In 2014 Gertrud Orff (1914-2000), one of the
pioneers in developmental music therapy, would
have celebrated her 100th birthday. It is now fifty
years since she began to use music in her work with children not only in music education but also
therapeutically. She had completed a musical
training and had been working together with her
former husband Carl Orff on the Music for Children of the Orff-Schulwerk. This practical knowledge inspired her applications of music in paediatric clinics and schools for special education in Munich, Switzerland and California since 1963.
Gertrud Orff published the results of her experiences and encounters in her ten years of pioneering music therapeutic work from 1963 to 1973 in her first book Orff Music Therapy: Active Furthering of the Development of the Child (1974/1980). In this book she describes the essential concepts of Orff Music Therapy which she had drawn from her practice in music therapy especially in the Centre for Social Paediatrics at the Kinderzentrum in Munich (www.kinderzentrum-muenchen.de). It was the then director of the Kinderzentrum, Prof. Dr. h.c. mult. Theodor Hellbrügge, who formed the name ‘Orff Music Therapy’ as the therapeutic application of the Orff-Schulwerk. In his preface Carl Orff attested to his former wife’s profound knowledge in the principles and possibilities of the Orff-Schulwerk and considered her therapeutic work as a realisation of the implicit potential of the Orff-Schulwerk that she had developed with great skill in a creative way. The twenty-one photographs taken by Isolde Ohlbaum in the book capture living moments from her music therapy sessions and show the moments of her early applications of music as therapy.
The starting point of her approach is the elemental musical expression of the child and in the first chapter Gertrud Orff defines the position of Orff Music Therapy as a multisensory therapy addressing all senses in using the musical means of rhythmical speech, rhythm, movement, melody in speaking and singing and in the use of instruments. In therapy the child can express herself or himself freely in spontaneous and creative cooperation with the therapist. Gertrud Orff formed her music therapy principles in relation to the ancient Greek concept of music musiké – “a total presentation in word, sound and movement" (Orff 1974/1980: 9). This includes not only more than our contemporary concept of music but draws special attention to the phenomenon of play and acoustic climate. She clearly relates here to the “sibling” of Orff music therapy, the Music for Children in the Orff-Schulwerk with its prominent concept of elemental music that is never music alone but connected with movement, dance and speech.
The following chapters describe the relation of Orff Music Therapy to the Orff-Schulwerk, the specific elements of the therapy, the practical work and therapeutic application with children with different forms of disabilities. She demonstrates in detail the therapeutic treatment with examples of different indications and explains the relation between therapist and parents. Several brief case
In 2014 Gertrud Orff (1914-2000), one of the
pioneers in developmental music therapy, would
have celebrated her 100th birthday. It is now fifty
years since she began to use music in her work with children not only in music education but also
therapeutically. She had completed a musical
training and had been working together with her
former husband Carl Orff on the Music for Children of the Orff-Schulwerk. This practical knowledge inspired her applications of music in paediatric clinics and schools for special education in Munich, Switzerland and California since 1963.
Gertrud Orff published the results of her experiences and encounters in her ten years of pioneering music therapeutic work from 1963 to 1973 in her first book Orff Music Therapy: Active Furthering of the Development of the Child (1974/1980). In this book she describes the essential concepts of Orff Music Therapy which she had drawn from her practice in music therapy especially in the Centre for Social Paediatrics at the Kinderzentrum in Munich (www.kinderzentrum-muenchen.de). It was the then director of the Kinderzentrum, Prof. Dr. h.c. mult. Theodor Hellbrügge, who formed the name ‘Orff Music Therapy’ as the therapeutic application of the Orff-Schulwerk. In his preface Carl Orff attested to his former wife’s profound knowledge in the principles and possibilities of the Orff-Schulwerk and considered her therapeutic work as a realisation of the implicit potential of the Orff-Schulwerk that she had developed with great skill in a creative way. The twenty-one photographs taken by Isolde Ohlbaum in the book capture living moments from her music therapy sessions and show the moments of her early applications of music as therapy.
The starting point of her approach is the elemental musical expression of the child and in the first chapter Gertrud Orff defines the position of Orff Music Therapy as a multisensory therapy addressing all senses in using the musical means of rhythmical speech, rhythm, movement, melody in speaking and singing and in the use of instruments. In therapy the child can express herself or himself freely in spontaneous and creative cooperation with the therapist. Gertrud Orff formed her music therapy principles in relation to the ancient Greek concept of music musiké – “a total presentation in word, sound and movement" (Orff 1974/1980: 9). This includes not only more than our contemporary concept of music but draws special attention to the phenomenon of play and acoustic climate. She clearly relates here to the “sibling” of Orff music therapy, the Music for Children in the Orff-Schulwerk with its prominent concept of elemental music that is never music alone but connected with movement, dance and speech.
The following chapters describe the relation of Orff Music Therapy to the Orff-Schulwerk, the specific elements of the therapy, the practical work and therapeutic application with children with different forms of disabilities. She demonstrates in detail the therapeutic treatment with examples of different indications and explains the relation between therapist and parents. Several brief case
การแปล กรุณารอสักครู่..