Ultimately, the unity of vision discernable in the philosophies and teachings of Dalcroze, Kodály and Orff may stimulate contemporary music educators to unify their search for newer and ever more meaningful ways to ignite the spark of musical curiosity in the young, to assist in the development of musicians, and to generally help people discover and appreciate the joy of music.

Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Sept. 24, 2007. Includes bibliographical references (p. 107-108).

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Thesis work is focused on possibilities of the practical use of the elements of Orff Schulwerk in the Czech general education and is divided into theoretical and practical part. The theoretical part is given to the person Carl Orff, Schulwerku in general, the Czech Schulwerku, music education and Czech Orff of the company. Readers are briefly presented biographical data personality Carl Orff, his teaching and the composer's activity. Furthermore, it is acquainted with the history of the Schulwerku, its principles, basic elements and metodology. Can be in the thesis work a glimpse of the mission of the music education depending on the Orff Schulwerk. At the end of the theoretical part is a mention of the seminars of the Czech Orff of the company. In the practical part the reader is acquainted with the methodology, conduct, results and a summary of the research the use of Orff´s set of instrumentars in primary schools in Czech Budejovice and the surrounding area. Here are the insights and individual suggestions for the use of musical instruments in music education. The last section is devoted to examples of educational games using Orff´s instrumentars.

There exists between lyric poetry and music a bond that is at once tangible and grounded in practice, and yet that is indeterminate, a matter of perception as much as theory. From Graeco-Roman antiquity to the modern day, lyrical forms have brought together music and text in equal partnership: in archaic Greece, music and lyric poetry were inextricably (now irrecoverably) coupled; when lyric poetry flowered in the eighteenth century, composers harnessed text to music in order to create the new and fully integrated genre of Lieder; and in our contemporary age, the connection between word and music is perhaps most keenly felt in pop music and song 'lyrics'. In 2016, the conferral of the Nobel Prize for Literature on Bob Dylan brought to wider public attention the nature of lyric's poetical-musical bond: can Dylan be considered a poet if the meaning, syntax and expression of his words are dependent upon music? Is music supplementary to the words or are the two so harnessed that the music is in fact a facet of the poetic expression? The connection between music and poetry is perfectly clear in such integrated lyric forms as these, but a more indeterminate connection can also be felt in 'purely' musical or poetic works - or at least in the way that we perceive them - as our postRomantic, adjectival use of the word 'lyrical' shows. Describing music as lyrical often suggests that it carries an extra-musical significance, a deeply felt emotion, something akin to verbal expression, while a lyrical poem brings with it an emotive aurality and a certain musicality. Text and music of lyrical quality may, therefore, invoke the other for the purpose of expression and emotion so long as our understanding of lyric forms remains conditioned by the appreciation of an implied music-poetry relationship This thesis works within the overlap of music and poetry in order to explore the particular lyric voice of Catullus in the context of his twentieth-century musical reception. Whilst some of Catullus's poems may have been performed musically, what we know of poetry circulation, publication and recitation in first-century BCE Rome suggests that the corpus was essentially textual. Nevertheless, Catullus's poetry was set to music centuries later, not in reconstruction of an ancient model, but in new expression, suggesting not only that composers of the twentieth century found themes in Catullus's poetry that resonated in their own contemporary world but that they found a particular musicality, something in the poetry that lent itself to musical form. I argue that it is in these works of reception that we can most clearly identify the essence of Catullan lyricism. Moreover, by considering the process of reception, this thesis is able to take a broader view of lyric, identifying traits and characteristics that are common to both music and poetry, thus transcending the boundaries of individual art forms in order to consider the genre in larger, interdisciplinary terms.

The diploma thesis examines Orff Schulwerk as a system of thoughts applicable to music education and its use at General František Fajtl DFC Primary School in Prague 9. It briefly introduces Carl Orff as a pedagogue in the first part. It further describes the formation of Orff Schulwerk in Germany, its basic thoughts, its adaptation in Czechoslovakia and the birth of the Czech Orff's School. This thesis focuses in detail on a school, where music education is taught according to principles of Orff Schulwerk - General František Fajtl DFC Primary School in Letňany. Several chapters are also devoted to the founder of this concept Lenka Pospíšilová and her other projects. The last part of the thesis deals with the teaching of music education in classes with musical specialisation in the first and second grade of this primary school. Based on the research, it compares the teaching process of the two first-year classes with and without musical specialisation in the school year 2016-2017.

Literacy education defined as the reading and writing of print text is undergoing a paradigmatic shift towards a pedagogy of multiliteracies (Cole & Pullen, 2010). At the same time, demands for rapid, efficient, and accurate reading skills escalate (Katzir et al., 2006) in a global society with increasingly instant and complex literacy requirements. Musical rhythm plays a role in multiliteracy and print literacy learning. Rhythm is essential for music making and reading, and may facilitate print literacy for all children, including those who struggle with traditional print-based teaching and learning. The purpose of this research was to investigate the potential for the semiotic resource of rhythm to engage early years children in print and non-print literacy learning. A twelve week mixed methods quasi-experimental study was conducted to examine the effects of a multimodal Orff-based learning design on elements of reading and rhythm for grades one to three children in four schools. Students (N = 169) from nine classrooms were non-randomly assigned to one of two groups. The researcher instructed both groups two to three times a week totaling twenty-five sessions in each homeroom classroom. The experimental groups participated in Orff-based learning experiences that focused on elements of rhythm and prosodic oral reading fluency. The control group listened to and sang song-storybooks. Beat performance and oral reading rate assessments were administered as pre- and post-tests to each group. Struggling readers in the experimental group significantly improved on measures of oral reading rate compared to struggling readers in the control group using matched pairs t-procedures and analyses of variance. Associations between beat performance and oral reading rate were explored using bivariate and multivariate regression and correlation analysis. A strong positive correlation was found between measures of beat competency and measures of oral reading rate. Qualitative methods using grounded theory, semiotic data analysis, multimodal analysis, action research, and design research methods placed within a bricolage framework (Kincheloe & Berry, 2004) and examined through the lens of complexity thinking (Davis & Sumara, 2006) added multiperspectival meaning-making of data. Findings pointed to the value of multimodal music and rhythm experiences for engaged, deep, meaningful print and non-print learning for diverse individual and classroom collective learners in both control and experimental classrooms. Beat competency was important to both print and music literacy learning in experimental classrooms. Beat experiences were compelling, equitable, and appeared to organize music, oral language, and print literacy into meaningful and accessible patterns and structures. Similar findings may be occasioned through an ontology of multimodal richness, a complex epistemology, embodied ways of knowing and communicating, and systemic shared beliefs and values.

Literacy education defined as the reading and writing of print text is undergoing a paradigmatic shift towards a pedagogy of multiliteracies (Cole & Pullen, 2010). At the same time, demands for rapid, efficient, and accurate reading skills escalate (Katzir et al., 2006) in a global society with increasingly instant and complex literacy requirements. Musical rhythm plays a role in multiliteracy and print literacy learning. Rhythm is essential for music making and reading, and may facilitate print literacy for all children, including those who struggle with traditional print-based teaching and learning. The purpose of this research was to investigate the potential for the semiotic resource of rhythm to engage early years children in print and non-print literacy learning. A twelve week mixed methods quasi-experimental study was conducted to examine the effects of a multimodal Orff-based learning design on elements of reading and rhythm for grades one to three children in four schools. Students (N = 169) from nine classrooms were non-randomly assigned to one of two groups. The researcher instructed both groups two to three times a week totaling twenty-five sessions in each homeroom classroom. The experimental groups participated in Orff-based learning experiences that focused on elements of rhythm and prosodic oral reading fluency. The control group listened to and sang song-storybooks. Beat performance and oral reading rate assessments were administered as pre- and post-tests to each group. Struggling readers in the experimental group significantly improved on measures of oral reading rate compared to struggling readers in the control group using matched pairs t-procedures and analyses of variance. Associations between beat performance and oral reading rate were explored using bivariate and multivariate regression and correlation analysis. A strong positive correlation was found between measures of beat competency and measures of oral reading rate. Qualitative methods using grounded theory, semiotic data analysis, multimodal analysis, action research, and design research methods placed within a bricolage framework (Kincheloe & Berry, 2004) and examined through the lens of complexity thinking (Davis & Sumara, 2006) added multiperspectival meaning-making of data. Findings pointed to the value of multimodal music and rhythm experiences for engaged, deep, meaningful print and non-print learning for diverse individual and classroom collective learners in both control and experimental classrooms. Beat competency was important to both print and music literacy learning in experimental classrooms. Beat experiences were compelling, equitable, and appeared to organize music, oral language, and print literacy into meaningful and accessible patterns and structures. Similar findings may be occasioned through an ontology of multimodal richness, a complex epistemology, embodied ways of knowing and communicating, and systemic shared beliefs and values.

Diploma thesis Orff-Schulwerk Approach to Folk Songs for Elementary School Education consists of two parts: theory and practice. The first theoretical describes the basic Orff-Schulwerk thesis for education at the elementary schools in the lessons of Music or in the preparatory units of children choirs. Author introduces Carl Orff biography, circumstances of Orff-Schulwerk creation and its characteristics which is compared to the psychological theories, mainly with the flow phenomenon. The thesis covers the implementation of the Orff-Schulwerk approach to the Czech Framework Education Programme. Author compares studies describing the results of Orff-Schulwerk method in comparison to other methods. The research has not confirmed the thesis, that Orff-Schulwerk has better results in the music education field. The abroad studies confirmed, that Orff-Shulwerk approach is suitable for working with children with special educational needs. On the basis of the sources and literature, the author assumes that Orff-Schulwerk can lead to more intense interest in music and culture itself. Furthermore, the author enriches Orff's approach by ideas and approaches of two known pedagogues and composers: Zontán Kodály and Émile Jaques-Dalcroze. The diploma thesis covers their curriculum and those pedagogical...

The 1994 publication of a new version of Carl Orff's Carmina Burana, arranged for winds, percussion and choruses by Juan Vicente Mas Quiles, created new possibilities for the performance of Orff's monumental work. This dissertation serves as a guide to the study and performance of the Mas Quiles arrangement of Carmina Burana. Chapter One presents a brief discussion of Carl Orff and his Carmina Burana, followed in Chapter two by a short discussion of Mas Quiles' and the other significant transcriptions and arrangements of Carmina Burana, Chapter three contains a review of the literature pertinent to the study Carmina Burana. In Chapter Four a detailed examination and comparison of the original Orff score with the Mas Quiles arrangement provides a framework with which the conductor may study and compare the two scores in preparation for a performance of the Mas Quiles arrangement. The scoring of the Mas Quiles arrangement is masterful in that the arrangement so closely maintains the textural, musical and aesthetic integrity of the work. The Mas Quiles version includes all of the movements, and all of the original elements: choruses, soloists and orchestral parts are preserved intact. The only substantive change is the judicious use of winds in place of the orchestral string parts. By comparison and analysis of Mas Quiles scoring techniques with the Orff original, the author concludes that the Mas Quiles arrangement is a viable and unique alternative to the Orff original and highly worthy of study and performance by conductors of advanced level ensembles.