Workshop Reviews

Martha Riley--Not Just Folk Dancing--September 16, 2006
Bob de Frece--Musical Learning Through Active Experience--October 21. 2006

Martha Riley--Not Just Folk Dancing
Terry Broeker

On September 16, the Orff season started with Martha Riley’s workshop, “Not Just Folk Dancing.” Aptly named, the four-hour workshop flew by, filled with whimsical folk songs and charming dances. Martha Riley kept the group up and moving, dancing a series of play parties, contra dances, and folk dances. Each movement activity flowed logically into the next, providing tips on how to present the material to various age levels. As the group mastered more intricate dances, Martha Riley, peppered her presentation with tips on how to instill the elements of music in an entertaining way. In addition, to her lively collection of folk songs, she introduced us to some humorous folk tales, such as the philosophical Good Times on Grandfather Mountain which told the tale of Washburn, who like Martha Riley could make music with a collection of people on a Saturday morning. ‘She was just that good.

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Bob de Frece--Musical Learning Through Active Experience
Nancy Chlumsky

Wow! What a workshop!

Bob de Frece, professor of Music and Music Education from the University of Alberta in Edmonton, Alberta, Canada is an amazing teacher. He pointed out that our Orff activities are not only enjoyable but lead our children to musical understanding and skills. His first "speech exercise" was his poem, "Music Time Again". He introduced it to us through the ORFF process from echo speech, to rhythm, to canon speech, to partner game, to singing and adding instruments, to singing in canon, and finally to the children making decisions which contribute to the creation of the final performance.

He reminded us that, "You are not teaching music. You are teaching children."

He encourages us to use a variety of strategies to include children with different learning styles. He likes the use of colors and used them on his posters, his overhead transparencies, and on cards with varied 1-beat rhythms. Each of the four colors had a specific rhythm. Piles of each rhythm were handed out to a group leader in an envelope. Then each group built the rhythm of the piece. Then they built a unique 8-. measure rhythm for the "Rhythm Olympics". He found that this is a much quicker alternative than using popsicle sticks to build rhythms.

He had a clever velcro xylophone which he hangs above his blackboard for all to see and which only he can reach. He reminds the children "long, left, low" and always uses the terms for whole, half, quarter, and eighth notes though the children will read them

in ta's and tika's. He asks his children, "What were the target rhythms today?" after each class.

His version of the story "Mortimer" by the Canadian author, Robert Munsch, was delightful. His "Swan Song" round was absolutely beautiful, and his arrangement of Henry Purcell's Canon using hand chimes and Orff instruments was exquisite.

I have to stop now, even before I mention the "Chicago Rondo". It's all in his hand-out! Don't lose it! Use it! It's priceless.

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