ostinato winter 2014

Music for Children | Musique pour enfants

Celebrating 40 years! Célébrons 40 années!

Sing From Your HeartChantons toujours avec notre cœur

Tri-annual Publication of Carl Orff Canada

Volume 40, Number 2, Winter 2014

Music for Children - Musique pour enfants

Ostinato

TRAINING FOR THEBEST BY THE BEST.

Professional Development Fall 2013 – Spring 2014Enrich your teaching with inspiring courses taught by dedicated experts:• Fall: Orff Intro• Spring: Orff Level I• Summer: Orff Intro, Level I, II and Music From Five Continents

with Doug Goodkin• Artist Educator Professional Training• Early Childhood Music Education Training

Register online at rcmusic.caor call 416.408.2825

Check in with our website regularly for ongoing opportunities for you and your students.

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If undeliverable pleasereturn to:Ruth Nichols7 Regent Street, Amherst, NS B4H 3S6 [email protected]

Music for Children – Carl Orff Canada – Musique pour enfants

Founder and Patron/Fondatrice et patronne d’honneurDoreen Hall

Honorary Patrons/Patrons éméritesBramwell Tovey

Sr. Marcelle CorneilleJos Wuytack

Board of Directors/Conseil d’administration national 2012– 2014

Past-President/Présidente sortant de chargeCathy Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6

T (604) 946-5132, [email protected]

President/PrésidenteBeryl Peters, 500 Laidlaw Blvd., Winnipeg MB R3P 0K9

T (204) 474-1384, F (204) 945-6747, [email protected]

First Vice-President/Première vice-présidenteMarlene Hinz, 3551 Apple Grove, Regina, SK S4V 2R3


Second Vice-President/Deuxième vice-présidenteLiz Kristjanson, 54 Glenbrook Cres., Winnipeg MB R3T 4W4


Treasurer/TrésorièreEileen Stannard, 44 Second Ave., Ardrossan AB T8E 2A1


Membership Secretary/Secrétaire des adhésionsRuth Nichols, 7 Regent Street, Amherst, NS B4H 3S6


WebsiteJoanne Linden, 1647-126 Street, Edmonton AB T6W 1R8


Secretary/SecrétaireLaurel Nikolai, 11143-65 Avenue, Edmonton AB T6H 1W4

T: (780) 637-6808, [email protected]

Editor/Rédactrice en chefCatherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4

(T) 647-970-7080, weekends (613) 449-8924, [email protected]

Archivist/ArchivisteAnne Tipler, 4099 Wheelwright Cres. , Mississauga ON L5L 2X3


Francophone Member at Large/Correspondante francophone Denise Lapointe, 219 Forest,Pincourt, QC J7V 8E7

T (514) 453-8020, [email protected], [email protected]

i) to encourage the development throughout Canada of a holistic music education program for children based upon the pedagogical philosophy and approach of Carl Orff;

ii) toencourage,promoteandfulfillCarlOrffCanada'sobjectivesinall regions of Canada through a national organization and through regional chapters;

iii) to produce and distribute a national journal addressing issues relating to the Orff philosophy of music education;

iv) to organize and administer conferences and workshops focusing on quality music education for children; and

v) to cooperate with other music education organizations in order to further the objectives of the Corporation.

Carl Orff Canada Aims and ObjectivesMusic for Children - Carl Orff Canada - Musique pour enfants is a Corporation which operates with the following objectives:

Vol. 40, No. 2, Winter 2014 1

If undeliverable please return to: Ruth Nichols, 7 Regent Street, Amherst, NS B4H 3S6

OstinatoVolume 40, Number 2, Winter 2014

OSTINATOis the journal of Music for Children – Carl Orff Canada – Musique pour enfants. It is published three times yearly.

Closing dates for submission are:June 15st for the Fall IssueNovember 15th for the Winter IssueMarch 15th for the Spring Issue

Submissions should be sent to:Catherine WestEmail: [email protected]

Articles and letters to the editor express the viewpoints of the authors, and do not imply endorsement by Music for Children – Carl Orff Canada – Musique pour enfants.

Origins of songs and poems in this publication have been traced whenever possible, and copyright clearance obtained when necessary. If despite this, any copyright that has been infringed upon unwittingly, we apologize, and ask that we be informed in order that the necessary permissionmay be obtained.

OSTINATOest la revue de Music for Children – Carl Orff Canada – Musique pour enfants.

Elle paraît trois fois par année et les dates limites pour soumettre les textes sont :le 15 juin pour le numéro de l’automne, le 15 novembre pour le numéro de l’hiver,le 15 mars pour le numéro du printemps.

Tous les textes en français doivent être envoyés en format Word.doc or Word.rtf à Lucie Allyson à : [email protected] et en copie conforme à Catherine West à : [email protected]

Les opinions exprimées par les auteurs desarticles et les lettres envoyées à la rédaction ne reflètent pas nécessairement celles de Music for Children – Carl Orff Canada – Musique pour enfants et n’engagent que leur propre responsabilité.Si par mégarde certains droits d’auteur n’ont pasété respectés, nous vous prions de nous excuseret de nous en avertir pour que nous puissions régulariser la situation rapidement.

Publication agreement #40012987

www.orffcanada.ca

From the Editor / Mot de la rédactrice Catherine West 2

President’s Message / Mot de la présidente Beryl Peters 3

Interviews / Articles A Visit With Doreen Hall Joan Linklater 7 Interview avec Soeur Marcelle Corneille 9 Louise Morand et Françoise Grenier A Visit With Joan Sumberland Joan Linklater 11 Personal Reflections on Carl Orff Canada’s Fortieth Anniversary 15 Morna June Morrow

Chapter Histories / Historique des chapitres Nova Scotia/Maritime Chapter Charlotte Myers 16 Chapitre Orff-Québec M. T. Armand, G. Egglefield et F. Grenier 17 Ontario Chapter Suzanne Waller, Batya Levy and Marion Roy 19 Ottawa Chapter Evelyn Pike and Leslie Bricker 21 Waterloo-Wellington Chapter Mary-Jo Schropp 23 Manitoba Chapter Sean Fitzmaurice 25 Saskatchewan Chapter Allyson Reist 26 Alberta Chapter Kim Friesen Wiens 28 Calgary Chapter Bonnie Jaycock 29 Lethbridge Chapter Linda Langager 31 British Columbia Chapter Vanessa Fer 33

Book Reviews / Critiques de recueils et DVDs pédagogiques My Song Primer, My Recorder Primer, and 37 My Recorder Reader 1, 2, & 3 by Isabel McNeill Carley

Course Reports Orff-Schulwerk in Toronto Doreen Hall 38 Scholarship Winners 39 Course Reflections 40 Orff Arrives in PEI! Julie Grierson 43

Orff Schulwerk Courses / Formations Orff 45

Chapter Workshops / Ateliers de perfectionnement 48

National Executive Section / Section du conseil exécutif national Business Section 50

Take Note 51

National Conference 2014 52

Curriculum Corner / Boîte à idées Sing From Your Heart / Chantons toujours avec notre coeur 58 Robert de Frece

2 Ostinato

Catherine West

From the Editor / Mot de la rédactrice

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So here we are, forty years old on April 20 2014, older than many of our own members. Congratulations, Carl Orff Canada! As we move into our association’s middle age it is time to re-connect with our past, rejoice in our accomplishments and reimagine our future. We hope this issue of Ostinato will help you to do exactly that.

In this issue we have assembled contributions from every chapter. Looking at the old photos you may feel, as I do, an incredible sense of connection with our shared enterprise and a great sense of grati-tude for the vision and dedication of those early members. Without them, music education in Canada would look very different. Read more about those early days in Morna-June Morrow’s article, and the interviews with Doreen Hall and Sister Marcelle Corneille.

At the time when Carl Orff Canada was formed, teacher training had been in place already for many years, growing from a one-week course in 1957 to a full three-level, three-week long course at the University of Toronto. A 1962 conference and two-week course with Carl Orff and Gunild Keetman themselves put the Schulwerk on the North American map. By 1974 there was a committed and experienced community teaching the Orff way, and an association was the logical next step. Our Honorary Patron Doreen Hall was involved every step of the way; you will read more about her role in Joan Linklater’s interview in this issue.

The association grew to almost its present number of chapters quite quickly, organizing to meet the professional needs of local teacher groups. These needs included professional development (workshops, courses), peer mentoring, networking, performance opportunities, resource access, publication opportunities and more. School districts and ministries of education are currently fond of mandating such activities for teachers through PLCs (Professional Learning Communities), but the remarkable thing about the COC is that teachers created it and continue to support it because it meets their own needs in an intensely practical and direct way. They do so, often without professional credit and often at their own cost, just because of their own level of commitment, and because the personal takeaway is so good.

This April we hope that many of you will travel to Halifax for our national conference, Ensemble, to celebrate forty years of Canadian Orff in true Maritime style. This conference is sponsored by three chapters: Ottawa, Québec and Nova Scotia, under the leadership of conference chairs Kristy Fiegehen, Françoise Grenier and James Jackson. These three have worked tirelessly with their steering committee for several years to bring this conference together in a spectacular location, and to feature the best of the best. Read about the conference later in this issue, and do plan to be there if you possibly can be – an Orff conference in one of the most musical and beautiful parts of the country is something you should not miss!

Let us also take time this year to create a vision of where the next forty years should take us. Let’s imagine the future we really want for music education, then “backwards plan” to put the steps in place. What would that future look like, and would the Schulwerk look very different from today? Here is the start of my wish list,

and perhaps yours too: (1) high quality, creative, active, multi-media music education for every child in every school in Canada, taught by a trained music specialist; (2) repertoire in those music classes drawing from global cultures, with the appropriate level of resource and training support for the music teacher; (3) extensive use of traditional music in both official and aboriginal languages, again with the appropriate level of resources and training for the teacher; (4) music programs which pull from and reach into the community, participating with and for all kinds of groups, breaking down the damaging notion that you should only make music with people your own age; (5) the restoration of the singing period, a time for schools and/or communities to gather every week just to sing together.

Countries much poorer than Canada are able to achieve a consider-able number of these expectations – our children deserve no less. As I am writing this, the coverage of Nelson Mandela’s death is playing on the radio. The constant soundtrack is the haunting and powerful singing that comes “as naturally as leaves to a tree” to South Africans. We have much to envy in our society, but we should envy them that.

As you read this issue I hope you enjoy the trip down Memory Lane, and gather the inspiration to carry forward your own vision of the next forty. I hope to see you in Halifax!

Traduction par Denise LapointeCe sera en avril 2014 que nous célèbrerons notre 40e anniversaire, un nombre plus élevé que l’âge de certains de nos lecteurs. Félicita-tions Carl Orff Canada! Nous franchissons une nouvelle étape, celle de la quarantaine, une période réflexion, de bilan et de regard vers le futur. Nous souhaitons que cette édition d’Ostinato puisse vous guider à travers ces pensées.

Nous sommes fiers de vous présenter des articles et photos de chacun des chapitres du Canada. On pourra y voir la vision et la détermination des membres fondateurs, car sans ces derniers, l’éducation musicale au Canada serait très différente aujourd’hui. Nous vous encourageons à lire les entrevues avec Sœur Marcelle Corneille, Doreen Hall et les articles de Morna-June Morrow qui relatent les débuts de Carl Orff Canada.

Au moment où l’association Carl Orff Canada a été fondée, un programme de formation pédagogique musicale était déjà en place, les formations ont passé d’une durée d’une semaine en 1957 à l’Université de Toronto à un système de trois niveaux ayant chacun une durée de trois semaines. L’élément déclencheur de la popularité du Schulwerk en Amérique du Nord est une conférence et une formation de deux semaines données par Carl Orff et Gunild Keetman en 1962. Dès 1974, un comité fut formé de pédagogues d’expérience selon l’approche Orff et une association fut créée. Doreen Hall, notre patronne honoraire, a été impliquée dans toutes les étapes, et vous pourrez en apprendre davantage dans le billet de Joan Linklater.

La croissance de l’association fut rapide, son but étant de répondre aux besoins professionnels de ses différents chapitres. On parle ici de développement professionnel, d’ateliers, de formations, de cours, de mentorat, de réseautage, d’occasions de concerts,

Vol. 40, No. 2, Winter 2014 3

President’s Message / Mot de la présidenteBeryl Peters

Vous êtes francophone ?

Le chapitre Orff-Québec veut être en contact

avec vous !

Écrivez-nous à [email protected]

d’accès aux ressources, de publication et autres. Les ministères de l’Éducation sont friands de mandater de telles activités pour leurs enseignants, mais ce qui fait plaisir à entendre est que cette association a été formée par des enseignants et ceux-ci continuent de la faire progresser et l’endossent, car elle répond à leurs besoins d’une manière pratique et directe. Ces enseignants font ce travail bénévolement, car ils ont à cœur la formation musicale et le retour est aussi gratifiant que le temps donné.

Nous souhaitons que vous puissiez participer au congrès national Ensemble et fêter avec nous le 40e anniversaire à Halifax en avril 2014. Ce congrès est organisé par trois chapitres : Québec, Ottawa et Nouvelle-Écosse, sous la gouverne de Françoise Grenier, Kristy Fiegehen et James Jackson. Ces personnes ont travaillé d’arrache-pied depuis quelques années pour mener à terme un congrès magnifique dans les Maritimes afin de vous offrir la crème de la crème. Des détails du congrès sont présentés dans cette édition afin que vous puissiez planifier un voyage dans une des régions les plus musicales et pittoresque de notre pays. Un évènement à ne pas maquer!

Prenons le temps de visualiser les 40 prochaines années de Carl Orff Canada. Imaginons le futur que nous voulons pour l’éducation musicale et les étapes à gravir pour atteindre notre but. Quel aspect prendra-t-il? Le Schulwerk sera-t-il très différent de ce qu’il est aujourd’hui? Voici ma liste de désirs : (1) une éducation musicale pour chaque enfant, qui soit riche, de haute qualité, active dont le multimédia fait partie intégrante, mais surtout guidée par des ensei-gnants qualifiés; (2) un répertoire varié tiré de différentes cultures, ce qui inclut les ressources et formations pour les enseignants;

(3) l’utilisation de la musique traditionnelle dans les langues aborigènes et officielles, toujours avec ressources et en encadrant les enseignants avec des formations et ressources nécessaires; (4) de programmes musicaux en partenariat avec la communauté, en sortant de sentiers battus et faisant participer les gens de tous âges; (5) l’intégration de périodes pour que les écoles et les communautés se rassemblent une fois par semaine pour chanter ensemble.

Des pays beaucoup plus pauvres que le nôtre sont capables de réaliser ces attentes, nos enfants ne méritent pas moins. Au moment où j’écris ces lignes, j’entends à la radio un reportage sur le décès de Nelson Mandela et je remarque la présence d’un chant puissant qui nous hante et qui est aussi naturel pour les Sud-Africains que les « feuilles sur un arbre ». Nous avons beaucoup à envier dans notre société, mais nous devrions leur envier cela.

Nous espérons que ce regard en arrière vous permettra d’imaginer les prochains 40 ans de Carl Orff Canada. En espérant vous croiser à Halifax!

Happy 40th Anniversary Carl Orff Canada!I am delighted to bring President’s greetings and to invite you to join in celebrating 40 years of teaching and learning music the Orff way in Canada! There have been many exciting mile-stones and fascinating stories along the way and some of these are featured in this special edition of Ostinato. We are grateful to the many

contributors from chapters across Canada who submitted such rich material for this issue. We are also indebted to our extraordinary editor, Catherine West, for her work and talents to create this sig-nificant anniversary edition!

In 2008, the year that the American Orff-Schulwerk Association (AOSA) celebrated its 40th anniversary, Doug Goodkin shared this observation:

AOSA turns 40 this year. According to modern wisdom, this is the beginning of the midlife crisis, the moment when we look back down the ladder we’ve climbed and wonder if it’s up against the right wall. It’s a time to reflect, assess, hearken back to our roots and our beginnings so that we can look ahead to the future with renewed vision.

(Goodkin, 2008, p. 1)

In our 40th year, Carl Orff Canada (COC) is also taking time to reflect and assess. We are working to create spaces to vision the future of COC and we anticipate exciting meetings and dialogue at our upcoming 2014 national conference in Halifax, Nova Sco-tia. As part of our reflection and assessment, we look forward to two different publications that document COC achievements and milestones. We are immensely grateful for the enormous time com-mitment and efforts of two COC Past-Presidents, Joan Linklater and Morna-June Morrow, who have both dedicated this past year to collecting COC data, interviews, anecdotes, photos, and more, to include in two commemorative volumes that will be available in 2014. Joan Linklater will highlight these findings and photos in a digital presentation at the Ensemble conference banquet on April 12, 2014.

These reflection efforts help me answer Doug Goodkin’s challenge to “look back down the ladder we’ve climbed and wonder if it’s up against the right wall.” Certainly the structure of music educa-tion in Canada has been enriched by the work of Carl Orff Canada since Doreen Hall was first inspired by her studies with Orff and Keetman in Salzburg in 1954-1955. For the next several decades following her studies, Doreen Hall shared her passion for the Orff approach with Canadian and American educators and students and in the process, transformed music education in Canada and beyond.

The strong national network that Doreen Hall created led to the inaugural meeting of the Orff-Schulwerk Society of Canada in

4 Ostinato

Toronto on April 20, 1974. At that time, COC was made up of 82 charter members and Doreen Hall was elected Founding President. Forty years later, our membership has grown tenfold and represents a very significant body of music educators and leaders advocating for quality music education in provinces and territories across Canada!

During this time, COC has provided leadership for Canadian music educators in a variety of ways, including summer and spring Orff levels courses held at Universities and institutions from coast to coast. Orff courses for teachers date back 57 years when Doreen Hall taught the first Orff courses for teachers in North America at the Royal Conservatory of Music in Toronto. The intensive three course sequence had its roots in 1966 when Doreen Hall established a sequence of Introductory, Intermediate and Teachers Courses as Director of Orff Studies at the Royal Conservatory of Music in Toronto. Over the years, the COC National Executive in consultation with levels course directors has evergreened the Orff levels courses as part of ongoing work to ensure the courses remain relevant, reflect the essential ideas of Carl Orff, are based on sound musical theory and pedagogy, and meet the music education needs of all children (criteria based on Goodkin, 2008).

Our thriving COC endorsed teacher education programs support Carl Orff Canada’s stated aim and objective “to encourage the develop-ment throughout Canada of a holistic music education program for children based on the pedagogical philosophy and approach of Carl Orff” (COC website, 2013). The various means by which COC has successfully met its goal are recorded in part in these pages, and are evidence we have placed our ladder up against the right wall. The numbers of Orff levels graduates over the decades and the wealth of sustained quality Orff-based music programs across Canada indicate that the answer to Doug Goodkin’s question is an affirming “Yes!”

But what other criteria can we use to reflect on, assess and evaluate these last 40 years of Carl Orff Canada? Indicators of program success commonly include such factors as new and transformative learning, improved effectiveness and transfer of learning and in-struction, high levels of engagement and enjoyment, and improved quality of learning. The articles in this edition of Ostinato point to multiple ways that our COC association has met indicators of program success.

But while we appreciate the accomplishments and strengths of our organization and its members, we also need to consider what criteria we might use to assess and evaluate success for the next 40 years. Do we need to expand our aims and objectives? Are there new criteria we should use to evaluate quality Orff-based music education in Canada? Do we need new ladders? Do we need to build new walls and structures—or tear some down? What about new doorways or windows in? At the very least, we need to reflect, critically question, and consider the place of Orff-based music education within the larger landscape of education for the future.

We are not alone in questioning and visioning for the future. Our Orff families around the world are gathering to reflect, assess, and question. Carl Orff Canada First Vice-President, Marlene Hinz, represented COC at the Orff-Schulwerk Forum Salzburg, Conven-tion 2013 at the Carl Orff Institute in Salzburg, Germany this past July 4-7, 2013. The opening introduction to the Convention by Barbara Haselbach included these words:

We came together from many parts of the world, because we’re convinced that Carl Orff and Gunild Keetman developed a marvellous, timeless concept of humanistic education. But – times change. And we know what we are doing: According to the ideas of the Schulwerk, it has to be adapted to the current artistic, aesthetic, social and political conditions of a time decades after the years when Orff and Keetman brought into life the first version of their Schulwerk. Orff himself said that we need to adapt the Schulwerk to the times in which we live. How can we adapt the Schulwerk to the 21st century? We are all asking ourselves this question in many parts of the world. (Haselbach, 2013)

At the American Orff Schulwerk national conference in November, 2013, the sessions I attended that seemed to produce the most in-teresting dialogue were those that engaged session participants in discourse about the future of Orff-based music education as nested in the multi-layered larger system of education. In particular I enjoyed a session entitled, Orff Schulwerk: Reflections and Directions. The session began with this central question:

Orff Schulwerk has flourished in the United States for over fifty years, and it has spread around the world. Meanwhile, our world has changed with expanded knowledge in neuroscience, technological advances, communication systems, and population diversity. What changes should we make to continue to promote Orff Schulwerk in the international scene and in the USA?

Topics for this session included such phrases as “critical issues in Orff Schulwerk,” “diverse experiences,” “understanding diversity in our schools,” “culture in today’s classrooms,” “research,” “promise and possibility,” “neuroscience, technology, and music education,” and many more engaging themes.

As we ponder reflections and directions for Carl Orff Canada, what are our questions and topics? Let’s imagine that we held a national symposium that began:

Orff Schulwerk has flourished in Canada for forty years, and it has spread around the world. Meanwhile, our world has changed....What changes should we make?

What does Orff Schulwerk mean for COC in 2014? How do we locate Orff Schulwerk in the richly diverse populations and cultures of our contemporary Canadian classrooms? Who are the children that are identified in the COC aims and objectives statement? I was struck by the many sessions at the AOSA national conference that reflected the diversity and wealth of cultures and traditions of people throughout the world, from every continent from Afghanistan to Zimbabwe, both contemporary and classical, and indigenous and urban. Does Orff “school work” (Schulwerk) look and sound different in different Canadian schools and contexts?

Carl Orff certainly believed it should. He concluded a 1963 speech titled, Orff-Schulwerk: Past and Future with these instructions:

The structure of Schulwerk, however, is such that the existing material can be developed in many ways. In all modesty, but with emphasis, I would like to conclude with Schiller: I have done my part. Now do yours. (Orff, 1963)

Vol. 40, No. 2, Winter 2014 5

Traduction par Denise Lapointe

Heureux 40e anniversaire Carl Orff Canada!Je suis heureuse de vous transmettre mes salutations et de vous inviter à célébrer 40 ans d’enseignement et d’apprentissage de la musique selon la méthode Orff au Canada. Que d’histoires excitantes à se remémorer que nous partageons avec vous dans cette édition spéciale d’Ostinato! Nous sommes reconnaissants des chapitres canadiens pour leurs généreuses contributions. Nous sommes reconnaissants de notre éditrice Catherine West, pour son travail et son habileté à mettre en place cette édition d’anniversaire tout à fait exceptionnelle.

En 2008, l’Association Américaine Orff Schulwerk (AOSA) a célébré son 40e anniversaire, et Doug Goodkin a fait l’observation suivante à ce sujet : selon la sagesse moderne, ceci est le début de la crise de la « quarantaine », le moment où on regarde en bas de l’échelle que l’on vient de grimper pour se demander si elle est bien adossée au bon mur. C’est le moment de réfléchir, de rendre compte et de faire un bilan de nos racines et de nos débuts pour qu’on puisse se diriger vers le futur avec une nouvelle vision, (2008, p.1).

Notre 40e est l’occasion de faire de bilan et de réfléchir sur le futur de Carl Orff Canada. Nous attendons avec impatience les réunions et discussions lors du congrès national Ensemble à Hali-fax, Nouvelle-Écosse en avril 2014. Nous sommes fiers de vous présenter deux documents exclusifs qui témoignent du travail de COC. Nous remercions les présidentes sortantes de COC, Joan Linklater et Morna-June Morrow, pour leur implication dans cet assemblage d’informations, d’entrevues, d’anecdotes, de photos et plus encore. Un projet publié en deux volumes commémoratifs qui seront disponibles en 2014. Une présentation des grandes lignes sera présentée le 12 avril 2014 lors du banquet du congrès Ensemble.

Ce travail de réflexion m’a permis de répondre au défi de Doug Goodkin, « de regarder en bas de l’échelle que l’on vient de grimper pour voir si elle bien adossée au bon mur ». Nous sommes assurés que la structure de l’éducation musicale a été enrichie par le tra-vail de Carl Orff Canada depuis que Doreen Hall a étudié auprès de Keetman et Orff à Salzbourg en 1954-55. Pendant quelques décennies après son retour, Doreen Hall a continué de partager sa

As Carl Orff Canada celebrates its 40th anniversary, we will put our very best efforts into doing our part to ensure that the Orff approach remains strong, vibrant, and meaningful for the next forty years and more. We salute Doreen Hall and the passionate and dedicated Carl Orff Canada leaders who have so brilliantly led the way and created such a strong and enduring foundation and framework on which we continue to build. I hope you enjoy this special edition of Ostinato and our commemoration of the imagination, vision, and creative energies of Carl Orff Canada members over the past forty years.

ReferencesGoodkin, D. (2008). History, pedagogy and AOSA certification courses. Unpublished manuscript.

Haselbach, B. (2013). Opening speech to the Orff-Schulwerk Forum Salz-burg Convention 2013 at the Carl Orff Institute in Salzburg, July 4-7, 2013.

Orff, C. (1963). Orff-Schulwerk: Past and Future. Speech given at the opening of the Orff Institute in Salzburg October 25, 1963. http://www.vosa.org/index.php/about-orff

passion pour la méthode d’apprentissage de la musique selon Orff avec les enseignants canadiens et américains et ceci a eu comme résultat de transformer l’éducation musicale au Canada et ailleurs.

Le réseau national créé par Doreen Hall a vu le jour sous le nom de Orff-Shulwerk Society of Canada à Toronto le 20 avril 1974. À cette époque, COC était formé de 82 membres et Doreen Hall a été élue comme présidente fondatrice. Quarante ans plus tard, nous comptons 10 fois plus de membres et ceux-ci représentent un nombre significatif de pédagogues et chefs de file qui promeuvent la qualité de l’éducation musicale dans toutes les provinces et ter-ritoires du Canada!

Pendant ces années, COC a travaillé à enrichir les enseignants de plusieurs façons, dont les formations estivales et printanières dans les universités et autres institutions à travers le Canada.

Cela fait déjà 57 ans que les premières formations de niveaux eurent lieu, c’est Doreen Hall qui a enseigné le premier cours pour ensei-gnants de musique de l’Amérique du Nord au Conservatoire Royal de Toronto. Les formations intensives à trois niveaux ont débuté en 1966 lorsque Doreen Hall, alors directrice des études Orff du Conservatoire Royal de Toronto, a institué les niveaux Introduc-tion, Intermédiaire et Maîtres. Ces formations, de concert avec le conseil d’administration de COC et les professeurs des formations, continuent d’évoluer selon la pensée de Carl Orff et sont basées sur une formation solide en théorie musicale et en pédagogie tout en s’assurant qu’elles satisfassent les besoins éducationnels de chaque enfant (critère basé sur Goodkin, 2008).

Le but de COC est de continuer de former les spécialistes en mu-sique afin « d’encourager à travers le Canada le développement d’un programme holistique de la musique basé sur l’approche philosophique et pédagogique de Carl Orff (site Web COC 2013). Les moyens par lesquels COC a eu du succès à remplir son man-dat sont mentionnés dans cette revue et témoignent du fait que l’échelle est vraiment adossée au bon mur. Le nombre de gradués lors des formations de niveaux ces derniers 40 ans et la richesse des programmes de musique nous indiquent que la réponse à Doug Goodkin est sans aucun doute “oui!”.

Y a-t-il d’autres critères que nous pouvons utiliser pour évaluer les 40 ans de COC? Les indicateurs de succès des différents pro-grammes de musique pointent vers des facteurs d’apprentissage qui évoluent, qui s’améliorent et qui permettent un transfert entre l’apprentissage et l’instruction, de hauts niveaux d’engagement, de plaisir et de qualité d’apprentissage. Les articles de cette revue mettent en relief les différentes façons que l’association COC a utilisées avec succès.

Bien que l’on puisse apprécier les accomplissements et les forces de notre organisme et de ses membres, nous avons aussi besoin de considérer le choix de critères à utiliser pour évaluer le succès des prochains 40 ans. Devons-nous étendre nos buts et objectifs? Quels sont les critères pour évaluer la qualité de l’éducation musicale au Canada? A-t-on besoin de nouvelles échelles, de nouveaux murs et structures, ou d’en détruire quelques-uns? A-t-on pensé à installer des fenêtres ou des passages? Il faudra tout au moins, penser, réfléchir et critiquer la place de la musique selon Orff à l’intérieur d’une vision élargie de l’éducation dans le futur.

Nous ne sommes pas seuls à nous questionner sur une vision du futur. Toutes les familles Orff à travers le monde se sont ren-

6 Ostinato

Carl Orff Canada National Banner

contrées lors du forum Orff-Schulwerk tenu à Salzbourg du 4 au 7 juillet 2013. Marlene Hinz, première vice-présidente, a assisté à titre de représentante de COC. Le discours d’ouverture de Barbara Haselbach commençait par ces paroles: « Nous sommes venus des quatre coins du monde, car nous sommes convaincus que Carl Orff et Gunild Keetman ont développé un concept qui tient le temps dans une éducation humaniste. Mais, les temps changent et nous savons ce que faisons : selon les idées du Schulwerk, l’éducation doit s’adapter aux nouveaux courants artistiques, sociaux et politiques même quelques décennies après la première version du travail de Carl Orff et de Keetman. Orff lui-même disait que nous devons adapter le Schulwerk au temps dans lequel nous vivons ».

Comment pouvons-nous adapter le Schulwerk au 21e siècle? Cette question revient partout dans le monde, (Haselbach, 2013).

Lors du Congrès national américain, auquel j’ai assisté en novem-bre 2013, il y a eu de nombreuses discussions très intéressantes sur l’avenir de l’éducation musicale selon Orff dans le système général de l’éducation. J’ai apprécié particulièrement un atelier intitulé Orff-Schulwerk; Reflections and Directions, lequel a commencé par cette question : « Orff Schulwerk a évolué aux États-Unis les derniers 50 ans, le programme a fait des petits partout à travers le monde. Pendant ce temps, notre monde a changé, les connaissances se sont développées dans les domaines de neuroscience, de technologie, de communication et de diversité populaire. Quels changements devrions-nous apporter pour promouvoir le travail Orff Schulwerk sur la scène internationale et aux États-Unis? »

Les sujets de cet atelier comprenaient de pensées telles “les problèmes critiques de l’Orff-Schulwerk”, “la diversité des expériences”, “comprendre la diversité dans nos écoles”, “la culture dans la classe d’aujourd’hui”, “la promesse et la possibilité”, “la neuroscience, la technologie et l’éducation musicale”, et autres sujets tout aussi préoccupants.

Tout en réfléchissant sur les directions que pourraient prendre COC, quels sont nos réelles questions et sujets? Imaginons un instant que nous sommes dans un symposium national qui commence comme ceci : Orff Schulwerk a fleuri au Canada pendant 40 ans et il s’est propagé à travers le monde. Pendant ce temps, notre monde a changé… quelles modifications doit-on apporter?

Quel est le sens du Orff Schulwerk en 2014? Quelle est sa place à l’intérieur de la diversité culturelle dans le monde contemporain de nos classes de musique? Qui sont les enfants visés par les buts et objectifs de COC? J’ai été frappée par le nombre d’ateliers lors du Congrès américain qui se penchaient justement sur la richesse de la diversité culturelle ainsi que des traditions de chaque peuple, de chaque continent, que nous soyons en Afghanistan ou au Zimbabwe, dans un contexte tant contemporain que classique, indigène ou urbain. Est-ce que le Orff Schulwerk diffère selon le contexte des écoles canadiennes?

Carl Orff affirmait que oui, il se devait d’être différent. En 1963, il tenait ces propos en guise d’instruction et de conclusion d’un discours intitulé Orff Schulwerk : passé et futur : “La structure du Orff Schulwerk est telle qu’elle peut être développée de plusieurs façons. En toute modestie et avec importance, j’aimerais conclure avec une citation de Schiller : j’ai fait ma part, maintenant faites la vôtre” (Orff 1963).

Nous profitons du 40e anniversaire pour faire notre part en y mettant les efforts nécessaires pour que l’approche musicale selon Orff demeure vivante, vibrante, forte et signifiante pour les prochains 40 ans et plus encore. Nous saluons Doreen Hall ainsi que tous les pédagogues qui, animés par leur passion et dévouement, ont pavé le chemin pour créer une fondation solide sur laquelle nous continuons de bâtir. J’espère que vous aimerez cette édition toute spéciale d’Ostinato, qui met en valeur une commémoration de l’imagination, de la vision et de la puissance de l’énergie créative de Carl Orff Canada depuis les derniers 40 ans.

ReferencesGoodkin, D. (2008). History, pedagogy and AOSA certification courses. Manuscrit non édité.

Haselbach, B. (2013). Discours d’ouverture du Orff-Schulwerk Forum Salzburg Convention 2013 à l’Institut Carl Orff à Salzbourg, Autriche, 4–7 juillet 2013.

Orff, C. (1963). Orff-Schulwerk: Past and Future. Discours d’ouverture de l’Institut Orff à Salzbourg, 25 octobre 1963. www.vosa.org/index.php/about-orff

Vol. 40, No. 2, Winter 2014 7

On Tuesday, August 13, 2013 I had the privilege of visiting Doreen Hall at her apartment in Briton House on Mount Pleasant Road in Toronto. At 92 years of age, Miss Hall was a charming and gracious hostess, as we ate lunch and chatted.

Doreen Hall Receives An InvitationDoreen told me that many years ago, Dr. Arnold Walter, the direc-tor of the Faculty of Music at the University of Toronto asked her if she would be interested in going to Salzburg to learn about the work Carl Orff and Gunild Keetman were doing in music education. Little did she know that her decision to accept his invitation would affect the development of music education in North America in a very powerful way. It was sixty years ago on May 10, 1954 that Doreen left Canada to study with Carl Orff and Gunild Keetman in Salzburg. As she says, “It’s hard to imagine that so much has happened and so many years have passed.”

When talking about her time in Salzburg, Doreen emphasized what a fine person Gunild Keetman was and how privileged she was to work with her. Doreen also recalled that while in Salzburg she knew she would need English teaching material to use when she returned home and so she completed her English edition of volume I of the Schulwerk before coming back to Canada.

Doreen Hall Returns to CanadaUpon her return to Canada, she began teaching classes of children between six and twelve years of age at the Royal Conservatory of Music in Toronto. Keith Bissell, Chief Supervisor of Music in the Scarborough Board of Education attended a demonstration of these classes and was so impressed that he invited Doreen to present in-service sessions for the music teachers in the Scarborough Board of Education. In 1957 Doreen presented a series of Orff teacher training sessions at the Royal Conservatory in Toronto and in 1962 the first International Conference on Elementary Music Education – Orff Schulwerk was held in Toronto. At this conference Doreen introduced the Schulwerk to 167 eager participants from all over North America including many delegates from United States who became the pioneers of the American Orff Schulwerk Association.

Doreen Hall: The Founder of Carl Orff CanadaDuring the years following the International Conference Doreen worked energetically to connect with music educators across Can-ada and thus on April 20, 1974 with 82 members and Doreen Hall as president, The Orff Schulwerk Society of Canada was founded. Since that time the organization has been renamed Music for Chil-dren – Carl Orff Canada-Musique pour enfants and has grown to approximately 800 members in 11 chapters across Canada.

Doreen Hall’s Message: The Importance of QualityAs our visit came to an end, I asked Doreen if she had a message for music educators today. These are her words to us as we carry her work into the future;

We must always strive for quality vocal sound. In order to achieve this we must find outstanding teacher trainers who understand what quality vocal sound is and how to achieve this with children.

Joan Linklater is a Past President of Carl Orff Canada and the Director of Orff Teacher Training at the University of Manitoba.

A Visit with Doreen HallJoan Linklater

August, 2013: Doreen Hall holding the photo taken in 1955 of herself with Gunild Keetman and Carl Orff.

You can find up-to-date information about Orff workshops and Levels courses across Canada on www.orffcanada.ca.

Did You Know?

8 Ostinato

An undated advertisement for Doreen Hall’s Orff classes at the Royal Conservatory

Vol. 40, No. 2, Winter 2014 9

SM : Sœur Marcelle MA : Monique Armand LM : Louise Morand

SM : On ne peut célébrer un Jubilé quarantenaire sans un retour sur le passé, tout comme on ne peut admirer une riche floraison sans re-voir avec émotion le parterre initial avec ses petites pousses pleines de promesses.

Mon premier contact avec la pédagogie Orff coïncide avec le premier cours donné par Doreen Hall à Toronto en 1957. C’était à son retour d’Autriche où elle s’était familiarisée avec les expériences musicales et pédagogiques de Carl

Orff, Dorothee Gunther, Maya Lex et Gunild Keetman. Cette année-là, à l’Institut Pédagogique de la Congrégation de Notre-Dame, on me demandait d’ouvrir une section musique pour la formation des jardinières d’enfants de niveau maternelle. J’étais alors enseignante à l’École Normale de Musique, une section de l’Institut Pédagogique sanctionnée par l’Université de Montréal.

Heureuse coïncidence, je reçois l’annonce d’un cours que donnera Madame Doreen Hall à Toronto durant l’été sur une nouvelle façon stimulante de concevoir l’éducation musicale. Je suis donc allée suivre le cours de Doreen avec le plus grand intérêt. J’étais accompagnée de S. Jeanne Bossé, professeure de musique au Japon.

À cette époque au Québec, dans un climat social en pleine évolu-tion, le courant des idées pédagogiques était en ébullition. C’était la riche période des recherches tenant compte des avancées de la philosophie, de la psychologie et des sciences connexes. Des Écoles de pensée faisaient leur apparition en Europe. Dans cet esprit, les expériences novatrices de Carl Orff et de son équipe enrichissent grandement le décor. L’alliance de la musique, de la danse et du mouvement dans une nouvelle optique d’improvisation et de créa-tivité constitue un nouveau volet de l’éducation musicale suivant le filon des idées pédagogiques amorcées par le Suisse Émile Jaques Dalcroze dans les années 20.

En plus de cette fusion des moyens d’expression musicale, Carl Orff développe un nouveau concept relativement à des instruments non conventionnels, c’est-à-dire, des instruments que des non musiciens peuvent manipuler, des instruments pouvant s’adapter à différents types de mains, à divers âges, des instruments beaucoup moins dispendieux que des instruments d’orchestre, des instruments répon-dant à une écriture non conventionnelle tels les ostinati rythmiques, mélodiques, harmoniques. Cette nouvelle palette orchestrale s’est d’ailleurs beaucoup enrichie au cours des ans et, de nos jours, on constate qu’elle se greffe harmonieusement à l’orchestre traditionnel. Mais avant tout, il ne faut surtout pas perdre de vue l’idée fonda-

mentale que sous-tend ce courant pédagogique : le mouvement devient musique, la musique devient mouvement, la musique est vécue corporellement et sensoriellement. On peut se l’imaginer : il y a une grande différence entre la musique qui accompagne le mouve-ment et le mouvement qui accompagne la musique. Le sens du mot « musique » s’élargit et s’ouvre à une plus grande interprétation. MA. Au tout début, les expériences de Carl Orff et de son équipe s’adressaient particulièrement à des adolescents et à des adultes. Comment avez-vous procédé avec les jeunes enfants de l’Institut Pédagogique?

SM. De retour à l’Institut Pédagogique après ce cours dynamisant avec Doreen Hall, la tête pleine d’idées et le cœur enthousiaste, il s’agissait d’organiser un cours pour les petits de quatre et cinq ans : un cours pour les futurs enseignantes et assurer l’organisation matérielle avec des instruments Orff. Accompagnée par la directrice de la formation pour l’enseignement aux maternelles, je donc allée à New-York acheter les instruments Orff du Studio 49 recommandés par Doreen Hall. Puis, j’ai tenté d’adapter les idées et les principes appris avec Doreen au répertoire français pour les tout-petits : un répertoire auquel se sont greffées la créativité et l’improvisation. Les futures enseignantes observaient les réactions des enfants. Un cours d’échanges suivait ainsi que la préparation du prochain cours. C’est ainsi que ces enseignantes non musiciennes se sont familiarisées avec l’Instrumentarium Orff durant plusieurs années.

À cette époque, je n’avais au-cun lien avec mouvement Orff anglophone canadien. J’ignorais pratiquement tout de ses activités. Cependant, j’avais entendu parler de l’excellent travail pédagogique que réalisaient Joan Sumberland et Keith Bissell dans le secteur scolaire de Scarborough en Ontario. Par ail-leurs, le concept pédagogique Orff m’intéressait vivement et me sem-blait être l’une des réponses adé-quates à ce que nous recherchions au nouveau ministère de l’Éducation à Québec.

Suite au Rapport Parent de 1964, nous voulions favoriser l’introduction de l’éducation musicale collective à

tous les niveaux dans les écoles publiques du Québec. Ma position à la direction de l’École Normale de Musique a favorisé l’essor que j’ai pu donner à la pédagogie Orff et aux méthodes actives. C’est ainsi que dès 1970, à la recherche d’animateurs pédagogiques de langue française, j’ai invité M. Jos Wuytack de Belgique à venir animer une session d’été. Une heureuse initiative qui s’est avérée très positive. Il m’est bon de souligner qu’au fil des ans, M. Wuy-tack et d’autres spécialistes Orff d’Europe et des États-Unis ont jeté des fondations solides et favorisé l’essor du mouvement Orff au Québec. En 1976, la section universitaire de l’École Normale

Interview avec Sœur Marcelle Corneille Maison des sœurs de la Congrégation Notre-Dame, Dorval, le 17 août 2013Louise Morand et Françoise Grenier

S. Marcelle C.N.D.

S. Marcelle Corneille à ses débuts Orff

10 Ostinato

de Musique a été intégrée à l’Université du Québec à Montréal. La pédagogie Orff a connu un terreau fertile et propice à la compétence de nos enseignants en musique.

En 1978, lors d’un appel téléphonique surprise, Doreen Hall m’informe qu’elle a entendu dire que nous travaillions selon Orff avec des enfants, que nous donnions des cours et que nous orga-nisions des sessions avec des spécialistes invités. On lui avait parlé de l’enthousiasme suscité par le passage de John Wilmouth. De plus, elle était en contact avec M. Wuytack qui venait régulièrement animer des sessions à Toronto. De mon côté, je n’étais pas au courant de l’existence de l’association Orff du Canada. Doreen m’a alors confié qu’avec tout ce qu’elle entendait dire de ce qui se faisait ici, l’heure était venue de fonder un Chapitre francophone au Québec. De plus, le nom donné à l’Association serait ainsi complété : Music for Children - Carl Orff Canada - Musique pour enfants. Ainsi, le Chapitre du Québec a été officialisé le 13 décembre 1980 en prés-ence de Doreen Hall, de Joan Sumberland et de quelques invités au Pavillon de Musique de l’Université du Québec à Montréal. Au cours de la cérémonie, on procéda à l’élection du premier conseil d’administration.

Doreen s’intéressait beaucoup à toutes nos activités. Un jour, elle me dit que pour lancer notre Chapitre, ce serait une très bonne chose d’organiser le prochain congrès de Carl Orff Canada, un premier congrès Orff francophone. C’était tout un défi que nous avons relevé avec enthousiasme en 1984. Le succès de ce Congrès a marqué une étape dans l’évolution de la pédagogie Orff au Québec ainsi que dans les relations avec la communauté Orff anglophone et une prise de conscience des ressources disponibles.

LM. Avec un peu de recul, il est normal de s’interroger sur l’apport des pédagogies nouvelles telles que Orff, Kodaly, Martenot, Dal-croze, notamment.

SM. La réponse jaillit spontanément : une saine compréhension de la musique, une prise de conscience des diverses facultés musicales de l’enfant, une façon différente d’aborder l’éducation musicale en tenant compte des étapes de l’évolution psychologique de l’enfant. Le « faire » prime sur le « parler » de musique. L’éveil musical doit précéder la formation musicale. Ces pédagogies se réfèrent à une pensée universelle qui continue de prendre de l’ampleur et répond

aux aspects primordiaux de la formation de l’enfant. Je pense entre autres à la sensorialité, au mouvement et à la créativité.

Suite à ces pistes de réflexion, qu’il me soit permis de féliciter et de remercier les pionnières de l’association nationale Music for Children - Carl Orff Canada - Musique pour enfants et par-ticulièrement Doreen Hall, fondatrice toujours soucieuse de qualité et de beauté ainsi que ceux et celles qui ont soutenu l’Association au fil des ans. Je souhaite, pour chacun des Chap-itres, à l’occasion de ce Jubilé, une généreuse relève de musiciens éducateurs zélés, convaincus, engagés au service d’une éduca-tion musicale bien comprise, facteur de PAIX et d’HARMONIE.

Révision par Marcelle Corneille, C.N.D. Pr. Em. UQÀM. 23 octobre 2013

S. Marcelle et France Bourque Moreau/bannière de la fondation du chapitre1980

Sr. Marcelle et Doreen Hall

Vol. 40, No. 2, Winter 2014 11

On August 13, 2013 I had the pleasure of visiting Joan Sumberland in her beautiful home on Dale Avenue in Toronto.

The last time I had seen Joan was in April of 2005 when she came to the national executive meetings that were taking place at the University of Toronto. Leslie Bricker (COC president 2002-2004) had asked Joan to help with the Historical Handbook, an extremely valuable document that contains a summary of the proceedings of the organization. As a result, Joan spent many hours researching, sorting, developing and restoring Carl Orff Canada’s historical handbook and at the meeting in April 2005 she handed over the meticulously revised and updated document. This is the kind of careful attention to detail and willingness to contribute to Orff pedagogy in Canada that Joan has demonstrated since she first became acquainted with the Orff approach.

In 1958, Keith Bissell, Chief Supervisor of Music in the Scarborough Board of Education asked Doreen Hall to present a series of Orff workshops for the teachers in Scarborough. It was Joan’s first year in the Music Department and she attended these workshops, thus beginning her involvement with the Orff approach.

Joan’s outstanding contributions to Orff pedagogy continued throughout her career as a music educator. In 1963 she directed three programs featuring students from Scarborough Schools that were broadcast on CBC and won the Ohio State Award for Educational Broadcasting and later she directed a children’s performance of Carl Orff’s The Christmas Story which won a Spanish broadcasting award. Other projects included preparing children’s performing groups for National Conferences in Halifax, Winnipeg, and Toronto, teaching at the University of Toronto teacher training courses, helping to

A Visit with Joan SumberlandJoan Linklater

plan the first National Conference in 1975 and chairing the National Conference in 1981. She also chaired the committee that established Carl Orff Canada’s initial Guidelines for Levels Courses.

In 1986 Carl Orff Canada bestowed a well-deserved Honorary Life Membership on Joan Sumberland, the first teacher in Canada to apply the Orff approach in a public school setting.

During our conversation in August, Joan modestly turned my attention away from herself by saying, “If it hadn’t been for Keith Bissell and his foresight, Orff would never have been so strong in our schools.” It is clear that we can say exactly the same thing about Joan Sumberland.

When I asked her if she had some advice for future music educa-tors, she took some time to reflect and thoughtfully responded, “My advice for future music educators is to always strive for the best.”

Thank you Joan, for your extraordinary contributions to Orff peda-gogy. We will indeed try to “strive for the best.”

Joan Linklater is a Past President of Carl Orff Canada and the Director of Orff Teacher Training at the University of Manitoba.

Coalition for Music Education in CanadaThis organization provides advocacy materials, conducts research, lobbies governments, provides speakers for events, and sponsors Music Monday annually (the first Monday in May). Visit the website at www.weallneed-music.com.

Coalition pour l’éducation musicale au CanadaCet organisme fournit des outils de promotion, mène des recherches, fait du lobbying auprès des gouverne-ments, fournit des conférenciers lors d’événements et soutien annuelle-ment « Le lundi de la musique », premier lundi de mai. Visitez le site de la Coalition à www.weallneed-music.com.

12 Ostinato

Personal Reflections on Carl Orff Canada’s Fortieth AnniversaryMorna-June Morrow, Honorary Life MemberFounding President of the Manitoba Orff ChapterPrologueWhen Editor Catherine West, asked if I would write an article for Ostinato, a flood of ideas started running through my mind of the many memories I have been blessed to experience over the decades. I know that Carl Orff Canada is to celebrate its 40th anniversary in 2014, but the little Orff seed was actually planted 59 years ago when I was studying violin and organ at the Royal Conservatory of Music Summer School in Toronto. I distinctly remember seeing a course advertised as “Music For Children” with the picture of the instructor, Miss Doreen Hall. I was disappointed that, although I was still a child, I was too old to enroll in that course. Little did I realize how involved I would become with that instructor in my future career as a professional music educator!

The Teaching Career BeginsI began teaching in the East Kildonan School District in Septem-ber 1963. The sister of East Kildonan Music Supervisor, Gertrude Lowery, had been to Toronto in 1962 when Doreen Hall arranged to have Carl Orff, Gunild Keetman, Barbara Haselbach, Wilhelm Keller and Lotte Flach from the Mozarteum in Salzburg, Austria, come to Toronto to provide the stimulus to help the Schulwerk get established in North America. Gertrude’s sister brought back a xylophone, glockenspiel and metallophone and these three in-struments were used in a workshop which I attended in the fall of 1963. Up until that time, the name Carl Orff meant only one thing to me – Carmina Burana.

I was hired as an elementary music specialist in Fort Garry School Division (now Pembina Trails S.D.) in 1968. Basically music programs in those days consisted primarily of choral music and music appreciation. A few rhythm band instruments and recorders were available. But I kept thinking about those instruments I first saw five years earlier and was determined to find out about this Orff phenomenon sweeping across North America. In July 1972, I went to Toronto and took the three week Introductory Orff Course with instructors Mimi Samuelson, Maureen Kenny, Traude Schrat-tenecker and Jos Wuytack. The course was administered by that same Doreen Hall I had remembered from years before. After the Orff course I stayed to take the Introductory Kodály course. Upon my return to Winnipeg I was excited by the knowledge gained from these two courses – my entire philosophy towards teaching music to young children was forever changed.

That fall I was appointed Music Supervisor in the Fort Garry School Division. I made a presentation to the School Trustees who were most supportive of the arts and provided the funds so that within five years every Fort Garry elementary school had at least 15 Studio 49 Orff instruments. In 1973 I attended my first American Orff-Schulwerk Society National Conference in Minneapolis where I came in contact with such people as Jane Frazee, Tossi Aaron, Grace Nash, Robert Abramson, Wilma Salzman and Jos Wuytack.

Time to Form a Canadian Orff-Schulwerk SocietyI received a letter dated April 24, 1973 from Doreen Hall, asking what interest there would be in western Canada concerning the foundation of a Canadian Orff Society. I replied to Miss Hall with

suggestions how this might be accomplished. I also stated that I was teaching a Music Methods Summer Course at the Faculty of Education, University of Manitoba and was disseminating articles on the Orff philosophy in the Manitoba Music Educator. On October 29th, Miss Hall replied that, “there has been an excellent response from educators all across Canada and we are presently awaiting information from our legal advisors regarding a charter before proceeding further.”

The inaugural meeting of the Orff-Schulwerk Society of Canada took place on April 20th, 1974 with 37 people in attendance. Doreen Hall was Interim President. A list of 82 original charter members followed which included three Manitobans, Professor Edna Knock from Brandon University, Peggy Emmond from St. Boniface School Division and yours truly from Fort Garry.

On June 12th I received a hand written letter from Doreen Hall in which she stated, “I feel that we need a good strong representation from Manitoba and I think you are the one to lead it – would you consider forming your local chapter? And would you consider com-ing on our Board of Directors as the representative from Manitoba?”

The First National ConferenceThe first National Conference was held January 25-26, 1975 at the University of Toronto with Orff Institute teachers, Dr. Hermann Regner and Barbara Haselbach. 130 delegates from across Canada, the United States, Europe and South Africa attended. A letter from Carl Orff to delegates at that first conference read: “The work in Canada became the instrument for the spreading of Schulwerk on the North American continent and in many English-speaking lands. Thanks to your initiative and hard work here, Schulwerk in Canada has deep roots.”

The first meeting of the National Executive was held on the second day of the conference with Doreen Hall as President, Vice Pres-idents Keith Bissell, Doreen Coultas, Donna Hossack, Treasurer Joan Sumberland and Secretary Morna-June Morrow. The Board of Directors consisted of Cynthia Downe and Jean Woodrow from Alberta, Margery Vaughan (BC), Edna Knock (MB), Nancy Vogan (NB), Charles Heffernan (ON), Mario Duschenes (QC) and Grace C. Nash from Arizona as our American liaison with the American Orff-Schulwerk Society. During that meeting the name of the organization was officially changed to Carl Orff Music For Children – Musique pour enfants.

(When I retired in 1998, Doreen Hall sent a letter which was read at my retirement party in which she mentioned the fact that the day after the first conference finished, I went to her office and presented a possible sketch for the letterhead stationery.)

On the meeting’s agenda was where to hold the second National Conference. Edna Knock and I were the only Manitobans there. Edna jumped up and offered Winnipeg as the host city of the next conference. I must admit I gasped at her boldness but when someone questioned whether folks in Winnipeg knew anything about music, my Irish dander got up and I fully agreed that Winnipeg would host

Vol. 40, No. 2, Winter 2014 13

the second conference – period – end of discussion! You can well imagine how excited Edna and I were as we started making plans on our flight home.

The Formation of the Manitoba Orff Chapter and the 2nd National ConferenceFirst and foremost, the time was ripe for the formation of a Mani-toba Orff Chapter – the third chapter formed in Canada. That took place at my home on November 4th, 1975 with 14 music educators present, eight of whom were elected as the Manitoba Orff Chapter Executive and Conference Committee. I was elected as Founding President and both Edna Knock and I agreed to act as Co-Chairs of the upcoming conference. That first year, the MOC consisted of only 16 members who had six months to plan the second national conference at the University of Manitoba’s Faculty of Education on April 30th and May 1st, 1976. I recall receiving several long distance phone calls from Doreen Hall asking whether or not the conference would be successful and generate some funds for maintaining the Carl Orff Canada presence in the country. Up until that time, meet-ings of the National Executive took place in Toronto with Executive members paying their way and expenses to and from the meetings. Those dedicated individuals thought it was immensely important to establish a national voice for the Orff Schulwerk in Canadian schools.

With Suse Böhm from Munich and Minna Ronnefeld from Denmark as international clinicians, and Donna Hossack from Vancouver, Ann Golden Fisher from Ottawa and Lois Birkenshaw from Toronto, we managed to host a very successful two-day event. At the conclu-sion of the conference, President Doreen Hall presented to each of

the co-chairs Morna-June Morrow and Edna Knock a framed and autographed photo of Carl Orff and Gunild Keetman.

A few days after the conference, Carolyn Ritchey arrived at my home with a young Canadian larch tree about 4 feet high. It was a very thoughtful gift from Doreen Hall as a thank you for spearheading the second national conference. I was particularly interested when I learned from Doreen that she had given two Canadian larch trees to Carl Orff and Gunild Keetman as she felt the tree which grows very straight, represented the ever growing development of the Orff-Schulwerk in Canada. And what a beauty it grew into!

The Manitoba Orff Chapter and the University of Manitoba Connection Since then, the Manitoba Orff Chapter has hosted the 1986, 1998 and 2010 National Conferences and offered many local workshops throughout the province. Ruth Wiwchar, Carolyn Ritchey and I taught four Saturday mini-courses during the winters of 1978 and 1979 which ultimately led to the establishment of the Summer Orff Courses under the direction of Professor Ursula Rempel at the Uni-versity of Manitoba in July 1980. The Marcel A. Desautels Faculty of Music has offered Orff courses in the Preparatory Division for

Midwinter Introductory Course February 1978 at Oakenwald School, Fort Garry

President Doreen Hall presents a photo of Carl Orff and Gunild Keetman (see above) to Morna-June Morrow and Edna Knock

14 Ostinato

Regional MeetingsIn October 1984 I chaired the first meeting of Orff Chapter Presidents from western Canada in Vancouver at Donna Otto’s apartment. At another meeting in Toronto, I chaired a meeting with Presidents from eastern Canada. I felt that if the dissemination of the Orff philosophy was to be successful, it would be through individual provincial, regional and city chapters where the tremendous work of these groups would strengthen Carl Orff Canada.

1985 International Orff Symposium at the Mozarteum in Salzburg, AustriaIt was during the 1984 conference that Mrs. Orff invited me to attend the 1985 International Orff Symposium in Salzburg, Austria and present a paper on the history of Orff-Schulwerk in Canada. Donna Otto-Spence from Vancouver presented a workshop of Canadian music and quite astounded the delegates by presenting the workshop in English and German. I remember feeling rather ill at ease as the symposium was conducted mostly

young children and has completed in 2013 its 33rd year of offering the Orff Certification program which now boasts of 165 Level Three graduates.

The MOC offers Helen Neufeld Memorial Scholarships used towards tuition of Orff courses. Many Manitoba music educators have been recipients of the Gunild Keetman Scholarships offered by Carl Orff Canada. Chapter activities have included Folk Dancing in Crescent Drive Park, wine and cheese receptions and, since 1982, hosting summer luncheons for Orff course participants. There have been three dozen Children’s Orff Days which now include sessions in both English and French. Five dozen issues of the newsletter, Manitoba Modes, have been published. An exten-sive Resources Lending Library established in 1994 and facilitated by me is available for members. We have been affiliated with the Manitoba Music Educators Association and offered jointly Special Area Group (SAG) Tempo Conferences each fall. There are some school divisions in our province that will only hire elementary music specialists who have taken some Orff training. Many music festivals now offer Orff classes which are adjudicated by local MOC members.

1984 Montréal National Conference At the 1984 National Conference in Montréal, I was honoured to be elected President of Carl Orff Canada. The presence of Liselotte Orff was very special indeed. Ursula Rempel and Carolyn Ritchey presented a workshop on Renaissance Dance with a group of musicians from Winnipeg called Prairie Consort, providing live recorder music and dancers in period costumes (Helen Neufeld, Sandra Benum, Fred Simpson, Marcelline Moody, Susan Reimer and Morna-June Morrow). I remember distinctly Liselotte Orff commenting “it was so nice to have the music under our feet” – in other words, live music provided while delegates danced to the Renaissance music.

A rather interesting occurrence happened at the Winnipeg Airport prior to that Montréal conference. I had several sizes of recorders in my suitcase but the wooden contrabass recorder in a large case I had as a carry-on. Naturally it was x-rayed and I had to open the case and explain it was a musical instrument. I’m sure the officials must have thought I had a bazooka in there! I offered to play it for them, but they declined the offer!

University of Manitoba first Orff Certification Program graduates, July 1982 at Crescent Drive ParkL-R: Shirley Peters, Alvina Koshy, Tiiu Klein, Morna-June Morrow, Calla Isaak, Marcelline Moody, Helen Neufeld

COC President Morna-June Morrow and Liselotte Orff1985 International Orff Symposium at the Mozarteum, Salzburg

Back row – Carolyn Ritchey, Ursula Rempel – workshop clinicians at the 1984 Montréal National ConferencePRAIRIE CONSORT: Fred Simpson, Susan Reimer, Marcelline Moody, Morna-June MorrowKneeling: Sandra Benum, Helen Neufeld

Vol. 40, No. 2, Winter 2014 15

in German. Thank goodness Margaret Murray from England announced that there were many people in attendance who did not speak German, and she offered to translate for us. As I recall there were music educators from 28 countries at that symposium and obviously the language issue was awkward. Verena Maschat of the Orff Institute was amazing as she, too, translated into other languages for delegates. Bless those two ladies their trans-lations for the unilingual delegates from North America! It was lovely to visit Suse Böhm and her husband Horst in Mirabel Gardens on that trip. They remembered my having them, Minna Ronnefeld and Doreen Hall over to my home for three meals before and after the second national conference. Horst, being an architect remembered my taking them to and explaining many features of the Manitoba Legislative Building. Suse wanted so desperately to see a Canadian Mountie but no RCMP were on duty that day. On another occasion I took them to the Winnipeg Mint where coins are made for many countries around the world. I can still hear Suse’s utter excitement when an RCMP officer in his red coat took the three of us on a private tour including parts of the Mint where the public is not allowed. Horst was thrilled with the architectural design of the building.

1985 AOSA National Conference in Kansas City and the Victory Parade of the Kansas City RoyalsIt was lovely to bring greetings on behalf of Carl Orff Canada to the American Orff-Schulwerk Association’s National Conferences in 1984 (Las Vegas), 1985 (Kansas City) and 1986 (Boston). I particularly loved Kansas City with its many water fountains and statuary. The conference was outstanding. When Judy Thomas and Gin Ebinger invited me up to their room in the hotel one evening, I asked what room number they were in. They told me they were staying in the Presidential Suite. So up I went and you can imagine my surprise when on the door of their suite was the Coat of Arms of the President of the United States! Inside were furnishings sup-plied by past Presidents Coolidge, Roosevelt, Truman, Kennedy. and others. I had the opportunity to play on the grand piano that President Harry Truman had given his daughter, Margaret, as her Christmas present in 1932. Judy, Gin and I each sat at President Truman’s office desk, surrounded by the American and Presidential flags. It was an evening to remember.

On the final evening of the Orff conference, the Kansas City Roy-als beat the St. Louis Cardinals to win the 1985 World Series of Baseball. How fortunate I was that my flight home was not until the evening of the next day, so I decided to go to the Victory Parade for the World Champions. It was so exciting to be swept up in the euphoria of the many fans. I was able to snap many photographs of the baseball players and came home with some of the ticker tape that city officials would have to clean up the day after. And of course, I returned home with a souvenir autographed baseball which I still have sitting beside the autographed baseball of the 1993 World Series Champions, the Toronto Blue Jays!

Expo ’86 in VancouverThe world Exposition of 1986 was being held in Vancouver, Brit-ish Columbia. I was now Past President of Carl Orff Canada and Donna Otto-Spence was the incoming President. She persuaded me to stay at her home during Expo ’86 so we could discuss National Executive issues. That’s when I started going over all the minutes of past National Executive meetings and followed through copying all the motions that had been made on each topic ever discussed. This

CARL ORFF CANADA“OSTINATO”

PROJECT1975 – 2008

CATEGORIES RESEARCHEDArticles

ConferenceWorkshop Reviews

Orff Courses & ReviewsMusic, Books, Software

CD & Video ReviewsScholarships, Grants & Awards

Chapter News

Morna-June C. Morrow November 2008

eventually became the roots of the National Historical Handbook. What astounded me at that time were how many years it took before action was completed. In many cases a decade would pass before issues were finalized. But with only one meeting of the National Executive a year, it was easy to understand how difficult it was to gather information from across this vast land of ours.

Ostinato Project 1975-2008 Knowing that I had every newsletter published by Carl Orff Canada, Dianne Sjoberg asked if I could find any articles in past issues of Ostinato on specific topics so she could refer to such articles in her Masters program at the University of Manitoba. There was no easy way to find these articles other than looking through every single issue. Why was there not an easier way to find such articles? That’s when I proceeded to do research listing all articles printed over 33 years. And of course, loving to delve into the history of the Orff movement in Canada, this led to more researching of other categories: National Conferences; Workshop Reviews; Orff Courses and Reviews; Music, Book and Software products; CD and Video Reviews; Scholarships, Grants and Awards; Chapter News. I believe that the National Archivist is following up and keeping parts of that Ostinato index up to date. Most impressive has been the tremendous development of standards in the Ostinato publica-tions under the editorial leadership of Mary Robinson Ramsay, Helen Neufeld, Francine Morin, Shirley Peters, Shari Pasiuk, Ruth Morrison and most recently of Catherine West.

When I presented National President Joan Linklater with the results of several months of research, I must have mentioned that I had gone through some Canadian Club rye during the research process. I had to laugh when she appeared at my home with two large bottles of CC as a thank you for compiling the research!

The Orff Project for the 40th Anniversary of Carl Orff CanadaWith the encouragement and support of current National President Dr. Beryl Peters, Professor Joan Linklater and I were approached about a 40th Anniversary Project for Carl Orff Can-ada. The project would include a book of historical perspectives, a commemorative picture book and a Power Point presentation at the 23rd National Orff Conference in Halifax, Nova Scotia, April 10-13, 2014. And so the exciting path to further research continues to beckon . . .As Carl Orff so aptly described the Schulwerk, may our cause be “developing, always growing, always flowering”. May I add, “Happy blooming 40th anniversary, Carl Orff Canada!”

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Through the 1980s, workshops were held primarily in Halifax/Dartmouth, South Shore, Annapolis Valley, and Truro. The pre-senters were usually executive members but we also hosted higher profile clinicians of the day. In the late 1990s it was realized that with the difficulty in covering a large geographic area it was best to re-configure the chapter as Orff Nova Scotia. By 2001 membership was starting to grow again with much interest in Levels Courses.

A number of nationally known Orff members have given us immense support facilitating workshops and Levels Courses. In our history from 1978-2013 our chapter members have organized countless professional development opportunities sharing their expertise throughout the province for hundreds of our music teachers. The dedication of those members continues to be the backbone and strength of our chapter.

Recent Highlights:

1st Children’s Day – Oct. 3rd 2009 Making Music Together

1st Eastern Presidents Meeting hosted in Halifax, NS – May 2011

1st Online Chapter Newsletter “Orff Opus” – Spring 2011

Orff Chapter Histories / Historique des chapitres

Charlotte Myers

Just the FactsFounded: 1978 Founding President: Valda Kemp

In researching the history of our chapter, I was fortunate to be able to interview the founder Valda Kemp. She recalls attending the Vancouver Conference in 1978 and volunteered to host the 1979 conference in the Maritimes. Then she came home and formed the chapter! In typical Maritime fashion she hosted the inaugural meeting of the Maritime Chapter on Sept. 10, 1978 at her home with one teacher arriving by sail boat. In eight months there were 54 members. Valda Kemp and Nancy Vogan (from Mount Allison University in New Brunswick) co-chaired the 5th National conference at Dalhousie University in May 1979. Lois Birkenshaw-Fleming drew participants to some of the first Orff Courses in the area. Sally (MacKeigan) Connor had the first chil-dren’s Orff groups which performed throughout Nova Scotia and New Brunswick as well as the 1979 conference.

Nova Scotia/Maritime Chapter

After Orff Level I in 1998, the Orff NS Chapter was re-born.

Catherine West and Alison Kenny-Gardhouse were leaders for Orff Level II in 2002. The theme was “The Sea”.

At the 2012 NS provincial conference, some of the Ensemble 2014 team with our Keynote speaker, Doug Goodkin.

The most recent graduates of Level I in 2013 in Nova Scotia under the leadership of James Jackson, Marg Kristie, and Katrina Pecknold.

Vol. 40, No. 2, Winter 2014 17

1st Halifax Regional Children’s Orffestra Performance – May 2013 (Director/Founder James Jackson)

Orff NS has made great strides in building relationships, receiving support in the form of time, energy, and funding with other partners in education. On Oct. 25, 2013 Orff Nova Scotia received the Musica Viva Award from the Nova Scotia Music Educators Association in recognition for the positive contributions made to music education within Nova Scotia.

We are now preparing for Ensemble 2014. For the 2nd time in our 35 year history Orff Nova Scotia will host a national conference. Down east, we are looking towards a bright future!

The Maritime Orff Chapter hosted its first conference in 1979. Details of an historic event!

Vancouver 2012After a promotional presentation for the 2014 conference in NS, the Ensemble 2014 team gathers for a picture.

The new Orff NS banner unveiled in 2002 (created by the executive).

par Monique T. Armand, Ghyslain Egglefield et Françoise Grenier

Les faits Fondation : le13 décembre 1980Première présidente : Soeur Marcelle CorneilleBourse : Bourse Marcelle Corneille

À la suggestion de Madame Doreen Hall, présidente de Carl Orff Canada, le chapitre Orff-Québec voit le jour le 13 décembre 1980. La première présidente est Sœur Marcelle Corneille. Elle est assistée de Lise Champagne-Lachapelle et d’Éliane Nugent.

Bourse Marcelle CorneilleEn honneur et en signe de reconnaissance pour Sœur Marcelle Cor-neille, Madame Doreen Hall offre généreusement la première mise de fonds pour la bourse Marcelle Corneille. C’était en janvier 1991, lors du Symposium célébrant le 10e anniversaire de Orff-Québec. Chaque année, cette bourse est offerte sur dossier à quelqu’un qui désire suivre l’un des niveaux de formation intensive Orff et dont l’enseignement se fait en français.

Doreen Hall et son amie S. Marcelle Corneille

Chapitre Orff-Québec

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Notre mission Dès sa fondation, c’est avec beaucoup de fierté, de confiance et d’enthousiasme que le chapitre du Québec s’est engagé dans le soutien et la formation continue des enseignants en musique. En faisant venir des spécialistes chevronnés du Canada (Doreen Hall, Lois Birkenshaw, Mimi Samuelson), des États-Unis (Jean Wilmouth, Jane Frazee, Connie Saliba Doug Goodkin,) et d’Europe (Jos Wuytack, Anne-Marie Grosser), on s’assurait de bons modèles de qui s’inspirer. N’est-ce pas justement le propre de la pédagogie Orff que d’offrir des modèles comme amorce de créativité? Des façons de faire sont venues s’insérer dans la pratique pédagogique de nos enseignants et ont progressivement fait partie du quotidien de la vie musicale à l’école québécoise. Depuis les années 1980, l’association Orff y a joué un import-ant rôle par le biais des ateliers marquant les étapes scolaires de l’année et par des formations intensives de 60 heures en été. Orff global, mouvement, danse, percussion, chansons, langage, jazz, musicothérapie, créer, inventer, apprécier, autant de thèmes abordés sous de multiples angles, selon les animateurs invités.

L’Événement spécial de septembre est là pour susciter chez les enseignants la motivation, l’enthousiasme et la confiance qui sont si nécessaires au début de l’année. Puis, quelques semaines avant le temps des fêtes, un atelier vient relancer l’énergie indispensable aux concerts qui arrivent ou simplement inspirer l’enseignant qui en a besoin. En tournant la page vers la nouvelle année, un atelier de partage réserve aux participants les coups de cœur de nos ensei-gnants les plus expérimentés. Aux derniers souffles de l’hiver, le mouvement est à l’honneur pour renforcer l’imagination du corps et la bonne forme… musicale! Puis en avril, là où les concerts de fin d’année sont en plein préparatifs, on se donne des moyens pour finaliser nos projets et des idées pour nourrir la créativité de

Guylaine Myre 1994

nos élèves. À tout coup, nos participants sont heureux de pouvoir échanger avec leurs collègues et de constater que leur travail auprès des jeunes peut être tellement extraordinaire! Une solidarité s’installe entre eux bien plus que pour le temps d’un atelier.

Chantal Dubois 2007

Lucie Allyson honoré par Orff Québec

Les étudiants de la formation Orff| Août 2013

Jos Wuytack 1997

Vol. 40, No. 2, Winter 2014 19

Pour ajouter à la force du soutien aux enseignants, Orff-Québec a organisé à plusieurs reprises des colloques et des congrès Orff tant au niveau du Québec que du Canada. C’est à Montréal que ces grands événements ont eu lieu.

En 1984, Orff-Québec organisait le congrès national de Carl Orff Canada; en 1987, le colloque Une touche culturelle en éducation; en 1991, un grand Symposium célébrait les 10 ans de l’association; en 2002, le congrès national de Carl Orff Canada revient à Montréal et, en 2014, Orff-Québec co-préside le congrès national de Halifax avec les chapitres d’Ottawa et de la Nouvelle-Écosse. Par ail-leurs, chaque année, le mouvement Orff est présent au congrès de la FAMEQ. En 2012, Orff-Québec y a fait venir le groupe Das Collectif de l’Institut Orff de Salzbourg. En août dernier, nous avons accueilli 13 participants à la formation Orff de niveau 1. En novembre nous avons rendu hommage à Lucie Allyson pour son travail exceptionnel dans le grand mouvement Orff comme membre active de Orff Québec depuis 1985, présidente du chapitre de 1998 à 2000, co-présidente du congrès de Carl Orff Canada à Montréal en 2002 et présidente de Carl Orff Canada de 2004 à 2006. Un énorme merci Lucie pour toute l’inspiration que tu dégages auprès de nos enseignants et enseignantes!

Pour nous suivre, visitez : www.orffquebec.ca

Suzanne Waller, Batya Levy, Marion Roy

Just the FactsFounded: April 20, 1974First President: Doreen HallAwards:• Keith Bissell Scholarship• Doreen Hall Scholarship

The Ontario Orff Chapter was founded by Doreen Hall, at the inaugural meeting of Carl Orff Canada in 1974. However, to truly understand the significance of the formation of the Ontario Chapter, one needs to go back to the year 1954. At that time, Doreen Hall was a young violin student at the University of Toronto, Faculty of Music. The director of the Faculty of Music, Dr. Arnold Walter, had just come back from Salzburg where he saw Carl Orff and Gunild Keetman do a presentation on Orff-Schulwerk at the Mozarteum. Excited by what he saw, Dr. Walter convinced Ms. Hall to go to Salzburg on a 14 month scholarship to further investigate.

Upon her return to Toronto, and energized by her experience in Salz-burg, Doreen Hall set out to share this approach of music education

Ontario Chapter

with the rest of Canada. In 1955, she and Dr. Walter published an English version of Orff-Schulwerk Volume 1. Two years later Ms. Hall established the first Orff teacher training course at the Royal Conservatory of Music of Toronto. In 1962, she organized the first international Orff-Schulwerk conference in Toronto, (which was attended by Carl Orff and Gunild Keetman). In 1974, she founded the “Orff Schulwerk Society of Canada” and the “Ontario Orff Chapter!” A year later, the Ontario Chapter hosted the first national conference of Carl Orff Canada in Toronto. Since then, Toronto has hosted national conferences in 1980, 1994, and 2006.

In 1979, Doreen Hall became the first honorary member of Carl Orff Canada. Recently, in her 90th year, her critical contributions were once again recognized by the Ontario Chapter with an ap-prentice scholarship that was created in her name. This is awarded to Ontario Orff Chapter members who have been selected to train to become Orff-Schulwerk levels course instructors. We are fortunate that Doreen Hall continues to be an active member in our chapter.

Collage 2006 steering committee post-conference celebrationPhoto: Jennifer Stacey

From left to right: Marion Roy, Suzanne Waller, Doreen Hall, Lois Birkenshaw-Fleming & Anne Tipler – at 2008 National Conference in Edmonton, AlbertaPhoto: Jennifer Stacey

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In 1958 Keith Bissell observed a demonstration of Orff-Schulwerk by Doreen Hall at the Royal Conservatory of Music in Toronto. He was so impressed, that he promptly ordered training for the method to be implemented in the Scarborough school system. As a direct result of this initiative, in 1963, a group of students from Scarbor-ough, led by Joan Sumberland and in consultation with Doreen Hall, presented a three-part CBC series called “Living Through Music.” In recognition of Keith Bissell’s role in bringing Orff-Schulwerk to our schools, the Ontario Chapter established a scholarship in his name. It is awarded each year to an Ontario Chapter member who plans to pursue an Orff levels course.

In 1982, the Ontario Orff Chapter began running a bi-annual Chil-dren’s Orff Festival. It was an opportunity for members to share their music using the Orff approach. In 1988, it became an annual event. Today, this non-competitive festival continues to celebrate the talents of children from Junior Kindergarten to Grade 8, from both public and independent schools. Over the years, this Festival has occurred at various venues in Toronto; however, the Royal Conservatory of Music, with its rich Orff history, is its current home. In its earlier years, the Ontario Chapter presented three workshops a year that were held in various centres across the province including Guelph, Ottawa, St. Catharines, Belleville, Toronto and Timmins. Today the chapter has two workshops, both held in Toronto, and is working towards going back to the tradition of three workshops. Although the workshops tend to take place mostly in the city of Toronto, amazingly, workshop attendees still come from all over Ontario – including St. Catharines, Barrie, and Huntsville.

1980 children’s performance at the National Conference, Harbourfront, Toronto – Ada Vermeulen, conductorPhoto: Ada Vermeulen (Spanjaard)

The Ontario Chapter is fortunate to have had a wealth of expertise in its members. Doreen Hall, Joan Sumberland, Keith Bissell, Lois Birkenshaw-Fleming, Alice Brass, Angela Elster, Shirley Peters, Ada Vermeulen, Alison Kenny-Gardhouse, Hania Krajewski and Catherine West are just some of the Ontario Chapter members who have made significant contributions to the Orff-Schulwerk movement in Canada.

Today the Ontario Chapter continues the work started over 40 years ago. However, some things have changed. The Ontario Chapter newsletter, Mosaic, is now in electronic format, and much of our communication is now done electronically through email and social media.

2009 Children’s Orff Festival at RCM – Anne Tipler, conductorPhoto: Jennifer Stacey

Workshop with Doug Goodkin in November 2007 at Upper Canada College Prep SchoolPhoto: Jennifer Stacey

Left to right: Lois Birkenshaw-Fleming, Angela Elster (back) Linda Campbell, Shirley Peters (back) Alison Kenny-Gardhouse & Hania Krajewski – Steering Committee meeting for Mosaic. 1992 or 3. At Hania Krajewski’s farm south of Collingwood. Photo: Ada Vermeulen (Spanjaard)

April 1992 Vancouver Conference Left to Right: Lois Birkenshaw-Fleming, Alison Kenny-Gardhouse, Linda Campbell, Angela Elster, Joanna Rob-ertson, Catherine West Photo: Ada Vermeulen (Spanjaard)

Vol. 40, No. 2, Winter 2014 21

What has not changed is the commitment teachers have towards the Orff approach of music education. What has not changed is the dedicated members who volunteer their time to maintain the legacy. What has not changed is our understanding of the roots of the Orff-Schulwerk movement in Canada. Thanks to these pioneers, the Orff approach has continued to thrive and will continue to influ-ence generations to come. We look forward to another 40 years!

Thanks to all who helped to gather information for this article, especially executive member Catherine Irving.

2009 Ontario Chapter Executive plus Shirley Peters and Lois Birkenshaw-Fleming – Back row (left to right): Marion Roy, Caren Ludwig-Shoychet, Catherine Irving, Batya Levy, Katherine Edmondson; Middle row (left to right): Lois Birkenshaw-Fleming, Shirley Peters; Front row (left to right): Jennifer Stacey, Anne Tipler, Dawn Lane, Suzanne WallerPhoto: Jennifer Stacey

Ontario Orff Chapter Banner

Itinerant Orff Instructors in TorontoIn 1958, Keith Bissell and Honorary Life Member Joan Sum-berland established a unique Orff staff development programme for the Scarborough Board of Education which teamed Orff specialists with classroom teachers for five years. This was a carefully structured, gradual release of responsibility model which allowed the classroom teacher enough time and train-ing to take over more and more of the music instruction as the years progressed. Coordinator of Music Harvey Perrin pioneered The Toronto Board of Education’s Orff programme in 1962 under the leadership of Honorary Life Member Lois Birkenshaw (Fleming). Both departments produced volumes of wonderful curriculum and materials which are in circulation to this day. The two teams of itinerant Orff specialists became one when the school boards were amalgamated in the 1990s, and continue their work in staff development to this day.

TDSB Orff Staff June 2009

Evelyn Pike & Leslie Bricker

Just the factsFounded: Jan 18, 1977First President: Ann Golden-FisherAwards: Laura Shaw Scholarship

November 25, 1982…. A Theatre Arts Studio in a high school that no longer exists…, a workshop flyer on the door, with hand-stenciled lettering… a grand total of three people in attendance 10 minutes before start time (the clinician, the clinician’s husband, and the co-convenor of the workshop!).

So begins the story we might call, “Ottawa Orff Chapter: the Sequel.”

Flashback to the beginning of the Ottawa Chapter, for the “back story…”

Originally formed on January 18, 1977, Ottawa became the fourth regional chapter of Carl Orff Canada. Master teachers and pion-eers such as Doreen Hall and Charlotte De Neve sparked interest in Ottawa by offering workshops and networking with school board administrators and teachers. Founding Chapter President

Ottawa Chapter

22 Ostinato

Ann Golden-Fisher reminisces about the first workshop held in Ottawa, in 1976:

Today I gave three sessions… along with Doreen Hall and Charlotte De Neve for the Ottawa Board of Education. I felt … the whole day was very successful…I met a number of Orff people I’d hoped to contact, including Arnold Earl, Vocal Consultant of the O.B.E.

Consequently, a small group of us knew that there could be considerable interest in the Orff Philosophy… because of the success and the large attendance at this first-ever Orff workshop in Ottawa. The impetus behind this occasion, and the drawing card for the day was the woman who had brought “Orff” to North America: Doreen Hall.

Building on the success of this workshop, the National Executive of Carl Orff Canada, along with Chapter President Ann Golden-Fisher and charter members such as Margaret Taylor, Evy Paraskevopoulos and the late Laura Shaw, hosted the third National Conference of Carl Orff Canada in 1977. Margaret Taylor reflect on the conference,

The presence of so much music happening in one place at the National Conference in Ottawa was quite amazing. As a newly-established Orff centre, hosting a National Conference provided great motivation.

From 1979 to 1981, the chapter experienced a period of hiatus and regrouping; this brings us back to “Ottawa Orff Chapter: the Sequel.”

Leslie Bricker, a student of Doreen Hall’s, moved to Ottawa in 1982, bringing with her the inspiration of mentors such as Doreen Hall and Joan Sumberland. Teacher-training resumed at the University of Ottawa, children’s classes flourished in the Ottawa Board of Education… and the Ottawa Orff Chapter was reborn!

Executive and members of the Ottawa Chapter, in the late 1980s

Small but mighty Chapter Executives have continued to promote the Orff-Schulwerk philosophy. Workshops for teachers, Children’s Day events, Orff Levels courses, and training for the classroom teacher have all been offered, meeting the changing landscape of teaching in eastern Ontario.

1990 saw the national conference return to the nation’s capital: Reach Out in Harmony / Accordons-nous en harmonie, Carl Orff Canada’s eleventh National Conference, welcomed close to 600 people and brought together a stellar group of clinicians and per-forming groups. Once again, we return to Margaret Taylor, for a comparison of the two Ottawa conferences,

… Of course one could see the growth that had occurred in Carl Orff Canada at the 1990 National Conference, also held in Ottawa. The number of children’s performing groups, the wealth of music available, the wonderful displays and banners of all the regional chapters and the sheer numbers in attendance at the conference spoke highly for the development of Carl Orff Canada.

Participants at a workshop in the late 1980s

Opening Ceremonies of the 1990 National Conference in Ottawa: members of the Ottawa-Carleton Orff Ensemble, Central Choir of the Ottawa Board of Education and Dance Educators’ Studio

Doreen Hall receiving an award at the 1990 National Conference in Ottawa

Vol. 40, No. 2, Winter 2014 23

Celebrating its 25th anniversary in 2002, the Ottawa Orff Chapter also established a scholarship in memory of charter member Laura Shaw, a stalwart supporter of Carl Orff Canada and an exemplary music educator.

In its 36th year, the Ottawa Chapter continues to evolve and grow. A chapter lending library, sharing sessions and vibrant workshops help to promote the high quality of music education in the national capital region. In the Jewish culture, the number 36 represents “life;” may the Ottawa Orff Chapter have a long and healthy life, bringing the rich philosophy of Carl Orff and Gunild Keetman to Canada’s capital.

Ottawa Chapter Banner and Display

Ottawa Orff Chapter Banner

Mary-Jo Schropp

Just the FactsFounded: April 3, 1977First President: Carolyn McMillan

The Waterloo-Wellington Chapter was founded on April 3, 1977, by Carolyn McMillan as President. It took a dedicated group to grow the membership, to organize and host both small and large workshops two or three times a year, and to build the tradition of vital and exciting fall workshops with world-class clinicians year after year. This small and steady group has had many executive members come and go, but they have stayed strong over the years. These members include longstanding and faithful executive mem-bers Carl and Theresa Schropp (retired and still helping!), Louise Elder (just retired) and ongoing president Mary-Jo Schropp.

Past executive members include: Mary Robinson Ramsay, Senta (Todoroff) Ross, Lorna Sawatsky, Sylvia Jones, Joe Daniels, Karen Haack, Keith Scott, Brenda Schepper, Caroline MacDonald, Mary-Anne Kelly, and many others. For your many hours of work, we thank you, one and all!

One of our many Fall Workshops offered at Conrad Grebel College, University of Waterloo

Honouring old friends Catherine West and Carolyn McMillan, with Mary-Jo Schropp

Waterloo-Wellington Chapter

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In the heyday of the Waterloo-Wellington Chapter, our bustling fall workshops would be hosted at Conrad Grebel College at the University of Waterloo. It was not unusual for up to 150 people to sing and move and play all day at the picturesque college… and to enjoy a fabulous Mennonite cooked feast for lunch. Many incredible clinicians came to present over the years, including Jos Wuytak, Joan Sumberland, Konnie Saliba, Sandra Smith, Donna Woods, Donna Otto, Leslie Bricker, Judy Sills, Catherine West, Debra Giebelhaus-Maloney, Alison Kenny-Gardhouse, Jane Wamsley, Angela Elster, Nancy Ferguson, Arvida Steen, Joanna Robertson, and many, many more.

It was at these workshops that many an Orff teacher was born. Those same teachers were then further inspired at future workshops, and especially nurtured at our Level I course, which was offered briefly at Wilfred Laurier University with clinicians Carolyn McMillan (Orff Pedagogy), Alison Kenny-Gardhouse (Movement), and Dan Douglas (Recorders).

Over the years, the numbers of music teachers dwindled and the costs of running a workshop increased. As a result, we moved our winter workshop to various schools in Guelph and our fall workshop to Blessed Sacrament School in Kitchener. This has been a very

Waterloo-Wellington Executive and friends celebrate a successful workshop at the Stammtisch (Concordia Club), in Kitchener.

Our “new” workshop facility (Blessed Sacrament School, Kitchener) with Jane Wamsley, 2013

successful and much more cost effective approach to workshops in the past 10 or so years. It seems to be a formula for our continued and ongoing success!

The Waterloo-Wellington Chapter may be small, but we are mightily committed to offering quality workshops to teachers of our area for many, many happy years to come!

Our faithful Executive at our Fall Workshop

TheWaterloo-Wellington Chapter Banner was created in the early ’80s by Mrs. Joe Daniels

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Sean Fitzmaurice

Just the FactsFormed: November 4, 1975First President: Morna-June MorrowAwards: • The Helen Neufeld Memorial Scholarship for students taking

their summer Orff Levels Courses at the University of Manitoba.• The Morna-June Morrow Award for Excellence in Music

Education, awarded annually to an outstanding Manitoba Orff music educator.

• The MOC Travel Bursary to help members living in rural/north-ern areas with travel expenses when attending MOC workshops.

Roots and History of MOCThe Manitoba Orff Chapter was formed on November 4, 1975. Founding President Morna-June Morrow was instrumental in bring-ing the Orff philosophy of music education to our province. That initial year the MOC had 16 members, and over our four decades (MOC celebrates its 40th anniversary in 2015), our membership has grown to over 200, making us one of the very largest chapters in North America. As our membership has grown, so has our execu-tive. Our 15 executive members meet monthly to organize events and discuss issues. Manitoba has also proudly hosted four National Conferences of Carl Orff Canada in 1976, 1986, 1998 and 2010.

Overview of Workshop OfferingsThe Manitoba Orff Chapter offers a multitude of workshops and professional development opportunities throughout the year. Each fall we offer the Make ‘n’ Take workshop (quickly becoming our most popular workshop series amongst members), the Winnipeg Symphony Orchestra Listening Lessons workshops with Marcel-line Moody (one of our largest with nearly 150 participants each year; offered in both Winnipeg and Brandon), and the Fall Fiesta workshop (which occurs the day after Tempo, our provincial music conference). In the new year we offer our Winter Workshop (which features guest clinicians and recent Level III grads), our Stay ‘n’ Play workshop (a fun-filled evening of music making as partici-pants get reacquainted with their Orff volumes), and our largest workshop series, Children’s Day. Manitoba was the first Chapter to offer Children’s Day and each year more than 350 students and

This cake, designed by MOC executive member Charisse Wurch, com-memorated our 35th Anniversary in 2010. Everything you see, instruments included, is entirely edible!

Manitoba Chapter members attend this event. Three separate days are offered: two in Winnipeg (one in English and one in French) as well as a Children’s Day in Brandon.

Member BenefitsManitoba Orff Chapter members are able to apply for various scholarships and awards offered by the Manitoba Orff Chapter. The Helen Neufeld Memorial Scholarship is available to members who will be taking Orff levels courses at the Marcel A. Desautels Faculty of Music at the University of Manitoba. The Morna-June Morrow Award for Excellence in Music Education is awarded to one deserving MOC member every year. The recently established MOC Travel Bursary is available to members who live in rural areas to assist with travel expenses when attending MOC workshops in urban centres. The MOC also supports its members with our Mani-toba Modes newsletter (published 3 times a year) and access to an impressive Lending Library containing hundreds of music books, recordings, videos of workshops and other professional resources.

PartnershipsThe Manitoba Orff Chapter is a busy and vibrant organization and assumes a role of responsibility beyond our local organization. We collaborate with other groups such as the Manitoba Music Educators’ Association, the Association of Music Administrators of Manitoba,

MOC members participating at our Winter Workshop 2012

This MOC display board, one of many created by our Members-at-Large, outlines some of the reasons for being an Orff member. This board is displayed at MOC workshops and other events.

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the Manitoba Teachers’ Society, the University of Manitoba, Brandon University, the Winnipeg Symphony Orchestra, and of course Carl Orff Canada, to organize events, discuss important issues, and to promote music and Orff education in our province. We maintain our memberships with The Alliance for Arts Education in Manitoba and the Coalition for Music Education in Canada. We work closely with our national organization, Carl Orff Canada, to promote further aware-ness of and to advocate for the Orff philosophy on a broader scope.

The Manitoba Orff Chapter is so proud to be a part of Carl Orff Canada and to help celebrate the 40th anniversary of musical leader-ship in our country!

Manitoba Orff Chapter Executive 2013-2015 Back Row: Kristi Grunsten-Yonda (Archivist), Shannon Moses (Member-at-Large), Angie Tester-Bouziane (Advocacy), Steph Poulin (President), Ruth Reimer (Member-at-Large), Laura Anderson (Member-ship), Lori Arthur (Children’s Day), Michelle Mielniczek-Loboz (Web-site Coordinator) Front Row: Jordanna Cornish (Secretary), Sean Fitzmaurice (Past-President), Jewel Casselman (Vice-President), Jenna-lynn Fraser (Pro-gram), Amanda Ciavarelli (Communication Coordinator), Charisse Wurch (Workshop Coordinator) Missing: Kati Lapp (Treasurer)

Manitoba Orff Logo

Allyson Reist

Just the factsFounded: October 1987First President: Colette BischoffAwards:• Sylvia Yam Award of Teaching Excellence• Carol Petrie Memorial Scholarship

The Saskatchewan Orff chapter was founded in 1987 by found-ing member Colette Bischoff. From humble beginnings, we have seen our membership grow in numbers, knowledge and depth of understanding in the Orff approach to music education. The Sas-katchewan Music Educators Association works closely with our chapter providing financial support and opportunities for additional professional development for our membership.

Fall Classic 2010

Manitoba Orff Chapter Banner

Saskatchewan Chapter

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The Saskatchewan Orff Chapter has worked with both the University of Saskatchewan and University of Regina to offer Levels courses to our membership. Over the past thirteen years we have focused primarily on offering our Level I and Level II courses through the University of Regina. Many students from all over our province and elsewhere in Canada have enjoyed these training sessions offered by qualified Orff instructors.

Throughout the school year various workshops are provided for both educators and students alike as the Chapter brings in qualified experts from across the province and across Canada and the United States to focus on the experiences within the Orff Schulwerk. Activities include everything from creative movement to world drumming, from Northern Spirit Flute making to dramatizing the Legend of the Qu’Appelle Valley. Recent workshops often include a First Nations/Métis approach as we try to incorporate our Saskatchewan heritage and culture into our classrooms.

Orff Level I participants, summer 2012

Marlene Hinz receives the Silvia Yam Award of Teaching Excellence

Our chapter has established the Carol Petrie Memorial scholarship to help participants pay for their course work within the province. This scholarship was established to honour a long-time member and treasurer of our provincial chapter, Carol Petrie.

In 2010, the chapter established an excellence in teaching award. Successful candidates demonstrate an outstanding contribution towards teaching within the Orff approach in our province. This award was created in recognition of a well-respected colleague Sylvia Yam. Throughout her teaching career, Sylvia consistently demonstrated a passion for music and more specifically the Orff approach to teaching. She inspired, encouraged, and empowered all those around her. Her smile was contagious; her laughter infec-tious, her perpetual spirit lives on within all of us.

The Saskatchewan Orff Chapter is looking forward to co-hosting the 24th Carl Orff Canada national conference in co-operation with the Calgary and Lethbridge Orff chapters. Bridges 2016 will be hosted in Saskatoon, Saskatchewan, nicknamed the “Paris of the Prairies”, on April 28-May 1, 2016. Delegates will enjoy a weekend of singing, dancing, playing, and learning from some of the most creative and knowledgeable presenters in the wonderful world of Orff. Enjoy the beautiful South Saskatchewan River just steps away from our conference venue, the Sheraton Cavalier Hotel, in central Saskatoon.

Learning to play the northern spirit flutes, taught by Richard Dube

Saskatchewan Orff Chapter Banner

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Kim Friesen Wiens

Just the FactsFormed: September 1977Founding President: Judy SillsAwards:• Chapter President’s Award• Joyce Oliver Scholarship

The Alberta Orff Chapter was founded in September 1977. Our founding president was Judy Sills. The chapter has been a vibrant and thriving community of music educators for all these years. The Alberta Orff Chapter usually hosts three workshops a year, one in the fall, one in the winter and one in the spring. The spring workshop alternates between a children’s day and a sharing day. The chapter is also associated with the Orff Levels that run at the University of Alberta. The Alberta Orff Chapter recognizes that there are other organizations that support music education and works hard to collaborate with them, including the Alberta Kodály Association and the Alberta Choral Federation.

Alberta Chapter

In addition to hosting workshops and supporting the Levels courses, the Alberta Orff Chapter runs a vibrant lending library that was recently named, “The Judy Sills Library of Music” in honor of our founding donor to the library.

Fall Workshop 2013 - Presenters: Brian Hiller and Don Dupont

Fall Workshop 2013

Our lending library, recently renamed the Judy Sills Library of Music

Thirty Years Ago in Ostinato1

Thirty years ago the April 1984 issue of Ostinato cele-brated the success of the Eighth National Conference held in Montréal the previous January. The following is an excerpt from (Honorary Patron) Jos Wuytack’s keynote address to the Saturday evening banquet:

These reflections may show how the Orff pedagogy really is a counter-balance for the tendencies of technology, which lose the human aspect in life. The approach proposed by Carl Orff, and experienced now for more than fifty years, is still up to date. Music education is education of the whole personality, the body and the spirit, the emotions and the control of them, the activities and consciousness of them.

Il y a trente ans dans l’OstinatoIl y a 30 ans, dans l’édition d’avril 1994, on célébrait le succès du huitième congrès national qui avait eu lieu à Montréal en janvier de la même année. L’extrait suivant est tiré de la con-férence de (patron émérite) Jos Wuytack donnée du banquet :

Ces quelques réflexions montrent sans doute que la pédagogie Orff fait le contrepoids nécessaire à la tendance actuelle de mettre tant en ordinateur et de perdre ainsi l’esprit humain. L’approache que nous propose Carl Orff a été expérimentée maintenant depuis plus de cinquante années et reste roujours actuelle. Il s’agit en effect d’une éducation de toute la per-sonalitité humaine: du corps et de l’esprit, des émotions et du contrôle de celles-ci, des activités et de la conscience de celles-ci.

Endnotes1 Forty years ago, our association was in existence, but the first newsletter was not issued until March 1975. -Ed.

Vol. 40, No. 2, Winter 2014 29

The Alberta Chapter is also active online on Facebook, webpages and even Pintrest. Our newest endeavor is our boutique, which is set up at each of our workshops and offers music manipulatives for music teachers.

At this time, we have two honorary life members. They are Judy Sills and Dr. Robert de Frece.

The Alberta Orff Chapter offers two scholarships. The Chapter President’s Award is given to a student taking their Orff levels. The second award is the Joyce Oliver Scholarship; this award was set up in honor of Joyce Oliver who was an active music merchant and publisher in the Edmonton area who passed away from cancer. This scholarship is given every other year to schools to help with the cost of attending children’s day.

The primary goal of the Alberta Orff Chapter is to be an organization that assists music teachers in offering high quality music education using the Orff approach.

Winter 2013 Workshop - David Frego. A Joint event with the University of Alberta, Alberta Kodaly Association and the Alberta Choral Federation.

Fall Workshop 2012 - Darva Campbell

Alberta Orff Chapter Banner

Bonnie Jaycock

Just the FactsFounded: 1978First President: Ruth (Mattison) Lomenda

On behalf of the Calgary Orff Chapter, greetings and congratulations to Music for Children – Carl Orff Canada – Musique pour enfants, in the celebration of its 40th Anniversary. As incoming president of the Calgary Chapter, I have enlisted the help of several of our past presidents to help bring a few brief glimpses of the way that our Chapter has evolved over the years. Since history tends to come alive when it is seen through the lens of human experience, it is hoped that you will enjoy some of their recollections.

The Calgary Chapter was founded in 1978. About the early years of development of the chapter, founding president Ruth Lomenda writes:

The early workshops took place in the Catholic School Arts Centre. We were the ones that presented these workshops at first, but we soon looked to broadening our horizons to feature expert Orff teachers from near and afar.

Throughout its history, the Calgary Chapter has continued to place great emphasis on hosting high quality professional development workshops featuring local, national and international clinicians.Teacher training has always been significantly important to the Cal-gary Orff Chapter. In the early 1980s Ruth Lomenda spearheaded the process of offering Introductory Schulwerk courses to Chapter members. Soon the first Level I courses were being organized. In 1987 Wendy Rae, Debra Giebelhaus-Maloney and Shirley Mur-ray collaborated in offering an accredited Level I course at the University of Calgary. As time progressed, the Calgary Chapter

Calgary Chapter

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moved toward independent sponsorship of Levels courses. One of our past presidents, Eve de Moissac writes:

The Calgary Orff Chapter started to offer Level I, II and III regularly every second year during the late 1990s. With the great instructor team of Joe Berarducci, Debra Giebelhaus-Maloney and Shirley Murray, the chapter was able to offer the membership the opportunity to extend their training. In addition to the local membership, many participants have come from all over Canada and overseas to join us for the coursework.

Calgary Orff Chapter members have also been very active at the national level both through service on National executive and committees, and through attendance and participation in national conferences. In addition, the Calgary Chapter has hosted two national conferences, Round Up ’88 and Connections 2004. Another past president, Wendy Rae, who served as co-chair of both conferences offers the following glimpse of Round Up ’88:

Our chapter was small in membership, but mighty in energy and enthusiasm. Many of us covered more than one task. Personally, I remember organizing clinicians to present various sessions, rehearsing with

Connections 2004 Conference in Calgary: preparing for the Opening Ceremonies.

students involved in the Opening Ceremonies, and typing the Conference Handbook (and that would be on an electric typewriter, not a computer!!) The Conference was a great success and ended just in time for the annual spring snowstorm that closed down the airport. Fortunately, all but one of our presenters and all of our guests made it out before the storm hit.

The Calgary Chapter is pleased to serve as co-hosts of Bridges 2016, the next national conference, along with the Saskatchewan and Lethbridge Chapters. We hope there is no snow in the forecast!

Members of the Calgary Orff Chapter are the fortunate beneficiaries of the sustained efforts of literally scores of dedicated volunteers. Those holding more ‘visible’ leadership roles have been joined by a whole host of volunteers who have worked tirelessly over the past four decades to publish newsletters, publicize chapter events, record workshops, organize membership records and take registrations,

Calgary Orff Chapter: At work on Rain Rain with Doug Goodkin, at the September 2012 Workshop

Calgary Orff Chapter - Level I Course, 1987

Calgary Orff Chapter - Level III Course, 2010

Calgary Orff Chapter - September 2013

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keep our finances in order and even provide coffee and snacks during breaks. What a legacy they have created!

In conclusion, please accept the following greetings…

Congratulations to Carl Orff Canada on the occasion of your 40th anniversary! Best wishes for a future of growth, nurturing, and music. I have been blessed to be part of the journey. Wendy Rae, Past President, Calgary Chapter

Orff Schulwerk is a common language that we speak. Instilling enthusiasm and love for music is our common goal in all our work. Continue to carry the torch to inspire and challenge and know that the work you are doing is even more vital today as it was in the past.

Ruth Lomenda, Founding President, Calgary Chapter

It is indeed an honor to be part of Carl Orff Canada, such a vibrant national organization, which has done so much to promote child-centered musical understanding. We look forward to the adventure of another forty years of Orff!

Bonnie Jaycock, President, Calgary Orff Chapter

Calgary Orff Chapter Banner

Linda Langager

Just the FactsFormed: 1985First President: Pat Boehm

The Lethbridge Chapter of Carl Orff Canada began 29 years ago with the support and encouragement of Barbara Walker. As the Lethbridge School District’s Music and Fine Arts Consultant, she brought in prominent Orff presenters to introduce us to this effective teaching method: Grace Nash for the Teachers’ Convention in 1982, Avon Gil-lespie for a summer session in 1983 and the illustrious Jos Wuytack for a fall workshop in 1984. This laid the groundwork for the forma-tion of the Lethbridge Chapter of Carl Orff Canada in January 1985. The Calgary Chapter has been a good friend. Their members led our first two workshops and we’ve often booked the same clinician for the day before Calgary’s workshops. In our early years, they covered part of our shared clinician’s travel costs.

In our 29 years, we have offered over 60 workshops led by excellent clinicians from Alberta, across Canada, the USA and Belgium. Many have been repeat presenters, including 4 work-shops with Jos Wuytack, 6 with Joe Berarducci and 10 and counting with Debra Giebelhaus-Maloney! Our attendance, 20 to near 50, draws from 7 school districts in Southern Alberta. We’ve been fortunate to have cooperative agreements with the U of L, and the Lethbridge Public and the Holy Spirit school districts, who have granted us free facility use for our workshops. In turn, U of L students attend for only the cost of lunch or a student membership.

Barb Walker leading participants 1992

Kids and Teachers with Jos Wuytack 1989

Lethbridge Chapter

Thank-you to everyone who helped to write these chapter histories and assemble photos for this issue of Ostinato!Merci à toux ceux qui ont participé à écrire l’historique de leur chapitre.

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Since 1985, our Chapter has been served by 11 capable presidents and many supportive executive members, with whom we’ve ex-perienced friendship and camaraderie. As a Chapter, it’s gratifying to know that the workshops we’ve provided have given area music teachers ongoing professional development, and invaluable support to homeroom teachers, who are often charged with carrying out music instruction.

Lethbridge Chapter Milestones• 1985: January 12 - Organizational meeting of the Lethbridge

Chapter of Carl Orff Canada. Elected were: Pat Boehm -presi-dent, Theresa Hepburn -secretary, Linda Langager -treasurer.

• 1990: Recipient of the Gunild Keetman Scholarship, Chapter member Judith Meunier attained her Level III with Jos Wuytack in Edmonton. She wrote, “The impact of this course in my life cannot be underestimated.”

• 1992: Our logo was designed by Angela Monaghan, and adapted by Beth Cook.

• 1993: First ordered red T-shirts and grey sweatshirts embla-zoned with our new logo.

Lethbridge Chapter Members at re:Play 2012

Lethbridge Executive at Prairie Spirit Winnipeg 1998

• 1994: Our banner was made by local teacher/seamstress, Marla McGeorge. It has since travelled across the country to each National Conference.

• Courses offered: 1 Generalist, 4 Introductory and 2 Level I Orff courses have been held in Summer sessions or school year weekends.

Children’s Days:

Fri. May 1998 - 6 school groups performed for each otherFri. May 1999 - 7 school groups performed for each otherSat. Apr. 2013 - 68 children from 11 schools rotated through 4 sta-tions with a final performance based on the picture book, If You’re Not From The Prairie

Preparing to present “If You’re Not From the Prairie” at Children’s Day 2013

Lethbridge Orff Chapter Banner: Parading at re:Play 2012

Vol. 40, No. 2, Winter 2014 33

Vanessa Fer

Just the FactsFounded: 1974First President: Ruth Mattison (Lomenda)Awards:• Birthe Kulich Scholarship• Deborah Kerr Scholarship

1960s: The PioneersThe BC Orff Chapter had its humble beginnings when a music teacher named Kory Shandler introduced Orff Schulwerk to BC by inviting some early childhood and music specialists to her home one day in 1958 or 1959. The invited guests watched a film that she obtained from the German Consulate called Music for Children. Kory taught music during this period, and is remembered fondly for the fantastic lessons she taught children in the Music Education Hut at UBC.

By 1969 Birthe Kulich was one of the first BC teachers who was inspired to take some initial Orff teacher training in Toronto, re-turning to teach workshops and short courses in BC. She continued with her studies by taking the Intermediate Level in 1973 and the Teacher’s Level in 1975.

In the late 60s Donna Hossack was living in Montreal where she began observing children’s classes offered by Miriam Samuelson. She enrolled in Miriam’s recorder classes for adults, and in 1968 she went to Toronto to take the Orff Course. Her musical skills and background were known to Doreen Hall, so she took the Intermediate Level and returned the following summer for the Teacher’s Course (now Level III). In 1971 Donna Hossack moved to BC, and in the fall she taught an Orff class to adults at the Unitarian Church. Later in 1975 she became the BC’s Chapter’s second President.

1970s: The fires igniteIn 1973 the first two-week Orff course was held at UBC and was followed by another in 1974. Around this time, Doreen Hall wrote to Donna Hossack asking her to form a Carl Orff Canada Chapter

Donna Otto, 1978-1984

British Columbia Chapter in British Columbia. So Sandra Davies (a U.B.C Music Education Professor) gathered a group of Orffans in the Music Education Hut at UBC., and in 1974 Ruth Mattison (Lomenda) volunteered to be the first BC Orff Chapter President.

Ruth was educated at the University of Toronto. Her studies included working with Doreen Hall before she made her move to BC. During her time in BC she shared her knowledge with students in Sandra Davies’ Music Education classes at U.B.C; she taught in the Van-couver schools until moving to Calgary in 1978.

Sandra is remembered for how much she supported and advocated for Orff music education while working at UBC. Sandra was in-strumental in bringing Jos Wuytack to the university. Jos Wuytack is an internationally known Orff pedagogue.

Donna Otto was another pioneer who trained in Toronto between 1972 and 1981. Birthe Kulich and Donna Otto eventually both took their studies one step further by training in Salzburg, both returning to B.C to continue teaching and inspiring everyone.

By 1974 the need for a national organization of Orff teachers became apparent, and the association, Music for Children - Carl Orff – Musique pour enfants was formed. By 1976 our small BC Chapter had increased membership to 54 as enthusiasm and interest for Orff-Schulwerk grew in the Lower Mainland.

The BC Orff Chapter was now in full swing. By 1976 two news-letters were published and an Intro to Orff course was provided at the Community Music School of Greater Vancouver (taught by Birthe Kulich and Donna Hossack). Several mini-sessions and an annual conference called “Fall Fiesta” were held. One workshop in 1977, where Jane Frazee was the guest clinician, had 125 participants. This number alone demonstrates how the excitement over using the Orff process blossomed among music educators.

By this time the BC chapter was now confident enough to jointly host the National Orff Conference in 1978 with UBC’s Centre for Continuing Education Department and the Music Education Department. Well over 300 participants attended the conference, representing areas of public school music teaching, community arts programs, music therapy, university faculty members, musi-cians, classroom teachers, and the music publishing industry. Orff Schulwerk was now known throughout the province.

Joe Berarducci and Sandra Jordan Davies (Levels Courses 1987)

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VictoriaTwo women from England were busy spreading Orff ideas in Vic-toria between 1955 and 1987. Ivy Screech encountered Orff while living in England, and made connections with others involved at the time, notably Margaret Murray. Screech moved to Victoria in 1953 and began teaching at St. Margaret’s. Rosalie Frampton, who was also from England took her training in Toronto in 1971, ’72 and ’73. Her instructors were Joan Sumberland, Doreen Hall and Jos Wuytack.

KootenaysIn August 1976, a short note in the National Orff Bulletin #5 of December 1976 said that Ulla Brenken (Toronto Orff Course 1962) gave three workshops in Ya Sodha Na Ashnami Kootenay Bay. The theme was Music and Movement using Orff materials.

1980s: Our love for Orff music explodes! Sharing sessions, workshops and Levels courses began soon after the chapter was formed in the late 70’s, and this continued during the 80s. In 1982 the first Level III course graduated. This course was taught by Jane Frazee, Birthe Kulich and Susie Green at UBC. Susie’s credits as a dancer, dance teacher and choreographer are astounding. BC is very fortunate to have such an incredible move-ment instructor live so close to home. Susie is known for her deep understanding of Laban and an excellent ability to connect it to Orff music.

The graduates from the first Level III class, along with other members, collaborated during the 80s to create and teach Intro courses or workshops. The remarkable people who went on to do this were Debra Giebelhaus-Maloney, Tisia Minichiello, Deborah Kerr, Leanne Roy, Joe Berarducci and Margaret Inglis. Variations of these courses and workshops were then taken to various school districts around the province including Nelson, Vernon and Van-couver Island.

Between October 1984 and June 1985 nine meetings were held. The BC Orff Chapter held a large number of sharing sessions. Other interesting workshops included two Schulwerk (reading) sessions, a rhythmic development workshop with Jane Frazee, a vocal workshop with Mary Goetze, and a dance workshop with Susie Green called “Laban Experiences”.

Donna Otto sat on the BC Orff Chapter Executive during this time. She presented at numerous National Conferences and prepared

children’s groups for several of them. Donna was like an electric turbine of energy; her deep passion for Orff music was reflected in the incredible music program that she developed in Coquitlam. She had a powerful influence on the participants in the levels courses, and the concerts she organized and implemented were so amazing that music teachers attended them just to learn from her. Donna later inspired music teachers across Canada during her time with the National Executive, and she continues to sit on the Advisory Board.

A rather exciting development during this period was when Joe Berarducci and Birthe Kulich offered Orff music sessions at the BC Music Educator’s Conference (BCMEA), connecting and providing Orff ideas to the largest local music conference in BC. Joe also worked with Birthe Kulich to create the recorder method books, the Windsong Series, by developing a pedagogical sequence for all of her ideas. At the time these books were very popular and heavily influenced many music teachers. They continue to sell in music stores today.

In 1985 the Intro Course was taught at a Burnaby public school called Seaforth, while the Levels Courses were taught at UBC. By 1986 the chapter executive focused on developing a procedures handbook and developing policies and procedures for the summer levels training school.

The BC Chapter was fortunate to have a host school sponsor in Deborah Kerr for nearly 25 years. Deborah was an Orff specialist who later became a principal; she made it possible for the chapter to use her school space and Orff equipment for weekend workshops free of charge.

Joe Berarducci became the chapter President in 1989 (he later became the National President). He is a master teacher, and during this time he began to influence another generation of teachers with his passion, knowledge, musicianship, materials and personality. He worked tirelessly to keep the vision of Orff education alive in BC.

1990s: A new wave rolls in Membership was maintained in the 90s. Regular newsletters, sharing sessions and workshops were provided, as in the 80’s. The Chapter now began preparations to host the 1992 National Conference.

Kay Norton, Jeanie Default (Margaret Inglis behind), Sandra Jordan Davies, Donna Otto, Ann Golden Fisher and unknown 1987-1989

Ruth Mattison Lomenda

Vol. 40, No. 2, Winter 2014 35

In the summer of 1990 Level I and II were both held at UBC. To help with Levels Course fees, three Birthe Kulich scholarships were granted to Level I students. A free membership was also given to those taking any Levels course. In 1991 four Intro Courses were held, two of them at UBC, one in Abbotsford and another in Mis-sion. Levels I, II and III were also held at UBC in the summer of 1991. These courses were about 70 hours and three weeks long, providing students with 6 UBC credits.

The executive (whose term is normally 2 years) remained in their positions for a third year to allow for continuity in planning the National Conference. Between 1990 and 1992 sharing sessions and workshops were held, three newsletters were issued, and the 1992 National Conference was hosted. To add to their already full plate, the executive began some special projects, such as hosting BCMEA and Canadian Music Education Association (CMEA) clinicians, providing financial assistance for workshops in Terrance and Kitimat, and last but not least giving sponsorship, support and organization to the first Honour Orff Performing Group at the BCMEA.

A number of local members led workshops and Intro courses dur-ing this time: Bonnie Ishii, Ari Con, Cathy Bayley, Pamela Hetrick, Jeannie Default, Joe Berarducci, Tisia Minichiello and Deborah Kerr. The courses provided a basic music foundation for music educa-tors and for teachers who did not have a music background. Quite a number of these members also travelled outside of Vancouver to teach workshops and Intro courses.

It was during this time that Leanne Roy (a past president of the Orff Chapter) was not only the National President, but also the President of the BCMEA. Leanne’s incredible organizational skills brought the National Organization into the 21st century, accomplishing the incorporation of Carl Orff Canada. She executed plans for the BC Orff Chapter, local school districts, and the COC, with an inspiring energy and finesse.

In the mid-90s membership declined slightly, however the love for Orff music education burned and five workshops were organized, three issues of the newsletter were sent out, and a parent brochure drafted. Course work was going on at UBC with Leanne Roy (Level I), Joe Berarducci (Level II and III), master recorder teacher Karen Pep, and sometimes Susie Green teaching movement.

A few special projects during this decade proved useful. One of these projects was the first Children’s Day held in 1994. It was so successful, that it became an annual event and we marked our 5th

Children’s Day in 1998. Another highlight was Doug Goodwin’s week long Jazz/Orff Workshop in 1997. There were 30 registrants, which is the maximum number allowed.

Donna Otto was recognized with the BCMEA Professional Music Educator Award (Elementary) in 1995 – an exciting moment for everyone in BC.

Level I and II courses were held in 1996 and 1997 not at UBC, but in Burnaby schools under chapter sponsorship. The chapter continued to provide some wonderful workshops and sharing sessions, however attendance continued to be down. Due to the fewer levels courses, fewer Orff graduates were coming into the music education scene. The newsletter began to publish four issues a year.

Vancouver IslandThere were 7 island members around this time who would travel to the mainland for workshops and sharing sessions. In ’96-’97 Ari Con and Cathy Bayley presented workshops on the island. Approximately 25 participants attended the local events.

2000: A time for retooling and updatingWorkshops, sharing sessions, Children’s Day, and all three Levels Courses at BUCK continued to run. A new Post Level III Course - Assessment and Evaluation - was taught by Joe Berarducci, which sparked some new life into music teachers in 2004.

Between 2004 and 2005 there were two significant new ventures for the chapter. One was the introduction of a Lending Library, which was made possible with a generous donation of over 100 books from Leanne Roy and another large donation made by Anne Golden Fisher. The second venture was when the chapter entered the online world with a website and email account.

Four Birthe Kulich scholarships ($400 each) were granted in 2006 for Levels courses. Carolynn Franked took over the website at this time, and a blog was use to present photos from workshops. A chapter email list was then created, so advertising moved more quickly to members. An annual registration brochure was sent out for the first time. It presented the complete slate of workshops for the coming year and gave people an opportunity to register for all workshops at a reduced rate. New venues were explored around this time to replace the existing UBC courses. Pam Hetrick, an accomplished Orff instructor who moved to BC from Oregon, joined the executive and began teach-ing Level I at the Vancouver Community College (VCC) in 2007. With the help from a VIC contact, Sal Ferraris, Pam was able to have all three Level Courses at VCC certified by Carl Orff Canada. Susie Green and Joe Berarducci joined Pam to create a dynamic trio of instruction for these Levels courses. These would be the first endorsed levels courses in BC in over a decade.A few promotional opportunities became available in 2005/2006. A booth was set up at the BCMEA conference where brochures on Carl Orff Canada and our local events were displayed and distrib-uted. Karin Johnson, a member of the chapter’s newsletter team, wrote an article for the Burnaby School District newsletter, called “Carl, Joe and Me”. Lastly, Pam Hetrick was asked to give an Orff workshop/presentation to PDP students at Simon Fraser University.

Cathy Bayley

36 Ostinato

During this time, our long-running Children’s Day event began receiving support from the Burnaby School District with the help of John White. The Burnaby School District at this time was able and willing to absorb the custodial costs for all our events held in Burnaby Schools.

Nearing the end of this decade, a new policy was put in place that meant national and local executive members would attend BC workshops free of charge. The chapter sponsored six workshops at the provincial music educator’s conference (BCMEA). This meant there was a larger Orff presence at the conference than usual and more people who usually can’t make it out to the local workshops were able to attend. Membership was back up to 150 members by 2008. Exciting workshops were held with local and internationally recognized clinicians, Levels Courses, Post Level III Course, and a Children’s Day. Over the years more and more non-BC residents have been travelling to our city to take our courses and workshops. Two Birthe Kulich scholarships ($500 each) were granted in 2008 for Level I courses.

Prince GeorgeContact between Prince George School District and Debra Giebel-haus-Maloney resulted in a 2-day Orff workshop in Prince George in 2008/2009.

Quite a few changes were made by this time, and a new project began to emerge. The chapter decided to embrace the online world again (and save some trees), by publishing our newsletter, Impulse, online. With 4 co-chairs the planning began for the 2012 Confer-ence, re:Play.

2010s: The journey continuesBy 2010 our chapter was celebrating its 35th anniversary. We suc-cessfully catalogued all the books in our lending library. Around

British Columbia Orff Chapter Banner

this time our webmaster, Carolynn Franked, set up the first online registration system for our chapter, and then went on to provide technical advice to the National Executive during the transition to online registration. Another scholarship named after Deborah Kerr was introduced in 2011. It provides financial aid to elementary stu-dents who can’t afford the fee ($25) for our Children’s Day event.

These days the BC Chapter is enjoying the memories of hosting the 2012 National Conference, and looking at working on improving Orff awareness in the province. We are also brainstorming ideas for mentorship programs, so that Levels instructors and National Executive positions can have increased continuity.

Many thanks to those who helped in the preparation of this article, especially to Leanne Roy.

Vol. 40, No. 2, Winter 2014 37

Book Reviews / Critiques de recueils et DVDs pédagogiques

By Isabel McNeill CarleyPublisher: Brasstown Press $19.95 in Canada, through St. John’s MusicPrice: $10.95 each

Reviewed by Catherine West

These are the “Five Little Books” from Isabel McNeill Carley, re-cently expanded and reissued by Brasstown Press. Anne M. Carley writes in her introduction to the present edition, “The songs have a variety of tonal centers, time signatures, and rhythmic moods, almost all in pentatonic scales and modes. Chosen carefully from global sources with an emphasis on rich North American traditions, the books collect nearly 100 folk songs along with music composed by IMC and others.” As such this collection is a welcome addition to teachers’ and levels course instructors’ resource list.

My Song Primer (3rd Edition) is a teacher and student collection of thirteen songs from so-mi to pentatonic intended for use in an Orff classroom setting, especially as a support to the beginning Orff teacher. The Table of Contents summarizes this progression at a glance, adding useful information about musical features of the song, and a list of instruments used in the Orff setting. Reference pages repeated in all five books show the hand signs, rhythm syl-lable names and Orff instrument abbreviations. The settings start with a 2-line staff, then 3-line and finally 5-line. Useful instructional strategies, movement ideas and accompaniment suggestions are included for each song.

The difficulty level of the accompaniment patterns is a little more challenging than I would usually use for the level of the song, but that determination depends greatly on the teacher’s context. The rhythmic progression is not nearly as complete as the melodic one, and is not aligned with it in terms of probable grade level, so is better ignored in most songs. Although identified as a possible student text, I would recommend this as a teacher resource – there is much on the page which is not accessible to students. The notation of the songs is very useable by students, and could be projected from the page.

The activities and arrangements are all very appealing. I particu-larly liked the “Hiding Game,” a guessing game where “It” has to figure out which child has left the circle, and “Ambo Hato”, a game from the Philippines where a King or Queen soloist chooses another child and sings to them how to move around the room (like an alligator, butterfly, etc.).

My Recorder Primer takes an aligned approach to beginning recorder instruction. The volume follows the sequence in the original Music For Children volumes, from the two-note call (so-mi) on G and E, then introducing la on A and re on D. Like the volume above it uses two- and three-line staves before introducing the standard staff. This strategy produces a very different learning sequence from the standard G, A, B approach, but may, I suspect, have two advantages: the alignment with the melodic progression in the vocal program and the use of two hands right from the beginning, which may perhaps

My Song Primer, My Recorder Primer and My Recorder Reader 1, 2, and 3

help to avoid the “left hand on top” issue. Clearly IMC expected recorder and vocal literacy to begin in the same grade – probably grade one or two - but recapitulating that sequence when recorder is introduced at a later grade is also sound pedagogy.

Breath marks, dynamics, slurs and staccato appear very early on – once again something not usually featured in most recorder methods. Orff accompaniment suggestions are provided for many of the pieces, and here we find a very carefully sequenced approach to rhythmic training, with provision for creativity. The suggested instructional sequence for all songs is echo-play, rhythmic exercises, then singing the song before learning to play it. The song materials here invite development through dramatic play, Orff accompani-ments or singing games, and the strong connection with solfège reinforces the connection between the eye and the ear as students begin reading notation.

This volume could be used by students but the fairly small size of the notation on the page, and the number of things on one page, suggest a grade level of at least grade four. It is also unfortunate that the pages appear to be reproduced from the handwritten notation of the earlier edition and lack the high resolution clarity we expect in student texts, although they are certainly legible.

My Recorder Reader 1, 2, and 3 provide a wealth of repertoire for the developing soprano recorder player in classroom or private lesson setting. There are some accompaniment suggestions but no pedagogy. Book 1 introduces 41 songs in G pentatonic, Book 2 has 47 songs in C and F pentatonic, and Book 3 contains 44 songs from pentatonic to diatonic. The material here is largely not found in any other recorder methods so is a wonderful resource as a method in its own right or as supplemental material. Once again the music has been reproduced from the original handwritten source, which is unfortunate. It is also frustrating that there are no acknowledge-ments of sources for the songs; a newer publication would certainly have provided us with that useful information.

Thee five volumes from a pioneer of the Orff movement in North America represent a giant achievement in the provision of learning materials for Orff teachers at a time when the only English language materials available were largely English from England. In today’s climate they still hold their own as an example of an implementation which cleaves to the original model in Orff’s Music For Children. Because of this clarity they may be used with confidence in Orff Levels courses for teachers, and with children, and can also be pillaged for additional wonderful repertoire by teachers choosing not to use them as a primary method. I strongly recommend them and will be using them in my own classes for students and teachers.

38 Ostinato

Orff Schulwerk in TorontoDoreen Hall

The following is an excerpt from an article that appeared origin-ally in the single issue of the precursor to Ostinato, a newsletter called Carl Orff Music For Children, published by the University of Toronto (through Richard Johnston) in March 1968. Because this article illuminates the history of the Orff movement in Canada, it is included here as part of our 40th anniversary issue.

In the summer of 1957 the Royal Conservatory of Music, in Toronto offered a one-week session in Carl Orff’s “Music for Children”, the first to be given on the North American continent. The enrollment was indicative of widespread interest among music educators in Canada and the United States. For five years thereafter the Royal Conservatory of Music offered the one-week course each summer with me as the sole exponent.

Then in 1962 Carl Orff was invited by Dr. Arnold Walter to partici-pate in a conference on Elementary Music Education, an occasion which marked the opening of the Edward Johnson Building and the first international symposium on “The Schulwerk, Its Origins and Aims”. A two-week course for teachers was planned in conjunction with the conference and Dr. Orff’s collaborator Gunild Keetman, came from Salzburg with members of their teaching staff – Prof. Welhelm Keller, Lotte Flach and Barbara Haselbach. Completing the faculty were Canadians, Keith Bissell, Laughton Bird, Hugh Orr and me.

As a result of the enthusiastic response from the three hundred delegates and students who registered from all parts of Canada and the United States, a two-week summer course was initiated for the coming years under the Faculty of Music, and Richard Johnston was appointed Director.1 I was appointed Director of Studies in 1967. The policy of inviting teachers from Europe was also established and these guests continue to add distinction to our summer courses. In 1963 we presented Dagmar Bautz, Salzburg, and Polyxene Mathey, Director of a School of Movement in Athens, Greece, who returned to us the following year.

“Music for Children” was not included in the 1965 Summer School as plans were underway for revision of the course. Eventually those plans were consolidated in the form of three summer terms which would culminate in a Teachers’ Certificate. In 1966 an Introduc-tory and an Intermediate Certificate were offered for the first time and classes, which were formerly of two weeks’ duration, were extended to three weeks. It was an exciting year for everyone with guest teachers Danay Apostolidou from Athens and Daniel Hellden from Stockholm, Sweden.

We looked forward so much to Mr. Hellden’s return in 1967. Traude Schrattenecker, a key teacher in Movement from the Orff Institute, was coming for the first time and we had excellent teachers from Canada. Then, only a few days before classes were to begin, Daniel Hellden cabled that he was unable to join us because of ill health. We were delighted when Maria de Lourdes Martins, on such short notice, cabled from Portugal to say that she had been able to re-arrange her summer schedule in order to accommodate us. To Miss Martins – a graduate of the conservatory of Music in Lisbon and

a student of Hindemith, Maderna, Stockhausen and Orff – we will always be deeply indebted.

Until 1967 seminars were given daily in which we demonstrated teaching techniques with children who had no previous experience in music or movement. These sessions proved extremely valuable, especially to those teachers who were uninitiated in the Schulwerk tradition.

With the introduction of the Teachers’ Course, practice teaching became a requisite and I felt the scope of the seminars should be extended. I decided to encompass those aspects of school music in which Orff Schulwerk is most useful, and arranged the program accordingly. My opening lecture, “Carl Orff’s Theories on Music Education”, was the foundation on which we built “Movement for Children” (Traude Schrattenecker), “The Voices of Children” (Lloyd Bradshaw), and “The Administration of Orff-Schulwerk in the Public Schools” (Keith Bissell).

Applied classroom techniques were demonstrated in the second week and included “Music for Children in the Primary Grades” (Jean Bocian), “Orff Techniques Applied to a Grade IV Classroom” (Marjorie Lea), “Percussion in the BND Class” (Robert Hughes) and “The Recorder as an Orff Instrument” (Miriam Samuelson).

The fact that “Music for Children” is indigenous to all lands was clearly demonstrated in the seminars of the final week; “North American Children’s Folklore” (Richard Johnston), “Orff Schulwerk in Portugal” (Maria Martins), and Orff movies filmed in Austria and Germany. The last lecture was “Music Learning – the Meaning and Implications” (Ezra Schabas).

For the 1968 seminars we have invited distinguished lecturers, renowned in the field of education, Among these are: Dr. William P. Malm, ethnomusicologist and author of Music Cultures of the Pacific, the Near East and Asia; Ruth Lovell Murray, Professor of Physical Education, Wayne State University and author of Dance in Elementary Education; Professor Joseph Wuytak, Lemmeninstitute, Holland, and Traude Schrattenecker, Salzburg.

The breadth of our program has established a precedent for the Schulwerk on this continent. In presenting a faculty composed of European, Canadian and American colleagues, we constantly show new facets of Orff’s work and blend the traditions of Europe with those of North America. It is the welding of these factors which make “Music for Children” at the University of Toronto such an out-standing Teacher Training Course in Elementary Music Education.

The article concludes with a description of the musical background of the members of 1968 summer school staff.

Endnotes1 The Royal Conservatory was part of the University of Toronto at this time. Subsequently the two institutions became separate entities.

Orff Schulwerk Courses / Formations Orff

Vol. 40, No. 2, Winter 2014 39

Josh Ball Level II, Royal Conservatory of Music in Toronto

Gunild Keetman Scholarship Winner Report

Upon receiving the news that my application for the Gunild Keet-man Scholarship had been successful, I clapped my hands with excitement (two bars of eighth notes in 4/4 time). I was looking forward to starting Level II, the third installment of my Orff Lev-els journey, at the Royal Conservatory on Bloor Street. I was also anticipating seeing many familiar faces from my Level I course who were back for another fortnight of singing, recorder playing, creative movement, sleep deprivation, caffeine dependency, and occasionally embarrassing moments.

This year’s theme was “risk”. I certainly took many, some more successful than others. One of the largest risks I took was reading sheet music for the alto recorder. Reading music is my weakest link. It is one thing to read, but something else entirely to transpose while you go. I found it rather enjoyable to play the alto, however I experienced some moments of near terror when I approached several bars filled with ledger lines. I persevered. The only other person who knows how it turned out was my stand partner, and she has been successfully bribed into silence.

Another risk I took was just enrolling in Level II. I have been heavily involved in electronic music, music technology, music production, and studio engineering for many years. I play several instruments very well by ear. I have a good knowledge of theory although I have never taken a theory course. With my background, I was very much a fish out of water, well, perhaps more like a foreign fish in an unfamiliar body of water where all the other fish say “I like how you can swim upside down like that, but can you swim this way?” Don’t get me wrong. The fish in this school were all very welcoming and in no time I was teaching some of them to swim upside down! They also helped to keep me afloat. You may be thinking that I’m taking the aquatic theme a bit too far now, however another risk that many of us took was staying inside the RCM building during The Great Toronto Flood of July 2013. Part of the building was submerged under water. We stayed (working on our assignments!!) until we were literally escorted out by security!

Having experienced ten incredible days with my colleagues, many of whom I consider to be good friends, I can say that even though we were all groggy from lack of sleep, irritable from rewriting

our 4-stave compositions for the fifth time, stressed from playing title-unmentionable alto recorder songs with pitches that only dogs can hear, moving in ways that - if video recorded - would be the ultimate form of blackmail, we all worked together as a team to complete our group assignments, ensembles, partner activities and solo performances.

I thoroughly enjoy learning and teaching with Orff. Had I not known anyone in the course it still would have been great. The fact that many of us had taken a previous course together solidified our group and helped us to become more than just classmates. We became an ensemble.

I want to sincerely thank Carl Orff Canada for the assistance, all of my Level II ensemble members and our instructors Alison, Hania, Kim and Catherine for an inspiring and unforgettable two weeks of life, learning and music. To be continued in Level III...

Josh has been teaching Elementary Music at Rawlinson Community School in Toronto since 2009. He is heavily involved in electronic music and loves to integrate technology into his classroom as much as possible. He was one of twelve recipients across Canada to win the Best Buy Best In Class Fund grant (2012). He also owns a recording studio and has been producing music since 2000.

Natalia Soltes, Recipient of the Doreen Hall Award 2013

The 2013 recipient of the Doreen Hall scholarship at the University of Toronto, which was established with help from Carl Orff Canada in 1986, is Natalia Soltes. This year the winner received $1934.15. The scholarship is awarded to an outstanding undergraduate student preparing for a career in music education, particularly with children. Preference is given to a student with interest in Orff-Schulwerk training.

Natalia writes:

Entering my first year at the University of Toronto, I was not sure whether I wanted to be there. And while my first-year attempt to survey my options by taking a variety of courses was frustrating, it did help me realize that I did not want my undergraduate program to be simply a means to an end. I want my career to be both an

40 Ostinato

extension and reflection of who I am as an individual. I know I want to work towards a career that fosters and encourages personal growth, further develops my talents, and allows me to make a posi-tive contribution to other peoples’ lives.

The goal of the Music Education Division is to educate students to be community-oriented, well-rounded and thoughtful individuals who are professionally prepared to be effective and informed lead-ers in music education. I can sincerely attest to this goal as my two years with the Faculty of Music have had a very positive effect in my life, and this includes everything from academic achievement to self-discipline. The comprehensive curriculum is made up of num-erous courses that allow students to develop the know-how when it comes to teaching methods for a particular specialization, be it choral music, instrumental music, etc. We are taught the practical application of what it is we are learning.

After my first year of the Music Education program, I determined that I would like to teach music at the elementary level. I enrolled in a number of introductory education courses which examine current music education philosophies, learning theories, and meth-odologies as they relate to elementary general music. As a result, I gained exposure to the Kodály and Orff-Schulwerk developmental approaches. In the upcoming school year, I have enrolled in courses that will continue to refine both the application and instructional skills developed in previous courses relating to music for children and music education teaching methods. I am particularly excited to learn about the Dalcroze approach. On completing this program, I expect to have developed a sound and thorough knowledge base and skill set in order to one day have the ability to convey the essence of music education and to show that it is a fundamental component of human culture.

Thank-you again for funding this scholarship. I feel honored to have been named the 2013-14 recipient of the Doreen Hall Scholarship. The financial assistance you have provided is a great help to me as I prepare for a career in music education.

Applying for ScholarshipsCatherine West

This is the time of year to be considering those scholarship applications. Apart from the financial help these funds pro-vide, the award can be a great addition to your personal CV. The National association administers the Gunild Keetman Scholarship, which is open to those taking a Level II or III course. Full details are available at www.orffcanada.ca on the Scholarship Link. The deadline for applications is April 15, 2014. Often a significant amount of funding is available for the GKS, through the generosity of our chapters, and the com-mittee is able to award a significant number of scholarships.

In addition many of our local chapters sponsor scholarships, which sometimes fail to attract many applications because they are not well known. Usually these are open to teachers taking any Orff course.

Course ReportsReflectionsfromLevelIandIIatVancouver Community CollegeFrom Level II Instructor, Catherine West:Thirty-four eager participants assembled for the seventh annual Orff teacher training program at the spacious and light-filled Vancouver Community College in downtown Vancouver from August 11 to 18, 2013. Guided by the experienced professional staff of Pam Hetrick (Course Director and Level I Basic Orff/Recorder/Vocal Instructor), Susie Green (Movement) and Catherine West (Level II Basic Orff/Recorder/Vocal Instructor) the students sang, danced, spoke, acted, played instruments and expanded their own skills and creativity over the ten-day intensive course.

Every day concluded with an hour of Special Topics where the two levels came together, and these were special sessions in every way. We did African dance and song with Kofi Gbolonyo, yoga with Susie Green, Choral warm-ups and conducting with Julie Grierson, an integrated Orff experience with Catherine West, folk dance with Pam Hetrick and more. The BC chapter hosted an information ses-sion as part of this series.

A special feature of the Vancouver courses is that Vocal and Recorder are much more integrated into the Basic Orff component because they are taught by the same instructor. As someone who teaches more often in the opposite set-up, I really appreciated the chance to make it all work together as it should, although it is challenging to plan for the expectations in every area.

We were joined this year by instructor trainee, Julie Grierson of Toronto. Julie qualified to train for the mentorship in becoming an Orff Levels Instructor with Carl Orff Canada, and chose to complete her mentorship in a different location from where she took her own training. Her presence was appreciated throughout the Level I course in particular, where she supported students with their assignments and activities, and helped Pam with assessment, planning and organization. She found that she saw the Orff courses from a very different angle, seeing everything through the instructor lens instead of the student one. Anyone interested in the Carl Orff Canada mentorship for course instructors can find the details in the Policies and Procedures Manual, Section M, on the Members Only page of www.orffcanada.ca.

Once again the participants enjoyed the yummy benefits of sharing the college with a very busy and successful hospitality program – low-cost full-course dinners in the cafeteria and take-home goodies from the bakery were tempting to all! Next year all three levels are planned for VCC, in August. See the details later in this issue and on www.orffcanada.ca, or email Pam Hetrick at [email protected].

From course participant Deanne Delage: This past summer was a new beginning for me: I took a leap of faith to move back to music as a means of earning a living and began by studying at the Orff Level 1 Course offered in Vancouver. Coincidentally, on the first day of this course, I celebrated my 47th birthday - what a fantastic way to kick off the year finding my way back to music. Having no idea what to expect, I arrived with my textbooks, binder, paper, pens, and trying to be hip and young, I also packed along an iPad. Fortunately for me, I had skipped over my business attire and highheeled shoes and opted for yoga pants

Vol. 40, No. 2, Winter 2014 41

and running shoes. I fully expected a large portion of the day to be in lecture format. To my surprise, inside the classroom there were no desks and when we entered, we were invited to join in on a song (how delightful!).

The two weeks breezed by as the days were active and full (and I didn’t once need or use the iPad). I mused as the movement instructor let us know “If you can’t touch your toes, it’s ok to bend your knees”. I’m not sure that I had touched my toes in years, perhaps even decades, but by the end of the first week my fingers and toes had become reacquainted with each other.

The end of each day felt much like the end of a day out on our childhood street where we had jumped rope and played games until the street lights came on. We finished each day com-pletely spent and exhausted but fully satisfied and wondering what would come the next day. We laughed, we sang, we danced, we played games, we made new friends. Oh yes, and we learned. We learned a lot. We learned what it will feel like to be a student in our own Orff style classroom. We learned a kind and gentle method of teaching children to love music, and through that love, they will hunger for more. We learned how to give them more.

Sincere thanks for the opportunity to be part of this course, for the dedication and patience of the instructors – and of course, for the scholarship funds that made it possible for me to travel from Van-couver Island and attend without sleeping in the back seat of my car for two weeks. Had that been my accommodations, my fingers and toes would surely still be strangers!

From Course Participant Justin Enns:Last September I stepped into my Elementary Music Room. It had never been mine before and it wouldn’t last forever, but for the next 10 months, at least, I had a classroom of my own. Only once before did I have a room of my own, and that was teaching high school English and geography. That was a nice room too, but there

was something very conspicuous in my new room that the old one lacked: Orff instruments everywhere.

The previous June, the pregnant teacher I was about to cover for strongly suggested I enroll in the Orff course before taking her class

over. I neglected to heed her advice, hoping that my Grade 8 Piano and smattering of voice lessons would sufficiently conceal my lack of elementary training. I did the best I could, but I soon found that the she was right - I needed help.

It finally came this past August in Vancouver in the forms of Pam Hetrick, Susie Green, and Carl Orff. I stepped into the room for the first day of the Orff Level I course and spot-ted the same Orff instruments that were in my classroom (albeit nicer and fully intact). My experience thus far had been trying to teach my students all the parts at once, stealing away mallets when they played out of turn, and get-ting frustrated by their inability to watch the conductor, keep a steady tempo, or play with two hands. I couldn’t wait to learn how to teach the xylophone properly, but I would have to wait. First, movement. This was an aspect of Orff that sorely lacked in my classroom – they never taught me to move in my piano lessons

or in any of my voice lessons – and I expected to falter. I did a few times, but Susie was so full of praise and optimism that I didn’t care. I just tried again and again until I eventually got it. And even though it didn’t come right away, I still loved the entire process. That’s when I learned what my students need to do: make mistakes, lots of them. Just love the process and eventually you’ll get it.

The intensity of the two weeks of eight hour days plus homework was alleviated by the fact that being in the Basic Orff classes, though educational and inspiring, was like being a kid in an elementary music class with a really good teacher. That really good teacher eventually brought us to the barred instruments where we learned not only how to watch a conductor and play with two hands, but we learned the power of the pentatonic. In what should have been a cacophony – with unmetred mallets flying everywhere over 26

The youngest Orffer ever

Levels I and II VCC August 2013

42 Ostinato

Julianna Allan

I would like to share with you my thoughts and impressions of the RCM Introduction to Orff music course, which I took in the fall. In all honesty, I took this course to add to my exhaustive list of Additional Qualifications courses, rather than out of interest. With music background in piano and vocal, I figured there would not be much more that I could gain from this course. However, I soon realized that I was completely wrong! I can’t begin to explain how this course has changed my outlook on teaching music and teaching in general. I now fully understand that teaching music is all about awakening the musicality within a child by involving the entire mind, body and spirit. It is about incorporating movement, song, speech, poetry, instrumentation etc. into the lesson in order to elicit that musicality. It has truly shaken my previous traditional notion of teaching music and convinced me that experience precedes cog-nition. Furthermore, with the mandate to differentiate instruction, teachers are glad to learn that Orff is actually inherently inclusive of all learning styles.

This course is unlike any other professional development course I’ve taken. It is mostly hands on, fun and engaging. It includes demonstrations of various songs, games and activities, lesson planning, individual and group presentations, as well as access to some intriguing workshops. This course gives educators the right tools to be confident in the classroom as Orff music teach-ers. The success of the course is in big part due to the great team of instructors namely, Beth Knox, Kim Kendrick, Alison Roy and Hania Krajewski. I highly recommend this course to all existing and new music teachers. Thank you for exposing me to Orff! I am eager to take the Orff Level I course in March.

Julianna lives in North York; she is an elementary occasional teacher with the Toronto District School Board and a piano teacher. She has also instructed an adult general interest Piano Keyboarding course and taught grade 6 homeroom. She has a Masters of Education degree and Royal Conservatory musical training.

Introduction to Orff at the Royal Conservatory (Fall 2013)

different instruments – we sounded like a symphony. It was excit-ing, both because we sounded so good, and because I can now share this excitement with my students who will all soon learn the power of the pentatonic.

Of course there was so much more, but suffice it to say that this experience has changed my professional life and will change the musical lives of all the students I teach. I was incredibly blessed to receive this scholarship to make it possible to take this course. And though that no-longer-pregnant teacher is returning in four months, and I will be again looking for a contract, I will definitely be pursuing an elementary music position. Forget high school English and geography; the pentatonic is too powerful to keep to myself.

International English Language Summer Course 2014

Elemental Music and Dance Pedagogy Orff-Schulwerk

July 6 - 12, Orff Institute, Salzburg, Austria

Instructors Mari Honda, Frajo Kohle, Verena Maschat, Christoph

Maubach, Isabel Rosner and Doris Valtiner

For more information contact [email protected]

Orff-Institute, Salzburg Special (English Language) Course

Advanced Studies in Music and Dance Education Orff-Schulwerk

October 2014-June 2015

For information email [email protected] with your mailing address.

Inscription en ligne COC vous offre le choix de payer votre inscription en ligne. Allez à www.orffcanada.ca/membership.htm pour re-nouveler ou payer votre adhé-sion.

Online MembershipCOC is pleased to provide the convenience of online payment for membership. Go to www.orffcanada.ca/membership.htm to create or renew your mem-bership now!

Vol. 40, No. 2, Winter 2014 43

Orff Arrives in PEI!Julie Grierson

For the first time ever, Level I Orff will be offered in Charlottetown, Prince Edward Island. This has been a long time in the making, and wouldn’t be happening if it weren’t for the vision and persistence of the organizers.

It all began in 2006, when a group of three PEI teachers attended Collage, the National Conference of Carl Orff Canada in Toronto. These teachers were inspired by their introduction to the Orff ap-proach, and interest in learning more about it began to grow. The following summer, Beth Knox presented a one-day summer work-shop in Charlottetown. The interest continued to build, and Beth and Ronita Baird discussed the potential of training teachers on the island. Over the years these discussions became more intense, until Ronita and a team of dedicated organizers painstakingly worked out the details.

Further support for the course came when, after much lobbying by the NS Orff chapter, the NS Department Of Education agreed to allow Masters of Music Education students, many of whom are PEI residents, to use Orff Level 1 as a credit course.

With invaluable input and assistance from James Jackson, the director and Basic Orff instructor for Level I courses held in NS, along with sponsorship by the NS Orff chapter, this summer’s Level I course in PEI will run from July 21-August 4 in Charlottetown, and will be taught by Beth Knox, Margaret Kristie, and Julie Grierson, with James Jackson acting as Course Director.

Julie Grierson is an Orff Specialist teaching K to 6 music for the Toronto District School Board. She completed her mentorship to be an Orff instructor at Vancouver Community College in 2013 and is delighted to be heading to Canada’s other seacoast to teach Orff Level I this coming summer.

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Vol. 40, No. 2, Winter 2014 45

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46 Ostinato

Orf

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Teac

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rain

ing

Cou

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/Cou

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rmat

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Orf

fIn

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Dat

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serv

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M

usic

Intro

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tro to

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, Le

vels

I an

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cred

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/J V

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usic

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ts 1,

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nd 3

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ug 2

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de

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Cour

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PRIN

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Vol. 40, No. 2, Winter 2014 47

Orf

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Teac

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Cou

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/Cou

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rmat

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Orf

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Vol. 40, No. 2, Winter 2014 49

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50 Ostinato

AGM AnnouncementThe Annual General Meeting of Music for Children – Carl Orff Canada – Musique pour enfants will be held on April 11 at 11:45-12:45 in the Marriott Harbourfront Hotel, Halifax. The agenda will be available at www.orffcanada.ca by March 15, 2014. To receive the information by post, contact the National Secretary.

Annonce de l’assemblée générale annuelle des membresL’assemblée générale annuelle des membres de Music for children – Carl Orff Canada – Musique pour enfants aura lieu à l’hotel Marriott Harbourfront, Halifax, le 11 avril 2014 de 11 :45 à 12 :45 heures. Les détails concernant l’ordre du jour seront disponibles à www.orffcanada.ca à partir du 15 mars 2014. Pour recevoir ces informations par la poste, veuillez joindre la secrétaire nationale.

Annual ReportsMembers are entitled to receive either hard copies or e-copies of the most recent annual President’s, Treasurer’s, and Membership Secretary’s reports (presented at the April 2013 AGM). They are available on the Members Only page of www.orffcanada.ca.

Rapports annuelLes membres de COC ont droit de recevoir une copie papier ou copie électronique des plus récents rapports annuels de la présidente, de la trésorière et de la secrétaire aux adhésions (présentés à l’assemblée générale d’avril 2013). Ils sont disponible à la rubrique Members Only de www.orffcanada.ca.

Gunild Keetman ScholarshipThe Gunild Keetman Scholarship is awarded annually to a Canadian student or teacher who wishes to take an Orff Level II or III course. Full details about Gunild Keetman and the scholarship application form are available at www.orffcanada.ca on the Scholarships link. The deadline for applications is April 15, 2014.

La bourse Gunild KeetmanLa bourse Gunhild Keetman est décernée annuellement à un(e) étudiant(e) canadien(ne) qui souhaite suivre la formation Orff de niveau II ou III. Les renseignements au sujet de la bourse Gunild Keetman de même que le formulaire d’inscription sont disponibles sur le site Internet de Carl Orff Canada : www.orffcanada.ca, sous le lien « Bourse ». La date limite d’inscription est le 15 avril 2014.

Donations to the Gunild Keetman Scholarship FundMembers and chapters are encouraged to make donations to the Gunild Keetman Scholarship fund. Please use the donations form at www.orffcanada.ca, on the Scholarships link. Official receipts for income-tax purposes will be issued for all donations.

Dons à la fondation de la bourse Gunild KeetmanLes membres et les chapitres sont encouragés à faire des dons à la fondation de la bourse Gunild Keetman. S’il vous plaît, veuillez utiliser le formulaire de dons à la fondation disponible sur le site www.orffcanada.ca sous le lien Scholarships. Des reçus officiels d’impôt seront émis pour chaque don.

Course GuidelinesCurrent guidelines for Introductory, Levels I, II, and III courses and Post Level III Guidelines can be found in Section M of the Policy

National Executive Business Section /Section du conseil exécutif national

and Procedures manual in the Members Only section at www.orff-canada.ca. Course Guidelines for the Course for the Non-Specialist Teachers are in development.

Lignes directrices des cours OrffLes lignes directrices pour les formations Orff de niveau Intro-duction, Niveau 1 et Niveau 2 et pour le niveau Post-niveau 3 se trouvent à la section “M” du manuel des Politiques et Procédures sous le lien Members Only sur le site www.orffcanada.ca. Les lignes directrices de la formation pour les enseignants non-spécialistes sont en préparation.

Post Level III CertificateMembers who have successfully completed their Orff Level III, and have taken three endorsed Post Level III courses may apply for their Post Level III certificate.The application form can be found in Section N of the Policy and Procedures manual in the Members Only section at www.orffcanada. For enquiries, contact the Second Vice-President.

Certificat post-niveau IIILes membres qui ont complété avec succès le niveau III et qui ont suivi trois cours approuvés de post-niveau III peuvent demander un certificat « post-niveau III ». Le formulaire d’application est disponible à la section « N » du manuel des Politiques et Procé-dures sous le lien Members only de www.orffcanada.ca. Pour toute information, veuillez joindre la seconde vice-présidente.

Mentorship Program for Levels Course TeachersExperienced Orff specialists who are interested in becoming Lev-els course instructors are invited to apply for Carl Orff Canada’s Mentorship Program. The guidelines and application can be found in Sections M and N of the Policy and Procedures manual in the Members Only section at www.orffcanada. For further information contact the First Vice-President.

Programme de mentorat pour les enseignants des formations OrffLes spécialistes Orff expérimentés qui sont intéressés à devenir des professeurs des différents niveau de formation sont invités à s’inscrire au programme de mentorat de Carl Orff Canada. Les lignes directrices du programme et le formulaire sont accessibles disponible aux sections « M et N » du manuel des Politiques et Procédures sous le lien Members Only de www.orffcanada.ca. Pour toute information supplémentaire, veuillez joindre la première vice-présidente.

Become a Member!Members receive this journal three times a year, contact with a local chapter, and reduced admission to workshops and conferences. Go to www.orffcanada.ca and click on Join Carl Orff Canada.

Devenez membre !Les membres reçoivent trois fois par année la revue Ostinato ; ils sont affiliés à un chapitre local qui leur donne accès à tarifs réduits lors des ateliers de formation ainsi qu’aux congrès nationaux.

Celebration and Memorial DonationsRemember your friends and relatives in a unique and special way. Make a tax deductible donation to Music for Children – Carl Orff

Vol. 40, No. 2, Winter 2014 51

Canada – Musique pour enfants. Donations can be made to any of the following funds: the General Operation Fund, The Gunild Keetman Scholarship Fund, or the Orff Mosaic Children’s Travel Fund. Donation forms can be found in Section M of the Policy and Procedures manual in the Members Only section at www.orffcanada.ca.

Dons commémoratifs Pour souligner d’une façon unique et spéciale le souvenir d’amis ou de parents, vous pouvez faire un don déductible d’impôt à Music for Children – Carl Orff Canada – Musique pour enfants. Ces dons peuvent être faits à n’importe lequel de ces fonds : the General Operation Fund, The Gunild Keetman Scholarship Fund, ou au Orff Mosaic Children’s Travel Fund. Des formulaires sont disponibles à la section « M» du manuel des Politiques et Procédures sous le lien Members only de www.orffcanada.ca.

Application for Financial Assistance: Children’s Performing Groups Grants are available to help defray the travel costs of taking a children’s Orff performance to the national conference. The next application deadline is Feb. 1, 2014; forms can be found in Section N of the Policy and Procedures manual in the Members Only sec-tion at www.orffcanada.ca. Grants may also be available for groups travelling to other conferences. For more information contact the National Treasurer.

Demande d’aide financière pour les groupes d’enfantsIl est possible d’obtenir une aide financière pour aider à payer les frais de voyage des groupes d’enfants participant à notre congrès national. La prochaine date limite pour les demandes est le 1er février 2014. Il est aussi possible d’obtenir une aide pour les enfants qui participent à d’autres congrès. Des formulaires sont disponibles à la section « N» du manuel des Politiques et Procédures sous le lien Members Only de www.orffcanada.ca. Pour toute information supplémentaire, veuillez joindre la trésorière nationale.

Research GrantCarl Orff Canada awards one research grant of $500 to support research into Orff Schulwerk. The next application deadline is June 15, 2014. Details and application forms can be can be found in Section N of the Policy and Procedures manual in the Members Only section at www.orffcanada.ca. For more information contact the Past President.

Bourse pour soutenir la rechercheCarl Orff Canada offre une bourse de 500 $ pour soutenir la recherche reliée au Orff Schulwerk. La prochaine date butoire est le 15 juin 2014. Des détails supplémentaires et le formulaire d’application sont disponibles à la section « N » du manuel des Politiques et Procédures sous le lien Members Only de www.orffcanada.ca. Pour toute information supplémentaire, veuillez vous renseigner auprès de la présidente sortante.

Take Note / Notez bien...Our Spring 2014 issue will have Orff and Traditional Culture as its theme. Orff always maintained that the Schulwerk should be based on and nourished by the culture of each country where it takes root, but how do we interpret that mandate in our twenty-first century global society? We are looking for articles which examine the role of music teachers as culture bearers, consider the role of folklore in our teaching repertoire, review the place of children’s literature in our music programs, or reflect on any other aspect of this very important topic.

Firm deadline for all submissions: March 15, 2014

Looking Ahead in Ostinato The Fall 2014 issue of Ostinato will be a rich round-up of En-semble 2014 workshop reviews, summer course reports, and contributions from our members. Now is a great time to gather your reflections on the school year that is just ending and send them in a short or long article to us to share with your music colleagues across the country. We are happy to include thought-ful articles on any topic related to teaching music.

Firm deadline for all submissions: June 15, 2014

L’édition printemps 2014 aura comme thème : Orff et la culture traditionnelle. Orff a toujours maintenu que le Orff Schulwerk devrait être basé et nourri par la culture inhérente à chaque pays, mais comment interprétons-nous ce mandat au 21e siècle? Nous recherchons des articles qui examinent le rôle des musiciens éducateurs comme passeurs culturels tout en considérant l’importance du folklore dans notre répertoire pédagogique, la place de la littérature pour enfants dans nos programmes musicaux et tout autre aspect qui peut se rattacher à ce sujet.

Date limite pour la remise des articles : 15 mars 2014

Aller de l’avant dans la revue OstinatoL’Ostinato de l’automne prochain comportera des résumés d’ateliers suivis au congrès Ensemble 2014, des résumés des formations estivales et des articles écrits par nos membres. C’est maintenant le temps de réfléchir sur l’année scolaire qui se termine, d’exprimer vos idées et de nous les faire parvenir dans un article, court ou long, afin de les partager avec vos collègues musiciens de tout le pays. Nous sommes heureux de publier des articles inspirés sur quelque sujet que ce soit relativement à l’enseignement de la musique.

Date limite de remise des articles : 15 juin 2014

52 Ostinato

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Logo for National Conference 2016 to be held in Saskatoon, Saskatchewan

58 Ostinato

Curriculum Corner / Boîte à idées

Robert de Frece

Sing From Your Heart / Chantons toujours avec notre coeur

Our Curriculum Corner this issue is a very special one. Honorary Member and Contributing Editor Robert de Frece was commissioned by Carl Orff Canada to produce a song to celebrate our forty years as an association. Sing From Your Heart is the wonderful result. Those of you attending the Ensemble conference in Halifax this April will hear a thrilling performance of the song. In the meantime we encourage you to perform this in your own school in conjunction with a regular performance, Music Monday celebration, or simply as a class activity. In 2014, let’s “sing from our hearts” from coast to coast to coast!

The melody is below. To access the full score go to www.orffcanada.ca.

How the Song Came to BeRobert de FreceI have always been fascinated by history, especially how things “came to be.” During an e-mail conversation with Ostinato Editor, Catherine West, I mused that members of Carl Orff Canada might be interested in knowing how Sing From Your Heart/Chantons toujours avec notre coeur, the piece that I was commissioned to write in celebration of the 40th Anniversary of COC, was created. When Catherine agreed, I realized that I had “given myself an assignment.” What follows is an account of how the composition had its genesis.

When COC President Beryl Peters contacted me in the spring of 2013 about writing a piece, we agreed that getting permission to set an existing poem to music would present all sorts of copyright issues, so I said that I would write the text as well as the music. Having begun my career as a teacher of Choral Music at the junior and senior high school levels, this year marks 45 years that I have

been directing choirs. While I am “theoretically” retired, I still dir-ect, the University of Alberta Mixed Chorus, the choir in which my wife, Cathy, and I met when we were students at the U of A. Cathy sings in Greenwood Singers, an Edmonton choir that I founded in 1980 and still direct. I firmly believe that singing, like movement, is organic and is at the centre of the Orff process since it through singing that children can truly demonstrate melodic understanding. It thus took me very little time to realize that the text of the piece should be about singing and the joy that music brings into our lives when we join together in song.

I created a melody in a minor mode and realized after it was com-plete that I had chosen to leave out the sixth degree of the scale. As much as I love the Dorian mode, I think that if the 6th degree were in the melody, the mode would be Aeolian! I wrote the words and the melody in June of 2013 and decided to “test drive” it in the Choral Musicianship class during the Orff Schulwerk Certification

Cette rubrique de la boîte à idées est toute particulière, car c’est Robert de Frece, éditeur et patron émérite de Carl Orff Canada, qui a reçu la commande pour composer une chanson en honneur du 40e anniversaire de l’association. Chantons toujours avec notre cœur en est le vibrant témoignage. Les participants du congrès Ensemble qui aura lieu à Halifax en avril 2014 auront le plaisir d’entendre cette magnifique œuvre. Nous vous encourageons à interpréter cette chanson avec vos élèves ou lors des lundis de la musique. En 2014, chantons toujours avec notre cœur dans les quatre coins du pays!

La partition est ci-dessous. Pour la partition complète, veuillez aller au site www.orffcanada.ca.

Vol. 40, No. 2, Winter 2014 59

L’origine de la chansonPar Robert de Frece, traduit par Denise Lapointe

J’ai toujours été emballé par l’histoire, particulièrement sur l’ori-gine des choses. Lors d’un échange de courriels avec Catherine West, l’éditrice d’Ostinato, nous avons pensé que les lecteurs d’Ostinato seraient intéressés de connaître comment j’en suis venu à composer Sing From Your Heart/Chantons toujours avec notre cœur, une chanson qui est le résultat d’une commande de Carl Orff Canada pour célébrer son 40e anniversaire. Quelle tâche je venais de m’attribuer! Vous lirez dans les prochaines lignes l’histoire de la genèse de cette œuvre.

C’est au printemps 2013, que la présidente de COC, Beryl Peters, m’a proposé de composer une musique pour un poème existant, mais comme ceci peut engendrer toutes sortes de difficultés au niveau de droits d’auteur, donc j’ai décidé de composer aussi le texte. J’ai commencé ma carrière comme professeur de chorale dans les écoles secondaires et cela fait maintenant 45 ans que je dirige des chorales. Bien que je sois « retraité », je dirige toujours la chorale mixte de l’Université d’Alberta, où lorsque j’y étais étudiant, j’ai rencontré Cathy qui allait devenir mon épouse. Cathy chante dans le chœur Greenwood Singers d’Edmonton, chorale que j’ai fondée en 1980, et que je dirige encore. Je crois fermement que le chant, tout comme le mouvement, est organique et qu’il est au centre de l’approche Orff, puisque c’est par le chant que les enfants peuvent démontrer leur compréhension mélodique. Il a été évident pour moi que les paroles de cette chanson devaient parler de chant et de la joie que la musique nous procure lorsque nous chantons tous ensemble.

J’ai composé une mélodie dans le mode mineur et réalisé, une fois terminée, que j’avais omis le sixième degré de la gamme. Autant que j’apprécie le mode dorien, je crois que la présence de la sixte aurait donné le mode éolien! J’ai écrit les paroles et la mélodie en juin 2013 et je l’ai testée au cours de la formation chorale du pro-gramme de certification Orff Schulwerk de l’Université d’Alberta en juillet 2013. Les étudiants ont appris la mélodie rapidement et ont eu du plaisir à créer les mouvements pour l’accompagner. En hommage à l’héritage laissé par Orff et Keetman, j’ai choisi en septembre dernier d’accompagner la mélodie d’une progression qui alterne entre les accords I – VII, comme démontré dans le volume IV des livres Music for Children.

J’ai décidé d’ajouter un interlude instrumental dont la mélodie est jouée par la flûte à bec soprano pour donner le temps aux interprètes de se déplacer du grand cercle de la section chantée à l’unisson à

Program at the University of Alberta in July. The students learned the melody quickly and enjoyed creating their own movement for it. In order to pay homage to the wonderful heritage of the music passed down to us by Orff and Keetman, I decided in September to accompany the melody with a shifting i-VII accompaniment as modeled for us in Volume IV of Music for Children.

My decision to add an in-strumental interlude with a melody played on soprano recorder was to allow time for

the performers to move from one large circle for the unison section to 4 smaller circles for singing and moving in canon. I had always found, in my work with children, that having each part in a canon stand or move in circle formation allowed them to hear their own part more prominently within their circle while still hearing the harmony created with the other voices. The children that I taught in the U of A Child Study Centre gave this formation the moniker, “canon balls,” a name that I have often quoted to my adult students since I can blame the pun it on children in grades 4 and 5 who created it. As I worked through to the end of the piece, I realized that, with my love of the choral music of the Renaissance, I have always enjoyed hearing a tierce de Picardy at the end of a motet in a minor mode, so I chose to have the piece end on a major chord.

I shared the first draft of the piece with Beryl Peters via e-mail on November 5, 2013. Shortly after I had sent it, Beryl replied “Just as your e-mail arrived, I was meeting with a team of music educators reviewing our new Music curriculum, so we stopped to sing together! The canon works beautifully and I only wish we had Orff instruments here as well. But some of our voices took the instrumental parts so we had great fun!”

Beryl then contacted Denise Lapointe and asked her if she would write a French translation of the text. How fortunate we are to have a fine musician such as Denise who was able to capture the essence of the text using French words that fit the rhythm of the melody so well.

Thus, Sing From Your Heart/Chantons toujours avec notre coeur was completed. My only regret in this whole process is that I will be unable to attend the conference in Halifax to hear the premiere performance of the piece. While I cannot to be there to join in the celebration of the 40th Anniversary of Carl Orff Canada, I will be making music as I conduct Greenwood Singers in a concert entitled Music for the Soul that same weekend. And as I reflect on this little piece of history, I realize how appropriate it is that I had chosen this theme for my choir’s concert. Music does feed the soul, and that is why we do the work that we do, bringing music into the lives of children.

“And now . . .” to quote the American radio broadcaster, Paul Harvey, “you know the rest of the story.”

Robert de Frece is Professor Emeritus of Music and Music Education at the University of Alberta in Edmonton, Alberta where he directs and teaches in the Department of Elementary Education’s Orff Schulwerk Certification Program. He has also taught in Orff summer programs at Hofstra University (Hempstead, New York), Trinity University (San Antonio, Texas), Bowling Green State University (Bowling Green, Ohio), the University of South Florida (Tampa Florida), the State University of New York at Potsdam, and the University of Illinois at Champaign/Urbana. Dr. de Frece is co-author of two music series published by Macmillan/McGraw-Hill, Share the Music and Spotlight on Music. Other publications include Hooray for Singing, Singing Round the Year and two musicals co-authored with Sue Harvie: Mi-Re-Do The Game Show and Brought to You By (Alfred Publishing). He has presented Orff workshops across the United States and Canada and in the People’s Republic of China.

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quatre plus petits cercles lors du chant et du mouvement en canon. Lors de mon travail avec les enfants, j’ai remarqué que la forma-tion d’un cercle pour chaque voix d’un canon leur permettait de mieux entendre leur voix tout en entendant l’harmonie créée par les autres voix. Mes élèves à qui j’ai enseigné au centre pour enfants de l’Université d’Alberta ont donné le surnom à cette formation de « boule de canon », un nom que j’ai fréquemment cité à mes étudiants adultes. Et puis, je peux facilement mettre la responsabilité du jeu de mots sur les enfants de 4e et 5e année qui l’ont inventé. En avançant vers la fin de la pièce, j’ai réalisé qu’en plus de mon amour du chant choral de la Renaissance, j’ai toujours aimé entendre la tierce de Picardie à la fin d’un motet dans le mode mineur. J’ai donc choisi de terminer cette chanson par un accord majeur.

J’ai partagé par courriel la première version de la chanson avec Beryl Peters en novembre 2013. Peu de temps après lui avoir envoyé ce courriel, Beryl me répond : « tout comme votre courriel arrivait, j’étais en train de travailler avec des spécialistes en musique pour réviser le curriculum musical et nous avons tout arrêté pour chanter ensemble! Le canon est magnifique et j’aurais aimé avoir des instruments Orff avec nous, mais nous avons chanté les parties instrumentales et nous avons eu bien du plaisir! »

Beryl a ensuite demandé à Denise Lapointe de traduire les paroles de la chanson. Nous sommes privilégiés que Denise ait pu capter l’essence du texte et utiliser des mots qui suivent le rythme et la mélodie si bien.

Et voilà que Sing From Your Heart/Chantons toujours avec notre cœur fut terminé. Mon seul regret est que je ne serai pas présent au congrès de Halifax pour entendre la première de cette œuvre. Bien que je ne puisse participer aux célébrations du 40e anniversaire de Carl Orff Canada, je ferai quand même de la musique, car je diri-gerai le chœur Greenwood Singers dans un concert intitulé Music for the Soul (musique pour l’âme) cette même fin de semaine. En pensant à cette histoire, je réalise que ce titre est très approprié pour le thème de ce concert. La musique nourrit l’âme et c’est la raison pour laquelle nous faisons le travail que nous faisons, en amenant de la musique dans la vie des enfants.

Et maintenant, pour citer Paul Harvey, l’animateur américain de radio : « maintenant, vous connaissez la fin de l’histoire ».

Robert de Frece est professeur émérite de musique et éducation musicale à l’Université d’Alberta à Edmonton. Il y enseigne et dirige le programme de certification Orff Schulwerk au département d’éducation musicale au primaire. Il a aussi enseigné les formations d’été à l’Université Hofstra (Hampstead, New York), l’Université Trinity (San Antonio, Texas), l’Univer-sité Bowling Green State (Bowling Green, Ohio), l’Université de la Floride du Sud (Tampa, Floride), l’Université d’état de New York à Potsdam et l’Université d’Illinois à Champaign/Urbana. Dr de Freece est le coauteur de deux séries musicales (Share the Music et Spotlight on Music) publiées chez Macmillan/McGraw-Hill. On peut noter d’autres publications telles que Hooray for Singing, Singing Round the Year et deux comédies musi-cales coécrites avec Sue Harvie : Mi-Re-Do The Game Show et Brought to You By (Alfred Publishing). Il a présenté des formations Orff partout aux États-Unis, au Canada et en République de Chine.

TRAINING FOR THEBEST BY THE BEST.

Professional Development Fall 2013 – Spring 2014Enrich your teaching with inspiring courses taught by dedicated experts:• Fall: Orff Intro• Spring: Orff Level I• Summer: Orff Intro, Level I, II and Music From Five Continents

with Doug Goodkin• Artist Educator Professional Training• Early Childhood Music Education Training

Register online at rcmusic.caor call 416.408.2825

Check in with our website regularly for ongoing opportunities for you and your students.

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RCSPRT385_Ostinato Ad_2013.14 13-08-30 3:21 PM Page 1

If undeliverable pleasereturn to:Ruth Nichols7 Regent Street, Amherst, NS B4H 3S6 [email protected]

Music for Children – Carl Orff Canada – Musique pour enfants

Founder and Patron/Fondatrice et patronne d’honneurDoreen Hall

Honorary Patrons/Patrons éméritesBramwell Tovey

Sr. Marcelle CorneilleJos Wuytack

Board of Directors/Conseil d’administration national 2012– 2014

Past-President/Présidente sortant de chargeCathy Bayley, 5475 Grove Ave., Delta B.C. V4K 2A6


President/PrésidenteBeryl Peters, 500 Laidlaw Blvd., Winnipeg MB R3P 0K9

T (204) 474-1384, F (204) 945-6747, [email protected]

First Vice-President/Première vice-présidenteMarlene Hinz, 3551 Apple Grove, Regina, SK S4V 2R3


Second Vice-President/Deuxième vice-présidenteLiz Kristjanson, 54 Glenbrook Cres., Winnipeg MB R3T 4W4


Treasurer/TrésorièreEileen Stannard, 44 Second Ave., Ardrossan AB T8E 2A1


Membership Secretary/Secrétaire des adhésionsRuth Nichols, 7 Regent Street, Amherst, NS B4H 3S6


WebsiteJoanne Linden, 1647-126 Street, Edmonton AB T6W 1R8


Secretary/SecrétaireLaurel Nikolai, 11143-65 Avenue, Edmonton AB T6H 1W4

T: (780) 637-6808, [email protected]

Editor/Rédactrice en chefCatherine West, 95 Ellsworth Ave., Toronto, ON M6G 2K4

(T) 647-970-7080, weekends (613) 449-8924, [email protected]

Archivist/ArchivisteAnne Tipler, 4099 Wheelwright Cres. , Mississauga ON L5L 2X3


Francophone Member at Large/Correspondante francophone Denise Lapointe, 219 Forest,Pincourt, QC J7V 8E7

T (514) 453-8020, [email protected], [email protected]

i) to encourage the development throughout Canada of a holistic music education program for children based upon the pedagogical philosophy and approach of Carl Orff;

ii) toencourage,promoteandfulfillCarlOrffCanada'sobjectivesinall regions of Canada through a national organization and through regional chapters;

iii) to produce and distribute a national journal addressing issues relating to the Orff philosophy of music education;

iv) to organize and administer conferences and workshops focusing on quality music education for children; and

v) to cooperate with other music education organizations in order to further the objectives of the Corporation.

Carl Orff Canada Aims and ObjectivesMusic for Children - Carl Orff Canada - Musique pour enfants is a Corporation which operates with the following objectives:

Music for Children | Musique pour enfants

Celebrating 40 years! Célébrons 40 années!

Sing From Your HeartChantons toujours avec notre cœur

Tri-annual Publication of Carl Orff Canada

Volume 40, Number 2, Winter 2014

Music for Children - Musique pour enfants

Ostinato

ostinato winter 2014

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