lows them to use their imagination because, as we adults often forget, children have the most vivid imagination. After observing these actions, the teacher then relates them in some way to music and build musical concepts out of them. Unfortunately, many of the activities that adults scold their children for are the same ones that are the most suitable for expressing feelings, such as walking on tiptoe, hoping over imaginary obstacles, or spinning to the point of dizziness. These are actions that adults would react to as being 'fidgety' or 'squirmy' when, in fact, they are simply natural movements that children use to express themselves. The ideal Orff educator would encourage these behaviors and use them to teach musical concepts. The end goal of the Orff method is to develop a child's musical creativity. Where traditional Music Education dictates that a child must learn to read music right away in order to be a self-guided and independent musician, the Orff method focuses on the creative and expressive side of music. The instruments that are commonly associated with the Orff method distinguish it from other methods. Orff uses xylophones and various metalophones that use removable bars. This allows an educator to change bars for different modes or to remove unnecessary bars to keep from confusing young students. The Orff instruments are modeled after and are closely related to the Indonesian gamelans. These instruments allow great flexibility for children who have handicaps. For example, students with visual handicaps or hearing handicaps can hit just about anywhere on an Orff instrument set up to use a pentatonic scale so he can feel like he is being included. In conclusion, the Carl Orff has been a very influential person in the field of Music Education. He has demonstrated to us that the way to teach music to children is to let then go back to the basics, or elements, of speech, movement, and singing. He has reminded us how much ...
