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Carl Orff "Carmina Burana". To the composer's birthday

Carl Orff(German Carl Orff; Carl Heinrich Maria Orff, German Carl Heinrich Maria Orff; July 10, 1895, Munich - March 29, 1982, ibid) - German composer and teacher, best known for the cantata Carmina Burana (1937). As a major composer of the 20th century, he also made a great contribution to the development of music education.

Biography

Karl Orff's father, an officer, played the piano and several string instruments. My father's parents were Jews who converted to Catholicism. During the reign of the National Socialists, Orff was able to hide his origins. His mother was also a good pianist. It was she who discovered her son's talent for music and took up his training.

Orff learned to play the piano at the age of 5. At the age of nine he was already writing long and short pieces of music for his own puppet theater.

In 1912-1914 Orff studied at the Munich Academy of Music. In 1914 he continued his studies with Herman Zilcher. In 1916 he worked as a bandmaster at the Munich Chamber Theatre. In 1917, during the First World War, Orff went to voluntary service in the army in the First Bavarian Field Artillery Regiment. In 1918 he was invited to the post of bandmaster in National Theater Mannheim under the direction of Wilhelm Furtwängler, and then he began to work at the Palace Theater of the Grand Duchy of Darmstadt.

In 1920, Orff married Alice Solscher (German: Alice Solscher), a year later he was born only child, Godel's daughter, in 1925 he divorced Alice.

In 1923, he met Dorothea Günther (German Dorothee Gnther) and in 1924, together with her, created the Günther-Schule school of gymnastics, music and dance (German Gnther-Schule) in Munich. From 1925 until the end of his life, Orff was the head of the department at this school, where he worked with young musicians. Having constant contact with children, he developed his theory of music education.

Although Orff's connection (or lack of it) with the Nazi Party has not been established, his "Carmina Burana" (lat. Carmina Burana) was quite popular in Nazi Germany after its premiere in Frankfurt in 1937, performed many times (although Nazi critics called it degenerate - German entartet - alluding to a connection with the infamous Degenerate Art exhibition that arose at the same time, or "primitive praise of drunkenness, gluttony, gambling and lust." Goebbels at the same time called her "a model German music". Orff was the only one of several German composers during the Nazi regime to respond to an official call to write new music for Shakespeare's Dream in midsummer night”, after the music of Felix Mendelssohn was banned - the rest refused to take part in this. For writing, he used scores that were already ready long before.

Orff was a close friend of the Gauleiter of Vienna and one of the leaders of the Hitler Youth, Baldur von Schirach.

Orff was also a close friend of Kurt Huber, one of the founders of the resistance movement. White Rose"(German Die Weie Rose), sentenced to death by the People's Court of Justice and executed by the Nazis in 1943. After World War II, Orff claimed to have been involved in the movement and himself involved in the resistance, but there is no evidence other than his own words, so some sources dispute this claim. The motive seems to be clear: Orff's declaration was accepted by the American denazification authorities, allowing him to continue composing. It is known that Orff did not dare to use his authority and friendship with von Schirach to protect Huber, citing fears for own life. At the same time, he did not make any public statements in support of the regime.

Orff is buried in the baroque church of Andechs Abbey, southwest of Munich.

Creation

Orff is best known as the author of the stage cantata "Carmina Burana", which means "Songs of Boyern". (1937). This is the first part of a trilogy that also includes "Catulli Carmina" (German: Catulli Carmina) and "Trionfo di Afrodite" (German: Trionfo di Afrodite). Carmina Burana reflects his interest in medieval German poetry. All parts of the trilogy are collectively called "Trionfi". The composer described this work as a celebration of the victory of the human spirit through the balance of the carnal and the universal. The music was created on verses written by goliards from a 13th-century manuscript found in 1803 in the Bavarian Benedictine monastery of Beuern (Beuern, lat. Buranum); this collection is known as "Carmina Burana" (q.v.) and is named after the monastery. Despite elements of modernity in some compositional techniques, in this trilogy, Orff expressed the spirit of the medieval period with an infectious rhythm and simple keys. Medieval poems written in German in his early form and in Latin, often not quite decent, but not descending to vulgarity.

Carl Orff(German Carl Orff; Carl Heinrich Maria Orff, German Karl Heinrich Maria Orff; July 10, 1895, Munich - March 29, 1982, Munich) - German expressionist composer and teacher, best known for the cantata Carmina Burana (1937). As a major composer of the 20th century, he also made a great contribution to the development of music education.

Biography

Carl Orff's father, an officer, played the piano and several stringed instruments. His mother was also a good pianist. It was she who discovered her son's talent for music and took up his training.

Orff learned to play the piano at the age of 5. At the age of nine he was already writing long and short pieces of music for his own puppet theater.

In 1912-1914 Orff studied at the Munich Academy of Music. In 1914 he continued his studies with Herman Zilcher. In 1916 he worked as a bandmaster at the Munich Chamber Theatre. In 1917, during the First World War, Orff went to voluntary service in the army in the First Bavarian Field Artillery Regiment. In 1918 he was invited to the post of bandmaster at the National Theater Mannheim under the direction of Wilhelm Furtwängler, and then he began to work at the Palace Theater of the Grand Duchy of Darmstadt.

In 1920, Orff married Alice Zollscher (German). Alice Solscher), a year later his only child was born, the daughter of Godel, in 1925 he divorced Alice.

In 1923, he met Dorothea Günther and in 1924, together with her, created the school of gymnastics, music and dance "Günterschule" (in German. Gunther Schule) in Munich. From 1925 until the end of his life, Orff was the head of the department at this school, where he worked with young musicians. Having constant contact with children, he developed his theory of music education.

Although Orff's connection (or lack thereof) with the Nazi Party has not been established, his "Carmina Burana" (lat. Carmina Burana) was very popular in Nazi Germany after its premiere in Frankfurt in 1937, performed many times (although Nazi critics called it degenerate - it. entartet- alluding to the connection with the infamous exhibition "Degenerate Art" that arose at the same time). Orff was the only one of several German composers during the Nazi regime who responded to an official call to write new music for Shakespeare's A Midsummer Night's Dream, after the music of Felix Mendelssohn was banned - the rest refused to take part in it. But then again, Orff worked on the music for this play in 1917 and 1927, long before the Nazi government came.

Orff was a close friend of Kurt Huber, one of the founders of the White Rose resistance movement. Die Weisse Rose), sentenced to death by the People's Court of Justice and executed by the Nazis in 1943. After World War II, Orff claimed to have been involved in the movement and was himself involved in the resistance, but there is no evidence beyond his own words, some sources dispute this claim. The motive seems to be clear: Orff's declaration was accepted by the American denazification authorities, allowing him to continue composing.

Orff is buried in the baroque church of Andechs Abbey, southwest of Munich.

Creation

Orff is best known as the author of the stage cantata "Carmina Burana", which means "Songs of Boyern". (1937). This is the first part of a trilogy which also includes "Catulli Carmina" and "Trionfo di Afrodite". Carmina Burana reflects his interest in medieval German poetry. All parts of the trilogy are collectively called "Trionfi". The composer described this work as a celebration of the victory of the human spirit through the balance of the carnal and the universal. The music is based on verses written by goliards from a 13th-century manuscript found in 1803 in the Bavarian Benedictine monastery of Beuern ( Beuern, lat. Buranum); this collection is known as "Carmina Burana" (q.v.), named after the monastery. Despite elements of modernity in some compositional techniques, in this trilogy Orff captured the spirit of the medieval period with an infectious rhythm and simple tonalities. Medieval poems written in German in its early form and Latin are often not quite decent, but do not descend to vulgarity.

The success of "Carmina Burana" overshadowed all of Orff's previous work, with the exception of "Catulli Carmina" and "Entrata", which were rewritten in an acceptable quality, from Orff's point of view. From a historical point of view, Carmina Burana is probably the most famous example music composed and first performed in Nazi Germany. In fact, "Carmina Burana" was so popular that Orff received an order in Frankfurt to compose music for the play "A Midsummer Night's Dream", which was supposed to replace the music of Felix Mendelssohn, banned in Germany. After the war, Orff stated that he was not satisfied with the composition and revised it into the final version, which was first presented in 1964.

Orff resisted any of his works simply being called an opera in the traditional sense. His works "Der Mond" ("Moon") (1939) and "Die Kluge" ("Clever Girl") (1943), for example, he attributed to the "Märchenoper" ("fairy tale operas"). The peculiarity of both works is that they repeat the same rhythmless sounds, do not use any musical techniques the period when they were created, that is, they cannot be judged as relating to any particular time. Melodies, rhythms and, along with them, the text of these works appear only in the union of words and music.

Of his opera Antigone (1949), Orff said that it was not an opera, but "Vertonung", "set to music" ancient tragedy. The text of the opera is Friedrich Hölderlin's excellent translation into German of the tragedy of the same name by Sophocles. The orchestration is heavily percussion based. She was even christened minimalistic, which most adequately describes the melodic line. It is believed that Orff captured the story of Antigone in his opera, as it bears a marked resemblance to the life story of Sophie Scholl, the heroine of The White Rose.

Premiere latest work Orff, "De Temporum Fine Comoedia" ("Comedy for the End of Time"), was held at the Salzburg music festival August 20, 1973 and was performed Symphony Orchestra Radio Cologne and a choir conducted by Herbert von Karajan. In this in the highest degree personal work, Orff presented a mystical play in which he summed up his views on the end of time, sung in Greek, German and Latin.

"Musica Poetica", which Orff composed with Gunild Ketman, was used as the theme song for Terrence Malick's film The Wasted Lands (1973). Hans Zimmer later reworked this music for the film " Real love» (1993).

Pedagogical work

In educational circles, he is probably best known for his work Schulwerk (1930-35). Its simple musical instrumentation allowed even untrained children to perform parts of the piece with relative ease.

Orff's ideas, together with Gunild Keetman, were embodied in an innovative approach to music education children, known as "Orff-Schulwerk". The term "Schulwerk" is a German word meaning " school work". Music is the basis and brings together movement, singing, playing and improvisation.

Karl Orff (German Carl Orff, real name Karl Heinrich Maria; July 10, 1895, Munich - March 29, 1982, ibid.) - German composer, best known for the cantata "Carmina Burana" (1937). As a major composer of the 20th century, he also made a great contribution to the field of music education.

Orff was born in Munich and came from a Bavarian family that was very involved in the affairs of the German army. His father's regimental band apparently often played the works of the young Orff.

Orff learned to play the piano at the age of 5. At the age of nine he was already writing long and short pieces of music for his own puppet theater.

In 1923, he met Dorothea Günther and in 1924, together with her, created a school of gymnastics, music and dance (Günterschule) in Munich. From 1925 until the end of his life, Orff was the head of the department at this school, where he worked with young musicians. Having constant contact with children, he developed his theory of music education.

Although Orff's connection (or lack thereof) with the Nazi Party has not been established, his "Carmina Burana" was quite popular in Nazi Germany after its premiere in Frankfurt in 1937, performed many times (although Nazi critics called it "degenerate ” – “entartet” – alluding to the connection with the infamous exhibition “Degenerate Art” that arose at the same time). It should be noted that Orff was the only one of several German composers during the Nazi regime who responded to the official call to write new music for Shakespeare's A Midsummer Night's Dream, after the music of Felix Mendelssohn was banned - the rest refused to take part in it. But then again, Orff worked on the music for this play in 1917 and 1927, long before the Nazi government came.

Orff was a close friend of Kurt Huber, one of the founders of the resistance movement "Die Wei?e Rose" ("White Rose"), sentenced to death by the People's Court and executed by the Nazis in 1943. After World War II, Orff stated that he was involved in the movement and was himself involved in the resistance, but there is no evidence other than his own words, and various sources dispute this claim. The motive seems clear: Orff's declaration was accepted by the American denazification authorities, allowing him to continue composing.

Orff is buried in the baroque church of Andechs Abbey, a brewing Benedictine monastery in southern Munich.

Carl Orff was born on July 10, 1895 in Munich. German composer, musicologist, teacher.

As a child (from the age of five) he learned to play the piano, organ, and cello. Further musical education received at the Munich Academy of Music; student of A. Beer-Walbrunn, G. Zilcher (graduated in 1914). Subsequently (1921-1922) he studied with the famous polyphonist G. Kaminsky.

From 1915 to 1919 conductor in Munich, Mannheim, Darmstadt. In 1924 he founded in Munich together with D. Günther music school(Guntershule), on whose experience he built a system of musical education of children with the help of movement (gymnastics, dance) and music, developed a new type of musical instruments (“Orff instruments”). The results of this work are presented in special musical teaching aids (1930-1935).

At the same time, he directed the concerts of the Bach Society. Since 1950, he has been a professor of composition at the Munich Conservatory. Member
Bavarian Academy of Arts, Academy of Santa Cecilia, Honorary Doctor of Philosophy of the University of Tübingen.

Orff is a pronounced humanist artist. The main area of creativity is musical and stage works of various genres, including original forms of combining recitation, singing, pantomime, dance and music both within stage action, and in the concert (cantata-oratorio) plan. Some of them are connected with the Bavarian folk musical and poetic art.

"On the background musical life 20th century the art of K. Orff is striking in its originality. Each new composition of the composer became the subject of controversy and discussion. Critics, as a rule, accused him of a frank break with the tradition of German music that comes from R. Wagner to the school of A. Schoenberg. However, the sincere and universal recognition of Orff's music turned out to be the best argument in the dialogue between composer and critic.

... Orff made an invaluable contribution to the field of children's musical education. Already in his youth, during the period of his foundation in Munich, the school of gymnastics, music and dance, Orff was obsessed with the idea of \u200b\u200bcreating pedagogical system. At the heart of it creative method- improvisation, free music-making of children in combination with elements of plasticity, choreography, theater.

* “Whoever the child becomes in the future,” Orff said, “the task of teachers is to educate him in creativity, creative thinking ...

The instilled desire and ability to create will affect any area of the child's future activities. Established by Orff in 1962, the Institute for Musical Education in Salzburg has become the largest international training center music educators for preschool institutions and general education schools". (http://belcanto.ru/orff.html)

“Unlike Stravinsky, Hindemith, Bartok, whose work is changeable and unpredictable, like a city landscape, Orff is smooth and clean, like an uninhabited plateau. When compared to his great contemporaries, he loses to any of them. However, it certainly wins one - it is the simplest.
... In the creations of Orff, the word sounds in ancient and new languages, the Italian comedy of masks, folk farce, mystery and farce, vagantes and minnesingers, Sophocles and Aeschylus come to life.
... Orff was the first to lead the language of music to a decisive and conscious simplification - and his simplicity cannot be denied genuine sophistication.
Fundamental homophony, ostinato formulas - with complete indifference to polyphony and thematic development, a taste for ancient forms of singing, Gregorian or Byzantine, folk-dance rhythmic energy, a combination of colorfulness and asceticism in an orchestra, from which melodious strings were gradually removed, but the number of pianos and percussions of multinational origin increased.
Orff embodied the world of legends and myths, multicolored, multilingual, sometimes terrible. Modernity in art filled him with disgust.
... (In the 1960s) ... it turned out that the models found by Orff are suitable for almost any national culture who decided to look for inspiration near her origins. "Kursk Songs" by Georgy Sviridov, ... * or "Creole Mass" by Ariel Ramirez are just random examples of this ...")

Orff was born in Munich and came from a Bavarian officer family, which took a great part in the affairs of the German army and in which music constantly accompanied life at home.

Orff learned to play the piano at the age of 5. At the age of nine he was already writing long and short pieces of music for his own puppet theater.

In 1912–1914 Orff studied at the Munich Academy of Music. In 1914 he continued his studies with Herman Zilcher. In 1916 he worked as a bandmaster at the Munich Chamber Theatre. In 1917, during World War I, he volunteered for the army in the First Bavarian Field Artillery Regiment. In 1918 he was invited to the post of bandmaster at the National Theater in Mannheim under the direction of Wilhelm Furtwängler, and then he began to work at the Palace Theater of the Grand Duchy of Darmstadt. During this period, there early works composer, but they are already imbued with the spirit of creative experimentation, the desire to combine several various arts under the auspices of music. Orff does not acquire his handwriting immediately. Like many young composers, he goes through years of searching and hobbies: the then fashionable literary symbolism, the works of C. Monteverdi, G. Schutz, J.S. Bach, the amazing world of lute music of the 16th century.

The composer shows an inexhaustible curiosity to literally all aspects of his contemporary artistic life. His interests include drama theatres, diverse musical life, ancient Bavarian folklore and national instruments of the peoples of Asia and Africa.

In 1920, Orff married Alice Zollscher, a year later his only child, Godel's daughter, was born, and in 1925 he divorced Alice.

The premiere of the stage cantata Carmina Burana (1937), which later became the first part of the Triumphs triptych, brought Orff real success and recognition. This composition for the choir, soloists, dancers and orchestra was based on the verses to the song from the collection of everyday German lyrics of the 13th century. Starting with this cantata, Orff persistently develops a new synthetic type of musical stage action, combining elements of oratorio, opera and ballet, drama theater and medieval mystery, street carnival performances and Italian comedy of masks. The following parts of the triptych "Catulli Carmine" (1942) and "The Triumph of Aphrodite" (1950-51) are solved in this way.

The stage cantata genre became a stage on the composer's way to creating innovative theatrical forms and musical language the operas Luna (based on the fairy tales of the Brothers Grimm, 1937–38) and Clever Girl (1941–42, a satire on the dictatorial regime of the Third Reich). During the Second World War, Orff, like most German artists, withdrew from participation in public and cultural life countries. A kind of reaction to tragic events war was the opera Bernauerin (1943–45). The peaks of the composer's musical and dramatic work also include: Antigone (1947–49), Oedipus Rex (1957–59), Prometheus (1963–65), which form a kind of ancient trilogy, and The Mystery of the End of Time ( 1972). The last essay Orff appeared "Plays" for a reader, a speaking choir and percussion on the verses of B. Brecht (1975).

The special figurative world of Orff's music, his appeal to ancient, fairy-tale plots, archaic - all this was not only a manifestation of the artistic and aesthetic trends of the time. The movement "back to the ancestors" testifies, first of all, to the composer's highly humanistic ideals. Orff considered his goal to be the creation of a universal theater understandable to everyone in all countries. “Therefore,” the composer emphasized, “and I chose eternal themes, understandable in all parts of the world ... I want to penetrate deeper, rediscover those eternal truths of art that are now forgotten.”

The composer's musical and stage compositions form in their unity the "Orff Theater" - the most original phenomenon in the musical culture of the 20th century. “This is a total theater,” wrote E. Doflein. “It expresses in a special way the unity of history European theater- from the Greeks, from Terence, from the drama of the Baroque up to the opera of modern times. Orff approached the solution of each work in a completely original way, not embarrassing himself with either genre or stylistic traditions. The amazing creative freedom of Orff is due primarily to the scale of his talent and the highest level composer technique. In the music of his compositions, the composer achieves the ultimate expressiveness, it would seem, with the most simple means. And only a close study of his scores reveals how unusual, complex, refined and at the same time perfect the technology of this simplicity.

Orff's outstanding achievements in the field of musical art have won worldwide recognition. He was elected a member of the Bavarian Academy of Arts (1950), the Academy of Santa Cecilia in Rome (1957) and other authoritative musical organizations in the world. IN last years life (1975-81), the composer was busy preparing an eight-volume edition of materials from his own archive.

Orff is buried in the baroque church of Andechs Abbey, a brewing Benedictine monastery in southern Munich.

Pedagogical aspect

“Fertilizers enrich the earth and allow grains to germinate, and in the same way music awakens in a child strengths and abilities that would otherwise never have blossomed” - Carl Orff

Orff made an invaluable contribution to the field of children's musical education. Already in his younger years, when he founded the school of gymnastics, music and dance in Munich, Orff was obsessed with the idea of creating a pedagogical system. Her creative method is based on improvisation, free music-making of children combined with elements of plasticity, choreography, and theatre. “Whoever the child becomes in the future,” Orff said, “the task of teachers is to educate him in creativity, creative thinking ... The instilled desire and ability to create will affect any area of the child’s future activities.” Created by Orff in 1962, the Institute of Musical Education in Salzburg has become the largest international center for the training of music educators for preschool institutions and secondary schools.

Carl Orff created his own system of musical education, taking into account the experience of his predecessor teachers: this is N. Pestolozzi - Hans Negel, a Swiss practicing teacher, who proved that the basis musical development the education of the rhythmic principle must be laid down; Johann Gottfried Herder, who argued that music, word and gesture in their relationship open new way For artistic creativity; Emile Jean Dalkoz, who created a system of musical and rhythmic education; Bela Bartok, who took a fresh look at folklore, at the folk modes and rhythms of all this in the children's musical education.

K. Orff's idea is that the basis of learning is the "principle of active music making" and "learning in action", according to the teacher-musician, children need their own music, specially designed for playing music at the initial stage, the initial musical education should be complete positive emotions and joyful feeling of the game. Comprehensive training music in the classroom provides children with ample opportunities for the creative development of abilities. K. Orff believes that the most important thing is the atmosphere of the lesson: the enthusiasm of children, their inner comfort, which allows us to talk about the desire of children to prove themselves in the music lesson as an active participant.

Progressive ideas of K.Orff:

general musical and creative development;

· children's musical creativity as a method of active musical development and formation creative personality;

connection of children's musical creativity with the improvisational traditions of folk music making

The main principles of the methodology:

1. Independent composition by children of music and accompaniment to the movement, at least in the most modest form.

2. Teaching children to play simple musical instruments, which does not require much work and gives a feeling of joy and success. To this end, Orff came up with some simple tools and used existing ones. The main tool of the child is himself: hands and feet. The child freely tries to clap, stomp, click, spank, etc.

3. The collective nature of children's activities younger age. The minimum group consists of two participants, each of which is provided with equal participation in the reproduction or improvisational design of the play. The maximum number of group members is practically unlimited, i.е. for such music-making, overcrowded school classes are not a hindrance.

4. Giving children a certain freedom in the classroom: the opportunity to clap, stomp, move.

5. Paying attention from the very first days to conducting, so that each student can manage the performance.

6. Work with the word, rhythmization of texts, the speech basis of which is names, counting rhymes, simple children's songs. In addition to musical goals, a subconscious sense of harmony and harmony of native speech and language is brought up. This is the basis for the perception of poetry and, more broadly, of literature in general.

7. Comprehending by the student by improvisation the meaning of intonations when choosing the most accurate one for a given context. A modal construction emerges from intonation and then a transition to a five-step scale.

8. Playing music within a five-step scale for at least one school year, and possibly longer. The organic existence of the student in the five-step scale ensures a soft entry into the seven-step scale

The essence of the Orff system:

The development of free, unfettered perception and attitude towards musical art. Having gone through his own creativity, having learned the laws of elementary music, we can assume that the listener will be prepared to communicate with musical culture in general, where he will enter as an integral part of it.

To some extent, this is a game, but it is also work, so the instilled desire to work, the nurtured need for own creativity will then be transferred to broader areas of activity. Therefore, "Schulwerk" is a system of holistic musical and aesthetic education.

K. Orff's pedagogical tests led to the creation of "Schulwerk" - a manual for the musical education of children. "Schulwerk" are model pieces created by the talent of a major master on the basis of folk material and designed to stimulate the musical creativity of children, gifted and less capable, to bring to life children's music-making, primarily collective.

IN in a certain sense this makes “Schulwerk” related to folk music-making, whose participants often continue to create collectively on the basis of what has already been created and bring something of their own into the established one. The main purpose of Schulwerk is the primary introduction of all children to music, regardless of their talents.

Trials of creating "Schulwerk" began in the mid-1920s, during the heyday of German musical and pedagogical thought. In an atmosphere of reform and demand, the first version of Schulwerk was created in 1931, but soon, as K. Orff said, “the political wave washed away the ideas developed in Schulwerk as undesirable. Almost two decades later, the second version of "Schulwerk" appeared. And if the meaning of the first concept can be characterized by the words: “From movement - music, from music - dance”, then in “Schulwerk” of the 50s, Karl Orff, also based on rhythm, relies not only on the basis of movement and playing musical instruments, but primarily for speech, musical recitation and singing. Word - an element of speech and poetry, a word from which singing is born; his metric structure and now pays special attention to its sound. And, of course, not only a single word, but rhymes, sayings, proverbs, children's teasers, counting rhymes, etc.

The recorded pieces of "Schulwerk" cannot be considered as works of art intended for concert performance. These are models for making music and learning the style of elementary improvisation. They were recorded by Orff to give impetus to the teacher's imagination for "changing sound clothes" and dressing the recorded pieces in new outfits, for creative, improvisational work with the model. The sheet music for the scores in the Schulwerk serves as a teacher's guide, not as sheet music for children to play. The recording of the Schulwerk models shows only the “way of doing”, which the teacher is invited to study from the recording and then interpret together with the children. Elementary music is not meant to be reproduced, but to creative expression children.

Orff was against the early restriction of a child's musical ear to classical music and major-minor harmony. He considered this unjustified and sought in "Schulwerk" to create conditions for the perception of children in the future of multinational music, both past and present. This was Orff's main concern: to bring up a hearing and taste "open to the world", not to close the child in the circle of European musical classics 18th–19th centuries.

Carl Orff was convinced that children need their own special music, specially designed for music-making at the initial stage. It must be accessible to experience in childhood and fit the mind of the child. This is not pure music, but music. inextricably linked with speech and movement: singing and dancing at the same time, shouting out a teaser and ringing something.

Alternating speech and singing is as natural for children as just playing. All peoples of the world have such music. Children's elementary music of any nation is genetically inseparable from speech and movement. Orff called it elementary music and made it the basis of his Schulwerk.

Orff in "Schulwerk" refers, as it were, to those times when music existed in unity with word and movement. This is an attempt to return to the harmonic synthesis of speech and movement as the most important foundations of music, to its fundamental origins. But Orff was interested, of course, not in the historical restoration of the long-forgotten past, but in new approaches to musical education that would take into account the interests, capabilities and needs of children. He proposes to look at musical education more than just the traditional introduction of children to the performance and listening to music of the professional tradition. Children should not only listen to and play music composed by others, but first of all create and perform their own children's elemental music. That is why Orff's anthology is called Schulwerk. Music for children

Carl Orff creates a special set of instruments for the musical education of children, the so-called "Orff set". In "Schelwerk" a large number of rhythmic-speech exercises for new instruments that were not encountered in practice in the 1920s immediately catches the eye. These are xylophones, bells and metallophones that have already become familiar to us, forming the main melodic instrument, recorders, timpani and other instruments. All these instruments are called percussion instruments (according to the way they play). They are divided into melodic (sound-high): xylophones, metallophones, and noise of various types.

The variety of noise color instruments used in Orff lessons is hard to even list: triangles, bells and bells, bracelets with bells, finger cymbals, tambourines and tambourines, wooden boxes, hand drums and bongos, timpani, hand cymbals and many other varieties, available in abundance in every nation.

The bewitching, enchanting beauty of the sound of Orfrian instruments is attractive to children, which enables the teacher from the first lesson to draw their attention to the diversity of the world of sounds: bright and dull, transparent and velvety, crispy. After all, acquaintance with various sounds should be the first step of a child into the world of music.

Children's interest in Orff instruments is inexhaustible. They want to play them all the time. The disinhibiting and stimulating orchestra of these instruments in musical pedagogy is incomparable. The technical ease of playing, the ability of instruments to immediately respond to the touch with wonderful sounds dispose and encourage children to play with them and further - practical improvisations. Children are attracted not only by the sound and appearance of the instruments, but also by the fact that they themselves can extract such beautiful sounds from them. With the help of these instruments, creative music-making can be realized with groups of all degrees of giftedness, and the relationship between elementary music and movement has been achieved. A set of Orff instruments allows you to play in an ensemble with any composition of children, regardless of their talents, because. everyone in it can get a task according to his abilities. Orff's instrumentation allows everyone to play music. This is his main pedagogical achievement.

Particular, very important attention to the concept of Orff is given to playing music with the accompaniment of "sounding gestures". Sound gestures are games with the sounds of your body: clapping, slapping your hips, breasts, stamping your feet, snapping your fingers. The idea to use in elementary music-making those instruments that are given to man by nature itself was borrowed by Orff from non-European peoples and is distinguished by its universality, which is important for mass pedagogy. Singing and dancing with the accompaniment of sounding gestures allows you to organize elementary music-making in any conditions, in the absence of other instruments. The four main timbres are the four natural instruments: stomps, slaps, claps, clicks.

The extremely developed and ingeniously used by Orff system of timbre-rhythmic perception based on sounding gestures allows you to create not only accompaniment, but also entire compositions according to all the strict laws of music. Sounding gestures are not only carriers of certain timbres - their use brings movement to the development of rhythm by children. This is an important methodological point, because. rhythm is realized and mastered only in movement. The development of a sense of rhythm and timbre hearing, the development of coordination, reactions using sounding gestures are very effective.

Practical part

In the lessons, they use the techniques and methods of working with children proposed by K. Orff and his followers. Of course, this direction helps in the practical implementation of the general concept of musical education by D.B. Kabalevsky, and since the main direction in K. Orff's technology is game models of classes, they are most primary school. Mastering the language of music, learning from lesson to lesson the means of its expression and applying them in their performing practice, children are involved in the creation of music with their minds and feelings. Skills, knowledge and abilities are acquired in the process of versatile activities, the types of which include the following:

Singing and moving to music

Speech recitation and rhythmic exercises

mastering the theory of music in performing practice and modeling means of expression

theatricalization as a combination of intonational, rhythmic, motor in

musical education

Listening to music with the gradual development of a value attitude

Playing elementary children's musical instruments

Kids still in the kindergarten group literally from the first day of classes master the musical instruments of Carl Orff. They have the same names as the usual ones: xylophones, metallophones, etc., but differ noticeably from them. Carl Orff adapted his instruments especially for children. For example, on his xylophone, the box on which the keys are located is more voluminous, it serves as a resonator, and thanks to this, the instrument sounds deeper and longer. This gives it an amazing feature: the sound of the xylophone does not drown out the voice of the performer. When playing, the child hears himself. Another highlight of Orff's xylophones is the detachable keys. You can only leave those that are in this moment child needs to learn. You can also play Orff instruments with a two-year-old kid - there are small xylophones and metallophones especially for this age.

Children gradually learn musical theory, from the first day playing in a kind of orchestra. Not only Orff's instruments are used, but also a whole scattering noise instruments- rattles, maracas, bells, bells, homemade rattles. This allows each child, regardless of the level of his abilities, to find his place in the ensemble. If he can't handle the melody to be played, he is offered another instrument. After a while, all children, regardless of ability, play recorders or xylophones. And on individual lessons choose to learn piano, guitar or flute.

To develop in every child ear for music and the abilities that absolutely everyone has to one degree or another, it is necessary to give the child the opportunity to be a doer. Classical methods of teaching music in kindergartens are often boring. The teacher plays the piano, and the children sit and listen without moving. If at the very first lesson you give the kids instruments in their hands and ask them to hit the beat, the effect will be much higher. This is exactly what teachers who work according to the Orff method do. They are sure that the more different instruments, even if homemade, to invite children, the better. Ask, for example, a two-year-old kid to pick up a plastic bottle filled with cereal and show how a mouse runs. Or, using two wooden sticks, depict how a goat jumps. Even just shake the maracas to the music, getting in time - there will be no limit to delight! It would seem that the kid is playing around: rustling, knocking and nothing more. But in fact, he develops a sense of rhythm, a sense of meter, a sense of dynamics, in a word, his natural musicality.

Sound tale

As you know, everyone has a hearing. But if it is not developed, this ability fades over the years. Any mother can work at home with a baby. You have probably noticed how one-year-old babies love to beat a plate or table with a spoon. Turn this love into an exciting game. To do this, you just need to make it clear to the baby that there is something behind every sound. Playing an instrument is a conditional language in which one must learn to understand. Come up with an audio fairy tale with translation. Make a sound first, then explain what it means. And then a hit on the xylophone key will turn into a falling star, and the sound of sticks on the drum will turn into the clatter of hooves of little kids who run to their mother. Try talking to your baby in the language of instruments. You don’t have to say a single word, just “say” something to the child with a tambourine or xylophone, and let him “answer” with the help of his instrument. And then ask them to tell you what the “conversation” was about. Accept any version of it - the baby will learn to listen. Let this be just an initial idea of the possibilities of music. Later, fantasy will tell him what the great composers wanted to tell us with their music.

Description creative works

On the piano or any other pitch musical instrument play high, low and medium pitch sounds. We set the task for the children: to place the dots correctly on a blank sheet of paper. If the sound is high, then at the top, and if it is low, then at the bottom of the sheet, etc. Then we invite the children to circle the set points with a colored line. Everyone succeeds different pattern. We get points of contact between music and painting.

Where did the bun roll

bird choir

A game similar to the previous one.

Learning to listen to the classics

Everyone knows what to listen to classical music must be in absolute silence. To begin with, the selected piece of music must be given to the child to “lose”. Let him play along to the beat of the melody on any instrument. Ask him how he feels listening to her. Ask him to dance his fantasy to this piece. Now that the child has “felt” it with his body, found it in himself with the help of fantasy and emotions, we can talk about how people listen to music in concert halls. The kid, at your request, will sit quietly, and you will offer him to play a guessing game. Ask him to name famous tune among unfamiliar passages. See how happy he will be when he hears "his". Now he is ready to listen to music. This will be a real pleasure for him, because he has a lot of positive emotions associated with this play.

Exercises for working in the classroom (Grades 1-3)

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