Literature Review

The following literature review examines criteria and features in existing Orff music

books from the original volumes of Orff-Schulwerk, its translations and supplemental materials

written by colleagues of Carl Orff, to recent publications by well-known authors and composers

in American music education. The features within each resource are briefly described, including

the type of introduction, story, theme or plot, historical information, teaching and form

suggestions, lesson plans, National Standards covered, reproducible scores and parts, parts in

multiple keys, and additional features such as artwork or technology available (CD’s, MP3’s,

website content, online curriculum, etc.).

Resources in the Literature Review are listed according to the following categories: 1)

Orff-Schulwerk: Music for Children series, 2) Theatrical or theme-based resources, 3) Modern

books with innovations and technology (and subcategories: textbook-based supplemental

resources, and jazz and rhythm books), 4) Other Orff music books, 5) Orff-Schulwerk text

resources (subcategories: sequential learning resources and Orff-Schulwerk music therapy

resources, and AOSA and NAFME publications).

Additional text resources and educational journals are given in the literature review, but

not listed in the literature comparison chart. These resources are grouped into two subcategories;

Orff-Schulwerk text resources, and Orff music therapy, followed by the next category; AOSA

and NAFME publications.

This review briefly describes the features found within each resource studied, including

the type of introduction, theme or plot, historical information, teaching and form suggestions,

lesson plans, National Standards covered, reproducible scores and parts, parts in multiple keys,
and additional features such as artwork or technology available (CD’s, MP3’s, website content,

or online curriculum, etc.).

The first and most important of the Orff resources is the Orff-Schulwerk: Music for

Children series in five volumes, with an introductory volume written by Arnold Walter, a

teacher’s manual written by Doreen Hall, and a book of rhythmic exercises (in German), written

by Gunild Keetman. Given the importance of the Orff-Schulwerk series as the foundation for this

research, a detailed description of each of the five volumes is provided below.

The Orff-Schulwerk: Music for Children Series

Orff-Schulwerk: Introduction to Music for Children (1974), by Arnold Walter,

describes the Orff approach and the composer’s intentions. It serves as a guide for music

educators to follow the Orff-Schulwerk process. It explains the Orff-Schulwerk praxis, detailing

the composer's intentions in order that music educators may accurately and efficiently

incorporate it into their music classrooms. In addition, it touches on the possibilities of

unexplored therapy for students with special needs, due to an interest in Orff-Schulwerk,

expressed by the medical and psychological fields and special education teachers. This text-only

(no music) volume provides instruction for teachers to learn conducting and percussion playing

techniques, and the proper execution of rhythmic speech, hand-signs, movement, role-play,

improvisation, melodic, modal, harmonic, rhythmic, rondo, and even disciplinary exercises

(Walter, 1974).

Orff-Schulwerk: Music for Children: Teacher’s Manual (1960), by Doreen Hall, asks

questions of Carl Orff’s approach; how it is developed, and how it compares and contrasts to

other methodologies of the time. It serves as a lesson planning book that has stood the test of

time with its thorough explanation of musical concepts and the steps by which they are taught in
the Orff-Schulwerk series. This book contains examples of syllabic speech patterns to produce

rhythmic understanding in children, along with instrumentation, including instruments seldom

used today (i.e. musical glasses and shells), playing technique (with photos) for mallets and

instruments, instrument ranges, and incorporation of rhythmic speech, body instruments,

rhythmic and melodic ostinati, and canons. Most of the examples provided in this resource are

rhythmic score excerpts or pieces that show how parts fit together, the types of percussion used,

and a brief instructional sequence explaining how to introduce each section as the ensemble

plays (Hall, 1960).

Orff-Schulwerk: Music for Children: Volume I: Pentatonic (1956), is the first of five

volumes in the Orff-Schulwerk series, written by Carl Orff and colleague, Gunild Keetman. It is

a comprehensive edition of pentatonic melodies combined with nursery rhymes written by Carl

Orff. This book focuses on the teaching and learning of the pentatonic scale. The preface

discusses the collection of rhyming and folk songs, from which all of the Orff-Schulwerk texts

are derived. It also contains instrumentation and teaching suggestions, mallet techniques, and

background information about Carl Orff. Children can easily express themselves through the

age-appropriate folk tunes and pentatonic melodies, because the tunes are not so difficult that

students must imitate them. The melodies represent natural stepwise sounds such as bird calls,

and the natural rise and fall of a child’s voice, in intervals of thirds, fourths, and fifths. The

pentatonic melodies in this book are accompanied by borduns and ostinati on barred instruments,

stemmed water glasses, drums, cymbals, and other non-pitched percussion instruments, forming

a polyphonic structure (Orff, 1956).

Although the original Orff-Schulwerk series is the first of its kind, and its praxis still in

the developmental stage, it contains specific instructions and techniques not found in many
modern resources. For example, the intended left or right-handed playing is specified through

stem direction of the notes. Such techniques are not found in many modern resources. Another

technique found in this and other original Orff-Schulwerk volumes, but no longer standard in

modern methodology, is the playing of the bass line or bordun (root and fifth of a chord) on a

stringed instrument such as the cello or stringed bass (Orff, 1956). All books in the Orff-

Schulwerk series contain an introduction, complete text instrument keys, song texts, and teaching

suggestions (Orff, 1956).

Orff-Schulwerk: Music for Children: Volume II: Drone Bass-Triads (1961):

This volume continues the use of the pentatonic scale and rhythmic exercises as in the first

volume, but introduces the first two parts of the major scale, the drone and bass triads. These are

played as borduns and arpeggiated chords in the bass line on the barred instruments, rather than

the cello or stringed bass. This book is primarily instrumental ensemble pieces, with a few pieces

for solo instruments and recorders (Orff, 1961).

Orff-Schulwerk: Music for Children: Volume III: Major: Dominant and Subdominant

Triads (1952): This English adaptation by Margaret Murray shifts in focus to dominant and

subdominant triads in major keys, evolving from a pedal tone or drone bass line, to a chordal

bass pattern with varying rhythms (Orff, 1952). The concepts were introduced in the first two

volumes, but were built on the drone bass (bordun) and ostinato patterns. This volume contains

both types of triads independently and in combination with each other, along with continued use

of rhythmic exercises found in the first volume. The musical selections incorporate interesting

instrument combinations such as recorder and timpani, along with challenging sixteenth-eighth

note ostinati patterns. However, the repetition within each piece makes it possible for students in

approximately fifth to sixth grade to practice and successfully perform the pieces (Orff, 1952).
 Orff-Schulwerk: Music for Children: Volume IV: Minor: Bordun (1961):

This English translation by Doreen Hall and Arnold Walter introduces three modes; Aeolian,

Dorian, and Phrygian, and a handful of songs written in each. This book does not contain an

introduction, preface, or explanation of any of the songs, nor does it provide teaching

suggestions. This resource consists of full scores with a text instrument guide, a few recorder

pieces, dance pieces, and the remaining pieces for a complete Orff instrumentarium. While

intended for students in approximately grade four, the music is likely too difficult for students

younger than grade five or six, who do not have prior music-reading experience (Hall, 1961).

Orff-Schulwerk: Music for Children: Volume V: Minor: Triads (1961), by Carl Orff

and Gunild Keetman: This volume also contains only musical pieces for vocal/instrumental

ensemble, introducing major and minor triads, beginning with the first and seventh triads, and

progressing to the first and third triads within the key of A minor. Similarly to the fourth volume,

most songs are full scores for a complete Orff instrumentarium. There is one instrumental piece

and a handful of smaller pieces for recorders or other instruments. While intended for

approximately fifth grade students, the music is extremely challenging, and too advanced for the

average fifth grade classrooms that meet perhaps once or twice per week. It is more likely that

this music would be played by students with a few years of music-reading experience (i.e. band,

choir, or orchestra), in grades seven and eight (Orff, 1961).

We must remember that when Carl Orff composed this music, he was working with

young adults, then proceeded to teach children at his school of music (where music classes meet

every day), rather than in a regular academic setting such as today’s public or private schools,

where music classes meet only once or twice per week. These ideal scenarios made it possible

for Orff’s younger students to perform such challenging music.

 Orff-Schulwerk: Rhythmische Ubung (1970), by Gunild Keetman, is a collection of

supplemental rhythmic exercises to the Orff-Schulwerk: Music for Children series. Its preface

and initial instructions are written in German. However, the book is easy to follow, because it

contains only musical pieces for body percussion (patting, clapping, and stamping, & snapping),

and the German titles are very similar to English (Keetman, 1970).

Theatrical or Theme-Based Resources

The following resources contain a story, plot, or theme by which the arrangements within

are organized and titled. Some of these resources are theatrical in nature, with a story or moral to

teach children.

The oldest example of themed literature reviewed for this research project is:

A Baker's Dozen: Classroom Ensembles for Voices, Recorders, and Orff Instruments (1974),

by Jane Frazee and Arvida Steen. It is a collection of thirteen Orff arrangements intended for

classroom or ensemble use, with a recipe format lesson plan preceeding each song selection. The

teacher is designated as the master chef, and the ‘musical’ diet consists of poems, songs, and

dances. The students then add the musical ingredients: rhythm, melody, harmony, form, and tone

color. The authors incorporate Dalcroze and Kodaly methods, through the use of body

instruments, dancing, rhythmic improvisation, solfege patterns and hand signs. This book is

appropriate for grades 4-6 (While the concept of recipes is a fun theme, the organization does not

resemble a recipe format, rather tips, terms, and teaching, form, and improvisation suggestions,

in an easy-to-use, step by step format. Nothing in the music, text, or artwork represents baked

goods, but interestingly, a sketch of a house fly appears at the bottom of each page and on the

final page of the book. Perhaps a good revised edition to this book would contain a similar

format containing songs and artwork of baked goods, in addition to use of cooking terms like
preparation time, and/or ingredients, etc., in combination with music terms and symbols (Frazee,

1974).

The Colorful Kingdom (1992), by Linda Ahlstedt (former president of the AOSA-

American Orff-Schulwerk Association), was a commissioned project for Penfield Music

Commission Project in 1983. Its preface is a fable intended to teach cultural diversity. It is one of

many theatrical works by Ahlstedt, containing a song sequence, a sample discography, a graphic

and abbreviated instrument key, narratives, a full score, and student art illustrating the story.

Linda Ahlstedt suggests the use of visual arts and primary colors (red, yellow, and blue) to

represent races, versus a “colorless” world of grays and blacks. There is student artwork and a

running narrative, or story to accompany the music. The story contains a narrator, a king, three

wizards, and a peasant, interacting in their blue, yellow, and red kingdoms. This folktale teaches

children about the similarities and differences in the world, and how our cultures can peacefully

co-exist (Ahlstedt, 1992).

The Unicorn (1995), by Linda Ahlstedt, is an Orff musical “fantasy” of poetry, song,

and dance (based on The Unicorn Tapestries, a Medieval painting from the 1500’s, that depicts

the hunt, death, and resurrection of the unicorn, hinting toward a crucifixion theme), for

elementary grades, containing music in the keys of F, G, & Bb (Ahlstedt, 1995). This theatrical

collection of songs uses poetry by Rachel VanHouten, the legendary story of which was adapted

to make it appropriate for performance by children This book is a musical and artistic work that

requires the use of Orff instruments (some chromatic), recorders, violins, and acoustic guitar.

Due to time constraints of most general music teachers (i.e. once per week classes with six or

nine week rotations), this piece is ideal for an advanced or extracurricular Orff ensemble rather
than the music classroom. Within this work are suggested Renaissance line dances, circle dances,

and ballet (Ahlstedt, 1995).

Tops in Pops (1996), by M. Davidson, is a collection of popular songs arranged for the

music classroom. It contains an Introduction; its intended purpose is to address the need to use

familiar music in the classroom, and suggestions for its use. This book also contains a clip-art

instrument guide for non-pitched percussion instruments and an abbreviated instrument guide for

barred instruments, and background information on each song. The music is written at the

elementary to middle school level of difficulty.

The next three books in the review are thematic collections written by Linda Forrest. The

three titles encompass appreciation of the earth and its resources, patriotism for the United

States, and a fun compilation of folk songs for various percussion instruments and other gadgets

(Davidson, 1996).

Orffestrations of the Earth (1996), by Linda Forrest, is a book of nature-themed songs

containing reproducible full scores and separate vocal parts, a clip-art instrument guide, a

suggested form and brief teaching suggestions, and optional instrument parts. Two selections are

instrumental, while the others are for voices and instruments. It allows for student improvisation

through imitation of nature sounds such as bird calls and ocean waves. This resource was

developed in order to create in students an awareness and appreciation for the beauty within

nature, and is ideal for Earth Day celebrations (Forrest, 1996).

Orffestrations of an American Tapestry (1998), by Linda Forrest, is a collection

contains popular American folk songs, but its cover suggests patriotic-titled tunes. However, it

contains an optional narrative script, explaining the American history behind the folk songs,

making it a sufficient performance work for a patriotic presentation. Its design is similar to
Orffestrations of the Earth, with its reproducible full scores, separate instrumental and vocal

parts, a clip-art instrument guide, suggested form, and optional instrument parts. The material

covered is appropriate for grades 4-8 (Forrest, 1998).

Orffestrations Go 'Round in Round: for Percussion, Boomwhackers, Recorders, and

other Gadgets (2004), by Linda Forrest, is a good resource for improvising with Orff

percussion and nonconventional percussion instruments, such as spoons, metal teapots, and tunes

water glasses, which were formerly a staple in the Orff-Schulwerk music classroom. It contains a

number of well-known folk songs, that are ideal for using optional instruments such as recorders,

whistles, ocarinas, boom whackers, various drums, kazoos, vuvuzelas, or whatever creative ideas

the teacher and students agree on. This resource contains reproducible scores and parts, teaching

tips, and a clip-art and abbreviated instrument key (Forrest, 2004).

The next two selections, by Joanne Pasquinelli, comprise two different themes. The first,

Island Adventures (1997), is a collection of Orff arrangements with a Caribbean feel, inspired by

the composer’s travels with music ensembles. It contains background information on the

composer, an abbreviated instrument key, sketched graphics, a short story to accompany each

song, and teaching/form suggestions. This book is intended for use in classroom Orff ensembles

and in music therapy (Pasquinelli, 1997).

The second selection, Modal Adventures (1988), by Joanne Pasquinelli, focuses on

music concepts such as modes and scales. It contains a preface on Carl Orff and his teaching

methods, explanation of the construction of modes and keys with relation to steps and tonic or

dominant scale degrees, along with teaching tips, an abbreviated instrument guide, dance

instructions, and teaching, form, and improvisation suggestions. This music in this book is of

moderate difficulty, and would be appropriate for grades 4-8 (Pasquinelli, 1988).
 Modern Books with Innovations and Technology

This category of Orff-Schulwerk resources contains two different types of books, both of

which offer new ideas to incorporate into Orff-Schulwerk in addition to technology such as CD’s

and online content through website links. First listed are supplemental books of widely used

music textbooks series, and the second type are books written by individuals, who have added

their personal methodologies, and links to their websites. Authors of modern resources are

shifting toward the inclusion of many of the most desired features by music educators. For

example, the ability for online access to sheet music, reproducible parts, lesson plans with

National Standards covered, CD’s, MP3’s, and additional online content are necessary features

and teaching tools for today’s music classroom, hence, they are included in the following

resources published from 2004 to today. Slightly older resources from 2000 to 2004, without

online content, contain other useful features such as CD’s, reproducible scores and parts, and

lesson plans with National Standards covered within the textbooks themselves.

Textbook-Based Supplemental Resources

The following resources are supplemental books to two modern and widely used (in the

United States) music textbook series, Music Expressions and Spotlight on Music.

Spotlight on Music: Orff Orchestrations Grade 5 and Grade 6 (2005), by J. Bond, et.

al., are collections of supplemental Orff arrangement books for grades 5 and 6, each with good

quality arrangements in age appropriate and Orff instrument-friendly keys, an Introduction and

General Suggestions, and an abbreviated instrument guide column. There are supplemental

teacher guides to accompany the entire textbook series that provide teaching suggestions for all

materials in the series (Bond, et. al, 2005).

 Music Expressions: Orff Ensemble Grade 6: Mallet Instruments and Recorders:

Teacher Edition (2004), by Randy DeLelles and Jeff Kristi, is a supplemental resource to the

textbook series. It is considered Level One for a middle school general music curriculum, and is

appropriate for general music classes that meet daily, as well as those who meet weekly. The

beginning of each module contains review material that helps to maintain music literacy. This

edition contains virtually every feature that a music teacher could want, including; reproducible

Orff arrangements, complete lesson plans, National Standards covered, improvisation and form

suggestions, photos of instrumental playing techniques, recorder fingerings, notes on the piano

keyboard, a progress record, manuscript paper, a glossary of music terms and symbols,

transparencies, worksheets, online content, and MP3’s on www.music-expressions.com

(DeLelles, 2004).

Music Expressions: World Percussion: Afro-Cuban Grade 6: Teacher Edition and

Student Edition (2004), by Jose Antonio Diaz. These books are supplements to the Music

Expressions textbook series, and are similar to the Orff Ensemble edition, with the exceptions of

primarily non-pitched percussion pieces. Historical information and photos are provided on each

instrument in the teacher and student edition as well a glossary, some reproducible scores, parts,

and worksheets. The teacher edition also contains detailed lesson plans in a chart format, two

CD’s, MP3’s, and online content (Diaz, 2004).

Jazz and Rhythm Books

The combination of Orff-Schulwerk and jazz is an idea that some music teachers think is

unfathomable, yet, Doug Goodkin (2007), not only makes it a reality, but he makes it easy and

fun in his book, Now’s the Time: Teaching Jazz to All Ages (2007), and his second book of the

series, All Blues: Jazz for the Orff Ensemble (2012). The second book is a continuation of the
first, with references to pages and chapters in the first book, to allow for cross-referencing and

understanding. However, the lesson plans in both books allow them to stand alone when using

the exercises, games, and Orff music arrangements in the music classroom. Goodkin provides

CD’s and full scores of each arrangement, a blues sequence curriculum, lesson plans, and

suggested instrumentation, and encourages teachers to improvise from these materials to gain the

full benefits of this resource. The second edition is an improvement on the first, with additional

teaching suggestions, homework ideas from students, and a few more arrangements than in the

first edition. A children’s performance CD is available separately. The materials in these books

were designed for Goodkin’s students ages three through thirteen, and compiled to provide a

resource to enrich instruction for Orff teachers with little jazz experience, jazz teachers with little

Orff experience, and band and theory teachers with little elementary general music background

(Goodkin, 2007).

Play, Sing, and Dance (2004), by Doug Goodkin, is the author’s contemporary view of

the Orff-Schulwerk approach, both simple and complex, combining the teaching and learning of

fun activities with complex reflections on the part of the Orff teacher, to determine what are the

true nature of children as human beings, and perhaps, the true meaning of music. In this book,

Goodkin provides music examples and teaching suggestions, a personal definition of Orff-

Schulwerk, and personal anecdotes from his teaching experiences added to his explanation of

each music concept covered in Orff-Schulwerk (Goodkin, 2004).

Two rather simplistic and self-explanatory rhythmic resources written by Doug Goodkin

are; Sound Ideas (2002), and Name Games (1998). Sound Ideas was designed for non-pitched

percussion instruments, with basic lesson plans and instructions, and a connection to Howard

Gardner’s, Theory of Multiple Intelligences. Photos and a graphic instrument guide are provided,
in addition to teaching and improvisational suggestions (Goodkin, 2002). Name Games simply

uses body percussion in conjunction with the use of students’ names such as spelling games,

stories, rhymes, and rounds. The book begins with teaching students to say their names while

patting a steady beat, then the rhythm of the name syllables. Consecutive activities add on the

use of phrases and grouping of two or more names of different syllables, to create quarter and

eighth note rhythmic patterns, and eventually, using first and last names, and difficult, multi-

syllable names and gestures in birthday games, short stories, and fairytales (Goodkin, 1998).

Another example of new and innovative ideas for using Orff-Schulwerk comes from Don

DuPont and Brian Hiller’s, Make a Joyful Sound (2007). In alignment with Orff’s intentions,

student parts are layered in full instrumentation, starting with non-pitched percussion playing a

steady four- beat pattern, then bass barred instruments playing a bordun or chordal

accompaniment, followed by alto, then soprano xylophones and metallophones playing varying

harmonic or chordal patterns, and ending with the glockenspiels, voice, or recorder performing

the melody. Intertwined within the piece is a rhythmic speech and dramatization of the story

behind the music. One innovative twist on this theme is Percussion Concussion, a piece

consisting entirely of body percussion (See Example 1). DuPont and Hiller (2007) also include a

matrix chart showing the form of the piece, with the phrases numbered for each four-bar section,

and dynamics for each section across the bottom of the chart (DuPont & Hiller, 2007).

A great multicultural and patriotic resource for non-pitched percussion/Orff instruments

is World Beat Fun: Multicultural and Contemporary Rhythms for K-8 Classrooms (2002), by

Zig Wajler. This collection includes helpful classroom tools such as a CD with play-along

tracks of varying rhythmic difficulty, teaching, instrument, and performance suggestions,

reproducible parts and form visuals. Also included are optional electronic percussion instrument
suggestions and call-response rhythms found in both the music and on the CD. This book is

based on the multicultural program, Hands on with Zig that correlates to the National Standard

for Music and Technology (Wajler, 2002).

Other Orff Music Books

The Orff Source: 89 Orff arrangements of traditional folk songs and singing games

(2009), by Denise Gagne, is a large collection of Orff arrangements in major and minor keys,

using folk songs and solfege sequence patterns (in increasing difficulty), designed for grades 1-5,

in correlation with the Musicplay curriculum and lesson plans. Both the curriculum and lesson

plans are available online at www.musicplay.ca. This book is ideal for teachers who implement

Dalcroze, Orff, and Kodaly methods in their classrooms, due to the solfege sequencing and

movement incorporated in each lesson. The author provides an introduction, teaching

suggestions, an optional online curriculum and lesson plans, teaching suggestions, an abbreviated

instrument key, and directions for games and rhythm/movement activities (Gagne, 2009).

Hang On to the Big Balloon (2000), by Konnie Saliba, contains a preface explaining its

six chapters of increasing difficulty (un-pitched, barred instruments, technique, stepwise motion,

canons, and performance pieces) a clip-art instrument guide, teaching and form suggestions,

games, optional rhythms, accompaniments, and verses, and background information on the

composer. This collection appeals to all ages (Salba, 2000).

55X Funtastic: 55 Songs with Motion for Children (1993), by Jos Wuytack, is a

collection of 55 songs with movement for children. It is organized according to the natural

progression of melodic development, starting with two notes, to pentatonic songs. Suggestions

for body percussion, movements, and improvisation are provided, along with optional

orchestrations, adaptable to the needs of the classroom. This book is easy to follow, with both
abbreviations and symbols provided in the instrument guide. Songs are provided in multiple

keys for various age groups, along with optional games and specific speech to rhythm and

rhythm to movement activities (Wuytack, 1993).

Text-Only Resources (biography, methodology, and others)

The following is a review of additional text resources that provide information about Carl

Orff, authors’ interpretations of his intentions and ideas, various areas and modern applications

of the Orff-Schulwerk process, such as a recommended teaching sequence, possibilities for

differentiation and instruction for children with special needs, and additional information, such

as research format and copyright/licensing information for those interested in pursuing research

or composition and/or arrangement of music for the Orff ensemble.

Carl Orff: Biography, by Andrea Liess. This biography provides a view into the

creative, theatrical, and musical life of Carl Orff, by examining his musical influences and the

motivation behind each of his life’s works. His inspiration to compose came directly from his

spirituality and his life experiences. His works are the products of self-expression, hence his

preference for improvisation and performance of original works. Carl Orff was a private person,

and requested that the author not write about his personal life, since he believed that one could

not write about another’s life until that life was completed. He preferred, instead, to focus on his

musical life (Liess, 1966).

Orff-Schulwerk Text Resources

Sequential Learning Resources

Discovering Orff: A Curriculum for Music Teachers, by Jane Frazee and Kent

Kreuter (1987), describes the basic concepts of Orff-Schulwerk for the American music

classroom. This book discusses the qualities of the Orff-Schulwerk teacher, and provides them
with the tools to teach children to express themselves and develop musically by behaving in

musical ways. This book provides a learning sequence and collection of pedagogical ideas and

media through which students in grades one through five can learn to read, write, sing, play, and

move to music proficiently. Frazee provides an outline of three categories; Orff Media

(instruments), Orff Pedagogy, and Orff Theory, and describes elements of each. She lists goals

and objectives at the beginning of each section, and ends with Orff Theory, the point at which

she believes students will master performance of ostinati, melody, pedals and borduns, and

varied accompaniments (Frazee, 1987).

Orff-Schulwerk Today: Nurturing Musical Expression and Understanding, by Jane

Frazee (2006). In comparison to the basic concepts and learning sequence delivered in

Discovering Orff, Orff-Schulwerk Today delves further into the practices of Orff-Schulwerk, by

exploring aesthetic experiences and musical expression. Frazee (2006), describes it as presenting

two books in one. The first ‘book’ discusses developing skills for self–expression, and the

second ‘book’ emphasizes skill mastery and understanding. The premise suggests that when

students truly understand music, the emotional expression and improvisation begin to develop.

An accompanying CD provides examples of musical elements (melody, rhythm, texture,

structure, and color), and are presented for three levels of students (primary, intermediate, and

upper elementary). Similar to Discovering Orff, this book is a comprehensive resource that offers

music educators instruction in teaching all aspects of Orff-Schulwerk (i.e. rhythmic speech,

singing, movement, and playing instruments), explaining how students learn music, and how to

teach them to be musically self-sufficient. Emphasis is placed on the ideas that if students are

encourages and taught to perform music successfully, then given structured opportunities to
create and improvise with the music, that they will be gain the confidence to express themselves

through music (Frazee, 2006).

The Eclectic Curriculum in American Education (2nd ed.), by Beth Landis, was

published by NAFME (formerly MENC), and serves as a comprehensive resource that explains

the author’s interpretation of the methodologies of Carl Orff, Emile Dalcroze, & Zoltan Kodaly,

each used separately as its own entity, as well as combining the instructional techniques and

methodologies (Landis, 1990).

Orff-Schulwerk Music Therapy Resources

The following resources are two of the earliest attempts at using the Orff-Schulwerk

approach to provide therapy to students with special needs, and perhaps, two of the earliest

examples of music therapy. Each resource is important in its own right, providing two different

approaches to providing music education and therapy, while aiming toward the same goals,

producing positive music learning experiences and improving the well-being of children with

special needs.

Alike and different: The clinical and educational uses of Orff-Schulwerk (2nd ed.), by

Carol Bitcon (2000), is a resource designed for the music educator, special needs educator, or

anyone who works with individuals who have mental or physical disabilities. Carol Bitcon

provides a brief introduction to Carl Orff and Orff-Schulwerk, and many ways that it can be used

and adapted for student challenges in a clinical setting or a classroom of students with special

needs. Bitcon provides a lengthy introduction on Carl Orff and his Schulwerk, and detailed

instructions on how to teach Orff-Schulwerk to children with various disabilities, such as visual

or hearing impairment, emotional disturbance, or physical limitations, in addition to advice on

how to handle unexpected mishaps (Bitcon, 2000).

 The Orff Music Therapy (1974), and Key Concepts in the Orff Music Therapy, by

Gertrud Orff (1989), are the products of over ten years of experiences at Kinderzentrum,

Munich, where she developed the 77 concepts of Orff music therapy, the most important of

which are 1) diagnosing the child, 2) determining and developing the child’s abilities, and 3)

providing therapy for the child’s challenges. The first book in the series describes Orff Music

Therapy as a multi-sensory approach that focuses on the senses that are weakened or challenged

in the child. It is an aide to other therapies that gives students an opportunity to express

themselves, when music influences them. Music can also provide a way of communication

between the student and the therapist, or between students. In the latter book, she discusses the

importance of knowing what a child is thinking, and the perfect timing for which to introduce

new musical challenges. With these concepts in mind, Gertrud Orff takes the role of ‘careful

observer’ combined with music teacher, to observe and understand a child’s emotional state and

awaken positive emotional responses through music and movement (Orff, G. 1989).

AOSA and NAFME Publications

The Orff Echo, published by the American Orff-Schulwerk Association (AOSA), is

perhaps the most well-known and widely used Orff resource for music educators. This journal

contains the most current Orff-related research, teaching ideas, and resources, including

information on AOSA (American Orff-Schulwerk Association), conferences, workshops, courses

and certification offerings around the United States, instrument and sheet music vendors, and

information on the best practitioners in the field. Many articles from The Orff Echo can be

located on music education research databases (AOSA, 2012).

Music Educators Journal (MEJ) and General Music Today, are resources for members

of NAFME (National Association for Music Education). Music Educators Journal is published
quarterly, and contains current research articles on music methodologies, teaching tools,

conference, workshop, and course information, articles by and about music educators in action,

as well as ads and links for vendors of books, sheet music, instruments, and various other music

education resources. Many articles from Music Educators Journal are found on music education

resource databases. General Music Today is similar in content; however, it is published online,

and focuses on the various concepts and issues encountered in the general music classroom,

rather than choir, band, orchestra, or other more specifically tracked areas of music (NAFME,

2012).

Teaching Music is another resource offered to members of NAFME. This publication

serves as a sharing forum in a conversational format. It also contains research articles, in addition

to a wealth of knowledge and teaching ideas from music educators throughout the United States.

It also contains information on conferences, workshops, course offerings, vendors, and

practitioners in music education. Teaching Music publishes one feature-length article in each

issue, submitted by a music educator. Articles from Teaching Music can be found on music

education research databases (NAFME, 2012).

Copyright: The Complete Guide for Music Educators (2nd ed.) (1997), by Jay

Althouse, was also published by NAFME (formerly MENC), to assist music educators and

composers in the legal issues surrounding writing original compositions, adapting existing

compositions by other composers for different instruments, and the complete arrangement of

another composer’s work, in addition to rules for publication, and making music available to the

public (Althouse, 1997). This publication is listed here, along with related copyright links on the

NAFME website, to assist music educators in the legal copyright and licensing process of

writing, arranging, and/or selling of music for Orff or other instruments (Althouse, 1997).
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