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Monday, July 16, 2012
Ambillah sedikit waktu ketika ada kesempatan..
Assalamualaikum
dan salam sejahtera.
Khas
untuk pembaca dan pengikut blog saya,
renungilah kata-kata di bawah. Terima Kasih
"Ambillah
waktu untuk berfikir, itu adalah sumber kekuatan.
Ambillah
waktu untuk bermain, itu adalah rahsia dari masa muda yang abadi.
Ambillah
waktu untuk berdoa, itu adalah sumber ketenangan.
Ambillah
waktu untuk belajar, itu adalah sumber kebijaksanaan.
Ambillah waktu untuk mencintai dan dicintai, itu adalah hak istimewa yang diberikan Tuhan.
Ambillah waktu untuk mencintai dan dicintai, itu adalah hak istimewa yang diberikan Tuhan.
Ambillah
waktu untuk bersahabat, itu adalah jalan menuju kebahagiaan.
Ambillah
waktu untuk tertawa, itu adalah muzik yang menggetarkan hati.
Ambillah
waktu untuk memberi, itu membuat hidup terasa bererti.
Ambillah waktu untuk bekerja, itu adalah nilai keberhasilan.
Ambillah waktu untuk bekerja, itu adalah nilai keberhasilan.
Ambillah
waktu untuk beramal, itu adalah kunci menuju syurga."
Dalcroze
Émile Jaques-Dalcroze
From
Wikipedia, the free encyclopedia
This article needs additional citations
for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (October 2009) |
Émile Jaques-Dalcroze
Émile Jaques-Dalcroze (July 6, 1865 – July 1, 1950), was a Swiss composer, musician
and music educator who developed eurhythmics,
a method of learning and experiencing music through movement. (The influence of
eurhythmics can be seen in the Orff Schulwerk
pedagogy, common in public school music education
throughout the United States.)
The Dalcroze Method involves
teaching musical concepts through movement. A variety of movement analogues are
used for musical concepts, to develop an integrated and natural feel for
musical expression. Turning the body into a well-tuned musical instrument,
Dalcroze felt, was the best path to generating a solid, vibrant musical
foundation. The Dalcroze Method consists of three equally-important elements: eurhythmics,
solfège,
and improvisation.[1]
Together, according to Dalcroze, they comprise the essential musicianship
training of a complete musician. In an ideal approach, elements from each
subject coalesce, resulting in an approach to teaching rooted in creativity and
movement.
Dalcroze began his career as a pedagogue
at the Geneva Conservatory in 1892, where he taught harmony and solfège.
It was in his solfège courses that he began testing many of his influential and
revolutionary pedagogical ideas. Between 1903 and 1910, Dalcroze had begun
giving public presentations of his method.[2]
In 1910, with the help of German industrialist Wolf Dohrn, Dalcroze founded a
school at Hellerau, outside of Dresden,
dedicated to the teaching of his method. In Hellerau were taught a lot of
peoples, among them Prince Serge Wolkonsky, Vera Alvang (Griner), Valeria Cratina, Jelle Troelstra (son of Pieter Jelles Troelstra), Inga and Ragna Jacobi, Albert Jeanneret (Le Corbusier's
brother), Mariam Ramberg, and Placido de Montelio. With the outbreak of World War I
in 1914, the school was abandoned.
Among his compositions are a
Nocturne for violin and orchestra, Violin Concerto #1 in c and Poème (2nd
Concerto) for violin and orchestra, the latter two being available in CD format
on the Guild label.
- ^ Mead, V. H. (1996). More than Mere Movement – Dalcroze Eurhythmics. Music Educators Journal, 82(4), 38-41.
- ^ ibid, 39.
- Institut Jaques-Dalcroze Genève
- Institut Jaques-Dalcroze Belgique
- Free scores by Émile Jaques-Dalcroze in the International Music Score Library Project
Pendekatan Orff
Orff Schulwerk
From
Wikipedia, the free encyclopedia
The Orff Schulwerk, or simply
the Orff Approach, is one of several developmental approaches including
the Kodaly Method and Suzuki Method
used to teach music education to students. It combines music, movement, drama, and speech into lessons that are similar to child's world of play. It was developed
by the German
composer Carl Orff (1895-1982) and colleague Gunild Keetman
during the 1920s. Carl Orff worked until the end of his life to continue the
development and spread of his teaching method to all those who were interested.
The Orff Approach is now used through out the world to teach students in a
natural and comfortable environment. The term "schulwerk" is German
for (literally) "school work" or "schooling", in this
regard in the area of music.
Contents
|
The Orff Approach of music education
uses very rudimentary forms of everyday activities in the purpose of music
creation by music students. The Orff Approach is a "child-centered way of
learning" music education that treats music as a basic system like language
and believes that just as every child can learn language without formal
instruction so can every child learn music in a gentle and friendly approach [1].
It is often called “Elemental Music making” because the materials needed to
teach students are “simple, basic, natural, and close to a child’s world of
thought and fantasy” [2].
In order for the Orff Approach to
effectively work teachers must create an atmosphere that is similar to a
child’s world of play. This allows participating children to feel comfortable
learning a new and often abstract musical skill, greater exploration of a musical instrument or musical skill, and keeps a student from feeling evaluated
or judged by his or her peers and teachers. A child participating in an Orff
classroom does not feel the pressure of performing
that is often in tandem with music because every student in an Orff classroom
is treated as equals, even when performing a solo. The Orff Approach is used by
teachers to encourage their students to enjoy making music as individuals as well
as in groups. Children realize the joys of group co-ordination and cohesion. It also involves the
participation of other adults and parents in music making. Thus it brings the
role of parent
in child education in a central position. From a teacher’s aspect
Orff-Schulwerk is also a process of breaking down each activity into its
simplest form and then presenting those steps one at a time to eventually
become a completed performance.
In the Orff Approach “all concepts
are learned by ‘doing'" [3].
Students of the Orff Approach learn music by experiencing and participating in
the different musical lessons and activities. These lessons stimulate not only
the praxial concepts of music like rhythm and tempo, but also the aesthetic
qualities of music. “Orff activities awaken the child’s total awareness” and
“sensitize the child’s awareness of space, time, form, line, color, design, and
mood- aesthetic data that musicians are acutely aware of, yet find hard to
explain to musical novices" [4].
Unlike the Kodály Method,
Suzuki Method, or Dalcroze Method,
the Orff Schulwerk approach is not a method. There is no systematic stepwise
procedure to be followed. There are fundamental principles, clear models and
basic processes that all intuitive and creative teachers use to guide their
organization of musical ideas [5].
The music generated in the Orff
Approach is largely improvisational and uses original tonal constructions that
build a sense of confidence and interest in the process of creative thinking.
Students of the Orff Approach sing, play instruments, and dance alone as well
as in groups. Songs are usually short, contain ostinatos, are within singing range, can be
manipulated to be played in a round or ABA form. “Music is chosen with strong
nationalistic flavor, being related to folk songs and music of the child’s own
heritage” [6].
Music can also be anything from nursery rhymes to songs that are invented by
the children themselves. Orff-Schulwerk music is largely based on simple but
forceful variations on rhythmic patterns. This makes for very simple and
beautiful musical forms, which are easily learned by young children, and is
also useful for adults and thus it has a universal appeal. Composer David Hewson was exposed to Orff Schulwerk and this influence helped to
shape a lot of his later music.
The music revolves around the
familiar Major IV, V, and I harmonies. When interesting original music has been
generated by the groups or individual child a desire to record it may arise.
Thus, the desire to develop musical skills emerges by itself and the child may
be intrinsically propelled to learn formal music.
Orff considered the percussive rhythm as a natural basic form of human expression. Carl Orff and colleague
Gunild Keetman co-composed much of the music for the five volume series, Music
for Children. These volumes, first published in 1950, are still available
and used today. Music played on Orff instruments is often very simple and easy
to play even for first time musicians.
Some of the instruments within the
approach include miniature xylophones,
marimbas,
glockenspiels, and metallophones;
all of which have removable bars, resonating columns to project the sound, and
are easily transported and stored. Orff teachers also use different sized drums, recorders,
and non- pitched percussion instruments “to round out the songs that are sung
and played” [7].
The Orff approach also requires that children sing, chant, clap, dance, pat,
and snap fingers along to melodies and rhythms [8].
In America there are four different
stages within the Orff Approach; they include exploration, imitation,
improvisation, and composition, [9].
Through imitation, the teacher, group leader, or even the students perform for
the class and the class in turn repeats what was played for them. Exploration
allows students to seek out not only the different musical aspects that the
Orff instruments offer but they also explore aural/oral skills and the different motions
and expressions that the body is capable of. Literacy is taught by learning
musical notation and becoming familiar with the various forms of music like rondo, and ABA. Improvisation is the act
of creating something, especially music, without prior preparation [10].
In order to improvise, a student must have “a preliminary knowledge and
comprehension of concepts” [11]
Students of the Orff Approach learn to create their own melodies in a
comfortable environment that allows for mistakes and promotes creativity.
In 1923 Carl Orff met Dorothee Günther
while working at a theater in Munich, Germany.
Günther “believed that most students did not get enough chances to do art and
music and movement activities” [12].
Because of her extensive background in gymnastics and the arts Gunter was able
to open the Gunter-Schule in 1924. Even though Carl Orff
never worked with the students of the Gunter-Schule directly, this was the
first institution to teach what would later be known as the Orff Approach.
Students of the Günther-Schule later
went on to be dancers and teachers of note. One of these students, Gunild
Keetman, began as a student and became a teacher at the school. The
Gunter-Schule originally only taught older students however, Keetman later
worked on developing the ideas of the school to teach younger children as well.
Together she and Carl Orff created the five volume series "Music for
Children" which is still used by teachers today. The Gunter-Schule ran
until 1944 when Nazis confiscated it. In 1945 the building was destroyed in an
Allied bomb attack and all materials (instruments, costumes, photographs, and
its library and archives) were destroyed [13].
After the war, two serendipitous
events brought Orff's approach back into the educational field. A series of radio programs aimed at children was
broadcast in Bavaria. Orff wrote the music and re-united with Keetman to work on
these broadcasts. The second event was the Mozartariums' request to have
Keetman teach classes to children between 8 and 10 years old. Traude
Schrattenecker who was also a graduate of the Gunter-Schule, joined Keetman in
running this school [14].
There are Orff Schulwerk
associations in different countries across the world including America,
Germany,
Australia,
Korea,
the United Kingdom, South Africa, France, Finland, and Canada. All of the organizations are adamant about the teachings
of Carl Orff
and the spread of the Approach. Through all of these organizations teachers
interested in teaching the Orff Approach can become certified in the Approach.
The American Orff-Schulwerk Association offers three different levels of
training, each of which takes 60 hours to complete. Level one focuses on the “necessary
skills to plan and implement a variety of Orff Schulwerk music and movement activities in the
classroom.” “Levels two and three are concerned with development of conceptual
understanding of music and movement elements as they are presented in the
Schulwerk elemental music context, as well as the skill needed to implement
them” [15].
The Orff Approach was originally
intended to teach music to children but because of the different benefits that
it offers with coordination, dexterity, and concentration
the technique is often used to teach individuals with special needs.
The simplicity of the technique allows all ranges of handicapped
students to participate in the learning process. Mentally
handicapped students can easily perform the
tasks without fear of being ridiculed or being left behind. The visually impaired/ blind
who tend to have “hesitant, jerky, and over controlled” movements because they
“often breathe quite shallowly” can use the different breathing and movement
exercises to relax their body and breathing [16].
Students with a hearing impairment can use the Orff Approach by feeling the vibrations
that are created by different instruments. Since music is mostly resilient students who have had
injuries that have mentally impaired
them can use the Approach as a form of therapy.
Even elderly individuals who often become weak with old age can use the Orff
Approach to help with memory, dexterity, and agility [17]
- ^ Campbell, Patricia Shehan. Musician and Teacher. New York: W.W. Norton and Company, 2008.
- ^ Shamrock, Mary. “Orff- Schulwerk: An Integrated Method.” Music Educator’s Journal 83 (May, 1997): 41-44. JSTOR. University of Arizona Music Library., Tucson, AZ. 03 February 2009 <http://www.jstor.org/stable/3399024/>.
- ^ “The Orff Approach to Music Education” By Gloria Day
- ^ Banks, Susan. “Orff- Schulwerk Teaches Musical Responsiveness.” Music Educator’s Journal 68 (March, 1982): 42-43. JSTOR. University of Arizona Music Library., Tucson, AZ. 03, February, 2009 <http://www.jstor.orf/stable/3395939
- ^ “Orff.” Miranda, Martina MENC Meeting, February 2009.
- ^ “The Orff Approach to Music Education” By Gloria Day
- ^ Campbell, Patricia Shehan. Musician and Teacher. New York: W.W. Norton and Company, 2008.
- ^ Campbell, Patricia Shehan. Musician and Teacher. New York: W.W. Norton and Company, 2008.
- ^ Campbell, Patricia Shehan. Musician and Teacher. New York: W.W. Norton and Company, 2008.
- ^ Shamrock, Mary. Orff Schulwerk: Brief History, Description and Issues in International Dispersal. Northridge, CA: Great Impressions, 1995
- ^ Thomas, Judith. “Orff-Based Improvisation.” Music Educator’s Journal 66 (Jan., 1980): 58-61. JSTOR. University of Arizona Music Library., Tucson, AZ. 03 February 2009 <http://www.jstor.org/stable/3395777
- ^ Gray, Esther. “Orff- Schulwerk: Where Did it Come From?” The Orff Beat-Centenary Issue XXIV (June 1995). Victorian Orff Schulwerk Association. 03 May 2009 <http://www.vosa.org/paul/orff_history.htm>
- ^ Gray, Esther. “Orff- Schulwerk: Where Did it Come From?” The Orff Beat-Centenary Issue XXIV (June 1995). Victorian Orff Schulwerk Association. 03 May 2009 <http://www.vosa.org/paul/orff_history.htm
- ^ Gray, Esther. “Orff- Schulwerk: Where Did it Come From?” The Orff Beat-Centenary Issue XXIV (June 1995). Victorian Orff Schulwerk Association. 03 May 2009 <http://www.vosa.org/paul/orff_history.htm
- ^ American Orff-Schulwerk Association
- ^ Bitcon, Carol Hampton. Alike and Different: The Clinical and Educational Use or Orff Schulwerk. Santa Ana, CA: Rosha Press, 1976.
- ^ Bitcon, Carol Hampton. Alike and Different: The Clinical and Educational Use or Orff Schulwerk. Santa Ana, CA: Rosha Press, 1976.
- Orff Carl; Keetman G.(1950) Musik für Kinder I. Mainz: Schott.
- Orff Carl; Keetman G. (1950) Musik für Kinder: Reime und Spiellieder. Mainz: Schott.
- McRae, Shirley W. “The Orff Connection…Reaching the Special Child.” Music Educator’s Journal 68 (April 1982): 32-34. JSTOR. University of Arizona Music Library., Tucson, AZ. 03 February 2009 <http://www.jstor.org/stable/3395960
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