Dance Shirley MckechnieDescribe the work and ideas of the Artist.

Dance Shirley MckechnieDescribe the work and ideas of the Artist.

Explain how you would teach said ideas to primary

students, as part of teaching the linked art strand. Chapters 4-8 of the required text

`Teaching The Arts: Early Childhood and Primary 3rd ed. (2019) will support understanding

on the Art form/teaching method for each art strand. Chapters 10-12 support wider

Arts teaching.

Method to approach the task:

Write about Shirley Mckechnie

Read widely on the artist

Choose a suitable age and stage to teach the ideas of the artist

Consider teaching methodologies to support an understanding of the artist/art form

Structure: Introduce the Artist, their ideas and work and any theories attached.

Clearly note how their work can be used to support your chosen age and stage to teach.

Justify relevant and suitable teaching activities and methods to develop a depth of knowledge

and demonstration of deep understanding.Clearly note how diverse learners (disability, low SES, ethnic minority, ATSI, ESL, G&T)

will be supported.

Reference widely (minimal 10 different academic references).

Recommendation:

50% of your essay should focus on the artist and their work/theories/ideas.

50% of your essay should focus on the teaching said artist ideas.

Using APA 7th Style referencing

EXAMPLE ESSAY- DO NOT USE

Music Carl Orff The United Nations Educational, Scientific and Cultural Organization (UNESCO) views Arts education as a universal human right for all children, and an important platform for enriching cognitive development and creative ability in the individual (Roy, Baker, & Hamilton, 2019, p. 7). A similar view to this was held by Carl Orff (1895-1982), who believed that music was one of the essential arts elements in the totality of a childs education (Goodkin, 2001). Orff became involved with music from a very young age, heavily influenced by his parents musical interest. He began lessons in organ, piano and violoncello at the age of five. From 1912-1914 Orff studied at the Munich Academy of Music, graduating to become a music conductor and composer. He released works such as Carmina Burana in 1937, which used dynamic percussive rhythms and characterised his enthusiasm of medieval poetry. (Johnson, 2006). In 1924 Orff began his career as a music educator in Munich. Alongside Dorothee Gnther, they founded the Gntherschule (Gnther School) for gymnastics and dance in a societal era that focused on the attainment of body movement (Haselbach, 2006). Orff was the director of music with his essential aim being for students to receive principal training in music alongside their gymnastics and dance training. His belief in movement and music having a direct link through rhythm was the underlying factor in this combination of the two artforms. Orff introduced xylophones, recorders and percussion instruments to the school, which were inclusive of the teachings he conducted. The creativity and design of the lessons delivered at Gntherschule forged the beginnings of what became known as The Schulwerk (The Schoolwork) (Haselbach, 2006). In 1944 an unfortunate result of World War II was the multiple bombing and complete destruction of Gntherschule. Throughout all of this, Orff never swayed from his love of music and continued to create operatic productions. In 1948, while working on the production of Antigone, the Bavarian Broadcasting Corporation asked Orff to write a collection of child-focused music programs for them to broadcast through the radio (Spitz, 2019). Since the destruction of Gntherschule, Orff had little opportunity to be involved in education and viewed this request favourably. He was excited to present the Schulwerk in a new manner whereby children could embrace it as their own, creating music and movement for themselves (Spitz, 2019). As radio prevented dance and movement to be viewed, Orff collaborated with Gunild Keetman, creating the series using rhythm and melody exercises, songs, instrumental pieces and speech. Keetman was one of the original and outstandingly talented female students from Gntherschule and had created numerous compositions for the instruments used there. (Haselbach, 2006). Due to the high popularity of the broadcasted series, more than 500 programs were aired. From 1950-1954 these musical ___________________________________________________________________________ 2/6 compositions were compiled and published by Schott in Mainz, creating fives volumes of Orff Schulwerk Music for Children. (Haselbach, 2006). The Orff Schulwerk Music for Children books were originally published in German, with many adaptations to various languages taking place since. The first English-language version was adapted by Arnold Walter (1902-1973) and Doreen Hall (b. 1921) from 1956- 1961 in Canada. While their edition created international interest, it was not a complete copy of the original German publications (Spitz, 2019). A British version was adapted in 1958- 1966 by Margaret Murray (1921-2015) which has since been utilised in many Englishspeaking countries as an integral resource for teaching music (Spitz, 2019). Before long, discredit was being placed on the Schulwerk books. They were not printed in a simple manner of lessons, but were more guided towards teachers developing progressive and creative exercises for students. Unfortunately, with many music educators misunderstanding Orffs material and delivering it in an inferior way, experts in the field of music and teaching began to question its worth. This motivated Orff, along with Eberhard Preussner, president of the Mozarteum Academy and personal friend, to create the Orff Institute at the University Mozarteum Salzburg in 1961, to provide quality training to teachers using the Orff Schulwerk approach (Haselbach, 2006). The institute originally directed its focus at the pedagogical work of primary school educators but quickly advanced to include early childhood education, older children and adults, and people with mental and physical disabilities. Orff personally held many classes and lectures at the institute during its earlier years. Teachers from all over the world, including Australia, have travelled to Salzburg to attend the training courses developed by Orff and his collaborators (Haselback, 2006). In 1976 the Australian National Council of Orff Schulwerk (ANCOS) was founded, to further promote Orff Schulwerk pedagogical teachings in the Australian education systems (Australian National Council of Orff Schulwerk Inc (ANCOS), n.d., About Us). Throughout the 1980s, Level-type workshops were offered in Australia, aimed at helping teachers to understand and implement the Orff approach into their classrooms. In the year 2000, a set of guidelines was adopted by ANCOS for the Australian Level Courses, which have now been registered and endorsed by the NSW National Education Standards Authority (NESA). This level of endorsement has led to a high increase in the number of teachers enrolling in the Orff Schulwerk Teacher Training Level Courses (Staveley & Richards, 2019). The Orff Schulwerk approach to music education endeavours for children to actively participate in the wonderous task of music-making through engaging and hands-on classroom activities. It involves a child-centred, developmental pedagogy when delivering ___________________________________________________________________________ 3/6 lessons based on elemental music. The lessons are designed to encourage all students, not just the musically inclined, to imitate, explore, improvise and create music of their own (Johnson, 2006). In the NSW Creative Arts K-6 Syllabus (Board of Studies NSW, 2006), listening, performing and organising sound are the key skills for students to learn and understand about music. These skills can be developed through the natural play and exploration that is encouraged in the holistic approach to teaching in the Orff Schulwerk method. It extends a freedom to both teachers and students in developing individual style when engaging in the learning of music and its many forms (Southcott & Cosaitis, 2012). Sequential learning of musical concepts, inclusive of pitch, tone colour, duration, dynamics and structure, is a central focus in the Overview of Learning music in the NSW Creative Arts K-6 Syllabus (Board of Studies NSW, 2006). Directing the learning at a stage 2 classroom, much of this can be captured in the Orff Schulwerk method through the use of body percussion and instrumental percussion, and opportunities to combine it with the use of their voice. With students listening and imitating, experimenting and creating different musical sounds, they will be learning while they play. Introducing some of the shorter musical compositions of Carl Orff, such as O Fortuna from Carmina Burana, will expose students to the theatrics of music and sound, while providing them with exquisite representations of the various musical concepts listed in the creative arts syllabus. Actively experimenting and reflecting on the music they hear and create provides students with the opportunity to become immersed in their learning, thus retaining more of the required cognitive skills and knowledge (Drgulin & Demenescu, 2011). The creativity of Orff Schulwerk is not restricted to students singing or playing an instrument. It expands to involve movement of the whole body, thereby incorporating physical motion into the learning of music (Southcott & Cosaitis, 2012). In the view of Orff, music is unified in its close relationship with movement and he firmly believes the two should be integrated together (Kova cs, 2018). MUS2.1, sings, plays and moves to a range of music (Board of Studies NSW, 2006, p. 58) mirrors this combination of learning. Some of these outcomes can be achieved by students in stage 2 by actively immersing themselves in hands-on activities such as autonomous choice of appropriate songs to sing, learning new lyrics in a different language, combining motion with music either through free-dancing or moving while playing a percussion instrument. Improvisation and creative learning are an essential part of Orff Schulwerk elemental music, to be taught and learnt in a way that supports the level of music ability held by each child and performed either as an individual or a cohesive group (Shamrock, 1997). Multiple and creative experiences in music can help to inspire children in continuing to develop their skills and knowledge. Having mental, physical and sensory engagement combined through the learning of singing, playing instruments and moving can ___________________________________________________________________________ 4/6 help strengthen a childs musical understanding and development (Southcott & Cosaitis, 2012). According to Orff, elemental music is not about music on its own. Its about language and movement being combined with music, and taught in a series of natural and unsophisticated ways that creates engaged learning, enjoyment and participation by everyone (Kova cs, 2018). To provide students with the ability to positively engage with music through the Orff Schulwerk approach reflects on the rationale outlined in the NSW Creative Arts K-6 Syllabus, that it offers students the opportunity for personal expression, enjoyment, creative action, imagination, emotional response, aesthetic pleasure and the creation of shared meanings (Board of Studies NSW, 2006, p. 6). Orff Schulwerk is aimed at capturing this form of rationale for all students. With the Australian primary school population being so diverse, music education needs to be delivered in a way that captures the involvement and imagination of everyone. Students who have English as a second language, or perhaps come from a low socio-economic background, or those with mental and physical disabilities, are able to harness the benefits of Orff Schulwerk teachings as it is inclusive of all students, regardless of culture, background, ability or beliefs (Drgulin & Demenescu, 2011). Activities could include the use of scarfs or hand-puppets for movement and expression, the humming of melodies instead of using words, music sounds through the use of body percussion or percussion instruments such as bells, shakers and cymbals. All groups and cultures should be recognised and counted as equal in a classroom (Roy, Baker, & Hamilton, 2019), therefore, learning a variety of cultural music from different eras and countries would also be inclusive in the activities. This could be done through the use of digital technology to further research the cultures and music that are exclusive to them, as well as conversing directly with students and outside visitors from different cultural backgrounds. To positively involve the self-expression and self-efficacy of children through a united musical connection is a process that will build productive relationships and high levels of motivation in learning (Drgulin & Demenescu, 2011). The magic of the Orff Schulwerk pedagogical approach to teaching is that is based on simple and uncomplicated scaffolding to ensure that all students, of all groups, cultures and abilities, can achieve joyful accomplishment in their learning of music (Drgulin & Demenescu, 2011). To explore music in a modern-day classroom enables students to enhance their learning in ways that were not possible before. The stages of learning in Orff Schulwerk were listening to and exploring movement and sound, imitating the basic development skills of body percussion, percussion instruments, singing and free-movement, improvising on those newly learnt skills and then creating their own music creations and reflecting on their work ___________________________________________________________________________ 5/6 (Shamrock, 1997). Keeping the focus on stage 2 students, through the use of digital technology, they are able to create and record their own music, explore multiple musical sounds at the press of a button, and research people such as Orff and his music through a simple google search. Music from multiple cultures can be explored and listened to by teachers and students, giving a wider scope to use when developing the cultural knowledge of students. While digital technology is all around us and can be used to accentuate their learning, keeping students authentically involved in the natural art of music through the organic use of listening to, imitating and creating music in its original form is just as important in their educational development. (Roy, Baker, & Hamilton, 2019). Body percussion can be used as an effective musical warm up, or creating new compositions with feet stomping, hand clapping, finger snapping and thigh patting. Rhythm, beat and tempo are the fundamental musical concepts captured through the use of body percussion, and its an instrument accessible to most students. Instrumental percussion can be used in many powerful or gentle ways to emphasize meaning and emotion in music. Rhythm, beat, tone, pitch and texture can all be found through students use of percussion. Beating, scraping, tapping and shaking. It is all available through the use of percussion instruments, forming a connection between the student and instrument through sound and movement. Orffs natural and progressive style of teaching music through the use of voice, movement, body percussion and instrumental percussion, is an engaging way to involve stage 2 students through rhythm and improvisation, using a multisensory concept that captures both mind and body. Listening, performing and organising sounds can all be accomplished through this holistic and all-inclusive approach to teaching.