AN ORFF MOSAIC from Canada focuses on using the Orff-Schulwerk approach with Canadian material but anyone teaching music in classrooms or private groups can use the selections contains a unique collection of resources for all teachers contains selections from all provinces of Canada and the Yukon in French and English This book is for classroom reachers from Early Childhood to Junior Grades teachers of private music classes music specialists music directors in camps and other community groups Material includes over 180 songs and poems from Canada - some composed especially for this book suggestions for each song and poem and some ideas for making connections with other subjects short plays, legends and stories presented in the 'Orff way' selections for recorders and Orff instruments students' works ideas for adapting some material for students with special needs glossary of rnusical terms used in the book Tips for Teachers chapter with suggestions on working the Orff way extensive Bibliography of Canadian materials and list of Canadian recordings short history of the Orff movement m Canada Welcome to An Orff Mosaic from Canada!

Foreword Welcome to An Orff Mosaic from Canada! Orff friends around the world welcome this new publication from Canada. We know the important role Canada plays in the diffusion of Orff-Schulwerk stimuli on the North American continent. The efforts of Doreen Hall and Arnold Walter will always be remembered and we are fortunate to have so many competent teachers and artists carrying on the task of presenting the basic ideas of Carl Orff and Gunild Keetman in the world of music and education today. May the Mosaic stimulate music and dance education in Canada and other parts of the world. The etymological root of the word "mosaic" is to the Muses, the nine daughters of Zeus and Mnemosyne, whose thoughts were of singing and dancing, who inspired composers and poets and who relieved the pains and sorrows of man. Prof. Dr. Hermann Regner Orff Institute, Salzburg

Preface Carl Orff Canada exists to encourage the development of a holistic music education evolved from the pedagogical philosophy of Carl Orff. Mission statement of Music for Children - Carl Orff Canada - Musique pour enfants And what a philosophy it is! People still refer to the Orff approach as a "new" method in spite of the fact that Carl Orff and Gunild Keetman were formulating their ideas close to a half century ago, and Doreen Hall introduced the approach to Canada in the 1950s. The timeless nature of the Orff philosophy owes much to its holistic and elemental approach. It is a philosophy that is close to the child, that grows from the elemental roots of child behaviour and learning. It is an approach that is never static but which incorporates new ways of teaching material that is current and relevant while retaining the basics tenets of the philosophy. Thus it is appropriate for all times. Orff and Keetman based their approach on the following principles: Start at the developmental level of the child, in rhythm, melody, movement and speech and build sequentially, and in a spiral fashion, following the path that human kind is thought to have followed in the development of music. Always integrate movement, speech, rhythm and melody in every activity. The child in his or her own world does this, moving, speaking, chanting and singing little melodies all at the same time - very seldom in isolation. We teachers must build upon this "playful" behaviour and incorporate it into our teaching. Use material from the child's own world, culture and traditions - folk songs, nursery rhymes, poems, chants and stories. These contain all the basic rhythmic and melodic patterns used in the beginning musical studies of childhood. In addition, the use of this material naturally involves movement (both creative movement and traditional dances and games), and through its use the rhythms and cadences of language are experienced. When music other than folk is used, it should be of high quality. Always encourage the children to create their own rhythms, melodies, speech patterns and dances. Creativity is the central core of the Orff approach to music education. As movements and trends in education come and go, Orff-Schulwerk appears not only to be holding its own, but indeed to be gaining ground. The basic principles of the philosophy have often been used as the basis for other approaches to music education. In many places Orff-Schulwerk is taught as a supplement to methods such as Yamaha and Suzuki, and the Schulwerk has long provided the framework for music experiences in early childhood, kindergarten and infant school classes. Almost every article written in music-education journals about creativity in general mentions the Orff instrumentarium, and if pictures accompany the article, these most often show children playing Orff xylophones and drums, even if the Orff approach is not named. In the school music curricula of Canada, the United States, England and other countries, the Orff approach, more than any other, has changed the way music is taught. Gone (we hope forever) is the time when everyone had to sit quietly, not moving, and "have" singing. "Having singing" began with modulator drill (singing sequences of do, re, mi that were printed on one of John Curwen's modulators) and then progressed to the learning of the one or two songs prescribed by the music department each month. This approach produced some very good singing but did not follow sound principles of child development. The movement component that is so necessary for full understanding and enjoyment of music was entirely lacking. And what of the child who was never able to sing in tune? I am afraid that he or she was relegated to sitting in the back row. being called a "blackbird" and being told "just to mouth the words" especially when the supervisor or principal visited the class. We now know that we learn best by participation. We learn music by making music, and the Orff approach does precisely that. Its many and varied activities encourage everyone to participate on his or her own level and above all the approach gives a place for everyone to succeed on that level. A "blackbird" could have a phenomenal sense of rhythm and could become indispensable by playing a complicated instrumental part that would hold the rest of the group together. (The instruments that were designed to be used with Orff-Schulwerk sound beautiful, are easy to play, and are irresistible to children. They add yet another dimension to the music experience by enlarging the pallet of sound and leading to a deeper understanding of timbre.) Above all, children who work in the "Orff way" experience the joy of creating something uniquely their own. This is a fundamental and basic part of the Orff approach. Through these creations come competence and growth in self-confidence. The schools of today have a mix of children from many cultures and traditions, with many and varied abilities and disabilities and from many different economic backgrounds. An approach that uses the philosophy of Carl Orff can include all these children in music programme and encourage each and every one of them to develop to their fullest love and knowledge of music. In the educational philosophy of the 1990s the emphasis is not only on including everyone in the learning process but also on integrating different subject areas. Integrating the Orff approach with the regular curriculum assists all children to develop co-ordination and motor-sensory skills, listening skills, creative thinking, and proficiency in speech and language. The learning of basic skills such as counting and recognizing colours can he made easier and more pleasurable by using appropriate songs and chants. and by coming together to dance and make music the students develop social skills. Music can tell much about the history and geography of other lands, and can even become part of science classes with the study ot sound and vibrations. Many years ago Carl Orff stated that music should be fundamental to all other subject areas: It then becomes not only exclusively a question of music education, it is rather a question of developing the whole personality. This surpasses by far the so called music and singing lessons found in the regular curriculum...1 In this, of course, he joins scholars such as Plato who said: Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul and take the strongest hold there, bringing that grace of body and mind which is only to be found in one who is brought up in the right way. 2 Brain researchers today are validating these truths. They are finding that taking part in all facets of music making from an early age builds and helps retain synaptic connections in children's brains, and can lead to vastly more efficient abilities, particularly in the area of spatial relationships and reasoning. The thinking is also that, in old age, by using the brain in challenging ways, people will be far less likely to succumb to confusion and dementia. Learning to play a musical instrument is cited in this research as one of the very best ways to challenge and exercise the brain.3 So it would seem that the Orff approach is yet again an idea "whose time has come". Because it is based on the fundamentally correct and eternal principles of child development it will not only endure, but will always seem "new" for each person discovering it, whether as a teacher, a pupil or a parent.

About 'An Orff Mosaic from Canada' The book was compiled in answer to a need expressed by many teachers for a collection of songs, poems and activities from our own great country. Orff teachers in many communities have long been using Canadian songs, working out sound effects to Cana-dian poems and writing original material. Some of this material had been published but most had not and we felt that it was time to make our "Canadian Orff" available to a wider audience. The intent was to have selections from every part of Canada - not only folk material from the entire country but also lesson plans, accompaniments, poems and songs written by educators, poets and musicians in every province, the Yukon and the North-West Territories. Appeals for material were printed in Ostinato (the journal of Music for Children - Carl Orff Canada - Musique pour enfants), letters were written to the presidents of every Orff chapter in Canada and many, many individuals were contacted. In addition, a great amount of research into possible material was undertaken, including the works of the "Pioneers" - the men and women who taught in the "Orff way" in the early years. All this was done in the hope that it would be a representative, interesting, lively and useful mosaic of Canadian material. Some 300 items were contributed by teachers from right across the country! There was a panel of readers who reviewed the submitted material. These people were chosen because of their knowledge and experience in the Orff approach. In addition An Orff Mosaic from Canada I Orffau Canada: une mosï'que was reviewed by the editorial board of Schott Music in London. While most of the folk selections come from the British and French traditions, music from other cultures has been included. But because of the tremendous numbers of ethnic groups in Canada today (one school in Toronto has children whose parents were born in 72 different countries) it would be impossible to include songs and poems from all the countries. Many songs from different lands have been included and we are grateful to all those people who shared their heritage with us. The content is in no way a reflection on all the other cultures which have also enriched Canada with their distinctive contribu-tions, but rather a result of what material was submitted for inclusion. Canada is a young nation and, as such, is a nation of immigrants. Indeed, the only peoples who have been living here longer than 390 years or so are the First Nations who came at least 10,000 years ago (some think as many as 20,000 years). Needless to say, their music is well represented. Most of the songs and poems have written lesson plans. Those that do not were for the most part written for the older grades or for Orff withdrawal groups. The songs and activities include suggested age or grade levels. But they are just that: suggestions. Each teacher will have to make selections based on the needs of his or her group. Organization of the book The first chapter discusses the history of Orff-Schulwerk in Canada. Then follows "Hello!", a series of introductory exercises. The next chapters include selections from every region in Canada, mostly folk material. The next part of the book is organized around themes: weather and seasons; animals; transportation; our world; the Canadian mosaic; holidays; basics; stories, fables, music and drama; students' work; move and dance; instruments; listening awareness and music appreciation, and "Good-bye!" The book ends with a glossary and a chapter of tips for teachers. The latter gives ideas of how to work with the material in the "Orff way" but is in no way intended to supplant formal Orff training. There is a bibliography, a list of recordings, and an index of songs, music, poems, chants, speech patterns and stories. Acknowledgments Heartfelt thanks go first to those who gave so generously of their "treasures" for the book. It is an act of great courage to allow one's work to be included in a publication such as this and these contributions are gratefully acknowledged. Thanks to the reading committee who reviewed most of the work prior to publication: Soeur Marcelle Comeille of Montreal, Donna Otto of Vancouver, Susan Knight of St. Johns, Judy Sills of Edmonton, and Ruth Wiwchar of Winnipeg. As you can imagine, the time commitment for this task was considerable. These busy people are owed a debt of gratitude from us all for agreeing to participate. Soeur Marcelle Comeille in particular gave tremendous help and encouragement in all stages of the book's development and was a valued resource in the selection of the French material. Many thanks to John Harper, the retired Managing Director of Schott, London, who initiated the project, and to the production team at Schott, especially Wendy Lampa, who inherited it and gave it such great support. Lastly, thanks also to countless others who gave enthusiastic support to the project and in particular to my husband. Kip Fleming, for his constant and continuing encouragement. It is our hope that you will find An Orff Mosaic from Canad / Orff au Canada: une mosaïque interesting and useful, and that the songs, poems and activities in the book will help you continue to bring joy and musical development to all children in the "Orff way". Lois Birkenshaw-Fleming Toronto, 1996

Review by Nicole Alexander, Rudolph Steiner School, Mansfield, Victoria An Orff Mosaic is a rich resource and a wonderful snapshot of the Orff movement in Canada, the birthplace of Orff in North America. More than 180 songs, instrumental pieces, short plays and poems are arranged in themed chapters. These cover topics such as Weather and Seasons, Animals, Transportation, Holidays, Our World, The Canadian Mosaic (multiculturalism), Move and Dance, Students' Work, Hello, Good-bye, the Canadian provinces, Listening Awareness and Music Appreciation. The songs, instrumental pieces, games and dances are drawn from the Canadian folk tradition and the work of well known Orff practitioners across Canada. It is a full reflection of modern Canadian society, acknowledging and celebrating in music, indigenous culture, French speakers, multiculturalism and the urban experience. This book is an encyclopedic source, to be dipped into when working on a theme, or exploring different types of orchestrations. There are also clear and concise descriptions of the Orff process and instruments, as well as an interesting history of the Orff movement in Canada. It is aimed at elementary school teachers (kindergarten to grade six) but has been successfully used with students up to grade eight. Each entry contains and explanation of the origins of the music, age recommendations, list of key concepts, the music or poetry and detailed suggestions of teaching processes including adaptations for students with special needs. The book concludes with Tips for Teachers, a comprehensive bibliography of Canadian Orff resources and an Index to songs. An Orff Mosaic is a valuable source of Canadian themed material much of which is directly relevant to Australian teachers, it could also provides an opportunity to understand and discuss the history and geography of Canada and compare it to Australia. However for serious Orffians it is also an inspiration and illustration of the depth and value of the international Orff movement and possibly even an idea worth re-creating for our own nation.

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