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Using the Orff-Schulwerk approach, this book presents an overview of how to teach the elements of music — rhythm, melody, timbre, and movement. This book explores features unique to the Orff-Schulwerk approach — pitched and nonpitched percussion instruments, ostinato, bordun, improvisation, and elemental musical forms. Presenting all material in a lesson-plan format, this volume provides varied ways to approach movement — games, structuredmovement, and creative movement. Elementary school music teachers.

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Seven master teachers share their classroom expertise and insights and more than 100 lesson suggestions are included that highlight musical elements and encourage self-expression. A CD of listening examples from a variety of historical periods and cultural contexts is also included. ... Read more

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A step-by-step exploration of the three musical elements – rhythm, melody, and harmony – according to the Orff method.

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De temporum fine comoedia ... Read more

Customer Reviews (1)

you'd better read Cyrillic alphabet and understand German
This is the libretto, published by the score's publisher Schott, of Carl Orff's last stage work from 1973, De Temporum Fine Comoedia (The Play on the End of Times) and it can serve as a complement to the only, but stellar recording, by Karajan with the forces that premiered the piece in Salzburg in 1973, including Christa Ludwig and Peter Schreier for a 2-minute guest star appearance (see my review of De Temporum Fine Comoedia / Play for the End of Time). The disc's liner notes have a synopsis, which is of little help since the work features no "plot" in the traditional, operatic sense, but rather a collection of prophecies, visions and utterances, all dealing with the end of the world.

However, truth is, the libretto won't help much. Orff uses texts in Ancient Greek, Latin and German - excerpts from mystical writings from the Greco-Roman (the Sibyl's Oracles, the Orphic Hymns) and the Christian (Origen, the 11th-13th Century Carmina Burana) traditions. The Greek texts are printed in Cyrillic alphabet, and only German translations of the Greek and Latin texts are given. So for this libretto to be of any use you need to be able to decipher Cyrillic (I had to muster old memories from my three months of Russian in college to vaguely be able to follow what was being sung) and understand German - then it becomes a nice intellectual exercice: follow the Cyrillic with one eye and try to make out what's being sung from the German translation on the side page. ... Read more

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Catulli Carmina ... Read more