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Carl Orff8217s philosophies in Music Education

ugh to be used again. If one eliminates the fact that this material was written many years ago, then there is nothing to stop that material from being any less legitimate in recent times. Orff's work in Music Education has been astounding. In the early 1920's, Orff worked with Mary Wigman. Wigman was a pupil of Emile Jaques-Dalcroze, another very influential name in Music Education. In fact, Orff's approach to music is very similar to Dalcroze's, but Orff focuses on education through percussion instruments. In 1924, Orff joined Dorthee Guenther and together they founded the Guenther School. The schools focus was coordinated teaching of gymnastics, dance, and music. Orff believed that music, movement, and speech are not separate entities in and of themselves, but that they form a unity that he called elemental music. When Orff refers to elemental music, he means the music, movement, or speech created by children that requires no special training, or in other words, the things that children do without really thinking about it. The basis for the Orff method is the belief that the historical development of music is reenacted in the life of every individual. This means that, when a child is young, he is similar to a primitive human being - at least musically - in that both are naive and rely primarily on natural rhythms and movement to make music. Although this theory has not been very widely accepted by most music educators, this is where the Orff method of teaching music begins. The Orff method was so impressive to the public that the Ministry of Culture recommended the adoption of the Guenther-Orff experiments in the elementary schools in Berlin. Unfortunately, the rise of Hitler and the outbreak of war stunted the growth of these plans. Finally, in 1948, the German broadcasting authorities urged Orff to resume his educational activities. The Orff approach, not unlike the Suzuki method, begins with the idea that music should be learned ...

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