Sigma Alpha Iota

Fall 2018 20 PAN PIPES In June 2015 I set out to begin my journey in Orff-Schulwerk Certification. At that time I thought I had a good grasp on the Orff-Schulwerk method of teaching. My thoughts had come from the fact that I had learned about the Orff concept in my undergraduate career, had taken a class during graduate school, and had attended many professional development sessions. ese were things that I never experienced as an elementary student myself so I was fascinated by the approach. During my collegiate studies, I vowed that I would find any and all opportunities to further my knowledge so that I could provide the best opportunities for my future students. In 2015 I took the plunge to receive my Level 1 Orff Certification, and since have spent the summers of 2015-2018 wrapped up in the Orff World. Before my Level 1 training I had created my own lessons that were based on the Orff way of teaching. Using the barred "Orff " instruments, I taught proper technique, how to care for the instruments, and even gave students the needed guidelines in which to create their own melodies. I used many method books, followed many Orff based blogs, and had hundreds of Pinterest Pins, but none of them even touched the world that I discovered when receiving my Orff levels. I was simply teaching the elements of music through a few common practices. Upon beginning my Level 1 training in 2015, I quickly realized that I knew only the tip of the iceberg when it came to the Orff World; everything I thought I knew about teaching music to children was completely flipped upside down, sideways, backwards, and everything else imaginable. My head was flooded with all this new and amazing information. e training courses involve three main learning experiences: movement, recorder, and the all- encompassing Level 3 course. Each component taught me many new skills, new ways to introduce concepts, how to include movement in classes, and how to tackle concepts with older students without making them feel like it was too "babylike." Each year I learned how to make recorder fun, how to introduce it, how the students could get creative, and how to challenge my more advanced students without rushing the others. During the courses, the participants plan out and teach a variety of lessons to the other attendees. Since participants are teaching, I had to play the role of student, but I was extremely surprised at my experiences even as each summer passed. I consider myself to be fairly outgoing, but I found myself being shy and reserved, even aer four summers of coursework. Each summer took me a little more out of my comfort zone, with the summer of 2018, Level 3, being the most intense. So many new and innovative concepts were being thrown at us. I oen felt like I couldn't keep up or I wasn't getting the concept like the other participants were. One day, I found myself reflecting on that feeling during a general session. I had been getting frustrated because I was having difficulty; it forced me to realize how many of my students might oen have this exact same feeling while in class. e thoughts of "this is hard", "why aren't I getting this?" and "how is everyone else picking this up so fast?" zoomed through my mind. I pictured so many of my students faces and them truly feeling a little heartbroken. e Orff-Schulwerk method gives students the chance to learn by experience but not all of our experiences need to be the same. Who is to say that the intricate melodic pattern in mixolydian mode is any more important than the simple ostinato or bourdon pattern? What I realized is that yes, there are complicated things happening within the music but I continued to do what I was able to do at that moment, which was still a significant and important contribution to the music in itself. My students can do the exact same thing and it made me rethink my ways of differentiation within my classroom. No matter what level a student is at, the fact that they are creating, exploring, and taking ownership of the music is what is important. at is hands down, the most beneficial thing I walked away with aer Level 3. e Orff-Schulwerk approach is literally for everyone because no matter what role you play, you're an equal partner and so very important to the creation of music. I am extremely grateful to SAI Philanthropies, Inc. for the Professional Development Grant as it has given me the opportunity to experience these life changing courses. Rebecca Sepulveda is an initiate of Eta Sigma Chapter and the current Sigma D Province Officer. She has served as a Fraternity Director, Chapter Website Monitor (2014-2015), and Sigma A Province Officer (2015-2018). Rebecca is a K-5 General Music Teacher in Lexington, KY, serving approximately 500 students. A Journey with Orff MUSIC EDUCATION

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