What is Orff Schulwerk?

Orff Schulwerk is the central approach to learning in our music classroom. The best definition I have seen is by the great music educator Mary Shamrock who wrote, “Orff Schulwerk is a framework for creating musical learning experiences for children.” The essence of the matter is that it is a framework. It is not a method that prescribes a sequence of lessons, or provides a script for teaching. In my view, when things happen as they should, children operating within this framework teach themselves the concepts, the teacher providing the opportunity and materials.

One simple example I like is when I’m working with primary age students. We might be working with the rhythm of a nursery rhyme or other poem. At some point I ask “I wonder what this would sound like if it was being sung?” I then give the kids time for vocal improvisation. It takes some keen listening to sort out what they are doing, but what a great opportunity for assessment! I then ask if anyone would like to share their song. Generally all the hands go up, so we just go around the circle. The kids borrow from each other’s ideas. We then sing together and by this point the singing has coalesced into a class song that we can develop with accompaniments and/or movements.

For the most part the songs the children create are based on the materials I have taught them in class. At this level much of the singing ends up being based on a two note call or three note chant formula. Not long ago one student added the note “do” to finish her song, an idea adopted by all. This told me the class is ready to sing more advanced materials. But the great thing was I didn’t need to teach a song with “do” – they took care of it themselves by discovering it in a creative context without coaching. I think this is a good example of what creating a framework for musical learning experiences can look like.

There is structure in all of this. For example it is accepted Orff Schulwerk practice that one has the students provide the form or the content, but not both. In the above example the basic rhythm and formal structure is provide by the poem, the children the pitch materials. In an analogous activity given a melody the children might provide a poem, or alter the rhythm to create a variation. Several aspects are kept constant while one element is manipulated.

I like this type of teaching because it makes me a beginner every day. Just like the kids, some of the things I do succeed and some do not and together we work it out in either case. Relieved of the necessity of being “the pro” in every situation, the teacher can participate in and model learning. It’s not an approach for everyone – some folks, both teachers and students need something more proscribed. But for those of us with a creative bent it’s a fascinating experience.