9Curriculum Standards Basic Level II v 4 2

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AOSA: NBT Curriculum Standards Basic Level IIPage 9-1Copyright 2012 by the American Orff-Schulwerk Association v 4.2 / November 5, 2012

Section 9:

AOSA Teacher Educat ion Curriculum Standards

Basic Standards: Level II

V 4.2 / November 5, 2012

TABLE OF CONTENTS

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

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


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IntroductionThis document outlines the learning outcomes and learning objectives for Basic: Level II 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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Speech Unpitched AndBody

percussion

Singing PitchedPercussion And

Recorder

Movement ImprovisationOrchestrationComposition

Pedagogy

oMajor:Ionian,Lydian,

MixolydianoMinor:

AeolianDorian,Phrygian

include semi-tones

Play melodiesandimprovisationin all diatonicmodes:

Major: Ionian,Lydian,Mixolydian

Minor: AeolianDorian,Phrygian

Play

accompaniment patterns:simple andmovingborduns/drones, ostinati,shifting triads,for melodicstructures notrequiringharmonicchange

Improvise overshiftingharmonies: I-ii,I-VII, i-VII, I-vi,i-VI

Createmovement

phrases

chordalaccompani-ment


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percussion


Recorder


Pedagogy

Acc ompaniment

Texture

Performlayers of

speech invaryingtexturesincluding:o Antiphon-

nalspeech

o speechostinati

o canon

Performcombinations

ofindependentspoken parts,includingmain themewith speechostinati andcanon

Combinespeech withbody

percussion orinstruments

Performaccompaniment

patterns Perform in

smallgroup/largegroupcontexts

Createbackgroundsoundcarpets,textures, and

sound effects

Sing canons,countermelodies

and otherparts toaccompanymelodies

Performsimple and

movingborduns/drones,ostinati,shifting triads:I-ii, I-VII, i-VII,I-vi, i- VI

Createbackgroundsound carpet,textures, andsound effects

Perform:osolo/small

group/largegroup

Develop andperform:omovement

formationsomovement

accompany-ment

ochoreo-graphystrategies

Create andperform:oMovement

ostinati

Arrange apentatonic

and/orhexatonicmelody withbordun/droneand/orostinatoaccompaniment

Arrange amodal melodywithbordun/drone

and ostinatoaccompaniment

Compose amodal melodyand arrangewith shiftingtriadaccompaniment:I-ii, i-II, I-vi, i-VI, I-VII, i-VII

Teachinstrument

parts,modelingeffectiveensembleleading andsequence

Form Demonstratespeechpieces usingsimple forms:o question-

and-

Extend:o phraseo elemental

forms AA,AB, andABA

Sing melodicquestions andanswers

Performelementalformsincluding:oAA, AB,

ABA

Demonstratemusical formthroughmovement:oelemental

forms AA,

Extendcontrastingsections in arhythmic ormelodicrondo

Demonstrateform usingvarious Orffmedia

Analyze and


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percussion


Recorder


Pedagogy

answero ABAo rondo

o echoo question-

and-

answero canono rondo

oechooquestion-

and-answer

oantiphonalocanonorondooverse/

chorus

AB, ABAoechooquestion-

and-answeroantiphonalocanonorondooverse/

chorusofolk dance

discussproceduresfor teaching

form modeledby theinstructor

Timbre Speak withvarying vocaltimbres inboth rhythmic

and non-rhythmiccontexts

Performvarioustimbres ofbody

percussionand texture

Model a clearvocal tonewithoutexcessive

vibrato Demonstrate

using lightand heavyvocalmechanismsappropriately

Experimentwith soundtechniquesaffecting

timbre

Moveexpressivelyin responseto timbre

stimuli

Make artisticchoices forinstrumentation

Integrate tonecolors andmost effectiveuse of pitched

andunpitchedinstruments

Expression

Speakexpressivelyin varyingtempi and

dynamics inrhythmic andnon-rhythmiccontexts

Playunpitchedpercussion ina physically

and musicallyexpressivemanner

Demonstratemovingexpressively,using thebody as a

Model ananimatedeffect whensinging

Explore newsoundpossibilitieson pitched

percussioninstrumentsand recorders

Developexpressiveplayingtechniques

Usemovement asimpetus forsound and

sound asimpetus formovement

Move toexpresscomplexrhythmicstructures in

Play and singmusically Modelexpressive

musicianshipin teaching


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percussion


Recorder


Pedagogy

musicalinstrument

mixed/changingmeters

Improvisemovement


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Teacher Education Curriculum Standards Basic Level II: 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.

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 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 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 II lessons and materials should inspire expressive movement as it relates to music and speech, and increasestudent understanding of historical and folk dance forms.

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


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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


Recorder


Pedagogy

other dramaticsituations, andmovement

Develop speechcompositionsfrom texts ororiginal materials

Create graphicsymbols as astimulus for vocalresponse, andrespond to suchnotation

Create speechcompositionsthat integratespeech with bodypercussion, vocaleffects,movement inspace, andinstrumentalsounds

Develop speechaccompaniment

for movementimprovisationsandcompositions

in timbre, texture,and/or dynamiclevel

Demonstrate awide variety oftimbrepossibilities inbody percussionthrough moreadvancedtechniques

Explore creatingmusic using

found soundsand by playinginstruments innon-conventionalways

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

Apply correctholding andplayingtechnique forunpitched

Improvise vocallyin all diatonic

modesDemonstrate the

ability to singmelodies in alldiatonic modes:

Major: Ionian,Lydian,Mixolydian

Minor: Dorian,Phrygian,

Aeolian

Singcountermelodiesbased on theprinciples ofdiaphony(contrary motion)and paraphony(parallel motion).

Demonstrateadvanced mallet

techniques, suchas tremolo andthe use of threeand four mallets

Makeinstrumentalperformancedecisions toemphasize form

Play theme andvariations

Demonstrateincreased timbrepossibilitiesthrough moreadvancedplayingtechniques

Make artisticchoices in soloand ensemble

instrumentplaying

Learn to play altorecorder in atwo-octave rangeincludingaccidentalsappropriate to

in form, timbre,melodic shape,and rhythm,

includingcomplexrhythmicstructures withmixed andchanging meters

Participate freelyandknowledgeably inmovementimprovisation

Accuratelyperform folkdances and/orhistorical dances

Accompanymovementeffectively

Initiate a creativeprocess,integratingmovement with

music andspeech

Describe theconcepts ofqualities ofmovement, bodyrelationships,

lesson with a group,utilizing music andmovement

Teachmovement/dancewithin a frameworkof Orff Schulwerk,with knowledge ofmovementvocabulary,technical skills, andkinestheticawareness


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Speech Unpitched AndBody percussion


Recorder


Pedagogy

instrumentsincludingidiophones and

membrano-phones.

the mode orscale

Develop theability to switchbetween alto andsopranorecorders

Demonstrateunderstanding ofmodal tonalitiesand shiftingharmoniesthrough altorecorder

improvisation

Developpedagogy forbeginning altorecorder asappropriate forMiddle Schoolage students.

relationships ofmovement toother art forms,

and theconnectionbetween soundand movement

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