magic * This is to certify that the thesis entitled AN INTEGRATION OF MUSIC THERAPY THEORY AND ORFF-SCHULWERK TECHNIQUES IN CLINICAL APPLICATION presented by Evelyn Joyce Adelman has been accepted towards fulfillment of the requirements for Masters Music degree in Major professor Date ‘4"////‘v’7// /€7/j 0-7639 i 3 1295 luaoo auwu OVERDUE FINES ARE 25¢ PER DAY PER ITEM Return to book drop to remove this checkout from your record. “M5: 3 00 I 3 3 3 ylfimfié 99.0,!) AN INTEGRATION OF MUSIC THERAPY THEORY AND ORFF—SCHULWERK TECHNIQUES IN CLINICAL APPLICATION BY Evelyn Joyce Adelman A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC Department of Music 1979 ABSTRACT AN INTEGRATION OF MUSIC THERAPY THEORY AND ORFF-SCHULWERK TECHNIQUES IN CLINICAL APPLICATION BY Evelyn Joyce Adelman This descriptive study proposes an adaptation of the Orff-Schulwerk methods of music education for use in music therapy. The background and main principles of Orff-Schulwerk are delineated and viewed in rela- tionship to the main processes and goals in music therapy. The Schulwerk is offered as one possible solution to the problem of moving from the theories of the music therapy discipline into effective application in the clinical setting. Orff-Schulwerk is shown to be a resource to the therapist which is greatly flexible and adaptable especially in working with emotionally disturbed and learning disabled children. The overlap of the therapy and the educational settings as well as distinct charac- teristics of each are discussed. Case studies and therapy sessions in- volving emotionally disturbed and learning disabled children serve to illustrate how the Schulwerk can be applied in various clinical situations. Finally, the implications of the Orff-Schulwerk as a tool in the remedia- tion of sensory-motor deficits are discussed in regard to developmental learning theories and current research of human brain functioning. Dedicated to, Tom Zinser ii ACKNOWLEDGMENTS First and foremost, I express my loving gratitude to Tom Zinser whose inspiration, guidance, time and support were given freely and abundantly. He has been a patient friend and consultant since this paper was first conceived. I wish to acknowledge my committee members who have each lent their guidance to this project. Professor Robert Unkefer has been a constant advocate providing support and encouragement since my undergraduate years. Dr. Dale Bartlett has helped me to seek objectivity and to persevere even as problems arose. Dr. Charles McDermid has helped with style and clarity as well as provided the challenge of seeing and pre- senting differing viewpoints. My thanks also go to my fellow workers at Pine Rest Hospital who are constantly open to trying and supporting new ideas, each adding his/ her own zest, creativity, and dedication. Kay Hislop, Kathy Bacon, Denny Gornick, Char Cove, Jackie Mills, and the rest of the Children's Unit Team members prove daily that work and play guided by such dedicated individuals can bring about change in our clients and in each other. I thank my family for their love and interest, especially my sister, Ellen who devoted hours to proofreading, typing and tactfully suggesting changes and corrections. I also especially thank my mother who typed and lived through many of the critical moments of this paper's history along with me. iii Next, I wish to acknowledge as the source, Carl Orff and the many clinicians who have stimulated me and demonstrated ideas that have helped me to more effectively work with children at the hospital. Special thanks to Barbara Grenoble and Danai Apostalido at University of Denver Orff Certification Program who have dynamically shared their ideas re— garding Orff-Schulwerk with mainstreamed classrooms. The work of my efficient and reassuring typist, Sue Smith, was much appreciated. Finally, my deep gratitude to my friends who have cared and shared their suggestions, encouragement, and love, through these intense, arduous and preoccupied months: Russ Henckel, Kathy Harrigan, Richard Lutzeier, Peter Martinat, Debbie Ney, Anna Barth and Kathy Grover. iv TABLE OF CONTENTS Page CHAPTER I: INTRODUCTION . . . . . . . . . . . . . . . . . . . . . 1 CHAPTER II: INTRODUCTION TO THE ORFF—SCHULWERK . . . . . . . . . . 3 Background. . . . . . . . . . . . . . . . . . 3 Therapy, Education - The Controversy . . . . . . . . . . . . . 6 CHAPTER III: AN INTEGRATION OF MUSIC THERAPY AND ORFF-SCHULWERK PROCESSES . . . . . . . . . . . . . . . . . . . . . . 9 Experience Within Structure . . . . . . . . . . . . . . . . . 9 Experience in Self—Organization . . . . . . . . . . . . . . . 15 Experience in Relating to Others . . . . . . . . . . . . . . . 20 CHAPTER IV: EXAMPLES AND CASE ILLUSTRATIONS: PUTTING THE THEORY INTO PRACTICE . . . . . . . . . . . . . . . . . 24 "Music Permits Ordering of Behavior According to Physical Response Levels" . . . . . . . . . 24 "Music Provokes Increased Sensory Usage and Discrimina— tion" . . . . . . . . . . . . . . . . 26 "Music Provides for Cooperation in Socially Acceptable Forms and for Sensory- Elaborated Behavior" . . . . . . . 29 "Music Evokes Affectively Ordered Behavior" . . . . . . . . . 31 An Experience "Within Structure" and Beyond . . . . . . . . . 35 "Self— Expression with Choice" . . . . . . . . . . . . 36 A Group Experience in "Relating to Others" . . . . . . . . . . 37 Music is a Form of Non— Verbal Communication . . . . . . . . . 38 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 CHAPTER V: SUMMARY, CONCLUSIONS, IMPLICATIONS . . . . . . . . . . 43 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . 48 Implications . . . . . . . . . . . . . . . . . . . . . . . . . 53 APPENDIX: PROCESSES IN MUSIC THERAPY . . . . . . . . . . . . . . . 63 LIST OF REFERENCES . . . . . . . . . . . . . . . . . . . . . . . . 65 CHAPTER I INTRODUCTION It is a rare music therapist who embarks on her1 career without committing to memory the William Sears outline of "Processes in Music Therapy" (see Appendix). These processes or principles, as presented ' by Sears are explained and suggested for use in setting therapeutic goals. The therapist must design settings which demand reality-ordered, time-ordered, attentive-appropriate behavior in such a way that taps the affective, creative, manipulative skills of participants on the individual's level. Such design sets the stage for developing meaning- ful relationships with others, and successful experiences of self ex- pression. By working towards such goals, the therapist contributes significantly to the treatment of clients having physical and/or emotional problems. Unfortunately, in the actual mechanisms of reaching these goals, the music therapist is, to a great extent, on her own. Neither awareness of goals, rationale, or theory offer the means for practicing music therapy. The music therapy student graduates having taken courses which present the theoretical material essential to the discipline. Classes and lessons which develop musicianship and some pedagogical skills are 1Due to the fact that the majority of music therapists are women, the femine pronouns shall be used. Clients/participants will be denoted by masculine pronouns for the sake of brevity and contrast. 1 2 also a part of the program. In addition to classes in psychology and music, she has frequently accumulated some volunteer experiences or even some supervised practice in a 1:1 situation with one, or several client(s). Yet like many other professionals, the aspiring therapist is often be- wildered upon encountering her first, or even a new, clinical assignment. What kind of additional training can be given to prepare the music therapist to do her job? What kind of methods can she learn in order to most effectively use her skills toward achieving physical/emotional changes with clients? Could such methods provide a basis for planning and implementing a holistic and developmental approach to music therapy, while providing the tools and materials flexible enough to meet the needs of particular clients, situations and facilities? How does one acquire the knowledge and skills to move from theoretical principles and tradi- tional music training to scientific and artistic application in clinical practice? This thesis proposes that one solution to the problem of developing a practice in accordance with the theory may be found in the work of contemporary German composer, Carl Orff (b. 1898). Historical development of the Orff system for working with children will be traced. Next, a review of the Orff Schulwerk literature is pre- sented as it is being applied in our own country today by various music educators. The third section incorporates a detailed integration of Orff techniques with music therapy theory based on the Sears outline. Finally, a number of case studies and treatment sessions serve to illus- trate the application of Orff technique in various clinical situations. CHAPTER II INTRODUCTION TO THE ORFF-SCHULWERK Background During the 1920's, a new interest in physical education swept across Europe. This interest generated attempts by a number of educators and musicians to integrate aspects of dance, rhythm, and music with gymnas- tics and sports. Prominent among these were music educators as Jacques Dalcroze, choreographer and teacher Rudolph VonLaban and composer Carl Orff. Dalcroze and Laban succeeded in establishing dance-gymnastics integration as a fundamental part in the education of European children. Seeking an ideal setting in which to develop his own ideas regarding a "reciprocal interpenetration of movement and music education," Carl Orff co-founded the GuntherSchule in 1924. With the help of a piano maker, Karl Maendler, Orff developed an orchestra which was termed "instrumentarium," consisting of "xylophone- like instruments" modeled after those of Africa and Indonesia, as well as recorders, gambas, lutes and various non-pitched percussion instru- ments. This institute devoted itself to pedagogical studies for those preparing to teach children. Techniques were taught for playing the instruments such that the players would be able to improvise and create accompaniments for dance. Much political opposition existed to the new forms of education being taught at the institute. In fact, during the 30's opponents of 3 4 the methods went to the extent of burning down the institute. The volumes then being written and all the instruments were destroyed. Orff temporarily set aside his interest in music education. However, in 1948, a new opportunity arose. He was asked by Bavarian Radio to write music "of the kind that children could play by themselves for a new broadcast series."2 Orff accepted the challenge as a new chance to experiment. His belief that "the unity of music and movement that young people... have to be taught so laboriously, is quite natural to the child... movement, singing, speaking and playing became unified elements in his children's pieces." With Gunild Keetman, Orff co-authored The Schulwerk3 which became the basis for a new educational system and was used in production of radio broadcasts given by unprepared school children from about eight to twelve years of age. Orff referred to these volumes as "elementary music." "Elementary music is never alone but forms a unity with movement, dance and speech. It is music that one makes oneself, in which one takes part not as a listener, but as a participant..." (p. 6). Orff emphasizes the Latin derivation of "elementary" as "pertaining to the elements, primeval, rudimentary..."4 (p. 6). In the sense that these Orff elements are analagous with earthiness and "roots," the music therapy tenets are as the tops of the trees.5 If those tenets represent 2Carl Orff, "Orff-Schulwerk: Past and Future," Orff Re-Echoes, ed. by Isabel Carley American Orff-Schulwerk Association Publication, copp. 1977, p. 5. 3Full title of these works is Orff-Schulwerk Music for Children, Music By Children, henceforth to be abbreviated O-S. 41bid., #2. 5The tenets here refer to "Processes in Music Therapy," William Sears, Chapter 2 of Music Therapy, ed. by E. Thayer Gaston, pub. by MacMillan Co., NY, copp. 1968, outlined on p. 33 G 34. (See Appendix of this paper.) 5 the thinking part of us, our ”head” so to speak, this "elementary music" is as the visera, the guts. Both are needed. Volumes of Orff—Schulwerk have been translated into many languages. Because of their "elementary" nature, their emphasis is on integrating the natural forms available for human expression. They provide the possibility of building from the simplest idea into forms that are ex- perienced as pleasing and even sophisticated, without years of formal preparatory musical training; for these reasons the Schulwerk may be used as a tool, an invaluable asset to music therapists who wish to apply the theoretical constructs of their discipline in their practices. The application of 0-3 in American elementary music education is reflected in the writings of a number of individuals. For example, Grace Nash, a leading exponent of 0-3, has written: "This is a multi—sensory and mixed media approach in which the components of music are the vehicles for total growth of the individual — not in a lonely, fearful world, but in a music-making ensemble world of strong excitement, total involvement and high commitment to achievement of the im— mediate goals at hand... ...It results in a gestalt—like continuing growth of the individual, in his perceptions, receptivity and freedom with responsibility." One widely recognized music therapist who has studied and adopted Orff-Schulwerk in her work with developmentally disabled for many years is Carol Bitcon. In Alike and Different, she describes some of the main ingredients of 0-5: "Orff—Schulwerk is a creative process which involves every participant through participation in the process. The process, 6G. Nash, 1972. "The Nature of the Child and What He Needs; A Creative Approach to Music for Total Growth” (a pamphet). Distributed at workshop at Andrews University, Berrien Springs, MI, 1975. ‘ F 6 in addition to music, concerns itself with the complexities of the body, the spirit, and deepest feelings common to all mankind. It is concerned with all possible ferms of communi- cation... A principle of 0-5 is to start education by utilizing and stimulating the partiEipant's total predisposition to express himself so that any other specialization can be built upon this broad and solid basis..." (p. 2). Therapy, Education — The Controversy Naive therapists argue that 9:§_was developed for the purpose of music-education; that is, to impart musicianship skills and education for children. In actuality, Carl Orff's system concerns itself first and foremost with the total growth of the child. "Carl Orff's approach to music education for the child begins with the premise that feeling precedes intellectual understanding. ...So it is with music. Feeling precedes understanding."8 As further support for Wheeler's statement that ”feelings precede understanding" stands the writing of Florence Cane. She defines three main human functions: movement, feeling and thought, and expresses her belief that an individual begins life actively employing only two of these three functions, movement and feeling. The third function, thought, is "more or less asleep in the unconscious." Cane draws a correspondence between the human functions, movement, feeling, and thought to underlying principles of art. She relates the function of movement to the principle of rhythm; feeling to dynamics and harmony; and thought to balance. She concludes: Since the principles of art correspond to human functions, one may therefore gradually integrate functions through the practice of art. By this fortunate relation, the teaching of art can be 7Bitcon, Carol RMT. Alike and Different, Rosha Press, Santa Ana, CA, 92705. 8Wheeler and Rachcek, Orff and Kodalay Adapted for Elementary Schools, 1972 (p XIX). Ely 7 a valuable method for the growth and integration of the individual. In Wheeler's introduction, he describes some processes of early child- hood development, beginning with those sensations felt by the infant. He experiences these sensations before they are shaped into ideas and verbalized. "Once verbalized, considerable time lapses before he learns to read and write about them." (p. XIX ibid) Wheeler then discusses Orff's approach to learning which is based upon step-by-step development. Bevans who works with multiple handicapped children states some of the assumptions underlying 9:§} (a) rhythm is present in all of life (b) rhythm and movement must be interwoven (c) few children are a—musical (p. 42) Further, the author observes that ensemble work of g;§_leads to the formation... "of good listening habits, self-awareness and heightened consciousness of the environment that is based on pattern and order"1l0 (ibid, p. 43). Rosenblum and Mittleman11 concisely extract the core teaching principles common to most all 9;§_sessions: (a) child discovers an experience (b) child repeats the experience (c) child makes up his own like experience (d) child discovers new experience(s) that require under- standing the first experience (e) child repeats the new experience... and so on. 9Cane, Florence. The Artist in Each of Us, Pantheon Books, NY, 1951, p. 34. 10Bevan, J. ”The Exceptional Child and Orff," Music Education Journal 55:41-43, March, 1969. 11Rosenblum, Lois and Mittleman. "Orff and the Urban Child" Music Education Journal 55:41-44, March, 1969. 8 Throughout the learning process the child is creating his own experience ... (p. 42)., These authors stress that Orff processes are "experiences in the now," the present reality. The child is improvising and creating, on the spot, as the impromptu takes its course. Although the music educator and the music therapist use many of the same O:§ materials, their emphasis may differ. The educator's goals may be more oriented toward learning musical skills and comprehension; the therapist employs the processes to change attitudes toward one's self and one's world and/or one's behaviors. Along with the criticism that 9:§_is the province of music educators, another criticism is frequently leveled by music therapists. Various therapists claim that Q;§_is just a "specialty"; that it is in some way limiting, or that it is "fanatically adhered" to by clinicians or edu- cators who work with it. It is felt that this view is a limited concep— tion and that this paper will demonstrate that 9:§_is by no means a closed system. No rigid dictates exist, nor any methods which preclude the use of any desirable material. Instead, 9:§_lends itself by provid— ing forms and tools for approaching many materials from music, movement, drama, speech or art that one desires to employ with most any sort of client. CHAPTER III AN INTEGRATION OF MUSIC THERAPY AND ORFF-SCHULWERK PROCESSES Experience Within Structure Returning to the constructs of the music therapist's sourcebook (Sears, p. 33), a thorough integration can now be proposed. The first section headed "Experience Within Structure" states that: "Music demands time-ordered behavior" (p. 35). In other words, music, unlike many other forms of expression, is never static. It moves through time, flows and changes from moment to moment, and requires total commitment to the "present," to a process taking place new. One cannot return to leave one's "mark" later on, for it usually would not fit later on. Therefore, the participant in music—making must commit himself to the moment-to-moment process. If this need for commitment be the case, the music therapist must provide forms alluring enough to maintain the immediate and continuous attentive participation of the clients. Orff—Schulwerk offers some structures of vast adaptability.‘ Derived from folk traditions through- out the world,9:§ forms are characterized by diversity and sequencing. The unifying elements provide for security and familiarity. For example, one of the most common forms is the rgndg, (ABACADA...). Such compositions are like huge club sandwiches; they begin and end with a chorus (A), and in between each contrasting passage or "episode” (B, C, D...), the chorus recurs. Usually in Orff-Schulwerk, the whole group 9 10 performs the chorus each time, while individuals of small ensembles with preselected themes provide the episodes. In each case, the whole group must be alert as the chorus inevitably rolls around at intervals, and episodic perfbrmers must be alert to claim their turns. This example of the rondo form was invested after a group of the author's clients returned from a visit to the zoo. The chorus occurs in compound duple meter: The animals at the zoo, They seem to talk to you, And you can tell them by their sounds If you have seen them too. The above is the "A” section. After each repetition of "A" (with accompanying body rhythm), each child made the sound of some animal, the group echoed this call and then all chimed in with the chorus. Thus an "experience in structure" was provided. The therapist was able to join the group process without herself eliciting each single contri- bution, and as each member performed his sounds, each took his turn in time, ready to start and stop and join in the chorus. "Time-ordered behavior" was demanded. Needless to illustrate, infinite variations to this simple improvisation are possible. The ”structure" and time- ordered behavior are always inherently demanded by the forms, be they canons, questions-answers, repetitions, ostinati or sequences. Furthermore, the demand for "reality—ordered behavior," also set forth by Sears, fits into the Q;§_systems. In order to fit into the composition, the participant must be aware of the mode or the theme. He must confine his participation and improvisation to the particular event. This may mean handling an instrument, thinking of a real animal to imitate, demonstrating awareness of a phrase length, or even playing, ll singing, moving in some way that, for example, expresses his own name. If his responses are reality-oriented, the group reinforces him by re- peating or sequencing his idea but always in some way incorporating his contribution. If not, there may be confusion or pauses that often lead to confrontation; or there may be another invitation to join the group in a "real" and meaningful way. Although the experiences demand various degrees of reality—orienta- tion, the music therapy experiences are purported to allow for "ability- ordered behavior" (Sears, p. 36). Rarely is the music therapist blessed with a homogeneous group of clients in terms of performance ability. Thus, the challenge of providing experiences that allow for all the dif- ferent physical and psychological response levels may at times be tremendous. Bevan 12 states that the "... flexibility of 9:§_allows for maximum musical participation... involving creative contributions at varying proficiency and interest levels" (p. 42). For those who are too inhibited or for some other reason unable to sing, they may play instru— ments or be involved in body percussion ostinatos or movement. Arrange— ments for the 9:§_”instrumentarium" (composed of wood and metal xylo- phones, blockenspiels, and other space-frame instruments) may be adapted such that challenging parts are included for those with higher ability/ skill levels, while simple parts are included which offer success to those with less ability. Built on simple harmonies and rhythmic ostinatos, the overall effect of the Orff ensemble can be highly pleasing and parti- cipants can sense the importance of contributing their own part, what- ever it is. 12Bevan, J. "The Exceptional Child and Orff," Music Education Journal 55:41-43, March, 1969. 12 The Q;§_processes are designed to facilitate growth and improvement of skills, ability, sensitivity and overall sensory-motor integration. Beginning with a "germ" task such as walking a beat, singing one simple melody, or playing a simple bordun, the task keeps expanding in scope and complexity. An emphasis is placed on performing more than one task at once: singing and playing, chanting and moving and playing, or any combination of motor and speech processes. These combinations require usage of both brain hemispheres and lead to greater coordination and sensory-motor integration of individuals.13 Because the participants add on constantly, though gradually, to the ”germ" task, they can con- tinue to progress at their own rates and experience a sense of "mastery" at each level. Still maintaining the theme of music therapy as providing "experi- ences within structure," we are taught that "music evokes affectively ordered behavior" (Sears, p. 37) and, as it is commonly experienced, "music may elicit extramusical ideas and associations" (p. 38).14 In this section of the outline, Sears refers to the controlling in— fluence which music exerts on one's moods and behavior. He talks about having patients listen to different kinds of music finding that varia- tions in tempo, dynamics, mode, etc. may reduce or stimulate physical 13Much of the research in the area of right/left hemispheric function- ing is described in relationship to disciplines other than music therapy. Several relevant materials regarding this topic are listed in the refer- ence section by Ayres, Brown, and Ferguson. Pines delineates the func- tions of each side and explains their significance from pgs. 140-148 in her book, The Brain Changers. She applies the "split brain theory" to methods in her subsequent book, Revolution in Education. Both books are listed in the reference section. 141bid., #5. ’13 or mental activities. Music therapists are often called upon to "calm the patients down" or to "make the patients more lively." This effectiveness of music to "evoke affectively ordered behavior" is widely accepted and in fact provides the basis for a multi-million dollar business, the Muzak Corporation. Muzak is piped into restaurants, doctor's offices, shopping centers; Muzak is ubiquitous in our land. It is supposed to calm us down, hurry us up, control us in a variety of un- suspected fashions. On the less cynical side of this mood-controlling attributed to music, we know that people form extra-musical associations to pieces of music. The piece may be linked to the memory of a certain era or event in one's life, or the "mood" of the music may seem to convey itself to the listener, who may then use it as a stimulus to fantasizing, soul-searching, or to uplifting his energy level. Sometimes a shared listening and rap session facilitated by a music therapist can lead to exploring some very meaningful personal experiences and feelings, and to a client's dropping some defenses and opening him- self to the other(s). But such sessions often do not go far enough. They may be pleasant, relaxing or cathartic but the music therapist often wishes for a form or a mode of taking things further. She strives to deepen the awareness of newly formed insights or to find creative out- lets for emerging feelings. Because the Schulwerk processes draw from all the arts, it is possible to expand upon themes, ideas and qualities and to transform them from one medium to another. As previously described in several examples, ”music provokes sensory-elaborated behavior... demanding... increased sensory usage and discrimination" (Sears, p. 38). The g:§_facilitation of "sensory-motor" integration has already been described. Two additional Orff objectives 14 are "to use speech and movement natural to the child as the springboard for musical experiences," and "to encourage the feeling that speech, move- ment, play and song are one” (Wheeler, p. XIX). All the senses come in to play. There are words that are fun to say, that "taste good," feel good; words that stimulate movements or musical sounds, words that delight in being sung. Some of the most en— joyable chants consist of nonsense syllables chanted in the form of question/answers, canons, or sequences over rhythmic, melodic or body— percussion ostinatos. Grace Nash, a Dr. Suess of the American Orff; Schulwerk illustrates in her chant "A Hearty Breakfast" a symboliza- tion of tastes and smells combined with cooperative rhythmic and coordi- nation play.15 Seeing the different instruments and visual aids of musical symbols and concepts is an important part of the Schulwerk. Auditory discrimination is also demanded at increasingly more complex levels. Participants are asked to hear individual motifs, melodic lines, rhythm patterns, changes in harmony or texture as they perform. Sensi- tivity to the others'musical efforts becdmes a necessity if one is to fit his own part into that of the group as a whole. In addition to the above mentioned multi-media experiences, an important source of material is poetry. Creative movement and musical settings of poems draw upon sight, movement, audition, and feelings of participants. In working with sound settings, Orff instruments lend themselves wonderfully to such interpretations. Recorders, voices and all the space-frame instruments, sometimes played in unorthodox methods, 15Nash, Grace, "Music with Children," 1972. A pamphlet distributed at Andrews University summer workshop, Berrien Springs, MI, 1975. 15 are used to create mood and sound effects, to heighten the awareness of both content as well as technical aspects: beat, accents, meter, allitera- tion of the poetry. Body movement is another avenue for integrating the mood or message of the poem. Such creative movement, either by itself or in conjunction with the sound setting, is used to interpret or express the poems. One example of a poem that lends itself to such interpreta- tions is "Dream Keeper" by Langston Hughes: Gather stardust, earthdust, stormdust And splinters of hail. One pocketfullgf dreamdust Not for sale. Experience in Self-Organization The second main heading in Sears' outline of music therapy constructs is "experience in self—organization." The music therapist undertakes to provide situations in which self—motivation and personal choice play a large part. Even the client's preference for one kind of music rather than another is an expression of himself. Furthermore, the way in which he does listen, practice, improvise, interpret or perform are also personal expressions. The music therapist who is facilitating or moti- vating such expressions is confronted with two main tasks: The first is to build a relationship in such a way that the client feels safe and accepted and is encouraged to share himself with the therapist or, if this be the setting, the group. The second is to provide material to stimulate the interest, effort and when applicable, creative participa- tion of her client. 16Hughes, Langston, "The Dream Keeper" in The Dream Keeper and Other Poems, New York, Alfred Knopf, 1932. 16 Grace Nash discusses the contribution of 0-8 material to stimulat- ing creative participation when_"active learning" takes place. ... When the individual sees relevance to his world in the subject matter or problem at hand; when the media are accept- able to his nature and needs; when involvement engages the faculties and emotions; when the goal or media appear so desirable that failure is no deterrent to his participation, but rather a motivation to try again; when the media offer reason to contribute his ideas, to listen to others, and to participate; when the result adds achievement and knowledge that he esteems for himself... (p. 2). Further discussing 0—8 and "active learning," she explains that: This approach is directed toward such active learning by utilizing the elements and techniques found in play; where the child learns the fastest, is the most creative and flexible; where failure is no deterrent to trying again; where his interactions are provocative and joyous; where problem—solving takes place through testing and evaluating; where the game at hand can stop at any point to be continued later flexibly. Play contains strong elements of repetition essential to the child's security. Within this repetition there will be differences in starting points, in patterns, climaxes, endings and extensions. Through Orff's approach, partly based on improvisation, the potential for music as a medium for self expression can be realized. In fact, Schulwerk is brought to completion only through the individual's elabora- tion or response to a given theme or problem. Self—expression is neces- sarily a part of this process in a way that requires self-organization and focused response. The claim is made that "music provides compensatory endeavors for the handicapped individual" (Appendix). Three facets of this tenet apply to the OLS, The first is that because the Schulwerk is a 17Nash, G. Creative Approaches to Child Development with Music, Language and Movement, NY, Alfred Pub. Co., Inc., 1974. An additional book in support of these concepts is Success Through Play by Radler and Kephart. The book deals with perceptual training,jvision and intelligence and motor skills as "foundation stones of progress." (See References.) l7 developmentally based system, individuals can be drawn in as participants regardless of their deficits or handicaps. The flexibility and broadness of scope assure that activities can be designed to maximize participation based on the resources of the individual right from the beginning. At a later time demands are systematically created to build upon these re- sources and compensate fer handicaps. Some of this aspect of the Schulwerk has been discussed with regard to its being adaptable to parti- cipation according to various "psychological and physical response" levels. In addition to the adaptability of the Schulwerk to include partici- pants with all types of handicaps, a second attribute can be emphasized. The Q;§_can be specifically and systematically applied to actually aid handicapped individuals in compensating for overcoming their handicaps. To exemplify this attribute, applications of work with the deaf, crippled or learning disabled children follow. The multi-sensory approach of Orff is such that it is being used with deaf children so that they can respond to rhythms with movement and speech because they can learn to see and feel these rhythms. Individuals with physical handicaps can be systematically taken through the "basic core movement" sequences;18 Sequences that may entice them to develop other or redevelop residual physical capacities in order to be able to play the Orff instruments and join in the movement sessions. Finally, work with learning disabled 18Barbara Grenoble, music teacher and Orff clinician in Denver, em— ploys the Q:§_basic movement core which involves a particular sequence of locomotor patterns, accompanied by a hand drum or tambourine moving from simple steps (walk, run, jump, stomp, tiptoe and ho) paired in oppo- sites, to composites (skip and gallop) and later, to expressive movement. The process is traditionally repeated many times until the sequence be- comes automatic and internalized. At more complex stages, the child is involved in higher level responses of weight shifts, changes in center of gravity, and "midline crossings." 18 children allows significant application of 9;§_principles. The possi- bilities fer developing peripheral vision, for facilitating sensory— motor integration through vestibular and proprioceptive stimulation, and for intentionally performing such tasks as reading and responding to symbols backwards (as well as forwards) are methods of compensatory en- deavors that address the learning disability problems using Orff tech- niques. Descriptions of various adaptations for different clinical situations appear in Chapter Four. The third point in which the Schulwerk concurs with the therapeutic call of compensating fer handicaps regards the actual musical skills and appreciation gleaned from participation in Orff-oriented music therapy sessions. Because sessions have been systematically planned for success at each level and for constant expansion upon skills being developed, certain individuals may become proficient in some area of musicianship. This proficiency and/or interest and enjoyment comes to serve the indi- vidual in such a compensatory manner that he can maintain involvement in music, though his handicap precludes participation in certain other areas of his life. "Music provides opportunity for socially acceptable reward and non- reward" (Sears, p. 40). So it is with Orff-Schulwerk processes. It is as if Orff songs, chants, and game forms were fashionable, functional garments with special pockets in which to fit the individual contribu— tions from participants. Referring once again to the rpndg form, there are predictable intervals in which individuals interject their own rhythm, or rhyme or melody response, followed by the inherent reinforcement of the chorus' inevitable re-entry. It is as though the group is attending to and accepting the individual's expression and incorporating it within 19 their process. The need for the therapist to stamp her approval, to stop the flow with a judgmental, often-repetitive "go-00d!" is almost eliminated. Also, as clients experience success at a task, the promise of more instruments to play, more challenging motions or parts to in- corporate may serve as further incentive and reward. And the partici- pant's teeth and metabolism may in the long run be spared many doses of sugar, e.g., "M G M's" or "Fruit Loops." These processes and forms must be skillfully and sensitively em- ployed to meet the music therapist's perpetual challenge of "enhancing pride in self,... providing successful experiences, providing for feel- ing needed by others, and providing enhancement of esteem by others..." (Sears, p. 40). Bevans19 describes how, in working with multiple handi- capped, a group selected the poem of one of the children and set it to music (p. 43). In this author's own music therapy sessions, spontaneously composed Orff chants often form the chorus or the ostinatos for "Good- bye improvisations" as individuals are discharged. A simple chant employed was as follows: "Good-bye friend (Da-vid) You're leaving for home; But we want you to have All the gifts in this poem." The chant, accompanied by body percussion ostinato, served as the chorus to a rondo. Each individual went into the middle and freely "gave a 'gift'" (e.g. new friends at your school, lots of sunshine, courage to do scarey things, a hassle-free week with parents), speaking and impro- vising freely on the temple blocks. Each and every response was accepted 1931331., #10. 20 and followed by chanting of the chorus. The child who was being honored did not leave that session "empty-handed." Experiences in Relating to Others The third and final section of Sears' outline of music therapy con- structs is headed "Experience in Relating to Others" (p. 33). Sears is clear in defining this provision of the music therapy setting. ... The music is the reason for being together. Ensemble music... requires the individual to subordinate his own interests to those of the group if music is to result; this demand, although possibly enforced by another person, ob- jectively derives from the music and not from the other person .. (p. 41). Sears rightly emphasizes the centrality of the musical piece which calls for cooperation and interaction. The music therapist is concerned with how the individuals function in the process, how the individuals interact and how they feel about themselves as learners, performers and as persons. The music therapy situation often elicits more sharing and meaning- ful (group) interaction than individual or group therapy sessions in which verbal interchange is the vehicle. Having been actively involved in both music therapy and 'group therapy' at the same children's psychiatric hospital for nearly three years, it is apparent to the author that the structure and/or content of music serves to unite the group. There is less need to contrive subject matter and, thus, there is less artificiality in the setting. Sharing things and ideas, as well as conflicts, seems to be generated by the music therapy processes and the desire for a worthwhile product or experience. Ensemble playing of any sort is bound to develop sensitivity to both the sounds and the individuals who produce them. Because the ’ 21 Orff—Schulwerk is built upon repeating rhythmic patterns, the partici— pants must feel the beat together. The patterns can be adapted to most any skill level and clients of all levels are required to listen to one another in order to coordinate their parts. Because much of the Schulwerk emphasizes improvisation, it is crucial that each individual must develop a strong sense of the underlying beat and, at some level, underlying harmony in order to fit his part into the process. Another device used at many levels of the Schulwerk is the conversa- tional format. The musical "conversation" in Orff encompasses a rigorous step-by-step evolution. Using a movement, body-percussion or a selected instrument the child learns first to echo and then to provide phrases, or movements to be echoed by others (i.e. to act as the "conductor"). As feelings for "phrase lengths" begin to gel, the process moves on to the question/answer phase in which the answer matches the length of time of the question. The answer must relate to the question - tonally, metrically, stylistically, and additionally provide a sense of finality. The key factor is to listen and match the length of the question with one's improvised answer. Various levels of sophistication may be sought as skill and comprehension increase. When the element of equal duration in the question and answer has become familiar and meaningful, the answers then may come to be segmented or diminished. Eventually free dialog ("conversation") occurs between the instruments or through move— ment. By this point the events are more meaningful, more related. The music therapist may decide to pull any of the steps out of context if the group is ready and needs an alternative media through which to commu- nicate. Cooperation and awareness of others is a requirement of this form of interaction. 22 Actually, this Orff and Kodaly20 question/answer interaction was awarded universal recognition and significance in the recent movie, "Close Encounters of the Third Kind." Aliens and Earthlings performed question/answer communication with Kodaly hand signals and huge synthe- sizers complete with different timbres and light shows. We are told that "music provides for acceptance of responsibility to self and others," (Sears, p. 34) by incorporating both self-directed and other-directed behavior. There are immense numbers of possibilities for bringing about situations to facilitate such responsibility in relating. Delegating responsibilities, roles in performances, dances, having one client "tutor" another who lags behind fer one reason or another... the potential is boundless. Joining in with one's part at the right time may be a realistic and appropriate expectation placed on the individual by the song or chant or game itself. For others, being pre- pared and on time may be signs of progress. One of the more controversial tenets deals with the abstract inclination of music to "enhance verbal and non-verbal social inter- action and communication" (Sears, p. 43). Many people misconstrue this assertion to mean that music corresponds to some specific counterpart in idea or feeling; that if one listens in the "right" way, one can understand ideas expressed musically by those unable or unwilling to verbalize. Such communication is difficult to prove with any objectivity. Rather than dwell on this notion, some alternative ideas for applying this tenet will be shared in the following chapter, particularly under the section on psychodrama. 20Kodaly is a contemporary of Orff who evolved a similar develop— mental approach to teaching music to children. '23 Whether the tasks be pre-arranged compositions fer voices, instru- ments, movement or something on the continuum toward improvisation and spontaneity, "cooperation" is always sought. And when "competition" is a necessary theme, there are many possibilities for adapting games or tasks. Auditory discrimination games and games requiring isolation of rhythms and then guessing nursery rhymes merely clapped by the thera- pist or a group member are but two examples of challenges to stimulate "socially acceptable forms of competition" (Sears, p. 43). On a more sophisticated level, problems arising from rampant competition may be dealt with through some of the psychodramatic/music-movement processes described in Chapter Four. Finally, one of the consequences of Orff—Schulwerk administered as music therapy is that the participants often acquire some basic music skills. They strengthen their sense of and ability to express the beat. llmnrlearnto handle instruments; their fine and gross motor skills im- prove along with their coordination. They often learn to coordinate eye—hand in response to some sort of notation, be it hand signals for scale tones, rhythmic notation or actual music notation. They learn to play in ensembles; to direct and follow directions;‘Uodiscriminate and make auditory judgments; to sing together as well as to sing one line independently while hearing others; to concentrate, while others play different parts, on their own part. They frequently become less inhibited about moving and performing "solos." Any combination of these skills or qualities may be acquired as the individual participates in therapeuti- cally planned g:§_sessions. These skills may later lead to the client's pursuit of instrumental study and perhaps his subsequent acceptance into a choir or an instrumental group when he rejoins his community. CHAPTER IV EXAMPLES AND CASE ILLUSTRATIONS: PUTTING THE THEORY INTO PRACTICE The purpose of this chapter is to present some specific incidents and cases, the processes of which are aimed at meeting various thera- peutic goals through application of Orff-Schulwerk techniques. The collection of examples serves to exemplify some of the theoretical material of the previous chapters. At times parts of the theory are reiterated to clarify the underlying principles of each specific case. It must be stressed that most incidents described have been taken out of their context and must be viewed in this light. It is not intended that these isolated examples serve in and of themselves as agents of therapeutic change. Rather, they are in most cases exemplary incidents representing one session, or portion of a session, in an ongoing pro— cess of treatment incorporating many facets: e.g. group dynamics, accli- mation to the media and the setting. For the sake of consistency, the examples are presented in an order which follows the sequence of the Processes outline by Sears (shown in Appendix). "Music Permits Ordering of Behavior According to Physical Response Levels" M was a seven year old boy who had suffered from severe asthma throughout his life. During the years preceding his hospitalization he was restricted to his bedroom as his parents intended to limit his stress and prevent his exposure to infection. All who entered his room wore 24 25 surgical masks. In his sixth year his parents prohibited friends from visiting or even entering the room; the boy was confined to bed, and soon afterward, they themselves ceased to visit their son. They did not want to risk his contact with any infection, and they devoted them— selves only to preserving his life. The boy ceased to talk and he lost most of his vocal skills and his muscle tone; he regressed to the existence of a vegetable, requiring at onset of his hospitalization total custodial care. The music teacher, B. Grenoble, at the hospital,21 worked in close collaboration with the physical therapist. At first the boy showed no motivation to communicate, nor to perform any motor functions, even those required for simple activities of daily living. However, the more he observed the developmental music program, the more eager he became to participate. As he progressed through the "core movement—reeducation," he regained his ability and will to move, dance, skip and run up and down the halls, and he greatly enjoyed singing and at any cost of exertion, playing the Orff instruments! Along with the redevelopment of his ability to fUnction and the rebuilding of his self concept and the work- ing through some of his emotions, he was assisted in facing his apprehen- sive parents who were both surprised and terrified at the gains he had made. The music teacher, together with the physical therapist, had met him at his level, and through a step-by-step process of movement educa— tion (a mainstay of the O:§), had remotivated him, reeducated and retoned his muscles. The redevelopment of his verbal/vocal skills also occurred. 21See footnote #18. 26 ' Indeed, music permitted "ordering of behavior according to physical re— sponse levels." "Music Provokes Increased Sensory Usage and Discrimination” (Sears) This same music teacher was faced with a brain damaged child with severe auditory discrimination problems, a six-year old who had been mainstreamed into the regular classroom, perhaps inappropriately, for music class. It was soon discovered that he was greatly overstimulated by all the sounds of the 9:§_ensemble. Previous to this class, he had already experienced the frustrations of his disability and the constant failures to which it had led. The teacher soon removed him from the large class and placed him in a small group ensemble. For many weeks this group was presented with, heard, and employed only one instrument at a time. Because they worked in the Q:§_tradition, offering an in- exhaustive number of ways in which to explore and experience one instru- ment, this not only maintained children's interest, but offered them that first necessary measure of success. Eventually, as the boy's ability to discriminate and tolerate more sounds increased, the child's awareness of sound developed. By the age of eight, he became a fine musician, able to play the recorder with great skill, able to improvise and sight read on a par with many college music students. Along with his skill, his self-esteem grew. He was able to take on other tasks of academic learning, to rejoin hisgrade level peers, and to have the courage and problem solving skills necessary to compensate for his auditory handicap. In viewing this case, adaptation of O:§_methods provided for success at this individuals own ability level despite apparent limitations. Be- cause of‘OLS's emphasis on the multi-sensory approach, one is not limited 27 to one's hearing to experience either music or one's environment. Q;§_ employs all the senses to support each other. Therefore, whatever strengths and resources remain can be employed in the restoration of residual functioning and compensate for the handicaps. The "teacher" in this situation functioned as a "therapist," manipulating the materials and processes so as to provide successful experiences, and to assist the child in compensating for his handicap. It has been demonstrated that Orff techniques provide for ordering of events according to a variety of psychological and physical ability levels. Going one step further, a familiarity with Orff-Schulwerk pro- cesses provides the music therapist with tools with which to work when entering into a situation where a wide discrepancy in abilities exists. Upon occasion, this author had planned a session to include four emotion- ally disturbed pre-adolescents, clients of similar skills and levels of acclimation to the hospital program. At the last moment, she was in- formed that two of them had been placed on room restriction, and a third had been called to attend a rescheduled family therapy session. In addition, a new client, the current ward scapegoat, was to be included. This child suffered from organic—brain syndrome; he was often extremely clumsy, impulsive, overactive, inappropriate with peers, as well as odd in appearance. The remaining group member, a bright, aloof, highly skilled, and somewhat cocky individual groaned upon learning of the new group composition. Feelings of distance, lack of relatedness or purpose— fulness were immediately prevalent. The decision was made that a need for cooperation would have to be created. Warming up consisted of echoing, clapping and other body and rhythms, (echoes), permitting each client and the attending psychiatric 28 aide a turn at leadership. Next, in accordance with g:§_sequential processing, one person was to respond to snaps, one to claps, one to patschen (slapping thighs), and one assumed the role of conductor or initiator. After each had had a turn at each role, a discussion ensued determining a high pitched instrument to represent the snap, a medium range contrasting instrument to represent the clap, and a lower instru- ment to respond to the patschen. The triangle, claves, and hand drum were chosen, respectively. Roles were exchanged and each conductor experimented and struggled with how to 1) lead so that others could follow and 2) obtain the contrasts in rhythm and timbre that were pleas- ing to him. Each participated at his own level, each person's role was necessary to the whole, each left the session feeling a sense of success and relationship. The final observation is admittedly subjective, veri- fied only in the clients' willingness to continue their experiences together in sessions that were to follow. When the members rejoined the group for the next session, new attitudinal and interactional problems presented themselves. Each time a practical knowledge of g:§_techniques served the therapist with opportu- nities to pool inherent differences and ability levels of the group into worthwhile experiences. One particular group became especially intrigued with a series of short movements alternated with temporary "freezes" in transition from one body position to another. They enjoyed supplying the drumbeat cues for the movements of other members of the group and striking the cymbal to cue the "melting" back to original positions. In so doing, they not only improved auditory acuity and reflexes, aware- ness of body and position in space, coordination and control of body, but they struggled with issues of leadership, feedback, flexibility, and problem solving. 29 "Music Provides for Cooperation in Socially Acceptable Forms and for Sensory—Elaborated Behavior" A broup of seven emotionally disturbed children, aged seven to eleven at the previously referred to psychiatric hospital participated in Orff oriented creative dramatics sessions led by this author. The purpose of these sessions was to heighten the awareness of one's self, others, and the environment. The children explored different dimensions of experience such as space, sound, emotions, and roles. The following example illustrates several techniques that draw upon sensory—elaborated behavior. The sessions frequently began with all of the children finding their spaces on the floor, lying relaxed-hands at sides, without making noise (Orff approach emphasizes that all music begins from silence/all movement from stillness). On one occasion, just prior to entering the music room, the usual bickering, mutually hurt feelings and high anxiety levels pre- vailed among the group. Initially they resisted the directive to sur- render their defenses to the floor and to give up their verbage to lie quietly in the semi-darkness. Next, a few rounds of nervous giggling spread through the group. As they heard the therapist speaking calmly, quietly, for them to "locate" and relax the various parts of their bodies from the toes up, the restlessness subsided; a few individuals even summoned the trust to close their eyes; the rest responded to the sug- gestion to look at the ceiling. After general group relaxation was apparent, the group explored all different facets of the word "bend." The hand drumsignaled ”bend" and they were to express a different idea of the word, or to use different parts of the body in doing 50. From this exploration, the children were directed to stand and walk ”as if 30 they had become puppets with no hinges." In the course of these explora- tory movements, the puppet master added various hinges (as the improvised story progresses). After many stiff—legged, awkward travels around the room, and with all hinges at last reclaimed, the group discussed the uneasiness and proceeded to observe different hinges in the room. Each one had a chance to express his "hinge" in body movement. Several children spontaneously joined to become a pair of glasses. Several "hinges" were selected as well as sound effect accompaniments on percus- sion instruments. A simple story about a lonely old rusted barn door 22 hinge evolved, dramatized and accompanied with improvised sounds. Children in this group expressed a new awareness of their own bodies and some understanding of those who are less fortunate in their physical endowment. Guided by the therapist, this contrast in experience between themselves and handicapped persons was discussed before the conclusion of the session. The discovery process began with the word "bend." Each child, in his own quiet relaxed space found different ways in which his body could express "bend." Next they were guided to experience in a new way the various hinges or joints in their bodies. Then they used their own hinges to stimulate or express various moveable objects within the room. Through these experiences, enhanced body awareness and problem- solving remained the central theme. The child in these situations had gained awareness of and relation- ship to his environment through use of his body, his senses, and his insights gained from facilitated discussion. Empirically, it was judged 2 . . . . . . . 2Credit Univer51ty of Denver Cert1f1cat10n Programs. The 5e551on was an adaptation of their concept in movement education lesson planning. 31 that the group left the room with a more focused, relaxed attitude and a more cooperative spirit with one another. "Music Evokes Affectively Ordered Behavior” A group session with pre-adolescents at the same psychiatric faci— lity has been chosen to illustrate the tenet that "Music evokes affect— ively ordered behavior." As mentioned in the previous chapter, the music therapist often assumes the role of rap—session facilitator in which recorded selections serve as the stimuli. The frustration is that such sessions often do not seem to go far enough, however, pleasant, relaxing, or cathartic they may be. Drawing upon the Schulwerk processes of transforming and translating themes into all different modes of personal expression, the group to be described has experienced a wide range of improvisation and participation in their "art/music" session. Six emotionally disturbed pre-adolescents placed together for music therapy established some degree of comfort as a group. This group often began sessions sharing feelings about relationships with parents. One day, the author played the Crosby, Stills, Nash and Young song ”Teach Your Children"23 for the group. Several of them had heard the song pre— viously. A discussion ensued about needs that their parents do not ful— fill for them and parents' needs that they do not fulfill, and about feeling misunderstood, rejected, rejecting. Many feelings surfaced, individuals who rarely shared were bursting with feelings on this sub— ject. After several minutes each one chose a color of construction paper and boxes of pastels were placed in the center of the table. The children were asked to make line drawings or symbols to describe their relationships 23Record "Teach Your Children," Crosby, Stills, Nash, Young from Four Way Street. 32 to their parents. The results were originaI, diverse and of proud signi~ ficance to the "artists." They were eager to guess about each other's drawings and more so to discuss their own. Further, they asked that the drawings be saved so that they could refer to them later. This group with various turnovers in clientele has improvised and taped instrumental "sound poems" or sound settings to various pieces of surreal and modern art. They have also created string-gesture body sculptures and performed interpretive group stringart movements to the music of Eric Satie.24 Together we search for qualities and themes in works of art or music, we relate these to ourselves, to each other, and we recreate them in different media as our own personal expressions. Sometimes the therapist seeks to evoke affective behavior and deal with it in a more specific or confrontive manner. For example, ten e.d. children at the hospital ranging in age from 8 to 10 were seen together as a group along with their two classroom teachers twice a week and additionally at least once a week in groupings no larger than 4:1 by this therapist. Certain distractive behavior was continuously exhibited by various members of this group during the sessions. They would tear at wallpaper or decorations, abuse instruments or equipment in ways that they themselves hardly seemed aware of. Seeking to confront and halt the behaviors without continual nagging or doling out restric- tions, this therapist tried several different approaches. It appeared that much of the touching and playing idly with objects was a response to anxiety. Many of the most flagrant offenders were otherwise sucking thumbs, pulling at their hair, cracking knuckles, etc. When confronted Record ”Velvet Gentleman,” Music of Eric Satie Deram DES 18036. IIIIllll-Illl 33 directly on these behaviors, the usual responses were defensive denials. One day when a client stuck his boots up under the wallpaper, the chorus of a rondo was invented as follows: Things to fiddle with, nails to chew When I'm nervous, this is what I do. A body percussion ostinato was agreed upon to sustain the beat and group focus, and in between choruses, each child in succession was to "show" (not "tell") one thing he did when he was nervous. The children begged to be able to go around again and again, and finally some of them began to show their property destroying responses to their anxiety. Each felt safety and acceptance in that everyone had shared similar feelings and various outlets for these feelings. Rather than feeling blamed or put down they could own and assume more responsibility for these behaviors. In succeeding sessions, it became easier to confront the issue and to ask whether a particular child had something he wanted to share about what was "making him anxious," rather than why he was "wrecking the music room!" Another example of dealing with a specific affectively—ordered behavior occurred within this grouping of children. One ten-year old boy was preoccupied with feelings of self-pity and jealousy. His peers were often influenced by his negative thinking or inspired to provoke his sense of weakness through negative patterns of their own. One day, during a small group music therapy session (4:1), the client was handed a drum. Together he and this therapist arrived at a chorus or a rondo: It's not fair! It's not fair! I told you a million times that It's not fair! He decided to beat the drum forcefully only on the words "It's not fair.” 34 The group chanted the chorus each time in unison with all the pout and self-pity they could muster. Each individual was to supply one of the verses (BCDEF...). Each verse was a comment on something for which the individual was very grateful and would not like to be without. Eventu— ally many things from eyesight to teachers to personal attributes were mentioned. After the session, it was suggested that the children say this poem to themselves, with additional verses at those times when they felt picked on or treated unfairly. It was affirmed that feelings of self-pity and feelings of gratitude are both common and real parts of human experience. But it was intended that each become aware of his good fortunes and strengths. During several team meetings in subsequent weeks, teachers, nurses, and psychiatric staff offered unsolicited reports of having heard the children mumble some chant, and then having seen them pull out of some negative patterns more quickly and spontaneously. Sometimes the opposite direction is pursued to evoke affective behavior. A poem or a song or a dance provides the basis for a session. Some of the rich and vivid poetry about events, feelings, or ideas serves to enhance one's awareness of one's feelings, one's environment, and one's life. From Chinese and Japanese poems to the poetry of Langston Hughes, e.e. cummings, A.A. Milne, a multitude of phenomena have been captured, spoken about, or composed into music and pictures and photographs. The flexibility of Orff-Schulwerk processes is only limited by the particular therapist/teacher/facilitator. "Affective behavior" and "sensory-elaborated behavior" are the keys to such sessions. 35 An Experience "Within Structure" and Beyond In evaluating all of the cases and examples presented, it is seen that none is lacking in the component of providing "experiences in re— lating to others," which is a constant concern of music therapy. Along with this inherent provision is also the process of "self-expression with choice." Several brief examples are cited to emphasize these im- portant therapeutic goals. On one occasion, this author was summoned by an excited group of children to witness a surprise perfbrmance. With the help of their classroom teachers they had sewn hand—puppets to play the roles of various zoo animals. A small audience of staff and patients was assembled. The show began. It was their own adaptation of the poem shared earlier (on page 10) about the animals at the zoo. The presentation incorpor— ated definite rondo form, and used the technique of "sequencing" as each animal sound was added one at a time to the chorus rhyme. Once again form and sound had been translated into dramatic idiom to be rendered by puppets. The group processes, decision—making, cooperation, taking turns, allowing individual characters to express themselves, and adher- ing to form, had all gone into this production. .9:_ lends itself well to various uses of puppetry. One use is that of imagining one's own body as a puppet. The purpose of such imagery is to promote relaxation and also trust, the latter regarding children moving or manipulating their fellow "puppets." Another use of puppetry is to entice shy children to participate. Shy children often identify and want to become involved with "shy puppets" (be they animal, plant, or other types of characters). Puppets also serve as a safe media in that the children using them are temporarily removed from the real world 36 even a step beyond other types of role playing. Puppets may be used to confront the children in a less treatening way or to interrupt pat- terns of maladaptive behavior. In addition to these implications for use in treatment, puppets can be employed to represent different musical concepts and motifs. "Self-Expression with Choice" Another example derived from Orff—Schulwerk techniques demonstrates a practical approach to "self-expression with choice." The exercise has been used on numerous occasions for groups ranging from two to thirteen clients. On one occasion, this therapist familiarized the children with the idea of graphic notation to symbolize various types of body movement both statuary and locomotor. For example, as they came to relate the symbol of a dotted line ( ----- ) to a walk across the floor, they worked on variations of the walk and of the corresponding notational possibili- ties. They went on to explore various movement interpretations of each others' graphics, or conversely to draw notation of another's movement improvisations. In true 9:§_fashion, both the drawings and the movements lent themselves to sound accompaniments as well as super—imposing forms (ABA, rondo, sequence, canon, etc.). Throughout the explorations, the concept of self-expression, without the stigmas of right or wrong, was emphasized. For example, five people demonstrated that one "picture" could be interpreted at least five different ways. The children's en- joyment of problem solving and movement seemed to be enhanced when the judgment aspect was de-emphasized. In addition to providing the self—expressive emphasis, this type of session serves as fertile ground for working on relating to others. Sometimes the therapist, having taken two children through the processes 37 described, has told them that she would turn her back or go to another corner and they must work out an ABA form using two pictures or two movements; or she has had them invent instrumental accompaniment for a "dance" already worked out. She then danced through her interpretation of their sounds or played sounds for thenmvements they had worked out. Cooperation was elicited in a natural way during such sessions. Provided the warm—up was sufficient to familiarize clients with the process, they have enjoyed working out their forms on their own and surprising the therapist with the result. A Group Experience in "Relating to Others" At this time, a poignant case involving "relating to others" is shared. The setting was a regular education class of third graders in a Colorado elementary school.25 One day the music teacher and children were informed that a new child, who had been badly disfigured as an infant during an explosion, was about to join the class. On the day that he actually appeared, no child or teacher had imagined the extent of his disfigurement. The children, prepared though they were, screamed in horror when they saw him arrive at the doorway. He had no real facial features to speak of. Also, he had no hands; stumps protruded from his wrists. The teacher attempted to continue with the usual circle games and other Orff activities, but no one wanted to be near B____, certainly not hold his "hands." The teacher enlisted the help of a student she thought most likely to cooperate. Many sessions beginning with B____ standing between teacher and this particular student filled the succeeding 2 . . . . . . 5Discussed at Univer51ty of Denver 9:§>cert1f1cat10n program, summer of 1978 by Barbara Grenoble. At this time she granted permission to in- clude the case study in this program. 38 weeks. As the children saw B:§___will to join and participate just as they did in all movement, singing, and eventually playing the pitched and non-pitched percussion instruments, they soon became intensely in— volved in aiding his participation. As each new experience was approached they became involved in analyzing the steps and the techniques involved, and then in problem-solving ways to help B_____accomplish each new task. They decided upon mittens with mallets sewn into them to enable him to play the xylophones. They helped him to perform body percussion and to perform with hand puppets and to be a fully function- ing member. They became his defenders on the playground, his devoted friends in and out of the classroom. The group had done so much exploration of different sounds; they had enacted various puppet stories, especially related to animals with large ears. Because big ears came to represent being a good listener, ears became correspondingly important and valued. At the end of each summer they eagerly awaited B:s_n return to witness the work of plastic surgeons who first rebuilt his ears and then various other facial features. In this story the division between "education” and "therapy" is particularly ambiguous. Mnsic is a Form of Non~Verbal Communication Finally, an example is offered of the most widely-quoted tenet, that ”music is a form of non—verbal communication." Derived from pro— cesses in psychodrama, some unique forms of non-verbal communication have been used by this author to facilitate greater awareness of inter— active patterns, i.e., to work out "hassles." With one group of seven emotionally-disturbed pre—adolescents, the clients frequently arrived at the music therapy room deeply involved, or stuck, in conflicts and hassles with one another. 39 This therapist requested that one of them situate the other in some symbolic position to re—create the role which that person seemed to play. This role could be based on the specific situation or a more general depiction of on—going hassles between the two. For example, the identified patient chose a boy whom he felt to be always upon a "pedestal," preaching self-righteously. Therefore, the identified patient or protagonist now became the "director." He placed the other boy, the antagonist, on a chair and pointed his finger directly at him— self. Further, the "protagonist" was asked to select (Orff) instruments and players to accompany the movements of both the protagonist and the antagonist, respectively. The protagonist was then to move as he felt he usually did, inter~ acting non-verbally with the antagonist. The antagonist was to more, also non—verbally, playing out his assigned role as perceived by the protagonist. After this movement, musical vignette, the directorship was reversed and the perceptions of the other (formerly the antagonist) were played out, again with accompaniment on the Orff instruments. On some occasions, roles have been reversed altogether in order to have the protagonist demonstrate exactly how he perceived the role of the antagonist. On other occasions, the two individuals involved in the conflict have either used (Orff) instruments alone to express their con— flict, or, more effectively, used instruments to direct the accompanying movements of "dancers" whom they have selected to perform their roles non—verbally. Many variations have been tried. The productions are followed by "processing” sessions. Feedback is given on the technical aspects of how sensitively the instrument accompanied the movements or vice versa. After this evaluation, on a less threatening dimension, uunmmllllllll ‘IL 40 group members give their interpretations of what feelings were portrayed. The members of the group also discuss their observations of the indivi- dual to reinforce his reality-testing. Similar experiences of their own are shared and, in the last stage, some problem-solving may be possible. Orff instruments also lend themselves well to "playing personalities." Children love to "play each other," to be "played," to guess who is being played, to explain why they chose the particular instrument and/or style of playing to portray that personality. There is room for disagreement, alternate interpretations and ultimately, playing oneself! Summary This chapter was devoted to exemplifying the Orff-Schulwerk techniques as they may be applied therapeutically in various clinical situations. The first two examples were case studies of individuals who participated in total Q:§_programs over a period of time, each for one year or more. Although sessions in those two settings were administered by a music educator, the goals and outcomes also quality as "therapy." The Q:§_programs were used to motivate the individuals to redevelop their strengths and compensate for handicaps while experiencing success within peer groupings. In accordance with the music therapy tenet, the first three cases illustrate that sessions may be designed to include individuals participating despite divergent physical and psychological response levels. A further example was of an Orff—oriented session in creative dra- matics with emotionally—disturbed children demonstrating the eliciting of "sensory-elaborated behavior" as well as "socially acceptable coopera— tive behavior." Children in this session used a combination of body movement, sound setting and story telling in ways that enabled them to 41 become more aware of their environment and of one another. The concept that is most significant in this example is that of "relatedness." Children were experiencing this relatedness in the present, the immedi- ate circumstances of "here—and-now." A description of music-group therapy with emotionally—disturbed pre-adolescents illustrated the integrated use of different art forms in a session dealing with discovery and expression of feelings. This session re-emphasized that working with Q:§_techniques is not equivalent to "adopting a system," i.e., becoming locked into an exclusive, pre- scribed formula of delivering music. Rather, 9:§_lends itself to inclu- sion of all forms of artistic expression and to the personal insights gained as one participates in transformation of themes and feelings from one media to another. Next, two examples with younger emotionally-disturbed children in- cluded differently structured sessions in which "affectively ordered behaviors" were evoked. More specific feelings (anxiety, self—pity and jealousy, respectively) were brought into awareness and dealt with in a more direct and confrontive manner. Both examples employ the Ipndp, a musical form described in the previous chapter which is frequently used in the 9L§r A discussion of the uses of puppetry to provide for experiences within structure and to encourage relationship skills through some special types of role play is included. A brief description of one group's usage of puppets to develop an earlier 9:§_experience shows how they had internalized a feeling for "form." They had retained the struc- ture of their earlier creation and had transformed the idea into another idiom. Rather than occurring haphazardly, their play contained artistic 42 elements and they experienced a sense of order that still allowed for individual self-expression. Further descriptions of some techniques for stimulating "self- expression with choice" fellow. The techniques, which also foster cooperative relating among clients, offer the possibility to demonstrate that people react to the same stimulus in many different ways and that there is no "right" or "wrong" way. Judgment is de-emphasized, free- association and self-expression are encouraged as clients work out their "movement problems." Next, a specific case study was presented to describe a long pro- cess of relationship building. The Q:§_pr0gram in an elementary school became the setting in which a disfigured and handicapped young boy gained membership into a "regular classroom" peer group. The children's enthusiasm for participating in Orff-oriented games, singing, dancing and playing of instruments moved them to empathize with how another child might also want to "play." They worked out solutions to help him compensate for his handicaps and in so doing, came to understand and appreciate the techniques involved in their own participation. Finally, a unique method for employing music to enhance non-verbal communication was discussed. Orff instruments were used to facilitate a psychodrama session by allowing a media of expression for clients who, for various reasons, refuse to verbalize. Him-v CHAPTER V SUMMARY, CONCLUSIONS, IMPLICATIONS Summary One problem common to most disciplines is that of moving from their theoretical constructs to their practical application. This problem is one prevalent in the field of music therapy. The purpose of this paper was to offer one solution to this problem by presenting 9:§ techniques that can be applied in clinical situations. In Chapter 2, the background of the Schulwerk was discussed, both its origins in Europe and its dis- semination in America. During the 1920's, German born composer Carl Orff, in response to educational trends of the period, began to design a system of integrating music and movement education for children. He sought to have children participate in the creation of dance and music based on his assumption of an already inherent unity of movement, speech and music. Several decades later, music educators in North America recognized the value of 9:§_processes and began to adapt them for American children. A few discriptions by American exponents of 9:§_ which point to a "therapeutic" nature of 9:§_were also presented in this background chapter. The overlap as well as the distinction between edu- cation and therapy were mentioned as each incorporates the core teaching principles of O:§, In the third chapter, an integration of the Orff goals, principles and processes with those processes of individual therapy was explored 43 44 and described. In this connection, it was noted that as one grows in a sense of relatedness to other people, one also deepens an awareness of one's relationship to his life-space. One is using the space and the sounds in immediate surroundings and is often drawing from realities and environments that exist fer one elsewhere as these are brought to the here—and~now (experience). This sense of relatedness may be experi- enced as feeling "grounded," e.g. "things really do fit together," "there is an order," "I am part of it all." The structures of 9:§_are offered in such a way as to make sense, rather than the commonly experi- enced "arbitrary authority,” or on the other hand, total chaos. Cer- tainly these theoretical themes are subjective and difficult to measure or document, but establishing and deepening a sense of relatedness seems to be an overriding aim of the music therapist. Finally, the growth of self-awareness is an inherent goal fostered by the music therapist. "Self-awareness" includes one's "self-concept" especially as a "learner"; awareness of one's body and of "body language"; of one's feelings, needs, attitudes, resources and limitations. One learns in a fresh way from his on-the-spot, unrehearsed responses and improvisations as the process unfolds. He is provided with the challenge to respond and express himself in a variety of media, often untinged by previous failures or dead ends. As the participant enriches the quality and awareness of his own inner world, or subjective reality, he comes to take responsibility for his actions, he comes to assert him- self and to act rather than to always react in a passive or victimized manner. It is the task of the therapist to structure the experiences and direct the patient's focus in such a way that he continually expands his awareness of himself and of himself with others. 45 A review of these "therapeutic tasks" and methods of application was presented in order to clarify the function of 0-8 in clinical prac- tice. The initial attractiveness of the Orff approach lies in its accessible sound-producing paraphernalia, the security of the repetition, the invitation to creativity, and/or the inherent acceptance of each personal expression and contribution. Q:§_methods in the hands of a sensitive therapist entice participation at a wide range of levels. They provide motivation fer the individual to take the first step toward joining the group or toward attempting a new task which, once tried, bears a high potential for experiencing success. The emphasis on rhythm and, in a broader sense, on form inherently reinforces a participant for being appropriately oriented in time and space. The developmental nature of the 9:§ seems to offer a great chance of success at each step and seems to facilitate overall learning. It builds self-esteem and confidence in one's ability to learn, as it follows a developmental sequence of learning, beginning with the senses and development of gross motor to fine motor skills and progressing to more cognitive forms of learning.26 Some of the processes described are used within sessions in order to focus on short-term therapy goals. Motivating (appropriate) partici- pation, providing a sense of structure in which individual self-expression is safe and valued, and setting the stage for cooperation, exploration and discovery are some general goals around which sessions are built. 26A thorough discussion of developmental learning, emphasizing sen— sory and gross-motor development as the basis of cognitive learning is found in Newell Kephart's book, The Slow Learner in the Classroom, especially Chapters 3 and 4 "The Motor Bases of Achievement" and "The Perceptual Process." 46 In addition, goals which are more abstract and long—term were included and also elaborated in the fourth chapter, which provided examples to illustrate the theoretical material of Chapter 3. As one incorporates the therapy aims that have been described, one is bound to join the clients in building a sense of "relatedness." This quality of relatedness encompasses many aspects. The participants come to understand old words, ideas and feelings in new context, i.e. to find their meanings and to feel related in new ways. For example, a group may explore and play with the traditional rhyme: ”Touch Blue Touch New 27 Touch Through" Through sound and body movement, as well as feeling and thought, one comes to establish a new relationship to each of these words to them- selves and as they relate to each other. Material for explorations which lead to new "relatedness" is abundant and omnipresent. In addition to deepening meanings and understanding as described, one learns relatedness in the form of "freedom with responsibility.”28 There is freedom to improvise, to relate to a theme with many types of self-expression, but one must adhere to some underlying form(s), to some rules and limits governing sounds and expressions which seem to fit, as well as how these sounds, etc. may or may not be produced, and to one's part, one's responsible role, within the ensemble or process. As one 27Wampler - And Early Sing. 28The Concept of "Freedom with responsibility" is explored in depth by Stuart in Neurophysiological Insights into Teaching, p. 118 and also Montessori's book, The Montessori Method in chapter V which deals with "Discipline through Liberty.” 47 experiences his part within the group, sharing the turns for attention and participation, one deepens a sense of belonging or "relatedness" to the group. He gains a sense of being part of a whole, sharing and realizing commonalities and differences in relationship to the other people involved in the process. Bearing in mind the goals and attributes that have been reviewed, some situations which incorporate the 9:§_processes are recalled. Most of the illustrations in Chapter 4 involved children with various emotional disturbances, the majority of whom were residents of a private psychi- atric hospital at which the author works as a music therapist. These children ranged in age from 5 through 14 and included children with a wide (spectrum) of diagnoses: depressive, neurotic, anxiety reaction, schizoid and psychotic reactions of childhood. Several cases did pre- sent children with physical handicaps and learning disabilities, but even these problems were treated so as to address also the accompanying emotional problems. In addition to the examples described, several other situations in which music therapists might successfully employ 9;§_techniques are suggested. Due to the use of repetition and sequencing, as well as an emphasis on developmental processes and sensory-motor integration, 9;§ can be an effective way to work with the deaf. The emphasis on use of the whole body, all the senses, as well as cognitive faculties offers the possibility that Q:§_might be a Valuable tool in working with the blind. As a method which offers developmental precesses for movement education and which provides an alluring enticement of accessible sounds and other self-expressive avenues, 9:§_might provide valuable methods to the therapist working with the physically handicapped. O-S lends itself 48 significantly to work with learning disabled children because it deals with areas concerning: self-image, emotional development, group rela- tionships, creative thinking, visual and aural perception and conception, 9 And, finally, in accordance language development, and motor skills.2 with the main point of this paper, g:§_can be adapted to effectively meet the needs of children with a variety of emotional disturbances, especially in a residential treatment center. In all the above mentioned settings, effectiveness depends upon skillful adaptations of materials and methods for the particular clients whom the music therapist serves. Conclusions From the preceding discussion of the origins, principles and forms of the Orff—Schulwerk "Music for Children," and a proposal for their application in the music therapy setting, one can draw several conclusions. The first of these conclusions is that Orff—Schulwerk is a flexible tool, which can be effectively adapted to a wide range of clinical situations. Although 9:§_has first been the province of music/movement education, it is well suited to demands of a variety of music therapy settings. Q;§ is not a curriculum and is not intended (to apply) to the clients' culti— vation of musical skills and knowledge, nor is it suggested to be the only "tool" or method of any music therapist. But it is a musical sys- tem which offers unique possibilities for creative thinking, problem solving and session planning/implementing for the music therapist who has studied, participated, and been trained in O:§_principles and techniques. It is a tool that can be employed for diverse functions from facilitating 29A paper called "The Schulwerk in Special Ed,” Barbara Grenoble, distributed through the University of Denver certification program. 49 creative dramatics with a group of children to instructing a client on a 1:1 basis on a particular musical instrument. To conclude that 9:§_is a "tool" seems in one sense to be an under- statement. In some ways g:§_is more accurately described as a tool chest from which one may pull and employ an immense assortment of tools. With- in this system, one may draw upon a wealth of techniques to incorporate body awareness, expressive movement or pre-determined dance sequences. One may adapt methods of imparting the sense of beat and rhythm to a group of clients who can use these musical elements to develop its sense of commonality and ensemble, with a sense of "belonging” or "groupness." In addition, one may choose from a treasure chest of games which elicit cooperation, coordination, problem solving or other goals for which games are designed while also providing the clients with the joy of sing- ing, chanting, producing or responding to sounds. Orff-Schulwerk provides the therapist with methods to assist children in learning to develop their senses and sensitivities, particularly their auditory sense. The thera- pist who has experienced and studied g:§_has some purposeful ways to help the clients successfully approach and learn to master certain instru- ments that lend themselves to ensemble playing. Whether 9:§ be (metaphorically) viewed as a tool, or tool chest, the conclusion is the same: it is flexible and diversely adaptable to the demands of the music therapy setting. A second conclusion is that the O:§_has value as a developmental system. Processes are best begun at their simplest, most elementary level. The germ idea of a song or dance of "happening" must be isolated and presented in as pure a way as possible. Subsequently, layers or modifications are added and integrated according to a logical process so 50 that the idea grows in scope and dimension. An example of the develop- mental aspect of g;§ is the "basic—core movement" (see Chapter Four) in which basic locomotor patterns are performed to the rhythmic accompaniment and cuing of a simple percussion instrument (usually a hand drum or tambourine). As the basic—core steps become a familiar sequence, varia- tion and adaptation become possible. As these steps in relation to respective rhythm patterns become internalized, the clients' coordination and motor planning skills develop sequentially and systematically. In a more general sense, g:§_techniques are based on developmental learning principles.30 The children participating in O:§_sessions are aided in various ways to relax. Relaxation often necessitates movement as the antithesis of being "cooped up," constrained, sedentary. After some degree of relaxation has been attained, concentration is sought. A number of games and processes exist within the volumes of Schulwerk to enlist concentrative (faculties) of the child. Along with these two functions of learning, the self-image of the child is of constant im- portance as he experiences each step in his development and learning. He must be made to feel successful at each step along the way. Next, the senses must be heightened and appealed to.31 According to Grace 30"Developmental learning" refers to educational philosophies such as those by Newell Kephart and Maria Montessori. Specific references to some of their writings are mentioned in other footnotes, in this Chapter, (e.g. #24). 31An article by Carol Donnell-Kotrozo supports the idea that "we learn best when we experience... with all our senses” (p. 35). She describes methods of inducing "synaesthetic" responses in students especially in relationship to the arts and to music. (Intersensory Perception of Music — Color Me Trombone) M Ed. J., Dec. 1978. Maya Pines in Revolution in Learning, refers to Montessori's empha- sis on "using as many pathways to the brain as possible" (p. 206). However, Newell Kepart cautions that when using the multi-sensory 51 Nash, the child progresses from learning through his tactile and audi- tory channels, next through his sense of smell, then taste, and only last does he develop his visual sensory powers. By the time the visual sense becomes an important channel of learning, the child is usually combining all the other senses.32 Throughout their growth and development, children seem to require muscular learning along with cognitive learning. 9:§_again follows a natural developmental order in emphasizing gross motor functioning at early stages. It is only after certain locomotor and statuary gross— motor functioning has been mastered that the children devote themselves to refining their movements such as playing smaller instruments along with quicker and more complex passages and patterns. Inherent in the Schulwerk materials, that are drawn from folk and nursery literature, are finger plays as well as movement tasks to involve larger muscles of the body. approach with learning disabled children, all presentations must be "truly redundant," i.e. they must reinforce each other specifically and not add new material (p. 68—70) LearninggDisability: An Educational Adventure. 32Materials on the ”pyramid of learning" presented by Grace Nash, Berrien Springs workshop, 1975. She draws her thinking from Pines, Ferguson, and Allen and Brown, listed in bibliography section. Montessori does not generalize such a ”pyramid" or delineation of sensory functioning. She does, however, discuss educating the tactile senses and the senses of taste and smell before vision, in Chapter XIII of her book The Montessori Method. Getman draws a different sort of pyramid which he calls the ”visuomotor complex." He also places "vision" second highest on the pyramid set underneath "cognition" which is the top of the pyramid. He and Kephart both differentiate "vision" from sight and acuity. Vision refers to "the child's ability to interpret the world and one's own relationship to the world." Children with Learning Disabilities, Janet Lerner, Houghton Mifflin Co., Boston, 1971, p. 138-139. Brian Way draws a circular representation of human deveIOpment. numbering chronology of developmental functions beginning with 52 Because of the systematic nature of applying the methods within the single session and also of planning treatment sessions over a period of time, Q:§_is concluded to be a "developmental" system. There always needs to be a reason for choosing a beginning point, then an ensuing direction and an intentional goal in both applying Q:§ and in practicing music therapy. So far it has been concluded that g:§ is a tool which can be of great value to the music therapist. Further, it qualifies as a "develop- mental" system in several definitive means. In addition to its "developmental" nature where O—S isolates distinct elements and system- atically integrates ideas, tasks and creations, the converse description is also concluded to apply, i.e. the Q:§_system is "holistic." Q;§ purports to address and incorporate the whole person, the whole group, the whole domain of ideas or concepts that relate to any given theme. With the simultaneous involvement of as many of the scenes as possible, through the integrated combination of movement, language, singing and playing of instruments. In each process, the usage of functions from both brain hemispheres at the same time is sought. The language and cognitive functions are demanded along with motor functions and imagina- tion and intuition. The emphasis is on learning through play, and play may be viewed as using both hemispheres of the brain. Development of motor skills and cognitive fluency are not to be valued without constant focus on self-awareness and building of self-esteem. Feelings of the participants are of constant and emphatic concern as they experience the "concentration progressing to intellect." Development Through Drama, Humanities Press, NJ, 1967, p. 13. 53 processes. The more the music therapist seeks to address and treat the whole individual, the more she will find O-S materials and methods applicable. This reference to the therapist leads to one final conclusion. In all of the therapeutic tasks described here, it must be concluded that it is neither the music nor the "methods" which affect change in participants. In all of the situations, recognition must go to the therapist or teacher who facilitates the processes described. An arti- cle by Ruth Barnard serves as a poignant reminder of this point. How can music accomplish these therapeutic tasks?... The answer is so simple as to be startling. It cannot. It is not the music which is the real therapeutic agent, but the music therapist. It is he who molds the music to the therapeutic goals, who guides the patient in making a therapy experience out of the work or recreational activity with music. It is the atmosphere he creates, the relation- ship he established with the patient, the direction in which he turns their attention that makes music therapy out of musical activity. The 0-8 is only a tool in the hands of the music therapist. It is not a directory or a text. Further, the therapist seeking to employ these methods must be able to conceive and construct plans which begin with the simplest gesture, task or idea and which progress into integral, often complex "events" or "beginnings." But in addition to this pre— requisite, the therapist needs to be able to adjust, interrupt or scrap the plans on a moment's notice in order to accommodate other non—previ- ously anticipated demands of situations. Implications The importance of the qualifications and role of the therapist (her- self) has been the focus in the final conclusion. Not only must she be 33Music Therapy, 1952, p. 48. Ln... 54 able to plan and implement developmentally, hostically and purposefully, but she also must be in command of a wide variety of techniques and materials. She must be able to recognize situations and goals for which pg;§_methods are unsuitable or insufficient. There are some general "types" of clients or settings where Q;§_ techniques might not be appropriately employed. Several examples are mentioned. With some types of organic brain disorders, certain 9;§_pro- cesses would be overly stimulating. The experiences, if presented at all, would have to be greatly scaled down in complexity rather than emphasizing the integration of tasks and (brain) functions. In addition, there is little research to show that 9:§ techniques are effective with autistic children. While the repetitious aspect might be useful, there are probably other methods that would show more direct efficacy. Another situation in which the techniques would require an almost total overhaul would be in attempting to use them with physically or emotionally impaired adults. Certainly some of the forms and ideas could be employed, but the materials, the "Music for Children" as it is literally called, would frequently not be acceptable or sufficient for adults. Also, the adoles- cent and pre-adolescent clients would suffer in many respects were they to be limited to a strict "diet" of Q:§, For this age group, the emphasis on peer culture almost requires the use of current, popular materials as a stimulus to building relationships, developing a sense of belonging and relatedness. Some of these materials may be presented in original forms and modes by a therapist who understands the developmental approach to building upon ideas (in an QLSflike manner). But the rhythms, harmo? nies and melodies would likely be more sophisticated than those utilized, especially in the early phases, by the Schulwerk. 55 In the related field of "music education," the use of the Q:§_or "Music for Children" presents a great deal of controversy. This contro- versy is worth exploring in that there often exists a fine line between that which is deemed "therapy" and that which is "education." Those two disciplines overlap to the extent that certain sessions could not easily be classified as one or the other. In part, all therapy in- corporates education or re-education. Human growth of any sort involves learning. But, conversely, education or learning rarely occurs without an emotional experience. The educator is frequently dealing with issues such as self-concept, motivation, fear (of failure), interaction of peers within the classroom and the guilding of trust relationships between teacher and pupils. In addition, both music therapy and educa- tion are involved with facilitating aesthetic experience(s) with the participants, even though end goals may differ. How one best deals with these problems and aims, particularly the last, is then the matter of the controversy. There are many music educators who oppose the 9:§_approach for dif- ferent reasons. One such educator, Flagg, claims the system is "out of touch with today." She claims that use of these methods is too slow, that Q;§ re-enacts the history of music.34 The claim of Q:§_recapitu- lating music history may indeed be a valid description which would be a reason for either valuing or rejecting the 9L§ process depending upon one's point of view. For some the idea of (re)discovering the growth and development of music is the most ideal way to comprehend it. To learn and create from the vantage of a "composer" might be judged a 34"Orff Syst. in Today's World" - Marion Flagg - M.Ed.J., Dec. 1966, p. 23. 56 unique learning opportunity. Other educators consider themselves protective of all the time which 9:§_methods and materials detract from both the study of the vast heritage of music literature and the uncomprising discipline required to develop the skill and mastery of a musical instrument. These educators feel that even the thoroughness of the rhythmic and overall theoretical foundations engendered by participation in an O:§ type program is not as valuable,:h1the long run, asthe knowledge and skills gleaned through more traditional approaches. Further, it is argued that ”Music for Children” is as it says, no more than "music for children.” Some criticize that such delegation or classification is as inappropriate (uncalled for) as suggesting that there should be special ”food for children.” There is the belief that great classics are fer everyone; that the fold-type melodies of the Schulwerk are unnecessarily limiting and do not (in themselves) lead to experiencing the finest repertoire. Some are even offended at the notion that various art fbrms would require or submit themselves to "integration." Cannot poetry, for example, stand on its own? Is it ethical or necessary that poetry be used for speech ensembles or sound settings; is the poetry not enough in and of itself? Refusal to yield to the popular trends of "sugar-coating" material or "instantizing" or "popularizing" seems a strong and valid stance. Such concerns imply that the interdisciplinary or multi-media approach represent such com- promise. Some music educators are further dismayed at the thought of "using music to enhance academics." They feel that music deserves an "absolute" realm, a time and place of its own and they point out that teachers of other subjects do not sacrifice their subject area to come in and help the children learn their music! 57 It is imperative that those involved in any area of teaching music to children be aware of these apparent short comings of the Q:§__approach. Mainly, they represent the drawbacks of applying Q;§_as an exclusive system of music education. Some of the criticisms which would apply to education in the strictest sense, would actually qualify as strengths in the therapy setting. The simplicity of the folk rhymes and music offers some universal qualities and messages and beauty all its own. The com- bining of forms and functions facilitates integration physiologically, emotionally and cognitively. If, as Flagg states, O—S subjects the child to the recapitulation of "all of music history,35 the child would experience a developmental process of discovery. Such a process might be seen as particularly effective for "special children" who do not easily accept or make sense of readily-packaged concepts and performance expectations. And often these children (and all children) have some "channels" more open and accessible than others; therefore, presenting a concept or task to be experienced with more than one sense as well as through use of the body is a more certain way to actually reach a child and help him internalize an experience or concept. Another bene- fit is offered in relationship to the therapy setting. Most hospitaliza- tions do not provide the extensive period of time necessary for the mastering of an instrument. The Orff instrumentarium offers the possi- bility of participation in a musical ensemble at a wide range of profi- ciencies without a length preparation period. The immediacy of this gratification may be of great value in therapeutic respects. 35See footnote #34. Flagg's claim that 0-8 is bent upon the recap- ping of "all of music history" seems open to other interpretations or points of view. 58 In summarizing these ideas, the implications are that Q;§_is not suggested to serve as the only system in the hands of the music therapist. Further, it is implied that therapy and education overlap in many signi- ficant goals and methods. However, it is the differences between the two realms which present the possibility that some of the limitations of Q;§_in education serve as strengths in the practice of music therapy. A final implication in evaluating some strengths and limitations is that one must realize situations in which 9:§_is not sufficient or appropriate and must then call upon other approaches to reach the goals. In addition to recognizing some significant limitations of the Schulwerk, there are other implications of the material in this paper. Frequent allusions have been made to areas of brain functioning and physiological aspects of sensory-motor function. This realm of study is one of relatively new concern for music therapists and educators. In recent years, "sensory-motor integration" has been the domain of physical therapists and occupational therapists. These professionals have experimented and demonstrated, for example, the important of vesti- bular and proprioceptive stimulation in attempting to develop reflexes and coordination in the developmentally disabled. Such activities as jumping and spinning are emphasized for aiding development of balance and coordination as a foundation for all motor tasks and, as some be- lieve, all cognitive learning. In fact, many educators are becoming more and more interested in the "split-brain" theories which propose that various functions are predominantly associated with one (hermisphere) or the other of the brain. Educational researchers are now attributing certain learning disabilities to abnormal predominance of one hemisphere. For example, most children learn to read by sounding out words 59 phonetically, which is thought to be a left brain function. A predomi- nantly "right-brained" child may never be successfully taught to read by this system because this hemisphere is more apt to preside over intuitive or visual associations rather than analytic. Therefore, such a child supposedly learns by being presented with a picture along with the written symbols.36 Other learning research points to the theory that in a hierarchial pyramid of learning, cognitive learning is the final step. The child, especially in early stages, must learn through his senses and through use of gross motor functions. Many contemporary Orff clinicians teach that learning is more successfully accompliShed by pairing the rote and the cognitive with movement and sensori-associations. Such functioning demands integrative performance of both hemispheres simultaneously.37 This whole realm of sensory-motor integration is developmentally and holistically addressed by 9:§_methods. Such vestibular stimulating motions as spinning and jumping are easily worked into any number of 0-8 activities.38 Further, constant demands for simultaneously playing and 36This idea was presented at a seminar called Know Your Mind, by Gabe Campbell, President of Unison, Inc. He refers to Barb Brown's writings in Supermind in his discussion on "verbal and visual percep- tions in the left and right brain." Dec., 1978, First Congregational Church, Traverse City. 37Grace Nash, Scottsdale, Arizona and Marsha Beck of the Raskob Institute, Orinda, CA. Kephart, also supported this tenet in his book Slow Learner in the Classroom, p. 65. Ayers discusses the importance of "inter-hemispheric communication" throughout her book Sensory Integration and Learning Disorders, Many of the techniques-she suggests for application by therapists may be effectively adopted to music therapists. 38The therapeutic effects of vestibular stimulation are explained by Ayers in "Basic Concepts of Occupational Therapy fer Children with Perceptual-Motor Dysfunction," p. 155-156 and 159, in The Development 3. 6O singing, moving and speaking, or any combination require combined usage of both sides, might strengthen the necessary link between hemispheres.39 Another sensory—motor concern to which the Schulwerk lends itself effec— tively is the problem of crossing the midline of the body.40 Gross motor tasks in addition to the obvious ones of spinning and turning often involve midline crossing. Performing ostinatos (repeated patterns) on both the body and the Orff xylophones constantly, though, develop— mentally call for crossing the midline. Such remediation is especially necessary to learning and developmentally disabled children. Another concern of those committed to studying (right/left) brain function is that of levels of relaxation. Almost all spiritual disci— plines make use of repated words sounds (mantras) to induce states of deep relaxation. There are many who believe that learning cannot even take place unless some degree of relaxation has been attained. Ironi- cally, the possibility exists that children begin to best receive informa- tion after they have long settled down and almost appear to be bored, tired, "daydreaming,” in response to the constancy of the teacher‘s of Sensory Integrative Theory and Practice. Techniques for such theory she describes in Sensory Integration and Learning Disorders, p. 119. 3 9Thomas Regelski delegates various functions of musical behavior to either of the two hemispheres. He presents the dichotomous view that the left side is "analytic," i.e. breaks things down to components, whereas he deems the right side, ”holistic." He cites convincing experi- mental research as evidence that singing alone requires integrated bi— hemispheric function, p. 31—38. "Who Knows Where Music Lurks in the Mind of Man?" M.Ed.J., May 1977. 4OKephart defines the problems of directionality and midline on p. 47-48 of his Slow Learner in the Classroom. He describes his methods of observing situations in which a child has problems with "midline crossing." p. 140 Ibid. Occupational therapists administer standard tests to detect midline problems. The most frequently used is the Ayers' Perceptual Motor Test. 61 voice. Other examples of such "floating" or "automatic pilot" occur at times when one is driving or perfbrming a variety of repetitive ongoing motor tasks. Such tasks do not preclude one from simultaneously en- gaging in conversation, thinking, listening, watching, tasting, or smelling. People who train in aerobic endurance sports such as running or swimming report experiencing meditative-like states of relaxation and accompanying heightened alertness. In Orff-Schulwerk many parallels exist. The ostinatos are per— formed with body sounds or on percussion instruments while singing or speaking is simultaneously done. Some implications are that relaxation and focus are reached by the group, and that each pupil is strengthen- ing his integration of nerves and muscles over a period of time. Further, it is implied that such functioning might generalize such that those who master g£f£_techniques would develop more dependable reflexes and would, so to speak, be better at "thinking on their feet." All of these implications suggest the need for research and experi- mentation. Use of biofeedback devices along with other long-term tests and studies might or might not serve to confirm the implications that Orff-Schulwerk does strengthen bihemispheric brain functioning and facilitate sensory-motor integration. Further, research is needed which would demonstrate that gains and accomplishments within the 9;§_therapy setting generalize to others areas of participants learning and living. Such research, in fact, would be valuable to test all music therapy goals that one endeavors to reach by using the Orff-Schulwerk methods. One final implication of this paper related to 0-8 training. Hav- ing explored the methods and materials of the Schulwerk, it should be clear that to master them and be able to apply them requires a great ..L I 62 deal of preparation. Currently, one may attend special certification programs at various universities throughout the continent and Europe. Also, many curricula for students studying music education incorporate study of some of the principles and techniques. It is suggested that music therapy curricula would be significantly enhanced by incorporating some of the methods or by at least presenting students with an intro- duction to them so that they become aware of the invaluable set of resources that is available. Such an introduction would illuminate the planning of moving from the theories (of abnornal psychology, mental and physical dysfunctions) to the clinical practice of helping impaired g or disabled persons through the use of music. APPENDIX APPENDIX PROCESSES IN MUSIC THERAPY41 A. Experience within structure 1. Music demands time-ordered behavior. a. Music demands reality-ordered behavior. b. Music demands immediately and continuously objectified behavior. 2. Music permits ability-ordered behavior. a. Music permits ordering of behavior according to physical response levels. b. Music permits ordering of behavior according to psychological response levels. ‘ Music evokes affectively ordered behavior. Music provokes sensory-elaborated behavior. a. Music demands increased sensory usage and discrimination. b. Music may elicit extramusical ideas and associations. #04 B. Experience in self-organization 1. Music provides for self-expression. 2. Music provides compensatory endeavors for the handicapped individual. 3. Music provides opportunities for socially acceptable reward and nonreward. 4. Music provides for the enhancement of pride in self. a. Music provides for successful experiences. b. Music provides for feeling needed by others. c. Music provides for enhanCement of esteem by others. C. Experience in relating to others 1. Music provides means by which self—expression is socially accept- able. 2. Music provides opportunities for individual choice of response in groups. 3. Music provides opportunities for acceptance of responsibilities to self and others. a. Music provides for developing self-directed behavior. b. Music provides for developing other-directed behavior. 4. Music enhances verbal and nonverbal social interaction and communication. 41Sears, William, "Processes in Music Therapy" from E. Thayer Gaston Music in Therapy, MacMillan Co., NY, 1968, p. 33. 63 64 Music provides for experiencing cooperation and competition in socially acceptable forms. Music provides entertainment and recreation necessary to the general therapeutic environment. Music provides for learning realistic social skills and personal behavior patterns acceptable in institutional and community peer groups. LIST OF REFERENCES LIST OF REFERENCES Articles and Periodicals Barnard, Ruth. Mental Hospitals. Music Therapy, 1972, p. 48. Bevan, Judith. The Exceptional Child and Orff. Music Educators Journal, March 1969, p. 40-45. Donnell-Kotrozo, Carol. Intersensory Perceptions of Music - Color Me Trombone. Music Educators Journal, December 1978, p. 32-37. Flagg, Marion. Orff System in Today's World. Music Educators Journal, December 1966, p. 23-25. Fragee, Jane C. The Mystery of the Orphs. Music Educators Journal, October 1977, p. 65-67. Grenoble, Barbara. The Schulwerk in Special Education. A paper distri- buted through University of Denver, Summer Certification Program, 1978. Nash, Grace. Music for Children. A pamphlet distributed at Andrews University, Orff Workshop, Berrien Springs, MI, 1976. Nash, Grace. The Nature of the Child and What He Needs; A Creative Approach to Music for Total Growth, 1972, distributed at Andrews University, 1976. Orff, Carl. Orff-Schulwerk: Past and Present, from a speech, October 25, 1963. Orff Re—Echoes, ed. by Isabel Carley, A.O.S.A. Publication, 1977, p. 3-9. Reeves, Harriet. Building Basic Skills with Music. Music Educators Journal, September 1978, p. 74-79. Regalski, Thomas A. Who Knows Where Music Lurks in the Mind of Man? New Brain Research Has the Answer. Music Educators Journal, May 1977, p. 31-38. Rosenblum, Lois and Mittleman. Orff and the Urban Child. Music Educators Journal, March 1969, p. 41-44. 65 66 Books Allen, Marsha. Sensory-Motor Integgation. Kentfield, Calif. Distributed by Kentfield School District, 699 Sir Francis Drake Blvd., 1975. Ayres, A. Jean. Development of Sensory Integrative Theory_and Practice. Dubuque, Iowa, Kendall/Hunt Pub. Co. 1974. Ayres, A. Jean. Sensory Integration and Learnin ng Disorders. Western Psychological Services, 1975. Bitcon, Carol. Alike and Different. Santa Ana, Calif., 92705, Rosha Press. Brown, Barbara B. New Mind, New Body. NY, Harper and Row, 1974. Cane, Florence. The Artist in Each of Us. NY, Pantheon Books, 1951. Ferguson, Marilyn. The Brain Revolution. NY, Taplinger, 1973. Gaston, E. Thayer. Music in Therapy. "Processes in Music Therapy" by William W. Sears, p. 30-46, NY, MacMillan, 1968. Hughes, Langston. The Dream Keeper and Other Poems. NY, Alfred Knopf, 1932. Kephart, Newell C. Learning Disabled: An Educational Adventure. Bloomington, IN, Kappa Delta Pi Press, 1968. Kephart, Newell C. The Slow Learner in the Classroom. Columbis, OH, Merril Pub., 1971. Lerner, Janet W. Children with Learning Disabilities. Second edition, Boston, Houghton Mifflin Co., 1971. Meyer, Lenoard B. Emotion and Meaning in Music. "Theory of Emotions Related to Musical Experience,” Chicago, University of Chicago Press, 1956, p. 23-40. Montessori, Maria. Dr. Montessori's Own Handbook. NY, Frederich A. Stokes Co., 1914. Montessori, Maria. The Montessori Method. NY, Schocken Books, pub. in English, 1912. Nash, Grace. The Child's Way of Learning, Calif., Alfred Pub., 1977. Nash, Grace. Creative Approaches to Child Develgpment with Music: Langugge and Movement. NY, Alfred Pub. Co., Inc., 1974. Orff, Carl. Music for Children. Translated and edited by Doreen Hall or Margaret Murray, Volumes I—V, London, Schott, 1957. ’67 Orff, Carl. Music for Children. American Edition, Vol. 2, U.S.A., Schott Music Corp., 1977. Pines, Maya. The Brain Changers. NY, Viking Press, 1972. Pines, Maya. Revolution in Learning. NY, Harper and Row Pub., 1967. Radler, D. H. and Kephart, N. C. Success Through Play. NY, Harper and Row, 1960. Stuart, Marion Fenwick. Neurophysiological Insights into Teaching. Palo Alto, Calif., Pacific Books Pub., 1963. Wampler, Martha Maybury. And Early Sing. Peripole, Inc., 1977. Way, Brian. Development Through Drama. New Jersey, Humanities Press, 1967. Wheeler, Lawrence and Racbeck, Lois. Orff and Kodaly Adapted for Elementary Schools. Dubuque, Iowa, Wm. C. Brown Co. Pub., 1972. Records Crosby, Stills, Nash and Young. Four Way Street, Song: "Teach Your Children," Atlantic SD2 902. Satie, Eric. The Velvet Gentleman, Music of Eric Satie, Camarata Contemporary Chamber Group, Deram London, St. DES 18036. Workshops and Seminars Campbell, Gabe, President of Unison, Inc. "Right/Left Brain Functions," First Congregational Church, Traverse City, MI, November 1978. Nash, Grace. Orff, Kodaly, Laban, Andrews University, Berrien Springs, MI, Summer, 1975. University of Denver Certification Program, Orff-Level I. Barbarba Grenoble, Danai Apostalido, Summer, 1978. "I7|!lllllllllllllllli