Issue Highlights:
2012-2013
Workshop Schedule 1
September 15 Michele Fella Przybylowski Mighty Things from Small Beginnings Grow
President’s Letter 2
Workshop Schedule
Presenter Bios 3-5 Board Members 5
October 20 Sophia Lopez-Ibor
Level III Certificate Info 5 Spring 2012 Reviews 6-8 Workshop Information 8
January 26 Julie Swanson and Linda Wardell Orff in Action
Membership Information 10 Technology Corner 11
March 9 Drue Bullington Musical In-Roads: From Basics to Brilliance
April 13 Steve Calantropio Brigitte Warner Memorial Workshop Why Orff Schulwerk?
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May 18 Chapter Sharing and Potluck
FROM OUR PRESIDENT PAOSA August Newsletter President’s message July 22, 2012 Dear Colleagues, Welcome Summer (almost over – AHH!)! Please forgive us for such a time lapse since the last newsletter. Our chapter had four fabulous workshops since my last president’s letter: Rollo Dilworth, Tim Purdum, Laura Webster, and a wonderful chapter sharing with our own members. Each workshop gave me new ideas, repertoire and inspiration, in addition to the supportive and encouraging feeling of being with a gathering of like-minded colleagues. For example, since my elementary choir started singing the vocal warm-up with gestures that Dr. Dilworth taught us (“May We Follow You”), I notice that many students are shaping their vowels spontaneously. Tim Purdum encouraged us to identify cultural sources in presenting folk repertoire, while also allowing the natural folk music process to occur – which sometimes means altering detail. Laura Webster brought me back to one of my favorite modern dance activities – swinging! She told us not to shy away from occasionally teaching prescribed movements and creating our own choreography rather than always drawing movement ideas from students. See Sandy Reedy’s reviews in this issue of the Pentaton. For our final event, our annual chapter sharing, we had the good fortune of having three presenters, Michelle Przybylowski, Karen Rotz and Megan Scrafano, all of whom are members of two-generations of Orff teaching. Michelle whizzed us through moving, singing and playing and dropped dozens of tips on user-friendly classroom technology along the way. Her expertise as an Orff pedagogue and teacher of process is extraordinary and we are so lucky to have her! Karen and Megan (mother and daughter) gave excellent presentations and very generously shared repertoire and process that have been successful for them, including art and music teacher collaborations. We moved, spoke, sang, played recorder, percussion and xylophones, improvised and created. Afterwards we shared a delicious pot-luck lunch and I went home feeling much joy. Finally, PAOSA has decided to increase membership dues for next year by $10. Whatever you usually pay for membership, add $10 on to that fee. Early bird discounts of $5 apply before August 1, and, as always, workshops are free for full-time students. In addition, we are initiating a $15 guest fee for members who wish to bring a guest to one workshop. You may also bring an administrator to one workshop for free! What a bargain! Take advantage! Have a wonderful summer! Warmly,
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Dawn
2012-2013 PRESENTER BIOS Michelle Fella Przyblylowski is presently a Music Teacher for Cheltenham School District in Pennsylvania at Cheltenham Elementary School. She serves as the Program Chair for the Philadelphia Area Orff-Schulwerk Association, serves on the Editorial Board of the Orff Echo, and is a National Board Certified Teacher. She is a teacher educator for Orff Schulwerk Levels I and II, and teaches at the University of the Arts and Chestnut Hill College offering course studies in Elementary Music Methods, Music for the Diverse Learner and Interrelated Arts. She offers workshops in the Orff Schulwerk Approach, Kodaly and Assertive Discipline. She has presented workshop sessions for the Pennsylvania Music Educators Association, NAfME Eastern Division Conference, the American OrffSchulwerk Association National Conference, the Philadelphia Area Orff Schulwerk Association, and other AOSA chapters.
SEPTEMBER 15: Mighty Things from Small Beginnings Grow Orff Schulwerk is a way of working in the arts, using movement, speech, singing, playing instruments, improvising, and composing. This session will involve the participant in the basics of the Orff Schulwerk Approach. If you have your certification in Orff Schulwerk or you have just begun to explore, this workshop will engage you in a musical journey through the process. A great way to get the school year started. IMITATE EXLORE CREATE In Orff Schulwerk, speech, movement, singing, playing instruments, improvising and composing are not separate activities. There is a continuous development and overlap involving these elements, Orff Schulwerk defined by the central idea that music, speech, and movement are one. Come and engage with other music educators, collaborate, imitate, explore, and create in the Orff Schulwerk process.
Sofía López-Ibor Aliño has taught music in Preschool, Elementary, Middle and High School for the past 23 years. She also teaches Music theory and “solfège”, recorder and conducts children’s choirs in Music Schools, and supervises Music and Movement teachers. She has presented workshops and classes throughout Spain as well as in Austria, Germany, Iceland, Thailand, Brazil Italy, Finland and United States. For the last ten years she was a guest member at the International Summer Course at the Orff Institute in Salzburg, Austria. She has taught Music Pedagogy at the Conservatorio Superior de Música de San Sebastian (Spain).
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OCTOBER 20: Join us for this wonderful workshop!
2012-2013 2013 PRESENTER BIOS JANUARY 26: 26 Orff in Action th
th
Julie and Linda will work with a group of 4 -5 grade children in active music making starting at 9:00 and concluding with a performance for family and friends at 1:00. Pick up time for children is 1:30. Students should pack a lunch and beverage, wear comfortable clothing and come prepared for fun!
Julie Swanson & Linda Wardell Julie and Linda have teamed up on a variety of ventures with kids and music making, most recently at the University of Delaware directing the Blue and Gold Children's Choirs. For the past seven summers they have collaborated together to create choral, movement, instrumental and active music making experiences for the children of the UD Children's Choral Camp program. They have presented workshops for Delaware Music Educators Association and the University of Delaware. Julie is a Music Teacher in the Pequea Valley School District in Lancaster County, Pennsylvania and teaches kindergarten through fifth grade in an Orff Schulwerk based program. She holds Level III in Orff O Schulwerk and Kodaly. Julie has been honored as a finalist for the Pennsylvania Teacher of the Year. Linda is a Musicc Teacher in the Pennsville School District in Pennsville, New Jersey and teaches first, fourth and fifth grades. She holds a Master LLevel evel certificate in Orff Schulwerk. Linda has presented Orff Shulwerk and technology topics for the New Jersey, Delaware and Pennsylvania Music Educators Associations. Linda serves on the board of PAOSA as Web Site manager.
Drue Bullington
is presently a Music Teacher for Conestoga Valley School District in Lancaster, Pennsylvania at Brownstown Elementary School. There he directs two choruses, and Orff Ensemble and the K K-6 6 classroom music program. Drue is also a director of the Children's Choir of Lancaster, an independent non-profit profit music education program serving central PA. Having taught vocal and instrumental music from K-12, K directed musicals, marching band, dramatics of all kinds, and once even taught a class on Mime (he doesn't like mimes or clowns!), his true passions lie in Orff Schulwerk Schulwerk. Drue has presented workshops to collegiate level and veteran teachers on incorporating technology into the music classroom, choral and vocal topics, and to AOSA Orff chapter workshop setting. He's just completed his apprenticeship ap to become an Orff Schulwerk levels teacher educator and looks forward to the many opportunities, travels and friendships that they will bring. bring
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MARCH 9:: Making Musical In In-Roads: Roads: From Basics to Brilliance Beginnings aren't always easy, but they can be thrilling and fun and lead us to some pretty amazing experiences. We'll take our cues from some basic examples in the Volumes, folk songs, poems, and rhythmic patterns, then we'll call upon your artistry to move ve the group into the middle of the process (see: improvisation, movement, body percussion, recorder, drama, composition, arrangement) and then by stretching the skills we've been reinforcing through elemental process teaching and learning we'll arrive at the meaningful, pleasing end of musical brilliance. Simple, right? I'm sure there'll be time for a game, and maybe a dance, probably a story or two thrown in for good measure as well. The participants should bring a recorder, enough energy and joy to sustain them throughout the workshop, and some extra to share with the other chapter members! We'll play, sing, grow and laugh together - so basically it's going to be brilliant!
2012-2013 PRESENTER BIOS Steve Calantropio
taught music and movement in the River Edge, NJ public schools for 31 years. He holds certifications in Orff, Kodaly and Dalcroze methodologies and has presented workshops, lectures and courses both nationally and internationally. Steve serves as AOSA's first Education Director. He is also the president and a founding member of the American Center for Elemental Music and Movement, a nonprofit organization established to promote elemental music and movement teaching and learning in the United States.
APRIL 13: Brigitte Warner Memorial Workshop Why Orff Schulwerk? Carl Orff and Gunild Keetman's Music for Children publications are now over six decades old. The theoretical foundations of elemental music training were established over eighty years ago. With the advent of new technologies and the availability of other significant music education approaches and methodologies, why should music educators adopt Schulwerk as their primary approach to instruction? This workshop will focus on the unique possibilities inherent in Orff Schulwerk that are as relevant today as they were many years ago. Please bring a soprano and alto recorder to this workshop.
2012-2013 PASOA Board President: Dawn Pratson dpratson@aol.com
267-971-0926
Vice President: Lori Arner LArner@crsd.ord
Treasurer: Dolores Williams BnDWilliams@.aol.com
610-613-8177
Program Chair: Michelle Fella Przybylowski Musarch@aol.com 215-938-7483
Past President: Martha Glaze Zook mglazezook@verizon.net
215-925-8948
Act 48 Adminstrator: John F. Bednar, Jr. jbednar1@verizon.net 610-539-6295
Librarian: Kate Bright Bright184@yahoo.com
Website: Linda Wardell lwardell@comcast.net
At-Large Members: Terri Cocci terrypiano@dejazzd.com
Historian: Rose Grelis rgrelis@verizon.net
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Membership Co-Chairs: Stephanie Benedict Sbenedict915@verizon.net 267-738-1382
610-582-7448
Helene Furlong helefur@verizon.net 610-521-7668
540-742-2704
302-998-7020
610-328-9784
Hospitality Chair: Sharon Steward svsteward@verizon.net 215-355-0934 Pentaton Editor: Becky Burdett beckyburdett@verizon.net 570-288-5559
SPRING WORKSHOP REVIEWS Tim Purdum's Workshop Review "Ancient Songs, Modern Technology, and the Restoration of an Active Community" Submitted by Sandy Reedy Technology is prevalent in today's society, from television to mp3 players to people walking into stationary objects while texting. Because of this boom of distraction, several time-honored human traditions have fallen by the wayside - notably, community music-making. On the other hand, the availability of electronics for communication has connected human beings across the globe in ways never before seen. Tim Purdum gave a workshop that showed some methods of adapting music education to these twenty-first century realities by using technology in tandem with music making, not as "the way of the future", but as a tool for keeping self-made music, musical culture, and music history alive. Perhaps, though, music and dance have always been innate in us, and perhaps we have all been connected throughout the centuries by these similarities, whether or not it was known. In order to show this, Tim began the workshop with a European dance from the 13th century called the Saltarello, which has many similarities to a dance from pre-Columbian South American called the Carnivalito: joining hands in a chain dance, creating shapes with the chain, and pausing steps to the music. Why are the dances so similar if they come from completely different places at a time in history when the two continents' denizens were not aware of each other? (Amazing! Who needs Skype?) The workshop continued with several familiar songs from very different time periods and many different places: "The Golden Willow Tree" (this version arranged by Mr. Purdum), "Old Joe Clark", "Funga Alafia", and even "Ding Dong Diggidiggi Dong" from Volume I. Mr. Purdum wanted us to think about and discuss whether teaching these songs is acceptable in the classroom if they are not "authentic", as there are many different versions of these tunes across many different parts of the world. Is a song any less teachable because it is not the same as it was when it was first composed? Just before lunch, Mr. Purdum offered an activity that connects music in the classroom with a video game: transferring a "Rock Band" tune to barred instruments! We face many challenges as music teachers in this day and age, not small among them competition for our students' attention from audio and visual technology. Mr. Purdum's suggestion is to adapt ourselves and our lessons without compromising actual music making, and by using the time-tested community-building activities that are still tremendously enjoyable: drum circles, community folk dances, singing together, and making music in real life.
Have you completed your Level III Certification? Apply for an AOSA Certificate of Completion!
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The American Orff-Schulwerk Association is very pleased to announce the availability of the Certificate of Completion. The Certificate of Completion is awarded to those who have successfully completes an AOSA approved Level III Course. Certificates are of a professional quality and will demonstrate the applicant’s proficiency in Orff-Schulwerk. To apply, visit www.aosa.org and follow the links on the homepage. You will find an application there, and you will need to submit either a copy of your Level III certificate or a letter from one of your Level III instructors or course director. There is also a $30 processing fee or AOSA members or a $60 fee for nonmembers.
Laura Webster's Workshop Review "Swing! Swing! Up and Over, Swing!" Submitted by Sandy Reedy
Laura Webster's workshop created a relaxed, yoga-class-like feeling in the beautiful, sunlit music room at Abington Friends' School. Even our breathing was synchronized and musical as we swung, swished, and swept about the floor to the music of Peter Jones ("Clock"), Aretha Franklin ("Natural Woman"), and Roger Sams ("Where Go the Boats"). The morning began with a relaxing stretching exercise, followed by a gentle walk around the room to "Little Sally Walker". Ms. Webster then guided us to create our own "movement phrases" with a list of movement vocabulary words created by the class, one of which was used as part of our choreography. Later, one of these phrases was recreated on unpitched percussion as a B section to the "Sally" chant, which was played on barred instruments. Improvised movement and music were then added to a C section poem about the ever-present Sally. As in many satisfying Orff workshops, we finished just before break with a full performance. After break, our minds and abdominal muscles were stretched through modes of shape change, or ways in which a body can move from one shape to the next in space. Using various polygons and Yoga Pretzels posters, we were visually, physically, and mentally inspired to move into a variety of shapes while Roger Sams' beautiful setting of "Where Go the Boats" played in the background. She then asked us not only to move to the music, but to apply meaning to that movement through these modes by beginning and centering our momentum in the core of the body rather than in our limbs. We practiced this through a "sculpture" game: the class was seated in a circle beginning with one person in the center, adding on one person at a time, filling in the negative space while simultaneously thinking about levels and shape in addition to the modes of shape change. If only geometry class had been this relaxing and inspiring! The workshop continued with a "swing into swing". Listening and moving to "Natural Woman" (or man) by Aretha Franklin as well as other slow-swing tunes allowed the class to feel the meter in the body, which allowed us to play it on instruments without rushing or falling back into 2 or 4. Adding language to and exploring more options in the movement made it even more accessible:
Swing! Sports,
Swin g!
Up and over, swing! Swing!
Swing!
Up and over, swing!
sports,
sports, sports, (improvised) Swing!
Swing!
Up and over, swing!
Barred instruments played this in la-pentatonic on D, creating a slightly darker mood. With the addition of unmetered, sound-carpeted Langston Hughes poetry for contrasting sections and a finished, choreographed dance for the "swing" poem, we finished out this part of the workshop with another engaging performance. Finally, learning the "Hazrat Bibi Maryam" dance to Laura's lovely singing voice ended the workshop as peacefully as it began. Overall, this workshop provided a calming and thought-provoking musical experience. Laura Webster gave us ways to make movement and student-centered choreography more accessible in our classes in addition to the piles of useful material for this
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year and next.
Children’s Literature to Inspire Your Teaching Submitted by Sandy Reedy
.
I was inspired by Anna Grossnickle Hines’ book Winter Lights to write a collection of songs and lessons based upon the poetry in this book. This book is just captivating between its beautifully simple poetry and detailed quilting for illustrations covering a wide range of winter holidays and occasions. This lesson was based off the poem “Aurora Borealis.” Materials: Winter Lights book, video clips lips of Northern Lights, visual of poem, scarves, hand drums, bass xylophone, various barred instruments. Procedure: Opening Teacher Script T) reads middle paragraph of the poem and asks the Students (S) to imagine: What could this be describing? Is Teacher (T) it describing something real or imaginary? Do you think this is something in nature or human made? Can you tell for sure yet, or do you need more information? Without sharing the answer, T shares a video clip of the Northern Lights (Many are available on YouTube. I am partial to the National Geographic version.) and S select words to describe the movement. T reads the middle of the poem again. Reve Reveal al that portion on the visual. T asks S to identify the words that the poet chose to describe the movement of the Aurora Borealis. Circle on visual. With a partner, S explore movement to the words “shifting colors, billowing curtain, swirling,” and “swoopi “swooping ng light” utilizing a scarf between them. Presentation:
T chants the 1st and 3rd portion of the poem as S learn by rote. What does the text require of our dynamic level? What would that look like if we were to write it? ( < > ) S transfer rhythm to Hand Drums, tthen perform with BX ostinato: Exploration: T and S create building blocks and S create 44-measure measure rhythm patterns with body percussion. Possible blocks are:
Come
See
North-- ern
Lights
Shift-ing col - ors
Bright
flash - ing
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S explore building blocks on Pitched Percussion in D –Dorian. Place sticker dots on D, if visual help is needed, and start on and end on D! S share their melodies with the class. Culmination: S combine movement, speech, HD and PP into final performance. T and S share observations and offer feedback.
WORKSHOP INFORMATION Workshops are held in the music room of the Lower School Building of the Abington Friends School, which is all the way to the left as you enter the campus. Coffee and gathering at 8:30 am. Workshops run from 9:00-1:30. Bring a bag lunch or $5 for pizza and a drink. To receive 4 Pennsylvania Act 48 Hours or a NJ Professional Development Certificate: 1. "Sign In" for the appropriate state with John Bednar as you enter the building before the workshop begins. You must remain for the entire workshop to receive credit. 2. At the end of the workshop, before leaving: *Act 48 Recipients must hand in their PDE form *Both PA and NJ certificates will be ready for you to pick up 3. If the above procedures have not been meet and/or if the participant leaves the workshop early their name will be crossed off the "Sign In" sheet and will not receive a certificate.
DIRECTIONS TO WORKSHOPS: ABINGTON FRIENDS SCHOOL 575 Washington Lane, Jenkintown, PA 19046 From Philadelphia: -Take Broad Street North (Rt. 611) and bear right onto Old York Road. Turn right at the end of “the Pavilion” shopping center onto Washington Lane. Abington Friends is 1 ½ blocks on the right.
Using the Pennsylvania Turnpike: -from the EAST : Get off the PA Turnpike at the Willow Grove Exit Rt. 611 (Exit #343), go South on 611 (Old York Road) about 4-5 miles until you get to the Jenkintown shopping district (small shops right along sidewalk). The first green light is Greenwood-turn left. The first light on Greenwood is Washington Lane- turn left. -from the WEST : Exit the PA Turnpike at PA-309 (Exit #339), South. Follow 309 S for 5.4 miles. Take a slight right onto West Cheltenham Ave. Turn left onto Washington Lane. School is 2 miles down the road. -from the NORTH : take the Northeast Extension on the PA Turnpike South to I-276 East. Follow directions “from the East” above.
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VIA Train : to walk from the Jenkintown train station (about a mile): Take West Ave. toward Greenwood Ave. Turn right onto Greenwood Ave. Turn left onto Washington Lane.
MEMBERSHIP in AOSA and PAOSA* *AOSA and PAOSA do not have a unified membership American Orff Schulwerk Association (ASOA) National Member Benefits: *The Orff Echo- quarterly journal that contains articles, reviews, and materials of interest to OrffSchulwerk practitioners. *Reverberations- quarterly newsletter that includes information and news about AOSA’s members, projects, conferences, and activities of the National Board of Trustees. *Scholarships and Research Grants – see www.aosa.org for more information * The AOSA Video Library- Members may borrow recordings of master teachers *The Isabel McNeill Carley Library Collection- the definitive collection of materials related to OS in the USA *The Annual National Conference: November 14-17, 2012 in St. Louis, MO **Become a National (AOSA) Member at www.aosa.org
Philadelphia Area Orff-Schulwerk Association (PAOSA) Membership Benefits: *The Pentaton – local newsletter issued 3 times per year *PAOSA workshops- free admission to all 6 workshops *Chapter Directory – provides contact with other PAOSA members *complimentary admission to workshops for your administrator *complimentary admission to your invited guest for the Annual Chapter Sharing Workshop only **Become a Local (PAOSA) member using the form below: **2012-2013 PAOSA Membership Form** Name _________________________________________
Phone_________________
Address _______________________________________
Cell ___________________
City________________________________ State______
Zip Code_______________
School District ______________________________________________________________ Email address _______________________________________________________________ ___Check here to receive workshop reminder postcards (In addition to email reminders) Make checks payable to PAOSA _____first time member teacher $65 ($75 after July 31, 2012)
____Retired teacher $45 ($50 after July 31, 2012)
____ teacher $75 ($80 after July 31, 2012)
***Note *** workshops are free to students. They do
____I am a national member
NOT need to become local members. Spread the word!
___I am not a national member
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Mail to: Helene Furlong 610 Gilbert Road Ridely Park, PA 19078
email questions to: helefur@verizon.net
Members are encouraged to submit photos and articles for the PENTATON!! Member Spotlights, Workshop Reviews, Lesson Ideas, 5 minute-fillers, Technology Tips, workshop photos, or other ideas you would like to share.
Email submissions to Becky Burdett: beckyburdett@verizon.net
Publish YOUR business card-size ad in the PENTATON $10 per issue Web publishing, design, programming, graphics, maintenance, and hosting
$25 per publication year
www.cdswebinc.com or tsmith@cdwebinc.com
The Tone Matrix: Available:http://lan.andremichelle.com/tonematrix
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This simple clickable synthesizer is great for exploring high and low visual representations of pitches. If you have a Smartboard, your students, (or you, for that matter!) will love exploring different possibilities with this digital composing tool. Add pitch squares by clicking on the grid and press space to erase the page. Itâ&#x20AC;&#x2122;s very addicting!
The PENTATON c/o Becky Burdett 306 Lawrence Street Edwardsville, Pa 18704
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PAOSA is a chapter of the non-profit American Orff Schulwerk Association dedicated to the advancement of the music education through the techniques of Orff Schulwerk. This is a tri-annual publication of PAOSA keeping the members informed about activities, policies, and workshops.