Folk Music
In 20th Century Music History, I wrote a paper on Carl Orff and Zoltán Kodály. I was familiar with their pedagogical approaches through prior experiences teaching Kindermusik and elementary music. However, I learned more about their biographical histories, as well as their connections to folk music. For example, I did not know Kodály and Bartok partnered in their music ethnography endeavors. This brought context to the methods I had used prior to the program and gave my understanding of them greater definition. Understanding the importance both composers placed on folk music caused me to think about folk music’s versatility and usefulness in the classroom. I used to learn heavily on contemporary music resources, such as Music K-8, but now I incorporate much more folk music in my classroom repertoire. While I still use contemporary resources, I use much more folk music now than I did before. I know the vocal range, playfulness, and simplicity of folk songs will be appropriate and useful. I also use them for dances, rhythmic exercises, singing, and instrument play. The simplicity of their rhythms, melodies, and harmonies is naturally bent toward classroom solo and ensemble activities. I especially appreciate John Feierabend’s collections of American folk songs in First Steps and Conversational Solfege, and I continue to look for more repertoire by conversing with colleagues and collecting new sources. I have found that one folk song can have numerous possibilities for many types of musical activities, which has made lesson planning simple and more streamlined. Using folk music with the Orff and Kodály approaches not only gives me a greater library of repertoire to work with, but it also supports my goals toward a quality music education. As I incorporate more folk music into my lessons, my students get to learn songs in an enjoyable, diverse, and interactive manner.
Orff and Kodály Techniques
I had numerous opportunities to practice Orff and Kodály approaches through student teaching, MUS 322, Elementary Music Methods, and work-related experiences. The ability to practice these approaches and see them demonstrated by experienced professionals sharpened existing skills and enlarged my body of knowledge in these areas. I found more effective, efficient ways to provide these experiences by practicing them often. I also saw and experienced countless examples that provided me with a larger repertoire to use in classrooms. Some of this new repertoire is created by me as well, as the Orff approach simplifies the creation and teaching of simple ensemble music. Utilizing folk music within the Orff and Kodaly frameworks is my preferred approach in teaching, and I eagerly anticipate using these strengthened and expanded skills in my next elementary music classroom.
Evie Haskell Processfolio 