Methods and aids in mwic educutionbrings to bloom in every branch of the senses flowers that differ one
from the other but form an harmonious whole because the same sap
gives life to all.
In conclusion, I should like to borrow a few words from Charles
Morgan: ‘Art is, as it were, the breath of the people’s imagination
without which they perish; and the people must learn, in each new
phase of history, how to adjust themselves to art, how to make of it
an ally with Religion and Science in every man’s quest of truth.... We
in our turn, are called upon to re-gather our strength from Athens and
the Renaissance that, after the terrible retrogression which our lives
have witnessed, we may prepare a way for what our children or our
grandchildren may dare to call the “Re-enlightenment”.’[Translated from the Frencb]THE ORFF-BERGESE METHOD
by
Egon KRAUS, Chairman, Association of German School Music Educators,
and
Wilhelm TWITTENHOFF, Chairman, Association Volks- und Jugendmusikschulen,
GermanyTwo main fields are to be considered in the process of music education
and development : active participation and active listening. Active
participation means a continuous use of musical elements through
singing, playing and improvisation, active listening means the gradual
acquisition of appreciation and understanding of art music.
The basic element of our musical activity is folk music (children’s
songs and nursery rhymes): it is the natural approach to music for
the child. This presupposes, of course, a well-planned and justified
selection of folk music-not everything sung or played by the people
has value from the educational point of view. The teacher must there-
fore be helped by the specialist in learning what songs and dances are
most suitable for the child’s development.