Dalcroze Eurythmics, Orff Schulwerk, and Music Education in Wales

Darren Fellows investigates how two pedagogies commonly used for primary music teaching could support the new curriculum and national plan in Wales. @DFellowsMusic

Jeremy Miles MS, (Minister for Education and the Welsh Language), in his foreword to the National Plan for Music Education Wales 2022 states: “Nerth gwlad, ei gwybodaeth”, the strength of a nation is its knowledge.” The aim of attaining the knowledge he speaks of, comes from a more rounded and holistic approach to music education in Wales which comes in the form of the new 2022 National Curriculum and National Plan for Music Education.

With every new initiative comes an opportunity to consider what has been done before, and what we might choose to keep doing or discard in our new approach. So how might two of the most widely used pedagogies for music teaching fit with Wales' new approach?

A brief overview

The Orff-Schulwerk Method:

The composer Carl Orff and movement instructor Gunild Keetman developed an approach to build full musicianship of learners by combining music, movement, speech and drama Teachers of this particular pedagogy want to provide a positive experience of music and means for personal expression and place more emphasis on improvisation and creativity This is achieved through the use of playing, imitating and creating; the use of instruments to create deeper sounds; project based learning; language- rhythm connections, lots of movement and folk dancing. The Orff process of learning is best known for its use of classroom xylophones and non-pitched percussion instruments making it ideal for use in the classroom setting. There is a natural progression to this method – the voice comes first through singing songs, then body percussion (such as clapping, stomping and finger snaps) Finally instruments are introduced, which are viewed as an activity that is an extension of the body and what has been learnt before.

The Dalcroze Eurythmics Method:

In the late 19th century, Swiss composer and music teacher Emile Jaques-Dalcroze noticed a lack of expression in the performance of his students. He believed that to create a better musician his teaching method should focus on rhythmic movement (eurythmics), ear training and aural skills (to develop the inner musical ear) and improvisation – which helps learners sharpen spontaneous reactions and physical responses to the music Teachers of the Dalcroze Eurythmics method focus on space and movement to physically show and practice expression This can include: improvised movements; spatial awareness, rhythm syllables and live performances by the teacher The philosophy of the Dalcroze method is that children learn best when learning through multiple senses and Dalcroze believed that music should be taught through the tactile, kinaesthetic, aural and visual senses.

Comparison

These pedagogical methods share many common themes, are both systematic in design, use music authentically (inclusion of folk music), are based on incorporating a ‘mother-tongue’ approach (to rhythm, pitch and timbre) and encourage active engagement with the young learner

The Dacroze & Orff-Schulwerk methods are both similar classroom based approaches that share a focus on movement, expression, improvisation & aural skills They focus on methods of learning music which place less of an emphasis on formally reading music and place an emphasis on songs and learning music through engaging activities

As well as the similarities these learning methods share, there are also a number of differences in approach. The Orff-Schulwerk method combines all elements (music, movement, speech, drama) whilst the different approach of the Dalcroze Eurythmics method focuses mainly on expression through space and movement. In terms of exploring creativity, Orff-Schulwerk method concentrates on improvisation and creativity through music, dance and speech, whilst the Dalcroze Eurythmics approach focuses on training aural skills & musical literacy through music and movement.

Common Pedagogical Features

Music-making and musical communication at the heart of the learning experience

Sound before symbol

Integration of performing, listening, composing and improvising.

Use of both voices and instruments

Inclusion of music from a wide range of genres

The Dalcroze and Orff-Schulwerk methods of teaching music all place music making and musical communication at the heart of the learning experience In the OrffSchulwerk method this is achieved through the use of playing, imitating and creating and the use of instruments The Dalcroze-Eurythmics method uses a combination of music and movement for the young person to develop expression, listening skills and reactions to the music.

Both the Dalcroze and Orff methods also concentrate on sound before notation and offer a natural and holistic progression. Through singing, clapping, creating sounds on instruments and, speech and movement, these two methods introduce concepts aurally before notation is shown

The methods both offer an holistic approach to learning music Both methods integrate performing, listening, composing and improvising activities. Listening, improvising and composing music are at the heart of the OrffSchulwerk philosophy whist the Dalcroze Eurythmics method centres around combining movement and music to develop listening, improvising and selfexpression These methods both lend themselves to performance opportunities and create a well- rounded musician through an holistic approach

Both pedagogical approaches to teaching music aim to broaden the pupils’ musical and personal horizons through the inclusion of music of a wide range of genres, though folk music predominates

One area where there is a clear difference in pedagogical approach is that of the use of the voice combined with instruments This approach is best reflected in the Orff pedagogy which uses singing as a key method of internalisation, whereas the Dalcroze Method favours movement instead.

The Curriculum for Wales

The Curriculum for Wales centres around the ‘purposes’ of education and recognises that skills taught are transferable across the other subjects and gives the learner an opportunity to develop and grow. Here, music is grouped into the heading ‘expressive arts’ which encompasses music, dance, art and drama. This new curriculum is a perfect vehicle for both the Orff and Dalcroze methods to be adopted as they focus on music, movement, speech and drama

Musical listening is particularly wellserved by Dalcroze Eurythmics as this method involves live performance by the teacher, and to really think about, internalise, and respond to the music.

Improvisation is a big part of both the Dalcroze Eurythmics and Orff-Schulwerk pedagogies. The Orff method places great emphasis on improvisation and creativity which is achieved through the use of playing, imitating and creating music and sounds Dalcroze also saw the importance of improvisation and believed it helped learners sharpen spontaneous reactions and physical responses to the music This was achieved through music and improvised physical movements. This fits particularly well with the crosscurricular approach of the new Expressive Arts Curriculum, as it gives the opportunity to combine music and dance.

The use of rhythm is an element of both the Orff-Schulwerk pedagogy which uses language- rhythm connections, and the Dalcroze method which also uses rhythm syllables. Using language to connect and learn rhythms fits in with the cross-curricular themes of the new music curriculum as it can develop both music and language (whether English or Welsh) skills.

The Orff method teaches music in four stages: imitation, exploration, improvisation and finally composition. This is a good sequential method that introduces the art of composition very gradually and this step-by-step approach fits well with the new music curriculum where composing is an element.

National Plan for Music Education

The NPME contains different programmes of work some of which could be delivered through or supported by these pedagogies.

First Experiences (Primary & Special Schools) ensures “ every child and young person has an equal opportunity to play, sing, take part in and create music....providing an inspirational starting point for the enjoyment of music ” The First Experiences programme will provide opportunities to experience music-making and develop creative, transferable skills. Both the Dalcroze and Orff pedagogies fit well here as they involve playing instruments and singing as a starting point for the enjoyment of music The methods also promote creativity and music making to develop transferable skills.

Music Pathways (Secondary & Special Schools) “will provide children and young people with music-making activities to support their health and well-being.” Although the pedagogies do not explicitly set out to support health and well-being, they do in fact achieve this through their use of movement, dance and creative freedom allowing the learner opportunity for self-expression. They also support musical understanding and compositional skills so fit in with the ‘Music Pathways’ programme of work.

In conclusion, both of these pedagogies could have a valuable part to play in both the new Curriculum for Wales and the wider National Plan for Music Education.