Spring 2019

                         

 We are delighted to offer six 4 hour workshops each year geared to improve your overall musicianship and your skills in the area of music education and the Orff Approach.  

Please remember to pick up your attendance verification certificate after the workshop.

PRESIDENT’S MESSAGE

By Lisa Gilman, president

Welcome to the spring edition of the Broadsider!  I hope you’ve been enjoying and learning from our workshops from this year, and we’re in the process of putting together our workshop schedule for next year.  When we have our schedule set up, we will post it on our website at www.neaosa.org.  Keep your eyes open!

If you have not attended a national  AOSA conference, you may want to consider attending the next one in November in Salt Lake City, Utah.  There’s something about being surrounded by hundreds (sometimes thousands) of people from around the country and sharing our love for music.  Don’t be surprised if you’re in an elevator with other “Orffians,” and you suddenly break into Viva La Musica or a scene from Stomp. You can tell when you’re near a fellow Orff educator, because the joy emanates from them.

You might feel like you’re meeting celebrities when you turn and find yourself sitting next to Jo Ella Hug or you’re paired up with Chris Judah Lauder in a movement activity.  Recorders and ukuleles are heard throughout the halls, including the ukulele play-along with Rob Amchin, and I cannot begin to describe the shopping!  So many vendors offering discounts on barred and unpitched instruments; hundreds of books and resources to browse and ignite that teaching spark…you’ll need extra luggage for everything you will be purchasing.

Of course, this is nothing next to the sessions themselves.  No matter what you sign up for, you will attend some amazing sessions presented by enthusiastic up-and-comers, as well as seasoned Orff instructors. If you have not taken any levels, you can sign up for an introduction to Orff to learn more about the approach.  If the volumes seem overwhelming, you can learn how to break them down and use them to the best benefit for your classes.

The best part of all of these sessions is that you are always creating – melodically, rhythmically, kinesthetically, with your voice, your body, and the instruments around you. You collaborate with others and create final products that are beautiful and fun.  You didn’t know that you could create movement while playing a tubano, did you? What about being handed a miniature book with one word per page and interpreting the words with a triangle and claves?  What’s wonderful about creating is that there is no one right answer, and our students get to know that.  They don’t have to worry about making a mistake, because creating is getting to try out something new and deciding for themselves whether they like it.

Even better, NE/AOSA offers up to three $500 scholarships for those interested in attending a conference.  We also offer up to three $500 scholarships for anyone interested in taking a level, of which you can find offered throughout the country. You can learn more by checking out our website.

The board of NE/AOSA is always looking for people who want to get involved with their chapter.  Do you like writing? Perhaps you would be interested in being part of our Broadsider team.  Are you an early bird? Maybe you would like to come early to help set up the instruments for our workshops or help our hospitality group set up refreshments.  Would you be interested in being part of the board?  We are happy to talk with you more about the positions – we promise they are not scary!

Lisa

NE/AOSA’s 2019-2020 Workshop Series

September 21, 2019

October 26, 2019

To Be Determined

Ardith Collins

Clinician To Be Determined

With Joy and Confidence!

Details for this session are still being finalized

Ardith Collins teaches general music and string ensemble at Columbia Grammar and Preparatory School in Manhattan and is adjunct faculty at Montclair State University. Ardith completed Orff Levels at Villanova/University of the Arts, Kodály Levels at Westminster Choir College, and Beginner Level Dalcroze Eurhythmics at Anderson University. Ardith was the 2014 American Center for Elemental Music and Movement (ACEMM) Beacon Scholarship recipient, which she utilized to attend JaSeSoi ry World Village. She is an avid writer, folk dancer, rounds enthusiast, and performs with the Montclair State Balkan Ensemble. Ardith is president of the Northern New Jersey Orff chapter and serves on the AOSA Reverberations Board.

December 7, 2019

February, 2020

Kate Bright

To Be Determined

Around the World in 80 Beats

Clinician to be determined

Kate Bright is a music teacher at Lincoln Charter School in York, PA, where she teaches approximately 700 kindergarten through fifth grade students. She is past-president of the Greater Baltimore Area Orff Chapter and the Philadelphia Area Orff Chapter, and has presented at the American Orff-Schulwerk Association National Conference. In 2015, she received the Spotlight Award from the American Center for Elemental Music and Movement. She currently serves on the board of both ACEMM and the Harrisburg Area Contra Dance Association.

Details for this session are still being finalized

March, 2020

April 4, 2020

To Be Determined

Kris Olson

Clinician To Be Determined

The Moving Classroom

Details for this session are still being finalized

Kris Olson has taught music and movement for 29 years in private, public, rural and urban settings.  Kris has her master’s degree in Orff Schulwerk from the University of St. Thomas.  She studied dance at Zenon Dance Company while living in Minneapolis and now lives in Lubbock, TX, where she is a member of Flatlands Dance Theatre and Caprock Morris.  Kris has taught dance at Texas Tech University and currently teaches early childhood music and a "Musicality through Movement" class.

2019 AOSA Professional Development Conference

Orff Elevated

November 20-23, 2019

Salt Lake City, Utah

For More Information, Visit:

 http://aosa.org/professional-development/professional-development-conference/

Consider Joining AOSA

The New England Chapter is an affiliate of our parent organization, the American Orff-Schulwerk Association (AOSA).  AOSA is a national organization.  It provides professional development opportunities via their website and a National Conference and much more.

For More Information, Visit:

www.aosa.org

Did You Know?  

NE/AOSA offers up to three scholarship for our

chapter members do attend the National Conference!!

For More Information, Visit:

www.neaosa.org/aosa-conference-scholarship.html

Due Fall 2019

NE/AOSA Time Machine: Orff Level 1

Orff Level 1 Scholarship Reflection

Villanova University, July 2016

Eithne Stover

This summer I got my heart broken open. It flew into a million glittering pieces and lay shimmering in shock on the floor for all to see.  I had never seen my heart like this before….raw pulsating beauty, open, exposed, free. I looked at it, all of it scattered everywhere and realised, there is no way I can put it back together the way it was. There was no turning back, not now, not ever…

        I had anticipated this opportunity for what seems like an eternity, the opportunity to attend my first levels course. I don’t look like most level 1 students. The march of time has seen to that. Yet, here I was, beginning my fifth year of teaching general music in a public school setting and feeling old(er) but oh so new. Any self-consciousness I may have had was quickly put at ease by the incredibly gifted level 1 team at Villanova: pedagogy classes led by Beth Ann Hepburn with the assistance of Diana Hawley; movement led by Janie Vance with the assistance of our own Griff Gall; and recorder led by the amazing Nick Wild whom we all affectionately called “Unicorn Nick” as we quickly succumbed to his recorder magic. Right away these artful facilitators created a safe and risk-free space for our student cohort to bond in community, as well as reflect and grow in our craft and musicianship.  We did so much growing….

        Beth Ann expertly introduced us to the artful intricacies of arranging for the instrumentarium. Within a few days I was immersed in a world of expressive text, complementary rhythms, rhythmic cadences, ostinati layers of contrasting length, and color parts, with a new-found understanding of how to write for each instrument type. The years of attending chapter workshops and observing many presenters was starting to make sense. Elementaria by Gunild Keetman was one of our anchor texts and as I got deeper into the reading I experienced many moments of clarity and insight.  I embraced Keetman’s emphasis on active constructivist learning as she advised “Control and correction should come from the children.”[1] “What do you mean?” I thought, “Isn’t that my job?” But then I realized that our teacher-facilitators had been modelling this beautifully throughout the week by allowing us to explore rather than telling us what to do or not to do, keeping the student at the center of his/her musical experiences. One of my favorite quotes from Elementaria is by Thomas Werner and comes from the foreword “...working with Schulwerk does not entail the study and performance of melodies and songs with ready-made accompaniments, but rather a continuous ars-inveniendi, a spontaneous art of discovery with a hundred ways and a thousand possible structures.”[2] I felt the heart shift begin.

Towards the end of the first week I was sitting in recorder class when Nick said something that literally took my breath away. I gasped out loud! It was the simplest thing and yet the deepest thing.  He told us “every step in the process should be musically satisfying in itself.”  Of course it should! This is what had been modelled to me in class all week.  Yet, I had been missing this in my practice. Typically I find myself starting out a piece with great enthusiasm and big ideas for layering-in several parts, using a variety of media, while planning for it to unfold over several weeks. I begin with good intentions of honoring the process, but then it quickly gets boring either for me or the kids or most likely both and it sort of fizzles...and I get frustrated. My vision of what it could be rarely seems to match reality. But Nick’s comment jolted me awake. What if I stopped looking towards the end as the goal?  What if I planned to do less with a piece, while each of my little ‘perching points’ along the way were more musically satisfying in themselves so that they could absolutely and independently stand on their own? Hmmm….in that moment I realized an adjustment I needed to make to my practice. I needed to let go or get out of the way of my students’ creativity.  This is a huge shift in perspective for me.  It inspired me to go back and look more closely at my current material. Where do I need to insert a little more creativity or a sprinkling of something to make each step of the process feel complete in itself?  How can I let go of my goal-oriented process while creating clear parameters that are elastic enough to work for my students?  

At the end of the first week my heart exploded. It happened on the dance floor, right in front of Janie, Griff and my Orff community. Our task was simple…create movement in response to the music while also mirroring and building off the movement of others.  During that seven minute dance my body entered into deep musical communion with my Orff community and with itself. In the middle of stretching and growing and shrinking and twisting and mirroring, my soul expanded and my heart shook and popped out onto the floor for all to see. You see, it had been encased in a place of control and constraint, a very deep place. But that place was too small for it now as I found myself peeling back layers of my life and peacefully letting them fall away. My heart was free.

As I write this article I have seen most of my classes twice and they notice a change in me. We needed to make more room for our hearts so I removed the big risers from my room. We have space to create, explore, be free. Now we begin and end class with movement activities that both ground and stretch our classroom community. My students’ repertoire of movement ideas is already growing.  There are fewer behavior disruptions during this more “unstructured” class time as the students’ movements becoming more interesting and varied.  They are engaged, exploring more, taking more risks. My recorders are always within reach: sopranino, soprano, alto, tenor, as I discover the magic of playing for my students when I introduce a song or during their transitions. They are so attentive! They have already engaged in rhythmic improvisation and have devised new ways to experience some of the new activities I added to my teaching toolkit at Villanova.

I learned so much in my Level One class about process, and sequencing, and arranging, and movement and recorder and so much more, but in the end what I remember most was how it all came together in that moment of explosive freedom.  In that moment I felt deep in my body how much I need active engagement in the arts to help me survive this thing called life, and how much now, more than ever, I want it for our students. Our modern lives are lonely. Through the Schulwerk I found ways to nurture classroom community,  mutuality and respect and passion. Through the Schulwerk I found ways to cultivate a generosity of heart and spirit and acceptance of the present moment in our classrooms. So you see there is no turning back, there can’t be...not now, not ever.

Dear NE/AOSA,

Thank you for breaking my heart!

Love,  Eithne

See NE/AOSA’s Website for Information About Levels Scholarships and Courses


REVERBERATIONS: TEACHERS TEACHING TEACHERS

Below is an short excerpt from the April 2019 issue of Reverberations: Teachers Teaching Teachers. Other articles from this issue as well as past issues are only available to members of the American Orff-Schulwerk Association (AOSA) and may be accessed online at www.aosa.org.

Canon Corner - Happiness

Poem by A.A. Milne

Teaching suggestions by Karen Medley

Teaching Suggestions - By Karen Medley

Hand drums can create umbrellas for children to hold over their heads as they move in response to the teacher’s drumming. Can they keep the pulse in their feet and go for a walk through the music room, freezing whenever the teacher (or student drummer) stops? The teacher can say a line of the poem (or the entire poem) during each pause, so that children have the words in their minds before they see the words on the board. Consider having several hula-hoops scattered on the floor as puddles. When the drums stop, everyone has to put a foot into a “puddle” and freeze.

If you are a member of AOSA, please check out their website (www.aosa.org) to see the full article.

American Orff-Schulwerk Association

Professional Development

The workshop schedule is 9:00 – 1:30 with a 30 minute break, therefore after each workshop you will have 4 contact hours and will receive a 4 hour certificate of attendance. If you need to leave before 1:30 or arrive late and attend at least 2 hours of the workshop you will receive a 2 hour certificate. When you have accumulated 10 or more hours, you must develop a product based on what you have learned, i.e. a lesson plan, reflection paper, or smart board file. Once completed, you can log Professional Development Points into your Individual Professional Development Plan (IPDP).

You must pick up your certificate of attendance after each workshop.

2018-2019 NE/AOSA Board Members

President         Lisa Gilman                lkgpiano@gmail.com        

Vice President        Karin Puffer                pufferk@westboroughk12.org

Treasurer         David Ruggiero                Daverugg@aol.com

Secretary        Gina Depaoli                gmdmusician@gmail.com

Registrar        Karen Graves                kbaken@thenhcs.org

PD Manager***        Julia Sullivan                JsullivanJs@gmail.com

Broadsider         Jenn Dennett                orffymcorffface@gmail.com

Co-Editors        Jesse Francese                jfrancese@drregional.org

Historian        Eithne Stover                estover@email.medfield.net

Hospitality***        Eithne Stover                estover@email.medfield.net

        Susan Navien                susan@naviens.com

Equipment        Michael Jones                mej.coolrhythm@gmail.com

Managers        TJ Gansenberg                tjgansenberg@gmail.com

Members at Large        Pam Yanco                pamyanco@comcast.net

        Hallie Stone                hallie.stone@ymail.com

        Scott Tarantino                Scottt315@aol.com

        Nick Wild                nick.wild@comcast.net

***  Open NE/ASOA Board position for the upcoming 2019-2020 season.


[1] Gunild Keetman, Elementaria: First Acquaintance with Orff Schulwerk, (London: Schott & Co Ltd., 1974), 24

[2] Keetman, Elementaria, 13