1. "Once something is experienced in the body, it is usually not forgotten" (pg. 12). I think it is amazing that the songs and musical experiences I remember most from childhood are the ones that involved some type of "body percussion" or other physical movement. One of the very first songs I learned as a child was, "If You're Happy and You Know it, Clap Your Hands!" I wouldn't be surprised if the original author of this song was an Orff educator, because they put a form of body percussion into the actual title of the song! What an amazing concept. But it's interesting that I can remember exactly where I was as a three year old when I was learning this song for the first time. I remember my teacher, the other students, the happy music, and the action of clapping, stamping, and using my head voice. Clearly, there is evidence that kinetic movement plays a huge role in helping young students to remember music.
2. "The teaching process involved in Orff Schulwerk is its greatest strength" (pg. 15). After reading these pages I learned all the things an Orff teacher needs to be trained how to do. It is amazing to me that a trained Orff teacher can look at a piece of music, automatically write an accompaniment, assign different parts to each student, and be able to teach it so naturally and quickly. I have a feeling that this type of ability must come more natural to some than others. Still, it must take a lot of practice and concentration to be able to get to the level where composing accompaniments comes automatically. As I think back to my childhood, I don't think I ever had an Orff teacher. I had classes where we used "Orff" instruments, but I was never instructed in the exact manner that they teach in this book. I'm wondering if my classmates had different experiences?
3. "Music Learning Theory advocates that students be taught songs in a wide variety of tonalities" (pg. 23). I agree with this statement, but find its inclusion somewhat superfluous. To me, this is like saying, "We advocate here that little Johnny have friends from a wide variety of racial backgrounds." Doesn't that sound ludicrous? Of course we should teach children songs from different tonalities, but we shouldn't focus our lesson plans in a way that we must include one from every mode in a given period of time. I find this to be too constricting. I also think that a mindset like this will ultimately take away from the music. Off the top of my head I can think of many wonderful songs for children, and they happen to be in four different modes. We teach the songs because they are good and because they have lasting value. We might point out that a particular song is in such and such a mode, but that should not be the focus. After all, the difference between modes is so incredibly small to begin with. Just teach them great music!
Incorporating any process or philosophy, such as Orff, takes a while, Rick - don't worry! It is the teachers, like Laura Webster, who have been working with it for years that make it look easy. I have colleagues who took all Orff levels. They felt it took a couple of years to start coming together in their classroom. Like most things, it takes time...
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