This thesis demonstrates how an interdisciplinary, organic music program built on the theory of Alfred North Whitehead and the practice of Carl Orff fosters freedom, imagination, creative expression, discipline, and wisdom so that children may learn about themselves, others, and the living world through an interdisciplinary approach to music. The thesis also addresses the failure of music educators to fully recognize and embrace the compatibility of Orff and Whiteheads work and the subsequent deficiency of school systems to provide aesthetic experiences through elementary music programs that develop wisdom.<p> The thesis underlines the importance of education that enables balanced growth in children; provides an historical perspective on the factors that contributed to the development of Orffs Schulwerk; emphasizes the importance of arts education in Whiteheads educational philosophy; and provides a constructive proposal for a music education program utilizing the philosophy and practice of Whitehead and Orff. The potentiality for music education and a process-based approach combining the work of Orff and Whitehead designed to nurture growth and wisdom and help children live life to the fullest, are underscored.

This thesis demonstrates how an interdisciplinary, organic music program built on the theory of Alfred North Whitehead and the practice of Carl Orff fosters freedom, imagination, creative expression, discipline, and wisdom so that children may learn about themselves, others, and the living world through an interdisciplinary approach to music. The thesis also addresses the failure of music educators to fully recognize and embrace the compatibility of Orff and Whiteheads work and the subsequent deficiency of school systems to provide aesthetic experiences through elementary music programs that develop wisdom.<p> The thesis underlines the importance of education that enables balanced growth in children; provides an historical perspective on the factors that contributed to the development of Orffs Schulwerk; emphasizes the importance of arts education in Whiteheads educational philosophy; and provides a constructive proposal for a music education program utilizing the philosophy and practice of Whitehead and Orff. The potentiality for music education and a process-based approach combining the work of Orff and Whitehead designed to nurture growth and wisdom and help children live life to the fullest, are underscored.

Inhalt der Arbeit ist die Beschreibung eines von Studenten der TU Chemnitz initiierten Musiktheaterprojektes mit Kindern einer Chemnitzer Grundschule und einer Behindertenschule (verschiedene Behinderungsformen). Dabei wird eingangs ein geschichtlicher Abriß beschrieben, der sich auf die schulische Integration von abnormalen Kindern richtet. Den Hauptteil bildet das zu beschreibende Projekt mit der sehr wichtigen Schwerpunktsetzung, ob ein musikpädagogischer oder musiktherapeutischer Ansatz verfolgt werden soll. Es werden weiterhin Beispiele von gelungenen Integrationsprojekten an verschiedenen Schulen in Deutschland aufgeführt.

Σκοπός αυτής της έρευνας είναι να διερευνήσει τις απόψεις των νηπιαγωγών σχετικά με τη θέση της μουσικής στο Νηπιαγωγείο σήμερα, καθώς και τις σχέσεις των νηπίων μεταξύ τους και με τη νηπιαγωγό τους μέσω της μουσικής. Έτσι, αρχικά διερευνάται η συμβολή της αισθητικής αγωγής στην ανάπτυξη της προσωπικότητας του παιδιού της προσχολικής ηλικίας, έπειτα παρουσιάζονται διάφορα εκπαιδευτικά μοντέλα για τη διδασκαλία της μουσικής στο Νηπιαγωγείο και αναλύεται το Μουσικοκινητικό Σύστημα του Orff, ση συνέχεια γίνεται λόγος για την θέση της μουσικής στα αναλυτικά προγράμματα σπουδών για το Νηπιαγωγείο στην Ελλάδα και στην Αγγλία, μέσα από μια συγκριτική ανάλυση αυτών και η μελέτη κλείνει με μία έρευνα που πραγματοποιήθηκε το Μάιο του 2008 σε 19 τμήματα Νηπιαγωγείων της Πάτρας και είχε ως αντικείμενο τη διερεύνηση της σχέσης των παιδιών μεταξύ τους και με τη νηπιαγωγό τους μέσα από δραστηριότητες μουσικής και τα συμπεράσματα που διεξάγονται από αυτή. / The aim of this research is to study the kindergarten teachers’ viewpoint of music’s condition in the kindergarten today and also their aspect on children’s relationship with the other children and their teacher through music activities. So, initially the study focuses on the confluence of esthetic education on infants’ development. There is also a presentation of educational styles on music’s tuition in the kindergarten and an analysis of Orff’s music system, while part of this study is the comperative presentation of greek and english curriculum for music in the kindergarten. Finally, the study focuses on a research that took place in May 2008 at 19 classes of Patra’ s kindergartens looking into the children’s relationship with their colleagues and their teacher through music activities and of course the conclusions that have been conducted from the research.

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Syftet med denna studie är att undersöka de musikpedagogiska idéer som utvecklades av Jaques-Dalcroze, Kodály, Orff och Suzuki för att se hur de väletablerade metoderna kan användas i pianoundervisning med förskolebarn i syfte att främja deras motoriska, språkliga och socioemotionella utveckling. Som metod i min studie har jag valt att analysera de fyra musikpedagogernas idéer och principer kartlagda i deras ursprungliga texter och övningsböcker. Den teorin som jag har använt mig av i min analys är från det traditionella utvecklingspsykologiska perspektivet. Jag väljer att begränsa mig till tre områden i förskolebarns utveckling: motorik, socioemotionell kompetens och språk. Analysen har visat att alla fyra metoder innehåller didaktiska medel som kan användas med förskolebarn. Min slutsats är dock att ingen av de fyra pedagogiska metoderna kan gynna barns utveckling i alla tre utvecklingsområden i lika hög utsträckning. Det är i stället en kombination av metoderna som på bästa vis kan hjälpa lärare att organisera pianoundervisning med förskolebarn.

This study examines what and how classroom teachers and a music specialist learn on their own, with each other, and with their students when they engage in collaborative, multimodal teaching and learning experiences. Through excerpts from interviews, planning sessions, focus groups, and the retelling of classroom experiences, this action research-inspired narrative inquiry documents and explores the experiences of four elementary school teachers as they worked together over a 12-week period. Through a restructured music schedule—designed to facilitate sustainable integrated, multiple literacy experiences—the teachers collaborated with the children and with one another to co-construct authentic learning experiences which drew upon and expanded students' interests and inquiries, and which positioned music in new ways as another classroom language. The unfolding stories examined in this inquiry resonate with the ideas and the spirit of the atelier in Reggio Emilia schools, and they point to the importance of meaningful, collaborative relationships in teacher learning and reflection. The study has implications for the ways in which musical experiences may be structured, made more complex, and revalued in elementary schools.

This study examines what and how classroom teachers and a music specialist learn on their own, with each other, and with their students when they engage in collaborative, multimodal teaching and learning experiences. Through excerpts from interviews, planning sessions, focus groups, and the retelling of classroom experiences, this action research-inspired narrative inquiry documents and explores the experiences of four elementary school teachers as they worked together over a 12-week period. Through a restructured music schedule—designed to facilitate sustainable integrated, multiple literacy experiences—the teachers collaborated with the children and with one another to co-construct authentic learning experiences which drew upon and expanded students' interests and inquiries, and which positioned music in new ways as another classroom language. The unfolding stories examined in this inquiry resonate with the ideas and the spirit of the atelier in Reggio Emilia schools, and they point to the importance of meaningful, collaborative relationships in teacher learning and reflection. The study has implications for the ways in which musical experiences may be structured, made more complex, and revalued in elementary schools.

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.

In this diploma thesis we focus on instrumental activities, particularly accompaniment for selected folk songs to be played by 1st - 5th grade pupils. The thesis contains information about instrumental activities, Orff´s musical instruments, instrumental activities in music textbooks, how to choose a song for accompaniment and how to create and practise accompaniment. The core of the work are the scores of accompaniment and their verification at school. The main objective of the thesis is to impart knowledge and experiences with instrumental acitivities and the scores which teachers can use in their teaching process.