Requirements and Competencies for Credit and Non-Credit Participants Orff Schulwerk Certification Program George Mason University

Transcription

1 Requirements and Competencies for Credit and Non-Credit Participants Orff Schulwerk Certification Program George Mason University Welcome to the George Mason Orff Schulwerk Certification Course. The Certification process involves three steps: Levels I, II and III taken over three consecutive summers. Participants are encouraged to apply acquired skills and materials in the classroom enabling professional and personal growth between each Level. Mason is proud of its Supplemental offerings, which provide further enrichment to the Orff Schulwerk experience. Certification in Orff Schulwerk may be achieved upon successful completion of all 3 Levels of Orff Schulwerk Education whether the courses are taken for credit or non-credit. At this point Level III participants are eligible to receive a Certificate in Orff Schulwerk awarded by George Mason University as well as by the American Orff Schulwerk Association. Orff Schulwerk is an ensemble experience relying on the contributions that each participant brings to the class in the areas of exploration, developing skills, collaboration, creating and analyzing both musical and movement experiences. To that end, all students who enroll, whether for credit or non-credit are expected to participate fully in all group activities in the three main areas of study: Basic Ensemble, Movement and Recorder. While music, movement and speech are approached in an inseparable way so that participants can experience those elements in each class, the components of Pedagogy/Basic Ensemble, Movement and Recorder are looked at separately to focus on particular concepts, skills and pedagogical considerations. Concepts and skills are presented and modeled through process teaching so that the adult participant experiences and learns in a similar way, as would their own students. This approach of course, is filtered through the pedagogical experience of participants with professional understanding. Significant time is given to the understanding of how to create process models for the classroom. Expectations for both credit and non-credit attendees: (please see additional requirements for credit students at the end of this document) 1. Prompt attendance at all classes and large-group sessions. Any absences will require make-up work. 2. Satisfactory completion of all written and reading assignments. 3. Participation in large and small group activities and in-class assignments, including basic theory, pedagogy, movement and recorder. 4. Participation in group discussions and points of analysis/evaluation.

2 Active participation is very significant. Participants will also be evaluated on the following competencies: Level I Competencies: Ability to sing in tune, to improvise vocally in the pentaton, and maintain a melody while playing an ostinato pattern. Ability to demonstrate proper playing technique on all instruments presented. These will include soprano recorder, barred instruments and un-pitched percussion. Ability to improvise in duple, triple and compound duple meters using speech, the singing voice, pitched and un-pitched percussion instruments; Ability to improvise simple complementary patterns to a given rhythm. Ability to improvise on barred instruments in G,C and F do pentatonic and e,a, d la pentatonic demonstrating knowledge of pentatonic melodies and theory, phrasing, and rhythmic considerations. Ability to work with fellow participants to create and carry out tasks in class and group situations. Satisfactory completion of all in-class as well as written and reading assignments. Ability to demonstrate knowledge of a sequential teaching process through group and written assignments. Ability to demonstrate competency on the soprano recorder playing and reading a range from C to e, using proper technique, breathing and phrasing, improvising in G, C and F do pentatonic, and e, a, d la pentatonic. Ability to create and improvise simple (but not limited to) movements for pieces, songs and speech. Ability to provide feedback and evaluation for peers with regard to musical or movement experiences.

3 Level II Competencies: Ability to use body percussion while speaking and singing. Ability to sing in tune while performing ostinati on both pitched and unpitched instruments. Ability to demonstrate correct playing technique on all ensemble instruments pitched and unpitched. Ability to demonstrate rhythmic competency through improvisation in metric groupings of duple, triple, mixed and irregular combinations (5, 7) Ability to demonstrate melodic competency through improvisation in pentatonic (the addition of other tonal centers), hexatonic and diatonic modes. Ability to demonstrate a logical sequential teaching process using several media. Successful completion of all in-class assignments as well as written and reading assignments. Ability to work with others in completion of group work/assignments Ability to actively participate in group discussions and points of analysis. Ability to demonstrate the increased use of movement vocabulary and technical skill to: express more complex rhythmic structures; perform with greater articulation; use music as an impetus for movement and movement as an impetus for music. Ability to evaluate and provide feedback to peers with regard to musical or movement experiences. Ability to play an extended range on the soprano recorder and a range of notes from G to D2 on the alto recorder; ability to change between playing a C instrument and an F instrument; to improvise on both recorders based on materials that parallel and support those taught in the Basic Ensemble Class.

4 Level III Competencies Ability to improvise modal material to include: Ionian, Lydian, Mixolydian, Dorian, Phrygian and Aeolian. Ability to improvise in major and minor melodic structures using non-cadential major and minor triadic successions and ostinati. Ability to improvise in major and minor melodic structures requiring functional triadic progressions (functional harmony). Ability to improvise in metric structures using duple, triple, compound duple, meter in 5 and 7; asymmetrical combinations; simple and compound beat subdivisions. Students will be evaluated on a Practicum: minute teaching experience using three activities in the lesson (i.e. speech, recorder playing, movement). Assessment is based on the student s musical skills how effectively the student gives pitch, moves, performs rhythms, sings, plays instruments; demonstrates pedagogical skills; appropriate verbal communication; use of effective body language, modeling, sequential organization of material; rapport with participants. Students will submit an outline of their teaching strategy. An increased ability to shape a dance for performance and an ability to accompany movement effectively. Group improvisation and choreographies based on cues or stimuli other than music; group choreographies to pieces from the Schulwerk and other musical sources. Ability to create a directive-movement teaching lesson presenting a sequential approach to teaching a folk, historical or traditional dance. Ability to design a creative movement lesson using movement concepts and elements. Ability to demonstrate appropriate playing technique (accurate fingering, intonation, breathing, phrasing, reading and improvisational skills) on soprano, alto, tenor recorders and when possible on sopranino and bass recorders, and show ability to switch between C and F instruments; Ability to demonstrate knowledge of historical and stylistic considerations; improvise over harmonic changes from materials that parallel and support those used in the Basic Ensemble Class; demonstrate knowledge and skill in decoration of the third; demonstrate ensemble playing skills developed in recorder consort settings.

5 Requirements for Graduate Credit Participants in the George Mason University Orff Schulwerk Certification Program Graduate credit students have chosen to add another layer to the course experience. Those who are pursuing the Master of Music degree in Music Education will be asked to demonstrate their understanding of Orff Schulwerk by describing in detail the philosophy and approach of Orff Schulwerk in place of completing a thesis. The following writing requirements are designed to help process and integrate the experiences in a thoughtful way. In addition, individual instructors may suggest additional reading or study materials as a way of expanding the knowledge base in this area as well as separate completion of curriculum design. Level I After reading the assigned article (which will be given in class) consider the process teaching you have observed this week in Basic Orff, Movement and Recorder classes. What are some of the specific examples of process teaching that you observed? Describe how you would use the Orff approach in your teaching during the coming school term. Include ideas on creating a teaching process for one of the following: introducing a concept, building a skill(s) or how you might incorporate opportunities for creativity and improvisation. Use specific examples for grade levels or age groups. Level II Written Reflection #1: Please reflect upon how your teaching has been impacted since completing Level I. In what ways has your understanding of process teaching changed? Describe how you have used music and movement materials from any of the following: Schulwerk sources - Music for Children Volumes and Supplemental Books; materials from class notes or workshops; materials that you created for your students. Describe examples of lessons with your students based upon what you learned in your Level I experience. 1) Which lesson(s) or portions went well? 2) Which lesson(s) or portions could be improved? 3) In each situation, describe the context in which the lesson was taught: i.e. who were the students, what was the physical space like, were materials available? Written Reflection #2 In the Orff approach, process teaching encourages students to assume a certain degree of responsibility for the direction of the lesson. 1) As a participant, in what ways have you been empowered by your Level I and II instructors (any of them!) for lesson processes or products?

6 2) How did the ensemble experience affect your learning? Did you feel that taking personal risks was easy or difficult? 3) How might these experiences connect to what you already do or would like to do in your own classroom? Level III Writing Assignment #1: This essay has 3 parts. 1. Having experienced three Levels of Orff Schulwerk Education, use several paragraphs to articulate the philosophy and pedagogical goals of the Orff Schulwerk approach. 2. What makes Orff Schulwerk unique among the other current and recognized philosophies/methods of Music Education. 3. What is the role of movement and dance in this approach historically and in the present-day classroom Writing Assignment #2: Using materials from your Orff Schulwerk experience thus far (Levels Courses, Supplemental classes, workshops), present a sample curriculum outline that includes specific pieces from the Schulwerk, concepts and/or experiences to be presented. This curriculum may be adapted from your school district while demonstrating a clear connection to what you have learned through Orff Schulwerk Education.