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LEARNERS WITH EXCEPTIONALITIES Christine Lapka, Chairperson


Corff


If administrators are interested in 21st Century Skills, then I am interested in 21st


Century Skills. Fortunately, I re-


ally do not have to change many of the elementary music methods to meet goals of critical thinking, communication, collaboration and creativity (the 4 C’s). I recently read an article about a school infusing 21st


Century Skills into their school culture. Te article ended with:


“Tese students are learning collabora- tion, communication, and presentation skills that are going to be necessary, in addition to knowledge about the curriculum. Te day is gone when they just need to know formulas–they can look those up,” she adds. “Tey need to know how to solve problems and work together.” (Rich, 2010)


If we altered the end of the quote to a music setting we might say, “Te day is gone when they just need to know how to label quarter notes or famous com- posers–they can look those up . . . Tey need to know how to audiate and read music notes to perform or create music and they need to continue to do this in schools where they can work together.” Te words perform and create in groups immediately leads me to the connection between the 4 C’s and the Orff Process. In turn, the field of Music Terapy and Music Education makes connections between the Orff Process and learn- ers with exceptionalities (Orff, 1974; Darrow, 2008). “Despite potentially no direct attention given by Orff himself, many of the principles of Orff Schulwerk can be applied to various populations of clients in music therapy (Darrow, 2008).” Students with disabilities can perform in an Orff setting at their own level while students with giftedness can feel chal- lenged through differentiated instruction inherent in the Orff process (Choksy et. al, 2001 ). “Corrf ” is the 4 C’s and their connection to the Orff Process.


While many might use Orff arrange- 100


An example of a first grade Corff lesson might include a soundscape (similar to a movie score) of a story. I am particularly fond of Mary Goetze’s version of the folktale, Epaminondas. In the process, the teacher could model several ideas for “pee wee” the sound of the bird in the story (play a minor third down, play two different temple blocks, play a triangle 2 times). After providing the three differ- ent ideas the teacher could ask students to select the sound they believe matches peewee. When students select the tri- angle the teacher might guide them to be aware that pee and wee are different and perhaps that playing the same triangle two times is the same sound. Maybe they should look for different sounds. Even if you decide not to use an idea like the sound of the triangle, the student’s input is valued (perhaps we can use that sound for the cold, clear stream).


After modeling one or more sounds for the story and asking for student input, the teacher provides the students with other sound words from the story and asks them to create their own ideas for the chug, chug toot, toot of the train. Students are allowed time to experiment with sounds and ask the teacher for input. After a period of creative time, the teacher can select three ideas for the train. In the spirit of collaboration, students are asked to accept or give the composer ideas to enhance the original idea. Perhaps their level of collaboration is to listen to the ideas and place the ideas into an order for the train sound. Maybe all students will play the parts allowing the composers to write or model their compositions for the class. In addition


ments and instruments in their classes, the process moves from imitation to experimentation in a collaborative group setting. Sometimes it is helpful to think of the arrangements as “guidelines.” Teachers should alter the “guidelines” to fit the needs or abilities of the individual and group (much like the pirate code).


to creating, these actions will provide the opportunity to experience the group process of leading or following.


As expected, student creations will have different degrees of sophistication. Al- lowing diverse learners to feel valued and challenged is the tremendous power of the process. Students with intellectual disabilities can contribute a musical idea along with the student with giftedness. After all, music has simple and complex aspects that often occur in the same composition or even at the same time. Music and Orff experimentations are differentiated by nature.


Teachers who use the Orff Process are teaching the four C’s. Orff, the com- poser, expected students to experiment and create in a group setting. To enable individual creativity, the culture of the class must support and value student innovation. True collaborative skills of listening, supporting, and providing feedback are important to a climate of creativity. If you are using the Orff Process, it is your job to make your administration aware of the connections between learners with exceptionalities, Orff and the 4 C’s. Corff!


Choksy, L., Abramson, R., Gillespie, A., Woods, D. , & York F. (2001). Teaching music in the twenty-first century (2nd Upper Saddle River, NJ: Prentice Hall.


Darrow, A. A. (Ed.) (2008). An intro- duction to approaches in music therapy (2nd


ed.). Silver Spring, MD: American Music Terapy Association, Inc.


Orff, G. (1974). Te Orff music therapy: Active furthering of the development of the child. London: Schott.


Rich, E. (2010) Creating a new culture of teaching and learning. Teacher PD Sourcebook.


www.edweek.org/tsb/


articles/2010/10/12/01reading.h04. html?intc=fall_tsbem


Illinois Music Educator | Volume 71 Number 2 ed.).


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