What is the Orff Process?

Konnie Saliba

Konnie Saliba is the author of Accent on Orff: An introductory approach. I highly recomend this book, as music is indespencable to education … unless it is done wrong.

Tell me, I forget.
Show me, I remember.
Involve me, I understand.
Ancient Chinese Proverb

When participants experience Orff-Schulwerk for the first time, they frequently feel both overwhelmed and joyous. Both are perfectly natural reactions.

As music teachers, most of us feel a certain dedication (excuse the overworked word) toward our vocation. Those of us who have chosen to teach through the Orff process have the same long range goals for children as do traditional music specialists. We only differ in how we attempt to accomplish our goals.

In Orff-Schulwerk, we integrate all facets of expressing, creating, and performing music, and this happens the first moment class begins. The elements of music — melody, rhythm, texture, harmony, and form — are always in the forefront of carefully planned lessons. The child is the participant and is making music, is involved in music. The youngster is not a spectator being told how music is by an adult who obviously cares a great deal about music to have made it a profession. Music for the child may come from many sources — chants, rhymes, a melody heard on the playground, or a game. Integrated into the youngster's life experiences are contributions from the teacher. These may include folk songs from this and other cultures, stories, and composed melodies that are apropos for the time.

For the child, work and play are the same. Withing Orff-Schulwerk making this statement reality is possible. The child is willing to take risks in a musical environment when contributions are important. Children are able participant in the fullest because Orff-Schulwerk approach is based upon the teacher's commitment to, and knowledge of, child development. In simple terms, this means a teacher accepts the child as is, and progresses from there. From the known to the unknown we will take them.

Orff-Schulwerk principles of teaching include:
Totality Beginning with the total composition, we break the whole into parts. Then we return to the whole in a musical form. Activity The whole child and the whole class are involved as active participants. Creativity During each lesson there should be places for something to be created. This does not come from the teacher. Motor Activity Every lesson should include movement and motor activity. This helps develop coordination. It is also a means of self-expression, and improved concentration. Theory Every lesson should include something to expand the child's concrete knowledge. This might be rhythmic reading, a word visual, ear training, melodic reading, or some form of dictation. Spirit of Togetherness All should participate and we should teach all parts to everyone in a spirit of working together, playing together, learning together, and performing together. Child Centered Teachers must always adapt ideas to the age, capabilities and needs of the child.

For the teacher who needs a foolproof, turn-the-page-for-tomorrow methodology, this way of teaching will be disappointing. "Orff-Schulwerk is an open door through which you may choose to walk, but once inside, the direction you take will be your own (Shirley McRae)."