,triple, andcompoundmeters

Move to showanacrusis andaccent

Express tem-po changesand con-trasting tempithroughmovement

Improvise inquestion-and-answer form

Notate therhythm of po-ems in 2/4,4/4, and 6/8meter

Notate the

rhythms ofpoems thatbegin with an-acrusis

Improvise andcomposecomplemen-tary ostinati

Analyze andcom-pare/contrastLevel I teach-ing proce-dures mod-eled by the in-structor

Teach aspeech piece

with ostinatoaccompani-ment to asmall group

Melody Speak withexpressivevocal inflection

Demonstrateunderstandingof the relation-ship betweenmelody andthe melodicaspects ofbody percus-sion and un-

Demonstratevocally theprogressionfrom speechinflection tosinging

Sing folksongs and

Play and cre-ate 2-note call,3-note chant,tetratonic, andpentatonicmelodies onrecorders andbarred instru-ments

Experience avariety of lev-els to expressmusical con-tour andphrase

Express me-lodic ideas

Play melodicimprovisationsin three dopentatonicscales C, F, Gand three lapentatonicscales a, d, e,using correct

Analyze anddiscuss pro-cedures forteaching asong modeledby the instruc-tor


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sion


corder


Pedagogy

pitched per-cussion melodic mate-rial in doand

lapentatonic

Sing a penta-tonic ostinatoaccompani-ment whilesomeone elsesings the mel-ody, and viceversa

Sing a simplemelody whileperforming an

instrumentalor body per-cussion ac-companiment

Play scalesand simple

melodies inthe three dopentatonicscales C, F, Gand the threelapentatonicscales a, d, e

through crea-tive movement

Exploremovementphrases

playing tech-nique onbarred instru-

ments

Improvise vo-cally in doandlapentatonic

Acc om-pani-mentTexture

Performspeechin:

o unisono solo and

choruso antipho-

nalspeecho speech

ostinatoo canon

Create:o body per-

cussionostinati

o colorsounds

o rhythmic

ostinatio move-

ment ac-compa-niment

Create vocalmelodic osti-nati

Sing a penta-tonic ostinatoaccompa-niment while

someone elsesings the mel-ody, and viceversa

Play pedaltone/simpletonic accom-pany-ments

Play simplebordun/drone:chord, bro-

ken, arpeg-giated, level

Play melodicostinati

Play colorparts

Explore andperform:o unison

movemento mirroring/

shadowingo solo, small

group, andlarge group

Develop andperform:o movement

accompa-niment

Create ar-rangements us-ing the fourtypes of simplebordun/droneaccompani-ments

Arrange orcompose apentatonicmelody withsimple bor-dun/drone ac-company-ment

Use body per-cussion to pre-pare instru-mental parts

Teach a simplebordun/droneaccompani-

ment to a smallgroup, model-ing effectivesequence


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sion


corder


Pedagogy

Develop andplay move-

ment accom-paniment

Use the con-ventional score

order of OrffSchulwerk innotating in-strumental ac-companiments

Create colorparts

Form Performspeech piecesin simple formsincluding:

oword pat-terns

ophraseoelemental

forms, AA,AB, ABAoechooquestion-

and-answeroantiphonalocanonorondoo

verse/choruso2- and 4-line

rhymesointroduction,

interlude,and coda

Perform bodypercussion insimple formsincluding:

o phraseo elemental

forms, AA,AB, ABA

o echoo question-

and-answer

o antiphonalo canono rondo

Sing songs inelementaland call-and-response

forms Sing canons

in two, three,and four ormore parts

Play pieces insimple formsincluding:o word pat-

ternso phraseo elemental

forms, AA,AB, ABA

o echoo question-

and-answero antiphonalo canono rondoo verse/ cho-

rus

Perform musi-cal formthroughmovement:

o phraseo elemental

forms AA,AB, ABA

o echoo question-

and-answer

o antiphonalo canono rondoo folkdance

Create a con-trasting B sec-tion for an ABAform

Create con-trasting sec-tions in arhythmic or me-lodic rondo.

Identify andanalyze proce-dures forteaching form

modeled by theinstructor


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sion


corder


Pedagogy

Timbre Create andperform

speech soundsbeyond ex-pressivespeech inflec-tion

Perform vari-ous timbres of

body percus-sion

Explore anddefine familiesof unpitchedpercussion in-struments

Sing with pitchaccuracy and

intonation, inan appropriatemanner forclassroompresentation

Model a clearvocal tonewithout exces-sive vibrato

Explore heavyand light vocal

production

Explore re-corder ranges

and timbretechniques

Identify andplay all familiesof barred in-struments

Demonstratebody response

to timbrestimulus

Choose in-strumental

timbres appro-priate to thestyle and textof the song be-ing orchestrat-ed

Describe thetone colors

and most ef-fective use ofpitched andunpitched in-struments

Expres-sion

Use speech asan expressivemusical eventin composedand improvisedcontexts

Move expres-sively, usingthe body as amusical in-strument

Sing with vary-ing dynamics

Develop tech-niques to facili-tate expressiveplaying

Define and ar-ticulate move-ment

Developmovement vo-cabulary

Move to verbalcues, demon-strating an un-derstanding ofmovement vo-cabulary

Perform usingappropriatedynamics

Play instru-ments withmusical phras-ing

Explore ex-pressive musi-cianship inteaching.


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Teacher Education Curriculum Standards Basic Level I: 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. AtLevel I, materials should allow for 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 authentic instru-ments from world cultures, may also be used along with Orff instruments , though sensitivity to their timbres in relation to the Orff instrumentsmust 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. Singing re-quires and develops the highest degree of pitch sensitivity and security, thus being essential in the development of total musicality. Songs should becarefully chosen to expand musical repertoire and vocabulary. They should be pedagogically useful and of exemplary musical quality. The instructor

should 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 effective en-semble 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 I lessons and materials should inspire expressive movement as it relates to music and speech.

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 chil-dren 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. Ac-quaintance with these materials provides an essential basis for individual and group efforts in composing and arranging. Certain rules and guidelinesare useful in defining the extended style. Essential to the Orff Schulwerk approach, however, is the freedom to experiment and explore various options.Students should demonstrate in composition and arrangement assignments that they understand and have control of the musical material.


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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

Singing Pitched Percus-sion And Record-

er

Movement Improvisation Or-chestration Com-

position

Pedagogy

During classes at this level of education, students will:

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

Perform simplelayered speechpieces

Speak a simplerhyme while per-forming a simplebody percussion

ostinati accom-paniment

Speak using avariety of vocaltimbres

Speak with vary-ing dynamicsand vocal inflec-tion in composedand improvisedcontexts

Perform rhythmsin 2/4, 3/4, 4/4,and 6/8 meters,including pat-terns transferredfrom speech

Play and impro-vise using cor-rect hand drumtechnique

Demonstratecorrect holdingand playingtechnique for un-pitched instru-ments includingidiophones andmembrano-phones.

Demonstrateeffective accom-

paniment tech-niques in bodypercussion andunpitched per-cussion playing

Perform bodypercussion withcorrect tech-

Sing melodies in2/4, 3/4, 4/4, and6/8 meters

Sing songs, ex-ercises, and im-provisations indoand lapenta-tonic scales: do-re-mi-sol-laandla-do-re-mi-sol

Sing pentatonicsong materialaccurately andappropriately forclassroompresentation

Sing a pentatonicostinato accom-pa-niment whilesomeone elsesings the melo-

dy, and vice ver-sa

Sing a simplemelody whileperforming an in-strumental orbody percussionaccompaniment

Demonstratecorrect postureand mallet tech-niques for play-ing the varioussizes of xylo-phones, metallo-phones, andglockenspiels

Play and impro-vise in 2/4, 3/4,4/4, and 6/8 me-ters, includingpatterns trans-ferred fromspeech

Play and impro-vise in the threedopentatonicscales C, F, Gand the three lapentatonic scales

A,D,E

Improvise melo-dies in elementalforms

Perform ostinatiand simple bor-dun/drone ac-

Demonstrate aworkingknowledge of abasic movement/dance vocabu-lary and the ele-ments that varymovement

Express ele-ments of time(pulse, meter,and rhythm pat-tern) in move-ment

Create and exe-cute small formsthat integratespeech, music,and movement

Describe the role

of movement/dance in OrffSchulwerk

Develop a smallcomposition us-ing ostinato ac-companiments

Transfer a simplespeech piece tobody percussionor unpitched per-cussion

Transfer a simple

body percussioncomposition topitched or un-pitched instru-ments

Develop layeredaccompa-niments for apentatonic melo-dy, using simplebordun/drone

plus pitched andunpitched ostina-ti

Construct thefour types ofsimple bor-dun/drone anduse them appro-

Analyze directiveand exploratoryteaching proceduresand techniques asmodeled by the in-structor

Apply appropriatedirective skills byteaching a small as-signment to a smallgroup

Model expressivesinging and playing

Actively ob-serve teach-ing techniquesmodeled by the in-structor

Reflect and discussneeded pedagogicalskills


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Speech Unpitched AndBody percussion

Singing Pitched Percus-sion And Record-

er

Movement Improvisation Or-chestration Com-

position

Pedagogy

nique, musicality,and body aware-ness

Perform simpleostinati, compo-sitions, and im-provisations

Model a clearvocal tone with-

out excessive vi-brato

companimentpatterns

Learn to playsoprano recorder

Improvise in pen-tatonic scales

Implement ideaslearned in basicand movementclasses

Prepare to playand teach re-corder along with

other Orff Schul-werk media in anOrff Schulwerk-based classroom

priately in or-chestrations

Read and notate,in rhythmic nota-tion, the patternsof simple speechrhymes and osti-nato patterns insimple and com-pound meters

Read and notate,in rhythmic nota-tion on an ap-propriate staff,

simple body per-cussion ostinatiand composi-tions

Read and notatesimple, doand lapentatonic melo-dies and accom-paniment pat-terns, using staffnotation

Write composi-tions and ar-rangements us-ing appropriatescore-order

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