AN APPROACH TO MUSIC EDUCATION

BASED ON THE INDICATIONS OF RUDOLF STEINER:

IMPLICATIONS FOR GRADES 1-3

By

L i n d a Ann L e d b e t t e r Eterman

A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF

THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF ARTS

in

THE FACULTY OF GRADUATE STUDIES

Department, o f V i s u a l and P e r f o r m i n g Arts Education

We accept t h i s t h e s i s as c o n f o r m i n g

to the required standard

THE UNIVERSITY OF BRITISH COLUMBIA

A p r i l 1990

Copyright L i n d a Ann L e d b e t t e r Eterman

 In presenting this thesis in partial fulfilment of the requirements for an advanced
degree at the University of British Columbia, I agree that the Library shall make it
freely available for reference and study. I further agree that permission for extensive
copying of this thesis for scholarly purposes may be granted by the head of my
department or by his or her representatives. It is understood that copying or
publication of this thesis for financial gain shall not be allowed without my written
permission.

Department of f.^+J a*.*/

The University of British Columbia

Vancouver, Canada

DE-6 (2/88)
 ABSTRACT

T h i s study p r o v i d e s an i n t r o d u c t i o n t o Rudolf S t e i n e r ' s i d e a s on music and

music e d u c a t i o n and d e s c r i b e s how t h e s e ideas have been adapted and applied

i n Grades One through Three i n North American Waldorf S c h o o l s . Included i n

t h e study a r e : S t e i n e r ' s b a s i c p h i l o s o p h i c a l concepts r e l a t i n g t o music and

music e d u c a t i o n ; S t e i n e r ' s r a t i o n a l e f o r a e s t h e t i c and music e d u c a t i o n ; a

d e s c r i p t i o n o f t h e Waldorf approach t o music t e a c h i n g ; r e s u l t s o f a

q u e s t i o n n a i r e sent t o twenty-three Waldorf S c h o o l s i n North America; a

comparison o f S t e i n e r ' s key i d e a s on music e d u c a t i o n w i t h t h o s e o f O r f f ,

Kodaly, and D a l c r o z e .

ii
 TABLE OF CONTENTS

ABSTRACT i i

LIST OF GRAPHS AND TABLES vi

LIST OF ILLUSTRATIONS viii

ACKNOWLEDGEMENTS ix

PREFACE X

Chapter

I. INTRODUCTION 1
A. Background 1
B. Purpose o f Study 3
C. Methodology 14
D. S i g n i f i c a n c e o f Study 15
E. Limitations 16
F. Glossary 17

I I . BASIC PHILOSOPHICAL CONCEPTS

RELATING TO MUSIC EDUCATION 19
A. C h i l d as S p i r i t u a l Being 19
B. C h i l d as F o u r - F o l d Being 20
C. T h i n k i n g , F e e l i n g , and W i l l i n g 21
D. C h i l d Development 21
E. Recapitulation 33

I I I . RATIONALE FOR AESTHETIC EDUCATION 35

A. Unity of Science, A r t , R e l i g i o n 19
B. Importance o f P l a s t i c and Performing A r t s 42

IV. RATIONALE FOR MUSIC EDUCATION 47

A. S p i r i t u a l Nature o f Music 47
B. M u s i c a l Nature o f C h i l d 49

V. MUSIC TEACHING IN WALDORF SCHOOLS 55

A. Curriculum 55
B. Elements o f Music 68
1. Melody 68
2. Rhythm 81
3. Harmony 87

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 C. A c t i v i t i e s o f Music 88
1. Singing 88
2. Movement 92
3. P l a y i n g o f Instruments 95
a. Overview o f S t e i n e r ' s Ideas 95
b. G a r t n e r Instruments 99
i P h i l o s o p h y and Development 99
ii Lyres 105
c. C h o r o i Instruments 105
i P h i l o s o p h y and Development 105
ii Flutes 109
iii Lyres 114
iv Klangspiels 119
d. Other Instruments 119
e. S t r i n g Program 119
4. Improvisation 123
5. Reading Music N o t a t i o n 124
a. The Use o f Images and Metaphor
t o Teach M u s i c a l N o t a t i o n 124
b. Solfege 129
6. Importance o f " L i v e " Music 130
7. I n t e g r a t i o n o f Music w i t h Other
S u b j e c t Matter 131
D. R o l e o f Teacher 135
1. Natural Authority 136
2. Artist 139

VI. RESULTS OF QUESTIONNAIRE 143

VII. COMPARISON OF THE WALDORF SCHOOL APPROACH TO

MUSIC EDUCATION TO THE ORFF, KODALY, AND
DALCROZE APPROACHES 232
A. Primary Purpose o f Music E d u c a t i o n 232
B. Curriculum 234
C. M u s i c a l Development o f t h e C h i l d 236
D. The T e a c h i n g o f Melody 239
E. T e a c h i n g o f Rhythm 243
F. The Teaching o f Harmony 244
G. Singing 246
H. Movement 247
I. P l a y i n g o f Instruments 249
J. Improvisation 252
K. I n t e g r a t i o n o f Media 253
L. Importance o f " L i v e " Music 2 54
M. Role o f Teacher 256
N. Reading M u s i c a l N o t a t i o n 257
O. I n t e g r a t i o n o f S u b j e c t Matter 260
P. Conclusions 260

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VI11. CONCLUSIONS 264

BIBLIOGRAPHY 271

APPENDIXES 281
A. ORIGIN AND GROWTH OF THE WALDORF SCHOOLS 281
B. UNIQUE FEATURES OF THE WALDORF SCHOOLS 286
C. MUSIC CURRICULA FROM FIVE WALDORF SCHOOLS 288
D. SOME CHOROI IMPROVISATION EXERCISES 308
E. STORIES 314
F. LIST OF CHOROI AND GARTNER WORKSHOPS 333
G. SAMPLE QUESTIONNAIRE 334
H. COMPARISON CHART 340

v
 LIST OF GRAPHS AND TABLES

Graphs/Tables Page

1. Stages o f C h i l d Development 32

2. E d u c a t i o n a l Background o f Music Teachers 149

3. E d u c a t i o n a l Background o f C l a s s Teachers 149

4. Number o f Male and Female Teachers 150

5. Number o f C e r t i f i e d Teachers 151

6. Number o f Instruments Teachers P l a y 152

7. Instruments P l a y e d By Respondents 153

8. S e l f - E v a l u a t i o n : L e v e l o f M u s i c a l Accomplishment 154

9. Number o f Teachers Teaching Music t o S p e c i f i c Grades 155

10. Music T e a c h i n g E x p e r i e n c e o f Respondents 156

11. F a m i l i a r i t y w i t h S t e i n e r ' s Ideas on Music and Music E d u c a t i o n . 157

12. I n f l u e n c e o f S t e i n e r ' s Ideas on Teaching o f Music 158

13. Number o f Teachers Who I n d i c a t e d t h a t Music Was Taught

by S p e c i a l i s t and/or C l a s s Teacher 159

14. Number o f Teachers Who I n d i c a t e d t h a t Music Should be Taught

by Music Teacher and/or C l a s s Teacher 160

15. Time Devoted t o Music I n s t r u c t i o n 166

16. P e r c e i v e d Importance o f Music E d u c a t i o n t o Community 167

17. P e r c e i v e d Q u a l i t y o f Music Program 168

18. P e r c e i v e d Q u a l i t y o f Music E d u c a t i o n Compared w i t h

P e r c e i v e d Importance o f Music E d u c a t i o n t o Community.... 169
19. P e r c e i v e d Q u a l i t y o f I n s t r u c t i o n i n Music E d u c a t i o n
i n Waldorf Teacher T r a i n i n g I n s t i t u t e s 170

20. P e r c e i v e d S t r e n g t h s and Weaknesses o f Program 171

Graphs/Tables Page

21. F a m i l i a r i t y w i t h C h o r o i Impulse 173

22. F a m i l i a r i t y w i t h Werbeck Method 174

23. Instruments Used—Winds 176

24. Instruments U s e d — S t r i n g s 177

25. Instruments U s e d — P e r c u s s i o n 178

26. Reasons f o r not u s i n g C h o r o i o r G a r t n e r Instruments 179

27. Commencement o f S t r i n g Program 182

28. Number o f Teachers Who Would Use O r f f Instruments 183

29. Number o f Teachers Who Would Use Kodaly Hand S i g n a l s 186

30. Number o f Teachers Who Would Recommend Piano as an

Instrument o f Study i n Grades One Through Three 188

31. Number o f Teachers U s i n g "Mood o f t h e F i f t h " Music 191

32. Number o f Teachers Who B e l i e v e t h a t Beat Should Be

De-emphasized i n Grades One Through Three 196

33. Use o f Recorded Music i n Grades One Through Three 198

34. Use o f S t o r y t e l l i n g 199

35. Grades i n which Theory and M u s i c a l N o t a t i o n Are I n t r o d u c e d 201

36. Teachers Who E x p e r i e n c e D i f f i c u l t y / N o D i f f i c u l t y i n Finding

A p p r o p r i a t e Song M a t e r i a l 203

37. Sources o f Song M a t e r i a l 205

38. A n t i c i p a t i o n o f D i f f i c u l t y i n I n t e g r a t i n g Waldorf Approach

t o Music E d u c a t i o n i n t o t h e P u b l i c School System 216

vii
 LIST OF ILLUSTRATIONS

Figure Page

1. Descent o f Melody 63

2. C e n t r a l i t y o f Tone "A" 77

3. Gartner A l t o Lyre 102

4. G a r t n e r F l u g e l - K a n t e l e o r "Wing" K a n t e l e 103

5. G a r t n e r C h i l d r e n s ' Harp 104

6. Choroi Interval Flutes I l l

7. C h o r o i P e n t a t o n i c and D i a t o n i c F l u t e s 112

8. Choroi Kinderharp 116

9. C h o r o i Bordun L y r e 117

10. Choroi Solo Lyre 118

11. Choroi Klangspiel 121

12. Bamboo F l u t e 122

viii
 ACKNOWLEDGEMENTS

Without t h e h e l p , guidance, and support of many i n d i v i d u a l s , t h i s thesis

c o u l d not have been completed. I extend my thanks t o t h e t e a c h e r s and par-

e n t s o f t h e Vancouver Waldorf School f o r the unique o p p o r t u n i t y t o work a t

t h e s c h o o l from 1980-1988, f i r s t as a c l a s s t e a c h e r and l a t e r as a music

s p e c i a l i s t ; t h e s t u d e n t s of the s c h o o l who taught me so v e r y much; A l l e n

Clingman, c o o r d i n a t o r of the Music E d u c a t i o n Program at t h e U n i v e r s i t y of

B r i t i s h Columbia, who helped me d e s i g n the p r o j e c t and l e n t me needed en-

couragement; m u s i c i a n s and t e a c h e r s who gave of t h e i r time t o be

i n t e r v i e w e d ; Waldorf School t e a c h e r s throughout North America and Canada

who responded t o t h e q u e s t i o n n a i r e t o i n v e s t i g a t e music t e a c h i n g i n Waldorf

S c h o o l s , Grades One t o Three; the Rudolf S t e i n e r Centre f o r a l l o w i n g me

generous a c c e s s t o i t s l i b r a r y and m a t e r i a l s ; Steven Roboz and Charles

McWilliam who answered my numerous q u e s t i o n s and helped me to locate hard-

t o - f i n d books and l e c t u r e s ; Hugh E l l i s who read s e v e r a l d r a f t s of t h e

manuscript and made v a l u a b l e s u g g e s t i o n s ; Jean H i g g i n s who provided the

i l l u s t r a t i o n s ; Norbert V i s s e r , Geert Mulder, Andrea Pronto, C h r i s t o p h -

Andreas L i n d e n b e r g , J u l i a n Pook and Margaret Preston f o r t h e i r ideas and

i n s p i r a t i o n ; my husband, M a r i j n Eterman who not o n l y demonstrated infinite

p a t i e n c e and u n d e r s t a n d i n g , but a l s o a s s i s t e d me w i t h German t r a n s l a t i o n ,

word p r o c e s s i n g , and p r e s e n t a t i o n g r a p h i c s .

ix
 PREFACE

The i n t e n t o f t h i s t h e s i s i s t o p r e s e n t , not t o defend, an approach t o

music e d u c a t i o n based on S t e i n e r ' s world-view. The author was a t e a c h e r i n

t h e Vancouver Waldorf School f o r e i g h t y e a r s from 1980-88, both as a c l a s s

t e a c h e r and as a music specialist. Thus, t h e author has worked w i t h i n t h e

p h i l o s o p h y o f t h e s c h o o l and i s sympathetic w i t h many o f i t s o b j e c t i v e s .

However, views s t a t e d by S t e i n e r and Waldorf music e d u c a t o r s i n t h i s

document a r e not n e c e s s a r i l y t h e views o f t h e author. The author has, in

many cases quoted S t e i n e r d i r e c t l y , i n s t e a d o f p a r a p h r a s i n g him, i n o r d e r

t h a t t h e r e a d e r may form h i s / h e r own i n t e r p r e t a t i o n s .

The author b e l i e v e s t h a t because t h i s approach t o music i s practiced today,

i t s p h i l o s o p h y and a p p l i c a t i o n deserves t o be e x p l o r e d . I t i s hoped t h a t

one day, t h e approach w i l l be e v a l u a t e d f o r i t s e f f e c t i v e n e s s .

x
 CHAPTER I

INTRODUCTION

A. Background

In Europe, i n t h e e a r l y 1900s, t h r e e main approaches t o music e d u c a t i o n

began t o emerge. In 1914, E m i l e J a q u e s - D a l c r o z e (1865-1950), a Swiss

e d u c a t o r , p u b l i s h e d an essay o u t l i n i n g s i x t y - s i x e x e r c i s e s f o r movement,

s o l f e g e , and i m p r o v i s a t i o n . "Eurythmics," the name D a l c r o z e gave t o h i s

approach, was i n t r o d u c e d t o t h e U n i t e d S t a t e s i n 1915. In 1924, i n

Germany, C a r l O r f f (1865-1982) founded h i s "Guentherschule." The first

e d i t i o n o f O r f f ' s Schulwerk was p u b l i s h e d i n 1930. Although t h e Hungarian

Z o l t a n K o d a l y (1882-1967) d i d not d e v e l o p h i s methods of t e a c h i n g music

until 1950, he was renowned as a composer i n t h e e a r l y 1900s. He composed

h i s famous Psalme Hunqarias i n 1923, f o l l o w e d by Harv Janos i n 1926.

Another approach t o music e d u c a t i o n was developed w i t h i n t h e Waldorf S c h o o l

movement, i n a u g u r a t e d i n 1919 i n S t u t t g a r t , Germany. The Waldorf S c h o o l s

a r e based on t h e e d u c a t i o n a l i d e a s o f Rudolf S t e i n e r (1861-1925), an Aus-

t r i a n philosopher. (See Appendix A on t h e "Growth and O r i g i n o f t h e

Waldorf S c h o o l s . " )

Today, t h e O r f f , Kodaly, and D a l c r o z e approaches t o music e d u c a t i o n a r e

known t o music e d u c a t o r s and a r e w i d e l y used. However, the S t e i n e r

approach t o e d u c a t i o n and music e d u c a t i o n i s a t r a d i t i o n which i s not

1
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w i d e l y known today o u t s i d e o f the Waldorf S c h o o l movement, and i t i s o f t e n

n e g l e c t e d i n d i s c u s s i o n o f c u r r i c u l a r matters f o r elementary c h i l d r e n .

Yet, many s t u d e n t s today are i n t r o d u c e d t o music t h r o u g h t h e

S t e i n e r / W a l d o r f approach. At p r e s e n t , a c c o r d i n g t o a member o f t h e Execu-

t i v e of the Anthroposophical Society, the o r g a n i z a t i o n that oversees the

activities i n s p i r e d by S t e i n e r , the Waldorf S c h o o l s educate a p p r o x i m a t e l y

100,000 p u p i l s i n 459 Waldorf Schools i n twenty-seven c o u n t r i e s . 1

In North

America a l o n e , about t e n thousand s t u d e n t s a t t e n d s e v e n t y - f o u r Waldorf

Schools. The c h i l d r e n educated i n t h e s e Waldorf S c h o o l s a r e exposed t o

music i n a unique f a s h i o n . The author b e l i e v e s t h a t t h i s approach, which

has e v o l v e d over t h e seventy years s i n c e t h e f i r s t Waldorf S c h o o l opened,

d e s e r v e s e x p l o r a t i o n and recognition.

It i s hoped t h a t by documenting v a r i o u s a s p e c t s o f t h i s approach t o music

e d u c a t i o n , t h e S t e i n e r / W a l d o r f t r a d i t i o n w i l l become b e t t e r known i n t h e

f i e l d o f music e d u c a t i o n , and thus be a v a i l a b l e f o r d i s c u s s i o n and e v a l u a -

tion. T h i s study s h o u l d be o f i n t e r e s t t o any t e a c h e r of elementary music.

^Jorgen Smit, personal l e t t e r dated May 5, 1989.

^M. S . Eterman, unpublished survey for the Association of Waldorf Schools i n North America,
1987.
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B. Purpose o f t h e Study

S t e i n e r b e l i e v e d t h a t t h e c h i l d around age s i x o r seven ( a t t h e change o f

t e e t h ) e x p e r i e n c e s an important t r a n s i t i o n i n s o c i a l and i n t e l l e c t u a l

awareness. A t a p p r o x i m a t e l y age n i n e , around Grade Four, a c c o r d i n g t o

S t e i n e r , t h e c h i l d e x p e r i e n c e s another such developmental change. Although

music i s t a u g h t i n S t e i n e r S c h o o l s from K i n d e r g a r t e n through Grade Twelve,

t h e author has chosen t o l i m i t t h i s i n v e s t i g a t i o n t o t h a t p e r i o d between

t h e s e two presumed m i l e s t o n e s , t h e primary grades, Grades One t h r o u g h

Three.

The purposes o f t h i s study a r e :

1) t o i n v e s t i g a t e t h e b a s i c concepts upon which music e d u c a t i o n i n

t h e p r i m a r y grades i n t h e Waldorf School i s based, i . e . , Rudolf Steiner's

i d e a s r e g a r d i n g c h i l d development, e d u c a t i o n , music, and music e d u c a t i o n .

2) t o a n a l y z e how S t e i n e r ' s i d e a s have been a s s i m i l a t e d , interpreted,

and d e v e l o p e d by some music e d u c a t o r s w i t h i n t h e Waldorf S c h o o l movement i n

N o r t h America i n Grades 1-3.

3) t o compare t h i s approach t o music e d u c a t i o n w i t h t h e O r f f , Kodaly,

and D a l c r o z e approaches.

The founder o f t h e Waldorf S c h o o l s , Rudolf S t e i n e r , son o f a r a i l w a y

worker, was born i n 1861 i n A u s t r i a , and d i e d i n 1925. In h i s l i f e t i m e , he

was r e c o g n i z e d as a s e e r , s c u l p t o r , p a i n t e r , a r c h i t e c t , and an e x p e r t i n

t h e works o f Goethe. He gave a p p r o x i m a t e l y 6000 l e c t u r e s on s u b j e c t s as

d i v e r s e as a g r i c u l t u r e (bio-dynamic f a r m i n g ) , e d u c a t i o n , s p e c i a l e d u c a t i o n ,

the a r t s (music, drama, eurythmy, speech), r e l i g i o n , n u t r i t i o n , medicine,

 4

and economic and s o c i a l issues. In 1913, he founded a movement he termed

"anthroposophy," o r the "Wisdom o f Man."

The e d u c a t i o n a l and p h i l o s o p h i c a l concepts upon which music e d u c a t i o n i n

t h e Waldorf S c h o o l are based are v i r t u a l l y unknown o u t s i d e t h e movement,

e s p e c i a l l y i n North America. Very l i t t l e r e s e a r c h has been c a r r i e d out t o

e v a l u a t e t h e e f f e c t i v e n e s s of Waldorf Schools. The author was able to find

o n l y two s t u d i e s , both of which were a d m i n i s t e r e d i n Europe. In 1967,

O g l e t r e e compared the c r e a t i v e a b i l i t i e s of s t u d e n t s of Waldorf Schools to

s t u d e n t s i n p u b l i c s c h o o l s i n England, S c o t l a n d , and Germany. Ogletree

c o n c l u d e d t h a t s t u d e n t s from Waldorf Schools s c o r e d s i g n i f i c a n t l y h i g h e r on

c r e a t i v i t y t e s t s than t h e i r s t a t e s c h o o l peers, a f t e r t a k i n g i n t o
3

c o n s i d e r a t i o n socio-economic c l a s s and c u l t u r a l d i f f e r e n c e . In another

s t u d y f i n a n c e d by the Bonn government, German r e s e a r c h e r s surveyed 1460

former Waldorf School p u p i l s born i n 1946 and 1947. Twenty-three percent

o f t h e s t u d e n t s had passed the " A r b i t u r , " the u n i v e r s i t y e n t r a n c e exam,

t h r e e t i m e s t h e percentage of those of students of the p u b l i c s c h o o l .

E i g h t y p e r c e n t o f the students had completed professional training (51%

4
academic and 24% vocational).

Why have S t e i n e r ' s i d e a s been neglected? Sarah Whitmer F o s t e r , i n her

doctoral dissertation "The Waldorf S c h o o l s : An E x p l o r a t i o n o f an Enduring

A l t e r n a t i v e S c h o o l Movement," blamed "the s c a r c i t y o f a r t i c l e s i n American

e d u c a t i o n a l p u b l i c a t i o n s , the ' s p i r i t u a l ' aspect of S t e i n e r ' s i d e a s , and

^Earl J . Ogletree, "A Cross-Cultural Exploratory Study of the Creativeness of Steiner and State
School P u p i l s i n England, Scotland and Germany" (Ph.D. d i s s . , Wayne State U n i v e r s i t y , 1967), 7.

4
" B e s t e E i n s i c h t e n , " Per Spiegel 51 (December 14, 1981): 70-73.
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t h e l a c k o f o r g a n i z i n g concepts f o r u n d e r s t a n d i n g S t e i n e r ' s o r i g i n a l works

5

and r e l a t i n g them t o e d u c a t i o n " f o r t h e u n f a m i l i a r i t y o f S t e i n e r ' s ideas.

John Davy, former head o f Emerson C o l l e g e , t r a i n i n g c o l l e g e f o r Waldorf

S c h o o l t e a c h e r s , c i t e d t h e p a u c i t y of l i t e r a t u r e t r a n s l a t e d i n t o English

f o r t h e o b s c u r i t y o f t h e movement. Davy surmised t h a t Waldorf e d u c a t o r s

have been t o o busy w i t h t h e t a s k s of e s t a b l i s h i n g s c h o o l s , administration,

and t e a c h i n g , t o p u b l i c i z e t h e i r s c h o o l s . 6
E a r l Ogletree of Chicago State

U n i v e r s i t y b e l i e v e d t h a t the o b s c u r i t y of t h e Waldorf S c h o o l s was due t o

" S t e i n e r ' s unusual t h e o r y o f human development. Curriculum p r a c t i c e s i n

7

S t e i n e r S c h o o l s a r e based on t h a t t h e o r y . " Stewart E a s t o n , h i s t o r y pro-

f e s s o r , C i t y C o l l e g e New York argued t h a t because S t e i n e r l e c t u r e d on so

many s u b j e c t s , he i s not known f o r one p a r t i c u l a r d i s c i p l i n e , and i n t h i s

Q

age o f s p e c i a l i z a t i o n , h i s ideas have been l o s t . Another a u t h o r blamed

the i n s u l a r , s e l f - s u f f i c i e n t c h a r a c t e r of t h e movement i t s e l f for i t s

obscurity. J o s c e l y n Godwin, P r o f e s s o r of Music a t New York's C o l g a t e

U n i v e r s i t y , d e s c r i b e s anthroposophy, t h e name S t e i n e r gave t o h i s w o r l d -

view, as "an i n t e g r a l p h i l o s o p h y t h a t covers e v e r y department o f human

e x i s t e n c e , and tends t o t h r i v e i n more or l e s s s e l f - c o n t a i n e d com-

. . 9
munities."
^Sarah Whitmer Foster, "The Waldorf Schools: An Exploration of an Enduring A l t e r n a t i v e School
Movement" (Ph.D. d i s s . , The F l o r i d a State U n i v e r s i t y , 1981), 7.

^John Davy, "The Movement That Everyone Tries to Forget," The Times Educational Supplement.
(March 23, 1973): 18.

^Ogletree, Earl J . , "Rudolf S t e i n e r : Unknown Educator," Elementary School J o u r n a l . 74 (March

1974): 345.

^Stewart C. Easton, Man and World i n the Light of Anthroposophy (Spring V a l l e y , New York: The
Anthroposophic Press, 1975), 9.

' j o s c e l y n Godwin, The Harmonies of Heaven and Earth (Rochester, New York: Inner Traditions
I n t e r n a t i o n a l , L t d . , 1987),
 6

Another reason f o r the u n f a m i l i a r i t y of t h i s philosophy i s that S t e i n e r ' s

w r i t i n g s t y l e i s e x c e e d i n g l y d i f f i c u l t t o understand and i n t e r p r e t , even

f o r t h o s e who speak and read German. Through t r a n s l a t i o n i n t o another lan-

guage, much i s undoubtedly missed. S t e i n e r ' s world-view f o c u s s e d primarily

on s p i r i t u a l a s p e c t s . S t e i n e r wrote o f h i s f r u s t r a t i o n a t t h e d i f f i c u l t y

o f e x p l a i n i n g h i s e s o t e r i c e x p e r i e n c e s and thoughts to others:

Care must o f t e n be taken not t o o v e r l o o k t h e f a c t t h a t t o a

c e r t a i n extent, i n d e s c r i p t i o n s of supersensible experiences,
[ s p i r i t u a l e x p e r i e n c e s i n which one sees beyond t h e v i s i b l e ] ,
t h e d i s t a n c e s e p a r a t i n g t h e a c t u a l f a c t from t h e language used
t o d e s c r i b e i t i s g r e a t e r than i n d e s c r i p t i o n s o f p h y s i c a l ex-
perience. The r e a d e r must be a t p a i n s t o r e a l i z e t h a t many an
e x p r e s s i o n i s i n t e n d e d as an i l l u s t r a t i o n , merely i n d i c a t i n g i n
a d e l i c a t e way t h e r e a l i t y t o which i t r e f e r s . ^ 1

S t e i n e r c a u t i o n e d h i s r e a d e r s not t o accept h i s i d e a s on " b l i n d f a i t h , " but

t o a c c e p t o n l y what r i n g s t r u e out o f t h e r e a d e r ' s l i f e e x p e r i e n c e . In a

l e t t e r t o a F r a u l e i n M., he lamented t h a t h i s concepts were d e s t i n e d t o be

misinterpreted. S t e i n e r claimed, "I have been much misunderstood, and

s h a l l no doubt be much misunderstood i n t h e f u t u r e , t o o . That lies i n the

v e r y n a t u r e o f my path." 1 1

A f t e r S t e i n e r ' s death, t h e r e was perhaps a " c o n s p i r a c y o f s i l e n c e . " Some

believe that Steiner's p o l i t i c a l and s o c i a l i d e a s t h r e a t e n e d t o r o c k t h e

12
very foundations of society. In a d d i t i o n , t h e North American p u b l i c
1u
R u d o l f S t e i n e r , Knowledge of the Higher Worlds and i t s Attainment, t r a n s , authorized by
Rudolf Steiner Nachlassverwaltung (New York: The Anthroposophic Press, 1977), 220.

^ R u d o l f S t e i n e r , Story of My L i f e , ed. H. C o l l i s o n (London: Anthroposophical Press, 1928),

vi i .

^L. Eterman, unpublished interviews of Waldorf music teachers, professional musicians, and a
eurythmist, 1988-90, 60.
 7

a f t e r World Wars I and I I was perhaps not g e n e r a l l y a c c e p t i n g of Steiner's

works, most o f which were p u b l i s h e d i n German, nor of an e d u c a t i o n a l system

which was initiated i n Germany.

Steiner's i d e a s have not found u n i v e r s a l acceptance. Many c o n s i d e r e d , and

still consider, S t e i n e r t o be a " f l a k e " and a pseudo-intellectual. CS.

Lewis, a t f i r s t , expressed disapproval of h i s f r i e n d Owen B a r f i e l d ' s i n -

volvement w i t h anthroposophy. However, he f i n a l l y conceded t h a t the

movement was r a t h e r benign. "There i s . . . a r e a s s u r i n g Germanic dullness

13

about i t which would soon d e t e r those who were l o o k i n g f o r thrills."

F r a n z K a f k a a t t e n d e d some of S t e i n e r ' s l e c t u r e s i n Prague. In h i s d i a r y of

1911, he recorded h i s u n f l a t t e r i n g impressions o f S t e i n e r . He derided

Steiner f o r , amongst other p r a c t i c e s , sending the ill to a r t g a l l e r i e s to

m e d i t a t e upon c o l o u r s , f o r h i s d a i l y d i e t of "two l i t e r s of e m u l s i o n s of
14
almonds and f r u i t s " Kafka was a l s o s c a t h i n g i n h i s c r i t i c i s m o f
Steiner's plays. In h i s d i a r y e n t r y , "My Meeting w i t h R u d o l f S t e i n e r , "
15

K a f k a r i d i c u l e d S t e i n e r ' s every move. Kafka's b i o g r a p h e r b e l i e v e d that

Steiner f a i l e d t o g i v e Kafka the p a t e r n a l encouragement he desperately

needed.^" 6
A w r i t e r f o r The E n g l i s h Review, Hermon Ould, termed S t e i n e r "a

v e r y poor p l a y w r i g h t . " S t e i n e r ' s p l a y s , he felt, had no form and were

merely "a s e r i e s of d i a l o g u e s . " Ould s t a t e d t h a t even though t h e plays

expound upon a p o s s i b l y v a l i d p h i l o s o p h y , S t e i n e r had no r i g h t , w i t h h i s

^Rosemary Dinnage, "Benign Dottiness: the World of Rudolf S t e i n e r , " New Society 2 ( J u l y 2,
1981): 10.

^Max Brod, e d . . The D i a r i e s of Franz Kafka 1910-1913. trans. Joseph Kresh (New York: Schocken
Books, 1976), 57.

1 5
Ibid, 54-59.

16
R o n a l d Hayman, Kafka: a Biography (New York: Oxford U n i v e r s i t y Press, 1981), 93.
 8

apparent l a c k o f t a l e n t i n the medium of t h e a t e r , t o i n f l i c t h i s p l a y s upon

17
the p u b l i c . P s y c h o l o g i s t C. G. Jung r e a d many o f S t e i n e r ' s books but
d e c l a r e d t h a t he found n o t h i n g o f use i n them. Jung b e l i e v e d that

S t e i n e r ' s f o l l o w e r s were u n c r i t i c a l and c o n j u r e d up many unfounded and thus

18
false ideas.

A l s o amongst S t e i n e r ' s d e t r a c t o r s were t h e German communists who, a f t e r the

r e v o l u t i o n of 1917, forbade t h e i r members t o a t t e n d S t e i n e r ' s lectures.

The N a z i s who formed t h e i r p a r t y i n 1920, f r e q u e n t l y i n t e r r u p t e d h i s

lectures. I t i s c l a i m e d t h a t S t e i n e r was p h y s i c a l l y a t t a c k e d by a group o f

19
young N a z i s i n Munich i n 1922. At t h e advent of World War II, Hitler
20
c l o s e d down a l l Waldorf S c h o o l s .

S t e i n e r ' s i d e a s , o f t e n communicated through p o e t r y , p a r a b l e , metaphor, and

image, found a r e c e p t i v e audience amongst some segments o f s o c i e t y i n h i s

day. Hermann Hesse, a l o n g w i t h 90 prominent w r i t e r s , businessmen, and

artists, s i g n e d Rudolf S t e i n e r ' s P r o c l a m a t i o n t o the German People i n 1917,

21

which o u t l i n e d S t e i n e r ' s p l a n f o r a new s o c i a l o r d e r . (See Appendix A i n

" O r i g i n and Growth o f t h e Waldorf S c h o o l s . " ) Owen B a r f i e l d , poet and t h e

a u t h o r o f H i s t o r y i n E n g l i s h Words and P o e t i c D i c t i o n , d e s c r i b e d Steiner's

17
Hermon Ould, "Caviare" The English Review 34 (January to June 1922): 447-453.

^Gerhard Wehr, Jung: A Biography, t r a n s . David M. Weeks. (Boston: Shambhala, 1987, 465-466.
^ ' c o l i n WiIson, Rudolf S t e i n e r . The Man and His V i s i o n . (Wellingborough, Northamptonshire: The
Aquarian P r e s s , 1985), 1 5 1 . .

2 0 J o h a n n e s T a u t z , The F o u n d i n g o f t h e F i r s t W a l d o r f
S c h o o l i n S t u t t g a r t ( S p r i n g V a l l e y , New Y o r k : C o u n c i l o f t h e
P e d a g o g i c a l S e c t i o n , 1982), 1.

21 Johannes Hemleben, Rudolf Steiner (Reinbek bei Hamburg: Rowalt Taschenbuch Verlag GmbH,
1963), 119.
 9

w o r l d view as neo-Romanticism or ". . . Romanticism grown up." He was

a t t r a c t e d t o S t e i n e r ' s philosophy because i t a f f i r m e d and transcended h i s

22
own t h e o r i e s of semantics and of p o e t r y . For S t e i n e r , he had great

respect. "I acknowledged Rudolf S t e i n e r w i t h reverence as ' i l maestro d i

23

c o l o r che he s a n ' — m a s t e r of those who know." He cautioned readers of

S t e i n e r not t o " b e l i e v e " S t e i n e r l i t e r a l l y , but t o e n t e r i n t o the thought

and f e e l i n g s which l i e behind the words, the message behind t h e metaphor.

I cannot t h i n k i t i s unduly p a r a d o x i c a l t o say, t h a t i t i s r e -

a l l y a k i n d o f b e t r a y a l of the founder of anthroposophy
[ S t e i n e r ' s world-view] t o b e l i e v e what he s a i d . He poured out
h i s a s s e r t i o n s because he t r u s t e d h i s h e a r e r s not t o b e l i e v e .
B e l i e f i s something which can o n l y be a p p l i e d t o systems o f ab-
s t r a c t ideas. To become an a n t h r o p o s o p h i s t i s not t o b e l i e v e ;
i t i s t o d e c i d e t o use the words of Rudolf S t e i n e r (and any
o t h e r s which may become a v a i l a b l e ) f o r the purpose o f r a i s i n g
o n e s e l f , i f p o s s i b l e , t o a k i n d of t h i n k i n g which i s i t s e l f be-
yond words, which precedes them, i n the sense t h a t i d e a s ,
words, s e n t e n c e s , p r o p o s i t i o n s , are o n l y drawn out of i t . T h i s
i s the source o f a l l meaning whatsoever. And i t can o n l y t a k e
the form o f l o g i c a l i d e a s and p r o p o s i t i o n s and grammatical sen-
t e n c e s , at the expense of much of i t s o r i g i n a l t r u t h . For t o
be l o g i c a l i s t o make one l i t t l e p a r t of your meaning p r e c i s e
by e x c l u d i n g a l l the o t h e r p a r t s . To be an a n t h r o p o s o p h i s t is
t o seek t o u n i t e o n e s e l f , not with any groups of words, but
w i t h t h i s c o n c r e t e t h i n k i n g , whose e x i s t e n c e can o n l y be f i -
n a l l y proved by e x p e r i e n c e . I t i s t o r e f r a i n from u n i t i n g one-
s e l f w i t h words, i n the humble endeavour t o u n i t e o n e s e l f w i t h
24
the Word.

A modern w r i t e r , S a u l Bellow, i n t e g r a t e d many of S t e i n e r ' s i d e a s into his

work. In h i s 1976 P u l i t z e r P r i z e winning book, Humbolt's G i f t , Bellow

"Owen B a r f i e l d , Romanticism Comes of Age (London: Anthroposophical Publishing Company, 1941),

11.

2 3
Ibid.

2 4
I b i d , 61.
 10

25
p o r t r a y s t h e main c h a r a c t e r as a s e r i o u s student of S t e i n e r . In the

f o r w a r d t o The Boundaries of N a t u r a l S c i e n c e (eight l e c t u r e s given by

S t e i n e r i n 1920), Bellow d e c l a r e d t h a t S t e i n e r " i s more than a t h i n k e r , he

i s an i n i t i a t e . " Bellow agreed w i t h B a r f i e l d ' s statement t h a t western

c i v i l i z a t i o n was "a world of o u t s i d e s without insides." According to

Bellow, S t e i n e r ' s main c o n t r i b u t i o n was t h a t he showed t h a t t r u e knowledge

cannot be o b t a i n e d by i n t e l l e c t u a l concepts alone but through observation

and inner imagination. 2 6

S t e i n e r ' s i d e a s on music and music e d u c a t i o n perhaps remain unknown espe-

c i a l l y t o t h o s e o u t s i d e the movement, simply because a b a s i c understanding

of S t e i n e r ' s world-view i s needed t o o r g a n i z e concepts i n t o some s o r t of

context or matrix. The student of S t e i n e r must s o r t through an unusual

c o n c e p t u a l paradigm. S t e i n e r ' s thoughts on music cannot e a s i l y be sepa-

r a t e d from h i s composite complex p h i l o s o p h y .

Another reason f o r l a c k of knowledge about S t e i n e r ' s c o n c e p t i o n o f music

and music e d u c a t i o n c o u l d w e l l be t h a t u n l i k e Kodaly, O r f f , and Dalcroze,

S t e i n e r was an educator, philosopher, a r t i s t , s c u l p t o r , poet, dramatist,

and a non-musician. He d i d not o f f e r e a s y - t o - f o l l o w formulas, " r e c i p e s , "

techniques, o r even a d e t a i l e d sequenced c u r r i c u l u m , o n l y h i n t s and indica-

t i o n s o f an approach t o music and t o c h i l d r e n . He spoke about t h e effect

of music on t h e human b e i n g . In h i s l e c t u r e s , S t e i n e r f o c u s s e d primarily

on t h e r e l a t i o n s h i p of the t e a c h e r and the c h i l d and on why t h e a r t of mu-

2 5
S a u l Bellow, Humbolt's G i f t (New York: Avon Books, 1975).

2
^ S a u l Bellow, foreword to The Boundaries of Natural Science by Rudolf Steiner (Spring V a l l e y ,
New York: Anthroposophical Press, 1969). v i i - x i i i . T
 11

sic, and a l l o f t h e a r t s , a r e important t o c h i l d development. Believing

that education as a whole should be an a r t , S t e i n e r was adamant t h a t no

"artificial methods," o r c o n t r i v e d e x e r c i s e s , e s p e c i a l l y when teaching

music and o t h e r a r t s , be allowed t o e n t e r the c l a s s r o o m . He b e l i e v e d that

all i n s t r u c t i o n should be g i v e n i n an a r t i s t i c manner. He e s t a b l i s h e d an

approach t o e d u c a t i o n , an a r t o f e d u c a t i o n , i n which the a r t s , and

e s p e c i a l l y music, p l a y e d an e s s e n t i a l and i n t e g r a l p a r t . Therefore,

S t e i n e r ' s approach cannot be c a l l e d a system o r method. I t does n o t l e n d

i t s e l f t o d e f i n i t i o n , only c h a r a c t e r i z a t i o n .

Furthermore, music t e a c h i n g i n the Waldorf School can o n l y be f u l l y under-

stood from the b a s i s o f the whole Waldorf School e d u c a t i o n . I n the Waldorf

School, subjects a r e i n t e g r a t e d ; a l l l e a r n i n g i s connected. The world i s

viewed as a whole and n o t i n i t s s e p a r a t e p a r t s .

In a d d i t i o n , S t e i n e r ' s r e f e r e n c e s t o music are d i f f i c u l t t o f i n d without

effort. Except f o r h i s book, The Inner Nature o f Music, m a t e r i a l i s scat-

t e r e d amongst S t e i n e r ' s myriad books and l e c t u r e s .

However, i n S t e i n e r ' s day, many m u s i c i a n s seemed i n t r i g u e d by h i s thoughts

on music. P a u l Baumann, composer, became the f i r s t music t e a c h e r i n the

27

Waldorf S c h o o l . Valborg Werbeck-Svardstrom, a Swedish opera s i n g e r , de-

v e l o p e d a method o f "uncovering the v o i c e " as opposed t o t e a c h i n g s i n g i n g ,

28
based on S t e i n e r ' s g u i d e l i n e s . E l s i e Hamilton, a composer who had p e r -
^Gisbert Husemann a n d J o h a n n e s T a u t z , P e r L e h r e r k r i e s um R u d o l f S t e i n e r i n der Ersten Waldorf

Schule 1919-1925 (Stuttgart: Verlag Freies G e i s t e s l e b e n GmbH: 1977), 87.

^Valborg Werbeck-Svardstrom, Uncovering the V o i c e : A P a t h Towards C a t h a r s i s i n the A r t of

Singing, trans. P. Luborsky (London: Rudolf Steiner Press, 1980).

 12

s o n a l c o n v e r s a t i o n s w i t h S t e i n e r , experimented w i t h Greek i n t e r v a l s and

d i f f e r e n t tunings. K a t h l e e n S c h l e s i n g e r , a m u s i c o l o g i s t who a l s o met

29

S t e i n e r , r e s e a r c h e d t h e o l d Greek i n s t r u m e n t s . Instrument b u i l d e r s such

as Lothar G a r t n e r ^ 0
and Norbert V i s s e r " ^ 1
b u i l t many d i f f e r e n t instrumental

p r o t o t y p e s , some o f which are used i n the Waldorf Schools today. Edmund

32
P r a c h t composed e x e r c i s e s and music f o r the G a r t n e r l y r e .

Some contemporary m u s i c i a n s c l a i m t o have been i n f l u e n c e d and impressed by

S t e i n e r ' s views on music. Y u g o s l a v i a n v i o l i n v i r t u o s o Miha P o g a c n i k

founded IDRIART, I n s t i t u t e f o r t h e Development o f I n t e r c u l t u r a l Relations

t h r o u g h Music, an o r g a n i z a t i o n which h o l d s i n t e r n a t i o n a l music festivals

w i t h t h e aim o f b r i n g i n g people from a l l over t h e world t o g e t h e r f o r musi-

cal experiences. S e v e r a l p r o f e s s i o n a l Vancouver m u s i c i a n s have s t a t e d t h a t

33

S t e i n e r ' s i d e a s u n d e r l i e t h e i r work. One o f t h e s e m u s i c i a n s p r o f e s s e d

t h a t S t e i n e r made her aware o f a s p i r i t u a l dimension.

What he has t o say i s so f i l l e d w i t h meaning, so deep, and so

thought o u t , and so f i l l e d with t h i s whole p i c t u r e t h a t t h i s
w o r l d c o n s i s t s o f another r e a l i t y t h a t we cannot see, but ex-
ists. T h i s n o u r i s h e s us as human b e i n g s and then we t a k e t h i s
i n t o our b e i n g and take i t on stage w i t h us and hope t h a t i t i s
a l s o t r a n s f o r m e d then through our music. Who I am, what I have
l i v e d , what I have s u f f e r e d , makes my i n t e r p r e t a t i o n o f Bach
more m e a n i n g f u l . I t h i n k what S t e i n e r ' s words have done.... i s
t h a t as a r t i s t s we had t h i s i n k l i n g , t h i s f e e l i n g , t h i s e x p e r i -

"L. Eterman, unpublished interviews, 6.

^Edmund Pracht, Goldene L e i e r . Heft 4. Einfuhrung in das L e i e r s p i e l (Konstanz, West Germany:

W. Lothar Gartner, 1955), 5.

^ N o r b e r t V i s s e r , " B u i l d i n g Choroi Musical Instruments, a Musical and S o c i a l Impulse," Curative

Education and S o c i a l Therapy 2 (Midsummer 1983): 37-41.

3 2
P r a c h t , 19-63.

3 3
L. Eterman, unpublished interviews.
 13
ence o f something we c o u l d not d e f i n e , then w e ' l l r e a d some
passage by S t e i n e r . He has d e f i n e d i t f o r us. I t echoes, i t
resonates.^

A l b e r t S c h w e i t z e r , m u s i c i a n , as w e l l as p h y s i c i a n , p h i l o s o p h e r , and

h u m a n i t a r i a n , met w i t h S t e i n e r i n 1902 or 1903. The f o l l o w i n g quote i s

a t t r i b u t e d t o S c h w e i t z e r i n Lambarene, November 1960:

My meeting w i t h Rudolf S t e i n e r l e d me t o occupy myself w i t h him

from t h a t time f o r t h and t o remain always aware o f h i s s i g n i f i -
cance. . . . We both f e l t the same o b l i g a t i o n t o l e a d men once
again to true inner c u l t u r e . I have r e j o i c e d a t the a c h i e v e -
ments which h i s g r e a t p e r s o n a l i t y and h i s profound humanity
have brought about i n the world.

Conductor Bruno Walter found h i s own thoughts confirmed i n S t e i n e r ' s works.

The e p i l o g u e o f h i s book, Of Music and Music-Making, which he wrote i n 1955

at t h e end o f h i s c a r e e r , was a t r i b u t e t o Rudolf Steiner.

As a m u s i c i a n , I was, a t f i r s t , amazed, and l a t e r d e e p l y

g r a t i f i e d t o l e a r n t h a t i n the l i g h t t h a t i s shed on music by
anthroposophy, the dark s t r i v i n g o f my young days and my
subsequent c o n s c i o u s s e a r c h f o r knowledge had indeed put me on
t h e r i g h t path, and t h a t my thoughts on t h e o r i g i n and n a t u r e
of music, the thoughts o f a m u s i c i a n though they a r e , can h o l d
t h e i r own i n t h e f a c e o f anthroposophy. More than t h a t : i n t h e
sublime cosmology o f Rudolf S t e i n e r , t h e s e thoughts f i n d an
incomparably deeper and w i s e r c o n f i r m a t i o n ; my more i n t u i t i v e
i n s i g h t s a r e g i v e n c e r t a i n t y by b e i n g p l a c e d i n a u n i v e r s a l
c o n t e x t such as my m u s i c i a n s h i p by i t s e l f c o u l d never have
provided. . . . 35

3 4
I b i d , 19.

^ B r u n o Walter, Of Music and Music Making, trans, by Paul Hamburger (New York: W. W. Norton and
Company, 1961), 212
 14
Throughout my e n t i r e b e i n g , I f e e l a r e j u v e n a t i o n which
s t r e n g t h e n s and i n v i g o r a t e s my r e l a t i o n t o music, and even my
music-making.^

Godwin p r a i s e d t h e Waldorf School f o r i t s emphasis on music:

S t e i n e r h i m s e l f wrote some o f t h e c l e a r e s t e x p l a n a t i o n s e v e r
made o f t h e n a t u r e o f music. . . . H i s i n s i g h t s i n t o music as a
m a n i f e s t a t i o n o f r e a l i t i e s o f a h i g h e r o r d e r convinced him o f
i t s o v e r r i d i n g importance t o h e a l i n g and e d u c a t i o n a l i k e . . . .
Music p r o v i d e s one o f t h e c l o s e s t images o f t h a t world; hence
i t s v a l u e f o r reawakening t h e s o u l ' s p r e n a t a l knowledge o f
spiritual realities. T h e r e f o r e one cannot b e g i n t o o soon t o
make t h i s a r t an accepted and l o v e d p a r t o f a c h i l d ' s l i f e , and
t h i s i s done today i n t h e many Waldorf Schools t h a t f o l l o w
Steiner's p r i n c i p l e s . 3 7

C. Methodology:

S t e i n e r ' s t h e o r i e s on e d u c a t i o n , t h e a r t s , music, and music e d u c a t i o n have

been taken from h i s l e c t u r e s and books and matched with some i n t e r p r e t a -

t i o n s and p r a c t i c e s o f h i s s u c c e s s o r s i n t h e f i e l d . A r t i c l e s and books

which i n t e r p r e t S t e i n e r ' s concepts have been reviewed. C u r r i c u l a from Wal-

d o r f S c h o o l s , notes from c o n f e r e n c e s , l e c t u r e s , c o u r s e s , and correspondence

w i t h key p e o p l e i n t h e f i e l d have a l s o p r o v i d e d i n f o r m a t i o n . Interviews of

p r o f e s s i o n a l musicians i n f l u e n c e d by S t e i n e r , Waldorf music t e a c h e r s , class

t e a c h e r s , and a e u r y t h m i s t a l s o helped t o g i v e a p i c t u r e o f c u r r e n t b e l i e f s

and p r a c t i c e s . Working as a music s p e c i a l i s t i n a Waldorf School, teaching

3 6
I b i d , 213.

37
G o d w i n , 39.
music Grades One through E i g h t f o r f i v e y e a r s , and a l s o Grades One through

Twelve i n t h e l a s t year w i t h t h e s c h o o l , t h e author has g a i n e d v a l u a b l e ex-

perience f o r t h i s project.

A q u e s t i o n n a i r e was sent t o t h e twenty-three E n g l i s h language Waldorf

S c h o o l s which were members o f t h e North American Waldorf S c h o o l A s s o c i a t i o n

and which had been i n e x i s t e n c e f o r more than t e n y e a r s when t h e study was

carried out. Information from c l a s s t e a c h e r s and music s p e c i a l i s t s from

t h e s e s c h o o l s helped t o c h a r a c t e r i z e how music i s taught i nestablished

Waldorf S c h o o l s today.

D. S i g n i f i c a n c e o f Study

Rudolf S t e i n e r ' s i d e a s about e d u c a t i o n , music, and music e d u c a t i o n a r e

v i r t u a l l y unknown. T h i s study may be o f i n t e r e s t t o t h o s e m u s i c i a n s and

music e d u c a t o r s who wish t o know more about S t e i n e r ' s p h i l o s o p h y o f music

e d u c a t i o n and t h e manner i n which t h i s p h i l o s o p h y has e v o l v e d w i t h i n t h e

Waldorf School movement. No study has been undertaken, t o the author's

knowledge, t o l i n k S t e i n e r ' s p h i l o s o p h y on music t e a c h i n g t o c u r r e n t p r a c -

tices. I t i s hoped t h a t t h e study w i l l not o n l y c r e a t e g r e a t e r i n t e r e s t i n

Waldorf S c h o o l music e d u c a t i o n , but a l s o t h a t r e s e a r c h e r s w i l l be en-

couraged t o e v a l u a t e t h i s approach t o music e d u c a t i o n i n the future.

Waldorf p r i m a r y classroom t e a c h e r s a r e u s u a l l y r e q u i r e d t o t e a c h music t o

t h e i r own s t u d e n t s . Some o f these t e a c h e r s may have l i m i t e d background i n

music and/or music e d u c a t i o n and may not be f u l l y aware o f S t e i n e r ' s i d e a s

on t h e s e s u b j e c t s . I t i s hoped t h a t t h i s study, by o u t l i n i n g S t e i n e r ' s

views on music and music e d u c a t i o n and how t h e s e i d e a s have been inter-

preted i n North America, w i l l p r o v i d e these t e a c h e r s w i t h a b a s i s on which

t o make c u r r i c u l a r d e c i s i o n s i n t h e i r own schools.

E. Limitations

As mentioned, S t e i n e r d e l i v e r e d over s i x thousand l e c t u r e s i n German w i t h i n

the twenty y e a r s of h i s c a r e e r , some of which are not y e t t r a n s l a t e d .

Steiner's i n i t i a l l e c t u r e s , i n the e a r l y 1900s, which i n c l u d e d lectures on

a r t , were not even r e c o r d e d by stenographers. Later transcribed lectures

were most o f t e n l e f t u n r e v i s e d by S t e i n e r . In a d d i t i o n , S t e i n e r o f f e r e d

h i s i d e a s v e r b a l l y t o i n d i v i d u a l s who asked f o r h i s a d v i c e . Consequently,

it i s conceivable t h a t some of h i s thoughts were not passed on accurately.

Furthermore, i t i s p o s s i b l e t h a t many of S t e i n e r ' s i d e a s about music may

have d i e d w i t h him, and t h a t the i n d i c a t i o n s g i v e n i n l e c t u r e s do not rep-

resent a l l t h a t he had t o say on the s u b j e c t . S t e i n e r was scheduled to

38

g i v e a c o n f e r e n c e on music s h o r t l y b e f o r e h i s death i n 1925. Considering

t h e s e c i r c u m s t a n c e s , i t i s indeed p l a u s i b l e t h a t some of S t e i n e r ' s i d e a s on

music and music e d u c a t i o n are u n a v a i l a b l e , have been o v e r l o o k e d , are lost,

or perhaps have been misinterpreted.

5
°Erika V. Asten, p r e f a c e to The I n n e r N a t u r e of M u s i c and the E x p e r i e n c e of Tone by Rudolf

Steiner, trans. Maria St. Goar, ed. A l i c e Wulsin (Spring V a l l e y , New York: The Anthroposophical Press,

1983), viii.
 17

Even though a l l twenty-three member s c h o o l s c o n t a c t e d responded t o a

q u e s t i o n n a i r e on Waldorf music t e a c h i n g , two member s c h o o l s i n existence

l e s s t h a n t e n y e a r s , one French language s c h o o l , and t h e l e s s e s t a b l i s h e d

"sponsored" and " f e d e r a t i o n " s c h o o l s a l s o a f f i l i a t e d w i t h t h e Waldorf

S c h o o l A s s o c i a t i o n were not approached. Furthermore, t h e a u t h o r was a b l e

to i n t e r v i e w o n l y a few s u b j e c t s w i t h i n t h e Vancouver a r e a . A small

sample, t h e r e f o r e , was taken and g e n e r a l i z a t i o n s may o n l y be made on t h i s

basis.

F. Glossary

Anthroposophy: The name Rudolf S t e i n e r gave t o h i s world-view. Steiner

d e r i v e d t h e term from t h e Greek "anthropos" o r "man" and " s o p h i a " o r
"wisdom." A l s o c a l l e d " s c i e n c e o f t h e s p i r i t , " anthroposophy,
a c c o r d i n g t o S t e i n e r , i s t h e "Wisdom o f Man," t h e wisdom c o n t a i n e d i n
e v e r y aspect o f t h e human b e i n g . B a s i c c o n c e p t s i n c l u d e : 1)
e x i s t e n c e o f a s p i r i t u a l world; 2) t h e e t e r n a l n a t u r e o f t h e human
b e i n g ; 3) b e l i e f i n t h e s p i r i t u a l e v o l u t i o n o f humankind; 4) f o u r -
f o l d n a t u r e o f t h e human b e i n g — p h y s i c a l body, e t h e r i c body, a s t r a l
body, and ego.

Astral "body": That aspect o f t h e human b e i n g which c a r r i e s t h e c o n s c i o u s -

ness, t h e " f e e l i n g " l i f e .

Body: A combination o f c o o p e r a t i v e p a r t s . The word "body" may be used i n

t h e sense o f "a body o f men," o r "a body o f o p i n i o n . " S t e i n e r spoke
o f t h e p h y s i c a l body, e t h e r i c body (body o f l i f e - f o r c e s ) , and t h e a s -
t r a l body (body o f c o n s c i o u s n e s s ) .

Change o f T e e t h : The p e r i o d o f c h i l d h o o d around age seven i n which t h e

c h i l d l o s e s i t s "baby" t e e t h .

Ego: The " e t e r n a l " member o f t h e human b e i n g which passes t h r o u g h death.

E t h e r i c "body": That aspect o f t h e human b e i n g which c a r r i e s t h e l i f e -

f o r c e s o f growth development and which d i f f e r e n t i a t e s t h e l i v i n g hu-
man b e i n g from t h e c o r p s e .

Eurythmy: Inaugurated by Rudolf S t e i n e r i n 1912 and i n c o r p o r a t e d i n t o t h e

Waldorf Schools i n 1919, eurythmy i s a form o f movement d e s c r i b e d as
v i s i b l e speech and v i s i b l e music. The e u r y t h m i s t p o r t r a y s t h e i n n e r
movements o f music and speech. Sound i s not o n l y heard, but seen
t h r o u g h movement i n eurythmy. The arms and hands a r e t h e p r i m a r y
 18
modes o f e x p r e s s i o n i n eurythmy. I n s t e a d o f moving from one f i x e d
p o s i t i o n t o another, t h e e u r y t h m i s t p o r t r a y s a f l o w o f movement. Eu-
rythmy i s an a r t form which can be enjoyed as an a r t , but i t i s a l s o
u t i l i z e d as an e d u c a t i o n a l t o o l and a form o f t h e r a p y .

Feeling: One o f t h e t h r e e f u n c t i o n s o f t h e s o u l ; i t p e r t a i n s t o t h e
b r e a t h i n g and b l o o d c i r c u l a t i o n , t h e c h e s t , t h e h e a r t and t h e emo-
t i o n a l o r a f f e c t i v e domain o f man.

Fourfold man: The f u l l y formed human b e i n g — t h e p h y s i c a l body, t h e e t h e r i c

body, t h e a s t r a l body, and ego.

Higher members of the human being's nature: According t o Steiner, the

t h r e e h i g h e r members a r e c a l l e d S p i r i t - S e l f , L i f e - S p i r i t , and S p i r i t -
Man, and a r e s t i l l i n t h e course o f development. These h i g h e r mem-
b e r s o f every human b e i n g a r e g r a d u a l l y b e i n g formed through t h e mas-
t e r y o f t h e a s t r a l , e t h e r i c and p h y s i c a l members. The " I " o r "ego"
completes t h e s e v e n - f o l d p o t e n t i a l .

Indications: A term used by a n t h r o p o s o p h i s t s t o denote g u i d e l i n e s g i v e n by

Steiner. " I n d i c a t i o n " i s d e f i n e d by t h e Merriam-Webster d i c t i o n a r y
as "an o u t l i n e o f p o l i c y o r conduct."

"Mood o f the F i f t h " : T r a n s l a t i o n o f S t e i n e r ' s term " E r l e b e n d e r Q u i n t e . "

S t e i n e r s p e c i f i e d t h a t music f o r t h e c h i l d b e f o r e t h e age o f n i n e
s h o u l d c o n t a i n t h e notes DE GAB DE and s h o u l d be n e i t h e r major o r
minor. A g e n t l e , f l o w i n g rhythm i s a l s o recommended. A
c o n t r o v e r s i a l i s s u e amongst some Waldorf e d u c a t o r s , "Mood o f t h e
F i f t h " music has been i n t e r p r e t e d as music which may 1) b e g i n and end
on any note o t h e r than t h e t o n i c ("G"); 2) b e g i n and end on "A" o r be
c e n t e r e d around "A"; 3) c o n s i s t o f descending phrases; 4) i n v o l v e
open, non-tempered t u n i n g ; 5) c o n t a i n m e l i s m a t i c passages.

Physical body: That aspect o f t h e human b e i n g which i s r e l a t e d t o t h e min-

e r a l world.

S p i r i t u a l World: In S t e i n e r ' s view, t h e immanent world o f b e i n g s and

a c t i v i t i e s n o r m a l l y u n a c c e s s i b l e t o t h e b o d i l y senses.

"Steiner Schools" or "Waldorf Schools": A worldwide e d u c a t i o n a l approach

i n a u g u r a t e d by Rudolf S t e i n e r i n 1919. (See Appendix B> "Unique
F e a t u r e s o f t h e Waldorf Schools")

Supersensible experience: The s p i r i t u a l e x p e r i e n c e o f s e e i n g beyond t h e

v i s i b l e world.

Thinking: t h e c o g n i t i v e f u n c t i o n o f t h e s o u l ; one o f t h e t h r e e f u n c t i o n s
of t h e s o u l ; i t p e r t a i n s t o t h e human b e i n g ' s i n t e l l e c t , ( t h e c o g n i -
t i v e domain), nerve-system, head.

Willing: S e l f - d i r e c t i o n and c o n t r o l ; one o f t h e t h r e e f u n c t i o n s o f t h e

s o u l ; i t p e r t a i n s t o t h e human b e i n g ' s limb (psychomotor) and
m e t a b o l i c system.
 CHAPTER II

BASIC PHILOSOPHICAL CONCEPTS RELATING TO MUSIC EDUCATION

S e v e r a l concepts form the f o u n d a t i o n o f S t e i n e r ' s p h i l o s o p h y o f music and

music e d u c a t i o n f o r c h i l d r e n i n Grades One, Two and Three.

S t e i n e r b e l i e v e d t h a t the c h i l d :

A) i s a s p i r i t u a l b e i n g , descended from the s p i r i t u a l world.

B) i s a f o u r - f o l d being.

C) possesses soul f a c u l t i e s of t h i n k i n g , f e e l i n g , and willing.

D) d e v e l o p s s e q u e n t i a l l y through s e v e r a l stages o f development.

E) r e c a p i t u l a t e s the e v o l u t i o n o f humankind i n i t s growth.

A. C h i l d as a S p i r i t u a l Being

S t e i n e r c l a i m e d t h a t t h e r e i s a s p i r i t u a l world, a world from which t h e hu-

man b e i n g descends a t b i r t h and which he e n t e r s a f t e r death. T h i s unseen

w o r l d was p e r c e i v e d by S t e i n e r as p o t e n t i a l l y a c c e s s i b l e t o e v e r y human be-

ing.

F i r s t , . . . t h e r e i s behind the v i s i b l e , an i n v i s i b l e w o r l d ,
hidden t o b e g i n w i t h from the senses and from the k i n d o f
t h i n k i n g t h a t i s f e t t e r e d t o the senses. And s e c o n d l y , t h a t by
t h e due development of f o r c e s slumbering w i t h i n him i t i s pos-
s i b l e f o r man t o p e n e t r a t e i n t o t h i s hidden w o r l d . ^

39
R u d o l f S t e i n e r . Occult Science, trans. George and Mary Adams (London: Rudolf Steiner Press,
1969), 3 1 .
19
 20

B. C h i l d as f o u r - f o l d being

C e n t r a l t o S t e i n e r ' s o u t l o o k i s h i s c o n c e p t i o n of t h e f o u r - f o l d nature of

t h e human b e i n g . A c c o r d i n g t o S t e i n e r , the human b e i n g c o n s i s t s o f a phys-

i c a l body, an e t h e r i c "body" (growth or l i f e - f o r c e ) , a s t r a l body (the s o u l -

body, c o n s c i o u s n e s s which l e a v e s the p h y s i c a l organism d u r i n g s l e e p ) , and

the " I " (das "Ich"] the "ego." The " I " i s the essence, the c o r e , the " s o u l

k e r n e l " o f t h e human b e i n g — t h a t p a r t of the human b e i n g which i s e t e r n a l .

T h i s f o u r t h member d i s t i n g u i s h e s the human b e i n g from the animal world.

Humankind, a c c o r d i n g t o S t e i n e r , i s the "crown o f c r e a t i o n . " Steiner

r e l a t e d the " I " t o the " D i v i n e Being."

. . . as the drop i s t o the ocean, so i s t h e " I " t o the D i v i n e .

Man can f i n d the D i v i n e w i t h h i m s e l f , because h i s own and most
40
e s s e n t i a l b e i n g s p r i n g s from the D i v i n e .

In t h e f u t u r e , S t e i n e r a n t i c i p a t e d t h a t t h r e e o t h e r members, a l r e a d y semi-

n a l l y p r e s e n t , but not y e t developed, would g r a d u a l l y and s e q u e n t i a l l y

evolve. S t e i n e r d e s i g n a t e d t h e s e members as S p i r i t - S e l f , L i f e - S p i r i t , and

41

Spirit-Man. . A c c o r d i n g t o S t e i n e r , the human b e i n g i s a l s o a t h r e e - f o l d

b e i n g c o n s i s t i n g of body, s o u l , and s p i r i t . S t e i n e r e x p l a i n e d t h a t the

p h y s i c a l , e t h e r i c and soul-body r o o t e d the human b e i n g t o t h e p h y s i c a l

world. The
t h r e e h i g h e r members of the human b e i n g which S t e i n e r were
42
r e l a t e d t o the s p i r i t .

4 0
Ibid, 50.

^Rudolf Steiner, Theosophy. trans, a u t h o r i z e d by Rudolf Steiner Nachlassverwaltung (London:

Rudolf Steiner Press, 1922), 42.

4 2
Ibid, 43.
 21
C. T h i n k i n g , F e e l i n g , and W i l l i n g

The human b e i n g a l s o has t h r e e f u n c t i o n s o r f a c u l t i e s o f s o u l — t h i n k i n g ,

feeling, and w i l l i n g , b a s i c a l l y t h e c o g n i t i v e , a f f e c t i v e , and psychomotoric

domains. S t e i n e r i n s i s t e d t h a t t h e development o f t h e s e t h r e e qualities

were e x t r e m e l y important i n education.

Where we have c h i l d r e n o f primary s c h o o l age, we have t o

deal with the c h i l d ' s soul. Now [the] s o u l m a n i f e s t s , r o u g h l y
speaking, through t h i n k i n g , f e e l i n g and w i l l i n g . And i f one
can t h o r o u g h l y understand t h e p l a y o f t h i n k i n g , f e e l i n g and
w i l l — t h e s o u l ' s l i f e - : - w i t h i n man's whole nature, one has t h e
43
b a s i s f o r t h e whole o f e d u c a t i o n .

T h i n k i n g i s bound up, i n S t e i n e r ' s view, t o t h e nerves, t o nervous a c t i v -

ity. F e e l i n g i s a f f e c t e d by t h e rhythmic n a t u r e o f t h e b r e a t h i n g and b l o o d

system. The w i l l i s d i r e c t l y r e l a t e d t o t h e metabolism, t o movement, and

to the l i m b s . 4 4

D. C h i l d Development

S t e i n e r contended t h a t t h e f o u r a s p e c t s o f t h e human b e i n g (the p h y s i c a l ,

etheric, astral, and ego) a r e p r e s e n t as i f i n seed form a t b i r t h . In

seven-year s t a g e s , t h e s e "bodies" g r a d u a l l y becomes m a n i f e s t . A t each

seven-year stage, i t i s e s s e n t i a l , S t e i n e r b e l i e v e d , t o p r o v i d e a s o l i d

f o u n d a t i o n through e d u c a t i o n f o r t h e development o f w i l l i n g (age 0-7),

feeling (age 7-14), and t h i n k i n g (age 14-21).

^ R u d o l f S t e i n e r , The S p i r i t u a l Ground of Education, trans, by permission of Marie Steiner

(London: Anthroposophical Publishing Company, 1947), 41.

4 4
I b i d , 44.
According t o Steiner, the f i r s t s i x o r seven y e a r s o f l i f e b e f o r e t h e

change o f t e e t h (the l o s s o f t h e f i r s t t e e t h ) , the e t h e r i c o r growth f o r c e s

45

a r e o c c u p i e d w i t h the b u i l d i n g up o f the p h y s i c a l body. The p h y s i c a l

body, S t e i n e r assumed, i s shaped and p r e s e r v e d from d i s i n t e g r a t i o n i n t o i t s

c h e m i c a l c o n s t i t u e n t s by the " e t h e r i c " o r " l i f e "

f o r c e s which a l s o p r o v i d e
46
t h e f o r c e s r e g u i r e d f o r p h y s i c a l growth i n the young c h i l d .

During t h i s time, t h e c h i l d i s " i n the h i g h e s t degree and by h i s whole na-

47

t u r e a b e i n g o f sense. He i s a sense organ." The c h i l d r e a d i l y soaks up

the impressions from the environment which i n f l u e n c e s t h e e t h e r i c body and

moulds t h e b e i n g o f t h e c h i l d . Every g e s t u r e , every m u s i c a l sound, every

e x p r e s s i o n o f t h e p e o p l e s u r r o u n d i n g the c h i l d , m a i n t a i n e d Steiner, is
48
i m p r i n t e d on t h e b e i n g o f the c h i l d .

The s u r r o u n d i n g impressions r i p p l e , echo, and sound t h r o u g h t h e

whole organism because the c h i l d i s not so i n w a r d l y bound up
w i t h i t s body as i s the case i n l a t e r l i f e , b u t l i v e s i n t h e
environment w i t h h i s s p i r i t u a l and s o u l n a t u r e . Hence t h e
c h i l d i s r e c e p t i v e t o a l l t h e impressions coming from t h e e n v i -
ronment . ^

4
-*Rudolf Steiner, Balance i n Teaching, trans. F e l l o w s h i p and T h r e e f o l d Communities (Spring
Valley, New Y o r k : Mercury Press, 1982), 44.

4
^Rudolf Steiner, The E d u c a t i o n of t h e C h i l d , trans. G e o r g e a n d Mary Adams ( L o n d o n : Rudolf

Steiner Press, 1975), 24.

4 7
Rudolf Steiner, Essentials of Education, trans, a u t h o r i z e d by Rudolf Steiner

Nachlassverwaltung (London: Rudolf Steiner Press, 1968), 32.

4 8
Ibid.

4 9
Ibid.
According t o S t e i n e r , i f the proper atmosphere f o r the c h i l d was not cre-

ated f o r t h e c h i l d d u r i n g the first seven y e a r s of l i f e , teachers and par-

50
e n t s would never be a b l e t o r e p a i r the damage.

However, the c h i l d i s not viewed as a " t a b u l a r a s a , " a b l a n k s l a t e , but as

a being i n the p r o c e s s of l o o s e n i n g itself from the h e r e d i t a r y body. In

fact, S t e i n e r saw the h e r e d i t a r y f o r c e s s t r u g g l i n g w i t h the e t e r n a l indi-

v i d u a l i t y of the c h i l d . Henry Barnes, a Waldorf S c h o o l t e a c h e r , likened

t h e p r o c e s s t o a s c u l p t o r "forming the organism a c c o r d i n g t o the i n d i v i d u a l

51
p l a n t h a t c o r r e s p o n d s t o the c h i l d ' s p a r t i c u l a r human p o t e n t i a l . "

Because o f the nature of the c h i l d at t h i s stage, the c h i l d l e a r n s , Steiner

52

contended, p r i m a r i l y through i m i t a t i o n . Steiner strongly deplored the

i n t e l l e c t u a l i s m of k i n d e r g a r t e n c l a s s e s of h i s day. He adamantly main-

t a i n e d t h a t the world of the k i n d e r g a r t e n should c o n s i s t "simply and solely

o f the e x t e r n a l i m i t a t i o n of the e x t e r n a l p i c t u r e of what grown-up people

do." He p o s i t e d t h a t by a l l o w i n g the c h i l d t o l i v e in a pictorial, dream-

l i k e s t a t e , the organism might grow up t o be s t r o n g and have the opportu-

53

n i t y t o d e v e l o p i n t e l l e c t u a l c a p a c i t i e s needed f o r l a t e r life.

^ s t e i n e r . The Education of the C h i l d . 24.

The child, according t o S t e i n e r , l e a r n s through p l a y .
^ H e n r y Barnes, "An Introduction to Waldorf Education," Teachers College Record 81 (Spring
1980): 327.

5 2
Ibid.

-^Rudolf S t e i n e r , A Modern Art of Education, t r a n s . Jesse D a r r e l l and George Adams (London:

Rudolf Steiner P r e s s , 1972), 118-119.
 24
I f w i t h a genuine knowledge o f Man one sees and senses c h i l d -
n a t u r e on t h e way from p l a y t o l i f e - w o r k , one w i l l d i v i n e upon
an i n t e r m e d i a t e s t a t i o n the r e a l nature o f t e a c h i n g and o f
learning. F o r i n the c h i l d , p l a y i s the e a r n e s t m a n i f e s t a t i o n
o f t h a t i n n e r impulse t o a c t i v i t y wherein man has h i s t r u e ex-
i s t e n c e . . . . But i t i s the i d e a l o f e d u c a t i o n a l and t e a c h i n g
p r a c t i c e t o awaken i n the c h i l d the sense t o l e a r n w i t h t h e
same e a r n e s t n e s s o f a p p l i c a t i o n w i t h which, so l o n g as p l a y i s
54
t h e s o l e c o n t e n t o f t h e i n n e r l i f e , he p l a y s .

In t h i s p e r i o d o f l i f e , t h e limb and m e t a b o l i c systems ( m a n i f e s t a t i o n s o f

the " w i l l " ) a r e i n the process of developing. The c h i l d i s " f u l l of l i f e ; "

the e t h e r i c , o r l i f e f o r c e s , a r e forming him/her. However, S t e i n e r ' s i d e a

o f t h e " w i l l " embraces more than the development o f psychomotor c a p a c i t i e s .

He p o s t u l a t e d t h a t "when we ' w i l l ' t h e r e i s always something d e e p l y , uncon-

55

s c i o u s l y present i nthea c t i v i t y . " " W i l l " i s r e l a t e d , i n S t e i n e r ' s view,

to a religious quality. In the f i r s t stage o f l i f e , because t h e c h i l d has

o n l y r e c e n t l y descended from the s p i r i t u a l world, S t e i n e r b e l i e v e d , he/she

56

is "'homo r e l i g i o s u s , ' a b e i n g o f r e l i g i o n . " By t h i s , Steiner implied

that "the d e v o t i o n o f t h e body o f t h e c h i l d t o i t s environment i s a

r e l i g i o u s experience. And y e t i t i s a r e l i g i o u s experience—transplanted

57

i n t o t h e sphere o f n a t u r e . " The c h i l d assumes t h a t the world i s good

and moral and needs t o have t h i s moral, r e l i g i o u s f e e l i n g a f f i r m e d t h r o u g h

CO
his/her experience.
-^Rudolf Steiner, " E d u c a t i o n and A r t , " Anthroposophy (London: The A n t h r o p o s o p h i c a l Publishing
Company, May 1 9 2 3 ) , 1.

^Rudolf Steiner, Study o f Man, t r a n s . Daphne Harwood a n d H e l e n Fox ( L o n d o n : Rudolf Steiner

Press, 1966), 86.

^Steiner, The E s s e n t i a l s of Education. 40.

5 7
Ibid, 34.

4 6
Ibid, 40.

5 8
Steiner, S t u d y o f M a n . 134.
The second p e r i o d o f l i f e , from age 7 - 14, b e g i n s w i t h t h e change o f

teeth. S t e i n e r saw t h i s as a v e r y important event.

The t e e t h r e p r e s e n t something t h a t i s d e v e l o p i n g i n t h e whole

human organism. . . . t h e r e i s a s h o o t i n g - f o r t h i n t o form, t h e
human s o u l - b e i n g i s working a t t h e second b o d i l y n a t u r e , l i k e a
s c u l p t o r working a t t h e moulding o f h i s m a t e r i a l . An i n n e r ^
u n c o n s c i o u s , p l a s t i c moulding p r o c e s s i s a c t u a l l y g o i n g on.

S t e i n e r p o s t u l a t e d t h a t a t t h i s time, t h e f r e e i n g o f t h e e t h e r i c o r growth

forces occurs. These f o r c e s , which a r e no l o n g e r needed f o r growth a r e

f r e e t o work i n d e p e n d e n t l y , and a r e m a n i f e s t e d "as an i n c r e a s e i n t h e power

of f o r m i n g i d e a s , and i n t h e f o r m a t i o n and r e l i a b i l i t y o f t h e memory." 60

At t h e change o f t e e t h , t h e e t h e r i c body, which up u n t i l t h a t time

c o n c e n t r a t e d on t h e b u i l d i n g up o f t h e p h y s i c a l body, becomes f r e e and

independent and i s a b l e t o a f f e c t t h e c h i l d ' s a s t r a l b e i n g . 6 1

The

h e r e d i t a r y body has been t r a n s f o r m e d .

J u s t as t h e f i r s t t e e t h a r e d r i v e n f o r t h , so t h e whole f i r s t
body i s d r i v e n f o r t h . And a t t h e same time o f change o f t e e t h ,
the c h i l d stands b e f o r e us w i t h a body which i n c o n t r a s t t o t h e
body he was born w i t h , i s e n t i r e l y newly formed. The body o f
h i s b i r t h has been c a s t f o r t h l i k e f i r s t t e e t h , and a new body
is formed. 6 2

- ' ' s t e i n e r , The E s s e n t i a l s of Education. 52.

^ R u d o l f S t e i n e r , Roots of Education, trans. Helen Fox (London: Rudolf Steiner Press, 1968),
59.

^ R u d o l f S t e i n e r , Soul Economy and Waldorf Education, trans. Roland Everett (Spring V a l l e y , New
York: Anthroposophic Press, 1986), 111.

^ S t e i n e r . The Roots of Education. 15.

 26

Only a f t e r t h i s change o f t e e t h should t h e c h i l d t a k e on r e g u l a r school

work, a c c o r d i n g t o S t e i n e r . From b i r t h t o the change of t e e t h , t h e child

was capable o n l y of t a k i n g i n impressions and imitating. However, t h e

c h i l d between t h e change of t e e t h and adolescence does not a l l o w t h e im-

pressions to reverberate i n t o h i s / h e r b e i n g as much as b e f o r e . Instead,

the c h i l d i s a c t i v e i n transforming those impressions i n t o images and

pictures. S t e i n e r b e l i e v e d t h a t the i n n e r b e i n g of t h e c h i l d , i n s p i r e d

through imagination and f e e l i n g from seven t o f o u r t e e n , i s best reached

through the a r t s . To quote S t e i n e r , "Between the change of t e e t h and

puberty, the c h i l d i s an a r t i s t , albeit i n a c h i l d - l i k e way."^ 3

Whereas t h e c h i l d l e a r n e d through i m i t a t i o n b e f o r e t h e age o f seven, he/she

now longs f o r a n a t u r a l a u t h o r i t y , a t e a c h e r who i s him/herself an artist;

64
a " p e r s o n i f i c a t i o n of what i s good, t r u e and b e a u t i f u l . " The child, ac-
65
c o r d i n g t o S t e i n e r , needs t o f e e l t h a t h i s / h e r world is beautiful.

By a r t i s t i c , imaginative education, S t e i n e r meant t h a t the c h i l d was not

o n l y t o be i n v o l v e d a c t i v e l y i n the a r t s , but a l s o t h a t the n o n - i n t e l l e c -

t u a l p i c t o r i a l p r e s e n t a t i o n of m a t e r i a l by the t e a c h e r was required.

Through t h e a r t s m a t e r i a l can be presented t o the c h i l d which can be

u n d e r s t o o d on many d i f f e r e n t levels. F i x e d , f i n i s h e d concepts and rigid

i d e a s were t o be avoided from ages seven through f o u r t e e n , as, of course,

'Steiner, Essentials of Education. 40.

'Steiner, The R o o t s of Education. 66.

Steiner, Study of Man. 135.

 27

earlier. These images o r p i c t u r e s would be transformed, metamorphosed i n

l a t e r y e a r s t o more c o n c r e t e concepts.

J u s t as we p r o v i d e c h i l d r e n w i t h c l o t h i n g wide enough t o
a l l o w f o r t h e i r limbs t o grow f r e e l y , so should we as t e a c h e r s
respond t o t h e i r i n n e r needs by g i v i n g them content not o n l y
s u i t e d t o t h e i r p r e s e n t stage, but a l s o capable of f u r t h e r ex-
pansion. I f we g i v e the c h i l d concepts which are f i x e d and
f i n i s h e d , we do not a l l o w f o r t h i s i n n e r growth and m a t u r i t y .
T h e r e f o r e , a l l concepts which we i n t r o d u c e , a l l f e e l i n g s which
we invoke and a l l w i l l impulses which we g i v e , must be t r e a t e d
w i t h t h e same c a r e and f o r e s i g h t w i t h which we c l o t h e our c h i l -
66
dren's limbs.

S t e i n e r viewed t h i s phase of growth as a c r i t i c a l learning period. He felt

s t r o n g l y t h a t i f c h i l d r e n do not have the r i g h t k i n d of e d u c a t i o n , an

artistic e d u c a t i o n a t t h i s age, no amount of l e a r n i n g i n t h e f u t u r e can

compensate.

We must r e a l i z e : what can be developed between the ages o f

seven and f o u r t e e n can no l o n g e r be developed a t a l a t e r s t a g e .
The f o r c e s at work d u r i n g t h a t p e r i o d d i e away; L a t e r a l l t h a t
can a r i s e i s a s u b s t i t u t e . 6 7

W i t h i n t h i s p e r i o d of seven t o f o u r t e e n , another change t a k e s p l a c e w i t h i n

t h e c h i l d around t h e n i n t h year, i n Grade Three o r Four. Waldorf School

t e a c h e r s r e f e r t o t h i s t r a n s i t i o n as the " n i n t h year change."

At t h i s age, S t e i n e r a s s e r t e d t h a t the c h i l d begins t o move more con-

s c i o u s l y , w i t h more purpose. The c h i l d becomes more aware of h i s / h e r own

^Steiner, Soul Economy and Waldorf E d u c a t i o n . 125.

^ Rudolf
7
Steiner, Practical A d v i c e to Teachers, trans. Johanna C o l l i s (London: Rudolf Steiner

Press, 1976), 19.

 28

developing i n d i v i d u a l i t y . Before t h i s time, t h e c h i l d was more a t one w i t h

his/her surroundings. A f t e r " c r o s s i n g the Rubicon o f t h e n i n t h y e a r , " t h e

c h i l d sees h i m s e l f / h e r s e l f as an e n t i t y s e p a r a t e from h i s / h e r environment.

S t e i n e r b e l i e v e d t h a t a l t h o u g h around the age o f t h r e e , t h e c h i l d i s able

to say " I , " t h e ego does n o t d i f f e r e n t i a t e i t s e l f from i t s environment

u n t i l age n i n e . ® 6

Between the ages o f n i n e and t e n an important change t a k e s

p l a c e i n the c h i l d ' s l i f e . For t h e f i r s t time, he l e a r n s t o
d i s t i n g u i s h h i m s e l f from h i s s u r r o u n d i n g s i n t h e r i g h t way. We
can t h e n t e a c h him i n t h i s y e a r about l i f e t h a t i s independent
of man, the p l a n t s and t h e animals. I t i s r e a l l y something
tremendous t h a t happens i n the c h i l d ' s n a t u r e . . . . Something
happens i n the depths o f t h e c h i l d ' s s o u l . He becomes a d i f -
f e r e n t b e i n g . He l e a r n s how t o d i s t i n g u i s h h i m s e l f from t h e
w o r l d , not by means o f concepts, b u t i n h i s f e e l i n g s . 6 9

An important p h y s i o l o g i c a l t r a n s f o r m a t i o n h e r a l d s i n t h i s change.

B r e a t h i n g and b l o o d c i r c u l a t i o n , a c c o r d i n g t o S t e i n e r , b e g i n t o become

independent o f each o t h e r .

In a grown up person, the p u l s e beats are on an average

f o u r times as many as the b r e a t h s p e r minute. But t h i s normal
r e l a t i o n s h i p i n t h e human organism between t h e b r e a t h i n g and
t h e b l o o d rhythms must f i r s t be e s t a b l i s h e d i n t h e p e r i o d be-
tween the change o f t e e t h and p u b e r t y . And a l l e d u c a t i o n must
be so arranged t h a t the r e l a t i o n s h i p between t h e b r e a t h i n g and
b l o o d rhythms s u i t a b l e t o the majesty and development o f t h e
human organism may be s e t u p . ^ 7

6 8
Ibid, 110.

^'Rudolf Steiner, " E d u c a t i o n and the S c i e n c e of the S p i r i t , " E d u c a t i o n as an A r t , e d . P a u l M.

Allen (Btauvelt, New Y o r k : S t e i n e r Books, 1970), 41.

Steiner, The E s s e n t i a l s of Education. 54-55.

 29

Steiner relates t h e autonomy o f the b r e a t h i n g and b l o o d c i r c u l a t i o n systems

t o t h e development o f the f e e l i n g l i f e , o r a f f e c t i v e domain o f t h e c h i l d .

B r e a t h i n g and b l o o d c i r c u l a t i o n are the p h y s i c a l bases o f t h e

l i f e o f f e e l i n g j u s t as the head i s the b a s i s f o r mental im-
agery, f o r t h i n k i n g . With the change of t e e t h , the l i f e o f
f e e l i n g becomes l i b e r a t e d and t h e r e f o r e , a t t h i s stage one can
always r e a c h the c h i l d through the element o f f e e l i n g , p r o v i d e d
t h a t t h e t e a c h i n g m a t e r i a l i s a r t i s t i c a l l y attuned t o t h e
child's nature. 7

Hans E n g e l o f the C a m p h i l l Movement ( a n t h r o p o s o p h i c a l c u r a t i v e movement)

described t h i s t r a n s i t i o n i n the l i f e of the c h i l d as a r a t h e r d i f f i c u l t

milestone.

At t h i s age, he has t o l e a v e the wondrous c o n f i n e s o f t h e magic

w o r l d i n which he was so f u l l y a t home and which gave him t h i s
supremacy over h i s demanding, o r o f t e n denying, s u r r o u n d i n g
world. One can a l s o l i k e n t h i s s t e p t o a f a l l i n g from p a r a -
d i s i a c a l conditions. The c h i l d has t o r e o r i e n t a t e h i m s e l f com-
p l e t e l y , h i s l o n g i n g f o r the l o s t p a r a d i s e o n l y too o f t e n l e t s
him e x p e r i e n c e t h e new world around him as bare, naked, c r u e l
72
and u n d e s i r a b l e .

With t h i s change i n t h e c h i l d ' s organism, i n the b r e a t h i n g , t h e former har-

mony and u n i t y w i t h the world has been d i s t u r b e d . Engel b e l i e v e d t h a t o n l y

beauty can r e c o n n e c t him w i t h the world a g a i n . He must l e a r n t o b r e a t h e

73
again i n a d i f f e r e n t way.

71 S t e i n e r , Soul Economy and Waldorf Education. 156-157.

^ Hans Heinrich Engel, "Twelve Year O l d , " The Cresset: Journal of the Camphill Movement 17
2

(Winter 1970): 19.

^ I b i d , 21.
 30

S t e i n e r presumed t h a t from ages seven t o n i n e , from r o u g h l y Grade One to

Grade Three, the c h i l d s t i l l f e e l s at one w i t h t h e w o r l d . The t e a c h e r may

speak o f " p l a n t s , animals, mountains, r i v e r s and so on, i n t h e language of

74
f a i r y t a l e s , a p p e a l i n g above a l l t o the c h i l d ' s f a n t a s y . " The material
75

must be brought in "living, not dead p i c t u r e s . " In f a c t , S t e i n e r be-

l i e v e d t h a t i f t e a c h e r s make c h i l d r e n c o n s c i o u s of t h e d i f f e r e n c e between

t h e i n n e r w o r l d and the o u t e r world too e a r l y , an awareness the c h i l d r e -

c e i v e s o n l y a f t e r the " n i n t h year change," harm i s a c t u a l l y done t o the

76
c h i l d r e n because they are g i v e n r i g i d i n t e l l e c t u a l concepts too soon.

The foundation l a i d i n the e a r l y years of a c h i l d ' s education i s c r u c i a l

f o r h e a l t h y development. At puberty, around t h e age o f 14, i f the "will"

and " f e e l i n g " have been n u r t u r e d , and i f the p h y s i c a l , e t h e r i c , and astral

" b o d i e s " have been a l l o w e d t o develop unhindered, intellectual forces begin

t o awaken i n a wholesome manner. The a s t r a l body i s now free to a s s i s t i n

t h e development o f the ego.

. . . what has been developed i n p i c t u r e s between t h e change o f

t e e t h and puberty, and has become t h e p o s s e s s i o n o f the s o u l i n
an i n w a r d l y m u s i c a l , p l a s t i c sense, i n l i v i n g p i c t u r e s , i s t h e n
l a i d h o l d o f by the i n t e l l e c t . . . . the human b e i n g has p r e -
p a r e d what l i e s b e f o r e t h e age o f p u b e r t y i n h e a l t h y d e v e l o p -
ment, he has p r e p a r e d f o r the i n t e l l i g e n t u n d e r s t a n d i n g o f what
he a l r e a d y p o s s e s s e s . A l l t h a t he has taken h o l d o f i n p i c -
t u r e s r i s e s up i n t e l l i g i b l y from h i s own i n n e r w e l l - s p r i n g s . 7 7

'^Steiner, A Modern A r t of Education. 168.

^Steiner, " E d u c a t i o n and the S c i e n c e of the Spirit," 41.

7 6
Ibid, 40.

7 7
Steiner, The Essentials of Education. 77.
 31

S t e i n e r b e l i e v e d t h a t a young person educated i n t h e proper manner, g a i n s a

degree o f mastery o f h i m s e l f / h e r s e l f , o f :

freedom through t h e u n d e r s t a n d i n g o f h i s own b e i n g . True

freedom i s an i n n e r e x p e r i e n c e , . . . As a t e a c h e r , I must say
t o m y s e l f : I cannot impart freedom t o t h e human b e i n g ; he must
e x p e r i e n c e i t f o r h i m s e l f . But what I have t o do i s t o p l a n t
w i t h i n him something t o which h i s own b e i n g — t h i s I l e a v e
u n t o u c h e d — f e e l s a t t r a c t e d and i n t o which i t s i n k s
i t s e l f . . . . In r e v e r e n c e o f t h e Godhead i n every s i n g l e human
b e i n g , I have l e f t untouched those t h i n g s t h a t may o n l y be l a i d
h o l d o f by h i m s e l f . I educate e v e r y t h i n g i n t h e human b e i n g
except what belongs t o h i m s e l f , and then wait f o r h i s own b e i n g
t o l a y h o l d o f what I have brought f o r t h w i t h i n him. . . . I f I
g i v e an i n t e l l e c t u a l i s t i c e d u c a t i o n , b e f o r e puberty, i f I o f f e r
a b s t r a c t concepts o r ready-made, s h a r p l y - o u t l i n e o b s e r v a t i o n s
and n o t growing, l i v i n g p i c t u r e s , I am doing v i o l e n c e t o t h e
human b e i n g , I am l a y i n g b r u t a l hands upon t h e s e l f w i t h i n
him. 7 8

The young person wishes, a t t h i s stage, t o e x e r c i s e judgement. He/She i s

a b l e t o view t h e world i n a more o b j e c t i v e way, l i k e a s c i e n t i s t , and no

l o n g e r r e g a r d s h i s t e a c h e r s as unquestioned authorities. The t e a c h e r , a t

80
t h i s s t a g e , must convey t h e i d e a t o t h e student t h a t "The w o r l d i s t r u e . "

7 8
Ibid, 78.

7 9
Steiner, S t u d y of Man. 133.

8 0
Ibid, 136.
 32

In summary, here i s S t e i n e r ' s theory of c h i l d development:

TABLE I

STAGES OF CHILD DEVELOPMENT

0-7 7-14 14-21

w i l l i n g stage f e e l i n g stage t h i n k i n g stage

(psychomotoric) (affective) (cognitive)

a c t i v i t y of w i l l f e e l i n g nature t h i n k i n g predominant
predominant through predominant through t h r o u g h nerve/sense
met abo 1 i sm / movement r h y t h m i c / b l o o d system

c h i l d i s a l l "sense c h i l d i s "breathing" c h i l d grows i n t o

organ" " a l l head" chest/heart his/her limbs
(nerves r a d i a t e from
head)

b i r t h of p h y s i c a l at 7- f r e e i n g o f a t 14- f r e e i n g o f
body e t h e r i c body a s t r a l body
at 21- f r e e i n g o f ego

e t h e r i c body moulds a s t r a l body moulds ego moulds

physical physical/etheric physical/etheric/astr
al

c h i l d l e a r n s through c h i l d l e a r n s through c h i l d l e a r n s through

i m i t a t i o n and p l a y "natural authority" e x e r c i s i n g own
and a r t i s t i c a c t i v i t y judgement

to c h i l d "World i s t o c h i l d "World i s to c h i l d "World i s

moral" beautiful" true"

child i s religious child i s artistic child i s scientist

being
 33

E. Recapitulation

Another one o f S t e i n e r ' s important concepts about e d u c a t i o n i s that of

recapitulation. He b e l i e v e d t h a t t h e c h i l d r e c a p i t u l a t e s t h e s t a g e s o f

development o f humankind. In order t o educate p r o p e r l y , teachers must

choose m a t e r i a l and the a p p r o p r i a t e mode o f p r e s e n t a t i o n t o s u i t each phase

o f growth.

S t e i n e r b e l i e v e d t h a t t h e f o u r members o f t h e human b e i n g evolved in a

gradual c h r o n o l o g i c a l sequence. A t the advent o f each stage, humankind r e -

capitulated i t s previous development. The f i r s t stage o f t h e development

81
o f human c o n s c i o u s n e s s began with the p h y s i c a l b e i n g o f humankind. The
82 83
e t h e r i c o r l i f e body developed next, followed by the a s t r a l o r s o u l .

Humankind began t o r e c e i v e the "ego" or " I , " the i n d i v i d u a l i t y , i n t h e pre-

84

sent era. These b o d i e s c o n t i n u e t o d e v e l o p and t h e c h i l d i n h i s / h e r de-

velopment passes through t h e s e stages.

Ernest H e i n r i c h Haeckel (1834-1919), the German z o o l o g i s t who wrote two

major books, Anthropoqenesis (1874) and The R i d d l e o f the U n i v e r s e (1899)

and who g e n e r a t e d t h e "theory o f r e c a p i t u l a t i o n , " was most p r o b a b l y a g r e a t

i n f l u e n c e on S t e i n e r . Haeckel t h e o r i z e d t h a t each animal i n i t s embryonic

development r e c a p i t u l a t e s t h e stage o f t h e development o f t h e s p e c i e s . In

at l e a s t two sources, S t e i n e r quoted Haeckel's theory:

8 1
Steiner, Occult Science. 116-128.

8 2
Ibid, 128-137.

8 3
Ibid, 137-161.

8 4
Ibid, 161-186.
 34
"The s h o r t o n t o g e n e s i s o r development o f t h e i n d i v i d u a l i s a
r a p i d and b r i e f r e p e t i t i o n , an a b b r e v i a t e d r e c a p i t u l a t i o n o f
t h e l o n g p r o c e s s o f p h y l o g e n e s i s , t h e development o f t h e
species." ® 5 6

S t e i n e r s t a t e d t h a t i n e d u c a t i o n , r e c a p i t u l a t i o n must t a k e p l a c e i n a modi-

f i e d manner. The essence, t h e f e e l i n g , t h e a r c h e t y p e o f each s t a g e s o f de-

velopment must be e x p e r i e n c e d by t h e c h i l d .

. . . we s h a l l have t o remind o u r s e l v e s t h a t we must, i n a way,

t r a n s p o r t t h e c h i l d back i n t o e a r l i e r ages, though we cannot
proceed as though we were s t i l l i n those ages. People were
s i m p l y d i f f e r e n t then. Nowadays, you w i l l t r a n s p o r t t h e c h i l d
back t o t h e s e e a r l i e r c u l t u r a l ages w i t h q u i t e a d i f f e r e n t d i s -
p o s i t i o n o f s o u l and s p i r i t .

M.C. R i c h a r d s e x p l a i n e d how t h i s r e c a p i t u l a t i o n o f t h e s t a g e s o f humankind

i s accomplished i n t h e Waldorf School. The c h i l d l e a r n s t o p a i n t and t o

w r i t e b e f o r e he/she i s i n t r o d u c e d t o w r i t i n g . The c u r r i c u l u m a l s o f o l l o w s

t h e u n f o l d i n g o f human c o n s c i o u s n e s s , from t h e f a i r y t a l e s t o r i e s i n Grade

88
One t o c u r r e n t events i n high school.

° Rudolf
s
Steiner, The R i d d l e s of P h i l o s o p h y , trans, authorized by Rudolf Steiner

Nachlassverwaltung (Spring Valley, New Y o r k : Anthroposophic Press, 1973), 301.

^Rudolf Steiner, Three Essays on Haeckel a n d Karma, e d . Max G y s i (London: Theosophical

Publishing Society, 1914), 82.

^Steiner, Practical Advice to Teachers. 18.

88Ma r y C a r o l i n e R i c h a r d s , Toward W h o l e n e s s : Rudolf Steiner Education i n America (Middletown,

Connecticut: Wesleyan University Press, 1960), 70.

 CHAPTER I I I

RATIONALE FOR AESTHETIC EDUCATION

A. U n i t y o f S c i e n c e , A r t , and R e l i g i o n

S t e i n e r contended t h a t humankind r e q u i r e d a r t i s t i c e x p r e s s i o n t o c o u n t e r

the rational, s c i e n t i f i c t h i n k i n g which he b e l i e v e d had dominated t h e west-

ern w o r l d s i n c e t h e f i f t e e n t h c e n t u r y , and which he f e l t was d e s t i n e d t o

r u l e the twentieth century. To o f f s e t t h i s tendency toward intellectual-

ism, S t e i n e r was adamant t h a t c h i l d r e n s h o u l d be o f f e r e d an a r t i s t i c educa-

t i o n which s t r e s s e d a r e v e r e n c e f o r l i f e . In a l e c t u r e e n t i t l e d Nature and

89

Origin of the Arts, S t e i n e r r e l a t e d a p a r a b l e which i l l u s t r a t e d hu-

mankind's need f o r a r t .

S t e i n e r d e s c r i b e d a b e a u t i f u l sunset above a snow-covered landscape o f

f r o z e n l a k e s and streams, i c i c l e s hanging from bushes and t r e e s . As two

women w i t n e s s e d t h e beauty o f t h e sunset, a messenger from t h e s p i r i t u a l

w o r l d emerged from t h e glow o f t h e sunset, a p p r o a c h i n g t h e two women, lis-

t e n i n g t o t h e i r thoughts and f e e l i n g s . One woman s h i v e r e d from t h e c o l d i n

d e s p a i r , b u t t h e o t h e r woman was warmed by t h e s t a r k beauty o f t h e sunset

and t h e s t a r k f r o z e n wasteland.

At l a s t , t h e two women f e l l i n t o a deep s l e e p . The messenger o f t h e sunset

approached t h e woman who was a b l e t o e x p e r i e n c e t h e beauty o f t h e s u n s e t ,

and announced "You a r e A r t . " In t h e n i g h t , s p i r i t u a l forms came near t o

89
Rudolf Steiner, "Nature and O r i g i n of the A r t s , " Golden Blade 31 (1979), 79-91.

35
 36

her and asked t o be t r a n s f o r m e d . The sense o f movement was t r a n s f o r m e d

i n t o t h e A r t o f Dance, t h e sense o f v i t a l i t y into the Art of Sculpture, the

sense o f form i n t o t h e A r t o f A r c h i t e c t u r e , t h e sense o f s i g h t into the Art

of Painting.

Another form approached her, a b e i n g without p h y s i c a l f o r m — I n s p i r a t i o n .

The woman transmuted t h i s b e i n g i n t o t h e A r t o f Music. The b e i n g was

g r a t e f u l and spoke t h e s e words:

From t h e human s o u l , t h e r e w i l l flow a r e f l e c t i o n o f t h e t r i c k -

l i n g o f a s p r i n g , o f t h e power o f t h e wind, o f t h e sound o f
t h u n d e r — n o t a r e p r e s e n t a t i o n o f t h i s but something t h a t meets
l i k e a s i s t e r a l l t h e s e splendours o f nature which appear from
unknown depths o f t h e s p i r i t . T h i s w i l l s p r i n g up from t h e
s o u l s o f men. Thus human beings w i l l be a b l e t o c r e a t e
something which e n r i c h e s t h e e a r t h , and q u i t e new t o i t . . . .
I t w i l l be a seed f o r t h e f u t u r e upon t h e e a r t h . . . . Through
you, . . . f e e l i n g s , f o r which a concept i s t h e u l t i m a t e enemy,
w i l l f i n d e x p r e s s i o n on wings o f songs and b r e a t h e t h e s o u l ' s
innermost b e i n g i n t o t h e environment, g i v i n g i t t h e impress o f
something t h a t c o u l d not o t h e r w i s e e x i s t . ^ 9

F i n a l l y , another f o r m l e s s b e i n g approached her, t h e S p i r i t of Will, which

t h e woman changed i n t o t h e A r t o f P o e t r y .

At dawn, when t h e woman awoke from her dream, she saw t h e o t h e r woman l y i n g

b e s i d e her, almost f r o z e n from t h e b i t t e r c o l d . The woman who had been

warmed by t h e sunset r e a l i z e d t h a t t h e o t h e r woman was "Human Knowledge,"

who had not been a b l e t o e x p e r i e n c e beauty and was thus p e r i s h i n g from t h e

cold. " A r t " c a r e d f o r "Human Knowledge" and p r o t e c t e d h e r from t h e e l e -

ments. In h e r s a f e k e e p i n g , "Human Knowledge" grew warm.

90
Ibid, 8 8 .
 37

She now u n d e r s t o o d t h a t she would have t o r e s c u e the s c i e n c e

t h a t had become h a l f f r o z e n , she l e a r n e d t h a t she had t o warm
i t and permeate i t w i t h a l l t h a t she had h e r s e l f become:
b r i n g i n g f i r s t what she was as A r t , and w i t h i t e v e r y t h i n g t h a t
she had passed through d u r i n g the n i g h t — t o the s c i e n c e which
was h a l f f r o z e n . And she observed how, w i t h the speed of the
wind, what has been h a l f f r o z e n can r e t u r n t o l i f e when s c i e n c e
91
t a k e s what she can g i v e i n t o i t s knowledge.

S t e i n e r ended the p a r a b l e w i t h Goethe's words: "Only through the dawn of

92
beauty w i l l you f i n d the realm of t r u t h . " Easton i n h i s i n t e r p r e t a t i o n

of the p a r a b l e , s t a t e d "Knowledge i t s e l f i s condemned t o a frozen

93
u n f r u i t f u l n e s s f o r human life."

In another l e c t u r e , "The M i s s i o n of A r t , " S t e i n e r suggested t h a t his

c o n t e m p o r a r i e s saw s c i e n c e as a d i s c i p l i n e a d h e r i n g t o s t r i c t laws o f

logic, and a r t as a d i s c i p l i n e which c a t e r e d o n l y t o the whims o f feeling.

The p r e v a i l i n g view, he thought, was that " t r u t h and beauty have n o t h i n g in

common." In S t e i n e r ' s view, a r t s p r i n g s from the same s o u r c e as knowl-

94

edge. S t e i n e r c o n c u r r e d w i t h Goethe who believed that "beauty i s a mani-

f e s t a t i o n of n a t u r e ' s s e c r e t laws, which would o t h e r w i s e remain forever

95
hidden." Through a r t , one i s able to penetrate beyond the v i s i b l e to

9 1
Ibid, 90-91.

9 2
Ibid, 91.

9 3
Easton, 217.

9 4
Rudolf Steiner, The Metamorphoses of the Soul, trans. C. D a v y and C. von Arm'm (London:

Rudolf Steiner Press, 1983, 116.

9 5
Ibid, 117.
 38

perceive the inherent c r e a t i v e f o r c e s , "to r e c r e a t e , w i t h l i v i n g formative

f o r c e , what t h e cosmos c r e a t e d first." 9 6

S t e i n e r m a i n t a i n e d t h a t a r t and c r e a t i v i t y would not o n l y supplement ab-

s t r a c t knowledge, but t h a t t h e combination would "produce a r e l i g i o u s

97

mood." Not o n l y d i d S t e i n e r advocate a union o f a r t and s c i e n c e (human

knowledge), b u t a f u s i o n o f a r t and r e l i g i o n . S t e i n e r agreed w i t h Goethe

t h a t humankind no l o n g e r sensed the c o n n e c t i o n o f a r t t o the s p i r i t u a l . In

f a c t , S t e i n e r noted t h a t t h e importance o f a r t i s t i c a c t i v i t y had l e s s e n e d

and t h a t even an a v e r s i o n t o t r u e a r t was p r e v a l e n t . A r t was n o t seen t o

be e s s e n t i a l t o t h e human b e i n g . "Gradually," Steiner stated, "the

conception has a r i s e n t h a t a r t i s something which does not n e c e s s a r i l y

98
b e l o n g t o l i f e , b u t i s added t o i t as a k i n d o f l u x u r y . "

S t e i n e r s t a t e d t h a t a t one time, i n the f a r d i s t a n t past, science, a r t , and

religion ( t o which S t e i n e r r e l a t e d the f u n c t i o n s o f t h e s o u l — t h i n k i n g ,

f e e l i n g , and w i l l i n g , r e s p e c t i v e l y — w e r e one, each i n the s e r v i c e o f t h e

other. A r t , s c i e n c e and r e l i g i o n e x i s t e d as a "combination o f a r t insti-

t u t e , c h u r c h and s c h o o l . " Words spoken by the p r i e s t were information,

99
knowledge, r e l i g i o u s r i t u a l , and r e v e l a t i o n , supported by the artistic.

'^Rudolf Steiner, Arts and T h e i r M i s s i o n , trans. L i s a D . Monges a n d V i r g i n i a Moore (Spring

Valley, New Y o r k : The A n t h r o p o s o p h i c P r e s s , 1986), 91.

9 7
Ibid, 98-99.

9 8
Ibid, 15.

" i b i d , 83.
 39

Later, i t was necessary, Steiner declared, f o r humankind t o e x p e r i e n c e

these d i s c i p l i n e s separately. However, i n d o i n g so, humankind gradually

l o s t the connection among the t h r e e . 1 0 0

S t e i n e r f e l t t h a t s c i e n c e had be-

come c o l d and rigid. Art, divorced from the s p i r i t u a l had evolved into ex-

p r e s s i o n w i t h o u t purpose. R e l i g i o n , unsupported by a r t o r s c i e n c e , had de-

g e n e r a t e d i n t o an empty r i t u a l , without substance or beauty. Not t o con-

s i d e r t h e w o r l d as a u n i t y of a r t , s c i e n c e , and religion i s t o deny p a r t of

t h e wholeness o f human nature and e x p e r i e n c e — t h e u n i t y of feeling,

thinking, willing. S t e i n e r committed h i m s e l f to a r e c o n c i l i a t i o n of a r t ,

science, and religion. Marie S t e i n e r s t a t e d t h a t " i t was for this [union

of a r t , science, and r e l i g i o n ] Rudolf S t e i n e r worked among u s . " 1 0 1

Art, i n S t e i n e r ' s view, was d e s t i n e d t o b r i d g e the gap between s c i e n c e (the

m a t e r i a l world) and religion (the s p i r i t u a l w o r l d ) . S t e i n e r argued t h a t

a r t must s t a n d i n our civilization Vbeside r e a l knowledge on one hand, and

102

on t h e o t h e r , genuine r e l i g i o u s l i f e . " S t e i n e r s t a t e d t h a t the t a s k of

art i s " t o c a r r y the s p i r i t u a l d i v i n e i n t o the e a r t h l y ; t o f a s h i o n the lat-

t e r i n such a way t h a t i t s forms, c o l o r s , words, t o n e s , a c t as a r e v e l a t i o n

103

o f t h e w o r l d beyond." The t r u l y s p i r i t u a l cannot be r e a c h e d merely by

t h i n k i n g or by r e l i g i o u s f e e l i n g . A r t g i v e s humankind the a c t i v e means of

1 0 0
Ibid, 64.

^Marie Steiner, introduction to Art As Seen in the Light of M y s t e r y Wisdom, by Rudolf

Steiner, trans. P a u l i n e W e h r l e and Joanna C o l l i s (London: Rudotf S t e i n e r Press, 1984), 1.

^ Rudolf
2
Steiner, The Arts and their Mission. 43.

1 0 3
Ibid, 45.
 40

forming a r e l a t i o n s h i p t o the s p i r i t u a l - d i v i n e as w e l l as t h e p h y s i c a l -

earthly. 1 0 4

S t e i n e r f e l t t h a t t h i s c o n n e c t i o n of a r t i s t i c e x p r e s s i o n t o t h e spiritual

was e s p e c i a l l y l a c k i n g i n t h i s age because of the emphasis on dead concepts

105
and m a t e r i a l i s m . Humankind must r e t u r n t o the a r t s f o r r e j u v e n a t i o n .

A r t , always a daughter of the d i v i n e , has become e s t r a n g e d

from her p a r e n t . I f i t f i n d s i t s way back t o i t s o r i g i n s , and
i s a g a i n accepted by the d i v i n e , then i t w i l l become what i t
s h o u l d w i t h i n c i v i l i z a t i o n w i t h i n world-wide c u l t u r e ; a boon
for mankind. 1 0 6

Because t h e c h i l d r e n are h a r b i n g e r s of the f u t u r e , t h e s c h o o l s , i n

S t e i n e r ' s view, were t o be the v e h i c l e f o r t h i s t r a n s f o r m a t i o n of culture.

Our c i v i l i z a t i o n w i l l never r e c e i v e an impulse o f a s c e n t u n t i l

more a r t i s i n t r o d u c e d i n t o the s c h o o l s . Not o n l y must t h e
whole t e a c h i n g be permeated w i t h t h e a r t i s t i c , but a l i v i n g
u n d e r s t a n d i n g of a r t s , c a l l e d i n t o b e i n g by the t e a c h e r ' s own
c r e a t i v e power, must s e t up a c o u n t e r - b a l a n c e t o a l l p r o s a i c
c o n c e p t i o n s of nature and of h i s t o r y . 1 0 7

In another source, S t e i n e r s t a t e d , i n 1924, t h e year b e f o r e he d i e d , t h a t

an a r t i s t i c approach t o e d u c a t i o n , e s p e c i a l l y between t h e change o f t e e t h

1 0 4
lbid.

1 0 5
Ibid, 84

1 0 6
Ibid, 116.

1 0 7
Steiner, A Modern A r t of Education. 194-195.
 41

and p u b e r t y had t o be the f o c u s o f any b a s i c change i n the e d u c a t i o n o f

children. 1 0 8

S t e i n e r r e g r e t t e d t h a t European s c h o o l s i n h i s time d i d not s t r e s s a feel-

ing f o r beauty. S t e i n e r charged t h a t i t was o f utmost importance t o g i v e

the c h i l d a sense o f beauty and wonder e s p e c i a l l y b e f o r e h i s / h e r ninth

year. He i n s i s t e d t h a t the c h i l d a c t i v e l y seeks t h i s and e x p e c t s t h e w o r l d

to demonstrate beauty. The l i t t l e c h i l d e n t e r i n g s c h o o l "would so g l a d l y

admire and wonder, but t h e power t o admire and wonder has been k i l l e d i n

him." T h i s type of education, according to Steiner, leads t o a f e e l i n g of

emptiness and a l i e n a t i o n , a l a c k of s e l f - u n d e r s t a n d i n g .

I t i s i n d e e d a s t r i k i n g c h a r a c t e r i s t i c of our t i m e s , t h a t peo-
p l e f i n d n o t h i n g i n l i f e , and a l l because they have not l e a r n e d
as c h i l d r e n t o f i n d l i f e l o v e l y and b e a u t i f u l . They keep l o o k -
ing a l l t h e time f o r something t h a t s h a l l i n c r e a s e t h e i r knowl-
e d g e — i n t h e most narrow and b a r r e n sense o f the word. They
f a i l t o f i n d t h e hidden s e c r e t beauty t h a t i s everywhere around
them, and so l o s e g r a d u a l l y , a l l c o n n e c t i o n w i t h l i f e . 1 0 9

With t h e i n t e l l e c t , Nature i s but understood. Only by a r t i s t i c

f e e l i n g i s she made l i v i n g e x p e r i e n c e . The c h i l d who i s
brought up t o u n d e r s t a n d i n g , r i p e n s t o " a b i l i t y " i f u n d e r s t a n d -
ing i s imbued w i t h l i f e ; but the c h i l d who i s brought up t o A r t
w i l l r i p e n t o c r e a t i v e work. In h i s a b i l i t y , h i s f a c u l t i e s , a
man g i v e s h i m s e l f f o r t h ; i n c r e a t i v e work he grows by h i s own
faculties. 1 1 0

1 u a
S t e i n e r , The E s s e n t i a l s of Education. 41.

^ ' R u d o l f S t e i n e r , Supplementary Course--The Upper School (Michael H a l l , Forest Row, Sussex:

1965), 9 .

110
R u d o l f S t e i n e r , "Education and A r t , " 2.
 42
B. Importance of P e r f o r m i n g and Plastic Arts

A r t i s t i c expression permeates the e n t i r e c u r r i c u l u m of the Waldorf School.

(See Appendix B.) S t e i n e r intended that teachers g i v e meaning and context

t o e v e r y s u b j e c t through the a r t s . S t e i n e r deduced " . . . i f the world be

a work of a r t : then we must apprehend i t a r t i s t i c a l l y , not logically." 1 1 1

Thus, i n Waldorf Schools, the c h i l d r e n make and i l l u s t r a t e t h e i r own text-

books. P a i n t i n g , modelling, music, r e c i t a t i o n , movement, drama, are taught

as s e p a r a t e s u b j e c t s , but are o f t e n employed i n any l e s s o n from Grade One

t o Twelve t o connect the c h i l d i n an a r t i s t i c manner t o the subject matter

studied. In a d d i t i o n , a r c h i t e c t u r e i s p r a c t i c e d as "house-building" in

Grade Three, and l a t e r reintroduced i n a t h r e e or f o u r week b l o c k i n Grade

Twelve. The wide range of a r t i s t i c a c t i v i t i e s i s o f f e r e d t o educate the

"whole c h i l d . "

Schopenhauer arranged the a r t s i n a h i e r a r c h y . S t e i n e r ' s arrangement of

t h e a r t s demonstrates the r e l a t i v e r e l a t i o n s h i p o f the a r t s . Steiner's or-

der b e g i n s w i t h the a r t form, a r c h i t e c t u r e , which S t e i n e r b e l i e v e d had

112

"become most separated from the human b e i n g as a whole." At the end of

the list are a r t forms which r e l a t e more t o the inner l i f e o f the human be-

ing. Steiner placed the p h y s i c a l , s t a t i c , p l a s t i c a r t s , t h o s e which e x i s t

in space, such as a r c h i t e c t u r e , s c u l p t u r e , and p a i n t i n g on one end of the

scale. On the o t h e r end o f the s c a l e , S t e i n e r l i s t e d the l e s s t a n g i b l e

a r t s , t h o s e which t a k e p l a c e i n time, such as music, p o e t r y , and eurythmy.

Eurythmy, performed i n both time and space, was positioned last. However,

^ S t e i n e r , S p i r i t u a l Ground of Education. 28.

^ S t e i n e r , Art As Seen in the Light of Mystery Wisdom. 31.

2
 43

some a n t h r o p o s o p h i s t s s p e c u l a t e d that Steiner implied that i n the future,

an a r t form, y e t unnamed, w i l l emerge t o complete the s c a l e . Virginia

Sease o f t h e V o r s t a n d d e c l a r e d t h a t t h i s a r t form " w i l l i n v o l v e t h e higher

113

aspect of s o c i a l r e l a t i o n s h i p s . " Rene Querido of the R u d o l f Steiner

College i n F a i r Oaks, C a l i f o r n i a , r e f e r r e d to t h i s a r t form as

"Brotherhood." 1 1 4

A l t h o u g h i t seems t h a t a r c h i t e c t u r e should perhaps be p l a c e d on the bottom

o f the s c a l e and "brotherhood" at the top, S t e i n e r ranked the a r t s i n t h i s

manner i n h i s l e c t u r e "Impulses of T r a n s f o r m a t i o n f o r Man's A r t i s t i c Evolu-

tion. "

P h y s i c a l body
Architecture

E t h e r i c body
Sculpture

Astral Body
Painting

Ego
Music

Spirit-Self
Poetry

Life-Spirit
115

(Spirit-Man) Eurythmy

(Brotherhood)

"^Virginia Sease, Singing workshop, Dornach, Switzerland, April 1986.

^ Rene
4
Querido, lecture, Fair Oaks, California, F e b r u a r y 1A, 1988.

1 1 5
Ibid, 39.
 44

The arrangement has a l s o be i n t e r p r e t e d i n t h i s manner:

Music

Painting Poetry

Sculpture Eurythmy

Architecture 1 1 6
(Brotherhood)

STATIC ARTS TIME ARTS

Just as S t e i n e r wished f o r a b a l a n c e o f a r t , s c i e n c e , and r e l i g i o n and o f

the a c t i v i t i e s of thinking, f e e l i n g , and w i l l i n g , he i m p l i e d t h a t t h e r e be

a balance i n the curriculum between those p e r f o r m i n g a r t s which t a k e place

i n t i m e — m u s i c , eurythmy, and p o e t r y — a n d the p l a s t i c , static arts—

painting, sculpture, architecture. The p e r f o r m i n g a r t s , S t e i n e r designated

as " D i o n y s i a n " and the p l a s t i c a r t s as " A p o l l o n i a n . "

A D i o n y s i a n element i r r a d i a t e s , as i t were, t h e music-speech

i n s t r u c t i o n , w h i l e we have more o f an A p o l l o n i a n element i n
117
t e a c h i n g the p l a s t i c a r t s , p a i n t i n g and drawing.

" D i o n y s i a n " r e f e r r e d t o the q u a l i t y o f D i o n y s i u s , t h e god o f wine, who r e p -

118
resents social influence. "Apollonian", r e f e r r e d t o the q u a l i t y o f

Apollo, t h e sun god, son o f Zeus, the god o f music, a r c h e r y , and r e v e l a -

119

tion. Steiner spoke o f the these p o l a r i t i e s as images. Even though

1 1 6
L. Eterman, unpublished interviews, 1988-1990, 92.

^^Steiner, Balance i n Teaching. 21.

1 1 8
Thomas Bulfinch, B u l f i n c h ' s M y t h o l o g y (New Y o r k : A v e n e l Books, 1978), 8.

1 1 9
lbid, 6.
 45

A p o l l o was t h e god o f music, he a l s o r e p r e s e n t e d l i g h t , c l a r i t y o f t h i n k -

ing, the forces of orderliness. D i o n y s i u s symbolized i r r a t i o n a l i t y , the

force of f i r e . ^ 1 0

S t e i n e r c a u t i o n e d t h e t e a c h e r s t o b a l a n c e t h e A p o l l o n i a n and D i o n y s i a n ele-

ments w i t h i n t h e c h i l d when t e a c h i n g music. S t e i n e r s t a t e d "The educa-

tional i n f l u e n c e we e x e r t by u s i n g t h e m u s i c a l element must c o n s i s t in a

c o n s t a n t harmonizing by t h e A p o l l o n i a n element o f t h e D i o n y s i a n element

121
w e l l i n g up out o f man's n a t u r e . "

S t e i n e r b e l i e v e d t h a t t h e s c u l p t u r a l - p i c t o r i a l elements i n e d u c a t i o n f o s -

122

t e r e d i n d i v i d u a l i t y and t h e m u s i c - p o e t i c stream promoted socialization.

Through t h e p l a s t i c a r t s , S t e i n e r contended, t h e c h i l d l e a r n s t o know

h i m / h e r s e l f , but through music and p o e t r y , t h e c h i l d i s more a b l e t o

experience and t o e n t e r i n t o t h e f e e l i n g s o f o t h e r s . Steiner described the

e x p e r i e n c e o f t h e s e two p o l a r i t i e s :

Human b e i n g s a r e brought t o g e t h e r as one through music and po-

e t r y ; they become i n d i v i d u a l s through s c u l p t u r e and p a i n t i n g .
The i n d i v i d u a l i t y i s supported more by t h e s c u l p t u r a l , p i c t o -
r i a l element, and s o c i e t y more by t h e l i v i n g and weaving i n
community through music and p o e t r y . Poetry i s c o n c e i v e d out o f
t h e s o l i t u d e o f t h e s o u l — t h e r e a l o n e ; and i t i s comprehended
through t h e community o f mankind. I t i s e n t i r e l y c o n c r e t e , not
a t a l l a b s t r a c t , t o a s s e r t t h a t w i t h t h e p o e t r y a man c r e a t e s
he r e v e a l s h i s i n n e r b e i n g and t h a t t h i s i s met by t h e deepest
i n n e r b e i n g o f another human b e i n g when t h e l a t t e r t a k e s i n t h e

^Rene Querido, lecture. F a i r Oaks, California, F e b r u a r y 14, 1988.

^Steiner, Practical Advice to Teachers. 47-48.

1 2 2
Ibid, 49.
 46
c r e a t e d work. T h e r e f o r e d e l i g h t i n music and p o e t r y and a l s o
y e a r n i n g f o r them should be encouraged i n t h e growing c h i l d . 123

The c h i l d who models o r p a i n t s , however clumsily, awakens by

t h i s a c t i v i t y t h e soul-man i n h i m s e l f . The c h i l d who i n t r o -
duced t o Music and t o Poetry, f e e l s how t h e human nature i n him
i s t a k e n h o l d o f by an i d e a l element o f soul. To h i s own human
124
n a t u r e he r e c e i v e s another.

The draftsman, t h e s c u l p t o r , must work more out o f h i s i n n e r

f a c u l t i e s , t h e m u s i c i a n more out o f h i s d e v o t i o n t o t h e
world. 1 2 5

In t h e s c u l p t u r a l , p i c t o r i a l realm we look a t beauty, we l i v e

i t , whereas i n t h e m u s i c a l realm we o u r s e l v e s become b e a u t y . 1 2 6

1 2 3
Ibid.

^ 2 4
Rudolf Steiner, " E d u c a t i o n and A r t , " 2.

l 2
^Steiner, Balance in Teaching. 27.

l 2
^steiner. Practical Advice to Teachers. 52.
 CHAPTER IV

RATIONALE FOR MUSIC EDUCATION

A. The S p i r i t u a l Nature o f Music

S t e i n e r b e l i e v e d t h a t music i s an e x p r e s s i o n o f t h e s p i r i t u a l w o r l d , t h e

t r u e home o f e v e r y human b e i n g . S t e i n e r p o s i t e d t h a t t h e human b e i n g expe-

r i e n c e d t h e "music o f t h e spheres" i n dream l i f e , p a s s i n g t h r o u g h an "ocean

127
of t o n e s " b e f o r e awakening. S t e i n e r p r o f e s s e d t h a t t h e composer or per-
128
former t r a n s p o s e s t h i s music i n t o p h y s i c a l tone.

In music, man f e e l s t h e echoes of t h e element t h a t weaves

and l i v e s i n t h e innermost c o r e o f t h i n g s , which i s c l o s e l y r e -
l a t e d t o him. When t h e human b e i n g hears music, he has a sense
of w e l l - b e i n g , because t h e s e t o n e s harmonize w i t h what he has
129
e x p e r i e n c e d i n t h e world of h i s s p i r i t u a l home.

Out o f music, t h e most p r i m o r d i a l k i n s h i p speaks t o t h e s o u l ;

i n most i n w a r d l y deep sense, sounds o f home rebound from i t .
From t h e s o u l ' s p r i m e v a l home, t h e s p i r i t u a l w o r l d , t h e sounds
o f music a r e borne a c r o s s t o us and speak c o m f o r t i n g l y and en-
c o u r a g i n g l y t o us i n s u r g i n g melodies and h a r m o n i e s . 1 0

Steiner b e l i e v e d that the true a r t i s t maintains that:

^'Rudolf Steiner, The I n n e r N a t u r e of Music and the E x p e r i e n c e of Tone, ed. Alice Wulsin,

trans. Maria St. Goar (Spring Valley, New Y o r k : Anthroposophic Press, 1983), 18.

1 2 8
Ibid, 5.

1 2 9
Ibid, 9.

1 3 0
Ibid, 21.

47
 48

When t h e tones of the o r c h e s t r a sound t o me, i t i s as i f I

heard t h e speech o f a r c h e t y p a l music whose tones sounded b e f o r e
t h e r e were y e t human e a r s t o hear them. He can say t o o : In
t h e t o n e s o f a symphony t h e r e l i e s a knowledge of h i g h e r worlds
which i s l o f t i e r and more s i g n i f i c a n t than a n y t h i n g which can
be proved by l o g i c , analyzed i n c o n c l u s i o n s . 1 1

S t e i n e r c o n c u r r e d w i t h Schopenhauer's i d e a t h a t the t r u e a r t i s t does not

merely copy t h e o b j e c t s from the p h y s i c a l world, but "reproduces

132
archetypes." These archetypes, S t e i n e r belxeved, were images of t h e

will. However, a c c o r d i n g t o S t e i n e r , tone i s not an image of t h e w i l l , but

"a d i r e c t e x p r e s s i o n of t h e w i l l , i t s e l f , without i n t e r p o l a t i o n of the men-

133

tal image." S t e i n e r d e c l a r e d t h a t w h i l e music i s the " e x p r e s s i o n o f

w i l l o f n a t u r e , " o t h e r a r t forms are merely "expression of the i d e a of na-

ture." 1 3 4
Because t h e a r t of music i s the d i r e c t e x p r e s s i o n o f t h e w i l l of

t h e w o r l d , music, i n S t e i n e r ' s view, has the power t o p r o f o u n d l y a f f e c t the

135
human s o u l .

The m u s i c i a n hears the p u l s e of the d i v i n e w i l l t h a t f l o w s

t h r o u g h t h e world; he hears how t h i s w i l l expresses i t s e l f i n
tones. The m u s i c i a n thus stands c l o s e r t o t h e h e a r t of t h e
136
world than a l l other a r t i s t s .

E l l y Wilke, an a n t h r o p o s o p h i c a l w r i t e r , c l a i m e d t h a t the myth o f Orpheus

r e v e a l e d t h e mystery o f music and i t s r e l a t i o n s h i p t o t h e s p i r i t u a l world.

^Rudolf Steiner. The I n f l u e n c e of Spiritual B e i n g s Upon H a n , trans, a u t h o r i z e d by Rudolf

Steiner Nachlassverwaltung (Spring Valley, New York: Anthroposophic Press, 1982), 186.

^ 3 2
Steiner, Inner N a t u r e of M u s i c and the E x p e r i e n c e of Tone. 2-3.

1 3 3
Ibid.

1 3 4
Ibid, 13.

1 3 5
Ibid.

1 3 6
Ibid.
 49

Orpheus was t h e son o f A p o l l o , and knew t h e music o f the heavens. Sent t o

e a r t h , he was f o r c e d t o l e a v e E u r y d i c e behind. Eurydice represented that

p a r t o f the human s o u l , remaining i n the heavens, which i s too pure t o en-

ter into material l i f e . Orpheus, e x i l e d , longed t o be r e u n i t e d w i t h Eury-

d i c e , r e u n i t e d w i t h t h e s p i r i t u a l world. Music, Wilke a s s e r t e d , i s t h e r e -

f l e c t i o n o f t h i s d i v i n e world. A l o n g i n g f o r t h i s union w i t h t h e d i v i n e i s

137
i n h e r e n t i n every human b e i n g .

B. M u s i c a l Nature o f the C h i l d (Age 7-14)

S t e i n e r b e l i e v e d t h a t every c h i l d i s innately musical.

Man's n a t u r e , we s h a l l f i n d , i s such t h a t he i s i n a way, a

138
born m u s i c i a n .

E v e r y h e a l t h y c h i l d i s i n w a r d l y deeply m u s i c a l . We have o n l y
t o c a l l upon t h i s m u s i c a l i t y by makincj^use of the c h i l d ' s natu-
r a l l i v e l i n e s s and sense o f movement. L39*

S t e i n e r assumed t h a t a l l n a t u r a l forms are imbued with a hidden music which

he termed "the music o f the spheres." He s t a t e d , "Every p l a n t , e v e r y ani-

mal, a c t u a l l y i n c o r p o r a t e s a tone of the music of the spheres. The forms

^ E l l y Wilke, "Musical Development in the H i s t o r y of M a n k i n d , " P r e s e n t Age 1: (June 1936) 26-

31.

l 3 8
Steiner, Practical A d v i c e to Teachers. 20.

^'Rudolf Steiner, Human V a l u e s in Education, trans. Vera Compton-Burnett (London: Rudolf

Steiner Press, 1971), 77.

 50

of t h e human body a l s o c a r r y t h i s 'music o f t h e s p h e r e s . ' " The c h i l d un-

consciously absorbs t h i s music i n t o h i s / h e r o r g a n i s m . 1 4 0

Steiner stated

t h a t t h e c h i l d ' s p h y s i c a l c o n s t i t u t i o n was impacted by t h e s e m u s i c a l forces

o f n a t u r e , e s p e c i a l l y from age 7 - 1 4 . 1 4 1
Steiner advised that teachers fos-

ter i n t h e c h i l d an understanding of how "something c r e a t i v e l i e s i n music,

something t r a n s c e n d i n g nature, . . . " The c h i l d must f e e l t h a t he/she

142
"shares i n t h e c r e a t i o n of nature when he [she] d e v e l o p s music."

S t e i n e r claimed that the c h i l d him/herself was a m u s i c a l instrument, c r e -

143

ated and tuned by t h e f o r c e s o f t h e a s t r a l body. From t h e change o f

t e e t h t o p u b e r t y , S t e i n e r contended, t h e a s t r a l body was s t i l l held within

the p h y s i c a l and e t h e r i c bodies, permeating t h e c h i l d ' s b e i n g with musical-

ity. 1 4 4
The a s t r a l body, S t e i n e r d e c l a r e d , can o n l y be comprehended by an

u n d e r s t a n d i n g o f t h e elements of music.

J u s t as t h e e t h e r i c body works out o f cosmic s c u l p t u r e , t h e a s -

t r a l body works out of cosmic music, cosmic m e l o d i e s . The o n l y
t h i n g t h a t i s e a r t h l y about t h e a s t r a l body i s t h e time, t h e
m u s i c a l measure. Rhythm and melody come d i r e c t l y from t h e c o s -
145
mos, and t h e a s t r a l body c o n s i s t s o f rhythm and melody.

At t h e change o f t e e t h , the a s t r a l body, a c c o r d i n g to Steiner, begins t o

forge i t s connection t o the p h y s i c a l body. At t h i s time, S t e i n e r con-

^Steiner, B a l a n c e of Teaching. 19.

l 4 l
Steiner, Human V a l u e s in Education. 77.

^ 4 2
Steiner, Practical Advice to Teachers. 54.

^Steiner, The E s s e n t i a l s of Education. 59.

^Steiner, Human V a l u e s in Education. 77.

^Steiner, The R o o t s o f Education. 52.

tended, t h e a s t r a l body begins t o " p l a y upon t h e s i n g l e nerve f i b e r s with

146
t h e i n - b r e a t h e d a i r , l i k e a v i o l i n bow on t h e s t r i n g . "

S t e i n e r o f t e n compared t h e human b e i n g t o a l y r e . He s t a t e d t h a t "our

nerves a r e r e a l l y a k i n d o f l y r e , a m u s i c a l instrument, an i n n e r m u s i c a l

147

i n s t r u m e n t t h a t resounds up i n t o t h e head." He i m p l i e d t h a t t h e Greek

l y r e was based on t h i s image o f t h e human b e i n g .

S t u d y i n g t h e s e c r e t s o f music, we can d i s c o v e r what t h e Greeks,

who knew a g r e a t d e a l about these matters, meant by t h e l y r e o f
Apollo. What i s e x p e r i e n c e d m u s i c a l l y i s r e a l l y man's hidden
a d a p t a t i o n t o t h e i n n e r harmonic-melodic r e l a t i o n s h i p s o f c o s -
mic e x i s t e n c e out o f which he was shaped. H i s nerve f i b e r s ,
r a m i f i c a t i o n s o f t h e s p i n a l c o r d , a r e marvelous m u s i c a l s t r i n g s
w i t h a metamorphosed a c t i v i t y . The s p i n a l c o r d c u l m i n a t i n g i n
t h e b r a i n , and d i s t r i b u t i n g i t s nerve f i b e r s throughout t h e
body, i s t h e l y r e o f A p o l l o . 1 4 8

S t e i n e r s i n c e r e l y b e l i e v e d t h a t t h e "human b e i n g i s t h e most p e r f e c t musi-

cal instrument." Because t h e human b e i n g i s made up o f music, because t h e

p h y s i c a l organism i s m u s i c a l , i t i s p o s s i b l e t o connect t h e sounds o f an

e x t e r n a l m u s i c a l instrument w i t h t h e i n n e r m u s i c a l instrument of "coursing

b l o o d and nerve fiber." The human b e i n g when e x p e r i e n c i n g music f e e l s " i t s

149
h a r m o n i z a t i o n w i t h t h e mystery o f h i s own m u s i c a l instrument."

14
^ R u d o l f S t e i n e r , The Kingdom of Childhood, t r a n s . Helen Fox (London: Rudolf Steiner Press,
1982), 110.

1 4 7
Ibid.

1 4 8
S t e i n e r , The Arts and Their Mission. 37.

149 I b i d .
The m u s i c a l element p e n e t r a t e s t h e c h i l d i n another w a y — i n t h e r e l a t i o n -

s h i p between t h e b r e a t h i n g and heart beat. S t e i n e r d e c l a r e d t h a t "Man i s a

150

musical instrument i n r e s p e c t t o h i s b r e a t h i n g and b l o o d circulation."

S t e i n e r remarked t h a t " a l l rhythm i s based on t h i s m y s t e r i o u s connection

between p u l s e and b r e a t h . " S i n c e a l l human beings e x p e r i e n c e t h i s phe-

nomenon, thought S t e i n e r , although w i t h i n d i v i d u a l v a r i a t i o n s , people can

151
comprehend each o t h e r through t h e element o f rhythm.

Because t h e human b e i n g i s a m u s i c a l instrument, S t e i n e r b e l i e v e d t h a t one

day i l l n e s s e s would be d e s c r i b e d i n a m u s i c a l manner, as i f one would speak

of a p i a n o which was out o f tune. S t e i n e r reasoned t h a t n a t u r a l laws and

p s y c h o l o g i c a l t h e o r i e s were u s e l e s s i n e x p l a i n i n g t h e f e e l i n g l i f e o f t h e

human b e i n g . He was f u l l y aware t h a t some people might r e g a r d h i s t h e o r y

152
as " p u r e l y f a n t a s t i c i f not h a l f c r a z y . "

A c c o r d i n g t o S t e i n e r , i t i s e s p e c i a l l y important t o t e a c h music t o c h i l d r e n

from t h e change o f t e e t h t o puberty. As mentioned, t h e c h i l d from b i r t h t o

t h e change o f t e e t h i s a sense organ, and b a s i c a l l y a "homo r e l i g i o s u s , " a

" b e i n g o f r e l i g i o n , " but from t h e age o f 7-14 t h e c h i l d i s p r i m a r i l y an

artist. The c h i l d grows i n t h e c a p a c i t y t o t r a n s f o r m i m p r e s s i o n s i n t o im-

ages and p i c t u r e s , t o make them h i s / h e r own, r a t h e r than t o p a s s i v e l y ab-

153

s o r b and a c c e p t t h o s e impressions. I f a c h i l d ' s m u s i c a l sense i s not

^ S t e i n e r , Human Values in Education. 149.

1
- ^ S t e i n e r , Inner Nature of Music and the Experience of Tone. 6 7 .

^ S t e i n e r , The Roots of Education. 53.

2

^ S t e i n e r , The E s s e n t i a l s of Education. 40.

 53

n o u r i s h e d a t t h i s time, the c h i l d w i l l be d e p r i v e d f o r l i f e . From age 7 to

14, Steiner asserted that

. . . t h e r e i s t h e c u l t i v a t i o n of the sense of beauty and t h e

awakening of t h e a r t i s t i c f e e l i n g . The m u s i c a l element must
b r i n g t o the e t h e r i c body t h a t rhythm which w i l l then e n a b l e i t
t o sense i n a l l t h i n g s the rhythm o t h e r w i s e c o n c e a l e d . A child
who i s d e n i e d t h e b l e s s i n g o f having h i s music sense c u l t i v a t e d
d u r i n g t h e s e y e a r s , w i l l be the poorer f o r i t t h e whole o f h i s
later l i f e . I f the sense were e n t i r e l y l a c k i n g i n him, whole
a s p e c t s of the world's e x i s t e n c e would of n e c e s s i t y remain h i d -
den from him. Nor are the o t h e r a r t s t o be n e g l e c t e d . 1 5 4

When t h e c h i l d i s a c t i v e i n music and when m u s i c a l i t y i s c u l t i v a t e d i n the

c h i l d , the c h i l d i s "induced t o e x p e r i e n c e i n a l i v i n g way the musical

155
essence of t h e world itself."

Because m u s i c a l c a p a b i l i t i e s are p r e s e n t i n every c h i l d , Steiner insisted

t h a t a l l c h i l d r e n be g i v e n a m u s i c a l e d u c a t i o n , even those who appear t o be

non-musical. M u s i c a l a b i l i t i e s c o u l d be b u r i e d and need o n l y t h e teacher's

l o v i n g touch t o b r i n g them out. Without music, without t h i s b r i d g e from

t h e i n n e r t o t h e o u t e r world, from t h e e a r t h l y t o the s p i r i t u a l , the child,

a c c o r d i n g t o S t e i n e r , may be somewhat r e t a r d e d i n the development o f

his/her soul l i f e . He quoted Shakespeare's words as b a s i c t r u t h . "The man

t h a t hath no music i n h i m s e l f ... i s f i t f o r t r e a s o n s , stratagems and

156
spoils; l e t no such man be t r u s t e d ! "

^ S t e i n e r , The Education of the C h i l d . 42.

^ S t e i n e r , P r a c t i c a l Advice to Teachers. 52.

1 5 6
I b i d , 48.
 54

A f t e r p u b e r t y , t h e m u s i c a l f o r c e s c o n t i n u e t o resound i n t h e b e i n g o f t h e

individual. According to Steiner, "What has been t a k e n i n as t h e music o f

157
t h e w o r l d goes on d e v e l o p i n g i n t h e i n n e r b e i n g . "

In summary, S t e i n e r b e l i e v e d t h a t music i s e s s e n t i a l f o r t h e c h i l d ' s physi-

c a l , m e n t a l , e m o t i o n a l , and s p i r i t u a l development.

The f o u n d a t i o n f o r t h e removal o f a l l o b s t a c l e s f o r t h e
development o f a courageous and a p p r o p r i a t e development o f our
l i f e o f w i l l i n adulthood depends upon t h e r i g h t i n t r o d u c t i o n
t o music. The p a r t i c u l a r manner i n which t h e m u s i c a l element
works i n t o t h e organism o f man i s thus, t h a t i t eases t h e f l u c -
t u a t i o n s o f nerve a c t i v i t y i n t o t h e stream o f t h e b r e a t h .
These r e v e r b e r a t e upon t h e nerve f u n c t i o n s . Further, the
b r e a t h i n g rhythm i n t e r a c t s w i t h t h e rhythms o f t h e c i r c u l a t o r y
system, which i n t u r n work i n t o t h e rhythm o f s l e e p i n g and wak-
ing. I t i s t r u l y wondrous t o b e h o l d and u n d e r s t a n d . . . t h e
i n w a r d l y a c t i v e man-creating power o f m u s i c ! 1 5 8

^^Steiner, The E s s e n t i a l s of Education. 77.

^ Rudolf
8
Steiner, D i e Padagogische P r a x i s vom G e s i c h t s p u n k t e geisteswissenschaftlicher

Menschenerkenntnis; quoted i n Magda L i s s a u , The Temperaments and the Arts: Their Relation and Function

i n Waldorf Pedagogy. 68-69.

 CHAPTER V

MUSIC TEACHING IN WALDORF SCHOOLS

A. C u r r i c u l u m f o r Grades One, Two, and Three

Two g e n e r a l c u r r i c u l a e x i s t f o r Waldorf S c h o o l s . The Stockmeyer c u r r i c u -

159

lum c a t a l o g u e s v a r i o u s quotes by S t e i n e r about e d u c a t i o n a c c o r d i n g t o

subjects. The von Heydebrand c u r r i c u l u m , compiled by C a r o l i n e von Hey-

debrand, 1 6 0
o u t l i n e s the curriculum of the f i r s t Waldorf S c h o o l i n

Stuttgart, Germany.

In t h e i n t r o d u c t i o n t o von Heydebrand's C u r r i c u l u m o f t h e F i r s t Waldorf

S c h o o l , G. L. Rowe c a u t i o n e d t e a c h e r s t h a t t h e c u r r i c u l u m may seem "vague,

tenuous, f u l l o f u n d e f i n e d t e r m s . " 1 6 1
Teachers, he f e l t , must have an

u n d e r s t a n d i n g o f t h e fundamental p r i n c i p l e s o f Waldorf School e d u c a t i o n

which a r e based on S t e i n e r ' s c o n c e p t i o n of t h e development o f t h e human

being. Rowe s t a t e d t h a t "The nature of t h i s e d u c a t i o n i s such t h a t i t does

not depend on p r i n c i p l e s which can be a b s t r a c t l y s t a t e d , nor y e t on

162
methods, nor y e t on t h e way the content of t h e l e s s o n s i s a r r a n g e d . "

1 5 9
E. A. Karl Stockmeyer, comp., Rudolf S t e i n e r ' s Curriculum for Waldorf Schools, trans. R.

Everett-Zade (London: Rudolf Steiner Press, 1969).

^Caroline von Heydebrand, comp., C u r r i c u l u m of the First Waldorf School, trans. Eileen

Hutchins (Stuttgart: Steiner Schools Fellowship, Ltd., 1966).

1 6
^G. L. Rowe, "Origin a n d Use o f the C u r r i c u l u m , " i n C u r r i c u l u m of the First Waldorf School,

comp. Caroline von Heydebrand, 8.

162 ,-. Ib d

55
 56

A c c o r d i n g t o S t e i n e r , "The c u r r i c u l u m must be a copy o f what we a r e a b l e

163

t h u s t o r e a d i n t h e e v o l u t i o n a r y p r o c e s s o f t h e human b e i n g . " The c u r -

r i c u l u m was c o n s t r u c t e d t o f o l l o w t h e development o f t h e c h i l d ' s physical,

emotional, and mental b e i n g . In a d d i t i o n , t h e t e a c h e r i s e x p e c t e d t o

" r e a d " t h e c h i l d , t o adapt t o the needs o f t h e d e v e l o p i n g c h i l d . The c u r -

r i c u l u m was meant t o be a process o f a r t i s t i c , dynamic i n t e r c h a n g e , r a t h e r

than a r i g i d system o r method.

The von Heydebrand c u r r i c u l u m f o r Grade One emphasized a r e v e r e n c e f o r na-

t u r e — f o r t h e e a r t h , t h e s t a r s , p l a n t s , animals. This connection with

164

n a t u r e i s f o s t e r e d through a language a r t s program based on f a i r y tales.

In Grade Two, t h e c h i l d r e n are g i v e n animal s t o r i e s and legends as w e l l as

fairy tales. Because t h e c h i l d i s s t i l l so connected with nature, the

animals i n t h e s t o r i e s should speak as human b e i n g s , a c c o r d i n g t o von

Heydebrand, because t h e Grade Two c h i l d i s s t i l l so s t r o n g l y connected with

nature. To b a l a n c e t h e s t o r y m a t e r i a l , legends a r e t o l d as t h e y express

165

"the p i c t u r e o f t h e human being i n h i s s t r i v i n g towards c o m p l e t i o n . " In

Grade Three, t h e main theme o f t h e year i s t h e O l d Testament. The c h i l d r e n

have l e s s o n s i n p r a c t i c a l a c t i v i t i e s such as farming, g a r d e n i n g , and

h o u s e b u i l d i n g i n o r d e r t h a t they might be brought t o an u n d e r s t a n d i n g o f

t h e i n t e r r e l a t i o n s h i p o f m i n e r a l s , p l a n t s , animals, and humankind i n t h e

world. 1 5 6

^Steiner, E s s e n t i a l s of E d u c a t i o n . 45.

1 6 4
von Heydebrand, 18.

1 6 5
lbid, 21.

1 6 6
Ibid, 24-25.
 57

In a l e c t u r e i n S t u t t g a r t , i n which S t e i n e r gave i n d i c a t i o n s f o r t h e music

curriculum, he gave minimal g u i d e l i n e s f o r Grades One through T h r e e .

T e a c h e r s were l e f t f r e e t o e x e r c i s e t h e i r own i n t u i t i o n and c r e a t i v i t y i n

c u r r i c u l a r matters.

"In t h e f i r s t , second, and t h i r d c l a s s e s , you a r e d e a l i n g

e s s e n t i a l l y w i t h simple m u s i c a l measures, and here t h e p o i n t o f
view should be so t o u t i l i z e t h e m u s i c a l m a t e r i a l t h a t i t a c t s
f o r m a t i v e l y on t h e growing human b e i n g . Therefore, the point
o f view t o h o l d i s t h i s , t h a t e v e r y t h i n g m u s i c a l i s so d i r e c t e d
t h a t i t b r i n g s about i n t h e human b e i n g a p r o p e r development o f
a l l connected w i t h v o i c e , tone, and e a r t r a i n i n g . T h i s i s now
clear." 1 6 7

The purpose o f music e d u c a t i o n i n t h e younger grades i s , t h e r e f o r e , not t o

teach musical l i t e r a c y , but t o develop t h e e a r and t h e v o i c e , t o d e v e l o p

listening skills. The a c t i v i t i e s o f p l a y i n g and l i s t e n i n g t o music served

t o a c t " f o r m a t i v e l y " upon t h e c h i l d . Music e d u c a t i o n was t o p l a y a p a r t ,

i n S t e i n e r ' s view, i n moulding t h e c h i l d ' s p h y s i c a l and e m o t i o n a l being.

C h o i c e o f music and m u s i c a l instruments was, t h e r e f o r e , v e r y important.

According t o Roy W i l k i n s o n , an e x p e r i e n c e d c l a s s r o o m t e a c h e r , "Music can be

168
t h e means o f b r i n g i n g a s p i r i t u a l q u a l i t y i n t o t h e s o u l . . . "

The Stockmeyer and von Heydebrand c u r r i c u l a c a l l e d f o r s i m i l a r time allot-

ments f o r music c l a s s e s . Both c u r r i c u l a s p e c i f i e d t h a t one p e r i o d

("Stunde") p e r week (approximately 50 minutes) be devoted t o s i n g i n g i n a l l

169 170
classes. According t o t h e von Heydebrand c u r r i c u l u m , two p e r i o d s a

^ ^ S t e i n e r , q u o t e d i n Stockmeyer, 170.

168 R o y W i l k i n s o n , The C u r r i c u l u m o f t h e R u d o l f S t e i n e r S c h o o l ( F o r e s t Row, S u s s e x , G r e a t

B r i t a i n : Roy W i l k i n s o n , 1 9 7 3 ) , 27.

1 6 9
I b i d , 162.
 58

week were t o be spent i n Grades One through Four l e a r n i n g t o p l a y t h e

r e c o r d e r , and a l s o two p e r i o d s a week l e a r n i n g t o p l a y t h e v i o l i n , i f

171

enough v i o l i n i s t s were a v a i l a b l e . The requirements f o r i n s t r u m e n t a l

work were s l i g h t l y d i f f e r e n t i n t h e Stockmeyer c u r r i c u l u m . In Grade One,

o n l y one p e r i o d was t o be devoted t o f l u t e s and v i o l i n s . In Grades Two

172
t h r o u g h Four, two p e r i o d s were t o be a l l o t t e d t o f l u t e s and v i o l i n s .

The von Heydebrand music c u r r i c u l u m f o r Grade One s t a t e d t h a t t h e c h i l d r e n

"can first o f a l l be brought t o experience the f i f t h (Erleben der Quinte).

Confused, c h a o t i c m u s i c a l experience can g r a d u a l l y be t r a n s f o r m e d by

173
movement t o i n w a r d l y c o n t r o l l e d music f e e l i n g . " The c u r r i c u l u m suggests

that " a l l k i n d s o f m u s i c a l media can be used t o awaken and harmonize t h e

174
c h i l d ' s s o u l powers." Lessons, g i v e n i n l a r g e groups, i n t h e r e c o r d e r s

175

were r e q u i r e d . In t h e German v e r s i o n of the c u r r i c u l u m , t h e s e recorders

were r e f e r r e d t o as " C z a k a n — o d e r B l o c k f l o t e i n D." A "Czakan" i s a German

" s t o c k f l o t e n " or walking s t i c k , popular i n t h e l a t e 1800s i n A u s t r i a and

176

Hungary, w i t h a d e t a c h a b l e wooden f l u t e on t o p . Lessons i n v i o l i n were

1 7 0
von H e y177
debrand, 99.
also offered.
1 7 1
Ibid.

^ 7 2
Steiner, quoted i n Stockmeyer, 162.

^ 7 3
von Heydebrand, 20.

1 7 4
Ibid.

1 7 5
Ibid.

1 7 6
Uilli Apel, ed.. Harvard D i c t i o n a r y of Music (Cambridge, Massachusetts: Harvard University

Press, 1972), 218.

^ 7 7
von Heydebrand, 20.
 59

The c h i l d r e n must l e a r n , a c c o r d i n g t o t h i s c u r r i c u l u m , t o d i s c r i m i n a t e be-

tween what i s b e a u t i f u l and what i s not b e a u t i f u l . Therefore, ear t r a i n i n g

e x e r c i s e s and "simple rhythmic melody" a r e i n t r o d u c e d a t t h i s age. The

c h i l d r e n l e a r n s e l e c t i o n s o f music "which s u i t h i s age" by p e r f o r m i n g the

music and t h r o u g h l i s t e n i n g . I t i s i m p l i e d t h a t the c h i l d r e n s h o u l d not

1V8
r e a d music a t t h i s t i m e .

C u r r i c u l u m g u i d e l i n e s f o r Grades Two and Three are v e r y b r i e f . The

c u r r i c u l u m f o r Grade Two i s summed up i n one sentence: "Songs w i t h i n the

compass o f t h e o c t a v e s h o u l d now be added t o t h o s e i n the compass o f t h e

179

fifth." In Grade Three, the c h i l d r e n "should b e g i n t o l e a r n how to

w r i t e music i n the key o f C major. S i n g i n g e x e r c i s e s s h o u l d be c o n t i n u e d

i n a wider compass." ® 1 0

Today i n N o r t h America, music c u r r i c u l a v a r y from s c h o o l t o s c h o o l . Only a

few s c h o o l s c o n t a c t e d by q u e s t i o n n a i r e worked from a w r i t t e n music curricu-

lum. (See Appendix C, "Music C u r r i c u l a from F i v e Waldorf S c h o o l s . " ) In

most c a s e s , t h e c u r r i c u l a were drawn up by music s p e c i a l i s t s . One t e a c h e r

i n c o r p o r a t e d elements o f D a l c r o z e Eurhythmies and two t e a c h e r s i n c o r p o r a t e d

elements o f t h e O r f f and Kodaly approach.

Two N o r t h American music e d u c a t o r s , C h r i s t o p h - A n d r e a s L i n d e n b e r g , an expe-

r i e n c e d music t e a c h e r , music t h e r a p i s t , l y r e - p l a y e r , and composer, and

1 7 8
von Heydebrand, 20.

1 7 9
Ibid, 23.

1 8 0
Ibid, 26.
 60

E l i s a b e t h Lebret (whose book t h e Shepherd's Sonqbook f o r Grades I , I I , and

I I I f o r Waldorf S c h o o l s i s w i d e l y used i n Waldorf S c h o o l s i n t h e U n i t e d

S t a t e s and Canada), have w r i t t e n about t h e Waldorf School music curriculum

f o r Grades One through Three. I n s t e a d o f l i s t i n g m u s i c a l s k i l l s and

c o n c e p t s t o be l e a r n e d , t h e w r i t e r s f o c u s s e d p r i m a r i l y upon t h e t y p e o f

m a t e r i a l t o be i n t r o d u c e d t o the c h i l d r e n i n r e l a t i o n t o t h e s t a g e s o f

c h i l d development and t h e c u r r i c u l a r themes o f t h e y e a r .

L i n d e n b e r g , w r i t i n g on t h e music c u r r i c u l u m , d i v i d e d t h e s t a g e s o f c h i l d -

hood i n t o t h r e e s t a g e s . The f i r s t stage, from Grade One t o Three, he

c a l l e d t h e "melodic age," i n which t h e c h i l d e v e n t u a l l y moves from t h e

"Mood o f t h e F i f t h " t o a f e e l i n g f o r t o n i c ; t h e "harmonic age," r o u g h l y

Grade Four t h r o u g h Grade E i g h t , i n which t h e c h i l d e x p e r i e n c e s harmony and

t o n a l r e l a t i o n s h i p s ; and t h e "rhythmic age," from Grade E i g h t t h r o u g h Grade

Twelve, i n which "rhythmic beat elements g o v e r n i n g movements from w i t h i n

181

come t o t h e f o r e . " Defending h i s view t h a t c h i l d r e n Grade One t h r o u g h

Three l i v e i n melody, he s t a t e d t h a t t h e c h i l d " l i v e s f r e e l y i n t h e pure

element o f melody, i m p r o v i s i n g t o words and sounds without as y e t a d h e r i n g

t o a s t r i c t beat o r tempered intervals."

A c c o r d i n g t o L e b r e t ' s c u r r i c u l u m , music f o r t h e Grade One c h i l d s h o u l d be

based on t h e p e n t a t o n i c s c a l e (DE GAB DE). L e b r e t ' s music f o r t h e Grade

182

One c h i l d d i d not always end on t h e t o n i c . L e b r e t advocated t h a t music

i n Grade One be t a u g h t i n t h e context o f a s t o r y t o l d throughout t h e y e a r .

"^Christof-Andreas Lindenberg, "On the Music Curriculum: T h e C h i l d and H e a r i n g , " The C r e s s e t :

The Journal of the Camphill Movement 17 (Autumn 1 9 7 1 ) , 17

^ 8 2
Elisabeth Lebret; S h e p h e r d ' s Songbook f o r G r a d e s I. II. and I I I of Waldorf Schools

(Elisabeth Lebret Private Edition, 1975), 6.

 61

Recorder was i n t r o d u c e d i n Grade One. Melodies p l a y e d on t h e r e c o r d e r , i t

was recommended, s h o u l d always be sung by the c h i l d r e n f i r s t . The chil-

dren, i n L e b r e t ' s view, should be taught a l l v o c a l and i n s t r u m e n t a l music

by r o t e . No a b s t r a c t i o n s o r i n t e l l e c t u a l m u s i c a l concepts s h o u l d be intro-

duced i n Grade One. L e b r e t , i n e x p l a i n i n g the slow pace o f t h e Grade One

curriculum, stated

Our way o f t e a c h i n g music i s not meant t o r e s t r a i n t h e c h i l d ' s

m u s i c a l development, but t o l e t him, as i t were, g e n t l y down on
a parachute.

Lindenberg recommended t h a t the songs which are " w i t h i n t h e compass o f t h e

fifth" be used f o r t h e Grade One class. He endorsed the u t i l i z a t i o n of

c a l l s and improvised c o n v e r s a t i o n u s i n g one t o f o u r n o t e s . Simple rhythms,

he b e l i e v e d , can be i n t r o d u c e d t o the c h i l d r e n "which d e v e l o p out o f the

melodies ( i t s h o u l d not be the o t h e r way round.") I f o t h e r songs not

w i t h i n p e n t a t o n i c are used, they should, a c c o r d i n g t o L i n d e n b e r g , have de-

184
scending melodic phrases.

L e b r e t b e l i e v e d t h a t Grade Two c h i l d r e n no l o n g e r want t o l i v e i n t h e

"dreaminess" of t h e music i n t r o d u c e d i n Grade One. They d e s i r e a "more

outspoken m u s i c a l language and c e r t a i n l y , a more outspoken end o f a song."

She d e c l a r e d t h a t a t t h i s p o i n t , the t o n i c may be used t o end a song, be-

cause t h e c h i l d r e n w i l l no longer accept music ending on t h e t h i r d o r t h e

fifth. She recommended f o r Grade Two t h a t the t e a c h e r s h o u l d f i n d o r com-

pose m a t e r i a l which l i e s i n between major and m i n o r — t h e p e n t a t o n i c Scot-

1 8 3
lebret, 9.

1 8 4
Lindenberg, 20.
 62

1fiR
t i s h and I r i s h f o l k songs and some modal music. To be a v o i d e d a r e

186

s t r o n g cadences and s t r o n g c h o r d a l accompaniment. L e b r e t ' s songs f o r

Grade Two i n c l u d e a few songs o f t h e DE GAB DE tone s e t . However, i n her

r e p e r t o i r e a r e songs i n C major, D major, G major, C p e n t a t o n i c and F pen-

tatonic.

Lindenberg s t a t e d t h a t , i n h i s o p i n i o n , t h e melody o f Grade Two songs can

be w i t h i n t h e range o f an octave. However, most o f h i s Grade Two songs do

not y e t span a f u l l o c t a v e — u s u a l l y a f o u r t h o r a f i f t h — a n d are u s u a l l y i n

t h e key o f D . 1 8 7

L e b r e t noted t h a t i n Grade Three, t h e c h i l d r e n w i l l undergo " t h e n i n t h year

change." L e b r e t s t a t e d , "The n i n e - y e a r - o l d has o n l y j u s t s t a r t e d t o d i s -

cover h i m s e l f separated from a world t h a t u n t i l now he was n a t u r a l l y u n i t e d

188

with." A c c o r d i n g t o L e b r e t , t h e music chosen must r e f l e c t t h i s change

i n the c h i l d ' s being. Thus, i n Grade Three, i t i s time t o b i d f a r e w e l l t o

t h e p e n t a t o n i c realm and t o e n t e r i n t o t h e world o f d i a t o n i c music.

As was mentioned b e f o r e , i n Grade Three, t h e Waldorf School children learn

about h o u s e - b u i l d i n g . Lindenberg compares t h e C s c a l e t o a house. The

base note "C" i s t h e f o u n d a t i o n , t h e h i g h C t h e r o o f , t h e i n t e r v a l s as win-

dows and doors, t h e s c a l e as a s t a i r c a s e .

1 8 5
Lebret, 32.

1 8 6
Ibid, 34.

1 8 7
Lindenberg, 21.

1 8 8
Lebret, 57.
 63

The d i a t o n i c s c a l e i s born, t h e r o o t - n o t e becomes e x p e r i e n c e ,

t h e t r i a d can be b u i l t ; i n t h e same way as t h e house i s e x p e r i -
enced as something d i f f e r e n t from the world, i t s w a l l s and
c e i l i n g s c r e a t i n g a s p a c e - w i t h i n - t h e - s p a c e around, so t h a t a t
t h e aqe of n i n e , t h e o c t a v e w i t h i t s t r i a d s t r u c t u r e s becomes a
189
d w e l l i n g p l a c e i n the realm of music.

Lindenberg i l l u s t r a t e s t h e p r o g r e s s i o n from the range of the f i f t h i n Grade

One, t o t h e o c t a v e i n Grade Two, and f i n a l l y t o the C s c a l e by t h e end of

Grade Three.

Figure 1

Descent o f Melody

\ ° f
.J
° O
J
o o
,
O
9

The c u r r i c u l u m o f Grades One through Three i s i n t e n d e d t o p r o v i d e a s t r o n g

f o u n d a t i o n f o r f u r t h e r m u s i c a l development i n l a t e r grades. In Grades One

through Three, the f o c u s o f t h e music l e s s o n i s , p r i m a r i l y , the t r a i n i n g of

t h e v o i c e and t h e e a r . The c h i l d i s c o n s i d e r e d t o be a t one w i t h the

music. In Grade Four, however, t h e r e i s a d i s t i n c t change i n t h e emphasis

of t h e music l e s s o n s . A c c o r d i n g t o S t e i n e r , the student i n Grade Four

passes through an important phase which Waldorf e d u c a t o r s now r e f e r t o as

t h e " n i n t h y e a r change." The s t u d e n t s p e r c e i v e a d i f f e r e n c e between an

i n n e r and an o u t e r w o r l d . Because o f t h i s new awareness, the t e a c h e r must

l e a d t h e s t u d e n t , a c c o r d i n g t o S t e i n e r , t o e x p e r i e n c e and understand music

1 8 9
Lindenberg, 22.
 64

as an a r t form. In l a t e r y e a r s , the student l e a r n s d e v e l o p s music

190
judgement and m u s i c a l t a s t e .

In Grade Four, i t i s assumed t h a t the student must adapt h i m s e l f t o t h e

r e q u i r e m e n t s music. Thus, the study of t h e o r y b e g i n s i n e a r n e s t . The

Stockmeyer c u r r i c u l u m advocates t h a t the s c a l e and music n o t a t i o n be taught

191

i n Grade Four, i n s t e a d o f Grade Three as t h e von Heydebrand c u r r i c u l u m

192

suggests. The von Heydebrand c u r r i c u l u m f o r Grade Four recommends t h a t

t h e c h i l d c o n t i n u e t o develop music r e a d i n g s k i l l s . Simple m e l o d i c ,

r h y t h m i c , and harmonic concepts should a l s o be s t u d i e d . In Grade Four,

major and minor t h i r d s are now introduced. The c h i l d r e n p l a y and sing

rounds and two p a r t songs. In eurythmy c l a s s , t h e c h i l d r e n e x p e r i e n c e t h e

193
major and minor i n t e r v a l s through movement.
I t appears t h a t an i n t r o d u c t i o n t o the p l a y i n g o f a s t r i n g instrument i s an

i m p o r t a n t f e a t u r e o f the Grade Three and Four music c u r r i c u l u m i n North

American Waldorf S c h o o l s . Twenty-two out o f t w e n t y - t h r e e e s t a b l i s h e d

s c h o o l s i n North America o f f e r an i n t r o d u c t i o n t o the p l a y i n g o f a s t r i n g

instrument ( v i o l i n , v i o l a , or c e l l o ) . T h i r t e e n o f t h e s e programs b e g i n i n

Grade Three and e i g h t b e g i n i n Grade Four. One program commenced a f t e r

Grade Four. S t r i n g instruments are thought t o d e v e l o p the e a r more t h a n

1 9 0
Stockmeyer, 170.

1 9 1
Ibid, 174.

^ 9 2
von Heydebrand, 26.

1 9 3
Ibid, 32.
 65

Orff i n s t r u m e n t s o r t h e p i a n o , because c a r e f u l l i s t e n i n g i s r e q u i r e d t o

produce t h e c o r r e c t p i t c h .

In Grade F i v e , a c c o r d i n g t o von Heydebrand, s t u d e n t s study t h e keys.

Simple t h r e e - p a r t songs a r e added t o t h e r e p e r t o i r e . In eurythmy, t h e

s t u d e n t s move t o p i e c e s w r i t t e n i n d i f f e r e n t keys. M a t e r i a l includes the

music o f Schumann, Mozart, Haydn and Bach, as w e l l as two-part p i e c e s and

194

rounds. In Grade S i x , t h e student c o n t i n u e s w i t h t h e study o f t h e keys

195

and minor s c a l e s . O r c h e s t r a l work c o n t i n u e s , sometimes, wxth t h e o p t i o n

of switching t o a wind instrument. A l t o and t e n o r recorders are introduced

a t t h e Grade F i v e and S i x l e v e l .
S t e i n e r b e l i e v e d t h a t Grades Seven and E i g h t s t u d e n t s should be l e d t o

e x e r c i s e musical judgement and m u s i c a l discrimination. At t h i s age, t h e

study o f d i f f e r e n t s t y l e s o f music, i . e , music o f Beethoven and Brahms, was

196

considered t o be important. By Grade Seven, a c c o r d i n g t o t h e von

Heydebrand c u r r i c u l u m , t h e s t u d e n t s should be a b l e t o s i n g songs i n two,

three, and f o u r p a r t s w i t h i n s t r u m e n t a l accompaniment, but a l s o a c a p p e l l a .

O l d e r f o l k songs a r e i n c l u d e d i n the material f o r Grade Seven and E i g h t .

In eurythmy c l a s s , t h e Grade Seven student moves t o music by Mozart, Bach,

Corelli, and Telemann. The von Heydebrand c u r r i c u l u m a l s o recommends t h a t

some members o f t h e Grade Seven c l a s s p r o v i d e t h e music f o r t h e eurythmy

197

lessons. The Grade E i g h t c u r r i c u l u m i s a continuation and e x t e n s i o n of

1 9 4
Ibid, 35.

1 9 5
Ibid, 40.

1 9 6
Stockmeyer, 170.

1 9 7
von Heydebrand, 43.
 66

198
t h e work o f Grade Seven. The bass r e c o r d e r i s o f t e n i n t r o d u c e d at t h e

Grade Seven o r E i g h t l e v e l . The students c o n t i n u e t o p a r t i c i p a t e i n the

school orchestra.

The Waldorf S c h o o l h i g h s c h o o l begins i n Grade Nine. Steiner believed that

all h i g h s c h o o l students should be guided t o develop m u s i c a l t a s t e and an

a p p r e c i a t i o n f o r t h e a e s t h e t i c s of music. Therefore, i n h i g h s c h o o l , as i n

e l e m e n t a r y s c h o o l , both i n s t r u m e n t a l music and v c c a l music a r e u s u a l l y

required subjects. From Grade Nine through Twelve, a l l s t u d e n t s sing in

199

t h e s c h o o l mixed c h o i r . Students a l s o p l a y xn the s c h o o l o r c h e s t r a . In

some N o r t h American h i g h s c h o o l s , students may chose from a v a r i e t y o f

i n s t r u m e n t a l groups from r e c o r d e r ensembles t o band. The von Heydebrand

c u r r i c u l u m recommended t h a t the students w r i t e t h e i r own compositions and

perform them f o r the c l a s s at t h i s age. 2 0 0

S t e i n e r gave few s p e c i f i c i n d i c a t i o n s f o r the upper grades. He stated that

"above a l l " i n s t r u m e n t a l music should be brought t o the s t u d e n t s i n Grade

Ten. However, he d i d not g i v e any e x p l a n a t i o n . Harmony, i n t h e form of

counterpoint, s h o u l d a l s o be i n t r o d u c e d i n Grade Ten, according to Steiner,

and the students s h o u l d f e e l f r e e t o w r i t e t h e i r own counterpoint

201

compositions. In Grade E l e v e n , many c u r r i c u l a i n c l u d e a t h r e e - o r f o u r -

week " b l o c k " (see Appendix B, "Unique Features o f the Waldorf Schools")

called "The H i s t o r y of Music" or "The H i s t o r y Through Music." In Grade

1 9 8
Ibid, 49.

^"stockmeyer, 172.

2
0"von Heydebrand, 55.

2 0 1
Stockmeyer, 173.
 67

Eleven, S t e i n e r recommended s o l o - s i n g i n g . Steiner believed that Grade

Twelve s t u d e n t s should l e a r n , from t h e i r own e x p e r i e n c e o f p e r f o r m i n g

202
music, t h e d i s t i n g u i s h i n g c h a r a c t e r i s t i c s o f Bach's music.

Thus, i n summary, S t e i n e r gave o n l y b r i e f g u i d e l i n e s f o r t h e Waldorf S c h o o l

music c u r r i c u l u m . This lack of s p e c i f i c c u r r i c u l a r goals has l e d t o a

v a r i e t y of i n t e r p r e t a t i o n s i n the teaching o f music i n Waldorf schools.

2°2 l b i d .
 68

B. Elements o f Music

1. Melody

S t e i n e r i m p l i e d t h a t melody i s t h e most important aspect o f music. In h i s

eurythmy c o u r s e , he stated:

The n e a r e r one q e t s t o music, t h e more one e n t e r s i n t o melody.

203
Melody i s t h e essence o f music.

For S t e i n e r , t h e f o r c e s o f sound and tone, and c o l o u r , s e r v e " t o deepen and

e n l i v e n the l i f e of s o u l . " Steiner b e l i e v e d that i t i s very important t o

204

t r u l y e x p e r i e n c e t h e t o n e s and t h e i r i n t e r v a l s . The t r u e s p i r i t o f

music l i e s , he c l a i m e d , i n t h e i n t e r v a l s .

Where does music r e a l l y l i e ? The answer today would d o u b t l e s s

be t h a t t h e music l i e s i n t h e t o n e s . But t h e tones a r e not t h e
music. J u s t as t h e human body i s not t h e s o u l , so a r e t h e
t o n e s not t h e music. The i n t e r e s t i n g t h i n g i s t h a t t h e music
l i e s between t h e t o n e s . The tones are o n l y needed i n o r d e r
t h a t something may l i e between them. The tones a r e , o f c o u r s e ,
n e c e s s a r y , but t h e music l i e s between them. I t i s not t h e C o r
E which i s e s s e n t i a l , but what l i e s between t h e two. Such an
i n t e r m e d i a r y element i s , however, o n l y p o s s i b l e i n melody.
. . . What i s music? I t i s what one does not hear. What you
do not hear but y e t e x p e r i e n c e between the tones i s music i n
the t r u e sense; i t i s t h e s p i r i t u a l s i d e o f music, whereas t h e
o t h e r i s t h e m a n i f e s t a t i o n o f music i n t h e world o f sense. The
205
a u d i b l e i s never t h e m u s i c a l .

2 0 3
Rudol f Steiner, E u r y t h m y as V i s i b t e Music, trans. V. J. Compton-Burnett (London: Rudolf

Steiner Press, 1977), 66.

204, S t e i n e r , Art As S e e n in the Light of M y s t e r y Wisdom. 100.

205, S t e i n e r , E u r y t h m y as Visible Music. 48.

 69

In t h e f u t u r e , he i n s i s t e d t h a t humankind w i l l be a b l e t o " e x p e r i e n c e what

i s b e h i n d t h e tone." Human beings w i l l e x p e r i e n c e tone as a window i n

206
which one can " e n t e r t h e s p i r i t u a l world."

Egon L u s t g a r t e n , a composer of music f o r eurythmy, r e f l e c t e d on S t e i n e r ' s

thoughts. To t r u l y understand music, L u s t g a r t e n b e l i e v e d t h a t t h e human

being may

. . . e x p e r i e n c e melody, not as a s u c c e s s i o n o f s i n g l e t o n e s
dependent on the harmonies, but as a c o n t i n u o u s motion, t h e
s i n g l e tones the t r a n s i t - p o i n t s . Thus, t h e i n t e r v a l s , t h e
spaces between t h e i n d i v i d u a l melody-tones, become t h e e s s e n -
t i a l , w h i l e the sounding tones r e p r e s e n t merely d i r e c t i n g -
p o i n t s t o f i x , as i t were, e x t e r n a l l y , what i s o f prime impor-
t a n c e : music m o t i o n . 2 0 7

In each stage o f human development through the ages, S t e i n e r c l a i m e d , the

human b e i n g e x p e r i e n c e d music d i f f e r e n t l y , r e l a t i n g t o d i s t i n c t intervals

o r "moods" o f music. Today, music i s dominated by harmony o f major and mi-

nor t h i r d s . However, i n the f a r d i s t a n t p a s t , music was experienced, ac-

c o r d i n g t o S t e i n e r , through sevenths. S t e i n e r contended that the smallest

i n t e r v a l t h e human b e i n g c o u l d d i s c e r n , at t h a t time, was the seventh.

T h i r d s and fifths i n t e r v a l s d i d not e x i s t i n t h i s stage o f human e v o l u -

t ion.

In a l a t e r age, i n S t e i n e r ' s view, humankind e x p e r i e n c e d music i n f i f t h s .

The i n t e r v a l of the seventh began t o f e e l as uncomfortable as i t does t o us

2 0
^Steiner, Art As Seen in the Light of M y s t e r y Wisdom. 100.

207gg O n Lustgarten, "The M u s i c Between the Tones," The Forerunner 2 (Spring 1941) 16.

2 u 8
Steiner, Inner N a t u r e of M u s i c and the E x p e r i e n c e of Tone. 85.
today. S t e i n e r s t a t e d t h a t the i n t e r v a l of the f i f t h became more agree-

209
able. A s p e c i f i c s c a l e began t o emerge. T h i s s c a l e , S t e i n e r contended,

c o n s i s t e d of the notes DE GAB DE. C r y p t i c a l l y , he stated, "the fifths

210
t h r o u g h o u t the t o n a l range of d i f f e r e n t octaves were e x p e r i e n c e d . "

T h i s t y p e of music S t e i n e r r e f e r r e d t o as "Erleben der Quinte"—translated

as "Mood o f the F i f t h . " S t e i n e r maintained t h a t t h i s type of music, i n

t h a t time, had the e f f e c t of l i f t i n g the l i s t e n e r o u t s i d e of him/herself.

"Mood of the F i f t h " music was o b j e c t i v e ; i t had no f e e l i n g f o r major or

minor. Humankind was not ready f o r the "strange bond between music and

211
human s u b j e c t i v i t y . "

S t e i n e r b e l i e v e d t h a t the fifth i n t e r v a l serves "to s t i m u l a t e and enrich

the l i f e of the soul. I t i s l i k e a magic wand t h a t c o n j u r e s up the secrets

212
of t h e sound world yonder, out of unfathomable depths."

S t e i n e r i n f e r r e d t h a t t h i s e r a of the "Mood of the F i f t h " corresponded t o

the first stage o f c h i l d development, up t o the " n i n t h year change."

Speaking o f the f u t u r e development of humankind and i t s relationship to mu-

s i c a l development, S t e i n e r wrote:

A l l t h i s i s e x t r a o r d i n a r i l y important when one i s f a c e d w i t h

t h e t a s k of g u i d i n g the e v o l u t i o n of the human b e i n g r e g a r d i n g
t h e m u s i c a l element. You see, up t o about the age of n i n e , the

2 0 9
lbid, 51.

2 1 0
Ibid.

2 1 1
Ibid, 52..

Steiner, Art As Seen i n the Light of M y s t e r y Wisdom. 103.

 71

c h i l d does not y e t possess a proper grasp o f major and minor

moods, though one can approach the c h i l d w i t h them. When en-
t e r i n g s c h o o l , the c h i l d can e x p e r i e n c e major and minor moods
i n p r e p a r a t i o n f o r what i s t o come l a t e r , but the c h i l d has
n e i t h e r one nor t h e o t h e r . Though i t i s not r e a d i l y admitted,
t h e c h i l d e s s e n t i a l l y d w e l l s i n moods of f i f t h s . N a t u r a l l y ,
one can r e s o r t i n s c h o o l t o examples a l r e a d y c o n t a i n i n g t h i r d s ,
but i f one r e a l l y wishes t o reach the c h i l d , m u s i c a l
a p p r e c i a t i o n must be based on the a p p r e c i a t i o n of f i f t h s ; t h i s
i s what i s i m p o r t a n t . ^ 21 5

A f t e r age n i n e , a c c o r d i n g t o S t e i n e r , the c h i l d i s a b l e t o t r u l y a p p r e c i a t e

t h e e x p e r i e n c e o f the t h i r d . S t e i n e r b e l i e v e d t h a t t h e human b e i n g e x p e r i -

ences t h e t h i r d as an inward feeling. He d e s c r i b e d t h i s f e e l i n g as

" i n t i m a t e ; i t i s an e x p e r i e n c e of the h e a r t . " 2 1 4

S t e i n e r ' s s u c c e s s o r s b e l i e v e d , as S t e i n e r d i d , t h a t the c h i l d recapitulates

t h e music h i s t o r y of humankind. Lebret claimed that s t e i n e r i n h i s l e c -

t u r e s i m p l i e d t h a t "man and music are a u n i t y and cannot be c o n s i d e r e d sep-

215
a r a t e l y , w i t h the development of music r u n n i n g p a r a l l e l t o t h a t o f man."

In music, t h e p r o c e s s of t h e descending ego i n t o t h e p h y s i c a l

body i s expressed by a narrowing of i n t e r v a l s mankind i s a b l e
to experience. T h i s p r o c e s s i s repeated i n the i n d i v i d u a l
development of every human b e i n g , hence we have to d e a l w i t h i t
in education. 2 1 6

Anny von Lange, a Dutch m u s i c o l o g i s t , agreed w i t h S t e i n e r t h a t t h e t h e o r y

of r e c a p i t u l a t i o n i s t h e b a s i s f o r u s i n g the p e n t a t o n i c s c a l e i n music

t e a c h i n g b e f o r e the age of n i n e . She s t a t e d t h a t " i n music, t h e g r e a t

2
^ Steiner,
3
Inner N a t u r e of M u s i c and the E x p e r i e n c e of Tone. 57-58.

2 1 4
Steiner, E u r y t h m y as V i s i b l e Music. 33.

2 1 5
Lebret, 4.

2 1 6
Ibid, 5.
h i s t o r i c s p i r i t u a l e v o l u t i o n o f mankind r e p e a t s i t s e l f i n the i n d i v i d u a l . "

217

V i r g i n i a Sease, a member o f the E x e c u t i v e which oversees

a n t h r o p o s o p h i c a l endeavors and a l s o a former c l a s s t e a c h e r and m u s i c i a n ,

f e l t t h a t c h i l d r e n needed t o e x p e r i e n c e music i n t h e "Mood o f t h e F i f t h , "

21
and t h e n i n p e n t a t o n i c and d i a t o n i c i n o r d e r t o a p p r e c i a t e modern music.

As mentioned, i n t h e c u r r i c u l u m f o r t h e f i r s t Waldorf S c h o o l , g u i d e l i n e s

were g i v e n f o r music t e a c h i n g i n Grades One, Two, and Three i n t h e von Hey-

debrand c u r r i c u l u m . The g u i d e l i n e s p e r t a i n i n g t o m e l o d i c concepts reflect

t h e p r o g r e s s i o n from t h e "Mood o f t h e F i f t h " t o d i a t o n i c music.

Grade O n e — T h e c u r r i c u l u m s t a t e d t h a t t h e c h i l d r e n "can f i r s t o f a l l be
brought t o e x p e r i e n c e the f i f t h ( E r l e b e n der Q u i n t e ) . Confused,
c h a o t i c music e x p e r i e n c e can g r a d u a l l y be t r a n s f o r m e d by movement t o
inwardly c o n t r o l l e d musical f e e l i n g . " Song m a t e r i a l s h o u l d be
" w i t h i n t h e compass o f the f i f t h . " 1 9

Grade Two—"Songs w i t h i n t h e compass of t h e o c t a v e s h o u l d now be added t o

t h o s e i n t h e compass o f t h e f i f t h . " 2 2 0

Grade T h r e e — I n music l e s s o n s , the c h i l d r e n " s h o u l d b e g i n t o l e a r n how t o

w r i t e music i n t h e key o f C major. S i n g i n g e x e r c i s e s s h o u l d be
c o n t i n u e d i n a wider compass." 2 1

S t e i n e r reasoned t h a t t h e notes of the p e n t a t o n i c s c a l e DE GAB DE be used

and t h a t any f e e l i n g f o r major and minor be a v o i d e d . He d i d not r e f e r t o

t h i s s o r t o f music f o r c h i l d r e n as " p e n t a t o n i c , " but as "Mood o f t h e

2
^ A n n y von Lange,
7
"Tones Arising from the Heart" from Man-Music-Cosmos quoted in Lyre
Newsletter 9 (March 1987): 5.

218y,- gi j r n a sease, s i n g i n g workshop, Dornach, Switzerland, April 1986.

2 l
'von Heydebrand, 19.

2 2 0
Ibid, 23.

2 2 1
1 bid, 26.
 73

Fifth." Beyond t h e s e g u i d e l i n e s , the author c o u l d f i n d no o t h e r melodic

i n d i c a t i o n s from S t e i n e r .

A number of i n t e r p r e t a t i o n s of the "Mood of t h e F i f t h " seem t o have emerged

from t h e work of Waldorf music e d u c a t o r s . A "Mood o f t h e F i f t h " melody

may:

1) b e g i n and end on any note o t h e r than t o n i c ("G") to avoid

t h e f e e l i n g f o r major and minor.

2) b e g i n and end on "A" o r be c e n t e r e d around "A"

3) c o n s i s t of descending phrases

4) i n v o l v e open, non-tempered t u n i n g

5) c o n t a i n m e l i s m a t i c passages.

Some Waldorf music e d u c a t o r s b e l i e v e t h a t music f o r young c h i l d r e n should

not end on t h e t o n i c o r "G" i n t h e tone s e t g i v e n by S t e i n e r (DE GAB DE).

Edmund P r a c h t , one of the f i r s t composers o f c h i l d r e n ' s music f o r t h e lyre,

s t a t e d t h a t any of t h e s e tones c o u l d be the c e n t r a l tone; a l l tones, he

222
f e l t were i n t e r c h a n g e a b l e ["gemeinsam"]

L e b r e t argued t h a t although the c h i l d i s s e l f - c e n t e r e d , he/she i s not y e t a

fully i n t e g r a t e d being. The ego o r " I " of the c h i l d has not f u l l y de-

scended i n t o the c h i l d ' s p h y s i c a l body. L e b r e t maintained t h a t Grade One

c h i l d r e n do not want t o end on the t o n i c because t h i s b r i n g s t h e c h i l d too

much i n t o t h e p h y s i c a l . Because of t h i s , L e b r e t r e j e c t e d many of t h e pen-

2 2 2
Edmund Pracht, Heilende Erziehung (Natura-Verlag: Arlesheim, Switzerland, 1956), 313.
 74

t a t o n i c f o l k songs f o r the young c h i l d because o f the emphasis on t h e

223
tonic.

Another i d e a about t h e "Mood o f the F i f t h " i s t h a t the melody must c e n t e r

around t h e note "A." In t e a c h i n g young c h i l d r e n , J u l i u s K n i e r i m , a German

music t h e r a p i s t , composer, and accomplished l y r e p l a y e r , s t a t e d t h a t t h e

teacher or parent

. . . s h o u l d s t r i v e t o g r a d u a l l y f i n d h i s way, ever more s u r e l y

t o t h e "A." "A" i s the c e n t r a l tone ( p i t c h ) o f a l l our songs.
Indeed, t h e songs are e s s e n t i a l l y , o n l y expansions o f t h e tone
"A", where t h e f i f t h i n t e r v a l i s the maximum l i m i t o f expan-
224
sion.

A n a l y s i s o f K n i e r i m ' s book Q u i n t e n l i e d e r r e v e a l s t h a t a l l t h i r t y - s i x songs

b e g i n on "A." Most songs end on "A" as w e l l . Lindenberg, t o o , s p e c i f i e d

t h a t c h i l d r e n ' s songs, e s p e c i a l l y i n Grade One, c e n t e r around t h e "A." By

u s i n g a p e n t a t o n i c s c a l e based around the tone "A," without a f e e l i n g f o r

major o r minor, t h e c h i l d i s not asked f o r emotional involvement. He ad-

vised teachers to:

. . . l o o k f o r a tone c e n t r a l t o a c h i l d ' s e x p e r i e n c e , m o s t l y
b e i n g t h e note "A," and not t o base the song on t o n i c "C," o r
"ground t o n e . 2 2 5

2 2 3
Lebret, 6-7.

2 2 4
Julius Knierim, Quintenlieder (Bingheim, West Germany: V e r l a g das Seelenphlege Bedurftige
Kind, 1970), 9. (Passage t r a n s . K a r e n and Peter Klaveness)

2 2
^Lindenberg, "On the Music Curriculum: The Child and Hearing," 21.
 75

Lindenberg believed that i t i s s u f f i c i e n t i n Grade One to limit songs t o

j u s t one note "A," o r songs which swing back and f o r t h from "A" t o "E" o r

"A" t o "D." He s t a t e d , "the i n t e r v a l o f t h e f i f t h i s more . important than

226
u s i n g t h e f i v e notes o f the p e n t a t o n i c s c a l e a l l a t once."

Anny von Lange, m u s i c o l o g i s t , p u b l i s h e d a book c a l l e d Mensch, Musik und

Kosmos i n 1956. She b e l i e v e d t h a t i n p r e - P y t h a g o r i a n time, around 1000

B.C., a seven-tone p e n t a t o n i c s c a l e was used by the Greeks, c o n t a i n i n g the

n o t e s DE GAB DE. The s c a l e was composed o f "wholly symmetrical form o f

227

fifths" and was c e n t e r e d around t h e middle tone "A." A c c o r d i n g t o von

Lange, t h e s c a l e was an image, a metaphor o f t h e human b e i n g ' s relationship

to t h e s p i r i t u a l and a l s o t o the m a t e r i a l .

The i n n e r harmony of the whole form . . . does not r e f l e c t any

more so d i s t i n c t l y w o r l d - c r e a t i v e o c c u r r e n c e s o f d i v i n e b e i n g s ,
but r a t h e r man h i m s e l f , i n the p o l a r i t y o f h i s b e i n g t u r n e d t o -
wards both s p i r i t and m a t t e r . 2 2

Pam B o u l d i n g , a music t e a c h e r and p r o f e s s i o n a l h a r p i s t a t t h e Morning Star

Waldorf S c h o o l i n G i g Harbor, Washington d e s c r i b e d her work w i t h t h e chil-

d r e n c e n t e r i n g music around tone A":

When I d i s c o v e r e d the c e n t r e tone "A" and began t o u n d e r s t a n d

i t as the f i r s t tone i n music, and began t o f e e l what i t was
l i k e p l a y i n g music f o r c h i l d r e n , always b e g i n n i n g and e n d i n g on
t h e "A", u n d e r s t a n d i n g the music t h a t i s c e n t e r e d on t h e "A"
f o r the young c h i l d . That was a r e a l breakthrough f o r me. I
heard o f O r f f music and how they worked w i t h p e n t a t o n i c music

2 2 6
I b i d .

2 2 7
v o n Lange, 1.

2 2 8
Ibid, 3.
 76

and I u n d e r s t o o d about p e n t a t o n i c music. But i t wasn't u n t i l I

r e a l l y u n d e r s t o o d t h e c e n t r e tone "A" and t h e "Mood o f t h e
F i f t h " t h a t I began t o see t h a t t h e s e are two s e p a r a t e e x p e r i -
ences. And so I have f e l t t h a t t h i s i s one o f t h e most impor-
229
t a n t t h i n g s I have brought t o the c h i l d r e n .

The a u t h o r c o u l d f i n d no d i r e c t q u o t a t i o n of S t e i n e r which would indicate

t h a t he b e l i e v e d t h a t "A" should be the dominant o r middle tone f o r music

o f c h i l d r e n under t h e age of n i n e . One o f t h e l e a d i n g Waldorf S c h o o l music

t e a c h e r s i n Europe, P h i l i a Schaub confirmed:

I cannot mention o r p o i n t out any l e c t u r e o f S t e i n e r where

he spoke about t h e "A," but i f you read the " L e h r p l a n der
W a l d o r f s c h u l e " by Stockmeyer, you can f i n d him speaking about
t h e "Quintenmusik." In t h i s "Quintenmusik," "A" i s t h e
c e n t r a l - t o n e , e s p e c i a l l y i n connection with the
230
"Pentatonik." Z J U

L i n d e n b e r g e x p l a i n e d t h e emphasis on the c e n t r e tone "A" i n the music mate-

rial f o r the e a r l y grades:

. . . f o r indeed, S t e i n e r never seems t o have o v e r t l y s t a t e d

t h a t t h e tone "A" s h o u l d be c e n t r a l t o t h e elementary grades
s i n g i n g . . . . T h i s " s c a l e " DE GAB DE i s r e l e v a n t f o r t h e young
school c h i l d . The c e n t r a l tone i s "A." While S t e i n e r d i d not
s t a t e t h a t e v e r y melody f o r t h a t age should c e n t e r around t h e
tone "A" i t i s a g a i n by the i m p l i c a t i o n o f t h e p a r a l l e l of t h e
h i s t o r y o f music t h a t t h e "more o b j e c t i v e " n a t u r e o f t h e "Mood
o f t h e F i f t h " i s e x e m p l i f i e d i n t h e use o f a c e n t r a l r a t h e r
t h a n a t o n i c o r i e n t a t i o n tone, as i . e . i n t h e G r e g o r i a n chant
b e f o r e music used t h e " s u b j e c t i v e " mode of e x p r e s s i o n from 1030
A.D. . . . Thus any music i n t h e f i f t h - m o o d c o u l d not p o s s i b l y
employ a "ground" note, but would s t i l l use a middle note ( i n
Greek "mese"). Any s e n s i t i v e treatment o f songs composed i n
t h e mood would l e a d t o an emphasis of t h e c e n t r a l tone. In ad-
d i t i o n , t h i s s c a l e can be d i v i d e d i n t o two f i f t h s . . . . The

" y
L . Eterman, unpublished interviews, 28.

230 p h
ilia Schaub, personal letter d a t e d J u l y 23, 1989.
 77

t o n e " A " i s c l e a r l y c e n t r a l both i n the s c a l e , a l s o i n the two

231
fifths. J X

L i n d e n b e r g diagrammed the p e n t a t o n i c s c a l e i n t h i s way to i l l u s t r a t e the

c e n t r a l i t y o f the tone "A."

Figure 2

The Centrality of the Tone "A"

o -ho —./cr
T3 J

-e- •e- Q ° Q
CP) jr*4
•
S-ZT O Q O
The musicologist Pfrogner reported Anny von Lange's r e c o l l e c t i o n t h a t

Steiner had g i v e n a diagram o f the Greek modes t o a m u s i c i a n named W. Lew-

erenz. In t h i s diagram, "A" was the note upon which the Greek modes were

232

based. The "A" was r e f e r r e d t o as the "sun tone." Lindenberg stated

that Steiner, i n a l e c t u r e i n Munich on March 17, 1908, r e l a t e d tone "A" to

the q u a l i t i e s o f the sun. Lindenberg s t a t e s , "This i s i n s t i n c t i v e l y expe-

rienced when working w i t h small c h i l d r e n , t h a t the tone "A" is sun-like,

2 3
^Lindenberg, personal letter d a t e d A u g u s t 22, 1989.

2 3 2
Hermann Pfrogner, Lebendige Tonwelt (Munich: Albert Langen, 1976), 643.
 78

and as t h e sun i s t h e c h i e f r e f e r e n c e p o i n t f o r them, as f o r young s c h o o l

233
children, also central."

I t i s q u i t e p o s s i b l e t h a t "A" was t h e c e n t e r tone f o r Greek music. Accord-

i n g t o C u r t Sachs, m u s i c o l o g i s t , the most a n c i e n t l y r e s o f Greece consisted

of three s t r i n g s c a l l e d "nete," "mese," and "hypate," meaning h i g h , middle

and low, tuned t o f o u r t h s — " D , " "A," and " E . " ^ * J

The music h i s t o r i a n Donald J a y Grout c o r r o b o r a t e d t h i s h y p o t h e s i s :

There i s some reason t o suspect t h a t i n a l l t h e d i f f e r e n t

keys one n o t e — t h e "mese" o f the Great P e r f e c t S y s t e m — h a d
s p e c i a l importance as a c e n t r a l tone o f f r e q u e n t r e c u r r e n c e i n
m e l o d i e s , a tone f u n c t i o n i n g perhaps somewhat l i k e the dominant
(and p o s s i b l y the t o n i c ) i n our system. I f t h i s were t h e case,
t h e d i f f e r i n g r e l a t i o n s o f the o t h e r notes t o t h i s immutable
"dominant" "A" would p r o b a b l y produce a c h a r a c t e r i s t i c s e t o f
m e l o d i c motives i n each mode, p e c u l i a r t o t h a t mode and g i v i n g
t o i t a s p e c i a l q u a l i t y which c o u l d never be deduced s o l e l y
from i t s p i t c h o r i t s s c a l e s p e c i e s . 2 3 5

I t i s n o t c l e a r what S t e i n e r o r the a n c i e n t Greeks meant by "A." Was "A"

A440 o r a p i t c h h i g h e r o r lower? However, t h e i d e a o f "A" as t h e c e n t e r

tone o f t h e tone s e t , whether S t e i n e r s p e c i f i c a l l y i n d i c a t e d t h i s o r not,

appears t o be one o f c h a r a c t e r i s t i c s o f m u s i c a l m a t e r i a l f o r Waldorf Grades

One t h r o u g h Three, and e s p e c i a l l y f o r the younger children.

2 3 3
Lindenberg, personal letter d a t e d August 22, 1989.

2 3 4
Curt Sachs, The W e l l s p r i n g of Music ( T h e Hague, Netherlands: Martinus N i j h o f f , 1962), 160.

2 3
^Donald Jay Grout, The H i s t o r y o f Western Music (New Y o r k : W. W. N o r t o n a n d Company, 1960),

16.
 79

Another c h a r a c t e r i s t i c o f "Mood o f t h e F i f t h " music, e s p e c i a l l y f o r young

children, i s t h a t o f t h e descending melodic phrase. Some Waldorf music

e d u c a t o r s m a i n t a i n t h a t t h e descending melodic phrase m i r r o r s t h e c h i l d ' s

p h y s i o l o g i c a l development.

S t e i n e r reasoned t h a t , i n t h e f i r s t phase o f a c h i l d ' s l i f e , he/she i s

" e n t i r e l y sense organ, e n t i r e l y head, and a l l i t s development proceeds from

236

the nerve-senses system." Lindenberg b e l i e v e d t h a t d e s c e n d i n g melodies

of many l u l l a b i e s r e f l e c t t h e downward growth o f t h e human b e i n g , from t h e

head t o t h e l i m b s . L i n d e n b e r g suggested t h a t even i f o t h e r songs, not i n

t h e p e n t a t o n i c s c a l e a r e used, they should a l s o c o n t a i n d e s c e n d i n g melodic

phrases. Pam B o u l d i n g employed descending phrases, u s u a l l y e n d i n g on "A"

237
i n h e r work w i t h younger c h i l d r e n .

Some Waldorf e d u c a t o r s , e s p e c i a l l y those who use l y r e s t o t e a c h music,

advocate open t u n i n g . Knierim believed that the f i f t h i n t e r v a l s from "A"

238

up t o t h e "E" and "A" down t o t h e "D" s h o u l d be sung i n p e r f e c t fifths.

T h i s i d e a may t o be l i n k e d t o t h e t h e o r y t h a t t h e c h i l d r e c a p i t u l a t e s t h e

m u s i c a l development o f humankind. The i d e a o f t h e tempered s c a l e o n l y came

i n t o b e i n g i n t h e 1700s.

Another f e a t u r e o f music used i n Waldorf S c h o o l s f o r t h e young c h i l d i s

t h a t o f c o n c l u d i n g songs w i t h m e l i s m a t i c p h r a s e s . Paul Baumann, t h e f i r s t

2 3
^Steiner, Spiritual Ground o f E d u c a t i o n . 48.

2 3 7
L . Eterman, unpublished interviews, 29.

2 3 8
Km"erim, 11.
 80

music t e a c h e r i n the Waldorf Schools, composer o f t h e f o u r volume " L i e d e r

der Waldorfschule" d i d not use the DE GAB DE tone s e t , o r i n c o r p o r a t e t h e

i d e a o f "A" as c e n t e r tone, nor d i d he use opening t u n i n g o r descending

melodies i n h i s compositions f o r young c h i l d r e n . A l l songs o f t h e f i r s t

volume o f songs f o r young c h i l d r e n are w r i t t e n i n the keys o f D, G, except

for one which i s i n Eb. U s u a l l y , t h e songs are w i t h i n the range o f a

fifth.

239

However, h i s c o m p o s i t i o n s a r e s p r i n k l e d with melismatic phrases. Appar-

e n t l y , he had f o l l o w e d S t e i n e r ' s s u g g e s t i o n t h a t he c r e a t e t e x t which c o u l d

be performed i n a " s p e a k i n g - s i n g i n g " way, " S p r e c h g e s a n g l i c h . " One o f Bau-

man's b e s t known songs, "The Song o f the Mother Sun" i n which C h r i s t i a n

Morgenstern's poem was s e t t o music, was o f t e n sung a t s c h o o l g a t h e r i n g s o f

former p u p i l s . Bauman seems t o i n c o r p o r a t e t h e elements o f the Gregorian

chant (the l e v e l o f m u s i c a l e v o l u t i o n the c h i l d i s thought t o be r e p e a t i n g

in h i s / h e r development) i n t o the song by h i s f r e q u e n t use o f m e l i s m a t i c

phrases. S t e i n e r p u r p o r t e d l y s a i d t h a t i n t h i s song the "Mood o f t h e

Fifth"' l i v e d . 2 4 0
E l i s a b e t h L e b r e t sometimes used t h i s p r i n c i p l e i n h e r

songs. 2 4 1
J u l i u s K n i e r i m o f t e n ended h i s songs w i t h a melodic phrase

242
without text.

" Paul9
Bauman, Lieder der Waldorfschule. erstes Heft f u r d i e Kleinen (Dornach, Switzerland:

Verlag am Goetheanum, 1970).

^Gisbert Husemann a n d J o h a n n e s T a u t z , 87.

^Elisabeth Lebret, S h e p h e r d ' s Songbook f o r G r a d e I. II. and III of Waldorf Schools.

2 4
2J IJ U u s Knierim, Quintenlieder.
 81

In s h o r t , many Waldorf School music e d u c a t o r s advocated b r e a k i n g away from

t r a d i t i o n s and o l d forms, e s p e c i a l l y when t e a c h i n g young c h i l d r e n . Knierim

stated:

Only a c o m p l e t e l y new way of s i n g i n g and moving w i l l be a b l e t o

d i s s o l v e the g e n e r a t i o n s - o l d power of well-known m e l o d i e s and
p r e s e n t t o the c h i l d r e n a new form, a p p r o p r i a t e t o our t i m e . 2 4 3

2. Rhythm/Beat

S t e i n e r r e l a t e d the rhythmic element of music t o the " w i l l " o f the human

being. Steiner stated, ". . .we see t h a t s i n c e the rhythmic element i s

r e l a t e d t o the n a t u r e o f w i l l — m a n must inwardly a c t i v a t e h i s w i l l when he

wishes t o e x p e r i e n c e m u s i c — i t i s the rhythmic element t h a t k i n d l e s music

244
i n the first place."

B e f o r e the change o f t e e t h , S t e i n e r contended, the c h i l d imitates gestures

and sounds from h i s environment. Through i m i t a t i n g , S t e i n e r c l a i m e d , the

child "forms h i m s e l f . " Thus, rhythm and beat, amongst o t h e r impressions,

become a c t u a l f o r c e s which work upon the c h i l d and h e l p t o mould the

c h i l d ' s p h y s i c a l being. S t e i n e r i m p l i e s t h a t the c h i l d ' s i n n e r musicality

i s shaped i n t h e s e e a r l y years.

2 4 3
Knierim, 13.

2 4 4
Steiner, I n n e r N a t u r e of M u s i c and the E x p e r i e n c e of Tone. 67.
 82

The whole way i n which a c h i l d i s r e l a t e d p a r t i c u l a r l y t o

rhythm and beat i s d i f f e r e n t b e f o r e and a f t e r t h e change o f
teeth. P r e v i o u s l y rhythm and beat were a l s o something which
t h e c h i l d i m i t a t e d , but which became t r a n s f o r m e d i n t o a p l a s t i c
moulding. A f t e r w a r d s i t became t r a n s f o r m e d i n t o an i n n e r musi-
245
c a l element.

S t e i n e r was not i n f a v o r o f t e a c h i n g the c h i l d r e n rhythmic concepts until

a f t e r t h e age o f n i n e . He b e l i e v e d t h a t the c h i l d was simply not ready.

A c c o r d i n g t o S t e i n e r , b e f o r e age nine, the c h i l d is still a t one with

rhythm and b e a t . Only a f t e r age nine i s t h e c h i l d a b l e t o g r a s p t h e con-

c e p t o f rhythm and beat objectively.

S t e i n e r a s s e r t e d t h a t from age nine t o twelve, "the c h i l d d e v e l o p s an

u n d e r s t a n d i n g o f rhythm and beat . . . whereas e a r l i e r on, the c h i l d expe-

r i e n c e d rhythm and beat u n c o n s c i o u s l y , i t now develops a conscious percep-

246
t i o n and u n d e r s t a n d i n g o f it."

Only between h i s n i n t h and t w e l f t h year does t h e c h i l d a c -

q u i r e an u n d e r s t a n d i n g f o r rhythm and beat as such, f o r melody
as such. Now he i s no l o n g e r so s t r o n g l y i m p e l l e d t o form him-
s e l f i n w a r d l y i n accordance with rhythm and b e a t ; a f t e r w a r d s he
b e g i n s t o d e v e l o p the understanding, the f a c u l t y t o comprehend
what t h e y a r e . 2 4

The c h i l d w i l l comprehend a c e r t a i n i n n e r rhythm w h i l e i t i s

s t i l l v e r y young. A s i d e from t h i s i n s t i n c t i v e l y e x p e r i e n c e d
rhythm, however, the c h i l d should not be t r o u b l e d u n t i l a f t e r
i t i s n i n e y e a r s o l d w i t h the rhythm t h a t i s e x p e r i e n c e d , f o r

'Steiner, quoted i n Stockmeyer, 165.

'Steiner, Soul Economy and Waldorf E d u c a t i o n . 145.

Steiner, quoted i n Stockmeyer, 165.

 83
example, i n t h e elements of i n s t r u m e n t a l music. Only then
s h o u l d t h e c h i l d ' s a t t e n t i o n be c a l l e d t o t h e s e t h i n g s . 2 4 8

A f t e r age n i n e , t h e c h i l d has integrated his/her musical experiences. Be-

f o r e t h a t age, t h e c h i l d i s not ready t o be grasped by music i n an emo-

t i o n a l way, through rhythms which are too s t r o n g . In a l e c t u r e g i v e n i n

Dornach a t E a s t e r 1923, S t e i n e r warned a g a i n s t i n t r o d u c i n g rhythms which

a r e t o o s t r o n g b e f o r e t h e c h i l d i s ready.

Now, [at age n i n e t o ten) much more than f o r m e r l y , t h e c h i l d

f e e l s t h e need t o be g r i p p e d by what i s m u s i c a l , t o be g r i p p e d
by rhythms. When we observe how the c h i l d takes i n music up t o
t h i s s t a g e of l i f e between the 9th and 10th y e a r s — h o w what i s
m u s i c a l a l s o l i v e s i n the c h i l d as something e s s e n t i a l l y
p l a s t i c , and how t h i s p l a s t i c i t y n a t u r a l l y becomes an i n n e r
f o r m a t i v e f o r c e o f the body, p a s s i n g over e x t r a o r d i n a r i l y eas-
i l y i n t o what i s d a n c e - l i k e , i n t o movement—then we must r e c -
o g n i z e how t h e i n n e r g r a s p i n g of music as such comes i n t o b e i n g
o n l y between t h e 9th and 10th y e a r s . . . . Of c o u r s e , t h e s e
t h i n g s are not c l e a r l y s e p a r a t e d from each o t h e r ; and t h o s e who
have i n s i g h t i n t o them w i l l a l s o f o s t e r the m u s i c a l element be-
f o r e t h e 9th year, but i n the r i g h t w a y — t e n d i n g more i n the
d i r e c t i o n which I have j u s t c h a r a c t e r i z e d . For the c h i l d be-
tween 9 and 10 would get a shock i f the m u s i c a l element were
suddenly t o t a k e h o l d of him, b e f o r e he was inwardly ready and
accustomed t o b e g i n g r i p p e d i n t h i s s t r o n g w a y . 2 4 9

S t e i n e r reasoned t h a t the c h i l d i s not a b l e t o comprehend rhythm and beat

u n t i l age n i n e because the c h i l d has not a c h i e v e d a b a l a n c e between h i s

b r e a t h i n g and b l o o d c i r c u l a t i o n . S t e i n e r b e l i e v e d t h a t the f o u n d a t i o n f o r

all rhythm was the r e l a t i o n s h i p between t h e b r e a t h i n g and t h e b l o o d circu-

lation. The average a d u l t , he surmised, has a r a t i o of f o u r h e a r t beats

'Steiner, Inner N a t u r e of M u s i c and the E x p e r i e n c e of Tone. 67.

'steiner, quoted in Stockmeyer, 167.

 84

to one b r e a t h . B e f o r e the age o f nine, S t e i n e r i m p l i e d t h a t t h e c h i l d has

250
not a c h i e v e d t h i s balance.

L i n d e n b e r g , w h i l e d e s i g n a t i n g the f i r s t nine y e a r s o f a c h i l d ' s l i f e as the

"melodic age," acknowledges t h a t the young c h i l d , o f c o u r s e , l i v e s strongly

in t h e l i m b s , and i s i n c o n s t a n t movement. However, he b e l i e v e d t h a t the

rhythm and beat o f music s h o u l d , f o r the young c h i l d , be d e r i v e d from the

melody. The m e l o d i c element, the flow, i n Lindenberg's view, must domi-

nate, and not t h e rhythmic element i n music w r i t t e n i n t h e "Mood o f the

Fifth."

Does t h i s mean t h a t t h e r e i s no rhythm o r harmony and no beat?

A c h i l d uses t h e s e elements when g a i n i n g mastery o f body and
l i m b s , y e t a l l t o o e a s i l y we t h i n k we have a m a n i f e s t a t i o n o f
b e a t and harmony. Melody has a movement o f i t s own and t h i s
movement as a t y p e i s predominant i n a c h i l d ' s u n f o l d i n g . 2 5 1

K n i e r i m urged t e a c h e r s o f c h i l d r e n below the age o f n i n e not t o emphasize

the beat:

. . . t h e young c h i l d does not yet have a f i x e d m e t r i c sense,

i . e . a f e e l i n g f o r t h e whole bar or the beat. One s h o u l d be
v e r y c o n s c i e n t i o u s i n de-emphasizing the b e a t . Only i n as f a r
as i t appears by i t s e l f through the dancing and w a l k i n g may i t
play a role. One t a k e s from the c h i l d the freedom o f movement
which he s h o u l d s t i l l have, and b r i n g s u n f a v o r a b l e consequences
t o bear i n h i s l a t e r y e a r s , i f the a d u l t f e e l i n g s o f weight,
b e a t , and e x a c t i t u d e are f o r c e d upon him. . . . Be c a r e f u l t o
a v o i d p e d a n t r y and t o a v o i d s t r a n g l i n g the unconscious grace

250 s t e ] - n e p ( i n n e r N a t u r e of M u s i c and the E x p e r i e n c e of Tone. 67.

2 5 1
Lindenberg, 19.
 85
and freedom t o o e a r l y i n t h e name o f t h e rhythmic s k i l l s t o be
252
learned. * z

Musicians and c l a s s t e a c h e r s i n t e r v i e w e d f a v o r e d de-emphasizing t h e beat.

One m u s i c i a n made t h e p o i n t t h a t s t r o n g rhythms a f f e c t t h e c h i l d t o o d i -

r e c t l y , too physically. Even though t h e t a s k o f t h e t e a c h e r , he b e l i e v e d ,

was t o h e l p t h e c h i l d l i v e i n t o h i s / h e r own body, t h e c h i l d i s not t r u l y

2 53

a b l e t o accept s t r o n g rhythms. A c l a s s t e a c h e r and music t e a c h e r s t a t e d

t h a t he would o n l y use "rhythm i n h e r e n t i n t h e flow o f words." He ex-

p l a i n e d why he de-emphasized t h e beat i n h i s music l e s s o n :

. . . t h e beat, I r e g a r d as t h e l o g i c a l element. And i t i s

l o g i c t h a t i s t h e anathema t o t h e p a r a d i s i a c a l c h i l d [the c h i l d
b e f o r e t h e age o f n i n e ] . F o r t h e simple reason t h a t l o g i c i s
something t h a t i s s y s t e m a t i c and you can't have a n y t h i n g more
s y s t e m a t i c t h a t i s r e g u l a r . B r e a t h i n g i s not r e g u l a r . . . . I
don't r e g a r d rhythm as something t h a t i s r e g u l a r . That i s
b e a t — t h a t i s a machine. True rhythm i s something t h a t i s not
constant, i t i s i n c o n s t a n t . 2 5 4

A p r o f e s s i o n a l m u s i c i a n and p r i v a t e music t e a c h e r who works o u t o f

S t e i n e r ' s i d e a s p o s t u l a t e d t h a t t h e r e a r e two t y p e s o f r h y t h m — e t h e r i c

rhythm ( t h a t which i s r e l a t e d t o b r e a t h i n g , t o t h e l i f e - f o r c e s ) and i n t e l -

l e c t u a l rhythm ( t h a t which i s r e l a t e d t o steady p u l s e ) .

I n t e l l e c t u a l rhythm i s beat and t h e beat i s death. . . . I o f -

t e n r e f e r t o t h e d i f f e r e n c e between t h e two i n t h i s way. I f
you f e e l your p u l s e on your w r i s t , i n between each major beat,
you e x p e r i e n c e , you can l i t e r a l l y f e e l t h e b l o o d b e g i n n i n g t o
move. And so, i t i s t h e rhythm, you can l i t e r a l l y f e e l t h e
b l o o d b e g i n n i n g t o move. And so, i t i s t h e rhythmic i n t e r v a l ,

Knierim, Quintenlieder. 11.

L. Eterman, unpublished interviews, 62.

2 5 4
Ibid, 76.
 86
e x a c t l y t h e same as t h e melodic i n t e r v a l except t h a t t h e r h y t h -
mic i n t e r v a l i s i n t i m e . You are i n a s t a t e o f movement. You
a r e working w i t h a l i v i n g b r e a t h i n g element. With t h e o t h e r ,
t h e r e i s something hard, v e r y f r o z e n about i t , i n a sense dead.
. . . . One l i v e s and b r e a t h e s and moves, t h e o t h e r i s e n t i r e l y
255
static. "

Thus, i n p r e s e n t i n g songs i n Grades One, Two, and Three i n Waldorf S c h o o l s ,

it seems t h a t t h e r e i s g e n e r a l l y no i n o r d i n a t e emphasis on b e a t . Knierim

s u g g e s t e d t h a t p a r e n t s o r t e a c h e r s walk t o t h e young c h i l d ' s own b e a t ,

i n s t e a d o f f o r c i n g t h e i r a d u l t beat upon the c h i l d . The t e a c h e r may

a c c e l e r a t e o r d e c e l e r a t e songs a c c o r d i n g t o t h e c h i l d r e n ' s mood, t h e

2 56
weather, o r t h e c o n t e x t o f t h e s u b j e c t studied.

Another r h y t h m i c f e a t u r e o f some songs w r i t t e n f o r c h i l d r e n Grades One, Two

and Three i n Waldorf S c h o o l s i s t h a t of changing meter. K n i e r i m ' s songs

a r e w r i t t e n i n meters o f 9/4, 6/4 duple, 6/4 compound, and 4/4. Sometimes

t h e meter changes from, i . e . , 9/4 t o 4/4 o r 4/4 t o 6/5 d u p l e o r 9/4 to 6/4

d u p l e t o 6/4 compound. The songs are w r i t t e n w i t h no bar l i n e s . Elisabeth

L e b r e t ' s Shepherd's Sonqbook, t o o , i n c l u d e s examples o f songs which change

from 6/8 t o 9/8 , 4/4 t o 6/8, 12/8 t o 9/8.

2 5 5
Ibid, 20.

2 5 6
Knierim, 8-9.
 87

3. Harmony

Harmony, i n S t e i n e r ' s view, i s r e l a t e d t o t h e c h e s t , t o the f e e l i n g l i f e of

257
humankind.

The element which o c c u p i e s t h e middle p o s i t i o n i n music t o -

day . . . i s harmony. Harmony s t i r s human f e e l i n g d i r e c t l y . .
. . F e e l i n g i t s e l f i s t h a t which o c c u p i e s t h e middle p o s i t i o n
i n t h e sum-total o f human e x p e r i e n c e . On t h e one s i d e f e e l i n g
f l o w s out i n t o w i l l and other i t flows out i n t o t h e w o r l d o f
i d e a s . . . . Harmony a f f e c t s f e e l i n g d i r e c t l y . Harmony i s ex-
p e r i e n c e d by t h e f e e l i n g s . 2 5 8

S t e i n e r presumed t h a t t h e c h i l d , up t o t h e age o f n i n e , does not have an

259
appreciation f o r major and minor moods, and t h a t he/she g r a s p s m e l o d i e s
260

more e a s i l y t h a n harmonies. According t o S t e i n e r , t h e c h i l d w i l l not be

harmed by e x p e r i e n c i n g music i n these moods. However, S t e i n e r d i d not be-

l i e v e t h a t t h e young c h i l d c o u l d t r u l y r e l a t e t o t h i s type o f music. This

a p p r e c i a t i o n would come, he h i n t e d , o n l y a f t e r t h e " n i n t h y e a r change"

when t h e c h i l d i s a b l e t o d i s c r i m i n a t e t h e i n n e r world from t h e o u t e r

world. S t e i n e r i n s i s t e d that teachers would do t h e c h i l d r e n a g r e a t f a v o r

261
by i n t r o d u c i n g them t o major and minor modes a f t e r age n i n e . Steiner
262
recommended t h a t t h e c h i l d r e n s i n g o n l y i n u n i s o n u n t i l age t e n .

2
^ Steiner,
7
Inner N a t u r e o f M u s i c and t h e E x p e r i e n c e of Tone. 68.

258 teiner, S quoted i n Stockmeyer, 171.

2
^'steiner, Inner N a t u r e o f M u s i c and t h e E x p e r i e n c e of Tone. 57.

2 6 0
Ibid, 66.

2 6 1
Ibid, 58.

2
^ Rudolf
2
Steiner, Conference with the Teachers of the Waldorf School in Stuttgart. Volume Two,

trans. P a u l i n e Wehrle ( F o r e s t Row, E a s t Sussex, Great B r i t a i n : Steiner Schools Fellowship Publications,

1987), 9.
 88

L i n d e n b e r g a s s e r t e d t h a t songs i n Grades One and Two, and perhaps Grade

Three, s h o u l d not even be harmonized f o r the c h i l d r e n . He s t a t e d t h a t i n

t h e s e grades, "harmonization superimposes unnecessary fetters for something

that s t i l l wants t o grow and come i n t o i t s own." Chording on p i a n o o r g u i -

tar b r i n g s i n t h e element of major and minor which, a c c o r d i n g t o L i n d e n -

263
berg, s h o u l d be a v o i d e d u n t i l the end o f Grade Three.

The songs o f L e b r e t , K n i e r i m , and Masters a l s o appear without accompani-

ment. However, i t i s i n t e r e s t i n g t o note t h a t t h e music w r i t t e n by P a u l

Bauman, music t e a c h e r o f the f i r s t Waldorf S c h o o l , i n c l u d e d p i a n o accompa-

niment .

C. Activities of Music

1. Singing

S i n g i n g , a c c o r d i n g t o S t e i n e r , i s an e s s e n t i a l mode o f e x p r e s s i o n f o r t h e

human b e i n g .

. . . something i n f i n i t e l y important i n man's harmony w i t h the

w o r l d i s a c h i e v e d when he s i n g s . S i n g i n g i s a way o f r e p r o d u c -
i n g what i s a l r e a d y p r e s e n t i n the w o r l d . When t h e human b e i n g
s i n g s , he e x p r e s s e s the momentous wisdom out o f which t h e world
is b u i l t . 2 6 4

'Lindenberg, 21.

Steiner. Practical A d v i c e To T e a c h e r s . 52.

 89

S t e i n e r b e l i e v e d t h a t t h e a c t i v i t i e s o f s i n g i n g and instrument playing

s h o u l d be i n t r o d u c e d t o t h e c h i l d r e n as soon as p o s s i b l e i n t h e c h i l d ' s

education so t h a t t h e c h i l d c o u l d e x p e r i e n c e t h e "musical element which

265
l i v e s i n t h e i r human form, as i t emancipates and f r e e s itself."

Teachers were asked t o view t h e c h i l d as a m u s i c a l instrument. Every

child, Steiner f e l t , was a b l e t o f e e l "a k i n d o f w e l l - b e i n g i n t h e

266
sound." He encouraged t e a c h e r s t o imagine what a v i o l i n would f e e l , i f
it could f e e l , as t h e performer draws t h e bow a c r o s s t h e s t r i n g s . He urged

teachers t o g i v e c h i l d r e n these "little experiences of ecstasy" through

267

singing. He b e l i e v e d i f one was t o be a good music t e a c h e r , "he w i l l

make a p o i n t o f t a k i n g s i n g i n g w i t h t h e c h i l d r e n a t t h e v e r y b e g i n n i n g o f

t h e i r school life." 2 6 8

A c c o r d i n g t o t h e von Heydebrand c u r r i c u l u m , t h e c h i l d r e n must l e a r n t o d i s -

c r i m i n a t e between what i t b e a u t i f u l and what i s not b e a u t i f u l t h r o u g h exer-

cises i n ear t r a i n i n g . In Grades One and Two "simple rhythmic melody"

s h o u l d be i n t r o d u c e d t o t h e c h i l d r e n . These melodies "which s u i t h i s age"

2 69

a r e t o be l e a r n e d by r o t e . The b e n e f i t s o f c h i l d r e n ' s songs s h o u l d not

be u n d e r e s t i m a t e d as p a r t o f a c h i l d ' s e d u c a t i o n , a c c o r d i n g t o S t e i n e r .

^steiner. Human V a l u e s in Education. 151.

2 6 6
Steiner, The Kingdom o f C h i l d h o o d . 111.

2 6 7
Ibid, 112.

268steiner, Human V a l u e s o f E d u c a t i o n . 150.

von Heydebrand, 20.

 90

Songs s h o u l d be chosen f o r t h e i r "beauty o f sound." The songs "must make a

270
p r e t t y and r h y t h m i c a l i m p r e s s i o n on the senses."

The a c t i v i t y o f s i n g i n g , a c c o r d i n g t o S t e i n e r , s h o u l d n o t be t i e d , a t

first, t o any l e a r n i n g o f m u s i c a l concepts. Teachers may t e a c h " l i t t l e

songs q u i t e e m p i r i c a l l y without any k i n d o f t h e o r y : n o t h i n g more than sim-

ply s i n g i n g l i t t l e songs, but they must be w e l l sung!" Later, Steiner

s a i d , songs may be used t o t e a c h the c h i l d r e n g r a d u a l l y about melody,

271
rhythm, and beat.

S t e i n e r was a g a i n s t the use o f " a r t i f i c i a l methods" t o t e a c h s i n g i n g .

C h i l d r e n , he thought, should not be made c o n s c i o u s o f t h e i r b r e a t h i n g , but

t h a t t h e y s h o u l d shape t h e i r b r e a t h i n s t i n c t i v e l y a c c o r d i n g t o t h e m u s i c a l

phrase. Steiner felt t e a c h i n g c h i l d r e n t o s i n g t o o c o n s c i o u s l y would be

analogous t o t e a c h i n g c h i l d r e n t o m e t h o d i c a l l y and a n a l y t i c a l l y how t o h o l d

a pen. To t e a c h i n t h i s way, was, i n S t e i n e r ' s view, t o t r e a t t h e human

b e i n g l i k e a machine. The p h y s i c a l organism must be " f r e e t o adapt itself

272

to what i s r i g h t l y e x p e r i e n c e d i n the s o u l . " Waldorf music t e a c h e r s t r y

to a c h i e v e a c l e a r f r e e tone, without v i b r a t o , without emotionalism.

The development o f c o n s c i o u s a c t i v e l i s t e n i n g would h e l p t h e c h i l d t o s i n g

p r o p e r l y , not "methods" which were, t o S t e i n e r , t o o i n t e l l e c t u a l , t o o sepa-

r a t e from t h e e x p e r i e n c e itself. S t e i n e r urged t e a c h e r s t o w a i t until

2 7 0
Steiner, The E d u c a t i o n o f t h e C h i l d . 29.

2 7 1
Steiner, T h e Kingdom o f C h i l d h o o d . 116.

2 7 2
Rudolf Steiner, T h e Renewal o f E d u c a t i o n Through t h e S c i e n c e o f t h e S p i r i t (Forest Row, E a s t

Sussex, Great Britain: Kolisko Archives Publications, 1981), 146-147.

 91

c h i l d r e n were o l d e r and l e s s v u l n e r a b l e t o s u b j e c t s t u d e n t s t o such meth-

ods. 2 7 3

The f i r s t s t e p i n t e a c h i n g s i n g i n g and m u s i c a l ear t r a i n i n g i s

t o implant i n the c h i l d r e n the h a b i t of l i s t e n i n g c a r e f u l l y .
Then one awakens t h e i r f a c u l t y of i m i t a t i o n i n r e p r o d u c i n g t h e
music t h e y have heard. The best s i n g i n g method would be f o r
t h e t e a c h e r t o s i n g t o h i s c l a s s w i t h r e a l l o v e f o r the music.
Then when h e a r i n g t h e c h i l d r e n s i n g a f t e r him, he must be a b l e
t o p o i n t out a n y t h i n g which i s f a u l t y o r which needs improving.
He must engender a d e s i r e i n the c h i l d r e n t o copy what they
have heard from h i s l i p s , and then he can c o r r e c t t h e m . 2 7 4

The important t h i n g i s t h a t the c h i l d s h o u l d l e a r n t o l i s -

t e n ; t h e m u s i c a l h e a r i n g must be t r a i n e d . The c h i l d must above
a l l grow accustomed t o h e a r i n g r i g h t l y and then the tendency t o
i m i t a t e c o r r e c t l y what i t has heard must be aroused. There
a g a i n the b e s t method f o r the t e a c h e r i s t o l e a d the s i n g i n g
w i t h a c e r t a i n l o v e , and then go i n t o t h e p o i n t s which a r e a t
fault. In t h i s way, t h e p u p i l develops h i s n a t u r a l need t o im-
i t a t e what he has heard and he l e a r n s from h i s t e a c h e r ' s c o r -
275
rections.

S t e i n e r suggested t h a t s i n g i n g and c r i t i c a l l i s t e n i n g be alternating

activities i n a music l e s s o n . He recommended t h a t one h a l f of t h e class

97 fi

sing while the other h a l f l i s t e n e d . He a l s o a d v i s e d t h a t the children

be g i v e n s i n g i n g one day and be allowed on the next day t o l i s t e n t o i n -

277
s t r u m e n t a l music.

2 7 3
Ibid, 146.

2 7 4
Ibid, 132.

2 7
^Steiner, quoted in Stockmeyer, 163.

2 7
^Steiner, Supplementary Course. The Upper S c h o o l . (1965), 5.

2 7 7
Ibid, 3.
 92

S t e i n e r assumed t h a t the " s p i r i t u a l " element o f the music wanted t o remain

w i t h the c h i l d a f t e r the music had ceased. S t e i n e r asked t e a c h e r s t o con-

s i d e r a s k i n g the c h i l d r e n t o remain q u i e t f o r a few minutes a f t e r the music

has f i n i s h e d , i n s t e a d of r u s h i n g i n t o another a c t i v i t y . According to

S t e i n e r , the o l d e r the c h i l d r e n , the more important i t i s t o i n c l u d e these

278
periods of s i l e n c e .

2. Movement

At age three and f o u r , S t e i n e r s t a t e d , the c h i l d wants t o j o i n h i s / h e r "own

b o d i l y musical nature i n m u s i c a l rhythm and r e l a t i o n s h i p w i t h the world."

The capacity i s present most s t r o n g l y i n the human b e i n g a t the age of

three to four. S t e i n e r urged p a r e n t s t o dance, t o move w i t h t h e i r chil-

dren. The c h i l d ' s body should be "permeated" w i t h movement at t h i s criti-

c a l age. T h i s would h e l p the c h i l d r e n overcome any heaviness i n t h e i r

279
limbs, Steiner predicted. S t e i n e r s t a t e d t h a t the b e n e f i t s of dance and

movement w i t h the young c h i l d c o u l d a l s o "have a p o w e r f u l i n f l u e n c e i n

280
b u i l d i n g up the p h y s i c a l organs."

S t e i n e r contended i f t h i s f e e l i n g f o r music, movement, and rhythm were

c u l t i v a t e d by the p a r e n t s b e f o r e the c h i l d ' s f i r s t change o f t e e t h , a

strong foundation would have been l a i d f o r the development of t h e c h i l d ' s

2 7 8
Steiner, Supplementary Course. The Upper S c h o o l . Forest Row, East Sussex: Kolisko Archives

Publications: 1980, 48.

2 7
'steiner, Practical A d v i c e to Teachers. 20.

2 8 0
Steiner, The E d u c a t i o n of the Child. 29.
m u s i c a l i t y i n the f u t u r e . However, S t e i n e r c a u t i o n e d t e a c h e r s not t o

emphasize t h i s w i l l t o movement too e n t h u s i a s t i c a l l y . The movement of

early childhood:

. . . c a r r i e s l i f e t o o s t r o n g l y , l i f e t h a t i s too s t u n n i n g , and
e a s i l y benumbs c o n s c i o u s n e s s . T h i s s t r o n g m u s i c a l element v e r y
e a r l y b r i n g s about a c e r t a i n dazed s t a t e i n the c h i l d ' s d e v e l -
opment . 2 8 2

T h i s impulse has t o be balanced, a r r e s t e d somewhat so t h a t the "music does

not a f f e c t t h e human b e i n g t o o s t r o n g l y . " The D i o n y s i a n elements of t h e

283
music have t o be b a l a n c e d w i t h the A p o l l o n i a n .

S t e i n e r suggested t h a t f o r the young c h i l d , e s p e c i a l l y from age seven on, a

u n i t y o f movement, p l a y i n g instruments, s i n g i n g s h o u l d be encouraged. The

Greeks, S t e i n e r p o i n t e d out, were concerned w i t h the t e a c h i n g of t h e whole

human b e i n g — b o d y , s o u l and spirit. Through movement, the Greek felt

r e l a t e d to the world.

The Greeks brought t h e i r p u p i l s i n t o movement; they brought

them i n t o movement t h a t was i n harmony w i t h t h e dynamic o f t h e
s p i r i t u a l and p h y s i c a l c o s m o s . 2 8 4

2 8
^Steiner, Practical A d v i c e to Teachers. 21.

2 8 2
Ibid, 47.

2 8 3
Ibid, 48.

2 8 4
Rudolf Steiner, Deeper Insights into Education: The Waldorf Approach, trans. R. M. Querido

(Spring Valley, New York: Anthroposophical Press, 1983), 3.

 94

The dances o f t h e Greek gymnast i n s p i r e d "the hand t o p l a y t h e z i t h e r ,

285

i n s p i r i n g speech and word t o become song." The m u s i c a l f e e l i n g was not

d e r i v e d from a s p e c i a l m u s i c a l t r a i n i n g , but from a harmonizing of a l l as-

p e c t s o f t h e organism. T h i s was accomplished because, a c c o r d i n g t o

S t e i n e r , t h e s e b o d i l y e x e r c i s e s r e g u l a t e d t h e b r e a t h i n g and b l o o d circula-

tion.

When does man b e s t b r i n g h i s b l o o d i n t o movement by means o f

t h e b r e a t h i n g ? — t h e answer would have been t h a t t h e boy must
move, must c a r r y out d a n c e - l i k e movements from h i s seventh y e a r
onwards. . . . The aim o f a l l t h i s o r c h e s t r i c was t o e x p r e s s
t h e systems o f b r e a t h i n g and b l o o d c i r c u l a t i o n i n t h e human be-
i n g i n t h e most p e r f e c t way. For the' c o n v i c t i o n was t h a t when
t h e b l o o d c i r c u l a t i o n i s f u n c t i o n i n g p r o p e r l y i t works r i g h t
down t o t h e v e r y f i n g e r t i p s , and then i n s t i n c t i v e l y t h e human
being w i l l s t r i k e the s t r i n g s of the z i t h e r or the s t r i n g s of
t h e l u t e i n t h e r i g h t way. 2 6

S t e i n e r i n v e n t e d a form o f movement c a l l e d eurythmy i n 1910. Eurythmists

a r e a c t i v e i n t h e a n t h r o p o s o p h i c a l movement i n t h e f i e l d s o f e d u c a t i o n , c u -

r a t i v e work, and a r t i s t i c performance. While p e r f o r m i n g eurythmy, which

has been c a l l e d " v i s i b l e speech and v i s i b l e music," t h e s t u d e n t s interpret

speech o r music. Each vowel, each consonant, each note i s linked with a

g e s t u r e which i s i n t e r p r e t e d a c c o r d i n g t o t h e c o n t e x t o f t h e poem o r

melody. U s u a l l y , i n Waldorf Schools, students move t o p i a n o music. The

students i n t e r p r e t works o f t h e g r e a t composers o r works w r i t t e n

specifically f o r eurythmical exercises. Eurythmy promotes c a r e f u l listen-

i n g , s p a t i a l awareness, awareness o f o t h e r s .

"-'Steiner, A Modern A r t o f E d u c a t i o n . 50.

2 8 6
Ibid, 51.
 95

However, eurythmy i n the Waldorf School i s taught as a s e p a r a t e s u b j e c t

from K i n d e r g a r t e n t o Grade Twelve. I t cannot be p a r t o f the music l e s s o n ,

as eurythmy i s o n l y taught i n Waldorf Schools by t r a i n e d e u r y t h m i s t s .

3. P l a y i n g of Instruments

a. Overview o f S t e i n e r ' s i d e a s

Not o n l y d i d S t e i n e r r e g a r d t h e human b e i n g as a m u s i c a l i n s t r u m e n t , he

a l s o b e l i e v e d t h a t m u s i c a l instruments are r e l a t e d t o the f a c u l t i e s o f the

human s o u l — t h e t h i n k i n g , the f e e l i n g and the w i l l i n g . Steiner's theory

was that "the o r c h e s t r a i s an image of man." He e x p l a i n e d :

The wind i n s t r u m e n t s prove t h a t the head o f man e x p e r i e n c e s mu-

sic. The s t r i n g instruments are l i v i n g p r o o f t h a t music i s ex-
p e r i e n c e d i n t h e c h e s t , p r i m a r i l y e x p r e s s e d i n t h e arms. A l l
p e r c u s s i o n i n s t r u m e n t s . . . are e v i d e n c e o f how t h e m u s i c a l
element i s expressed . . . i n the limb system. A l s o , however,
e v e r y t h i n g connected w i t h the wind i n s t r u m e n t s has a more i n t i -
mate r e l a t i o n t o the element of melody than t h a t which i s con-
n e c t e d w i t h t h e s t r i n g instruments, which have a r e l a t i o n t o
t h e element o f harmony. That which i s connected w i t h p e r c u s -
s i o n p o s s e s s e s more i n n e r rhythm and r e l a t e s t o the rhythmic
element. An o r c h e s t r a i s an image of m a n . 2 8 7

T h e r e f o r e , S t e i n e r l i n k e d wind instruments w i t h melody (the head, nerve-

sense, t h i n k i n g ) , s t r i n g instruments w i t h harmony (the c h e s t , b r e a t h i n g and

blood c i r c u l a t i o n , f e e l i n g ) , and p e r c u s s i o n i n s t r u m e n t s w i t h rhythm (the

Steiner, Inner N a t u r e of M u s i c and the E x p e r i e n c e of Tone, 74-75.

 96

limbs and metabolism, the " w i l l " ) . He i m p l i e d t h a t a l l t h r e e realms were

n e c e s s a r y i n music-making, but i n a balanced way.

S t e i n e r f e l t t h a t the piano was "a k i n d o f memorizing i n s t r u m e n t . . . the

worst p o s s i b l e t h i n g f o r a c h i l d . " The piano d i d not a l l o w f o r t h e b e i n g

288

of t h e c h i l d t o flow i n t o i t , l i k e the v i o l i n or r e c o r d e r In a d d i t i o n ,

t h e p i a n o , he b e l i e v e d , was not b u i l t out o f t h i s "image o f man."

The music instruments are d e r i v e d from the s p i r i t u a l w o r l d ; t h e

p i a n o , however, i n which the tones are a b s t r a c t l y l i n e d up next
t o each o t h e r , i s c r e a t e d o n l y i n t h e p h y s i c a l world by man.
A l l i n s t r u m e n t s l i k e the f l u t e o r v i o l i n o r i g i n a t e m u s i c a l l y
from t h e h i g h e r world. . . . The piano a r i s e s out o f a m a t e r i -
a l i s t i c e x p e r i e n c e of music. . . . i t i s the one i n s t r u m e n t
t h a t a c t u a l l y , i n a m u s i c a l sense, must be overcome. Man must
get away from the impressions of the piano i f he wishes t o ex-
perience the a c t u a l musical element. 2 9

S t e i n e r s t r e s s e d that musical i n s t r u c t i o n , f o r the younger c h i l d , should

always b e g i n w i t h song. However, instruments were t o be i n t r o d u c e d "as

e a r l y as p o s s i b l e , " so t h a t "the c h i l d r e n should come t o f e e l what i t means

for t h e i r own m u s i c a l b e i n g t o flow over i n t o the o b j e c t i v e

290

instrument . . . " In t h i s way, the u n i t y of the s i n g i n g , p l a y i n g and

moving t o music i s f o s t e r e d i n the Waldorf Schools.

S t e i n e r recommended t h a t every c h i l d , even the most unmusical ones, learn

to p l a y a m u s i c a l instrument. He proposed t h a t c h i l d r e n b e g i n w i t h a blow-

ing i n s t r u m e n t , a l t h o u g h S t e i n e r d i d admit t h a t t h i s e x p e r i e n c e c o u l d be a

2 8 8
Steiner, The Kingdom o f Childhood. 116.

2 8
'steiner, Inner N a t u r e of M u s i c and the E x p e r i e n c e of Tone. 75.

2 9 0
Steiner, The Kingdom o f Childhood. 116.
 97

" h a i r - r a i s i n g " one f o r the t e a c h e r ! The b e n e f i t f o r the c h i l d r e n i n t h i s

e x p e r i e n c e i s t h a t t h e c h i l d ' s b r e a t h i n g , " t h i s whole c o n f i g u r a t i o n o f the

air, which o t h e r w i s e he e n c l o s e s and h o l d s w i t h i n him a l o n g t h e nerve-fi-

b r e s , cannot be extended and guided." By blowing, Steiner believed that

t h e c h i l d c o u l d f e e l h i s whole being expanded. A s i m i l a r phenomenon o c c u r s

when t h e c h i l d p l a y s the v i o l i n . Steiner stated that " . . . he f e e l s how

291
t h e music i n him passes over i n t o the s t r i n g s through t h e bow. "

S t e i n e r d i d not mention t h e use of p e r c u s s i o n instruments for children.

Lindenberg s t a t e d t h a t c h i l d r e n b e f o r e the age of n i n e i n t h e Waldorf

S c h o o l s a r e c o n s i d e r e d t o be i n the "melodic" age p r e p a r i n g t o e n t e r t h e

"harmony age." A c c o r d i n g t o Lindenberg, beat, and thus p e r c u s s i o n instru-

292
ments, a r e not emphasized b e f o r e puberty.

The first Waldorf S c h o o l s o f f e r e d r e c o r d e r and v i o l i n i n Grades One to

Three. The Stockmeyer c u r r i c u l u m i n d i c a t e d :

Recorder (taught i n c l a s s e s ) and V i o l i n s ( i f enough v i o l i n i s t s

a r e a v a i l a b l e i n the c l a s s ) : from c l a s s 1-4, each two
293
lessons.

A c c o r d i n g t o t h e Stockmeyer c u r r i c u l u m , t h i s e a r l y i n s t r u m e n t a l e x p e r i e n c e

was meant t o p r e p a r e the c h i l d r e n f o r a f u l l i n s t r u m e n t a l program i n t h e

later grades.

2 9 1
Ibid, 112.

2'2L jnderiberg, 17.

293 s t e j n e r q U O ted in Stockmeyer, 162.

 98

Ensemble p l a y i n g of s u i t a b l e c h i l d r e n from c l a s s e s 5-8: 2

l e s s o n s a week.

S c h o o l O r c h e s t r a c o n s i s t i n g of s u i t a b l e p u p i l s from c l a s s e s 9
t o 12: 2 l e s s o n s a week. 2 4

C a r o l i n e von Heydebrand's c u r r i c u l u m emphasized v i o l i n s and "flutes."

Grade 1 — o n e p e r i o d — f l u t e s and violins

Grades 2, 3, 4 — t w o p e r i o d s — f l u t e s and violins

The von Heydebrand c u r r i c u l u m a l s o l e d t o a f u l l instrumental program.

Grades 5-12—one p e r i o d — F r o m t h e 5th c l a s s onwards t h e r e

295
s h o u l d be an o r c h e s t r a f o r the more advanced.

The c u r r i c u l u m recommended t h a t the c h i l d r e n s i n g as o f t e n as p o s s i b l e ,

accompanied by the instruments i n use i n the s c h o o l . V o c a l and instrumen-

tal music were thus i n t r o d u c e d s i m u l t a n e o u s l y . The curriculum stated that

some p e r c u s s i o n instruments c o u l d be added as wished. These instrumental

c l a s s e s , of " f l u t e " ("Czakans" or r e c o r d e r s i n D") or v i o l i n , were c o n s i d -

e r e d mandatory i n the f i r s t t h r e e grades. I t was suggested t h a t some

students may
wish t o p l a y the v i o l i n at t h i s age. In l a t e r grades, smaller
296
v o l u n t a r y ensembles were o f f e r e d .

29*1 bid.

2 ' ^ v o n Heydebrand, 99.

2 9 6
Ibid, 20.
S t e i n e r emphasized t h a t the q u a l i t y o f instruments was o f utmost c o n s i d e r a -

tion. Inferior i n s t r u m e n t s would serve t o s p o i l t h e c h i l d ' s m u s i c a l e a r .

" I f we want t o t r a i n t h e c h i l d r e n ' s e a r , " he s a i d , "we cannot be careful

297
enough about t h e q u a l i t y o f the instrument."

Many new i n s t r u m e n t s have developed from S t e i n e r ' s i d e a s on music and music

e d u c a t i o n w i t h t h i s emphasis on q u a l i t y . Two instrument-making companies,

" C h o r o i " and " G a r t n e r , " now produce instruments f o r use i n t h e Waldorf

Schools.

b. Gartner Instruments

i. P h i l o s o p h y and development

In 1926, two y e a r s a f t e r Rudolf S t e i n e r ' s death, Edmund P r a c h t , composer,

and L o t h a r G a r t n e r , instrument maker, both members o f the Youth S e c t i o n o f

t h e A n t h r o p o s o p h i c a l Movement, c o l l a b o r a t e d t o c r e a t e new instruments based

298

on S t e i n e r ' s world-view. Even though the i n s t r u m e n t s were d e v e l o p e d

a f t e r S t e i n e r ' s death, t h e r e i s evidence t h a t G a r t n e r d i d work w i t h i n

S t e i n e r ' s recommendations on the c r e a t i o n o f new instruments. Edmund

P r a c h t acknowledged t h e i n f l u e n c e of an instrument maker, Franz Thomastik,

(1883-1951), a V i e n n i a n who had been g i v e n some i n d i c a t i o n s by S t e i n e r on

299
instrument b u i l d i n g . S t e i n e r ' s b i o g r a p h e r , Gunther Wachsmuth, wrote
2 9 7
Rudolf Steiner, Conference with the T e a c h e r s of the Ualdorf School in Stuttgart. Volume One,

trans. P a u l i n e Wehrle (Forest Row, East Sussex, Great Britain: Steiner Schools Fellowship Publications,

1986), 128.

2 9 8
Elisabeth Gartner, "Rudolf S t e i n e r ' s Musical I m p u l s e and the C r e a t i o n of the Leier, a New

Musical Instrument," trans. Joan C o l l i s , article sent with personal letter d a t e d A u g u s t 8, 1988

2
"Edmund Pracht, Goldene L e i e r . H e f t 4. Einfuhrung i n das Leierspiel. 68.
 100

t h a t from August 29 - September 6, 1921, S t e i n e r gave l e c t u r e s on

anthroposophy i n Vienna. At t h i s conference, new i n s t r u m e n t s developed by

Tomastik were p l a y e d . 3 0 0

In 1928, a t an a n t h r o p o s o p h i c a l conference i n London, two i n s t r u m e n t s made

by L o t h a r G a r t n e r , a bass l y r e and a bass g l o c k e n s p i e l (each two meters

301

h i g h ) , were p r e s e n t e d . From t h e l y r e p r o t o t y p e , an ensemble o f soprano,

a l t o , t e n o r - b a s s l y r e s grew. K a n t e l e s and c h i l d r e n ' s l y r e s were c r e a t e d

f o r music e d u c a t i o n and music therapy.

The i n s t r u m e n t s were t o be t o o l s with which- one c o u l d r e a l i z e t h e i d e a o f

m u s i c a l a r c h e t y p e s i n i t i a t e d by Goethe and S t e i n e r . In a d d i t i o n , Gartner

and P r a c h t wished t o b u i l d instruments which were based on t h e human b e i n g

as t h e " a r c h e t y p a l m u s i c a l instrument." G a r t n e r wanted t o b u i l d "a house

f o r sound, g i v i n g form t o t h e g e s t u r e o f l i s t e n i n g . " The t o n e s were t o

302
c a r r y an element o f " l i g h t . "

P l a y i n g o f t h e l y r e was t o serve t h e purpose o f s t i m u l a t i n g t h e imagina-

tion. The main aim was " t o s p i r i t u a l i z e t h e human s o u l ; i t s h a l l educate

t h e human s o u l t o be open t o t h e s p i r i t , i t s h a l l t r a n s f o r m t h e human

303
soul." The l y r e was b u i l t t o be a m e d i t a t i v e instrument, t o n o u r i s h t h e

3 0 0
Gunther Wachsmuth, life and Work o f R u d o l f S t e i n e r (New Y o r k : Whittier Books, Inc., 1955),

419.

3 0 1
Gartner, 3.

3 0 2
Ibid, 2.

3 0 3
Ibid, 2.
 101

i n n e r e x p e r i e n c e , not an instrument on which v i r t u o s i t y c o u l d be

flaunted. 3 0 4

E l i z a b e t h G a r t n e r , t h e w i f e o f L o t h a r G a r t n e r , wrote t h a t t h e t r u e impor-

t a n c e o f t h e l y r e has not been p e r c e i v e d y e t , and " N e i t h e r i s i t s c o n t r i b u -

t i o n t o t h e m u s i c a l e d u c a t i o n o f t h e c h i l d through t h e v a r i o u s phases o f

305

development p r o p e r l y understood." According t o E l i z a b e t h Gartner,

Rudolf S t e i n e r r e f e r r e d t o A p o l l o , t h e sun god, as t h a t b e i n g o f t h i n k i n g ,

feeling, and w i l l i n g , who brought h e a l i n g through t h e s t r i n g s o f h i s l y r e .

For t h e young c h i l d who l i v e s i n a n o i s y and a l i e n a t e d world, t h e l y r e ,

G a r t n e r b e l i e v e d , c o u l d b r i n g a measure o f h a r m o n y . 306

Edmund P r a c h t d i e d i n 1974 and L o t h a r G a r t n e r i n 1979. At t h e 60th

a n n i v e r s a r y o f t h e f o u n d i n g o f t h e G a r t n e r company, i n 1986, twenty t h o u -

307
sand G a r t n e r l y r e s had been s o l d around the world.

3 0 4
Ibid, 3.

3 0 5
Ibid, 2.

•^Elisabeth Gartner, " F o r m u n d Ton a l s heilende, OTdnende K r a f t e , " article sent with personal

letter d a t e d A u g u s t 8, 1988, 1.

•^'"Firmen im G e s p r a c h - - S e c h z i g Jahre leierbau--im Dienst musikschopferischen und

menschenbiIdenden Bemuhens," Das H u s i k i n s t r u m e n t 9 (1986): 1.

 102
Figure 3

Gartner A l t o Lyre

partner Alto Lyre

 103
Figure 4

Gartner F l u g e l - K a n t e l e or "Wing" Kantele

 104

Figure 5

Gartner C h i l d r e n ' s Harp

;ner Children * 4
 105
ii. Lyres

The G a r t n e r company makes two d i f f e r e n t s t r i n g i n s t r u m e n t s f o r c h i l d r e n —

t h e " f l u g e l - k a n t e l e " or "wing" k a n t e l e and the " k i n d e r l e i e r " o r "children's

lyre." The " f l u g e l - k a n t e l e " has t e n s t r i n g s and can be tuned t o t h e pen-

tatonic (DE GAB DE) or d i a t o n i c s c a l e (C-E). The " c h i l d r e n ' s harp" has

t w e l v e s t r i n g s which may be tuned p e n t a t o n i c a l l y (DE GAB DE GAB DE) or d i a -

tonically.(C-G) 3 0 8

c. Choroi Instruments

i. P h i l o s o p h y and Development

The C h o r o i company seems t o have a more d e f i n e d e d u c a t i o n a l p h i l o s o p h y than

t h e G a r t n e r company. The word " C h o r o i " i s d e r i v e d from t h e Greek word

"Choros" meaning "chorus" o r "a dance i n a r i n g . " "Choroi" i s the plural

o f "Choros." The name was chosen t o denote t h e a n c i e n t Greek i d e a o f music

309

m a k i n g — t h e i n t e g r a t i o n o f s i n g i n g , p l a y i n g i n s t r u m e n t s , and movement.

The C h o r o i company has c r e a t e d t h r e e d i f f e r e n t t y p e s of i n s t r u m e n t s —

s t r i n g , wind and p e r c u s s i o n ( l y r e s , f l u t e s , and xylophones and glocken-

s p i e l s ) , perhaps a c c o r d i n g t o Rudolf S t e i n e r ' s i d e a o f b a l a n c i n g t h i n k i n g ,

feeling, and w i l l i n g i n music making.

N o r b e r t V i s s e r , a Dutch instrument maker and p r o f e s s i o n a l m u s i c i a n who now

l i v e s and works i n t h e c u r a t i v e community o f Scorleward, t h e N e t h e r l a n d s ,

•^"Gartner promotional material.

3 u
'Norbert Visser, workshop i n F a i r Oaks, California, July 1982.
 106

developed t h e l i n e o f C h o r o i i n s t r u m e n t s i n the 1960's. He e x p l a i n e d t h e

concept o f " C h o r o i " :

The a n c i e n t Greeks knew the concept o f C h o r o i as an e x p r e s s i o n

meaning music as such. In our modern times, music has f a l l e n
a p a r t i n t o a number o f s e p a r a t e a c t i v i t i e s , such as s i n g i n g ,
p l a y i n g o f i n s t r u m e n t s , composing. The element of movement we
today o n l y know as the s e p a r a t e a c t i v i t y o f d a n c i n g . With t h e
word C h o r o i , we a g a i n wish t o e x p r e s s : Music as a means o f ex-
p r e s s i o n through the m u s i c a l instrument, through t h e human
v o i c e , through composing, and i m p r o v i s i n g , through tone-move-
ment, i n i n t i m a t e communicating w i t h the s u r r o u n d i n g room-
world. 3 1 0

P e d r o l i and B l o c h e x p l a i n e d why the C h o r o i instruments were e s p e c i a l l y

s u i t e d t o the young c h i l d .

D u r i n g p r e - s c h o o l y e a r s , every sound of e a r t h l y matter, e v e r y

rhythmic movement, becomes wonderful "music," f u l l o f r i d d l e s ,
t o which t h e y want t o l i s t e n a g a i n and a g a i n . T h i s a t t i t u d e
p e r s i s t s i n a dominating way up t o t h e n i n t h year. . . . The
C h o r o i i n s t r u m e n t s seek i n a way a p p r o p r i a t e t o our time, t o
b r e a t h e new l i f e i n t o t h i s p r i m e v a l m u s i c a l a c t i v i t y ( " s i n g i n g ,
p l a y i n g , speaking, and d a n c i n g t o g e t h e r . " ) 3 1 1

With t h i s aim, V i s s e r designed f l u t e s , l y r e s , harps, and xylophones which

are used i n the Waldorf Schools. V i s s e r termed t h e s e i n s t r u m e n t s "new"

i n s t r u m e n t s , even though l y r e s , f l u t e s , and harps are some o f t h e o l d e s t

i n s t r u m e n t a l forms known t o humankind. In a n c i e n t Greece, t h e l y r e was as-

s o c i a t e d w i t h t h e o r d e r e d r i t e s o f A p o l l o , the son of Zeus, and t h e flute

3
^Norbert visser, unpublished a r t i c l e on Choroi instruments, d a t e d March 29, 1988, 1.

^Thomas pedroli and Dietmar B l o c h , "Playing with Choroi Flutes: An I n t r o d u c t i o n , " trans.

Peter Klaveness (Choroi promotional material), 9-10.

 107

w i t h Marsyas. The d e s i g n e r s of the C h o r o i i n s t r u m e n t s have m o d i f i e d t h e s e

ancient i n s t r u m e n t s and a s s i g n e d t o them new functions.

C h o r o i i n s t r u m e n t s are made by i n d i v i d u a l s w i t h p h y s i c a l and mental handi-

caps who l i v e i n c u r a t i v e communities i n F i n l a n d , Sweden, Denmark, Germany,

312

H o l l a n d , and S w i t z e r l a n d . (See Appendix H, " L i s t o f C h o r o i and Gartner

Workshops.") The author v i s i t e d the S c o r l e w a l d workshop i n J u l y , 1985, and

o b s e r v e d how each worker was responsible for a s p e c i f i c part of the

production process. Machines are adapted, and even i n v e n t e d , t o s e r v e the

needs o f t h e handicapped. The workers o f t e n g a t h e r i n a group a t t h e end

o f t h e day and p l a y t h e i r instruments. The C h o r o i i n s t r u m e n t s , c r e a t e d

from t h e work o f two d i s c i p l i n e s , instrument-making and c u r a t i v e work w i t h

t h e handicapped, were c r e a t e d f o r two reasons: t o h e l p renew music

e d u c a t i o n and t o g i v e meaning and purpose to the l i v e s of the

313

handicapped. C h o r o i b u i l d s approximately 14,000 wooden f l u t e s (1000

interval f l u t e s , 8000 p e n t a t o n i c f l u t e s , and 5000 d i a t o n i c f l u t e s ) and

approximately 1200
s t r i n g instruments (300 bordun l y r e s , assorted lyres,
314
and c h i l d r e n ' s harps) per year.

The c o n n e c t i o n t o S t e i n e r i n the case of C h o r o i was indirect. Visser never

knew S t e i n e r , but had worked with instrument makers who followed Steiner's

i d e a s on v i o l i n making. In 1952, V i s s e r worked w i t h a v i o l i n maker from

Nurnberg, Germany, K a r l Wieder who had helped t o produce a c e r t a i n type o f

3 l 2
Visser, Building Choroi Musical Instruments. 37.

3 1 3
Ibid.

3
^ Karin
4
Schertund, personal letter d a t e d August 18, 1988.
 108

315

v i o l i n c a l l e d the "Thomastik" v i o l i n . The "Thomastik" v i o l i n was cre-

a t e d by Franz Thomastik who built

h i s v i o l i n based on the C e l t i c crwth from
316
a n c i e n t p r i n c i p l e s , known, s a i d V i s s e r , s i n c e 300 B.C.

V i s s e r b e l i e v e d t h a t such changes i n m u s i c a l instrument making were p r e -

dictable. Thomastik had searched f o r y e a r s t o d i s c o v e r a new q u a l i t y of

317

tone. In June 1922, S t e i n e r was i n Vienna and v i s i t e d Thomastik's stu-

dio. A c c o r d i n g t o V i s s e r , he o f f e r e d some a d v i c e t o the instrument maker.

S t e i n e r saw a t r a d i t i o n a l v i o l i n , t h a t had been opened, and he

i n d i c a t e d a new form: *"""^»»» i n s t e a d o f t h e t r a d i t i o n a l .
The remarkable t h i n g however, i s t h a t one d i d n ' t e x p e r i e n c e
t h i s new form t i l l 1953 as I had my f i r s t meeting w i t h K a r l
W e i d l e r i n Nurnberg. I asked K a r l W i e d l e r t o b u i l d such an i n -
strument, and t h e r e we began g i v i n g c o n c e r t s on such i n s t r u -
ment. Of c o u r s e , t h i s i s o n l y a " s u b t l e " i n d i c a t i o n . This
p r i n c i p l e o f an o r g a n i c form ( i n s t e a d o f mechanic form) d e v e l -
oped i n t h e many o t h e r models: wind, s t r i n g , p e r c u s s i o n . 3 1 8

I t i s assumed t h a t S t e i n e r ' s i d e a s about i n s t r u m e n t s were not r e c o r d e d i n

w r i t t e n form and i t i s not w i t h i n t h e scope o f t h i s t h e s i s t o p r o v i d e spe-

c i f i c p l a n s f o r instrument making. V i s s e r used S t e i n e r ' s i n d i c a t i o n s and

t h e r e s u l t s o f t h e work o f Thomastik and W e i d l e r t o d e v e l o p new models o f

violins, violas, and c e l l o s i n p a r t n e r s h i p w i t h another instrument maker,

Joseph M u s i l . These e x p e r i e n c e s formed a b a s i s f o r e x p e r i m e n t a t i o n w i t h

new forms o f i n s t r u m e n t s . In 1959, i n response t o q u e s t i o n s from t h e r a -

p i s t s and e d u c a t o r s , V i s s e r designed v a r i o u s t y p e s o f f l u t e s , lyres, harps,

3 1 5
Visser, 38.

3
^Norbert Visser, personal l e t t e r d a t e d September 1988.

3 1 7
Visser, 38.

3
^ Visser,
8
personal letter d a t e d September 1988.
 109

319
and xylophones. . L a t e r developments i n c l u d e new violins, violas, cel-

, . , . 320
l o s , and even clarinets.

ii. Flutes

C h o r o i has developed t h r e e d i f f e r e n t types of f l u t e s f o r young children—

the i n t e r v a l f l u t e , t h e p e n t a t o n i c f l u t e , and the d i a t o n i c f l u t e . Other

l a r g e r f l u t e s a r e a l s o made f o r a d u l t s . The i n s t r u m e n t s are called

" f l u t e s " t o d i s t i n g u i s h them from t r a d i t i o n a l r e c o r d e r s .

The f l u t e s were i n v e n t e d t o h e l p a handicapped boy a t t h e Zonnehuis Stenia

321

i n H o l l a n d l e a r n t o speak. V i s s e r b e l i e v e d t h a t i n a n c i e n t t i m e s human

b e i n g s spoke i n a s i n g i n g way. Searching f o r t h i s "sung" tone, he d e v e l -

oped a "D" f l u t e w i t h a l a r g e mouthpiece, so t h a t the c h i l d had t o open h i s

mouth q u i t e wide t o be a b l e t o produce a sound. Thus t h e c h i l d ' s b r e a t h

322

becomes sound. The f l u t e s h e l p the c h i l d r e n t o r e g u l a t e t h e i r b r e a t h -

ing. Because o f t h e wide mouthpiece, the b r e a t h flows u n r e s t r i c t e d , un-

f o r c e d , o u t o f t h e c h i l d i n t o the instrument. The instrument becomes an

extension of the c h i l d . The c h i l d i s not r e q u i r e d t o "tongue" when p l a y i n g

t h e s e i n s t r u m e n t s . The i n t e r v a l , p e n t a t o n i c , and d i a t o n i c f l u t e s a l l have

t h i s t y p e o f mouthpiece. The f l u t e s , made o f pear wood, have a warm and

^ V i s s e r , 38.

3 2 0
Visser, personal letter d a t e d September 1988.

3 2 1
Visser, Building Choroi Musical Instruments, 38.

3 2 2
Ibid, 39.
 110

mellow sound, i n c o n t r a s t t o the sometimes harsh and s t r i d e n t tones o f t r a -

d i t i o n a l wooden r e c o r d e r s and p l a s t i c r e c o r d e r s .

The c h i l d r e n s i n g the songs they l e a r n on t h e i r flutes. In t h e l e s s o n ,

t h e r e i s u s u a l l y an a l t e r n a t i o n between s i n g i n g and p l a y i n g . Each activity

323
i s meant t o support the o t h e r .

The t e a c h e r c r e a t e s a mood i n which the f l u t e s and o t h e r i n s t r u m e n t s are

t r e a t e d w i t h r e v e r e n c e and awe. S t o r i e s are used t o i n t r o d u c e t h e instru-

ments and t h e i n s t r u m e n t s are handed out i n a ceremonious way. The chil-

d r e n l e a r n t o o i l t h e i r f l u t e s , t o warm them up b e f o r e p l a y i n g them, and t o

put them away c a r e f u l l y i n f l u t e bags which t h e c h i l d r e n have k n i t t e d them-

selves. The c h i l d l e a r n s t h a t m u s i c a l i n s t r u m e n t s are not t o y s . By learn-

ing t o c a r e f o r the instruments, the c h i l d l e a r n s r e s p e c t f o r m u s i c a l i n -

struments and r e s p e c t f o r the a r t o f music itself.

The s i m p l e r i n t e r v a l f l u t e s e r v e s as an i n t r o d u c t i o n t o t h e p e n t a t o n i c

flute. The i n t e r v a l f l u t e s are g e n e r a l l y i n t r o d u c e d i n Grade One. The d i -

a t o n i c f l u t e s are p r e s e n t e d t o the c h i l d r e n i n Grade Three.

'Pedroli and Bloch, 12.

 Ill
Figure 6

Choroi I n t e r v a l F l u t e s
 112
Figure 7

Choroi Pentatonic and Diatonic Flutes

 113

The i n t e r v a l and p e n t a t o n i c f l u t e s were meant t o be p l a y e d by c h i l d r e n i n a

l a r g e group. T h i s group tone (Gesamklang) h e l p s t o develop the child's

p l a y i n g "with an awareness of t h e whole of which he i s a p a r t . " Later,

when t h e c h i l d e n t e r s t h i r d grade and i s given a d i a t o n i c f l u t e , he/she i s

324
ready f o r more i n d i v i d u a l expression.

The interval f l u t e s have o n l y one h o l e and are c a p a b l e of p r o d u c i n g two

t o n e s , one tone when the h o l e i s c l o s e d and the o t h e r when the h o l e i s

open. There are t h r e e types of i n t e r v a l f l u t e s : D-A f l u t e , D-G flute and

E-B flute. The f l u t e s encompass the p e n t a t o n i c s c a l e DE GAB. For a c l a s s

of t h i r t y , 10 s e t s of t h e s e instruments are used.

With t h e i n t e r v a l and p e n t a t o n i c f l u t e s , no a b s t r a c t m u s i c a l concepts are

given. The c h i l d r e n simply e x p e r i e n c e music making through i m p r o v i s a t i o n a l

a c t i v i t i e s which are l i m i t e d o n l y by the t e a c h e r ' s imagination.

L a t e r i n t h e f i r s t grade, o r perhaps i n the second grade, the c l a s s teacher

and/or music t e a c h e r i n t r o d u c e s the p e n t a t o n i c f l u t e w i t h i t s range of DE

GAB DE. By t h e end of the year, the c l a s s i s a b l e t o p l a y simple melodies

by e a r and i m p r o v i s e t h e i r own melodies. The f l u t e , considered i n Choroi,

an e x t e n s i o n of the human v o i c e i s almost always used w i t h s i n g i n g .

Through t h e s e s i n g i n g and i n s t r u m e n t a l e x p e r i e n c e s , the c h i l d r e n absorb

musical concepts t h a t they w i l l be l e d t o understand consciously i n later

years. They e x p e r i e n c e rhythm and beat, melody, form, dynamics, and timbre

3 2 4
Ibid, 10.
 114

through these p l a y i n g these instruments. Learning of musical n o t a t i o n

begins i n Grade Three as t h e c h i l d r e n a r e i n t r o d u c e d t o t h e d i a t o n i c flute.

iii. Lyres

The C h o r o i company makes two s p e c i a l s t r i n g instruments forchildren—the

" k i n d e r h a r p " and t h e "bordun l y r e . " The k i n d e r h a r p i s a s m a l l seven string

instrument (tuned DE GAB DE) c r e a t e d f o r c h i l d r e n under t h e age o f n i n e o r

ten. Because t h e instrument has no sound h o l e , t h e sound i s q u i t e s o f t .

The C h o r o i bordun l y r e i s an unusual instrument which has a l a y e r o f t e n

t r e b l e o r melody s t r i n g s which c r o s s a l a y e r o f s i x bass (bordun o r drone)

strings. In t h e middle o f t h e instrument, near t h e sound h o l e , b o t h t h e

t r e b l e and bass s t r i n g s may be p l a y e d t o g e t h e r . The bordun l y r e , t h u s , has

three d i s t i n c t sounds: t h e t r e b l e s t r i n g s near t h e t u n i n g pegs, t h e bass

s t r i n g s near t h e b r i d g e which can p l a y rhythmic o r melodic o s t i n a t i , and

t r e b l e and bass s t r i n g s t o g e t h e r i n t h e middle part of the instrument. The

325

l y r e may be tuned t o p e n t a t o n i c o r d i a t o n i c s c a l e s , o r t o c h o r d s . The

C h o r o i company a l s o make soprano and a l t o l y r e s f o r t e a c h e r s t o use.

The bordun l y r e s were c r e a t e d out o f a demand f o r a s m a l l harp which c o u l d

be p l a y e d w i t h l a r g e sweeping movements. The woodwork t e a c h e r from t h e En-

g e l b e r g Waldorf S c h o o l i n Germany wanted t o f i n d an instrument which t h e

upper c l a s s e s c o u l d make f o r t h e k i n d e r g a r t e n c h i l d r e n . At t h e same time,

J u l i u s K n i e r i m had been t h i n k i n g about d e s i g n i n g a p e n t a t o n i c string

i
" C h o r o i : The Bordun L y r e ( C h o r o i p r o m o t i o n a l m a t e r i a l ) , 1.
 115

instrument. V i s s e r v i s i t e d the s c h o o l and helped t o f a s h i o n t h e k i n d e r -

. 326
harp.

The a u t h o r tuned the upper s t r i n g s o f the bordun l y r e to the pentatonic

scale (DE GAB DE) and the bass s t r i n g s t o D and G. Some c h i l d r e n were a b l e

t o p i c k out m e l o d i e s by ear on the melody s t r i n g s , w h i l e o t h e r s strummed

t h e m i d d l e s t r i n g s or the drone s t r i n g s . The instrument can a l s o be tuned

t o a d i a t o n i c s c a l e , i . e . , the s c a l e o f D w i t h D and A as t h e drone. The

l y r e s may a l s o be tuned t o d i f f e r e n t chords.

Both t h e k i n d e r h a r p and the bordun l y r e l e n d themselves t o improvisation

activities, e s p e c i a l l y i f the instruments are tuned t o t h e p e n t a t o n i c

scale. O s t i n a t o p a t t e r n s , melodic o r harmonic, may be employed. Improvi-

s a t i o n i s e a s i l y combined w i t h movement. C h i l d r e n are a b l e t o move around

t h e room, strumming, s i n g i n g , and i m p r o v i s i n g . (See Appendix D, Improvi-

sation. )

'Visser, B u i l d i n g Choroi Musical Instruments. 39.

 116
Figure 8

Choroi Kinderharp

Choroi KincUrfiarp
 Figure 9

C h o r o i Bordun L y r e
 118

F i g u r e 10

Choroi Solo Lyre

Ckx>rov 5oLo Ufc

 119
iv. C h o r o i Xylophones and G l o c k e n s p i e l s ( K l a n g s p i e l s )

These i n s t r u m e n t s c o n s i s t o f wooden or b r a s s o r aluminum tone b a r s sus-

pended over hand-held wooden r e s o n a t o r s . The r e s o n a t o r s and b a r s may be

327
f i t t e d onto a r e s o n a t o r box t o c r e a t e a xylophone or g l o c k e n s p i e l .

The " k l a n g s p i e l s " may be combined with C h o r o i f l u t e s and lyres. The "hand-

h e l d k l a n g s p i e l s " may be used i n a v a r i e t y o f games.

d. Other Instruments

In some s c h o o l s , e s p e c i a l l y those with l i m i t e d budgets, f l u t e s and lyres

s i m i l a r t o t h e C h o r o i and G a r t n e r p r o t o t y p e s are produced locally. In t h e

Z e i s t Waldorf S c h o o l i n Z e i s t , the Netherlands, bamboo f l u t e s were made by

t h e Grade Four c l a s s f o r t h e Grade One children. The g u i l d o f r e c o r d e r

makers supported t h i s p r o c e s s by t r a i n i n g t e a c h e r s i n the c o n s t r u c t i o n o f

these instruments.

e. S t r i n g Program

In most Waldorf S c h o o l s , the study of a s t r i n g instrument i s mandatory. In

some s c h o o l s , p r i v a t e l e s s o n s are r e q u i r e d . Most e s t a b l i s h e d Waldorf

S c h o o l s o f f e r a s t r i n g program b e g i n n i n g i n Grades Three and Four. (See

Q u e s t i o n #27, "Results of Questionnaire.") The music t e a c h e r , class

t e a c h e r , and p a r e n t , t a k i n g i n c o n s i d e r a t i o n the s i z e , temperament, and

Choroi: Klangspiels (Choroi promotional material), 3.

 120

personal choice o f the c h i l d , d e c i d e which s t r i n g i n s t r u m e n t , (either a v i -

olin, viola, or c e l l o ) , the c h i l d w i l l play.

Karen Landers of the Washington Waldorf School i n Bethesda, Maryland de-

s c r i b e d the s t r i n g program i n her school i n which the c h i l d r e n are intro-

duced t o the v i o l i n , v i o l a , or c e l l o through s p e c i a l s t r i n g c l a s s e s in

Grade T h r e e . S t r i n g s are o f f e r e d as a f i r s t instrument i n t h i s school for

the following reasons:

1) Younger c h i l d r e n are too s m a l l f o r most wind and b r a s s i n -

struments. S t r i n g instruments come i n h a l f and three-quarter
sizes.

2) In o r d e r t o produce a good tone on a s t r i n g i n s t r u m e n t , a

r a t h e r long p e r i o d of study i s u s u a l l y r e q u i r e d . I t i s assumed
t h a t younger c h i l d r e n are a b l e t o i m i t a t e the hand p o s i t i o n
more e a s i l y than o l d e r c h i l d r e n .

3) A f t e r l e a r n i n g the rudiments of s t r i n g p l a y i n g , s t u d e n t s
a r e s u r p r i s e d a t how easy i t i s t o t r a n s f e r t o another i n s t r u -
ment .

In t h e t h i r d grade, s t u d e n t s are r e q u i r e d t o t a k e two string classes a

week. Violin, viola, and c e l l o c l a s s e s meet s e p a r a t e l y but occasionally

328
combine t o g e t h e r f o r performance.

In Grade S i x or Seven, i n some s c h o o l s , the c h i l d r e n j o i n the orchestra.

Some s t u d e n t s are g i v e n the o p t i o n t o s w i t c h t o a wind or b r a s s instrument

at t h i s age.

•""Karen Landers, "Choosing Instruments in a Waldorf S c h o o l , " Gathering: Washington Waldorf

School Newsletter 4 (March 1986): 6.

 122
F i g u r e 12

Bamboo F l u t e

Bamboo Flute
 123
4. Improvisation

There i s no mention of i m p r o v i s a t i o n i n S t e i n e r ' s l e c t u r e s on music and mu-

s i c education. However, i m p r o v i s a t i o n i s a major p a r t of the C h o r o i impe-

tus. Many Waldorf t e a c h e r s who use C h o r o i instruments in their teaching

have i n c o r p o r a t e d i m p r o v i s a t i o n e x e r c i s e s and m u s i c a l games i n t o t h e i r pro-

grams. (See Appendix D.)

S t e i n e r s t a t e d t h a t the c h i l d r e n should s i n g what they p l a y ; t h a t a l l i n -

s t r u m e n t a l work s h o u l d a r i s e from song i n the e a r l y grades. Those o f

S t e i n e r ' s s u c c e s s o r s who i n i t i a t e d C h o r o i movement have s t r i v e n t o inte-

g r a t e t h e p l a y i n g , s i n g i n g , and moving t o music, through the i n v e n t i o n of

new hand-held instruments.

I m p r o v i s a t i o n i s i n t i m a t e l y l i n k e d w i t h l i s t e n i n g and movement. The Choroi

f l u t e s were c r e a t e d , V i s s e r contended, t o h e l p the human b e i n g t o "listen,

t o hear" e s p e c i a l l y one's " i n n e r music;" t o be aware of one's i n n e r dance.

When p l a y i n g t h e C h o r o i f l u t e s , V i s s e r a s s e r t e d t h a t t h e performer must

ask, "What music wishes t o be p l a y e d on my instrument?" and then, "How do I

move w i t h t h e instrument t o express t h i s music?" Teachers are encouraged

t o ask t h e c h i l d r e n t o walk as they p l a y t h e i r f l u t e s . V i s s e r spoke of

feeling, s e n s i n g t h e melodies w i t h i n o n e s e l f and c o n n e c t i n g t h i s "inner mu-

329
s i c " w i t h the o u t e r movements needed t o p l a y the instrument.

^"Norbert Visser, i n t r o d u c t i o n to Playing with Choroi Flutes, by Thomas P e d r o l i and Dietmar

Bloch (Choroi promotional material), 3.

 124

S t e i n e r suggested t h a t t e a c h e r s employ the tone s e t DE GAB DE w i t h c h i l d r e n

below t h e age of n i n e . T h i s p e n t a t o n i c s c a l e has no d i s s o n a n c e s and thus,

lends i t s e l f t o use i n improvisation. Many C h o r o i i n s t r u m e n t s , especially

those f o r younger c h i l d r e n , are c o n s t r u c t e d t o accommodate t h i s particular

scale. The i n t e r v a l f l u t e , p e n t a t o n i c f l u t e , and k i n d e r h a r p encompass t h e

scale. The bordun l y r e can be tuned t o DE GAB DE. By o m i t t i n g t h e C and

F, t h e k l a n g s p i e l can be made p e n t a t o n i c .

Improvisation e x e r c i s e s , which are p r e s e n t e d as games o f t e n connected t o

s t o r i e s and i n t e g r a t e d w i t h main l e s s o n t o p i c s , i n t r o d u c e music i n a j o y -

f u l , p l a y f u l manner w i t h t h e assurance of s u c c e s s . The activities provide

o p p o r t u n i t i e s f o r t h e c h i l d r e n t o develop motor s k i l l s and listening

skills, p r e r e q u i s i t e s i n t h e l e a r n i n g of m u s i c a l n o t a t i o n . In t h e Waldorf

S c h o o l , t h e s o c i a l a s p e c t of i m p r o v i s a t i o n i s an important aspect. Empha-

sis i s p l a c e d on awareness of o t h e r s : eye c o n t a c t , choosing, listening, and

responding c a r e f u l l y and t h o u g h t f u l l y .

5. Reading M u s i c a l Notation

a. Use of Image and Metaphor t o Teach M u s i c a l Notation

S t e i n e r s t a t e d t h a t a l l l e a r n i n g i n the elementary y e a r s must d e v e l o p from

the imagination.

And so between t h e change of t e e t h and puberty you must ed-

u c a t e out of t h e v e r y essence of i m a g i n a t i o n . For the q u a l i t y
t h a t makes a c h i l d under seven so w h o l l y i n t o a sense-organ now
becomes more inward; i t e n t e r s the s o u l l i f e . The sense-organs
 125

do not t h i n k ; they p e r c e i v e p i c t u r e s , or r a t h e r they form

p i c t u r e s from the e x t e r n a l o b j e c t s . And even when t h e c h i l d ' s
sense e x p e r i e n c e s have a l r e a d y a q u a l i t y of s o u l , i t i s not a
thought t h a t emerges but an image, a l b e i t a s o u l image, an
i m a g i n a t i v e p i c t u r e . T h e r e f o r e , i n your t e a c h i n g , you must
work i n p i c t u r e s , i n i m a g e s . 3 3 0

A l l the c h i l d ' s f o r c e s , now t h a t he has passed through the

change of t e e t h , s t r i v e towards what i s inwardly p l a s t i c and
pictorial. And we support t h i s p i c t u r e - f o r m i n g element, when
we o u r s e l v e s , i n e v e r y t h i n g we impart t o the c h i l d , approach
him i n a p i c t o r i a l way. 3 1

Steiner also pointed out t h a t , at the change of t e e t h , t h e r e i s no abrupt

transformation of the p h y s i c a l organism of the c h i l d , t h a t a l l change and

growth t a k e s p l a c e g r a d u a l l y i n the c h i l d . The child slowly changes from

an i m i t a t i v e being t o one who looks upon h i s / h e r t e a c h e r s as natural

332

authorities. The child i s gradually l e d from i m i t a t i o n i n the first

g r a d e s t o more independence i n music-making.

A f t e r the " n i n t h y e a r change," music must be p r e s e n t e d t o the child in a

d i f f e r e n t way. The child i s no longer one with the music, but must now ac-

commodate h i m s e l f / h e r s e l f t o the requirements of music. The child begins

t o view music as an a r t .

Now the c h i l d ' s a t t e n t i o n w i l l be d i r e c t e d t o the c l a i m s o f mu-

s i c , t h e r e f o r e the l e s s o n w i l l be d i r e c t e d more towards the
a e s t h e t i c aspect. P r e v i o u s l y "the c h i l d " was the c h i e f t h i n g ,
and e v e r y t h i n g was done t o get him t o l e a r n t o s i n g and hear.
Now t h a t the c h i l d has passed through the f i r s t t h r e e c l a s s e s
where he h i m s e l f was the f i r s t c o n s i d e r a t i o n , he must conform

Steiner, The Kingdom of Childhood. 40.

Steiner, quoted in Stockmeyer, 167.

•Steiner, Spiritual Ground of Education. 61.

 126
to t h e demands o f music as an a r t . That i s t h e main c o n s i d e r a -
333
t i o n from t h e e d u c a t i o n a l p o i n t o f view.

The von Heydebrand and Stockmeyer c u r r i c u l a do not c a l l for the learning of

a b s t r a c t m u s i c a l n o t a t i o n u n t i l Grade Three. Grades One and Two a r e spent

l a r g e l y i n i m i t a t i o n of the t e a c h e r — l e a r n i n g t o sing, t o play instruments,

to l i s t e n t o music, t o move t o music. The c h i l d r e n d e v e l o p a r e p e r t o i r e o f

songs, s k i l l s , movements through i m i t a t i o n . By Grade Three, t h e c h i l d i s

ready t o b e g i n t h e p r o c e s s o f s y m b o l i z i n g h i s / h e r a u r a l e x p e r i e n c e .

To understand t h e Waldorf S c h o o l approach t o l e a r n i n g music n o t a t i o n , i t is

u s e f u l t o understand S t e i n e r ' s thoughts on t e a c h i n g r e a d i n g . When a c h i l d

e n t e r s a Waldorf S c h o o l i n Grade One, he/she i s not immediately i n t r o d u c e d

to r e a d i n g as such. In t h e course o f t h e year, t h e c h i l d l e a r n s t h e a l p h a -

bet through l i s t e n i n g t o s t o r i e s — a s s o c i a t i n g t h e l e t t e r " f " with a p i c t u r e

of a f i s h , the l e t t e r "m" w i t h "mouth," and so on. Through t h i s method o f

t e a c h i n g , t h e c h i l d i s taken through t h e p i c t u r e - w r i t i n g stage o f

humankind, where "people p a i n t e d something on t h e page which reminded them

of the o b j e c t . " 3 3 4
By t e a c h i n g t h e l e t t e r s a b s t r a c t l y , S t e i n e r believed

that "we a r e g i v i n g him t h i n g s t h a t l i e r i g h t o u t s i d e h i s n a t u r e and t o

335
which he has not t h e s l i g h t e s t relationship."

In a d d i t i o n , S t e i n e r suggested t h a t t h e w r i t i n g and p a i n t i n g o f t h e l e t t e r s

precede r e a d i n g .

3 3 3
Steiner, quoted i n Stockmeyer, 170.

3 3 4
Steiner, The Kingdom o f C h i l d h o o d . 41.

3 3 5
Ibid, 40.
 127
. . . i t i s q u i t e wrong t o t e a c h r e a d i n g b e f o r e w r i t i n g , f o r i n
w r i t i n g , e s p e c i a l l y i f i t i s developed from the p a i n t i n g - d r a w -
i n g , d r a w i n g - p a i n t i n g , t h a t I have spoken o f , the whole human
being i s a c t i v e . The f i n g e r s take p a r t , t h e p o s i t i o n o f t h e
body, t h e whole man i s engaged. In r e a d i n g , o n l y t h e head i s
o c c u p i e d and a n y t h i n g which o n l y o c c u p i e s a p a r t o f t h e o r g a n -
ism and l e a v e s t h e remaining p a r t s impassive s h o u l d be t a u g h t
as l a t e as p o s s i b l e . The most important t h i n g i s f i r s t t o
b r i n g t h e whole b e i n g i n t o movement, and l a t e r on t h e s i n g l e

In S t e i n e r ' s view, r e a d i n g should e v o l v e from the o r a l t r a d i t i o n . The

child s h o u l d hear s t o r i e s , l i s t e n t o language, r e c i t e p o e t r y , t a k e p a r t i n

plays. W r i t i n g , a c c o r d i n g t o S t e i n e r , should precede r e a d i n g . In teaching

m u s i c a l n o t a t i o n , t h i s sequence appears t o be f o l l o w e d by most Waldorf

School teachers. The c h i l d must f i r s t l e a r n t o l i s t e n , t o move, b e f o r e any

r e a d i n g o f music i s p r e s e n t e d . In Grade Three, when the r e a d i n g o f music

i s t a u g h t , t h e c h i l d r e n w r i t e music i n t h e i r music books.

S t e i n e r d i d not p r e s c r i b e any s e t procedures, r u l e s , o r methods f o r t e a c h -

i n g m u s i c a l n o t a t i o n (or any other s u b j e c t m a t t e r ) . The mode o f t e a c h i n g

was left e n t i r e l y up t o t h e t e a c h e r . However, S t e i n e r d i d s t a t e t h a t t h e -

o r y and m u s i c a l n o t a t i o n i s best d e r i v e d from the music itself.

Of g r e a t e s t importance . . . w i l l be t h e f o s t e r i n g o f music
i n an elementary way through t e a c h i n g t h e c h i l d r e n s t r a i g h t o u t
of t h e m u s i c a l f a c t s without any bemusing t h e o r y . The c h i l d r e n
s h o u l d g a i n a c l e a r i d e a o f elementary music, o f harmonies,
melodies and so on through the a p p l i c a t i o n o f elementary f a c t s
t h r o u g h t h e a n a l y z i n g by e a r o f melodies and harmonies, so t h a t
w i t h music we b u i l d up the whole a r t i s t i c realm i n the same e l -
ementary way as we do t h e s c u l p t u r a l , p i c t o r i a l realm where we
s i m i l a r l y work up from the d e t a i l s . 3 7

3 3 6
Ibid, 44-45.

3 3 7
Steiner, Practical Advice to Teachers. 48-49.
 128

L e b r e t contended t h a t t h e t e a c h i n g o f n o t a t i o n s h o u l d be based on t h e

development o f t h e e a r . She b e l i e v e d t h a t t h e l e a r n i n g o f n o t a t i o n s h o u l d

be a p r o c e s s i n which t h e a b s t r a c t i s b r i d g e d by means o f p i c t u r e s and

images. In t h i s way, t h e c h i l d ' s i n t e l l e c t u a l f o r c e s a r e awakened

338

slowly. Another Waldorf School t e a c h e r , M a r j o r i e Watson agreed that the

v e h i c l e o f s t o r y and t h e p i c t o r i a l element s h o u l d be used t o i n t r o d u c e t h e

abstract notation. She c l a i m e d t h a t t h e c h i l d r e n soon f o r g e t t h e s t o r y and

r e l a t e t h e n o t a t i o n t o t h e sound. In t h i s manner o f l e a r n i n g , t h e c h i l d
339
t a k e s p l e a s u r e i n w r i t i n g out m u s i c a l p h r a s e s .

Image and metaphor, through the p i c t o r i a l image and t h e s t o r y , a r e used as

a means f o r t e a c h i n g m u s i c a l n o t a t i o n , f o r i n t r o d u c i n g i n s t r u m e n t s , for a

context f o r improvisation. Many o f t h e s e s t o r i e s i n v o l v e a hero, a jour-

ney, o r a quest. Some t e a c h e r s s p i n t h e i r s t o r i e s f o r t h e f u l l t h r e e years

or longer. The s t o r y t e l l i n g d e v i c e p r o v i d e s a measure o f c o n t i n u i t y t o t h e

l e s s o n s and t h e c h i l d r e n l o o k forward t o h e a r i n g t h e new a d d i t i o n t o t h e

story. Concepts a r e g i v e n i n t h e warm and i n v i t i n g c u s h i o n o f t h e s t o r y ,

and thus perhaps more r e a d i l y absorbed. W i t h i n t h e s t o r i e s , o t h e r media

such as c o l o r and movement and, o f c o u r s e , drama may be i n c o r p o r a t e d . (See

Appendix E, S t o r i e s . )

3 3 8
Lebret, The S h e p h e r d ' s S o n g b o o k . 58.

• " M a r j o r i e Watson,
y
"The Music Lessons i n the First Three C l a s s e s , " C h i l d and Man E x t r a c t s

(Forest Row, S u s s e x , Great Britain: Steiner Schools Fellowship Publications, 1975), 75.
 129
b. Solfege

S o l f e g e , t h e Curwen-Kodaly hand s i g n s , are g e n e r a l l y not taught i n Waldorf

Schools i n Grades One through Three. (See "Questionnaire R e s u l t s , " Graph

27.) Some Waldorf music s p e c i a l i s t s do t e a c h s o l f e g e , but a f t e r absolute

p i t c h names are taught. L e b r e t maintained t h a t i n Grade Three, t h e child

s t i l l wants t o e x p e r i e n c e t h e uniqueness of a s p e c i f i c tone. Lebret, in

her l e s s o n s , connected c h i l d r e n ' s names w i t h the tones. The relative note

names, she b e l i e v e d , convey t o the c h i l d the r e l a t i o n s h i p of t h e note t o

t h e s c a l e , but do not communicate i t s essence. Lebret explained that to

represent "A" w i t h a s p e c i a l and d i s t i n c t person named Ann i s quite

d i f f e r e n t from c a l l i n g her "do" which would r e l a t e t o a f u n c t i o n of her

being, not t h e k e r n e l o f the l i v i n g being of "Ann." In t h i s way, Lebret

b e l i e v e d , t h e c h i l d r e n a r e taught t h a t a human b e i n g i s "an individuality

in a special place." L e b r e t was i n f a v o r of s o l f e g e i n l a t e r grades, but

b e l i e v e d t h a t t h e q u a l i t y of the notes should be e x p e r i e n c e d deeply in

Grade Three, so t h a t l a t e r on, the c h i l d r e n would have a f e e l i n g f o r the

340
d i f f e r e n c e i n q u a l i t y between a C s c a l e , f o r example, and a G scale.

Boulding was adamantly a g a i n s t u s i n g Curwen-Kodaly hand s i g n s because she

f e l t t h a t i t was another language and not a m u s i c a l language at t h a t . Hand

s i g n s , i n her o p i n i o n , were too i n t e l l e c t u a l and d e t r a c t e d from t h e music

itself. 3 4 1

3 4 0
Lebret, 71.

3
^ L . Eterman, unpublished interviews, 36.
 130

The eurythmy c u r r i c u l u m c a l l s f o r the t e a c h i n g o f " g e s t u r e s " of t h e C s c a l e

342

and performing simple melodies w i t h i n the s c a l e i n Grade Three. These

body and arm movements can o n l y be taught by a t r a i n e d eurythmists,

t h e r e f o r e t h e music t e a c h e r i s not allowed t o i n c o r p o r a t e them i n t o t h e

music l e s s o n s . Teaching t h e Curwen-Kodaly hand s i g n s i n Grade Three may

s e r v e t o c o n f u s e the c h i l d r e n by i n t r o d u c i n g y e t another system. Reg Down,

a eurythmist i n the Vancouver Waldorf School, saw no b a s i c conflict,

however. In h i s view, eurythmy i s an a r t i s t i c form and t h e hand s i g n s and

s o l f e g e a r e means t o the end of l e a r n i n g about music. He a l s o recommended

t h a t t h e s i g n s be i n t r o d u c e d when the c h i l d r e n a r e l e a r n i n g m u s i c a l

343
notation.

6. Importance of " L i v e " Music

In t h e younger grades, e s p e c i a l l y i n Grades One, Two, and Three, only

" l i v e " music i s o f f e r e d t o the c h i l d r e n . Godwin s t a t e d t h a t i n 1923,

344

Steiner "condemned the gramophone as a source o f music." According to

S t e i n e r , the human b e i n g should be the source of a l l music f o r t h e young

child. Down e x p l a i n e d h i s i n t e r p r e t a t i o n of S t e i n e r ' s i d e a :

3
*^von Heydebrand, 25.

3 4 3
lbid, 13.

3 4 4
Godwin, 48.
 131

Once you get i n t o u s i n g music from a machine, t h i s i s unmusi-

cal. I f something unmusical i s brought i n t o t h e s c h o o l s we a r e
• 345
not t a l k i n g about music o r music e d u c a t i o n .

By l i s t e n i n g t o r e c o r d s , t a p e s , or t o t h e r a d i o , the c h i l d does not e x p e r i -

ence music as form o f communication between audience and p e r f o r m e r . In t h e

view o f an a n t h r o p o s o p h i s t and p r o f e s s i o n a l m u s i c i a n who was interviewed, a

performance i s a c o - c r e a t i o n o f an audience and a p e r f o r m e r . The member o f

an educated audience s h o u l d be a b l e t o be so a t t u n e d t h a t t h e y can "co-

c r e a t e w i t h t h e p e r f o r m e r , meet t h e performer on t h i s h i g h e r l e v e l o f

.art." 3 4 6

In Waldorf S c h o o l s , an e f f o r t i s made t o o f f e r many " l i v e " performances t o

the students. Waldorf p u p i l s , i n t h e i r eurythmy l e s s o n s , move t o

m a s t e r p i e c e s u s u a l l y performed by a p i a n i s t . Emphasis i s on spatial

awareness and m u s i c a l form.

7. I n t e g r a t i o n o f Music w i t h Other S u b j e c t M a t t e r

S t e i n e r remarked t h a t " A r t , a f t e r a l l , i s t h e r e f o r her own sake." How-

e v e r , i n t h e same b r e a t h , he advocated t h a t the a r t i s t i c and t h e academic

d i s c i p l e s complement one another i n the c u r r i c u l u m . According to Steiner,

artistic a c t i v i t y promotes t h e c h i l d ' s n a t u r a l p r o c l i v i t y f o r l e a r n i n g and

knowledge seeks a r t i s t i c e x p r e s s i o n . A r t and knowledge must p r e s e n t e d t o

3 4
^L. Eterman, unpublished interviews, 11.

3 4 6
Ibid, 23.
 132

t h e c h i l d r e n s i d e by s i d e i n o r d e r t h a t a l l l e a r n i n g form a whole, a

unity. 3 4 7
A r t i s t i c s u b j e c t s cannot be taught i n isolation.

A l l t h i s w i l l not be a t t a i n e d i f t h e a r t i s t i c simply runs

a l o n g s i d e t h e remaining e d u c a t i o n and t h e o t h e r l e s s o n s , — i f i t
i s n o t made o r g a n i c a l l y one with t h e s e . F o r a l l t e a c h i n g and
e d u c a t i o n should form a whole. Knowledge, c u l t u r e o f l i f e ,
e x e r c i s e s i n p r a c t i c a l s k i l l , should open out i n t o t h e i n n e r
need f o r A r t ; and t h e a r t i s t i c l i f e i t s e l f s h o u l d bear t h e
348
l o n g i n g t o l e a r n , and t o observe, and t o a c q u i r e s k i l l .

The e s s e n t i a l f e a t u r e o f Waldorf School e d u c a t i o n i s t h a t e v e r y

a c t i v i t y has i t s p l a c e w i t h i n t h e organism o f t h e whole s c h o o l .
. . . The o r g a n i z a t i o n o f t h e s c h o o l i s so c o n c e i v e d t h a t each
a c t i v i t y has i t s r i g h t f u l p l a c e and time and f i t s w i t h t h e
whole. And i t i s from t h i s p o i n t o f view t h a t i n d i v i d u a l sub-
349
j e c t s of i n s t r u c t i o n are introduced i n t o the school.

S t e i n e r f e l t t h a t not o n l y should t h e r e be i n t e g r a t i o n o f s u b j e c t matter,

but a l s o t h a t t e a c h e r s o f d i f f e r i n g d i s c i p l i n e s work t o g e t h e r c o o p e r a t i v e l y

to c r e a t e a h o l i s t i c approach t o l e a r n i n g .

. . . a s c h o o l ought t o be an organism i n which each s i n g l e

f e a t u r e i s an i n t e g r a l p a r t o f t h e whole. The t h r e a d s o f t h e
d i f f e r e n t a c t i v i t i e s which must be c a r r i e d on i n o r d e r t h a t t h e
whole organism o f t h e S t e i n e r may l i v e , a r e drawn t o g e t h e r i n
t h e v e r y frequent t e a c h e r ' s m e e t i n g s . 3 0

In The C u r r i c u l u m f o r t h e F i r s t Waldorf S c h o o l , von Heydebrand emphasized

t h e importance t h e i n t e g r a t i o n o f s u b j e c t matter i n o r d e r t o enhance

3 4 7
Steiner, " E d u c a t i o n and A r t , " 2.

3«5 IBL - .
D

3 4 y
Steiner, A Modern A r t o f E d u c a t i o n . 202.

3 5 0
Ibid, 207.
 133

learning. She s t a t e d , " I t i s o f v e r y g r e a t importance t o l e a d a p p a r e n t l y

s e p a r a t e spheres o f i n s t r u c t i o n i n t o r e l a t i o n s h i p w i t h one another and t o

351

a s s o c i a t e them i n a u n i t y . " Music can h e l p the c h i l d w i t h many

subjects. She m a i n t a i n e d t h a t the c h i l d ' s "language sense f o r lengthened

o r sharpened tones can be f o s t e r e d by s i n g i n g , l o n g b e f o r e t h i s s e n s i b i l i t y

352
i s made use o f i n s p e l l i n g . " Math must be taught i n an a c t i v e manner,
353

" c o u n t i n g , through rhythmic movement, s i n g i n g , c l a p p i n g , and jumping."

F o r e i g n languages, u s u a l l y , French and German i n E n g l i s h s p e a k i n g s c h o o l s

i s t a u g h t from Grade One when t h e speech organs are c o n s i d e r e d m a l l e a b l e

and t h e c h i l d r e n are a b l e t o i m i t a t e . The Heydebrand curriculum was

emphatic t h a t i n Grades One through Three, languages s h o u l d be learned

t h r o u g h "the spoken word," through p a r t i c i p a t i o n i n songs, s i n g i n g games,

and poems. The c u r r i c u l u m a d v i s e d the t e a c h e r t o " f i r s t o f a l l b r i n g t o

354
t h e e a r , t h e rhythm, melody, and sound o f t h e f o r e i g n language."

Music i s o f t e n i n t e g r a t e d i n t o t h e main l e s s o n work i n a Waldorf S c h o o l .

In t h e younger grades, s i n g i n g , movement, speech, and i n s t r u m e n t a l p l a y i n g

i s woven i n t o the f a i r y t a l e s and f a b l e s . Music i s f r e q u e n t l y f e a t u r e d as

p a r t o f t h e annual c l a s s p l a y . In her book, Toward Wholeness, Mary Caro-

l i n e R i c h a r d s d e s c r i b e s how a Grade F i v e Sacramento Waldorf S c h o o l c l a s s

t e a c h e r used music and p o e t r y t o e n r i c h the botany l e s s o n . The children

wrote music t o be p l a y e d on t h e i r r e c o r d e r s t o e x p r e s s "The Seed's Awaken-

ing." They wrote poems on the theme. The music and p o e t r y were e n t e r e d

3
^von Heydebrand, 18.

3 5 2
Ibid.

3 5 3
Ibid, 19
 134

i n t o t h e i r main l e s s o n books and i l l u s t r a t e d w i t h c o l o r e d p e n c i l draw-

355
ings.

According t o S t e i n e r , students b e n e f i t g r e a t l y when c l a s s t e a c h e r s and mu-

s i c s p e c i a l i s t s work t o g e t h e r . S t e i n e r gave an example i n which a c l a s s

teacher was e x p l a i n i n g and demonstrating consonance and dissonance, beauti-

f u l and l e s s b e a u t i f u l sounds. S t e i n e r b e l i e v e d t h a t , i n t h i s case, the

music t e a c h e r c o u l d work w i t h the c l a s s t e a c h e r t o enhance the experience

of the students.

I t w i l l t h e n be good i f the music t e a c h e r c o u l d conduct a v e r y

s i m i l a r c o n v e r s a t i o n , though o r i e n t e d more towards t h e m u s i c a l
and i f he t o o c o u l d go over the same ground once more. From
t h i s , t h e c h i l d r e n w i l l d i s c o v e r t h a t the same t h i n g s a r e r e -
p e a t e d not o n l y by one t e a c h e r but a l s o by another so t h a t they
f i n d t h e y a r e l e a r n i n g the same from both t e a c h e r s . This
s h o u l d h e l p t o g i v e t h e s c h o o l a more c o o p e r a t i v e c h a r a c t e r .
In t h e i r weekly meetings, the t e a c h e r should d i s c u s s a l l t h e s e
t h i n g s so as t o b r i n g about a c e r t a i n u n i t y i n t h e l e s s o n . 3 5 6

S t e i n e r suggested t h a t music t e a c h e r s work t o g e t h e r w i t h subject teachers

as w e l l t o ensure an e f f e c t i v e and powerful learning process. In d i s c u s -

s i o n s w i t h Waldorf School teachers i n 1919-1920, S t e i n e r suggested t h a t

anthroposophy would be served w e l l i f t e a c h e r s :

. . . were t o t r y t o connect the music, s i n g i n g , and eurythmy

l e s s o n s w i t h the c r a f t l e s s o n s . I t w i l l have an e x t r a o r d i n a r y
good e f f e c t on the c h i l d r e n . . . . Every k i n d of a c t i v i t y used
t o be based on m u s i c a l a c t i v i t y , such as t h r e s h i n g , hammering,
and p l a s t e r i n g . We h a r d l y hear i t anymore. . . . I t h i n k we

Richards, 115.

'Steiner. Practical A d v i c e to Teachers. 62.

 135
can r e i n s t i t u t e that. That i s the s o r t of t h i n g 1 have i n mind
. 357
when I say t h a t s p i r i t s h a l l enter i n t o things again.

S t e i n e r b e l i e v e d t h a t t h i s working t o g e t h e r would l e a d t o a more a e s t h e t i c

view o f music. In S t e i n e r ' s I l k l e y course on June 23, 1921, Steiner

stated:

. . . we must move more towards an a r t i s t i c c o n c e p t i o n o f l i f e .

We need something more than a r t , a p p l i e d a r t s o r h a n d i c r a f t
l e s s o n s , we need some k i n d of a e s t h e t i c s . . . . In o r d e r t o i n -
t r o d u c e p u p i l s t o a e s t h e t i c s of m u s i c — w h i c h would have t o be
g i v e n i n an elementary w a y — v a r i o u s c o l l e a g u e s would have t o
work t o g e t h e r , forming a k i n d of sub-group, so t h a t the
h a n d i c r a f t l e s s o n s c o u l d l e a d over i n t o a p p l i e d a r t s and then
i n t o the m u s i c a l s p h e r e — b u t i n such a way t h a t the a e s t h e t i c
s i d e of music r a t h e r than i t s t h e o r e t i c a l s i d e would be
cultivated.

S t e i n e r proposed t h a t the music t e a c h e r work w i t h the speech o r recitation

teacher so t h a t c h i l d r e n c o u l d be exposed t o the m u s i c a l a s p e c t s of poetry.

358
He advised t h a t the music l e s s o n f o l l o w the speech l e s s o n or v i c e versa.

D. The Role of Teacher

Between the ages of seven and fourteen, S t e i n e r s t a t e d the t e a c h e r must

p l a y two main r o l e s — t h a t of a " n a t u r a l a u t h o r i t y " and "artist." He also

b e l i e v e d t h a t t h e r o l e of the t e a c h e r was one of a "healer."

•^^Steiner, Conferences with the T e a c h e r s of the Waldorf School in Stuttgart. 1919-1920. Volume

One. 90.

'Steiner, Practical A d v i c e to Teachers. 51.

 1. Teacher as " N a t u r a l A u t h o r i t y "

S t e i n e r gave f o u r p r i n c i p l e s f o r t e a c h e r s of a l l s u b j e c t s ( i n c l u d i n g music)

and a l l ages:

1) "The t e a c h e r must be a man of i n i t i a t i v e i n e v e r y t h i n g t h a t

359

he does, g r e a t and small." S t e i n e r f e l t t h a t every word,

e v e r y g e s t u r e , e v e r y f e a t u r e o f h i s / h e r work must be worthy o f

imitation. The t e a c h e r must be f u l l y c o n s c i o u s of h i s / h e r be-

h a v i o r with the c h i l d r e n . C a r e l e s s n e s s o r l a z i n e s s has no

p li a c e i n t h e c-il a s s r o o m . 360

2) "The t e a c h e r s h o u l d be one who i s i n t e r e s t e d i n the being

361

o f t h e whole w o r l d and of humanity." The t e a c h e r , according

t o S t e i n e r , cannot i s o l a t e h i m / h e r s e l f from the r e s t o f t h e

w o r l d and then go about the b u s i n e s s of t e a c h i n g . Steiner

wanted h i s t e a c h e r s t o be i n t e r e s t e d i n a l l the concerns of hu-

manity as w e l l as the c a r e s of those e n t r u s t e d t o h i s / h e r

362
care.
3) "The t e a c h e r must be one who never makes a compromise i n h i s

363

h e a r t and mind w i t h what i s untrue." The t e a c h e r i s not a

mere t r a n s m i t t e r o f knowledge, but stands b e f o r e the c h i l d as a

3 5 9
Ibid, 199.

3 6 0
Ibid.

3 6 1
Ibid.

3 6 2
1 bid.
3 6 3
Ibid, 199-200.
 137

r e p r e s e n t a t i v e o f humanity, an example t o f o l l o w . The t e a c h e r

must be " t r u e i n t h e depths of h i s b e i n g . " The t e a c h e r must be

striving after truth him/herself. 3 6 4

4) "The t e a c h e r must never get s t a l e o r grow sour." All

t e a c h i n g , t o be e f f e c t i v e , must be taught w i t h a degree o f

365
warmth, f r e s h n e s s and enthusiasm.

A c c o r d i n g t o S t e i n e r , t h e content o f t h e l e s s o n s was always secondary to

t h e i n t e g r i t y o f t h e t e a c h e r as a person. Teachers t e a c h by who t h e y a r e ,

366
not by what they do o r what they know. Steiner believed:

"What must r e a l l y l i v e i n the c h i l d r e n , what must v i b r a t e and

w e l l i n t o t h e i r v e r y h e a r t s , not t h e i r w i l l , and l a s t l y i n t o
t h e i r i n t e l l i g e n c e , i s what d w e l l s i n t h e t e a c h e r i n t h e f i r s t
p l a c e simply by v i r t u e o f what he i s as he stands b e f o r e t h e
c h i l d , by v i r t u e o f h i s p a r t i c u l a r nature, c h a r a c t e r and a t -
t i t u d e of soul . . . " 3 6 7

Between t h e ages o f seven t o f o u r t e e n , t h i s q u a l i t y o f i n t e g r i t y i s v e r y

important because t h e c h i l d no longer u n c o n s c i o u s l y i m i t a t e s ; he/she wants

t o see t h e t e a c h e r as a n a t u r a l a u t h o r i t y . S t e i n e r b e l i e v e d that the

t e a c h e r must be, f o r t h e c h i l d , "a mediator between t h e d i v i n e and h i m s e l f

368

in h i s helplessness." The c h i l d does not need f a c t s and l o g i c .

3 6 4
Ibid, 200.

3 6 5
1 bid, 200.

3 6 6
Steiner, S t u d y o f Man. 23.

3
^ Steiner,
7
Essentials of Education. 26.

•^Steiner, Spiritual Ground of Education. 15.

 138
O £L Q

According t o S t e i n e r , "The c h i l d needs us, needs our humanity." In

f a c t , S t e i n e r b e l i e v e d t h a t o n l y one who has developed a s p i r i t u a l

370
philosophy o f l i f e can be a t r u e educator. A u t h o r i t y , as opposed t o

a u t h o r i t a r i a n i s m , should be engendered, not through d r i l l , but by " a c t i n g

371

i n a way t h a t w i l l h e l p t h e i r f e e l i n g f o r a u t h o r i t y t o a r i s e ..."

I d e a l l y , the teacher i s f o r the c h i l d " i n c a r n a t e goodness, i n c a r n a t e t r u t h ,

i n c a r n a t e beauty." As a n a t u r a l a u t h o r i t y , t h e t e a c h e r imparts a love f o r

372
goodness and an abhorrence o f e v i l . According t o Steiner, a u t h o r i t y
s h o u l d never be e n f o r c e d . A u t h o r i t y should be t h e n a t u r a l r e s u l t o f t h e
373
r a p p o r t between t e a c h e r and c h i l d .

T h i s f e e l i n g f o r n a t u r a l a u t h o r i t y i s c r e a t e d by b r i n g i n g l o v e t o t e a c h i n g .

S t e i n e r urged h i s t e a c h e r s t o g i v e t h e c h i l d "artistic l o v e and l o v i n g

374
art." The t e a c h e r who can b r i n g l o v e t o h i s / h e r c h i l d r e n w i l l teach
375

c h i l d r e n who say, " f o r t h a t t e a c h e r I w i l l do t h e hard t h i n g s , t o o . "

For S t e i n e r , however, f o r t h e t e a c h e r j u s t t o l o v e t h e c h i l d r e n was not

enough.

The important t h i n g i s t h a t t h e t e a c h e r should not o n l y be a b l e

t o l o v e t h e c h i l d but t o l o v e t h e method he uses, t o l o v e h i s
whole p r o c e d u r e . . . . To l o v e t e a c h i n g , t o l o v e e d u c a t i n g , and

3 6 9
lbid.

3 7 0
Ibid, 130.

3 7
^Steiner, Practical Advice for Teachers. 83.

3 7 2
Steiner, Essentials of E d u c a t i o n . 83.

3 7 3
Steiner, Soul Economy and W a l d o r f E d u c a t i o n . 159.

3 7 4
Steiner, S p i r i t u a l Ground of Education. 15.

Steiner, Balance in Teaching. 58.

 139
t o love i t with o b j e c t i v i t y — t h i s c o n s t i t u t e s the s p i r i t u a l
f o u n d a t i o n o f s p i r i t u a l , moral and p h y s i c a l e d u c a t i o n .

Through n a t u r a l a u t h o r i t y , t h e teacher guides t h e c h i l d t o knowledge and

skill. To c l a r i f y h i s views on e d u c a t i o n , S t e i n e r c i t e d t h e German word

"erziehen," which means t o "draw o u t . " He b e l i e v e d i n s e l f - e d u c a t i o n i n t h e

sense t h a t one " s e l f , " one person, educates o r draws out t h e p o t e n t i a l o f

the other. By t e a c h i n g through l o v e and through n a t u r a l a u t h o r i t y , t h e

i n d i v i d u a l i t y o f t h e c h i l d i s l e f t t o develop.

The e s s e n t i a l b e i n g o f what we draw f o r t h i s l e f t untouched.

We do not smash a stone when we want t o draw i t out o f water.
E d u c a t i o n does not demand t h a t we s h a l l i n any way i n j u r e o r
overpower t h e human being who has e n t e r e d t h e world, but l e a d
him onwards t o t h e e x p e r i e n c e o f t h a t s t a g e o f c u l t u r e r e a c h e d
by humanity a t l a r g e . . . 3 7 7

2. Teacher as " A r t i s t "

The child, Steiner asserted, i s a n a t u r a l s c u l p t o r and a m u s i c i a n . Steiner

b e l i e v e d t h a t , e s p e c i a l l y a f t e r t h e change o f t e e t h , when t h e c h i l d i sin

the s o - c a l l e d " f e e l i n g " stage, t h e c h i l d needed t e a c h e r s who were a l s o

378

a r t i s t s , namely " a r t i s t s " o f l i f e . A l l teaching, Steiner claimed,

should be imbued w i t h t h e a r t i s t i c element i n order to c u l t i v a t e t h i s

'Steiner, Spiritual Ground of Education. 59.

Steiner, Essentials of Education. 87.

'steiner. Soul Economy and W a l d o r f Education. 160.

 140

379
q u a l i t y w i t h i n the c h i l d . S t e i n e r was c o n v i n c e d t h a t the c h i l d should

be reached not o n l y through the i n t e l l e c t , but through the " f e e l i n g " and

380
"willing," through a r t i s t i c and p r a c t i c a l activities. Catherine

Carmack, a Waldorf music t e a c h e r , s t a t e d t h a t i n o r d e r t o t e a c h and to

381

learn effectively, t h e "head, h e a r t , and hands" must be i n v o l v e d . By

approaching t h e elementary s c h o o l c h i l d through t h e a r t i s t i c element,

through a r t i s t i c t e a c h i n g , the t e a c h e r attempts t o reach the whole c h i l d ,

not j u s t the i n t e l l e c t . S t e i n e r f e l t t h a t i n o r d e r t o reach t h e i n n e r na-

ture of the c h i l d , t o make a c o n n e c t i o n from t e a c h e r t o p u p i l , the teacher

382

must be e f f e c t i v e i n communicating i n p a r a b l e s , i n " l i v i n g p i c t u r e s . "

The Waldorf S c h o o l t e a c h e r thus employs t h e media o f s t o r y t e l l i n g , art

work, music, and p o e t r y . The l e s s o n i t s e l f may be l i k e n e d t o a work o f a r t

o r a m u s i c a l performance of t e n s i o n and r e l e a s e , of ebb and flow, o r i n -

b r e a t h i n g and o u t - b r e a t h i n g , a c c o r d i n g t o the needs and mood o f t h e chil-

dren.

S t e i n e r spoke of a " m u s i c a l " c o n n e c t i o n between t e a c h e r and child,

especially d u r i n g the ages of seven through fourteen. The t a s k s assigned

to the c h i l d , a c c o r d i n g t o S t e i n e r , must be of an i m a g i n a t i v e and pictorial

nature. S t e i n e r suggested t h a t "rhythm, measure, and even melody" must be

t h e b a s i c mode o f t e a c h i n g . The t e a c h as a r t i s t , must have t h i s musical

Steiner, Practical A d v i c e to Teachers. 12.

'steiner. The Roots of Education. 13.

L. Eterman, unpublished interviews, 3.

!
Steiner, The E d u c a t i o n of the Child. 34.
 141

q u a l i t y within him/herself. T h i s q u a l i t y , s a i d S t e i n e r , must pervade t h e

383
whole l i f e o f t h e teacher.

S t e i n e r was adamant t h a t t e a c h e r s t e a c h c h i l d r e n , not r i g i d methods. He

a s s e r t e d t h a t he d i d not wish t o t u r n t e a c h e r s i n t o " t e a c h i n g machines, but

384

i n t o f r e e independent t e a c h e r s . " Each t e a c h e r must be free to use

h i s / h e r own c r e a t i v i t y and h i s / h e r own s t y l e of teaching. Steiner stood

f i r m l y a g a i n s t the use of " a r t i f i c i a l methods." He urged t h a t a " n a t u r a l

r e l a t i o n s h i p " be c u l t i v a t e d between t e a c h e r and student. Steiner was

e s p e c i a l l y annoyed by m u s i c a l "aunts and u n c l e s " who t r i e d t o impose t h e i r

methods on t h e c h i l d r e n . S t e i n e r spoke of b r i n g i n g the i n n e r s p i r i t of the

385
s u b j e c t matter t o t h e c h i l d r e n — n o t the dead outward form.

The teacher as a r t i s t must t e a c h a p a r t i c u l a r group of c h i l d r e n at a

p a r t i c u l a r time, t o adapt h i s / h e r s t y l e t o s u i t the changing moods o f the

children. No method c o u l d s u b s t i t u t e f o r t h i s a b i l i t y t o r e a d the nature

of the c h i l d r e n . S t e i n e r wanted Waldorf School t e a c h e r s t o be flexible

and adaptable.

S t e i n e r even a s c r i b e d t h e r o l e of h e a l e r t o t e a c h e r s . He p o i n t e d out that

in a n c i e n t Greece, t h e words " h e a l e r " and "educator" were connected. To be

e d u c a t e d , a c c o r d i n g t o S t e i n e r , i s t o be whole, or healed; t o achieve "full

humanity"; t o r e a l i z e one's own potential. The teacher l e a d s the students

3 8 3
Steiner, A Modern A r t of Education. 121.

3 8 4
Steiner, Practical A d v i c e to Teachers. 201.

^Steiner, quoted in Stockmeyer, 163.

3 8
^Steiner, Spiritual G r o u n d of Education. 64.
 142

not o n l y t o knowledge, but a l s o t o a knowledge grasped h o l i s t i c a l l y and

387

artistically. H i l d a Deighton, i n an a r t i c l e on t h e Waldorf School

music c u r r i c u l u m , s t a t e d her b e l i e f t h a t music e d u c a t i o n i n p a r t i c u l a r was

therapeutic. She c l a i m e d "the animating power o f music can have a

beneficent r e s u l t on t h e c h i l d ' s organism by s t i r r i n g t h e l i f e giving

388

f o r c e s of t h i s being." In t h e author's o p i n i o n , the b e l i e f that those

who t e a c h music have t h e c a p a c i t y t o h e a l i s a wide-spread c o n v i c t i o n

amongst t h e members o f t h e Waldorf School community.

Steiner, The R o o t s o f E d u c a t i o n . 82.

^ " " H i l d a Deighton, "Rudolf S t e i n e r Curriculum: Music," I n t r o d u c t i o n t o Waldorf E d u c a t i o n :

C u r r i c u l u m a n d Methods, e d . E a r l J . O g l e t r e e (Washington D. C : U n i v e r s i t y P r e s s o f A m e r i c a , 1 9 7 1 ) , 3 6 5 .
 CHAPTER VI

RESULTS OF QUESTIONNAIRE TO TWENTY-THREE WALDORF SCHOOLS

The purpose o f t h e q u e s t i o n n a i r e (see Appendix G) was t o p r e s e n t a p o r t r a i t

o f music e d u c a t i o n i n North American Waldorf S c h o o l s . The i n f o r m a t i o n

gathered may serve as a p o t e n t i a l foundation f o r f u t u r e study.

Grade One, Two, and Three t e a c h e r s and primary music s p e c i a l i s t s i n the

twenty-three e s t a b l i s h e d E n g l i s h language Waldorf S c h o o l s i n existence f o r

more t h a n t e n y e a r s from t h e U n i t e d S t a t e s and Canada were asked t o

complete t h e q u e s t i o n n a i r e . (Two member s c h o o l s had been i n e x i s t e n c e f o r

l e s s t h a n t e n y e a r s when t h e study was c a r r i e d out. One French language

Waldorf S c h o o l was a l s o not i n c l u d e d . ) At l e a s t one Grade One, Two, o r

Three c l a s s t e a c h e r o r music t e a c h e r from twenty-two s c h o o l s responded. A

Grade S i x c l a s s t e a c h e r answered g e n e r a l q u e s t i o n s about t h e music program

on b e h a l f o f t h e f a c u l t y i n t h e case o f t h e t w e n t y - t h i r d s c h o o l . Thus, a

t o t a l o f f o r t y - s i x t e a c h e r s who taught music t o t h e p r i m a r y grades (twelve

Grade One t e a c h e r s , t h i r t e e n Grade Two t e a c h e r s , t h i r t e e n Grades Three

t e a c h e r s , and e i g h t music s p e c i a l i s t s } r e t u r n e d a q u e s t i o n n a i r e . The r e -

spondents a r e r e s p o n s i b l e f o r the music i n s t r u c t i o n o f 59 (85.5%) o f t h e 69

targeted classes.

Each s c h o o l was a s s i g n e d a code ( l e t t e r A through W). C l a s s t e a c h e r s and

music t e a c h e r s were a l s o g i v e a code ( l e t t e r A through D). T h e r e f o r e , each

response was i d e n t i f i e d by a t w o - l e t t e r code, i . e . AA, (Grade One t e a c h e r

o f s c h o o l A ) , AD (music s p e c i a l i s t o f s c h o o l .A).

143
 144

I t was assumed t h a t E n g l i s h i s a not a f i r s t language f o r some respondents.

I n t e r p r e t a t i o n s o f t h e author o f respondents' comments w i l l be p l a c e d

within brackets.

A l t h o u g h t h e q u e s t i o n n a i r e was intended t o be an anonymous survey, 17 out

of t h e 47 respondents (34%), i n c l u d i n g the Grade S i x t e a c h e r , chose t o g i v e

t h e i r names. Ten respondents wrote notes o f encouragement such as:

* T h i s i s a wonderful p r o j e c t you're d o i n g , and I get i n s p i r e d j u s t think-

i n g about what you are c o n t r i b u t i n g t o t h e movement. (Gr. 1)

* Those a r e a s I l e f t blank, I d i d n ' t f e e l equipped t o answer. Hope t h i s

is helpful! (Gr.l)

* Good l u c k on t h i s important p r o j e c t and share w i t h us what your findings

are! (Gr. 2)

* Thanks, you've s e t me t h i n k i n g about my program. (Gr. 2)

* Good l u c k . I would most c e r t a i n l y l i k e t o r e a d your t h e s i s when i t i s

completed. (Gr. 2)

* I am v e r y s o r r y f o r r e t u r n i n g t h i s so l a t e . T h i r d Grade has been a v e r y

busy y e a r . I hope i t h e l p s . Good l u c k ! (Gr. 3)

* Can't say. I am v e r y p r e s s e d f o r time. Wish I c o u l d t h i n k more d e e p l y

about t h i s . Good l u c k . (Gr. 3)

* I wish you w e l l i n t h i s important work! (music specialist)

* S o r r y t h a t I r e a l l y don't have time t o f i l l i n t h i s page. I t was a l l I

c o u l d do t o do t h e r e s t — h o p e i t h e l p s and good l u c k . (music specialist)

* T h i s i s a thorough q u e s t i o n n a i r e — b u t many o f t h e q u e s t i o n s would t a k e a

c o n f e r e n c e t o answer a d e q u a t e l y . I hope my l i m i t e d r e s p o n s e s are o f some
use. Good l u c k ! Keep i n t o u c h . (music s p e c i a l i s t )
 145

Only t h r e e respondents were c r i t i c a l of t h e survey.

"What good do t h e s e q u i z z e s [ q u e s t i o n s ] do f o r c l a s s r o o m work?"

(Gr. 2)

"I f i n d i t d i f f i c u l t t o r a t e these t h i n g s on a s c a l e . Sorry, I

can't be more h e l p f u l . Some q u e s t i o n s c a l l f o r comparison I'm
not i n a p o s i t i o n t o make. (Gr. 3)

One Waldorf School t e a c h e r c a u t i o n e d t h a t music t e a c h i n g s h o u l d o n l y be

seen w i t h i n t h e context o f t h e whole Waldorf School e d u c a t i o n and S t e i n e r ' s

i d e a s about c h i l d development.

"The u n d e r s t a n d i n g and a p p r e c i a t i o n f o r Waldorf e d u c a t i o n w i l l

come, not from an understanding and a p p r e c i a t i o n o f an i n d i v i d -
u a l p a r t o f i t s a l b e i t e f f e c t i v e c u r r i c u l u m , but r a t h e r from
e n t i r e approach t o t h e d e v e l o p i n g human b e i n g . Any q u a n t i f i c a -
t i o n o f an i n d i v i d u a l d i s c i p l i n e w i t h i n t h i s context can by
d e f i n i t i o n not be a c c u r a t e . "

[The respondent makes a p o i n t well-grounded i n Waldorf v a l u e s . The author

has endeavored i n t h i s t h e s i s t o g i v e a p i c t u r e o f t h e v a r i o u s a s p e c t s o f

S t e i n e r ' s p h i l o s o p h y i n r e g a r d t o t h e d e v e l o p i n g human b e i n g i n o r d e r t o

a v o i d t h e danger p o i n t e d out by t h i s c o n t r i b u t o r . However, t h e author

b e l i e v e s t h a t s t u d y i n g an i n d i v i d u a l d i s c i p l i n e w i t h i n t h e c o n t e x t o f t h e

Waldorf S c h o o l p h i l o s o p h y i s , nevertheless, a v a l i d pursuit.]

 146

The q u e s t i o n n a i r e was designed t o explore the following key investigative

questions:

1) What a r e t h e a t t r i b u t e s and q u a l i f i c a t i o n s o f t h o s e who t e a c h music

i n Waldorf S c h o o l s Grades One t o Three?

2) I s music i n Waldorf Schools taught by c l a s s t e a c h e r s o r music

specialists? Who do t e a c h e r s f e e l should t e a c h music i n Grades One t o

T h r e e — c l a s s t e a c h e r s o r music specialists?

3) What can be determined about t h e q u a l i t y o f t h e music programs i n t h e

schools (time spent on music i n s t r u c t i o n , p e r c e i v e d s t r e n g t h s and weak-

nesses, commitment o f community t o music e d u c a t i o n , p e r c e i v e d q u a l i t y o f

instruction, professional development and p e r c e i v e d q u a l i t y o f music educa-

t i o n programs i n Waldorf t e a c h e r training)?

4) How f a m i l i a r a r e t e a c h e r s w i t h t h e C h o r o i and Werbeck i n i t i a t i v e s ?

Are C h o r o i and G a r t n e r i n i t i a t i v e s well known and a r e t h e i r instruments

w i d e l y used i n Waldorf Schools? What o t h e r i n s t r u m e n t s , besides Choroi i n -

struments, a r e used i n t h e s c h o o l s ?

5) What a r e t e a c h e r s ' o p i n i o n s on s p e c i f i c matters o f pedagogy?

6) What, a c c o r d i n g t o t h e t e a c h e r s , i s t h e main purpose o f music educa-

t i o n i n Waldorf Schools?
 147

7) Do Waldorf S c h o o l t e a c h e r s b e l i e v e t h a t the Waldorf approach t o music

education i s relevant i n today's s o c i e t y ? Do Waldorf School t e a c h e r s be-

l i e v e t h a t Waldorf music e d u c a t i o n can e a s i l y be integrated i n t o the public

school system?

8) Which of S t e i n e r ' s i d e a s had the most impact on teachers?

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Questionnaire Results

I n v e s t i g a t i v e Q u e s t i o n #1:

What a r e t h e a t t r i b u t e s and q u a l i f i c a t i o n s o f t h o s e who t e a c h music i n Wal-

d o r f S c h o o l s Grades One t o Three?

Q u e s t i o n #1; What i s your e d u c a t i o n a l background?

Because t h e Waldorf S c h o o l i s a p r i v a t e system, degrees and/or s t a t e o r

p r o v i n c i a l t e a c h e r c e r t i f i c a t i o n do not c o n s t i t u t e a p r e r e q u i s i t e o f

employment. On t h e whole, music t e a c h e r s have more q u a l i f i c a t i o n s t o t e a c h

music and c l a s s t e a c h e r s have had more Waldorf t e a c h e r t r a i n i n g . The e i g h t

music s p e c i a l i s t s h e l d a t o t a l o f t h r e e B a c h e l o r o f Music degrees, two

B a c h e l o r o f Music E d u c a t i o n degrees, and two c o n s e r v a t o r y d i p l o m a s . Two

music s p e c i a l i s t s d i d not have a degree i n music. Only two music special-

i s t s had Waldorf t e a c h e r t r a i n i n g . No c l a s s t e a c h e r s h e l d degrees i n mu-

sic. T h i r t y - o n e out o f t h e t h i r t y - e i g h t t e a c h e r s had a c q u i r e d Waldorf

teacher t r a i n i n g . Twenty-eight t e a c h e r s h e l d a B a c h e l o r ' s degree and sev-

enteen h e l d a M a s t e r ' s degree. Seven t e a c h e r s d i d not have degree status.

 149

GRAPH 2

EDUCATIONAL BACKGROUND OF MUSIC TEACHERS

Typ« o i Training

GRAPH 3

EDUCATIONAL BACKGROUND OF CLASS TEACHERS

Typ« ol Training

(WTT = Waldorf Teacher Training)

 150
Q u e s t i o n #2: Male? Female?

A l l music s p e c i a l i s t s were female. A s u r p r i s i n g l y h i g h p e r c e n t a g e o f male

t e a c h e r s was e v i d e n t i n t h e primary grades.

Because some music i s u s u a l l y taught i n t h e main l e s s o n i n Waldorf S c h o o l s ,

b o t h boys and g i r l s w i l l perhaps b e n e f i t from o b s e r v i n g males i n t h e r o l e

of t e a c h i n g music i n t h e primary grades.

Two respondents d i d not s t a t e t h e i r gender. The response o f t h e Grade S i x

t e a c h e r was not i n c l u d e d .

GRAPH 4

NUMBER OF MALE AND FEMALE TEACHERS

GR 1 rOCl GR 2 E33 GR 3 ESS nUS TCHRS

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Question #3: Are you a c e r t i f i e d t e a c h e r i n your p r o v i n c e o r s t a t e ?

Less than 50% o f Grade One, Two, and Three t e a c h e r s were c e r t i f i e d t o t e a c h

i n t h e i r p r o v i n c e o r s t a t e w h i l e o n l y 50% of t h e music t e a c h e r s were c e r t i -

fied. Oddly, Grade Three t e a c h e r s h e l d the lowest number of t e a c h i n g c e r -

tificates.

GRAPH 5

NUMBER OF CERTIFIED TEACHERS

Q u e s t i o n #4: Instrument(s) you play?

A l l but t h r e e respondents claimed t o p l a y an instrument. However, i t i s

p o s s i b l e t h a t those t e a c h e r s who d i d not respond t o the q u e s t i o n n a i r e are

a l s o t h e t e a c h e r s who do not p l a y a m u s i c a l instrument. Even so, many

teachers (68%) p l a y e d more than one instrument. Every music t e a c h e r played

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more than two i n s t r u m e n t s . The r e s u l t s seem t o i n d i c a t e t h a t many t e a c h e r s

work toward t h e i r own m u s i c a l development.

GRAPH 6

NUMBER OF INSTRUMENTS TEACHERS PLAY

(M r e p r e s e n t s music s p e c i a l i s t , x c l a s s teacher)

Number o f Instruments Number o f Teachers P l a y i n g

0 instrument 2 xx

1 instrument 13 xxxxxxxxxxxxx

2 instruments 15 MMxxxxxxxxxxxxx

3 instruments 8 MMxxxxxx

4 instruments 7 MMMxxxx

5 instruments 2 Mx

Not s u r p r i s i n g l y , a great majority of the teachers played t h e recorder, the

i n s t r u m e n t i n t r o d u c e d t o t h e c h i l d r e n i n Grade One.
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GRAPH 7

INSTRUMENTS PLAYED BY RESPONDENTS

Instruments Played Best Instrument

35 recorder MMMMxxxxxxxxxxxxxxxxxxxxxxxxxx Mxxxxxxxxxxxxxx

xxxxx xxxxxxxxxxxx

12 piano MMMMMxxxxxxx MMMMxxxxx

9 guitar Mxxxxxxxx Mxxxxx

6 flute MMxxxx Mxx

6 violin MMxxxx Mx

3 lyre Mxx X
3 winds MMx
3 none XXX

2 banjo XX X
2 Choroi f l u t e Mx
2 dulcimer XX X
2 kinderharp XX
2 strings Mx X
2 viola Mx

1 clarinet M M
1 sax M M
1 accordion X X
1 trumpet X X
1 voice X X
1 brass M
1 harpsichord M
1 klangspiels M
1 organ M
1 percussion M
1 cello X
1 drums X
1 kantele X
1 mandolin X
1 xylophone X

Music t e a c h e r s c o n s i d e r e d themselves more accomplished as m u s i c i a n s t h a n

the class teachers. Three ranked themselves as v e r y accomplished. Most

 154

c l a s s teachers (16) d e s c r i b e d themselves as average. Ten p l a c e d themselves

as b e g i n n e r and t e n as beginner w i t h some s k i l l s . Two c l a s s t e a c h e r s d i d

not respond t o t h i s question. These were, i n f a c t , t h e same p e o p l e t h a t do

not p l a y any i n s t r u m e n t s .

Q u e s t i o n #6 Do you c o n s i d e r y o u r s e l f a v e r y accomplished m u s i c i a n on your

major i n s t r u m e n t , an accomplished m u s i c i a n on your major i n s t r u m e n t , an av-
erage m u s i c i a n , a beginner with some s k i l l s and knowledge o f t h e o r y , a be-
ginner?

GRAPH 8

SELF-EVALUATION: LEVEL OF MUSICAL ACCOMPLISHMENT

17

Class teachers r / y i Music teochers

Q u e s t i o n #7: A r e you c u r r e n t l y a c l a s s teacher?

T h i r t y - n i n e respondents, i n c l u d i n g one Grade S i x t e a c h e r , were c l a s s

teachers.
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Q u e s t i o n #8: To which grades do vou t e a c h music?

Thirty-six c l a s s t e a c h e r s o f Grades One, Two, and Three t a u g h t t h e i r own

music. A l l e i g h t music s p e c i a l i s t s who responded t e a c h music i n a l l three

p r i m a r y grades, except f o r one music s p e c i a l i s t who t e a c h e s Grades One and

Two. Out o f t h e s e twenty t h r e e c l a s s e s taught by a music specialist, nine

c l a s s t e a c h e r s i n d i c a t e d t h a t they, t o o , taught music t o t h e c l a s s .

GRAPH 9

NUMBER OF TEACHERS TEACHING MUSIC TO SPECIFIC GRADES

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Question # 9 : How l o n g have you taught music?

Most t e a c h e r s had a t l e a s t one t o f i v e y e a r s music t e a c h i n g e x p e r i e n c e .

E i g h t c l a s s t e a c h e r s were v e r y i n e x p e r i e n c e d . Seven t e a c h e r s were q u i t e

experienced. A l l but one music s p e c i a l i s t had taught f o r more than t e n

years. F i v e c l a s s t e a c h e r s d i d not respond t o t h i s q u e s t i o n .

GRAPH 1 0

MUSIC TEACHING EXPERIENCE OF RESPONDENTS

Less than 1 Yr 1 to 5 yrs 5 to 10 yrs More than 10 yrs

[WI Class teachers Music teachers

Q u e s t i o n #10; How f a m i l i a r a r e you w i t h S t e i n e r ' s i d e a s on music and music
education?

Music t e a c h e r s c o n s i d e r e d themselves very f a m i l i a r o r q u i t e f a m i l i a r with

S t e i n e r ' s i d e a s on music and music e d u c a t i o n . Most c l a s s t e a c h e r s were a t

l e a s t somewhat f a m i l i a r . No t e a c h e r was unfamiliar with S t e i n e r ' s ideas.

GRAPH 11

F A M I L I A R I T Y WITH S T E I N E R ' S IDEAS ON MUSIC AND MUSIC EDUCATION

26
24
22
20
16
16
14
12
10
B
6
4 •
2 .
0 .
Very familiar Quite familiar Somewhat •familiar Have heard o i rt No familiarity

L^vH Class Teachers rvxj Music Teachers

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Q u e s t i o n #11: I f vou are at l e a s t somewhat f a m i l i a r w i t h S t e i n e r ' s i d e a s

on music and music e d u c a t i o n , what i n f l u e n c e have t h e s e i d e a s had on your
t e a c h i n g of music?

Seven music t e a c h e r s and seventeen c l a s s t e a c h e r s (in a l l , 52%) claimed

t h a t S t e i n e r ' s i d e a s d i d have a g r e a t d e a l of i n f l u e n c e on t h e i r teaching

o f music. No teacher s t a t e d t h a t S t e i n e r had v e r y l i t t l e or no influence

on h i s / h e r t e a c h i n g o f music. Two t e a c h e r s d i d not respond t o this

question.

GRAPH 12

INFLUENCE OF S T E I N E R ' S IDEAS ON TEACHING OF MUSIC

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I n v e s t i g a t i v e q u e s t i o n #2:

Is music i n Waldorf S c h o o l s taught by c l a s s t e a c h e r s o r music s p e c i a l i s t s ?

Who do t e a c h e r s f e e l should t e a c h music i n Grades One t o T h r e e — c l a s s
t e a c h e r s o r music s p e c i a l i s t s ?

Q u e s t i o n #16; I s music i n t h e primary grades i n your s c h o o l taught by a

s p e c i a l i s t o r the c l a s s teacher?

In many c l a s s e s , t e a c h e r s i n d i c a t e d t h a t both t h e music s p e c i a l i s t and

c l a s s t e a c h e r taught music i n t h e primary classes. Ten c l a s s t e a c h e r s and

f i v e music t e a c h e r s d e c l a r e d t h a t t h e music t e a c h e r o n l y , i t i s assumed,

t a u g h t music t o t h e c l a s s . In o n l y t h i r t e e n c l a s s e s d i d t h e c l a s s teacher

have t h e f u l l r e s p o n s i b i l i t y o f t e a c h i n g t h e c l a s s . In some c a s e s , i t was

i n d i c a t e d t h a t t h e s p e c i a l i s t was t h e Grade Three s t r i n g teacher.

GRAPH 13

NUMBER OF TEACHERS WHO INDICATED THAT MUSIC WAS TAUGHT BY S P E C I A L I S T AND/OR

CLASS TEACHER
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Question #17: Who s h o u l d t e a c h music i n grades 1-3?

A l l t e a c h e r s b u t one expressed an o p i n i o n on t h i s i s s u e . Twenty-nine

teachers (63%) agreed t h a t t h e c l a s s t e a c h e r s should c a r r y t h e main respon-

sibility f o r music e d u c a t i o n . However, f o u r t e e n (30%) teachers f e l t that

t h e i d e a l was b o t h — w o r k i n g t o g e t h e r o f t h e music t e a c h e r and c l a s s

teacher. Seven t e a c h e r s (15%), i n c l u d i n g t h r e e out o f t h e e i g h t music

s p e c i a l i s t s , b e l i e v e d t h a t t h e music t e a c h e r should t e a c h music i n t h e

younger grades. Three t e a c h e r s f e l t t h a t i f t h e c l a s s t e a c h e r was not a b l e

to t e a c h music, t h e music t e a c h e r should teach music i n t h a t grade.

GRAPH 14

NUMBER OF TEACHERS WHO INDICATED THAT MUSIC SHOULD BE TAUGHT BY MUSIC

TEACHER AND/OR CLASS TEACHER

20

Music teacher Class teacher Both

B88S8 Music teachers r \ . N . l Class teachers

Comments from those who believed the class teacher should teach music:

* Music i s taught by s p e c i a l i s t a f t e r Grade 5, c l a s s t e a c h e r 1-4. Not

s e p a r a t e from t h e r e s t o f l e a r n i n g . (Gr. 1)
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* I t s h o u l d be a p a r t o f every main l e s s o n . A part of l i f e . (Gr. 1)

* The ( c l a s s t e a c h e r s ) c o u l d b e t t e r c o n c e n t r a t e on t h e needs o f t h e c l a s s .
(Gr. 1)

* Music t e a c h i n g i s s t i l l an i n t i m a t e and p e r v a s i v e a c t i v i t y t h a t
permeates whole o f 1-3 c u r r i c u l u m and p e d a g o g i c a l approach. (Gr. 1)

* Authority! (Gr. 1)

* J o y and human i n t e r a c t i o n a r e more important than t e c h n i q u e a t t h i s

time. S p e c i a l t y t e a c h e r i n music unnecessary as y e t . (Gr. 2)

* Can come out o f c l a s s work and be i n c o r p o r a t e d i n a l l l e s s o n s n a t u r a l l y .

(Gr. 2)

* C l a s s t e a c h e r knows where c h i l d r e n a r e ; what they need; can be i n t e -

grated into a l l lessons. [ A d d i t i o n a l comment a t t h e end o f q u e s t i o n n a i r e ]
I t h i n k t h e advantage o f c l a s s t e a c h e r t e a c h i n g music i n Grade 1-2 i s t h a t
i t h e l p s him/her l i v e more m u s i c a l l y , a l s o . ] (Gr. 2)

* I t i s a given t h a t the c l a s s teacher w i l l sing with h i s c h i l d r e n . When

an e x t r a p e r s o n comes i n , t h e c h i l d r e n have t r o u b l e (I f e e l ) a d j u s t i n g t o
another v o i c e . Perhaps, t o o , music should not be t r e a t e d as something
" e x t r a " , b u t s h o u l d be embedded i n e v e r y t h i n g we do a t t h i s young age.
(Gr. 2)

* The t e a c h e r can b r i n g a m u s i c a l content a p p r o p r i a t e t o t h e main l e s s o n

m a t e r i a l and i n t e g r a t e i t w i t h t h e l e s s o n s i n such a way t h a t t h e m u s i c a l
a s p e c t i s n ' t an i s o l a t e d e x p e r i e n c e . (Gr. 2)

* ( M u s i c ) , s i n g i n g comes as a d i r e c t e x p e r i e n c e between p e o p l e . (Gr. 2)

* I d e a l l y , t h e c l a s s t e a c h e r , i f p o s s i b l e — m a i n l y because Dr. S t e i n e r
urged t h e c l a s s t e a c h e r t o t e a c h t h e c h i l d r e n as many s u b j e c t s as p o s s i b l e .
(Gr. 3)

* So t h a t t h e c h i l d r e n can e x p e r i e n c e t h e i r t e a c h e r ' s j o y o f music and so

t h a t t h e t e a c h e r c a n s p e c i f i c a l l y and immediately t a i l o r t h e m u s i c a l
e x p r e s s i o n t o t h e c l a s s ' needs. Music should be an e x p r e s s i o n not a sub-
j e c t f o r s c r u t i n y i n t h e s e lower grades. (Gr. 3)
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* The c l a s s t e a c h e r can e a s i l y i n c o r p o r a t e t h e music i n t o t h e c u r r i c u l u m .
(Gr. 3)

* Because i t ' s an i n t e g r a l p a r t o f t h e l e s s o n , t h e c l a s s t e a c h e r "uses"

music as a b r i d g e f o r t r a n s i t i o n s and t o i n t e g r a t e w i t h t h e main l e s s o n
block. I t needs t o be a n a t u r a l between c l a s s and t e a c h e r . (Gr. 3)

* Music s h o u l d not be a s p e c i a l s u b j e c t but s h o u l d be one o f t h e ways a

t e a c h e r works w i t h t h e content o f t h e l e s s o n — i . e . , woven i n t o t h e whole
experience. (Gr. 3)

* C l a s s t e a c h e r has s p e c i a l c o n n e c t i o n w i t h c h i l d r e n t o d e v e l o p at t h i s
time. (Gr. 3)

* C l a s s t e a c h e r , i f a b l e , g i v e s c h i l d f e e l i n g a l l comes from my c l a s s
teacher. At t h i s age, they have n a t u r a l f e e l i n g f o r a u t h o r i t y . (Gr. 3)

* C l a s s t e a c h e r has s p e c i a l c o n n e c t i o n w i t h c h i l d r e n t o d e v e l o p at this
time. (Gr. 3)

* The c l a s s t e a c h e r can t i e t h e music c u r r i c u l u m more e f f e c t i v e l y t o main

l e s s o n and i s o f t e n more s e n s i t i v e t o needs o f c h i l d r e n on a day-to-day ba-
sis. (Gr. 3)

* C h i l d r e n b e n e f i t from s e e i n g e x p e r t i s e i n music (and a l l o t h e r s u b j e c t s )

i n the c l a s s teacher. Also allows f o r greater i n t e g r a t i o n with curriculum
and day. A l s o more continuous and p e r s o n a l t r a i n i n g comes from c l a s s
teachers. (Gr. 3)

* C o n n e c t i o n t o c h i l d r e n i s more important than t e a c h i n g c e r t a i n t e c h -

niques. Music i s a p a r t o f t h e w h o l e — n o t a s p e c i a l s u b j e c t a t t h i s age.
(Gr. 3)

* There i s no music t e a c h e r i n t h e younger g r a d e s — n o t necessary. (Gr. 6)

* C l a s s teacher, i f capable. Specialist i f c l a s s teacher can't. (music

specialist)

* Class teacher. (music specialist)

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Comments from those who believed both classroom teacher and music
specialist should teach music:

* I t h i n k t h a t music should be taught by a person who knows t h e " i n s and

o u t s " o f music. However, the c l a s s t e a c h e r should d e f i n i t e l y b r i n g the j o y
of music t o t h e c h i l d r e n . I [respondent i s a male] am a r o l e model t o my
young boys i n t h e c l a s s r o o m . In our s c h o o l , two people are b r i n g i n g music
t o t h e c h i l d r e n — o n e from h e a r t realm and t h e o t h e r from the head realm.
(Gr. 1)

* Both. I t s h o u l d be taught by a p r o f e s s i o n a l and d u r i n g t h e course of

t h e d a y — s i n g i n g , r e c o r d e r p l a y i n g as p a r t of the day. (Gr.l)

* C l a s s t e a c h e r f o r s i n g i n g and r e c o r d e r ; grade 3 a l s o needs a v i o l i n

teacher. (Gr. 1)

* I use music i n my morning e x e r c i s e s but I expect the music t e a c h e r t o

t e a c h my c h i l d r e n t h e r e c o r d e r and a l l - s c h o o l songs. [ A d d i t i o n a l comment
at end of q u e s t i o n n a i r e ] T h i s i s my f i r s t year as a c l a s s t e a c h e r so I am
s t i l l f i n d i n g my way, but I am very g r a t e f u l t h a t music i s a p a r t of t h e
main l e s s o n everyday. (Gr. 1)

* Some c l a s s t e a c h e r s do not have t h e s k i l l s t o p r e s e n t i t i n an e n t h u s i -

a s t i c way. They need t o be r e p l a c e d . That does not mean no songs o r
r e c o r d e r p l a y i n g i n main l e s s o n . (Gr. 2)

* The more t h e b e t t e r . (Gr. 2)

* The c l a s s t e a c h e r can b e s t b r i n g a p p r o p r i a t e songs f o r t h e v a r i o u s main

l e s s o n s u b j e c t s but, f o r me, t h e s p e c i a l i s t can b e g i n , i n second grade t o
b r i n g more d i r e c t i o n t o t h e development of music s k i l l s . (Gr. 2)

* Because [they both] have something t o o f f e r . (Gr. 2)

* Both. The d a i l y p r a c t i c e i s so necessary as i s guidance by a s p e c i a l -

ist. [ A d d i t i o n a l comment at end of q u e s t i o n n a i r e ] I t e a c h music as an i n -
t e g r a l p a r t o f the e d u c a t i o n . My p e r s p e c t i v e i s of one who i s a n o v i c e .
(Gr. 2)

* Both. Music deserves a p l a c e i n the c l a s s r o o m a c t i v i t i e s each day but

t h e c l a s s t e a c h e r may not be a b l e t o g i v e the depth, or may not be s k i l l e d
enough t o go beyond merely s i n g i n g w i t h t h e c l a s s and/or p l a y i n g r e c o r d e r s
w i t h them. (Gr. 3)
 164
* C l a s s t e a c h e r : because o f so much deep, d a i l y c o n t a c t w i t h t h e c h i l d r e n .
S p e c i a l i s t : because so few c l a s s t e a c h e r s i n our s c h o o l a r e " m u s i c a l , " l e t
alone f a m i l i a r with Choroi. (music s p e c i a l i s t )

* 1 t h i n k t h a t a working t o g e t h e r o f t h e music and c l a s s t e a c h e r i s best,

(music s p e c i a l i s t )

* Both. (music specialist)

* I d e a l i s b o t h — c o o p e r a t i v e l y . Most c l a s s t e a c h e r s have needed a d v i c e

and g u i d a n c e . Many t r y t o use music but r u n i n t o problems t h e y cannot
s o l v e w i t h o u t guidance, and o f t e n they run out o f i n s p i r i n g t e a c h i n g mate-
rial, (music s p e c i a l i s t )

Comments from those who believed a music specialist should teach music:

* Specialist. (Gr.l)

* More through overview o f s u b j e c t : wider range o f t a l e n t s . (Gr. 2)

* Specialist. (Gr. 3)

* S p e c i a l i s t — b e c a u s e many c l a s s t e a c h e r s don't have CONFIDENCE i n music.

C h i l d r e n need someone who " l i v e s and breathes i t . " (Gr. 3)

* Specialist. (music specialist)

* C l a s s t e a c h e r s o f t e n have d i f f i c u l t i e s w i t h t h e p e n t a t o n i c sequence,
(music s p e c i a l i s t )

* To r e a l l y t e a c h m u s i c — e a r t r a i n i n g , t h e o r y , and t r u e m u s i c i a n s h i p i s
needed. S i n g i n g and p l a y i n g notes on an instrument i s w o n d e r f u l f o r c l a s s
t e a c h e r s t o do but i t i s o f t e n f a r from r e a l l y MUSICAL. (music s p e c i a l i s t )
 165
Comments from those who believe that either the class teacher or music spe-
c i a l i s t should teach music:

* Whoever i s b e t t e r a b l e ! (Gr. 1)

* I t depends on t h e a b i l i t y o f the c l a s s t e a c h e r . I p e r s o n a l l y need some

guidance from our s p e c i a l i s t . But i f I d i d n ' t , I would want more c o n t r o l .
(Gr. 2)

Investigative question #3:

What can be determined about t h e q u a l i t y o f t h e music programs i n t h e

s c h o o l s (time spent on music i n s t r u c t i o n , p e r c e i v e d s t r e n g t h s and weak-
nesses, commitment o f community t o music e d u c a t i o n , p e r c e i v e d q u a l i t y o f
i n s t r u c t i o n , p r o f e s s i o n a l development and p e r c e i v e d q u a l i t y o f music educa-
t i o n programs i n Waldorf t e a c h e r t r a i n i n g ) ?

Q u e s t i o n #14: How much music i s taught p e r week i n your s c h o o l i n grades

1 - 3 as a s u b j e c t ?

(See Q u e s t i o n 15)

Q u e s t i o n 15: A p p r o x i m a t e l y , how much time i s devoted t o music d u r i n g main

lesson?

I t i s assumed t h a t commitment t o t h e music e d u c a t i o n program i s expressed

i n p a r t i n t h e amount o f time devoted t o i t s study.

A c c o r d i n g t o t h e p r o v i n c e o f B r i t i s h Columbia, 180 minutes o f f i n e arts

education ( a r t , music, drama, dance) i s r e q u i r e d i n t h e elementary grades.

Most s t u d e n t s i n p u b l i c s c h o o l s r e c e i v e 60 t o 80 minutes o f music per week.

 166

The Waldorf S c h o o l c u r r i c u l u m p l a c e s g r e a t emphasis on music and much time

i s a c c o r d e d t o t h i s study. Waldorf School c h i l d r e n i n Grades One, Two and

Three, r e c e i v e a p p r o x i m a t e l y f o r t y - f i v e minutes p e r week o f music d u r i n g

t h e main l e s s o n i n which music i s i n t e r r e l a t e d with other s u b j e c t matter.

In a d d i t i o n , music i s taught as a s u b j e c t i n Grade One (average 90 min-

u t e s ) , Grade Two (average 130 minutes), Grade Three (average 110 m i n u t e s ) .

GRAPH 15

TIME DEVOTED TO MUSIC INSTRUCTION

180
170 -
160 -
1S0 -
140 -
130 -
s
•s 120 -
e 110 -
o 100 -
90 -
80 -
z 70 -
60 -
50 -
40 -
30 -
20 -
10 -
0 -
Grade 1 Grade 2 Grade 3

IV V I During Main Lesson IV. V J A s a Subject

 167
Q u e s t i o n #18: In your o p i n i o n , how important i s q u a l i t y music e d u c a t i o n t o
your s c h o o l community?

Q u a l i t y music e d u c a t i o n appears t o be a p r i o r i t y i n Waldorf S c h o o l s . The

average s c o r e was 4.6 on a s c a l e o f 5. Most t e a c h e r s (70%) f e l t t h a t music

e d u c a t i o n was v e r y important t o t h e s c h o o l community. No t e a c h e r p e r c e i v e d

t h a t music e d u c a t i o n was o f l i t t l e o r no importance t o t h e i r s c h o o l com-

munity.

GRAPH 16

P E R C E I V E D IMPORTANCE OF MUSIC EDUCATION TO COMMUNITY

26

24

22

20

18

16

14

12 •

11
10 .

8•

6 .

4 .

2 .

0•
Very tmportant

I X >H
_ezz£

Music teachers
Important
P
Somewhat important Little importance

Class teachers
Not important
 168
Q u e s t i o n #19; How would you r a t e t h e q u a l i t y o f your s c h o o l ' s music educa-
t i o n program?

On t h e average, t e a c h e r s r a t e d t h e q u a l i t y o f t h e i r s c h o o l ' s music educa-

t i o n program, 3.7 on a f i v e - p o i n t s c a l e . A m a j o r i t y o f t e a c h e r s (32%)

r a t e d t h e q u a l i t y o f t h e i r s c h o o l ' s music program as v e r y good. Ten t e a c h -

ers (21%) ranked t h e i r music program as e x c e l l e n t . Only f i v e t e a c h e r s de-

scribed t h e i r program as f a i r , w h i l e one t e a c h e r r a t e d t h e s c h o o l ' s program

as poor.

GRAPH 17

PERCEIVED QUALITY OF MUSIC PROGRAM

Excellent Very Good Good F

Music teachers l \ \ l Class teachers

 169
GRAPH 18

P E R C E I V E D QUALITY OF MUSIC EDUCATION COMPARED WITH P E R C E I V E D IMPORTANCE OF

MUSIC EDUCATION TO COMMUNITY

F o r t w e n t y - e i g h t t e a c h e r s (60%), the importance o f music e d u c a t i o n t o the

community d i d not match the p e r c e i v e d q u a l i t y o f the program. Seventeen
t e a c h e r s (36%) b e l i e v e d t h a t t h e i r program matched community e x p e c t a t i o n s .
O n l y two respondents (4%) f e l t t h e i r program surpassed e x p e c t a t i o n . I n the
c h a r t , responses are grouped by s c h o o l s .

Perceived Perceived

Importance Quality Importance Quality

AA +++++ +++ MA +++++ +++++

AB +++++ ++ MC +++++ ++
MD +++++ +++++
BA +++++ ++++
BB +++++ +++ ND +++++ ++++

CA +++++ +++++ OA +++++ +++

CB +++ ++ OB ++++ +++

DB ++++ ++++ QA +++++ ++++

DC +++ +++ QC +++ +++
DD +++++ +++
RD +++++ +++++
EC +++++ ++++
SA +++++ ++++
F +++++ +++++ SB +++++ +++
SC +++++ + +++
GB +++++ +++++
TA ++++ +++++
HA +++ +++ TB +++++ +++
HB ++++ + TC +++++ +++
HC +++++ +++
UA +++++ +++++
IB +++++ ++++ UB +++++ +++++
UC ++++ +++++
JB +++++ ++++ UD +++++ +++++
JC +++++ ++
VD +++++ +++++
KC +++++ ++++
KD +++++ ++++ WA ++++ +++
WC ++++ ++++
LA +++++ ++
LB +++++ ++++
LC ++++ ++++
LD ++++ ++++
 170

Q u e s t i o n #20; I f vou t r a i n e d as a Waldorf School t e a c h e r , how would you

r a t e your i n s t r u c t i o n i n music education?

Of t h e t h i r t y t e a c h e r s who had e x p e r i e n c e d Waldorf t e a c h e r t r a i n i n g , twelve

(40%) c o n s i d e r e d t h e i r t r a i n i n g t o be f a i r , w h i l e f i v e t e a c h e r s (16%)

c l a i m e d t h a t t h e i r t r a i n i n g was poor. Only two t e a c h e r s found t h e quality

of t r a i n i n g e x c e l l e n t .

GRAPH 19

P E R C E I V E D QUALITY OF INSTRUCTION I N MUSIC EDUCATION I N WALDORF TEACHER

T R A I N I N G INSTITUTES

Excellent Very Good Good Fair Poor

\s s\ Music teachers l \\ l Class teachers

 171

Q u e s t i o n #21: S t r e n g t h s and weaknesses

O v e r a l l , t h e a r e a s o f s i n g i n g and r e c o r d e r p l a y i n g appear t o be t h e areas

of g r e a t e s t strength. Other a s p e c t s o f t h e program such as l y r e , movement,

i m p r o v i s a t i o n , t h e o r y , and c u r r i c u l u m d i d not rank h i g h l y as s t r e n g t h s .

P r o f e s s i o n a l development was seen as t h e g r e a t e s t need.

GRAPH 2 0

P E R C E I V E D STRENGTHS AND WEAKNESSES OF PROGRAM

Singing Recorder Lyre Movement Improv Theory Curriculum Pro D.

Many t e a c h e r s commented on t h e need f o r p r o f e s s i o n a l development f o r c l a s s

t e a c h e r s who t e a c h music. Two t e a c h e r s f e l t t h a t t h e i r p r o f e s s i o n a l
development i n music e d u c a t i o n was s t r o n g o r average.

* Strong. We had a major conference here. (Gr. 3)

* Strong. P r o - D — i n i t i a t i v e of i n d i v i d u a l teacher. (Gr. 2)

* Average. We a r e a v e r y mature s c h o o l . P r o f e s s i o n a l development i s not

so n e c e s s a r y because we have so many e x p e r i e n c e d t e a c h e r s . We have t e a c h e r
i n - s e r v i c e Waldorf t e a c h e r t r a i n i n g program. (Gr. 6)
 172

However, o t h e r s c a l l e d f o r more h e l p f o r t e a c h e r s who have l i t t l e o r no

training. Three t e a c h e r s even commented on t h i s t o p i c v o l u n t a r i l y a t t h e

end o f t h e q u e s t i o n n a i r e .

* The q u e s t i o n of t r a i n i n g of t e a c h e r s t o do music even i f t h e y have had

no m u s i c a l background i s so important. I f e e l many t e a c h e r s have been put
o f f by m u s i c i a n s . They are made t o f e e l inadequate so t h e y don't t r y . In
my t e a c h e r t r a i n i n g s e s s i o n s , my main g o a l i s t o make t h a t t e a c h e r f e e l
c o m f o r t a b l e i n the world of music—make them f e e l capable i n making t h e i r
own songs. Then the t e a c h e r w i l l have c o n f i d e n c e t o be c r e a t i v e and w i l l
grow w i t h the c l a s s . ( A d d i t i o n a l comment a t t h e end o f q u e s t i o n n a i r e —
music s p e c i a l i s t )

* More Choroi/Waldorf music c o n f e r e n c e s u r g e n t l y needed t o b r i n g t h i s ap-

proach t o wider and wider c i r c l e s of c h i l d r e n and t h e i r t e a c h e r s .
( A d d i t i o n a l comment a t the end of q u e s t i o n n a i r e — m u s i c s p e c i a l i s t )

* What a c t i v i t i e s do you as a music t e a c h e r engage i n t o d e v e l o p your mu-

s i c teaching a b i l i t i e s ? ( A d d i t i o n a l comment a t t h e end of q u e s t i o n n a i r e ,
Gr. 2)

* (Rated p r o f e s s i o n a l development as v e r y weak.) We a r e s t r i v i n g t o t e a c h

out o f t h e C h o r o i impulse i n the younger grades but t h e r e a r e v e r y few c u r -
r i c u l u m i n d i c a t i o n s o r p r a c t i c i n g t r a i n e d t e a c h e r s t o h e l p us. (Music
specialist)

* (Rated p r o f e s s i o n a l development as weak.) Although i t seems a p p r o p r i a t e

t o me f o r c l a s s t e a c h e r s t o t e a c h music i n Grades 1-3, t o make t h a t e f -
f e c t i v e , I t h i n k i t would be important t o c a r r y an ongoing p r o f e s s i o n a l de-
velopment and r e g u l a r s h a r i n g of work o f grades 1-3. (Gr. 1)

* (No r a t i n g given) Pro-D development—we must i n i t i a t e i t . (Gr. 2)

 I n v e s t i g a t i v e q u e s t i o n #4:

How f a m i l i a r a r e t e a c h e r s w i t h t h e C h o r o i and Werbeck i n i t i a t i v e s ? Are

C h o r o i and G a r t n e r instruments w i d e l y used i n Waldorf S c h o o l s ? What o t h e r
i n s t r u m e n t s , b e s i d e s C h o r o i i n s t r u m e n t s , a r e used i n t h e s c h o o l s ?

Q u e s t i o n #12; How f a m i l i a r a r e you with t h e C h o r o i impulse i n music educa-

tion?

Although S t e i n e r ' s i d e a s seemed t o be q u i t e w e l l known t o most t e a c h e r s ,

most were o n l y somewhat f a m i l i a r w i t h t h e C h o r o i approach t o t e a c h i n g music

w i t h i n t h e S t e i n e r movement.

GRAPH 21

FAMILIARITY WITH CHOROI IMPULSE

Very familiar Quite Familiar Somewhat familiar Have heard of Choroi No familiarity

S\ Musk: teachers IX>J Class teachers

 174
Q u e s t i o n #13: How f a m i l i a r a r e vou w i t h t h e Werbeck method o f t e a c h i n g ?

Many t e a c h e r s were not f a m i l i a r w i t h t h e Werbeck method o f t e a c h i n g

singing. Only s i x t e a c h e r s p r o f e s s e d t o be v e r y f a m i l i a r o r q u i t e familiar

w i t h t h e approach.

GRAPH 22

FAMILIARITY WITH WERBECK METHOD

Very fomilior Quite familiar Somewhat familiar Have heard of Werbeck No familiarity

!• v l Music teachers l \ \ l Class teachers

Q u e s t i o n #23: Which o f t h e f o l l o w i n g i n s t r u m e n t s , i f any, a r e used i n

which grades i n your s c h o o l ?

To determine, i n p a r t , t h e extent o f t h e C h o r o i i n f l u e n c e i n t h e Waldorf

S c h o o l s , t h e author wished t o f i n d out how many t e a c h e r s used t h e C h o r o i

and G a r t n e r i n s t r u m e n t s i n t h e i r s c h o o l s .

In a few c a s e s , s e v e r a l t e a c h e r s from t h e same s c h o o l answered t h e

q u e s t i o n n a i r e , and d i d not agree on t h e instruments used i n the school i n

s p e c i f i c grades. Whenever a d i s c r e p a n c y appeared, the answer of t h e

t e a c h e r o f t h a t s p e c i f i c grade was c o n s i d e r e d t h e more v a l i d . It i s possi-

ble t h a t some t e a c h e r s i n the same s c h o o l , i . e . , used p e n t a t o n i c f l u t e s i n

Grades One through Three, and o t h e r t r a d i t i o n a l r e c o r d e r s i n Grades One

through Three. In s c h o o l A and C, t h i s c o u l d be the case. Therefore, i n

t h e s e two s c h o o l s , both respondent's c h o i c e s were i n d i c a t e d .

However, some t r e n d s can be d i s c e r n e d . The C h o r o i p e n t a t o n i c f l u t e i s used

i n Grade One o r Two i n at l e a s t twenty out o f the twenty-three schools

(86%). It i s interesting t o note t h a t music s p e c i a l i s t s t e a c h i n those

t h r e e s c h o o l s which use t r a d i t i o n a l r e c o r d e r s e x c l u s i v e l y , from Grades One

through Three.

The o t h e r C h o r o i f l u t e s , the i n t e r v a l and d i a t o n i c f l u t e s , were not as

popular. The interval f l u t e i s used i n o n l y f i v e s c h o o l s (22%). The dia-

t o n i c f l u t e i s employed i n o n l y two schools (9%).

The C h o r o i k i n d e r h a r p i s taught i n the primary grades i n seven s c h o o l s

(30%) w h i l e the C h o r o i bordun l y r e i s used i n o n l y two schools (9%). Some

s c h o o l s i n d i c a t e d t h a t the bordun l y r e i s u t i l i z e d i n the o l d e r grades.

In e l e v e n s c h o o l s (48%), the C h o r o i xylophones, o r k l a n g s p i e l s , are used.

F i v e of t h e s e s c h o o l s use these instruments i n t h e i r Grade One classes

only.

Five schools (22%), f o u r of which employ music s p e c i a l i s t s , use O r f f i n -

struments i n the primary grades.

 176

F i f t e e n s c h o o l s (65%) use m i s c e l l a n e o u s p e r c u s s i o n i n s t r u m e n t s . Five of

t h e s e s c h o o l s do not i n t r o d u c e these instruments u n t i l Grade Two.

GRAPH 23

INSTRUMENTS USED
W I N D S

("Y" i n d i c a t e s "Yes")

CHOROI CHOROI CHOROI

RECORDERS PENT FLUTES INT. FLUTES DIAT. FLUTES
CODE GR1 GR2 GR3 GR1 GR2 GR3 GR1 GR2 GR3 GR1 GR2 GR3

TOTAL: 7 10 18 17 18 7

AA Y Y Y
AB Y Y
B Y Y
CA Y Y Y
CB Y Y Y Y Y
D Y Y Y
E Y Y
F Y Y
G Y
H Y Y
I Y Y Y
J Y Y
K Y Y
L Y Y Y
M Y Y Y
N Y Y Y
O Y Y Y
P Y Y Y Y Y
Q Y Y Y Y Y
R Y Y
S Y Y Y
T Y Y Y
U Y Y Y
V Y Y Y
W Y
 177

GRAPH 24

INSTRUMENTS USED
S T R I N G S

CHOROI CHOROI GARTNER

LYRES KINDERHARPS KANTELES
CODE GR1 GR2 GR3 GR1 GR2 GR3 GR1 GR2 GR3

TOT: 0 3 4 9 5 3 1 2 1

AA
AB
B
CA
CB
D
E
F Y Y Y
G Y
H Y Y
I
J
K
L
M
N Y Y Y
O Y Y Y
P Y Y
Q Y Y Y
R
S Y
T
U
V Y Y Y
W
 178

GRAPH 25

INSTRUMENTS USED
P E R C U S S I O N

CHOROI XYL ORFF XYL PERCUSSION

CODE GR1 GR2 GR3 GR1 GR2 GR3 GR1 GR2 GR3

TOT: 11 6 6 2 4 4 11 16 15

AA Y Y Y
AB Y Y Y
B
CA Y Y Y
CB Y Y
D
E Y Y Y
F Y Y Y Y Y Y
G
H Y Y Y
I
J Y
K Y Y Y Y Y Y
L Y Y Y Y Y Y
M
N Y Y Y Y Y Y
O Y Y Y Y Y Y
P Y Y Y Y Y Y
Q Y Y Y Y
R
S Y Y
T Y Y Y Y
U
V Y Y Y Y Y Y
W Y Y Y Y Y

Q u e s t i o n #24

I f you do not use C h o r o i o r G a r t n e r instruments i n your s c h o o l , what do you

suppose i s t h e reason?

A m a j o r i t y o f respondents had no comment a t a l l on t h i s i s s u e . Given that

C h o r o i i n s t r u m e n t s a r e imported from Europe and a r e now q u i t e e x p e n s i v e ,

 179

l a c k o f funds was c i t e d as the main reason why Choroi instruments were not

used. Nine c l a s s t e a c h e r s claimed t h a t t h e i r s c h o o l d i d not choose t o use

Choroi instruments because of l a c k of u n d e r s t a n d i n g . Q u a l i t y was a concern

i n o n l y two cases. Only t h r e e respondents chose t r a d i t i o n a l instruments

because t h e y b e l i e v e d t h a t they were b e t t e r .

Only e i g h t s c h o o l s out of the 23 s c h o o l s o f f e r a l y r e program. S i x of

t h o s e s c h o o l s employ C h o r o i o r Gartner instruments. One s c h o o l uses o n l y

Gartner l y r e s , t h r e e s c h o o l s use C h o r o i k i n d e r h a r p s one s c h o o l uses C h o r o i

bordun l y r e s , and one s c h o o l uses both C h o r o i k i n d e r h a r p and bordun lyres.

Two s c h o o l s use l y r e s made by l o c a l instrument makers.

GRAPH 26

REASONS FOR NOT USING CHOROI OR GARTNER INSTRUMENTS

30

A B C 0 E OTHER NO COMMENT

Class teachers ES3 Music teachers

 180

A. Lack o f u n d e r s t a n d i n g o f instruments

B. Lack o f funds

C. Traditional instruments b e t t e r

D. Concern about quality

E. Our s c h o o l uses instruments made by a l o c a l instrument maker,

and they a r e comparable t o C h o r o i and G a r t n e r i n s t r u m e n t s

General comments:

* They a r e t o o l i t t l e known t o t h e group as a whole so t h a t when budget

g e t s t a l k e d about they'd be c o n s i d e r e d a l u x u r y . (Gr. 2)

* Lack o f d e s i r e . (Gr. 2)

* I p e r s o n a l l y do not c a r e f o r t h e sound o f C h o r o i i n s t r u m e n t s . (Gr. 3)

* I would use them much more i f I had t h e money. (music specialist)

Comments about Choroi/Gartner l y r e s :

Two t e a c h e r s defended t h e i r c h o i c e o f C h o r o i instruments f o r use i n t h e

classroom.

* We use C h o r o i k i n d e r h a r p s , not from any w e l l c o n s i d e r e d c h o i c e , but o n l y

because we enjoyed a v i s i t and demonstration o f t h e k i n d e r h a r p s by J u l i u s
Knierim. He gave a program f o r our students u s i n g t h e s e (and a l s o some
l a r g e r i n s t r u m e n t s ) and t h e k i n d e r h a r p s seemed most s u i t e d t o o u r purpose.
I u s e them o n l y i n grades 1-2-3 where i t h e l p s me t o l i m i t myself t o t h e
p e n t a t o n i c , a t l e a s t d u r i n g harp c l a s s e s ! (music s p e c i a l i s t )

* We d i d not choose t h e C h o r o i bordun l y r e s . We chose t h e G a r t n e r l y r e s

because t h e y had a wider range. We c o u l d tune them d i a t o n i c a l l y . They
seemed more v e r s a t i l e . (Gr. 6)
 181

Comments about Choroi f l u t e s :

A l t h o u g h most s c h o o l s use C h o r o i p e n t a t o n i c f l u t e s , some t e a c h e r s have

q u e s t i o n s about t h e sound q u a l i t y , t h e c o s t , t h e d u r a b i l i t y , and t h e
a d a p t a b i l i t y of the instruments:

* We used t r a d i t i o n a l r e c o r d e r s t h i s year, i n p a r t , because t h e y were $60

e a c h — m u c h t o o e x p e n s i v e f o r our p a r e n t s . (Gr. 1)

* Students use a wooden German-made r e c o r d e r throughout 8 g r a d e s , use o n l y

p e n t a t o n i c notes i n Grades 1-3. (Gr. 1)

* The C h o r o i f l u t e s , though sweet and g e n t l e i n tone, seemed h a r d e r f o r

c h i l d r e n t o use. They were o f t e n b r e a t h y and c a l l e d f o r more b r e a t h con-
t r o l t h a n t h e f i r s t grades c o u l d manage. A l s o , they were t o o l i m i t e d , be-
i n g s t r i c t l y p e n t a t o n i c , s i n c e they t r a v e l l e d a l o n g w i t h t h e s t u d e n t s f o r
t h e f i r s t s e v e r a l y e a r s . Too many f a v o r i t e f o l k tunes use t h e d i a t o n i c
s c a l e — e v e n F r e r e Jacques. A l s o t h e mouthpieces were t o o e a s i l y d e s t r o y e d
by l i t t l e t e e t h m a r k s — t h e wood d i d n ' t seem as r e s i s t a n t . (music
specialist)

* Simple economics. T e a c h i n g t r a d i t i o n a l r e c o r d e r s from t h e b e g i n n i n g

saves o u r burdened p a r e n t s t h e purchase o f a second r e c o r d e r . The t r a d i -
t i o n a l r e c o r d e r can be used q u i t e w e l l f o r t h e p e n t a t o n i c sequence. (music
specialist)
 182

Q u e s t i o n #27: Do you have a s t r i n g (violin, viola, cello) program? I f so.

when does your program s t a r t ?

Twenty-two s c h o o l s (95%) have s t r i n g programs. T h i r t e e n s c h o o l s (57%)

b e g i n t h e i r programs i n Grade Three. The s t r i n g program s t a r t s i n Grade

Four i n e i g h t s c h o o l s (35%). Only one s c h o o l i n t r o d u c e s s t r i n g s i n a later

grade.

GRAPH 27

COMMENCEMENT OF STRING PROGRAM

GR1 GR2 CR3 0R4 LATER

 183
Investigative question #5:

What a r e t e a c h e r s ' o p i n i o n s on s p e c i f i c matters of pedagogy?

Q u e s t i o n #25; Would you use O r f f instruments i n grades 1-3 i n your school?

Most Waldorf School t e a c h e r s (76%) d i d not respond to t h i s question. How-

ever, f i f t e e n teachers (33%) would use O r f f i n s t r u m e n t s , i f a v a i l a b l e . Six

teachers (13%) would not use t h e i n s t r u m e n t s . However, t h e r e were no nega-

tive comments about t h e O r f f instruments.

GRAPH 28

NUMBER OF TEACHERS WHO WOULD USE ORFF INSTRUMENTS

VS ?\
J Music teachers l \ xj Class teachers
 184

Don't Know:

* I don't know. (Gr. 1)

* Don't know. (Gr. 1)

* I am n o t f a m i l i a r w i t h t h e s e . (Gr. 1)

* I am n o t w e l l - v e r s e d i n O r f f . (Gr. 1)

* I am n o t f a m i l i a r w i t h O r f f i n s t r u m e n t s . (Gr 2)

* I don't know enough about them. (Gr. 2)

* I don't know them. (Gr. 2)

* Don't know what they a r e . (Gr. 2)

* Don't know them. (Gr. 2)

* Don't know. (Gr. 3)

* Orff? (Gr. 3)

Yes:

* I would! (Gr.l)

* I would i f we c o u l d a f f o r d i t . (Gr. 1)

* Would love t o ! Need money. (Gr. 2)

* Maybe sometimes. I would not make a dogma o u t o f i t any which way.

(Gr. 2)
 185

* By music t e a c h e r p r e s e n t l y . (Gr. 3)

* Sometimes, perhaps i n some l i m i t e d way. (Gr. 3)

* V e r y l i m i t e d — i t r e a d i l y becomes t o o p e r c u s s i v e and non-melodic, (music

specialist)

* My way not t h e O r f f way, no r e g u l a r beat, always a moment o f a l e r t n e s s ,

(music s p e c i a l i s t )

* I do use them. (music specialist)

* P o s s i b l y i n 3rd (end o f 3 r d ) . (music specialist)

No:

* Use i n 4th grade. (Gr. 1)

* Only w i t h p r o p e r t r a i n i n g . (Gr. 3)

Other comments from t h o s e who d i d not g i v e a yes o r no answer:

* We do not use O r f f i n s t r u m e n t s , but t h i s was not a c o n s c i o u s d e c i s i o n .

(Gr. 6)

* We have C h o r o i i n s t r u m e n t s and are happy w i t h them. (music specialist)

* Up t o music d i r e c t o r . (Gr.l)
 186
Question #26; Do vou use Kodaly hand s i g n a l s t o t e a c h s i g h t - s i n g i n g ?

Most Waldorf S c h o o l t e a c h e r s do not use Kodaly hand s i g n a l s t o t e a c h sight-

singing. Only two t e a c h e r s c l a i m e d t o use t h e hand s i g n a l s . One Grade One

t e a c h e r s t a t e d t h a t he/she used Kodaly hand s i g n s " i n Grade 1, don't know

i n 2 and 3."

GRAPH 29

NUMBER OF TEACHERS WHO WOULD USE KODALY HAND SIGNALS

iv s I Music teachers

Those t e a c h e r s who remarked t h a t they were u n f a m i l i a r w i t h Kodaly hand

signs:

* I am n o t f a m i l i a r w i t h Kodaly hand s i g n a l s . (Gr. 2)

* Don't know what t h e y a r e . (Gr. 2)

* Stop t h i s l You a r e making me aware o f how l i t t l e we know! (Gr. 2)

 187
Some t e a c h e r s expressed some i n t e r e s t i n i n c o r p o r a t i n g Kodaly hand s i g n s
into t h e i r curriculum:

* I would l i k e t o l e a r n more about i t . (Gr.l)

* I would l i k e t o l e a r n more about t h i s and i t s a p p r o p r i a t e n e s s i n grades

1-3. (Gr.l)

* Hope t o b e g i n soon! (Gr.l)

* A former music t e a c h e r d i d , i t worked f o r h e r . (Gr. 3)

Those opposed to teaching Kodaly hand signs during main lesson:

* Not d u r i n g my main l e s s o n [ i n which t h e r e i s ] s i n g i n g and r e c o r d e r

playing. (Gr. 2)

* Not by c l a s s t e a c h e r s . (Gr. 3)

The music s p e c i a l i s t s who commented were a g a i n s t t h e i d e a o f u s i n g Kodaly

hand s i g n s i n t h e music l e s s o n t o t e a c h s i g h t s i n g i n g :

* Seems one t o o many s y s t e m s — u s e o t h e r , s i m p l e r methods. (music special-

ist)

* These movements i n t e r f e r e w i t h t h e eurythmy movements, (music

specialist)

* I work w i t h t h e D a l c r o z e S o l f e g e System which has i t s own movement,

(music s p e c i a l i s t )

* A bit "intellectual." I t e a c h out o f l i s t e n i n g and i m i t a t i o n r a t h e r

than s i g h t i n t h e younger grades. (music s p e c i a l i s t )
 188

Q u e s t i o n #28; I s p i a n o recommended as an instrument i n Grades 1-3?

Most t e a c h e r s would not recommend t h e p i a n o as an instrument i n Grades One

through Three.

GRAPH 30

NUMBER OF TEACHERS WHO WOULD RECOMMEND PIANO AS AN INSTRUMENT OF STUDY I N

GRADES ONE THROUGH THREE

ly • l Music teachers ix. x j Class teachers

Reasons f o r not recommending piano:

* Too intellectual. (Gr.l)

* To work e d u c a t i o n a l l y , t h e piano cannot p r o v i d e so w e l l t h a t which one

wants t o d e v e l o p i n t h e f i r s t two y e a r s . (Gr. 2)

* They a r e not making the tone t h e m s e l v e s — t o o m e c h a n i c a l . ( g r . 3)

 189
* Too " f i x e d " and p e r c u s s i v e , although f o r a v e r y g i f t e d c h i l d i t c o u l d be
q u i t e s a t i s f y i n g I suppose. We p r e f e r the s o f t e r , f r e e r t o n e s o f C h o r o i .
A l s o , harmony doesn't r e a l l y come i n u n t i l Grade 4. (music s p e c i a l i s t )

* Piano i n s t r u c t i o n s h o u l d s t a r t at end o f Grade 3 o r i n Grade 4. (music

specialist)

* Piano i s a n o n - i n s p i r e d instrument whose mechanics s h o u l d not be tackled

b e f o r e t h e c h i l d ' s 10th y e a r . (music s p e c i a l i s t )

Even t h e music s p e c i a l i s t who answered "yes" t o t h i s q u e s t i o n q u a l i f i e d the

answer:

* Only when p a r e n t s ask f o r i t — a n d then o n l y from middle o f second grade

o n — n e v e r f o r f i r s t graders.

Some o f t h o s e who would not recommend the piano were not adamant i n t h e i r
views:

* Not h e a v i l y d i s c o u r a g e d . (Gr.l)

* No, g e n e r a l l y but depends on s t u d e n t . (Gr. 2)

* But c h i l d r e n who have them at home o f t e n come i n w i t h songs t h e y have

p i c k e d out by ear and p l a y them. (Gr. 2)

* I f asked, I do not recommend, but I d i d not speak t o p a r e n t s on t h e sub-

ject. (Gr. 3)

* S e v e r a l c h i l d r e n a r e t a k i n g piano l e s s o n s i n Grade Three. We do not

recommend i t however. (Gr. 3)
 190

Those who would recommend piano sometimes under certain circumstances:

* I n some s i t u a t i o n s . I t i s not a s o c i a l instrument. (Gr. 2)

* Sometimes. Has been v e r y p o s i t i v e f o r some 3 r d g r a d e r s . (Gr. 3)

 191
Q u e s t i o n #29; Do vou use "Mood o f F i f t h " music i n grades 1-3?

Most t e a c h e r s seem f a m i l i a r w i t h t h e term "Mood o f t h e F i f t h " and p r a c t i -

c a l l y a l l t e a c h e r s t o use t h i s t y p e o f music, a t l e a s t i n Grade One.

GRAPH 31

NUMBER OF TEACHERS USING "MOOD OF FIFTH" MUSIC

34

IV v i Music teachers IX. x j Class teachers

Yes:

* Yes, not always. (Gr. 1)

* I t has a s o o t h i n g e f f e c t . (Gr. 1)

* I do use some o f t h e t r a d i t i o n a l d i a t o n i c songs ( t o f i t i n t o assembly

singing, etc.). P e n t a t o n i c music i s t h e o n l y k i n d a c h i l d can e x p e r i e n c e
f u l l y up t o t h e age o f 9. (Gr. 1)

* Grades 1-2, m o s t l y . (Gr. 2)

 192

* Most o f t h e time, not always. (Gr. 2)

* P r o f o u n d l y h e a l i n g i n our n o i s y , c h a o t i c timesJ (music specialist)

* I use "Mood o f t h e F i f t h " music 90% o f t h e t i m e . (music specialist)

Sometimes:

* F o l k music i s a l s o important. (Gr.l)

* Yes, but not always. (Gr.l)

* Yes, b u t not always. (Gr. 2)

* D e f i n i t i v e l y 1 s t , 2nd mixed, because of quality o f songs. (Gr. 2)

* O f t e n , but not always. (Gr. 2)

* There doesn't y e t seem t o be enough o f a v a r i e t y o f music o f t h i s t y p e

t h a t c a n be a p p l i e d t o t h e c u r r i c u l u m so I r e l y and have r e l i e d on o t h e r
music as w e l l i n each o f grades 1, 2, and 3. (Gr. 2)

* Most o f t h e time, not always. (Gr. 2)

* I t h e l p s t h e c h i l d r e n t o develop t h e i r h e a r i n g more c a r e f u l l y . (Gr. 2)

* M o s t l y , because I d i d not completely understand i t . I can g r a s p t h e

n o t e s o f t h e p e n t a t o n i c s c a l e , but I was t o l d i t i s much more t h a n t h a t — t o
do w i t h how i t b e g i n s , ends . . . (Gr. 3)

* Not by Grade 3, a l t h o u g h we s t i l l s i n g f o l k songs i n p e n t a t o n i c . (Gr.

3)

* M o s t l y i n p r e s c h o o l and grade 1. (music specialist)

 193
Characterizations of "Mood of the Fifth" music:

S e v e r a l i d e a s emerged from the q u e s t i o n " B r i e f l y , what does t h e term 'Mood

o f t h e F i f t h ' mean t o you?"

Melody c e n t e r e d around tone "A"

* P e n t a t o n i c music f l o a t i n g around middle tone ( u s u a l l y A) not ending o r

resolving. (Gr.l)

* P e n t a t o n i c r e v o l v i n g around "A" without t o n i c r e s o l u t i o n . (Gr.l)

* C e n t e r music around "A" moving up and down t h e i n t e r v a l o f a f i f t h . I

t r y t o compose w i t h t h i s i n mind and I a l s o u s u a l l y end on "A" i n 1st and
e a r l y 2nd. (Gr. 2)

* Not o n l y t o use t h e p e n t a t o n i c s c a l e ( a p p r o p r i a t e f o r young c h i l d r e n ) ,

but imbuing a l l s i n g i n g and p l a y i n g w i t h the open, f l o a t i n g , e t h e r i c ,
'mood' o f the i n t e r v a l 1-5, anchored i n the golden sun-tone o f A. (music
specialist)

* A l t h o u g h t h e f i f t h s ray out i n both d i r e c t i o n s from t h e c e n t r a l tone

"A", t h e r e i s no f e e l i n g o f coming home t o one tone i n p a r t i c u l a r . (music
specialist)

* U s i n g "A" as a c e n t e r , u s i n g DE GAB D. H o v e r i n g around A. Do not end

on t h e home tone. (music s p e c i a l i s t )

Floating quality

* P e n t a t o n i c music (without C o r F) which doesn't " l a n d " on home tone, but

ends f l o a t i n g . (Gr.l)

* The melody i s not as f i x e d and more f l o w i n g , a q u a l i t y we are t r y i n g t o

work w i t h t h e younger c h i l d r e n . (Gr. 2)
 194

* F l o a t i n g music. (Gr. 2 )

* Whole s t e p i n t e r v a l s , h o v e r i n g w i t h i n and around s p e c i f i c tones, cre-

a t i n g an " u n e a r t h l y , " undefined, s o a r i n g q u a l i t y . (Gr. 2 )

* Promotes and r e t a i n s dreaminess when melody o f songs uses fifths,

p a r t i c u l a r l y t o end t h e p i e c e . (Gr. 3)

* Not b r i n g i n g c h i l d t o o s t r o n g l y down t o e a r t h so t o speak. Preserves

mood o f innocence. Develops l i s t e n i n g e a r . ( g r . 3)

* See R u d o l f S t e i n e r ' s i n d i c a t i o n s Human E x p e r i e n c e o f Tone. A m u s i c a l

language without semi-tones, not o r not always ending i n t h e b a s i c a tone
(which we e x p e r i e n c e i n t h e a s t r a l body, our p h y s i c a l e x i s t e n c e ) . That i s
f o r grade 4! (music s p e c i a l i s t )

Pentatonic

* Pentatonic. (Gr.l)

* Pentatonic. (Gr.l)

* Singing within the pentatonic scale. (Gr.l)

* Pentatonic s c a l e songs. (Gr. 3)

* Pentatonic—devoid o f major and minor i n t e r v a l s . (Gr. 3)

* P e n t a t o n i c s c a l e i n i n s t r u m e n t a l and s i n g i n g — l e s s i n c a r n a t e d sound,
more f i t t i n g t o e a r l y ages. (Gr. 3)

* Pentatonic. (Gr 6)
 195
Openness o f t h e i n t e r v a l o f t h e 5th

* L o o k i n g toward t h e f u t u r e w i t h open q u e s t i o n . (Gr.l)

* I t means t o mood c r e a t e d when one r e a l l y l i s t e n s i n t o t h e 5 t h i n t e r v a l ;

an open, ungrounded q u a l i t y . T h e o r e t i c a l l y a piece could e x h i b i t t h i s
q u a l i t y without being pentatonic. (Gr. 2)

* A s p e c i f i c i n t e r v a l c r e a t i n g a mood h a r k e n i n g t o a n c i e n t c o n s c i o u s n e s s .
(Gr. 2)

* I t means t o me t h e g e n e r a l f e e l i n g o r e f f e c t o f h e a r i n g t h e i n t e r v a l o f
the f i f t h as i t i s i n c o r p o r a t e d i n t h e music. (Gr. 2)

* I t means u s i n g p e n t a t o n i c music which doesn't have a sense o f f i n a l i t y

but r a t h e r openness. I t i s dreamier, l e s s s e l f - c o n s c i o u s , p e r m i t t i n g one
t o l i v e i n tone o r sound much l i k e i n p a i n t i n g working w i t h c o l o r v s . form.
(Gr. 3)

* Using the i n t e r v a l of the f i f t h — I use i t i n some songs and games. (Gr.

3)

* Promotes and r e t a i n s dreaminess when melody o f songs uses fifths,

p a r t i c u l a r l y t o end t h e p i e c e . (Gr. 3)

* Music based around t h e p e r f e c t 5th i n t e r v a l . (music specialist)

 196

Q u e s t i o n #30: I s t h e beat de-emphasized i n t e a c h i n g music Grades One

t h r o u g h Three?

Twenty-six t e a c h e r s , (56%), f i v e o f whom a r e music s p e c i a l i s t s , believed

t h a t t h e b e a t s h o u l d be de-emphasized when t e a c h i n g music t o younger chil-

dren. Eleven teachers (24%) do not de-emphasize t h e beat i n t h e i r teach-

ing. Nine c l a s s t e a c h e r s (20%) d i d not comment on t h i s issue.

GRAPH 32

NUMBER OF TEACHERS WHO BELIEVE THAT BEAT SHOULD BE DE-EMPHASIZED IN GRADES

ONE THROUGH THREE

IV V I Music teachers ix. x j Class teachers

Those who f e e l that the beat i s de-emphasized i n teaching music Grades One
through Three:

* Beat, y e s . Rhythm, no. (Gr.l)

* Too easy f o r t h e c h i l d r e n t o get caught up i n t h e beat r a t h e r t h a n t h e

l i g h t e r a s p e c t o f t h e music. I use music t o get them away from b e a t .
(Gr.l)

* Too i n c a r n a t i n g . But we p r a c t i c e rhythmic w a l k i n g and c l a p p i n g . (Gr.l)

 197
* Rhythm and beat need t o looked a t and what q u a l i t i e s t h e y b r i n g . (Gr. 2)

* Melody l i v e s s t r o n g l y i n c h i l d r e n (head). Harmony predominates i n t h e

m i d d l e grades ( t r u n k ) . Beat e n t e r s r i g h t l y i n t h e l a t e r grades ( l i m b s ) .
Rhythm may be brought t o awareness. (music s p e c i a l i s t )

* Melody i s most important a t t h i s age. (music specialist)

* No p e r c u s s i o n bands! N a t u r a l beat. (music specialist)

Those who f e e l that the beat i s not de-emphasized i n teaching music Grades
One through Three:

* But l e t ' s c a l l i t rhythm. (Gr. 2)

* Begins i n e a r n e s t i n Grade 2. (Gr. 2)

* I t ' s v e r y hard t o a v o i d — t h e c h i l d r e n a r e exposed t o so much " c a t c h y "

music e l s e w h e r e . F o l k songs, e s p e c i a l l y l i v e l y ones, seem a n a t u r a l de-
l i g h t and r e s t i n t h e steady b e a t . But we don't s t r e s s "rhythmic s k i l l s "
u n t i l l a t e 3 r d and 4 t h up. (music s p e c i a l i s t )

Q u e s t i o n #31: I s r e c o r d e d music used i n Grades One through Three?

An overwhelming m a j o r i t y o f Waldorf S c h o o l t e a c h e r s do not use r e c o r d e d mu-

sic t o t e a c h music i n Grades One through Three. Many e x p r e s s e d s t r o n g

o p i n i o n s on t h i s issue.
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GRAPH 33

USE OF RECORDED MUSIC IN GRADES ONE THROUGH THREE

40

YES NO

IS S\ Music teachers l \ ~vl Class teachers

Those who do not use recorded music to teach music:

* Never! (Gr.l)

* I don't have a v i d e o t o t e a c h t h e c h i l d r e n about the l e t t e r "A." You

c a n ' t expect a human b e i n g t o i m i t a t e a machine and l a t e r expect them t o
p e r f o r m as human b e i n g s . (Gr.l)

* Yuck! (Gr. 2)

* I wonder sometimes i f i t would be u s e f u l . (Gr. 2)

* Never. (Gr. 6)

* No " p l u g - i n " music, p l e a s e ! (music specialist)

* Never. (music specialist)

* E l e c t r o n i c music i s an " i m i t a t i o n . " Not t r u l y a l i v e and r e s o n a n t and

e v e r newly c r e a t e d . (music s p e c i a l i s t )
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Q u e s t i o n #32; Do you use s t o r y t e l l i n g t o i n t r o d u c e songs, s k i l l s , and con-
cepts?

Most Waldorf S c h o o l t e a c h e r s use s t o r y t e l l i n g t o i n t r o d u c e songs, skills,

and concepts. A l l but one music s p e c i a l i s t i n d i c a t e d t h a t they use t h i s

teaching approach.

GRAPH 34

USE OF STORYTELLING

LXy\ Music teochere l \ NJ Class toachei

Comments from those who use storytelling to introduce songs, s k i l l s , and

concepts:

* I t grabs t h e c h i l d r e n and h o l d s t h e i r interest. (Gr.l)

* Necessary. (Gr. 2)

* Not as much as I s h o u l d . (Gr. 2)

* Use o f i m a g i n a t i o n e q u a l l y v a l u a b l e i n music l e s s o n as any o t h e r l e s s o n .

(Gr. 3)
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* D i d t o i n t r o d u c e r e c o r d e r i n f i r s t grade. Haven't much b e s i d e s . (Gr. 3)

* A lot! (Gr. 3)

* Yes, but not t o o much o r t o o l o n g . I f e e l Waldorf c h i l d r e n g e t t o o many

stories. (music s p e c i a l i s t )

* Works g r e a t ! (music specialist)

* E s p e c i a l l y Grade One r e a c t s w e l l , p l a y i n g r e c o r d e r w h i l e l i v i n g i n a
p i c t u r e , i m i t a t i n g t e a c h e r ' s movements w h i l e not q u i t e b r a i n c o n s c i o u s
[aware] (music s p e c i a l i s t )

Those who use s t o r y t e l l i n g occasionally:

* Sometimes, u s u a l l y . (Gr.l)

* Sometimes, but not so much i n 1st grade. (Gr.l)

* Yes and no. Not a l l songs a r e i n t r o d u c e d w i t h s t o r i e s . (Gr. 2)

* Sometimes, i t i s done. (Gr. 2)

* Sometimes. (Gr. 2)

* Sometimes. (Gr. 2)

* Songs, y e s . S k i l l s and concepts a r e not t a u g h t . (Gr. 3)

Teacher who does not use s t o r y t e l l i n g to introduce songs, s k i l l s and con-

cepts:

* Not i n main l e s s o n . (Gr. 2)

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Q u e s t i o n #33; When do vou b e g i n t e a c h i n g music t h e o r y and m u s i c a l nota-

tion?

Most t e a c h e r s f e l t t h a t Grade Three was t h e a p p r o p r i a t e age t o t e a c h music

t h e o r y and music n o t a t i o n . A l l music s p e c i a l i s t s i n t r o d u c e d music t h e o r y

and music n o t a t i o n i n Grade Three.

GRAPH 35

GRADES IN WHICH THEORY AND MUSICAL NOTATION IS INTRODUCED

GR3 GR4 LATER

IV V I Music teachers l \ xj Class teochere

Comments from those c l a s s teachers who believe that music theory and musi-
c a l notation should be introduced at Grade Three:

* Grade 3 o r 4. (Gr. 1)

* I may wait t i l l 4 t h grade t o b e g i n w i t h my c l a s s . (Gr. 1)

* Meets developmental needs a t age 9-10. (Gr. 2)

* Second h a l f o f t h i r d grade. (Gr. 2)

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* I p e r s o n a l l y l i k e t o wait t i l l a f t e r E a s t e r i n 3rd o r b e g i n n i n g o f 4 t h .
(Gr. 2 )

* In a s i m p l e way, i t c o u l d be i n t r o d u c e d i n 3rd. More d i r e c t l y w i t h

s t r i n g s program i n 3rd grade. (Gr. 3)

* C h i l d r e n a r e t r a n s c r i b i n g songs which are f a m i l i a r . S i g h t r e a d i n g and

c o m p o s i t i o n of songs may be p o s s i b l e by t h i r d term. (Grading and composi-
t i o n o f songs may be p o s s i b l e by t h i r d term). (Gr. 3)

* [Music t e a c h e r ] i n t r o d u c e d i t . (Gr. 3))

* M u s i c a l n o t a t i o n by Jan. of Gr. 3 — e l e m e n t a r y music t h e o r y from b e g i n -

n i n g , i . e . , e a r t r a i n i n g , "echoing," i n t e r v a l s , s t o r i e s , e t c . (music
specialist)

* T i e s i n w e l l w i t h t h e c r e a t i o n theme, the F a l l , and mankind's need f o r a

more c o n s c i o u s r e l a t i o n t o the s p i r i t u a l world (embodied, i n t h i s case, by
music). (music s p e c i a l i s t )

* I n t r o d u c e a t end o f t h r e e , c o n c e n t r a t e i n 4 and 5. (music specialist)

* Music n o t a t i o n i n Grade Three i f done a l o n g same p r i n c i p l e s as l e a r n i n g

a.b.c.'s i n Grade One. See Shepherd's Sonqbook, E. L e b r e t , l a s t c h a p t e r ,
[music c o n c e p t s taught i n a p i c t o r i a l way] (music s p e c i a l i s t )

There were no comments from those e i g h t t e a c h e r s who f e l t t h a t music nota-

t i o n s h o u l d be i n t r o d u c e d i n Grade Four.
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Question #34: Do you find i t d i f f i c u l t t o f i n d a p p r o p r i a t e song m a t e r i a l ?

Most of t h e t e a c h e r s d i d not have d i f f i c u l t y f i n d i n g a p p r o p r i a t e song mate-

rial .

GRAPH 36

TEACHERS WHO EXPERIENCE D I F F I C U L T Y / N O D I F F I C U L T Y I N F I N D I N G APPROPRIATE

SONG MATERIAL?

30

YES NO

IV • I Music teachers IN- -VI Class teachers

* L e b r e t books, rounds, are a "Godsend." (Gr. 2)

* I f i n d the L e b r e t books q u i t e enough i n t h e m s e l v e s . (Gr. 2)

* The c h i l d r e n and I w r i t e songs; o t h e r t e a c h e r s a r e a h e l p . (Gr. 2)

* The experienced c l a s s t e a c h e r s are always w i l l i n g t o share t h e i r mate-

rial. (Gr.l)

* Not particularly [difficult t o f i n d song m a t e r i a l ] , (Gr. 3)

 204
* Can always use more s o u r c e s . (Gr. 2)

Sometimes

* N e v e r t h e l e s s , I would a p p r e c i a t e a g r e a t e r v a r i e t y and would e s p e c i a l l y

w i s h t o see German m a t e r i a l t r a n s l a t e d . (Gr.l)

* Sometimes, . . . c o u l d use more. (Gr. 3)

* There i s much t o choose from, but t h e search t o f i n d what i s j u s t r i g h t

i s d i f f i c u l t at times. (music s p e c i a l i s t )

* Sometimes. (music s p e c i a l i s t )

Yes:

* I f more was e a s i l y a c c e s s i b l e , I would s i n g more w i t h t h e c h i l d r e n . Be-

i n g o n l y s o r t - o f - m u s i c a l , i t i s d i f f i c u l t t o 1) f i n d a p p r o p r i a t e music
easily 2) l e a r n i t w e l l enough t o d e c i d e i f I want t o use i t . (Gr. 3)

* Much a v a i l a b l e i s r e a l l y q u i t e b o r i n g . (Gr. 2)

* Gets e a s i e r i n 3—many f i n e rounds and f o l k songs. (Gr. 3)

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Q u e s t i o n #35; From which s o u r c e s do vou d e r i v e your song m a t e r i a l ?

GRAPH 37

SOURCES OF SONG MATERIAL

Lebret Folk songs Own songs Other

IV y l Music teachers IV NJ Class teachers

Many t e a c h e r s mentioned Shepherd's Song Book by E l i z a b e t h L e b r e t ; Sing

Through t h e Days and S i n g Through t h e Seasons c o m p i l e d and e d i t e d by t h e

S o c i e t y o f B r o t h e r s ; S p r i n g , Summer, Autumn, W i n t e r , Gateways, Spindrift—

b o o k l e t s by Margaret Meyerkort; and Waldorf Song Book by B r i e n M a s t e r s .

Sources o f m a t e r i a l s mentioned:

Shepherd's Song B o o k :

* Shepherd's Song Book. (Gr.l)

* Sometimes I change endings [ o f E. L e b r e t ' s songs] t o make mood o f f i f t h .

(Gr.l)
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* In 1-3 Shepherd's Song Book. (Gr. 3)

* Shepherd's Song Book. (Gr. 3)

* I have much r e s p e c t f o r E l i z a b e t h L e b r e t . I do not use much o f her mu-

s i c because I use my own. (music s p e c i a l i s t )

Sing Through the Seasons and Sing Through the Days;

* S i n g Through t h e Seasons. (Gr.l)

* S i n g Through t h e D a y — I rewrote t h e music t o f i t t h e C h o r o i f l u t e and

klangspiel. I l i k e t h e words. (Gr.l)

* The two books by t h e F a t h e r s — S o n g s Through t h e Seasons, Songs Through

t h e Days. (Gr. 3)

* S i n g Through t h e Day and S i n g Through t h e Seasons. (Gr. 3)

* S i n g Through t h e Seasons. (Gr. 3)

* S i n g Through t h e Seasons. (Gr. 3)

Margaret Meyercourt books:

* The b o o k l e t s p u b l i s h e d by Wynstone P r e s s : S p r i n g , Summer, Autumn, and

W i n t e r , Gateways, S p i n d r i f t . (For k i n d e r g a r t e n s , but e x c e l l e n t f o r Grade 1
and 2 ) . ( G r . l )

* S e a s o n a l k i n d e r g a r t e n songs. (Gr.l)

* S p r i n g , Summer, Autumn, Winter books by Margaret Meyerkort

(kindergarten). (Gr. 2)
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* I used music from t h e k i n d e r g a r t e n books i n f i r s t grade: S p r i n g , Summer,
etc. (Gr. 3)

Waldorf Song Book by Brien Masters:

* I n Grade 3, Waldorf Song Book. (Gr. 3)

* Waldorf Song Book. (Gr. 3)

Other S p e c i f i c Sources Used by Waldorf Teachers:

* Margaret P r e s t o n , J u l i u s K n i e r i m , C h r i s t a M u l l e r , Johanne Russ, May Lynn

Channer. (Gr.l)

* A l l t h e World Around Songs. (Gr. 3)

* Clump-a-Dump, S i n g i t Y o u r s e l f , 220 P e n t a t o n i c Songs. (Gr. 3)

Other:

* I l o o k everywhere. (Gr.l)

* Whatever I f i n d o r hear t h a t ' s a p p r o p r i a t e . (Gr.l)

* F o l k songs from a l l over t h e w o r l d . Almost a n y t h i n g I can f i n d t h a t ap-

p l i e s t o o u r s c h o o l work ( b l o c k s , seasons, e t c . ) and i s a p p r o p r i a t e f o r t h e
age and i s not t o o c o m p l i c a t e d m u s i c a l l y . (Gr. 2)

* Other books o f p e n t a t o n i c songs. (music s p e c i a l i s t )

* I use many s o u r c e s . (Gr.l)

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* I have hundreds o f books t h a t I work from and c o n s t a n t l y am s e a r c h i n g
music s t o r e s f o r t h e " r i g h t " m a t e r i a l s . (music s p e c i a l i s t )

* Endless! (music specialist)

Material from Colleagues:

* D i r e c t o r of music—great resource. (Gr.l)

* M a t e r i a l from c o l l e a g u e s . (Gr. 2)

* D i n a Winter and Irene G o l d z e r gave me many songs when I took c l a s s e s

from them. (Gr. 2)

* V a s t w e a l t h o f music w r i t t e n by Waldorf t e a c h e r s around t h e w o r l d !

(Gr. 2)

* School c o l l e c t i o n . (Gr. 3)

* Sharing resources with other teachers. (Gr. 3)

* C o l l e c t i o n g a t h e r e d by v a r i o u s t e a c h e r s , music and c l a s s t e a c h e r s .
(Gr. 3)
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I n v e s t i g a t i v e Q u e s t i o n #6

What, a c c o r d i n g t o t h e t e a c h e r s , i s t h e main purpose o f music e d u c a t i o n i n

Waldorf S c h o o l s ?

Q u e s t i o n #36: What i s t h e main purpose o f music e d u c a t i o n i n t h e p r i m a r y

grades?

The development o f m u s i c a l a b i l i t y ( l i s t e n i n g , v o c a l , b r e a t h i n g , movement

s k i l l s ) was ranked as one o f t h e primary purposes o f music e d u c a t i o n i n t h e

Waldorf School. Ten t e a c h e r s (22%) mentioned t h e importance of teaching

listening skills. Many Waldorf School t e a c h e r s f o c u s e d on s o c i a l develop-

ment and a e s t h e t i c e d u c a t i o n as primary purposes o f music e d u c a t i o n .

Other t e a c h e r s f e l t t h a t music helped t h e c h i l d i n t h e c o u r s e o f h i s / h e r

development. Some t e a c h e r s b e l i e v e d t h a t music h e l p e d t o f o r g e a r e l a t i o n -

ship with the year's curriculum. Others m a i n t a i n e d t h a t music s e r v e d as a

b a l a n c e t o t h e more i n t e l l e c t u a l s u b j e c t s .

S e v e r a l t e a c h e r s mentioned t h a t music gave t h e c h i l d r e n j o y i n t h e i r lives.

Others c i t e d t h e r o l e o f music i n s p i r i t u a l development.

Development of Sense of S e l f / S o c i a l Development:

* Development o f p o i s e and p o s t u r e ; development o f s e l f . (Gr.l)

* L e a r n i n g t o be a member o f a group. (Gr. 1)

* Gives s e l f - c o n f i d e n c e . (Gr. 1)
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* To h e l p t h e c h i l d f i n d a proper r e l a t i o n s h i p w i t h i n t h e p h y s i c a l body.
The sense o f w e l l - b e i n g t r a n s f o r m i n g t o harmony i n t h e s o c i a l sphere.
(Gr. 1)

* S o c i a l i z a t i o n and i n d i v i d u a l i z a t i o n s k i l l s . (Gr. 2)

* Social s k i l l s . (Gr. 2)

* S o c i a l harmony (singing together). (Gr. 2)

* I t i s such a s o c i a l i z i n g a c t i v i t y and immediately b r i n g s harmony i n t h e

class setting. (Gr. 3)

* Music has such a harmonizing and l o o s e n i n g e f f e c t on t h e c l a s s . It

b r i n g s them t o g e t h e r . (Gr. 3)

* I t i s a s o c i a l experience. (Gr. 3)

* Group e x p e r i e n c e . (Gr. 3)

* Harmony—both i n n e r and s o c i a l . (Gr. 3)

* Harmonizing s o c i a l l y . (music specialist)

* H e l p i n g t h e c h i l d r e n t o f i n d a pure b a l a n c i n g w i t h i n themselves and

amongst one another. (music s p e c i a l i s t )

Aesthetic Education:

* We don't c a l l i t education. We simply s i n g and enjoy music. (Gr.l)

* Beauty. (Gr. 1)

* Form sense o f a e s t h e t i c s . (Gr. 1)

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* I t i s a v e r y important p a r t o f t h e a r t i s t i c work i n the e a r l y grades.

(Gr. 1)

* Music appreciation. (Gr. 2)

* E n r i c h i n g the e m o t i o n a l l i f e . (Gr. 2)

* Beauty (rounds, q u a r t e t s , e t c . ) . (Gr. 2)

* A l l o w c h i l d t o e x p e r i e n c e h i s m u s i c a l i t y almost e f f o r t l e s s l y . (Gr. 2)

* To have m u s i c a l e x p e r i e n c e s t h a t a l l c h i l d r e n can be s u c c e s s f u l a t and

t h a t t h e y can e x p e r i e n c e t r u t h and beauty through music. (Gr. 2)

* In a c e r t a i n way, e v e r y t h i n g i n the world has a m u s i c a l q u a l i t y about i t

and t h e c h i l d r e n sense t h i s v e r y deeply. C h i l d r e n are v e r y m u s i c a l .
(Gr. 3)

* I t works on the f e e l i n g l i f e of the c h i l d . (Gr. 3)

* Tunes t h e c h i l d each morning. Works on middle system where c h i l d ' s con-

s c i o u s n e s s ] i s . B r i n g s beauty, a l i v e n e s s , g e s t u r e , and movement. (Gr. 3)

* Imagination, "levity." (Gr. 3)

* C r e a t i n g a l o v e f o r music which becomes an i n t e g r a l p a r t o f each child's

l i f e f o r e v e r . (music s p e c i a l i s t )

C h i l d development:

* F o s t e r i n g the c h i l d ' s development. (Gr. 1)

* Promotes proper development. (Gr. 2)

* One o f t h e keystone formative influences. (Gr. 3)

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* C r e a t i o n o f e t h e r i c body. (Gr. 3)

* Not f o r m i n g good p l a y e r s p r i m a r i l y but keeping a s t r a l body from harden-

i n g by t h e use o f p e n t a t o n i c music. (music s p e c i a l i s t )

Relation to Curriculum:

* L e a d i n g t h e c h i l d i n t o a r e l a t i o n t o h i s / h e r environment and a deeper

r e l a t i o n t o the year's curriculum. (Gr. 1)

* Connects c h i l d ' s s o u l e x p e r i e n c e t o t h e c u r r i c u l u m . (Gr. 3)

Balance to Academic Subject i n Curriculum:

* To b r i n g b r e a t h i n g , movement, rhythm, d e x t e r i t y , and j o y t o t h e c h i l d

and t o b a l a n c e t h i s a r t i s t i c aspect w i t h more i n t e l l e c t u a l a s p e c t s o f cur-
riculum. (Gr. 2)

* A b s o l u t e l y n e c e s s a r y t o t h e t e a c h i n g o f t h e whole c h i l d — b a l a n c i n g o f
academic c o u r s e work w i t h rhythmic o r h e a r t f a c u l t i e s . (Gr. 3)

* To n u r t u r e t h e m u s i c a l a s p e c t s o f c h i l d r e n , s p i r i t u a l l y , p s y c h o l o g i -
c a l l y , s o c i a l l y , and p h y s i c a l l y . (music s p e c i a l i s t )

Development of Musical A b i l i t y :

* To g i v e t h e g i f t o f music, i n c l u d i n g rhythm, beat, i n t e r v a l s , and a l l

the s p e c i f i c musical s k i l l s . I f e e l t h a t through music, we open up a l l
s o r t s o f h o r i z o n s , i . e . , German o r I t a l i a n f o l k songs, s p i r i t u a l , c l a s s i c a l
music, e t c . (Gr. 2)

* Possible future playing a b i l i t y . (Gr. 2)

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* In a d a i l y way t o h e l p t h e c h i l d r e n l e a r n t o make music. (Gr. 2)

* Opening c h i l d r e n t o t h e p o s s i b i l i t y o f tone, key, harmony, t h e u n i t y o f

singing/playing together. (Gr. 3)

Listening:

* Development o f h e a r i n g and a t t e n t i o n ; development o f a u r a l imitation

r a t h e r than v i s u a l i m i t a t i o n . (Gr. 1)

* Awakens a u d i t o r y realm. (Gr. 1)

* T r a i n i n g o f senses. (Gr. 1)

* Build listening. (Gr. 2)

* Learning t o l i s t e n . (Gr. 2)

* To d e v e l o p l i s t e n i n g . (Gr. 3)

* I t c o n t r i b u t e s t o t h e r e f i n e m e n t o f t h e senses. (Gr. 3)

* To p r o v i d e a l i s t e n i n g e x p e r i e n c e . To work w i t h a sense o f h e a r i n g and

movement. (music s p e c i a l i s t )

* Learning t o l i s t e n a c t i v e l y . (music specialist)

Voice:

* Development o f v o i c e . (Gr. 1)

* D e v e l o p i n g and p l a c i n g t h e v o i c e . (music specialist)

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Movement:

* Development o f movement. (Gr. 2)

* To b r i n g . . . movement . . . to the c h i l d . (Gr. 2)

* To work w i t h a sense o f h e a r i n g and movement. (music specialist)

Correct Breathing:

* A i d s development o f c o r r e c t b r e a t h i n g . (Gr. 1)

* To b r i n g b r e a t h i n g . . . t o the c h i l d . (Gr. 2)

* Breathing. (Gr. 3)

Enjoyment:

* I t i s h e a l i n g , harmonizing, brings joy. (Gr. 1)

* Joy! Expression. (Gr. 2)

* A c h i l d who s i n g s i s a happy c h i l d . (Gr. 2)

* To h e l p t h e c h i l d r e n express the joy of childhood. (Gr. 3)

* Enjoyment f o r c h i l d r e n , e x p e r i e n c e music through " f e e l i n g . " (Gr.

* Joy! (music specialist)

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Spiritual Development:

* S t r e n g t h e n s t h e i n c a r n a t i n g e t h e r i c body and p r e p a r e s f o r t h e r i g h t
i n c a r n a t i o n o f the a s t r a l . (Gr. 1)

* To awaken (remind) t h e c h i l d of r e l a t i o n s h i p t o s p i r i t u a l w o r l d . (Gr.

2)

* I t nurtures the s p i r i t . (Gr. 3)

* After-death. (Gr. 3)

* S t r e n g t h e n s t h e s o u l of the c h i l d . (Gr. 3)
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INVESTIGATIVE QUESTION #7:

Do Waldorf S c h o o l t e a c h e r s b e l i e v e t h a t t h e Waldorf approach t o music edu-

c a t i o n i s r e l e v a n t i n today's s o c i e t y ? Do Waldorf School t e a c h e r s b e l i e v e
t h a t Waldorf music e d u c a t i o n be i n t e g r a t e d e a s i l y i n t o t h e p u b l i c s c h o o l
system?

Q u e s t i o n #37: Do you t h i n k i t would be d i f f i c u l t t o i n t e g r a t e t h e Waldorf

approach t o music e d u c a t i o n i n t o t h e p u b l i c s c h o o l system?

The teachers were almost evenly d i v i d e d on t h i s i s s u e . Many who d i d not

t h i n k Waldorf music e d u c a t i o n c o u l d be i n t e g r a t e d doubted t h a t t h e u n d e r l y -

ing philosophy would be understood o r a c c e p t e d by c o l l e a g u e s i n the public

school system. O t h e r s b e l i e v e d t h a t some a s p e c t s c o u l d be i n t e g r a t e d .

Still others b e l i e v e d t h a t i n t e g r a t i o n o f t h e Waldorf approach depended on

the a t t i t u d e o f the teachers concerned. Others d i d not know enough about

the p u b l i c school system t o comment.

GRAPH 38

A N T I C I P A T I O N OF D I F F I C U L T Y I N INTEGRATING WALDORF APPROACH TO MUSIC EDUCA-

T I O N INTO THE P U B L I C SCHOOL?

YES NO

YS S | Mjaic teachers l\ xj Class teochers

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Those who believed Waldorf music e d u c a t i o n would be d i f f i c u l t to i n t e g r a t e

i n t o p u b l i c schools:

* Probably—they would be g o a l o r i e n t e d about p e r f o r m i n g music. (Gr. 1)

* I t h i n k t h a t o n l y t e a c h e r s t h a t work out of S p i r i t u a l S c i e n c e can truly

u n d e r s t a n d and agree w i t h i t . (Gr. 1)

* I f one i n s i s t e d on p u r i t y , one's reasons would be i n s p e c t e d [ s u s p e c t e d ] ,

and t o s s e d out as l u d i c r o u s . I f one d i d n ' t i n s i s t , one's e f f o r t s would be
r e n d e r e d i n e f f e c t i v e through mixture w i t h b a r b a r i c music, methods, and un-
derstanding. (Gr. 1)

* Because most p e o p l e do not know about i t and i t i s p a r t o f t h e whole

Waldorf approach. (Gr. 1)

* Organ t r a n s p l a n t s are not always s u c c e s s f u l nor a p p r o p r i a t e . (Gr. 2)

* Because they don't b e l i e v e i n i t . (Gr. 2)

* To a c e r t a i n degree, yes, simply because t h e g e n e r a l a t t i t u d e toward ev-

e r y s u b j e c t whether math o r music seems t o be: more, e a r l i e r , and through
t h e t h i n k i n g . Music comes o n l y d u r i n g music p e r i o d and does not permeate
t h e s c h o o l day and every s u b j e c t of the s c h o o l day. (Gr. 2)

* I t h i n k m e c h a n i c a l l y someone c o u l d do i t but without the u n d e r s t a n d i n g

o f c h i l d r e n and t h e i r development t h a t i s behind t h i s approach i t would
have a s h a l l o w e f f e c t . (Gr. 2)

* Waldorf e d u c a t i o n i s not a method. One must have a p i c t u r e o f the

d e v e l o p i n g c h i l d and t e a c h out of a l i v i n g r e l a t i o n s h i p w i t h t h e c h i l d .
(Gr. 3)

* The s p i r i t o f the Waldorf approach c o u l d be brought t o p u b l i c s c h o o l

children. But many of our songs are of a s p i r i t u a l n a t u r e — a r e v e r e n c e f o r
God, f e s t i v a l s . T h i s s p i r i t u a l c o n n e c t i o n might not be allowed i n t h e ,•
public schools. (Gr. 3)

* T r a d i t i o n i s a g a i n s t i t . The p i c t u r e of c h i l d development i s i n h e r e n t ,
and i t s v a l u e i s not as v i s i b l e without t h a t p i c t u r e . Recorder work and
c l a s s t e a c h e r s i n g i n g c o u l d be more r e a d i l y i n c o r p o r a t e d . (Gr. 3)
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* Yes, at f i r s t — w o u l d need t o see r e s u l t s . (Gr. 3)

* Because t h e p u b l i c s c h o o l t e a c h e r would work from h i s / h e r own i n s i g h t

i n t o Waldorf E d u c a t i o n , which cannot w e l l be expected, then i t becomes a
"method," " u n - a l i v e . " . (music s p e c i a l i s t )

* The c u l t u r e i s t o o c o n d i t i o n e d by t h e p o p u l a r media. (music specialist)

Those who believed Waldorf education would not be d i f f i c u l t to integrate

i n t o p u b l i c schools:

* Music i s , o f c o u r s e , an a r t i s t i c a c t i v i t y . (Gr. 1)

* Because " l e s s o n s " can be q u i c k , spontaneous, and g o a l - o r i e n t e d . Biggest

problem would be g e t t i n g i n s t r u m e n t s . (Gr. 2)

* You can spend 10-15 minutes each morning p l a y i n g . (Gr. 2)

* But i t seems as though i t would take c o o p e r a t i o n throughout a school.

(Gr. 3)

* Not i f combined w i t h o t h e r music. S i n g r o t e , f o r example, would not be

so hard i n K or 1 s t . (Gr. 3)

* A l l a s p e c t s o f Waldorf E d u c a t i o n can be i n t e g r a t e d i n t o t h e P u b l i c
School. (Gr. 3)

* As l o n g as the music t e a c h e r i s g i v e n the freedom. (Gr. 3)

* Much of i t j u s t makes good sense. (Gr. 3)

* I have done v o l u n t e e r i n g i n the p u b l i c s c h o o l s and have found great

e a g e r n e s s i n the c h i l d r e n . (music s p e c i a l i s t )

* I f e e l t h e r e a r e o t h e r music e d u c a t i o n programs t h a t have s i m i l a r goals

and l i k e methods. (music s p e c i a l i s t )
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Yes/no:

* Yes and no. One would have t o convince a d m i n i s t r a t o r s o f t h e n e c e s s i t y

f o r f u n d i n g and one would have t o work w i t h t h e r e c e p t i v i t y o f t h e t e a c h e r s
and t e a c h e r ' s u n i o n s . I t a l l depends on t h e people i n v o l v e d . (Gr. 1)

* Yes and no. U n l e s s a c e r t a i n view i s taken o f t h e c h i l d , what might i n -

t e n d t o be a Waldorf approach, c o u l d q u i c k l y t u r n i n t o something e l s e .
(Gr. 2)

* On t h e one hand, i t would be q u i t e easy i f i t was wanted. What c o u l d be

more n a t u r a l than c h i l d r e n making music t o g e t h e r i n a c l a s s r o o m . But, I
know o f a p u b l i c s c h o o l t e a c h e r w i t h a b e a u t i f u l v o i c e who has never sung
w i t h her c l a s s . (Gr. 3)

* Depends e n t i r e l y on t h e p u b l i c s c h o o l and t h e "Waldorf" music t e a c h e r

involved. T h e o r e t i c a l l y , i t should be p o s s i b l e w i t h some a d u l t - l e v e l
education/explanation. (music s p e c i a l i s t )

Those who had no opinion about the v i a b i l i t y of integrating the Waldorf ap-
proach i n t o the public school system:

* I don't r e a l l y know enough t o comment. (Gr. 1)

* I don't know. (Gr. 2)

* Why n o t ! A c t u a l l y , i t i s v e r y d i f f i c u l t t o answer because I don't know

what t h e p u b l i c s c h o o l s do. (Gr. 2)

* I don't know t h e music program o f t h e p u b l i c s c h o o l s t o judge t h a t .

(Gr. 2)

* Probably. (Gr. 3)
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Q u e s t i o n #38: Do vou t h i n k Waldorf Music E d u c a t i o n i s r e l e v a n t today?

One teacher f e l t t h a t the approach t o Waldorf music e d u c a t i o n c o u l d not be

s e p a r a t e d from t h e whole o f Waldorf e d u c a t i o n i t s e l f .

I t h i n k i t i s r e l e v a n t i n as much as i t i s p a r t o f t h e complete
p i c t u r e o f Waldorf E d u c a t i o n . Waldorf music e d u c a t i o n would, I
f e e l , l o s e some o f i t s r e l e v a n c e and e f f e c t i v e n e s s i f i t were
not s u p p o r t e d by and s u p p o r t i n g Waldorf E d u c a t i o n , i n i t s t o -
tality.

A c c o r d i n g t o n i n e Waldorf S c h o o l t e a c h e r s , t h e Waldorf approach t o music

e d u c a t i o n i s r e l e v a n t because i t c o u n t e r s s o c i e t a l influences (especially

the i n f l u e n c e s o f t h e media). F o l l o w i n g t h i s theme, f i v e t e a c h e r s b e l i e v e d

t h a t music p r e s e n t e d through t h e Waldorf S c h o o l approach was even a t h e r a -

p e u t i c measure f o r our time and s o c i e t y . Five teachers, including three

music s p e c i a l i s t s , b e l i e v e d t h a t music h e l p e d t o b a l a n c e i n t e l l e c t u a l i s m .

F o u r t e a c h e r s s t a t e d t h a t t h e music c u r r i c u l u m h e l p e d t o s u p p o r t t h e o v e r -

all development of the c h i l d .

Counters S o c i e t a l Influences:

* I t i s e s p e c i a l l y r e l e v a n t so t h a t human b e i n g s s t i l l have an i d e a o f mu-

s i c , t h a t i t comes from t h e human b e i n g , not from t h e s t e r e o o r r a d i o o r
MTV. (Gr. 1)

* Because many c h i l d r e n would never be exposed t o l i v e music o r music-mak-

ing. (Gr. 1)

* The q u a l i t i e s as mentioned above [ i n q u e s t i o n # 3 6 — l e a r n i n g t o l i s t e n ,

development o f movement, e n r i c h i n g t h e e m o t i o n a l l i f e , s o c i a l s k i l l s , and
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beauty] a r e drowned i n our s o c i e t y and sober s e n s e - e x p e r i e n c e s t o e n r i c h
t h e development o f the s o u l are more urgent than e v e r . (Gr. 2)

* More r e l e v a n t because o f bombardment of media on our senses. Music a l -

lows a human q u a l i t y i n t o our l i v e s . (Gr. 2)

* Turn on t h e r a d i o and l i s t e n t o what i s c a l l e d a r t today. (Gr. 2)

* I t i s s o f t e n i n g and c o m f o r t i n g t o c h i l d r e n who l i v e i n an e v e r more

h a r d e n i n g and l e s s t h a n i d e a l world. (Gr. 2)

* P r o v i d e a harmony and b a l a n c e f o r today's c h i l d . (Gr. 2)

* More t h a n e v e r . Many c h i l d r e n do not e x p e r i e n c e harmony, rhythm, and a

c o n n e c t i o n t o n a t u r e i n t h e i r home l i v e s . They e x p e r i e n c e s t r e s s , d i s h a r -
mony, and m e c h a n i c a l sounds v i a TV and r a d i o and o t h e r machines. They be-
come c l o s e d and hardened t o o young. (Gr. 3)

* Today's c h i l d r e a l l y needs what our e d u c a t i o n p r o v i d e s . (music special-

ist)

Brings healing:

* We are a s i c k people. Music i s a prime h e a l e r . (Gr. 1)

* Even a t h e r a p e u t i c measure f o r our time. (Gr. 2)

* Music hath charms . . . (Gr. 2)

* We need t o g i v e back f a c u l t i e s of music t o the c u l t u r e i f we wish i t t o

r e f o r m / h e a l i n a p o s i t i v e way. (Gr. 3)

* For t h o s e who seek i t , i t promotes h e a l t h and sound s o c i a l instincts as

w e l l as a n a t u r a l l y joyous e x p e r i e n c e . (music s p e c i a l i s t )
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Balances i n t e l l e c t u a l i s m i n our society:

* Because we l i v e i n a v e r y i n t e l l e c t u a l w o r l d . I f music i s brought t o

t h e c h i l d r e n i n an i n t e l l e c t u a l way, i t w i l l l o s e i t s beauty. You c a n ' t
hand o u t b r o c h u r e s , f o r example, about p a i n t i n g . I t must be t a u g h t through
gesture. An eye f o r beauty must be taught through g e s t u r e . M u s i c a l i t y i s
t h e same way. I t must be taught through i m i t a t i o n . (Gr. 1)

* More so t h a n e v e r . C h i l d r e n are more open t o e x p e r i e n t i a l activities.

(Gr. 3)

* I t i s s t r i v i n g t o do more than i n s t r u c t and e n t e r t a i n . (music special-

ist)

* Non-Waldorf approach i n m u s i c - t e a c h i n g i s mostly (with r a r e e x c e p t i o n s )

very i n t e l l e c t u a l . (music s p e c i a l i s t )

* A much more " l i v i n g " r e l a t i o n t o music than a more t r a d i t i o n a l approach,

(music s p e c i a l i s t )

Follows development of c h i l d :

* C h i l d r e n l o v e music and Waldorf music e d u c a t i o n speaks t o them. (Gr. 1)

* P r o g r e s s i o n o f music from p e n t a t o n i c t o rounds and d i a t o n i c t o p a r t s —

a p p r o p r i a t e f o r c h i l d development. M u s i c a l t r a i n i n g on i n s t r u m e n t s impor-
t a n t i n d i v i d u a l l y and as a group e x p e r i e n c e . (Gr. 3)

* P e n t a t o n i c music i s d e f i n i t e l y more s u i t a b l e t o c h i l d r e n ' s s t a t e o f s o u l

b e f o r e t h e 9 t h y e a r change. The c u r r i c u l u m i n g e n e r a l g i v e s a broad range
o f e x p e r i e n c e s and s k i l l s i n music f o r a l l c h i l d r e n , r e g a r d l e s s o f t a l e n t
o r background. (Gr. 3)

* Nurtures s p i r i t and s o u l o f c h i l d at each changing phase o f c h i l d h o o d ;

s o c i a l awareness. (music s p e c i a l i s t )
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I n v e s t i g a t i v e q u e s t i o n #8

Which o f S t e i n e r ' s i d e a s had t h e most impact on t e a c h e r s ?

Q u e s t i o n #39; Which o f S t e i n e r ' s i d e a s have had t h e most impact on vou as

a t e a c h e r o f music?

S t e i n e r ' s thoughts on c h i l d development and t h e nature o f t h e c h i l d seemed

to have t h e g r e a t e s t impact on Waldorf School t e a c h e r s . Other i d e a s which

i n f l u e n c e d t h e t e a c h e r s were S t e i n e r ' s c o n c e p t i o n o f t h e c h i l d as a

s p i r i t u a l b e i n g , t h e t h r e e f o l d nature o f t h e human b e i n g , and t h e s p i r i t u a l

n a t u r e o f music. The books Study o f Man and Balance i n Teaching were men-

t i o n e d as sources o f i n s p i r a t i o n . Several teachers b e l i e v e d that a l l of

S t e i n e r ' s i d e a s were h e l p f u l i n t h e i r t e a c h i n g .

C h i l d Development:

* As a c l a s s t e a c h e r , I have been most i n f l u e n c e d by t h e nature o f t h e hu-

man b e i n g , t h e growing c h i l d . (Gr. 1)

* The nature o f t h e growing c h i l d ; how c h i l d r e n l e a r n . (Gr. 1)

* What l i t t l e I know s p e c i f i c a l l y about music e d u c a t i o n f i t s b e a u t i f u l l y

w i t h S t e i n e r ' s i d e a s o f c h i l d development and, o f course, w i t h t h e c u r r i c u -
lum i t s e l f . (Gr. 2)

* He was a g e n i u s , e s p e c i a l l y i n d e v i s i n g a c u r r i c u l u m t h a t c u l t i v a t e s s o -
c i a l i z a t i o n and i n d i v i d u a l i z a t i o n s i m u l t a n e o u s l y . (Gr. 2)

* Teaching t o i m a g i n a t i o n and l e v e l o f development. (Gr. 2)

* The n a t u r e o f t h e human b e i n g c e r t a i n l y has had g r e a t impact. How music

a f f e c t s t h e c h i l d , how t o r h y t h m i c a l l y move a l e s s o n by i n c l u d i n g music.
(Gr. 2)
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* S t e i n e r ' s p i c t u r e o f t h e development and g r a d u a l i n c a r n a t i o n o f t h e

c h i l d i s t h e f o u n d a t i o n o f my work w i t h t h e c l a s s i n music. From i t , I
choose my songs, both from c h i l d ' s need and i n keeping w i t h c u r r i c u l u m
g u i d e l i n e s t h a t a r e a p p r o p r i a t e a t c e r t a i n ages. (Gr. 3)

* B a s i c a l l y , S t e i n e r ' s p i c t u r e s o f t h e u n f o l d i n g human b e i n g , and how

"Waldorf" music addresses each phase o f c h i l d h o o d , p r o v i d e t h e f o u n d a t i o n
from which I work. (music s p e c i a l i s t )

* The i d e a o f man's development through t h e ages and how i t f o l l o w s t h e

development o f t h e c h i l d i n c h i l d h o o d . Then how music can a p p e a l t o c h i l -
d r e n and work on t h e i r v e r y b e i n g ! (music s p e c i a l i s t )

The C h i l d as a S p i r i t u a l Being:

* The i d e a t h a t t h e growing c h i l d i s s t i l l c l o s e t o t h e s p i r i t u a l world,

has a p a s t karma, and t h a t t h e way a c h i l d l e a r n s d i f f e r s from an a d u l t .
(Gr. 1)

* I n my case, t e a c h i n g my c h i l d r e n aged 6 o r 7, I h o l d t h e thought t h a t

b e f o r e t h e y were born, t h e y were h e a r i n g music i n t h e s p i r i t u a l w o r l d .
B e l i e v i n g t h i s , i t i s r e a l l y important t h a t we s t r i v e t o p r e s e n t b e a u t i f u l
music t o t h e c h i l d r e n . A l s o , b e l i e v i n g i n past l i v e s , I t h i n k t h a t a c h i l d
i n my c l a s s c o u l d have been a "Mozart." I can't j u s t g i v e them "skim
milk." (Gr. 1)

* Enthusiasm i n music t e a c h i n g l e a d i n g t o a f t e r death seeds s p r o u t i n g .

(Gr. 1)

* C h i l d ' s need f o r r e - c o n n e c t i o n t o s p i r i t u a l w o r l d . (Gr. 3)

* T h i s i s a broad q u e s t i o n . The whole o f anthroposophy g i v e s a l i v i n g

p i c t u r e o f t h e human b e i n g as a s p i r i t u a l b e i n g as w e l l as an e a r t h l y be-
ing. Waldorf e d u c a t i o n and music e d u c a t i o n h e l p t h e c h i l d t o f i n d h i s / h e r
way i n t o body and t h e w o r l d . (Gr. 3)
 225

Threefold nature of human being [Thinking, Feeling, W i l l i n g ] :

* The human b e i n g i s a threefold entity. (Gr. 2)

* To i n v o l v e t h e whole c h i l d i n a t h r e e f o l d way has been most b e n e f i c i a l

t o my t e a c h i n g as a whole as w e l l as music i n p a r t i c u l a r . To c e n t r e the
t e a c h i n g t o t h e s o u l of the c h i l d i n an i m a g i n a t i v e , r h y t h m i c a l , and
p r a c t i c a l way has been most e f f e c t i v e . (Gr. 3)

S p i r i t u a l Aspects of Music:

* The cosmos i s music. To r e c o g n i z e t h i s i n us i s music e d u c a t i o n . I

don't know i f S t e i n e r w r i t e s t h i s per se. (Gr. 3)

* Music i s always t h e r e — w e are the v e s s e l s t h a t i n c a r n a t e i t . I t ' s l i k e

hopping onto a t r a i n — t h e music s o u n d s — a n d o f f [we go] a g a i n . (Gr. 1)

Influence of c e r t a i n books:

* The l o n g e r one works w i t h the Study o f Man i n i t s b r o a d e s t sense t h e

more a l l t h e a c t i v i t i e s become profound i f brought i n a l i v e l y way and not
dogmatic. (Gr. 2)

* S t e i n e r ' s book, Study of Man, i s one t h a t I am always e n l i g h t e n e d by

each time I r e a d i t . (Gr. 2)

* I have been working a l o t with Balance i n Teaching currently. (Gr. 3)

Other:

* Anthroposophy as a p a t h — a l l e d u c a t i o n i s self-education. (Gr. 1)

* The music l e s s o n s as a matter of a u t h o r i t y . (Gr. 1)

 226

* I'm m o s t l y i n t e r e s t e d i n t h e moral i m p l i c a t i o n s . (Gr. 1)

* B r e a t h i n g and rhythmic a s p e c t s as h e a l i n g . (Gr. 2)

* I suppose t h i s i s hard f o r me t o answer because I don't see myself as a

t e a c h e r o f music, but as a t e a c h e r who uses music t o t e a c h t h e whole c h i l d .
(Gr. 2)

* Joyl J o y ! Joy!! (Gr. 2)

* The need f o r rhythm and harmony i n a c h i l d ' s l i f e ; the importance o f the

f e e l i n g l i f e i n elementary grades; need f o r u n s e l f - c o n s c i o u s s o c i a l
i n t e r a c t i o n i n e a r l y elementary y e a r s . (Gr. 3)

* Study o f e t h e r i c body and my speech t r a i n i n g a t Emerson. (Gr. 3)

* In the lower grades, we t e a c h through the l i m b s , we do. (music special-

ist)

* T h i s q u e s t i o n i s t o o b i g f o r me t o answer now. (music specialist)

All:

* A l l , but i n g e n e r a l terms. I would a p p r e c i a t e a deeper u n d e r s t a n d i n g o f

music and music e d u c a t i o n i n a p r a c t i c a l way. (Gr. 1)

* A l l . (Gr. 1)

* A l l . (Gr. 2)

* I t h i n k a l l o f t h e s e i d e a s interweave t o g i v e me an overview o f how mu-

s i c n u r t u r e s our s o u l l i f e . I see t h e harmony i t b r i n g s t o our c l a s s .
(Gr. 2)

* I would need t o w r i t e a book h e r e ! A l l h i s thoughts are e n l i g h t e n i n g

and i n s p i r i n g . They have t o be a p p l i e d i n each d i f f e r e n t s c h o o l community
somewhat d i f f e r e n t l y , however. (music s p e c i a l i s t )
 227
Question #40: Any a r e a I have missed? Questions I should have asked?

A few c l a s s t e a c h e r s seemed g r a t e f u l f o r the o p p o r t u n i t y t o t e a c h music t o

t h e i r own c l a s s e s :

* T h i s i s my f i r s t year as a c l a s s t e a c h e r so I am s t i l l f i n d i n g my way,
but I am v e r y g r a t e f u l t h a t music i s a p a r t of the main l e s s o n everyday.
(Gr. 1)

* I t h i n k t h e advantage of c l a s s t e a c h e r t e a c h i n g music i n Grades 1-2 is

t h a t i t h e l p s him/her l i v e more m u s i c a l l y , a l s o . (Gr. 2)

* I t e a c h music as an i n t e g r a l p a r t of the e d u c a t i o n . My perspective i s

of one who i s a n o v i c e . (Gr. 2)

Three t e a c h e r s , two of which were music s p e c i a l i s t s , were concerned about

teacher t r a i n i n g . (See q u e s t i o n # 2 1 — S t r e n g t h s and Weaknesses)

Many respondents wished t h e author l u c k . Three respondents were critical

of t h e q u e s t i o n n a i r e . (See p r e f a c e t o q u e s t i o n n a i r e )

Summary

C l a s s t e a c h e r s g e n e r a l l y taught music t o t h e i r own classes. E i g h t music

s p e c i a l i s t s who were employed s o l e l y as primary music t e a c h e r s responded t o

the q u e s t i o n n a i r e .

The r e s u l t s o f t h e q u e s t i o n n a i r e i n d i c a t e a s t r o n g commitment t o music

education.
 228

* Music e d u c a t i o n was c o n s i d e r e d t o be a h i g h p r i o r i t y by t h e s c h o o l

community.

* Most s c h o o l s devote a g r e a t d e a l o f time t o music e d u c a t i o n .

* Most c l a s s r o o m teachers play or are l e a r n i n g t o play a musical

instrument themselves. They model f o r t h e s t u d e n t s t h a t l e a r n i n g t o

p l a y an instrument i s a worthwhile activity.

* I n some s c h o o l s , both t h e c l a s s t e a c h e r and music t e a c h e r t e a c h music

to the class.

* Most t e a c h e r s ranked t h e i r s i n g i n g and r e c o r d e r programs as "very

strong" or "strong."

* The c u r r i c u l u m o f f e r s t h e c h i l d r e n t h e o p p o r t u n i t y t o p l a y instru-

ments a p p r o p r i a t e t o t h e i r age. Instrumental t r a i n i n g i s u s u a l l y be-

gun i n Grade One w i t h t h e p e n t a t o n i c f l u t e and/or t h e k i n d e r h a r p ,

Gartner l y r e , o r bordun l y r e . A s t r i n g program i n Grades Three o r

Four was i n i t i a t e d i n a m a j o r i t y o f Waldorf Schools.

* W i t h i n t h e s c h o o l s , most t e a c h e r s share a common p h i l o s o p h y . Most

have a c q u a i n t e d themselves w i t h S t e i n e r ' s i d e a s on music and music

education.

The q u e s t i o n n a i r e demonstrated t h a t a l t h o u g h t h e C h o r o i and G a r t n e r move-

ments d i d have an impact i n North American s c h o o l s , l a c k o f funds and l a c k

of u n d e r s t a n d i n g of the instruments and t h e i r t e c h n i q u e s seemed t o be pre-

v e n t i n g t h e t e a c h e r s from p u r c h a s i n g and u s i n g the i n s t r u m e n t s . The Choroi

p e n t a t o n i c f l u t e was the most p o p u l a r C h o r o i instrument. The Werbeck

method f o r s i n g i n g was not a t a l l w i d e l y known.

Other significant results:

* Teachers i n d i c a t e d t h a t p r e p a r a t i o n f o r music t e a c h i n g i n Waldorf

t e a c h e r t r a i n i n g i n s t i t u t e s was, i n some cases, inadequate. Profes-

s i o n a l development f o r t e a c h e r s i s an area which perhaps needs more

a t t e n t i o n w i t h i n t h e movement.

* A h i g h p r o p o r t i o n of male t e a c h e r s was noted. Male t e a c h e r s i n v o l v e d

i n music-making w i t h t h e i r c l a s s e s may s e r v e as p o s i t i v e r o l e models

f o r both boys and girls.

In music pedagogy, t e a c h e r s remain f a i t h f u l t o some of S t e i n e r ' s i d e a s :

* Beat i s g e n e r a l l y de-emphasized.

* L i t t l e o r no t h e o r y i s taught u n t i l a f t e r age nine.

* "Mood of the F i f t h " music i s g e n e r a l l y used w i t h the younger c l a s s e s .

* S t r i n g programs are i n t r o d u c e d i n Grades Three o r Four. However, i n

the f i r s t music c u r r i c u l u m , s t r i n g s were t o be i n t r o d u c e d i n Grades

One.
 230

A wind instrument ( u s u a l l y a p e n t a t o n i c f l u t e ) i s taught t o t h e chil-

dren from Grade One.

S i n g i n g and instruments are i n t r o d u c e d c o n c u r r e n t l y . S i n g i n g and

r e c o r d e r p l a y i n g are e s p e c i a l l y emphasized and a r e r e g a r d e d as

s t r e n g t h s of most programs.

The p i a n o i s not recommended as an instrument f o r t h e younger chil-

dren.

Recorded music i s not used a t a l l i n Waldorf Schools.

S t o r y t e l l i n g i s o f t e n a media chosen t o i n t r o d u c e songs, s k i l l s , and

concepts.

Music i s i n t e g r a t e d w i t h academic s u b j e c t matter i n main l e s s o n s .

A g r e a t d e a l of time i s devoted t o music as w e l l as t h e o t h e r arts.

Although o t h e r approaches of music t e a c h i n g are p e r m i t t e d , g e n e r a l l y ,

no o t h e r system ( O r f f , Kodaly, D a l c r o z e ) i s used i n Waldorf Schools,

a l t h o u g h one music t e a c h e r does use D a l c r o z e t e c h n i q u e s . Most t e a c h -

ers a r e u n f a m i l i a r w i t h the Kodaly hand s i g n s and O r f f instruments.

Teachers s t a t e d s e v e r a l g o a l s f o r music e d u c a t i o n i n t h e primary

grades i n t h e Waldorf S c h o o l , a l l compatible w i t h S t e i n e r ' s p h i l o s o -

p h y — s e l f / s o c i a l development; development of m u s i c a l s k i l l s such as

 231

l i s t e n i n g , v o i c e , movement; correct breathing; enjoyment; spiritual

development. The i d e a s o f S t e i n e r which had t h e g r e a t e s t impact on

teachers were t h o s e which addressed t h e nature o f t h e c h i l d and c h i l d

development.

On t h e q u e s t i o n o f whether o r not t h e Waldorf School approach t o music

education c o u l d be i n t e g r a t e d i n t o t h e p u b l i c s c h o o l , roughly half the

teachers believed i t was p o s s i b l e and h a l f d i d not recommend it. Those who

b e l i e v e d t h e approach c o u l d not be i n t e g r a t e d c i t e d t h e p r e s s u r e of i n t e l -

lectualism, lack of understanding of the S t e i n e r philosophy of c h i l d devel-

opment, d i s a l l o w i n g r e l i g i o u s music i n p u b l i c schools.

 CHAPTER V I I

COMPARISON OF THE WALDORF APPROACH TO THE

ORFF, KODALY, AND DALCROZE APPROACHES

In o r d e r t o f u r t h e r d e l i n e a t e t h e Waldorf School approach t o music

e d u c a t i o n , some main ideas o f S t e i n e r were compared w i t h t h o s e o f O r f f ,

Kodaly, and D a l c r o z e . Comparisons and c o n t r a s t s were made i n r e g a r d t o

p h i l o s o p h i c a l q u e s t i o n s such as t h e purpose o f music e d u c a t i o n , musical

development o f t h e c h i l d , c u r r i c u l u m matters, and t h e r o l e o f t e a c h e r . The

methods o f t e a c h i n g t h e m u s i c a l elements o f melody, rhythm, and harmony

were a l s o c o r r e l a t e d , as w e l l as t h e a c t i v i t i e s o f m u s i c — s i n g i n g , speech,

movement, p l a y i n g instruments, i m p r o v i s a t i o n , i n t e g r a t i o n o f media, and

reading musical notation. (See Appendix H f o r Comparison Chart.)

A. Primary Purpose o f Music Education

S t e i n e r , O r f f , Kodaly, and D a l c r o z e agreed t h a t music e d u c a t i o n was

essential i n the l i v e s of a l l children. However, each approach emphasizes

v e r y d i f f e r e n t a s p e c t s o f music e d u c a t i o n .

A c c o r d i n g t o S t e i n e r , t h e human being e x p e r i e n c e s h i s / h e r "own t r u e home,"

t h e s p i r i t u a l world, when engaged i n music-making. The purpose o f t h e

Waldorf approach t o music e d u c a t i o n i s t o l e a d t h e c h i l d t o a deep

a p p r e c i a t i o n and l o v e o f music so he/she may be p e r m i t t e d t o e x p e r i e n c e

232
 233

h i s / h e r "own t r u e home," t h e s p i r i t u a l world, when engaged i n l i s t e n i n g t o

music o r i n t h e r e - c r e a t i o n o f music.

The O r f f approach, on t h e o t h e r hand, s e r v e s p r i m a r i l y t o d e v e l o p t h e

child's creativity. A r n o l d Walter s t a t e d t h a t t h e aim o f O r f f ' s i n t e g r a t e d

approach t o music e d u c a t i o n " i s t h e development o f a c h i l d ' s creative

389
f a c u l t y which m a n i f e s t s i t s e l f i n the a b i l i t y t o i m p r o v i s e . " The O r f f

approach h e l p s t o develop i n d i v i d u a l s who a r e c a p a b l e o f combining musical

390
elements and media m a c r e a t i v e manner.

Kodaly's main g o a l was t o h e l p Hungarian students t o achieve musical

literacy, "to provide s k i l l s i n music r e a d i n g and w r i t i n g t o t h e e n t i r e

391
p o p u l a t i o n o f a country." The purpose o f Kodaly's system o f music

e d u c a t i o n was n o t t o c r e a t e v i r t u o s o m u s i c i a n s , but t o make music-making

392
a v a i l a b l e t o e v e r y c i t i z e n o f Hungary.

. . . t h e s t r u g g l e t o move from an i l l i t e r a t e c u l t u r e i n t o one

w i t h w r i t i n g i s o u r most urgent t a s k . To r e a c h a w r i t t e n , up-
t o - d a t e c u l t u r e , t h e outdated m u s i c i a n — h a l f - g y p s y and h a l f -
i l l i t e r a t e — m u s t be e l i m i n a t e d most u r g e n t l y .

3 8 v
Arnold Walter, Introduction to Orff-Schulwerk. Music f o r C h i l d r e n . Book I. Pentatonic.

(Mainz, Germany: B . S c h o t t ' s Sohne, 1955), i i .

3
'^Shehan, Patrica, "Major Approaches to Music E d u c a t i o n , " Music E d u c a t o r ' s Journal (February

1986): 52.

3 v 1
Beth Landis and P o l l y Carder, The E c l e c t i c Curriculum i n American Music Education:

Contributions of Dalcroze. Kodaly. and O r f f (Washington, D . C : Music Educators N a t i o n a l Conference,

1972), 41.

3 v 2
Richard Johnston, K o d a l y and E d u c a t i o n III. Z o l t a n Kodaly i n North America (Willowdale,

Ontario: The A v o n d a l e P r e s s , 1986), 41.

3 y 3
Zoltan Kodaly, The S e l e c t e d W r i t i n g s of Z o l t a n Kodaly. trans. Lili Halzpy and Fred Macnicol

(London: B o o s e y a n d Hawkes M u s i c P u b l i s h e r s , L t d . , 1974)

 234

As a p r o f e s s o r o f music, D a l c r o z e was f r u s t r a t e d by t h e l a c k o f fundamental

m u s i c a l s k i l l s of h i s p u p i l s . D a l c r o z e sought t o i n t r o d u c e an approach

which would h e l p c h i l d r e n a c h i e v e comprehensive m u s i c i a n s h i p through

s o l f e g e , i m p r o v i s a t i o n , and eurythmics (movement). He wished t o

decompartmentalize the m u s i c a l e x p e r i e n c e , t o " s y n t h e s i z e and relate

e x p e r i e n c e s i n c o m p o s i t i o n , performance, a n a l y t i c a l l i s t e n i n g , and

194
theory." J

B. Curriculum

S t e i n e r d i d not p r e s c r i b e a r i g i d method f o r t e a c h i n g music. He gave

" i n d i c a t i o n s , " g u i d e l i n e s based p r i m a r i l y on h i s t h e o r y of child

development. W i t h i n t h e s e g u i d e l i n e s , the t e a c h e r was f r e e t o use

i m a g i n a t i o n , i n s p i r a t i o n , and i n t u i t i o n t o d e s i g n a program based on the

needs of t h e c h i l d r e n ' s l e v e l o f development. The initial music

c u r r i c u l u m , w r i t t e n by a t e a c h e r of t h e f i r s t Waldorf School, a l s o offered

o n l y a b r i e f o u t l i n e of e d u c a t i o n a l g o a l s .

O r f f g r a n t e d t e a c h e r s the freedom t o r e a l i z e t h e i r own programs w i t h i n a

framework which allowed both t e a c h e r s and s t u d e n t s freedom t o c r e a t e .

According t o W i l l i a m K e l l e r i n h i s Orff-Schulwerk: Introduction to Music

F o r C h i l d r e n "The Orff-Schulwerk i s not a method, r a t h e r , i t i s an

395

indicator, a signpost." Orff, i n d e s c r i b i n g the n a t u r e and purpose of

3 9
^landis and Carder, 9.

3
^Wilhelm Keller, Orf f - S c h u l w e r k : I n t r o d u c t i o n to Music for Children (Mainz: B. Schott Sohne,

1963), 5.
 235

his approach, compared t h e development o f Schulwerk t o a w i l d flower

f l o u r i s h e d because o f nourishment and need, n o t because o f a p r e - s e t plan.

Those who l o o k f o r a method o r a ready-made system a r e r a t h e r

uncomfortable w i t h t h e Schulwerk; people w i t h a r t i s t i c
temperament and a f l a i r f o r i m p r o v i s a t i o n a r e f a s c i n a t e d by i t .
They a r e s t i m u l a t e d by the p o s s i b i l i t i e s i n h e r e n t i n a work
which i s never q u i t e f i n i s h e d , i n f l u x , c o n s t a n t l y
, , . 396
developing.

In c o n t r a s t t o t h e S t e i n e r and O r f f approaches t o music e d u c a t i o n , t h e

Kodaly system i s v e r y s t r u c t u r e d . There i s a recommended s e t sequence o f

397

r h y t h m i c and m e l o d i c c o n c e p t s t o be taught. A c c o r d i n g t o Choksy, t h e

t e a c h i n g o f each concept must be f i r s t p r e p a r e d , then made c o n s c i o u s , and

f i n a l l y reinforced. Thus, e x t e n s i v e r i g i d p l a n n i n g i s an e s s e n t i a l element

of t h e Kodaly M e t h o d . 3 9 8

D a l c r o z e would p r o b a b l y agree w i t h S t e i n e r t h a t t h e t e a c h e r must use

i m a g i n a t i o n and c r e a t i v i t y t o t a i l o r t h e music l e s s o n t o t h e s p e c i f i c needs

of a p a r t i c u l a r group o f c h i l d r e n . Because o f t h i s , u n l i k e Kodaly, i t i s

399
rare that lessons are repeated.

There i s a g e n e r a l sequence o f m u s i c a l concepts t o be

developed i n t h e D a l c r o z e method; however, one cannot say what
c o n s t i t u t e s a y e a r ' s c u r r i c u l u m . A l l s t u d e n t s , no matter what
age, must t r a v e l through t h e same s k i l l s and u n d e r s t a n d i n g , and

^'"Carl Orff, " T h e S c h u l w e r k - I t s O r i g i n s and A i m s , " trans. Arnold Walter, i n The E c l e c t i c

Curriculum i n American Music Education. Beth L a n d i s and P o l l y C a r d e r , 152.

3 9
^Erzsebet Szonyi, Kodaly P r i n c i p l e s in Practice: An Approach t o Music Education through the

K o d a l y Method ( L o n d o n : B o s s e y a n d Hawkes M u s i c Publishers, L t d . , 1973), 34.

3 9 8
Choksy, T h e K o d a l y Method ( E n g l e w o o d C l i f f s , New J e r s e y : Prentice H a l l , 1988), 153.

3 9 9
Ibid, 122.
 236
t h e s e are c o n t i n u a l l y improved and r e f i n e d , even i n the
p r o f e s s i o n a l musician. Remember what i s 'taught' must be met
and e x p l o r e d over and over again i n new c o n t e x t s and new
. f , 400
m u s i c a l examples.

C. M u s i c a l Development of t h e Child

S t e i n e r , O r f f , and Kodaly expressed t h e i r r e s p e c t i v e t h e o r i e s on the

m u s i c a l development o f c h i l d r e n . A l l three believed that children

recapitulate, i n some manner, the m u s i c a l development o f humankind.

D a l c r o z e made no comment on t h i s i s s u e .

S t e i n e r was v e r y s p e c i f i c about h i s t h e o r y o f c h i l d development,

c h a r a c t e r i z i n g each p e r i o d of c h i l d h o o d . S t e i n e r s p e c u l a t e d t h a t humankind

e v o l v e d through stages, and t h a t a t each stage, humankind was a b l e t o hear

different intervals. The phases of c h i l d h o o d a l s o c o r r e s p o n d to these

v a r i o u s stages o f the development o f humankind. Thus, S t e i n e r b e l i e v e d ,

c h i l d r e n respond t o music d i f f e r e n t l y a t v a r i o u s s t a g e s of development.

C h i l d r e n b e f o r e the age of n i n e , a c c o r d i n g t o S t e i n e r , are more r e c e p t i v e

t o music i n t h e "Mood of the F i f t h " — m u s i c based on DE GAB DE, the interval

o f t h e f i f t h — b e c a u s e t h i s type of music corresponds t o the p e r i o d o f

m u s i c a l h i s t o r y b e f o r e t h e i n t r o d u c t i o n of t h e t h i r d . From t h i s simple

s c a l e , the c h i l d p r o g r e s s e s t o the d i a t o n i c , then i n t o the modes, and

finally i n t o more complex melodic and harmonic s t r u c t u r e s .

4 0 0
Virginia Hoge H e a d , " M o r e Than Mere Movement: D a l c r o z e E u r h y t h m i e s , " M u s i c E d u c a t o r s Journal

( F e b r u a r y 86), 46.
 237

W a l t e r s t a t e d t h a t much o f O r f f ' s work w i t h c h i l d r e n i s based on a

d i f f e r e n t view of r e c a p i t u l a t i o n .

. . . we encounter the fundamental law of b i o g e n e s i s t h a t the

i n d i v i d u a l r e c a p i t u l a t e s the development of the s p e c i e s , both
b e f o r e and a f t e r b i r t h . T h i s i s the c o r n e r s t o n e on which
O r f f ' s Schulwerk i s b e i n g based. [Emphasis W a l t e r ' s ] I f the
c h i l d has an i n n a t e h e r e d i t a r y c a p a c i t y t o r e c a p i t u l a t e the
development of language and i f a l s o has an i n n a t e c a p a c i t y t o
r e c a p i t u l a t e the development o f m u s i c — t h e r e e x i s t s , then a
n a t u r a l way of a s s i m i l a t i n g m u s i c . 4 0 1

Walter explained that, according t o O r f f , the c h i l d r e l a t e s f i r s t t o speech

and movement. Rhythm i s the first element o f music w i t h which the c h i l d i s

402

concerned, f o l l o w e d by melody, then harmony. In c o n t r a s t , some

i n t e r p r e t e r s of S t e i n e r ' s i d e a s c l a i m t h a t c h i l d r e n r e l a t e most s t r o n g l y to

melody (age 0-9), then harmony (age 9-14), then rhythm.

K o d a l y a l s o assumed t h a t the c h i l d r e c a p i t u l a t e s , i n some way, the musical

development of humankind. He d i d not seem t o emphasize t h i s t h e o r y as much

as S t e i n e r and O r f f . L a n d i s and Carder stated:

L i k e O r f f , Kodaly b e l i e v e d t h a t the i n d i v i d u a l c h i l d r e e n a c t s
the m u s i c a l development of h i s r a c e , from p r i m i t i v e m u s i c a l
responses t o a h i g h l y developed l e v e l of musicianship. 4 0 3

^ A r n o l d Walter, "The Orff Schulwerk in American Education," in Orff Re-Echoes, ed. Isabel
McNeill Carley (American Orff-Schulwerk A s s o c i a t i o n , 1977), 22.

4 0 2
Ibid.

^ L a n d i s and Carder, 42.

 238

S t e i n e r , Kodaly, and O r f f b e l i e v e d t h a t e a r l y m u s i c a l e x p e r i e n c e s were

important t o the c h i l d . Kodaly and S t e i n e r shared t h e c o n v i c t i o n t h a t

c h i l d r e n a t each age l e v e l e x p e r i e n c e music phenomena i n markedly different

ways, and l i n k e d t h e c u r r i c u l u m and m u s i c a l c o n t e n t t o t h e development of

the c h i l d . A c c o r d i n g t o S t e i n e r , the c h i l d from 0-7 i s a "sense organ."

At t h i s age, a c c o r d i n g t o S t e i n e r , m u s i c a l i m p r e s s i o n s , as a l l o t h e r

sensory i m p r e s s i o n , have g r e a t impact on the c h i l d . S t e i n e r , however,

b e l i e v e d t h a t t o i n t e l l e c t u a l i z e the m u s i c a l e x p e r i e n c e , t o t e a c h t h e

r e a d i n g and w r i t i n g of music, too e a r l y , was harmful t o t h e child.

Kodaly p l a c e d g r e a t emphasis on e a r l y music e d u c a t i o n . In f a c t , Kodaly

argued t h a t o p t i m a l l y , music e d u c a t i o n should b e g i n "nine months b e f o r e the

404
b i r t h o f the mother." The c r i t i c a l age f o r l e a r n i n g , Kodaly b e l i e v e d ,

was from age t h r e e t o seven. He f e l t what was not e x p e r i e n c e d a t t h i s

405

s t a g e c o u l d never be made up a t a l a t e r s t a g e . O r f f expected t h a t h i s

"Schulwerk" be taught i n early childhood. ^ 4 0

S t e i n e r contended t h a t the c h i l d between 7-14 i s i n the " f e e l i n g " age of

childhood. S t e i n e r b e l i e v e d t h e c h i l d from 7-14 i s "an a r t i s t " and i s best

educated through the a r t s . The c h i l d i s a b l e a t t h i s s t a g e t o c r e a t e

h i s / h e r own music. Kodaly agreed t h a t the p e r i o d between s i x and s i x t e e n

was t h e "most s u s c e p t i b l e p e r i o d . " I f a c h i l d was not exposed t o t h e

4 0 4
Johnston, 68.

4 0 5
Kodaly, 129.

4 0 6
L a n d i s and C a r d e r , 72.
 239

" l i f e - g i v i n g stream o f music " d u r i n g t h i s time, music would not be

important t o him/her i n t h e f u t u r e . 4 0 7

D a l c r o z e d i d not have a s p e c i f i c t h e o r y o f c h i l d development. His

e x e r c i s e s and t e c h n i q u e s , m o d i f i e d t o s u i t t h e t e a c h i n g s i t u a t i o n , a r e

employed a t e v e r y grade l e v e l from elementary t o h i g h school. 4 0 8

D. The T e a c h i n g o f Melody

A c c o r d i n g t o S t e i n e r , melody i s t h e most important element o f music f o r t h e

young c h i l d . L i n d e n b e r g d e s i g n a t e d t h e p e r i o d between b i r t h and age 9 as

t h e "melodic age," f o r t h e c h i l d .

S t e i n e r recommended t h a t t h e c h i l d r e n i n Grade One b e g i n w i t h music w i t h i n

t h e compass o f t h e f i f t h which he termed "Mood o f t h e F i f t h . " Steiner

i n d i c a t e d t h a t t h e tones DE GAB DE be used w i t h young c h i l d r e n . Many

Waldorf music t e a c h e r s base t h e i r m e l o d i e s around tone "A" o r o t h e r notes

in the tonic. Descending melodies a r e a l s o f r e q u e n t l y used when t e a c h i n g

younger c h i l d r e n . Some music w r i t t e n f o r Waldorf S c h o o l s c o n c l u d e w i t h

melismatic phrases. Music i n t h e "Mood o f t h e F i f t h " was thought t o

c o r r e s p o n d w i t h t h e development o f t h e c h i l d as he/she r e c a p i t u l a t e s t h e

music h i s t o r y o f humankind.

4 0 7
Kodaly, 120.

4 0 8
Mead, 45.
 240

L i k e w i s e , L a n d i s and Carder l i n k e d O r f f ' s use o f the p e n t a t o n i c s c a l e w i t h

the theory of r e c a p i t u l a t i o n .

In k e e p i n g w i t h h i s t h e o r y t h a t the course o f music h i s t o r y i s

r e l i v e d i n t h e development o f each i n d i v i d u a l , he c o n s i d e r e d
t h e p e n t a t o n i c mode a p p r o p r i a t e t o the mental development o f
t h e young c h i l d . 4 0 9

The Kodaly method a l s o used the p e n t a t o n i c s c a l e e x t e n s i v e l y . The so-mi

chant, and t h e p e r f e c t f o u r t h , a c c o r d i n g t o Choksy, appear t o be a

410
u n i v e r s a l phenomenon amongst the c h i l d r e n o f the w o r l d .

The p e n t a t o n i s one o f the b a s i c s c a l e s o f f o l k music i n

Hungary and i n most o f the world, a l t h o u g h the p e n t a t o n o f
Hungarian music tends t o be minor i n c h a r a c t e r , o r l a - c e n t e r e d ,
w h i l e the u s u a l American p e n t a t o n i c song i s major, o r do-
centered. 4 1 1

F o l l o w e r s o f t h e Kodaly and Waldorf approach b e l i e v e t h a t d e s c e n d i n g

m e l o d i e s a r e b e s t f o r young c h i l d r e n . Choksy i n her book on t h e Kodaly

Method s t a t e d t h a t d e s c e n d i n g melodies were e a s i e r f o r c h i l d r e n t o s i n g

412
accurately.

S t e i n e r d i d not r e q u i r e the use o f f o l k songs w i t h the p r i m a r y g r a d e s .

Many o f t h e m e l o d i e s o f Waldorf School music t e a c h e r s are newly composed

and a r e r e l a t e d t o c l a s s r o o m t o p i c s , nature, seasons, and f e s t i v a l s . Some

4 0 9
Landis and Carder, 82.

4 1 0
Choksy, 13.

*"lbid.

4 1 2
Ibid.
f a v o r a b r e a k i n g away from o l d forms and t r a d i t i o n s i n o r d e r t o c r e a t e

m e l o d i e s which they b e l i e v e are more a p p r o p r i a t e t o t h e c h i l d ' s l e v e l o f

development.

On t h e o t h e r hand, Kodaly s t r o n g l y advocated t h e use o f f o l k songs. Kodaly

b e l i e v e d t h a t , on the whole, Hungarian f o l k songs s h o u l d be t h e mainstay o f

t h e Kodaly song repertoire.

The more of them [ f o l k songs] we implant i n t o young s o u l s , the

more c l o s e l y we l i n k them t o t h e n a t i o n . No m a s t e r p i e c e can
replace traditions. Far l e s s can cheap i m i t a t i o n s o r
distorting transcriptions. 4 1 3

The music e d u c a t i o n o f Hungarian c h i l d r e n must be founded on

414
Hungarian music.

To understand o t h e r people we must f i r s t understand o u r s e l v e s .

N o t h i n g i s b e t t e r f o r t h a t than our own f o l k songs. And t o
know o t h e r p e o p l e , t h e i r f o l k songs o f f e r t h e b e s t means as
well. 4 1 5

O r f f a l s o chose m a t e r i a l w i t h a n a t i o n a l i s t i c f l a v o r , and advocated that

416
t e a c h e r s t e a c h music from t h e i r own culture.

There i s no s e t sequence g i v e n by S t e i n e r f o r t e a c h i n g m e l o d i c concepts or

t h e names o f the n o t e s . T h i s i s l e f t t o the i n d i v i d u a l t e a c h e r . The

4 1 3
Kodaly, 145.

4 1 4
I b i d , 146.

4 1 5
Johnston, 62.

4
^ L a n d i s and C a r d e r , 74.
 242

Curwen hand s i g n s a r e g e n e r a l l y not taught i n Waldorf S c h o o l s . However,

body and arm g e s t u r e s f o r each p i t c h o f t h e C s c a l e a r e i n t r o d u c e d i n Grade

Three i n eurythmy c l a s s . I n Waldorf Schools, t h e s e g e s t u r e s a r e o n l y be

taught by t r a i n e d e u r y t h r a i s t s . Because o f t h i s , t h e r e i s no c a r r y - o v e r

i n t o t h e music classroom.

In t h e Kodaly system, t h e r e i s a r i g i d method f o r t e a c h i n g melodic

concepts. The melodic i n t e r v a l s a r e i n t r o d u c e d s e q u e n t i a l l y — s o , mi, la,

do, re, l a 1 # d o , s o ^ , f a , t e , f e , t a , s e . The l e a r n i n g o f t h e p e n t a t o n i c

1

417

s c a l e i s f o l l o w e d by major and then minor s c a l e s . The O r f f approach

does n o t p r e s c r i b e a method o r sequence f o r t e a c h i n g m e l o d i c concepts.

418
Many O r f f t e a c h e r s borrow Curwen hand s i g n s used i n t h e Kodaly method.

In t h e D a l c r o z e approach, s o l f e g e i s one o f t h e t h r e e important elements o f

music e d u c a t i o n . U n l i k e Kodaly and O r f f , D a l c r o z e employed t h e f i x e d "do."

The student i s encouraged t o f i x t h e tone "C" i n t o t o n a l memory, t o d e v e l o p

absolute p i t c h . D a l c r o z e b e l i e v e d t h a t i n s t i n c t should precede t h e

intellect. Thus s o l f e g e i s taught through l i s t e n i n g , through s i n g i n g , and

419
through hand s i g n s .

^'Szonyi, 34.

4
^Lois Choksy et al, Teaching Music i n the Twentieth C e n t u r y (Englewood C l i f f s , New J e r s e y :

Prentice Hall, 1986), 102.

4
^Landis and C a r d e r , 23.
 243
E. Teaching o f Rhythm

In Waldorf music e d u c a t i o n , the beat i s not emphasized u n t i l a f t e r the age

of nine. Reading o f rhythms i n Waldorf Schools i s u s u a l l y d e f e r r e d u n t i l

Grade Three o r Four.

On t h e o t h e r hand, the Kodaly, O r f f , and D a l c r o z e approaches emphasize beat

and rhythm from the b e g i n n i n g o f m u s i c a l t r a i n i n g . Rhythmic development i s

t h e most important a s p e c t of the O r f f and D a l c r o z e approaches.

O r f f found i n the Eurhythmies of Jaques-Dalcroze more than

one p r i n c i p l e he was a b l e t o share. Most important of t h e s e i n
i t s e f f e c t on O r f f ' s work was the i d e a t h a t rhythm i s t h e
s t r o n g e s t o f t h e elements o f music; t h a t the most p r i m i t i v e
and most n a t u r a l m u s i c a l response of t h e human p e r s o n a l i t y a r e
rhythmic i n n a t u r e ; and t h a t the l o g i c a l s t a r t i n g p o i n t f o r
e d u c a t i o n i n music i s rhythm. . . . S i n c e rhythm i s the s h a r e d
element i n speech, movement, and music, i t i s the l o g i c a l
s t a r t i n g point i n "Schulwerk." 420

In t h e Kodaly system, t h e c h i l d r e n are taught rhythmic concepts a t a v e r y

e a r l y age. In Hungary, t h e c h i l d r e n l e a r n t o s t e p q u a r t e r , e i g h t h , and

h a l f notes i n n u r s e r y s c h o o l . By the time the c h i l d e n t e r s p r e s c h o o l ,

421
he/she has a c q u i r e d a c o n s i d e r a b l e r e p e r t o i r e o f rhythmic p a t t e r n s . In

t h e c h i l d ' s grade s c h o o l y e a r s , a recommended sequence of rhythmic elements

422
is taught.

4 2 0
Ibid, 72.

4 2 1
Szonyi, 34.

4 2 2
Ibid, 28.
 244

The D a l c r o z e approach teaches rhythmic p r o f i c i e n c y through e x e r c i s e s i n

movement which demand a h i g h degree o f muscular c o n t r o l and mental

alertness. C h i l d r e n a r e expected, f o r example, t o walk t h e beat and c l a p

the rhythm, and t o c l a p t h e beat and walk t h e rhythm. To t e a c h note

v a l u e s , t h e c h i l d r e n march t o q u a r t e r notes, r u n t o e i g h t h notes and

triplets p l a y e d by t h e t e a c h e r . Whole notes and h a l f notes a r e

demonstrated by a s t e p - d i p and a s t e p f o l l o w e d by t h r e e l e g movements.

E v e n t u a l l y , c h i l d r e n l e a r n what D a l c r o z e termed "independence of c o n t r o l " —

the a b i l i t y t o e x p r e s s d i f f e r e n t rhythms a t t h e same time w i t h d i f f e r e n t

body p a r t s . The r i g h t hand may beat 3/4 w h i l e t h e l e f t hand b e a t s 4/4.

The f e e t may walk i n 12/8 meter.

F. The Teaching o f Harmony

The t e a c h i n g o f harmony i s postponed i n t h e Waldorf S c h o o l u n t i l a f t e r age

nine. Even t h e t e a c h e r ' s c h o r d a l accompaniment o f t h e g u i t a r and p i a n o f o r

the c h i l d ' s s i n g i n g i s not encouraged. Some Waldorf e d u c a t o r s c o n s i d e r

o n l y l y r e c o u n t e r p o i n t accompaniment t o be a c c e p t a b l e . Canons a r e

g e n e r a l l y not i n t r o d u c e d t o c h i l d r e n i n Waldorf S c h o o l s u n t i l Grade Three.

Some t e a c h e r s o f t h e Kodaly method i n t r o d u c e s i n g i n g i n two p a r t s even i n

the first grade. I t i s believed that p a r t - s i n g i n g helps the c h i l d r e n t o

424

s i n g i n tune. A c c o r d i n g t o Choksy, t h e t e a c h i n g o f simple d e s c a n t s ,

4 2
\andis and C a r d e r , 22.

4 2 4
Johnston, 85.
 245

425
melodic o s t i n a t i , and canons does not b e g i n u n t i l Grade Two. Choksy

does not i n t r o d u c e harmony u n t i l the c h i l d r e n a r e v e r y f a m i l i a r w i t h do-

426
p e n t a t o n i c and la-pentatonic scales. When i n t r o d u c e d t o do-mi-so and
427
l a ^ - d o - m i , t h e c h i l d r e n b e g i n t o l e a r n about t r i a d i c harmony.

In t h e O r f f approach, harmony i s c r e a t e d by t h e c h i l d r e n by s i m p l e level

and broken bordun p a t t e r n s p l a y e d on the O r f f i n s t r u m e n t s as e a r l y as Grade

428
One. In Jane F r a z e e ' s O r f f c u r r i c u l u m , v o c a l o s t i n a t i and melodic
429
canons a r e i n t r o d u c e d i n Grade Two.

In D a l c r o z e pedagogy, t h e r e seems t o be no s e t time f o r i n t r o d u c i n g

harmony.

In t h e study o f harmony, D a l c r o z e l e d h i s s t u d e n t s t o s i n g
a r p e g g i a t e d chords from bass t o soprano. A simple chord
sequence such as t o n i c - d o m i n a n t - t o n i c c o u l d be sung i n t h a t
way, and t h e n more complex chord sequences c o u l d be
introduced. 4 3 0

4 2 5
Choksy, The Kodaly Method. 84.

4 2
^ C h o k s y et al, Teaching Music in the Twentieth Century. 86.

4 2 7
Szonyi, 53.

4 2 8
Jane Frazee, Discovering Orff (New York: Schott Music C o r p o r a t i o n , 1987), 107.

4 2 9
Ibid, 109.

43
P l a n d i s and Carder,.26.
 246
G. Singing

S t e i n e r , Kodaly, and O r f f emphasized the a c t i v i t y of s i n g i n g i n t h e i r

r e s p e c t i v e approaches t o music e d u c a t i o n .

S t e i n e r b e l i e v e d t h a t c h i l d r e n should s i n g f o r the j o y o f s i n g i n g i n t h e

younger g r a d e s . Through t h e a c t i v i t y o f s i n g i n g , t e a c h e r s o f f e r the

c h i l d r e n " l i t t l e experiences of ecstasy." S i n g i n g was not t o be used i n

t h e younger grades t o t e a c h t h e o r y , nor were " a r t i f i c i a l methods" which

make t h e c h i l d r e n aware o f t h e i r b r e a t h i n g t o be employed. Singing f o r the

young c h i l d , S t e i n e r b e l i e v e d , had a t h e r a p e u t i c e f f e c t on the child,

h e l p i n g t h e c h i l d t o f e e l i n harmony w i t h t h e world and w i t h h i m s e l f . The

l o v e o f s i n g i n g and o f melody, t o S t e i n e r , was the s t a r t i n g p o i n t o f a

c h i l d ' s music e d u c a t i o n . S i n g i n g motivated t h e c h i l d r e n t o move t o music

and t o p l a y instruments as e x t e n s i o n s t o themselves.

S i n g i n g i n t h e Kodaly method i s the medium i n which m u s i c a l concepts, a r e

introduced. In Kodaly's view, t h e v o i c e i s "the instrument which i s most

immediately a v a i l a b l e t o man and i s the best means o f a p p r o a c h i n g and

431
appreciating music."

O r f f b e l i e v e d t h a t s i n g i n g develops from speech, from c h a n t i n g and call-re-

432

sponse p a t t e r n s . Even though O r f f instruments are a prominent feature

of the O r f f approach, they a r e not meant t o overshadow t h e most important

i n s t r u m e n t — t h e human v o i c e . In O r f f - S c h u l w e r k , a c c o r d i n g t o Jos Wuytack,

431
Szonyi, 32.
432
Landis and Carder, 81.
 247

the v o i c e i s the " f i r s t instrument t o be t r a i n e d , developed, and used as a

medium o f m u s i c a l e x p r e s s i o n . " 4 3 3
Wuytack seemed t o agree w i t h S t e i n e r

t h a t s i n g i n g i s connected t o the s p i r i t u a l .

When one s i n g s , both t h e body and s o u l a r e j o i n e d and t h e

s p i r i t touches t h e body. To s i n g i s t o t r a n s f o r m a b r e a t h
stream i n t o sound and t h e r e f o r e s i n g i n g i s l i n k e d t o t h e most
e l e m e n t a l l i f e - f u n c t i o n , b r e a t h i n g . The v o i c e i s t h e n o b l e s t
and most p r e c i o u s organ. Because by s i n g i n g man r a i s e s h i s
434
v o i c e , and thus r i s e s above h i m s e l f .

D a l c r o z e d i d n o t seem t o s t r e s s s i n g i n g i n h i s approach. Movement was t h e

primary mode o f e x p r e s s i o n and o f t e a c h i n g concepts.

H. Movement

S t e i n e r maintained t h a t t h e v e r y s m a l l c h i l d , around t h e age o f t h r e e ,

wants t o dance, and encouraged p a r e n t s t o c u l t i v a t e t h i s tendency b e f o r e

t h e change o f t e e t h . Movement a c t i v i t i e s and s i n g i n g games and dances a r e

i n c o r p o r a t e d as p a r t o f t h e music l e s s o n . C h o r o i music e d u c a t o r s try to

i n t e g r a t e t h e e x p e r i e n c e s o f s i n g i n g , movement, and i n s t r u m e n t a l p l a y i n g .

S t e i n e r c r e a t e d a movement form c a l l e d eurythmy d e s c r i b e d as v i s i b l e speech

and v i s i b l e movement. In Waldorf Schools, eurythmy i s taught as a s e p a r a t e

s u b j e c t by a t r a i n e d eurythmist.

' • " J o s Wuytack, "Apologia f o r Orf f - S c h u l w e r k , " in Orff Re-Echoes, e d . by I s a b e l McNeill Carley

(American Orff-Schulwerk A s s o c i a t i o n , 1987), 59.

«*Ibid.
 248

Of t h e f o u r e d u c a t o r s , Kodaly p r o b a b l y p l a c e d t h e l e a s t emphasis on

movement as a means o f l e a r n i n g music. Choksy does advocate t h e use o f

s i n g i n g games and dances. Kodaly endorsed MaqyaGyermekjatck qyuitemenv (A

C o l l e c t i o n o f Hungarian C h i l d r e n ' s Games) which u n i t e d song and

435
movement.

A l t h o u g h O r f f d e r i v e d many o f h i s movement i d e a s from D a l c r o z e Eurhythmies,

movement i s not t h e main emphasis o f t h e O r f f - S c h u l w e r k . In O r f f ' s

approach, " e l e m e n t a l " movement—movement which i s n a t u r a l and u n t r a i n e d ,

such as jumping, w a l k i n g , r u n n i n g , s k i p p i n g — i s i n c o r p o r a t e d i n t o t h e music

lessons. Body p e r c u s s i o n such as stamping,, "patschen," c l a p p i n g , and

snapping a r e employed t o h e l p c h i l d r e n hear and l e a r n rhythms, t o g i v e

c h i l d r e n p r a c t i c e i n p e r f o r m i n g movement sequences which a r e l a t e r

t r a n s f e r r e d t o t h e i n s t r u m e n t s , o r t o p r o v i d e rhythmic accompaniment t o a

poem o r song. C h i l d r e n a r e o f t e n asked t o c r e a t e t h e i r own movement

sequences, individually, i n p a r t n e r s , o r i n groups, t o i n t e r p r e t t h e form

o f a p i e c e o f music.

D a l c r o z e b e l i e v e d t h a t "the source o f m u s i c a l rhythm i s t h e n a t u r a l

437

locomotor rhythms o f t h e human body." Dalcroze recognized the

c o n n e c t i o n between b o d i l y movement and m u s i c a l response, and employed

movement as t h e primary means o f l e a r n i n g m u s i c a l c o n c e p t s . Through

movement, D a l c r o z e l i n k e d l i s t e n i n g , t h e o r y , s o l f e g e , and c o m p o s i t i o n . The

4 3 5
Kodaly, 133.

4 3 6
Landis and C a r d e r , 84.

4 3 7
Ibid, 7.
 249

s u b t l e t i e s o f dynamics and p h r a s i n g were a l s o addressed through

movement. 438

I. P l a y i n g o f Instruments

S t e i n e r advocated t h e use o f instruments e a r l y i n t h e c h i l d ' s music

education. S t e i n e r f a v o r e d instruments such as t h e r e c o r d e r o r v i o l i n

which he b e l i e v e d would h e l p t h e c h i l d r e n w i t h t h e i r b r e a t h i n g and

listening skills. The C h o r o i movement i n v e n t e d g e n t l e - s o u n d i n g instruments

such as t h e C h o r o i f l u t e and l y r e s .

O r f f ' s instrumentarium c o n s i s t s o f xylophones, metallophones, g l o c k e n s p i e l s

and an assortment of non-pitched percussion instruments. Jane F r a z e e

s t a t e d t h a t t h e instruments g i v e " a u r a l and v i s u a l r e i n f o r c e m e n t o f p i t c h

439
relationships." Recorders a r e o f t e n added t o t h e ensemble. Some
t e a c h e r s i n c o r p o r a t e d u l c i m e r s , g u i t a r s , piano, c e l l i , and bowed p s a l t r y t o

440
complement t h e b a r r e d i n s t r u m e n t s .

In D a l c r o z e Eurhythmies, t h e human body i s c o n s i d e r e d t h e f i r s t instrument

441

to be t r a i n e d . D a l c r o z e r e a l i z e d t h a t "The s t u d e n t s themselves were t h e

instruments, . . . not t h e piano, v i o l i n , f l u t e , v o i c e , o r drum, but t h e

4 3 8
Ibid, 9.

4 3 9
Frazee, 25.

4 4 0
Ibid.
4 4 1
Choksy et al, 31.
 250

students t h e m s e l v e s . " 4 4 2
The piano i s the instrument used f o r accompanying

443 . . 444
movement and f o r t h e c h i l d r e n ' s i m p r o v i s a t i o n s .

Kodaly m a i n t a i n e d t h a t o t h e r v o i c e s , r a t h e r than i n s t r u m e n t s , were t h e b e s t

accompaniment f o r s i n g i n g . 4 4 5
However, Kodaly a d v i s e d t h a t t h e xylophone

w i t h removeable b a r s be used t o t e a c h the melodic i n t e r v a l s as they a r e

taught i n sequence. The r e c o r d e r may a l s o be taught t o r e i n f o r c e a b s o l u t e

446
p i t c h names.

S t e i n e r , O r f f , and Kodaly were adamantly opposed t o the use o f t h e p i a n o i n

the classroom. Kodaly b e l i e v e d t h a t the piano was n o t a h e l p , b u t a

h i n d r a n c e i n l e a r n i n g t o s i n g i n tune. "A tempered p i a n o , even i f i t i s

tuned d a i l y (though i t i s p r a c t i c a l l y always o u t o f t u n e ) , cannot lead t o

447

correct singing." O r f f s t a t e d t h a t "The use o f t h e p i a n o (as a g a i n s t

t h e o l d keyboard instruments such as h a r p s i c h o r d , c l a v i c h o r d , o r s p i n e t ) i s

t o be d e p l o r e d as i t b a r s t h e way towards the t o n a l and s t y l i s t i c

448
o r i g i n a l i t y o f t h i s k i n d o f music-making."

4 4 2
Ibid,, 30.

4 4 3
Landis and C a r d e r , 11-12.

4 4 4
Ibid, 26.

4 4 5
ibid, 50.

4 4 6
Ibid, 60.

4 4 7
Kodaly, 150-151.

4 4 8
Carl Orff, I n t r o d u c t i o n to Music f o r C h i l d r e n . Pentatonic I. by C a r l Orff and Gunild Keetman

(London: Schott and C o . , L t d . , 1950), i i .

Kodaly d i d not endorse the l e a r n i n g o f the piano u n t i l the s t u d e n t s had ac-

q u i r e d a good v o c a l f o u n d a t i o n and were a b l e t o hear the music on the

page. 4 4 9
" L i t e r a c y i s taken t o the instrument r a t h e r than a c q u i r e d on

it." 4 5 0

S z o n y i s t a t e d t h a t Kodaly recommended t h a t c h i l d r e n l e a r n t o p l a y a s t r i n g

451

o r a wind instrument. S t e i n e r a l s o advocated t h a t the c h i l d r e n l e a r n t o

p l a y t h e v i o l i n and/or r e c o r d e r , b e g i n n i n g i n Grade One. A l l Waldorf

S c h o o l s c o n t a c t e d i n the study b e g i n i n s t r u c t i o n i n the p e n t a t o n i c f l u t e o r

r e c o r d e r i n Grade One. S t r i n g programs commence i n most Waldorf Schools i n

Grade Three o r Four. U n l i k e the Kodaly method, t h e Waldorf School begins

i n s t r u c t i o n on t h e s e instruments b e f o r e t h e s t u d e n t s are i n t r o d u c e d t o any

form o f m u s i c a l n o t a t i o n .

D a l c r o z e b e l i e v e d t h a t the study o f a m u s i c a l instrument s h o u l d t a k e p l a c e

452

o n l y a f t e r c o n s i d e r a b l e ear t r a i n i n g and movement e x p e r i e n c e . He

stated, " I t i s v e r i t a b l e nonsense t o have the c h i l d b e g i n the study o f

i n s t r u m e n t a l music b e f o r e he has m a n i f e s t e d , e i t h e r n a t u r a l l y o r by
453
t r a i n i n g , some knowledge o f rhythm and tone."

4 4 9
Landis and Carder, 60.

4 5 0
Choksy et al, 339.

4 5 1
Szonyi, 63.

4
^ Landis
2
and Carder, 10.

4
^ Emile
3
Jaques-Dalcroze, " T e a c h i n g M u s i c Through Feeling," E t u d e 39 (June 1921) 368; quoted in

Landis and Carder, 10.

 252
J. Improvisation

In h i s w r i t i n g s and l e c t u r e s , S t e i n e r d i d not mention i m p r o v i s a t i o n .

However, t h e C h o r o i movement embraced i m p r o v i s a t i o n as an i n t e g r a l p a r t o f

its approach. I m p r o v i s a t i o n games emphasize l i s t e n i n g , motor skills,

movement w i t h i n s t r u m e n t s , and s o c i a l awareness.

I m p r o v i s a t i o n through t h e media o f speech, movement, v o i c e , and instruments

i s c e n t r a l t o O r f f ' s philosophy. I m p r o v i s a t i o n was not t h e main f o c u s o f

Kodaly's work. Kodaly b e l i e v e d t h a t i n o r d e r t o improvise, t h e s t u d e n t s

needed a knowledge o f m u s i c a l v o c a b u l a r y . 4 5 4
I m p r o v i s a t i o n i s one o f t h e

t h r e e c o r n e r s t o n e s o f t h e D a l c r o z e approach. I n s h o r t , t h e aim o f D a l c r o z e

i m p r o v i s a t i o n i s " t o produce s k i l l f u l ways o f u s i n g movement m a t e r i a l s

(rhythm) and sound m a t e r i a l s ( p i t c h , s c a l e , harmony) i n i m a g i n a t i v e ,

455
spontaneous, and p e r s o n a l l y e x p r e s s i v e combinations t o c r e a t e music."

Students use a l l s o r t s o f media i n i m p r o v i s a t i o n — " m o v e m e n t , speech, s t o r y ,

456

song, p e r c u s s i o n , s t r i n g s , winds, piano, o r a l l o f t h e s e combined." The

impetus f o r i m p r o v i s a t i o n may come from a s t o r y , a poem, movement, o r a

visual image. 4 5 7
The D a l c r o z e approach r e c o g n i z e s t h e i n d i v i d u a l i t y and

c r e a t i v i t y o f t h e s t u d e n t s by encouraging the expression of f e e l i n g s

458
through i m p r o v i s a t i o n , i n s t e a d o f t h e mere i m i t a t i o n o f m u s i c a l cliches.

4 5 4
Choksy et at, 337.

4 5 5
Ibid, 61.

4
56 I b l d .

4 5 7
Ibid, 62.

4 5 8
Ibid, 65.
 253
K. I n t e g r a t i o n of Media

S t e i n e r s t a t e d t h a t the c h i l d r e n should s i n g what they p l a y ; t h a t a l l

instrumental work should a r i s e from song i n the e a r l y grades. Those of

S t e i n e r ' s successors who i n i t i a t e d C h o r o i movement have s t r i v e n t o

i n t e g r a t e the p l a y i n g , s i n g i n g , and moving t o music through t h e invention

o f new hand-held instruments.

Because o f the i d e a of i n t e g r a t i o n of media, the C h o r o i approach i s , i n

some way, s i m i l a r t o the O r f f approach. However, O r f f ' s " e l e m e n t a l music"

was a u n i o n , not o n l y of the elements of music but of theatre, speech,

dance, and music. These d i s c i p l i n e s were o f t e n combined w i t h i n one work of

art. Dancers were expected t o p l a y instruments and i n s t r u m e n t a l i s t s were

459

e x p e c t e d t o dance. The synergy of a c t i v i t i e s , media, and materials

create a new whole.

The r e a l g o a l o f the Schulwerk i s a t t a i n e d i n one's enjoyment

o f t h e f r u i t f u l combination of p e r s o n a l and i n t e r p e r s o n a l
resources. C r e a t i n g , reproducing, and l i s t e n i n g t o music are
not s e p a r a t e and e x c l u s i v e areas of work, but are p r e s e n t e d as
one e n t i t y i n the elementary m u s i c a l e x p e r i e n c e of a l l
p a r t.i.e i.p a n\t s. 460

The S t e i n e r approach, i n p r a c t i c e , does not go as f a r as O r f f . Children in

Waldorf S c h o o l s u s u a l l y l e a r n speech from the c l a s s t e a c h e r , music from the

music and/or c l a s s t e a c h e r , and eurythmy (movement) from the eurythmy

4 5 9
Choksy et al, 94.

4 6 0
Kelter, 5.
 254

teacher. Each c l a s s , however, performs a p l a y every year i n which the

v a r i o u s d i s c i p l i n e s are sometimes combined i n one p r e s e n t a t i o n .

D a l c r o z e b e l i e v e d t h a t t h e elements of music should not be taught in a

fragmented manner. The t h r e e b a s i c m u s i c a l s t u d i e s — i m p r o v i s a t i o n ,

s o l f e g e , and E u r h y t h m i e s — w e r e not t o be taught in isolation.

When s o l f e g e and i m p r o v i s a t i o n are i n t e g r a t e d w i t h eurhythmies,

s t u d e n t s have e x p e r i e n c e d the method as D a l c r o z e i n t e n d e d .
They have s t u d i e d t h e music a u r a l l y , o r a l l y , and p h y s i c a l l y and
then expressed i t c r e a t i v e l y on t h e i r own. 1

Choksy c l a i m e d t h a t the Kodaly Method sought "a balance between [among]

462
s i n g i n g , c l a p p i n g , p l a y i n g , t h i n k i n g , w r i t i n g , and creating."

L. Importance of " L i v e " Music

S t e i n e r and h i s p r e d e c e s s o r s d i s c o u r a g e d the use of e l e c t r o n i c media i n the

elementary music c l a s s e s . The O r f f , Kodaly, and D a l c r o z e programs, t o o ,

are based an a c t i v e , r a t h e r than a p a s s i v e approach, t o music t e a c h i n g .

However, t h e O r f f and Kodaly approaches, do i n some cases i n t r o d u c e music

l i s t e n i n g v i a r e c o r d i n g s i n the t h i r d grade.

4 6 1
Mead, 44.

462
C h o k s y , 157.
 255

463
Choksy, i n The Kodaly Method, recommends a l i s t o f songs i n Grades One

and Grade T w o 4 6 4
. F o r Grade Three, Choksy suggests a l i s t o f songs such as

"Simple G i f t s " matched t o the " r e l a t e d c o m p o s i t i o n , " A p p a l a c h i a n S p r i n g by

Aaron C o p l a n d . 4 6 5

Jane F r a z e e i n her book, D i s c o v e r i n g O r f f , a d v i s e s t h a t c h i l d r e n l i s t e n to

p i a n o p i e c e s p l a y e d by t h e t e a c h e r , such as Minuet i n G and G a v o t t e from

F r e n c h S u i t e No. 5 by Bach i n Grade O n e , 4 6 6

and Menuet from P i a n o Sonata

No. 10 i n Grade T w o . 4 6 7
Grade Three c h i l d r e n l i s t e n t o a r e c o r d i n g o f a
AC. Q

rondo p i e c e , La V i l l a g e o i s e by Rameau.

The D a l c r o z e approach t o l i s t e n i n g i n v o l v e s u s i n g t h e e a r and t h e body.

The c h i l d moves t o music p r o v i d e d by t h e t e a c h e r . From p r e s c h o o l through

Grade Two, t h e m a t e r i a l c o n s i s t s of " s i n g i n g games, f i n g e r p l a y , percussion

p l a y , and s t o r i e s w i t h a m u s i c a l accompaniment t h a t invoke r h y t h m i c mime

activities." 4 6 9
No mention was made o f t h e use o f r e c o r d i n g s i n Grade

Three. 4 7 0

4 6 3
Ibid, 47.

4 6 4
Ibid, 65.

4 6 5
Ibid, 89.

4 6 6
Frazee, 80.

4 6 7
Ibid, 116.

4 6 8
Ibid, 149.

4 6 9
Choksy et al, 154.

4 7 0
Choksy, 198-215.
 256

M. Role o f Teacher

Some Waldorf S c h o o l s do employ a music s p e c i a l i s t . However, Waldorf

elementary c l a s s r o o m t e a c h e r s , e s p e c i a l l y those t e a c h e r s o f Grades One,

Two, and Three, a r e expected t o s i n g and p l a y r e c o r d e r s w i t h t h e i r classes,

u s u a l l y as p a r t o f t h e opening morning e x e r c i s e s . The t e a c h e r a c t s ,

t h e r e f o r e , as a p o s i t i v e r o l e model, a " n a t u r a l a u t h o r i t y , " but a l s o as an

artist. The students l e a r n , through example and i m i t a t i o n , t h a t making

music i s a fundamental human a c t i v i t y .

Because t h e Waldorf School approach i s h o l i s t i c , t h e classroom t e a c h e r en-

deavors t o i n t e g r a t e music and o t h e r a r t i s t i c a c t i v i t i e s w i t h t h e main

lesson topic studied. The c l a s s t e a c h e r s , music s p e c i a l i s t ( s ) i f employed,

and eurythmy t e a c h e r , o f t e n p l a n c o o p e r a t i v e l y i n o r d e r t h a t l e s s o n s and

concepts may r e l a t e t o a common theme.

The O r f f , Kodaly, and D a l c r o z e approaches s t r e s s t h e importance o f music

s p e c i a l i s t s t o t e a c h music i n t h e primary grades. While t e a c h e r s o f t h e

Waldorf School approach a r e expected t o study S t e i n e r ' s t h e o r i e s o f c h i l d

development and t o work on t h e i r own s p i r i t u a l development, t h e emphasis

w i t h O r f f , Kodaly, and D a l c r o z e i s t h e study o f p e d a g o g i c a l techniques.

Many c o l l e g e s and u n i v e r s i t i e s o f f e r t h r e e summer courses i n which a

t e a c h e r may earn Kodaly o r O r f f c e r t i f i c a t i o n . New York C i t y ' s D a l c r o z e

School o f Music t r a i n s t e a c h e r s i n Eurythmics. Other institutions offer

summer c o u r s e s i n D a l c r o z e ' s t e c h n i q u e s .

The O r f f t e a c h e r s e r v e s as a c a t a l y s t for the children's c r e a t i v i t y through

p r o v i d i n g p l e n t y o f o p p o r t u n i t i e s f o r i m p r o v i s a t i o n i n t h e media o f speech,
 257

movement, song, and i n s t r u m e n t s commensurate w i t h h i s / h e r own degree o f

ability. 4 7 1
The Kodaly method s t r e s s e s t h e s y s t e m a t i c s e q u e n t i a l t e a c h i n g

of c o n c e p t s . I n o r d e r f o r l e a r n i n g t o take p l a c e , t h e Kodaly teacher

i n s u r e s t h a t t h i s sequence i s f o l l o w e d c a r e f u l l y — t h a t every concept i s

prepared, made c o n s c i o u s , and r e i n f o r c e d . The Kodaly t e a c h e r f u n c t i o n s as

a t r a n s m i t t e r o f m u s i c a l s k i l l s and knowledge. The D a l c r o z e t e a c h e r speaks

little, but teaches much. In t h e l e s s o n , t h e D a l c r o z e t e a c h e r , i m p r o v i s i n g

a t t h e p i a n o , g i v e s commands t o which t h e student i s expected t o respond

q u i c k l y and a c c u r a t e l y . D a l c r o z e wished t o empower t h e student t o make

472
h i s / h e r own a r t i s t i c d e c i s i o n s .

N. Reading M u s i c a l N o t a t i o n

S t e i n e r d i d not advocate t h e s y m b o l i z a t i o n o f language o r music u n t i l after

t h e " n i n t h y e a r change." F o r S t e i n e r , i t was important t h a t m u s i c a l sounds

be e x p e r i e n c e d f i r s t , then symbolized. This preparation period f o r

l e a r n i n g m u s i c a l n o t a t i o n i n t h e Waldorf School p a r a l l e l s t h e p r e p a r a t i o n

f o r l e a r n i n g r e a d i n g and w r i t i n g l a n g u a g e — s p e e c h , then w r i t i n g , and

reading. In S t e i n e r ' s view, an extended p e r i o d o f e a r t r a i n i n g and o f f i n e

and g r o s s motor development u n t i l age n i n e i s necessary b e f o r e t h e a b s t r a c t

symbols o f music a r e i n t r o d u c e d . S t e i n e r students s i n g o f t e n and p l a y

t h e i r instruments from memory u n t i l Grade Three, when m u s i c a l n o t a t i o n i s

L a n d i s and C a r d e r , 86-87.

!
Choksy, 118.
 258

introduced. The c h i l d r e n make "music books" i n which they p r a c t i c e w r i t i n g

t h e C s c a l e and rhythms.

In t h e D a l c r o z e approach, the purpose of m u s i c a l n o t a t i o n i s t o communicate

473
and s t o r e m u s i c a l i d e a s , but not the essence of music i t s e l f . A

prolonged p e r i o d of m u s i c a l e x p e r i e n c e , u s u a l l y two o r t h r e e y e a r s of

Eurhythmies, i s a l s o c o n s i d e r e d necessary b e f o r e t h e i n t r o d u c t i o n of

474
musical notation. Mead s t a t e d :

Students must develop a storehouse of a u r a l and k i n e s t h e t i c

images t h a t can be t r a n s l a t e d i n t o symbols and, upon r e c a l l , be
performed at w i l l . T h i s i s the key t o music r e a d i n g . 4 7 5

Many Waldorf, Kodaly, and D a l c r o z e educators i n t r o d u c e m u s i c a l n o t a t i o n by

some form o f p i c t o r i a l representation. Students of the Dalcroze approach

476

r e p r e s e n t l o n g notes w i t h dashes and s h o r t notes w i t h d o t s . Many

Waldorf School t e a c h e r s use s t o r i e s and p i c t u r e s t o b r i d g e the gap to

abstract notation. Pictorial r e p r e s e n t a t i o n i s used by Kodaly teachers as

w e l l , e s p e c i a l l y t o t e a c h rhythmic notation. Helga Szabo, i n t h e Kodaly

Concept o f Music E d u c a t i o n , r e p o r t e d t h a t i n an e a r l y textbook by Kodaly,

p i c t u r e s of l a r g e boots r e p r e s e n t e d q u a r t e r notes and s m a l l boots
477
r e p r e s e n t e d e i g h t h notes.

4 7 3
Landis and Carder, 24.

4 7 4
Choksy et al, 338.

4 7 5
Mead, 43.

4 7 6
Landis and Carder, 24.

4 7 7
Ibid, 58.
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O r f f and Kodaly b e l i e v e d i n t e a c h i n g the c h i l d r e n from the v e r y beginning

t o l e a r n t o read and w r i t e music. O r f f f e l t t h a t l i t t l e time s h o u l d be

wasted b e f o r e m u s i c a l n o t a t i o n was introduced:

In o r d e r t o a c h i e v e freedom i n performance, the c h i l d r e n

must p l a y from memory. The t e a c h e r should n e v e r t h e l e s s
i n s t r u c t them i n m u s i c a l n o t a t i o n r i g h t from the b e g i n n i n g ,
s t a r t i n g w i t h t h e speech e x e r c i s e s where o n l y rhythmic n o t a t i o n
i s necessary. At f i r s t , m u s i c a l n o t a t i o n should p r i m a r i l y be
used t o w r i t e down o r i g i n a l i n v e n t i o n s of melody and r h y t h m . 4 7 8

C h i l d r e n are i n t r o d u c e d t o m u s i c a l n o t a t i o n i n the Kodaly Method at age

479

six, but o n l y a f t e r t h e c h i l d r e n have gained r e p e r t o i r e of r h y t h m i c and

melodic patterns. 4 8 0

U n l i k e Kodaly, O r f f d i d not i n i t i a t e a system of t e a c h i n g m u s i c a l notation.

Many o f t h e p u p i l s who were i n O r f f ' s o r i g i n a l c l a s s e s were engaged i n p r i -

vate lessons. Therefore, the t e a c h i n g o f music l i t e r a c y was not a

481

necessity. However, O r f f d i d i n c o r p o r a t e the t e a c h i n g of musical

n o t a t i o n i n h i s approach, but l i k e Dalcroze, i t was regarded as a way of

s t o r i n g i d e a s — i n O r f f ' s case, i d e a s of t h e c h i l d r e n ' s i m p r o v i s a t i o n s .

4 7 8
Carl Orff in introduction to Music for Children. Pentatonic I. ii.

A 7 9
C h o k s y et al, 340.

4 8 0
Landis and Carder, 46.

4 8 1
Choksy et al, 340.
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o I n t e g r a t i o n of Subject Matter

S t e i n e r s t r o n g l y b e l i e v e d that musical a c t i v i t i e s , as w e l l as other

artistic activities, s h o u l d be r e l a t e d t o o t h e r s u b j e c t s i n t h e c u r r i c u l u m

so t h a t t h e c h i l d c o u l d e x p e r i e n c e life as a u n i t y , as a whole. This

process i s f a c i l i t a t e d by the c o o p e r a t i v e p l a n n i n g w i t h f e l l o w t e a c h e r s .

Although O r f f , Kodaly, and D a l c r o z e might agree w i t h S t e i n e r , none

emphasized t h e i n t e g r a t i o n of academic s u b j e c t matter i n t o the l e s s o n s , o r

t h e use o f music, and o t h e r a r t s , t o enhance the academics.

P. Conclusions

In t h i s c e n t u r y , S t e i n e r , O r f f , Kodaly, and D a l c r o z e developed distinct

approaches t o music e d u c a t i o n . Through comparing the i d e a s of these

educators, s e v e r a l s i m i l a r i t i e s and c o n t r a s t s i n key areas of music

t e a c h i n g have been noted. In s e v e r a l areas, S t e i n e r ' s approach i s s i m i l a r

t o a t l e a s t one o t h e r approach. S t e i n e r b e l i e v e d i n the importance of

s i n g i n g , movement, speech, a s e q u e n t i a l c u r r i c u l u m , t h e freedom and

c r e a t i v i t y o f t h e i n d i v i d u a l t e a c h e r , and " l i v e " music. Steiner, like

Kodaly and O r f f , d i d not recommend the use of the p i a n o . The "Choroi"

movement advocated, as O r f f , i m p r o v i s a t i o n and t h e u n i t y of media.

However, t h e Waldorf approach appears t o be s t r i k i n g l y d i f f e r e n t from other

approaches i n many ways. D i f f e r e n c e i n p h i l o s o p h y can be noted i n the main

purpose o f music e d u c a t i o n ; the m u s i c a l development of t h e c h i l d ; the

t e a c h i n g o f melody, rhythm and beat, harmony, and m u s i c a l n o t a t i o n ;

 261

i n t e g r a t i o n o f music i n t o s u b j e c t matter; song r e p e r t o i r e ; instrumentation;

r o l e o f t h e t e a c h e r ; and t e a c h e r t r a i n i n g .

S t e i n e r would most p r o b a b l y endorse many o f t h e i d e a s o f O r f f , Kodaly, and

Dalcroze. A l l e d u c a t o r s seemed t o agree t h a t s i n g i n g and movement were

a b s o l u t e l y e s s e n t i a l t o t h e c h i l d ' s m u s i c a l e x p e r i e n c e and m u s i c a l

development. O r f f and S t e i n e r b e l i e v e d t h a t speech i s v e r y important t o

the c h i l d . U n l i k e t h e O r f f approach, speech i n Waldorf S c h o o l s i s t r e a t e d

as a s e p a r a t e d i s c i p l i n e . O r f f , S t e i n e r , and D a l c r o z e gave t e a c h e r s a

g r e a t d e a l o f freedom i n t h e s e l e c t i o n and p r e s e n t a t i o n of m u s i c a l

material. A l l approaches appear t o f a v o u r " l i v e " music. However, Waldorf

S c h o o l t e a c h e r s a r e adamantly opposed t o any r e c o r d e d music i n t h e p r i m a r y

grades. Kodaly and O r f f would most l i k e l y agree w i t h S t e i n e r ' s statement

t h a t t h e use o f t h e p i a n o should be minimal i n t h e lower g r a d e s . The

" C h o r o i " movement, l i k e t h e O r f f approach, emphasizes improvisation.

" C h o r o i " a l s o s t r e s s e s u n i t y o f movement, song, and i n s t r u m e n t a l work.

O r f f would have added speech t o t h i s list.

One a s p e c t which s e t s S t e i n e r ' s approach a p a r t from t h e o t h e r s i s t h e

emphasis upon t h e presumed s p i r i t u a l n a t u r e o f t h e c h i l d and o f music. The

p r i m a r y purpose o f music e d u c a t i o n i n a Waldorf S c h o o l i s t o e n a b l e t h e

c h i l d t o d i s c o v e r h i s / h e r own i n n e r world o r "own t r u e home" through music-

making. Every f a c e t o f music t e a c h i n g w i t h i n t h e Waldorf S c h o o l i s

governed by t h i s objective.

S t e i n e r and O r f f , and t o a l e s s e r degree, Kodaly, a p p l i e d t h e t h e o r y of

r e c a p i t u l a t i o n s e t out by E r n s t Haeckel i n 1899 t o e x p l a i n and j u s t i f y the

 262

m u s i c a l development of the c h i l d . S t e i n e r b e l i e v e d t h a t humankind

e x p e r i e n c e d sevenths and then f i f t h s i n t h e p a s t , and now i s a b l e t o hear

t h i r d s and seconds. S t e i n e r thought the c h i l d s h o u l d , i n i t s m u s i c a l

development, follow these stages. The t h e o r y o f b i o g e n e s i s i s a l s o , i n

A r n o l d W a l t e r ' s (1977) words, t h e " c o r n e r s t o n e o f O r f f ' s Schulwerk."

However, O r f f ' s i d e a of r e c a p i t u l a t i o n d i f f e r s g r e a t l y from S t e i n e r ' s p o i n t

of view. O r f f b e l i e v e d that the c h i l d i n h i s / h e r development relates first

to speech and movement, t o t h e simple and then t h e complex.

Steiner, i n c o n t r a s t t o O r f f , Kodaly, and D a l c r o z e , s e t f o r t h a complex

p h i l o s o p h y o f c h i l d development on which h i s i d e a s on e d u c a t i o n and music

e d u c a t i o n a r e based. S t e i n e r ' s approach was b a s i c a l l y a developmental

approach. He argued t h a t music s h o u l d be taught i n d i f f e r e n t ways t o

d i f f e r e n t age groups. S t e i n e r and Kodaly b e l i e v e d i n " c r i t i c a l learning

p e r i o d s " i n c h i l d development. They both c l a i m e d t h a t i f music was a

neglected subject i n a c e r t a i n periods i n a c h i l d ' s l i f e , the l o s s could

not be compensated for in later years.

S t e i n e r d i v e r g e d from t h e mainstream i n h i s t e a c h i n g o f melody,

beat/rhythm, and harmony. Even though S t e i n e r d i d advocate the use o f

p e n t a t o n i c music, he s p e c i f i e d t h a t o n l y DE GAB DE be used. Music i n t h e

"Mood o f t h e F i f t h , " d e f i n e d by S t e i n e r ' s s u c c e s s o r s as f r e e - f l o w i n g music

which i s c e n t e r e d around "A," i s recommended f o r t h e young c h i l d . Contrary

to t h e O r f f , Kodaly, and D a l c r o z e approaches, a f e e l i n g f o r t h e t o n i c i s

not i n t r o d u c e d u n t i l Grade Three i n Waldorf S c h o o l s . S t e i n e r ' s i d e a s on

beat/rhythm c o n t r a s t s h a r p l y w i t h t h o s e of Kodaly, O r f f , and D a l c r o z e . The

beat i n Waldorf S c h o o l s i s de-emphasized, e s p e c i a l l y i n Grades One and Two.

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S t e i n e r a d v i s e d t h a t harmony, even i n t h e form o f rounds sung o r p l a y e d by

t h e c h i l d r e n , not be i n t r o d u c e d t o t h e c h i l d r e n u n t i l Grade Three.

C o n t r a r y t o O r f f , Kodaly, and D a l c r o z e programs, t h e l e a r n i n g o f m u s i c a l

n o t a t i o n i s d e l a y e d u n t i l Grade Three i n t h e S t e i n e r approach. In t h i s

way, t h e Waldorf School approach i s s i m i l a r t o t h e S u z u k i method, where

music i s f i r s t l e a r n e d by r o t e . M u s i c a l n o t a t i o n i n t h e Waldorf S c h o o l i s

taught through p i c t u r e s and through storytelling.

Some Waldorf S c h o o l educators f a v o r b r e a k i n g away from t r a d i t i o n a l music i n

o r d e r t o t e a c h c h i l d r e n music w r i t t e n i n t h e "Mood o f t h e F i f t h , " u s u a l l y

composed by t h e t e a c h e r . T h i s thought i s i n sharp c o n t r a s t t o O r f f and

Kodaly's endorsement o f t i m e - t e s t e d f o l k music. Steiner insisted that

music based on r e v e r e n c e , nature, t h e seasons, and s u b j e c t matter i n t h e

classroom be taught t o t h e c h i l d r e n .

Many Waldorf S c h o o l s use C h o r o i and G a r t n e r instruments which a r e , o f

c o u r s e , n o t found i n O r f f , Kodaly, o r D a l c r o z e based programs. String

instruments, violin, viola, and c e l l o , are introduced t o the c h i l d r e n i n

Grade Three o r Four. The c h i l d r e n l e a r n r e c o r d e r i n Grade One i n s t e a d o f

in l a t e r grades as i n some Kodaly and O r f f programs.

A s t r i v i n g towards h i g h e r s p i r i t u a l development i s expected o f a l l Waldorf

S c h o o l t e a c h e r s , i n c l u d i n g music t e a c h e r s . T h i s a s p e c t i s not a t a l l

mentioned i n t h e o t h e r approaches.
 CHAPTER V I I I

CONCLUSIONS

Those e d u c a t o r s who have i n v e s t i g a t e d the Waldorf School approach t o music

education have r a i s e d a number of i s s u e s : r e l e v a n c e of S t e i n e r ' s approach

i n t o d a y ' s w o r l d ; the use of theory of r e c a p i t u l a t i o n as a b a s i s f o r the

curriculum; the de-emphasis of beat i n the p r i m a r y grades; the postponement

of the teaching of s o l f e g e and musical n o t a t i o n ; and the u t i l i z a t i o n of

some newly composed songs i n the "Mood of the F i f t h " i n l i e u of f o l k song

repertoire.

The S t e i n e r approach t o music t e a c h i n g does not appear t o have changed a

great d e a l s i n c e the Waldorf Schools were i n a u g u r a t e d i n 1919. Steiner's

successors have e l a b o r a t e d somewhat on S t e i n e r ' s o r i g i n a l ideas. For

example, many c h a r a c t e r i s t i c s of "Mood of the F i f t h " music have evolved

o v e r t h e time. The Choroi and G a r t n e r i n s t r u m e n t s were b u i l t after

S t e i n e r ' s death i n 1925. However, f o r the most p a r t , S t e i n e r ' s original

ideas still seem t o be followed quite faithfully.

One might argue t h a t the e d u c a t i o n has not kept pace w i t h the changes and

trends i n today's s o c i e t y . One criticism of the music program i s t h a t only

w e s t e r n music i s s t u d i e d i n the schools. In our m u l t i - c u l t u r a l ,

pluralistic s o c i e t y , i t may be argued t h a t music may be the means i n which

some degree of a p p r e c i a t i o n and t o l e r a n c e of o t h e r c u l t u r e s and modes of

expression may be fostered.

264
Even though f o l k songs are taught i n the Waldorf S c h o o l , t h e "Mood o f t h e

F i f t h " music seems t o be an i n t e g r a l and important p a r t o f t h e c u r r i c u l u m .

The S t e i n e r approach has been c r i t i c i z e d by those who b e l i e v e i n the value

of time-honored f o l k songs f o r c h i l d r e n . S t e i n e r d i d not mention t h e use

of f o l k songs f o r the younger c h i l d r e n . In Grades One and Two, children in

most Waldorf S c h o o l s s i n g and p l a y many songs composed i n t h e "Mood of t h e

Fifth." These songs are newly composed songs which u s u a l l y b e g i n and/or

end on "A," use the tone s e t DE GAB DE, and have a f l o w i n g rhythm.

Another c o n t r o v e r s i a l aspect of the S t e i n e r approach i s t h e de-emphasis o f

t h e beat b e f o r e the age of n i n e . The i n t e r n a l i z a t i o n of t h e beat i s

c o n s i d e r e d t o be an e s s e n t i a l o b j e c t i v e of most music e d u c a t i o n

philosophies. To suggest t h a t c h i l d r e n b e f o r e t h e age o f n i n e cannot feel

and e x p e r i e n c e the beat i s , t o many music e d u c a t o r s , absurd.

Music e d u c a t o r s o u t s i d e t h e Waldorf School movement may disagree with the

i d e a o f d e l a y i n g t h e t e a c h i n g of m u s i c a l n o t a t i o n u n t i l Grade Three. To do

so, some c l a i m , may r e t a r d the c h i l d ' s m u s i c a l development. Young c h i l d r e n

a r e a b l e , i t may be debated, t o decode the a b s t r a c t m u s i c a l n o t a t i o n w i t h

ease. The t e a c h i n g of s o l f e g e a f t e r a b s o l u t e note names may a l s o seem

p r e p o s t e r o u s t o some.

The use o f t h e t h e o r y of r e c a p i t u l a t i o n t o j u s t i f y the u t i l i z a t i o n o f t h e

pentatonic scale, s p e c i f i c a l l y DE GAB DE, i s a l s o c h a l l e n g e d by many. The

i n t e r v a l of t h e f i f t h as a s t a r t i n g p o i n t f o r the m u s i c a l e x p e r i e n c e i n

early childhood i s also questioned.

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On t h e o t h e r hand, those who support t h e music e d u c a t i o n program i n t h e

Waldorf S c h o o l s p o i n t t o i t s s t r e n g t h s : an environment which encourages

a r t i s t i c and m u s i c a l e x p r e s s i o n ; t h e emphasis on t h e beauty o f sound; t h e

t e a c h i n g o f r e s p e c t f o r i n s t r u m e n t s ; t h e importance o f t h e s o c i a l element

i n music-making; t h e use o f a r t and s t o r y t e l l i n g t o t e a c h a b s t r a c t m u s i c a l

concepts; the integration of the arts into the curriculum.

The Waldorf School community i s s t r o n g l y committed t o music education.

Because o f t h i s , t h e Waldorf School p r o v i d e s an environment i n which

a r t i s t i c e x p r e s s i o n , i n c l u d i n g m u s i c a l e x p r e s s i o n , i s v a l u e d and a c t i v e l y

encouraged. Much time i s devoted t o v o c a l and i n s t r u m e n t a l t r a i n i n g . In

most s c h o o l s , t h e c h i l d r e n a r e r e q u i r e d t o l e a r n how t o p l a y t h e r e c o r d e r

as w e l l as a s t r i n g instrument. In some s c h o o l s , t h e s t u d e n t s a r e even

r e q u i r e d t o take p r i v a t e lessons. The c h i l d r e n a r e g i v e n ample

o p p o r t u n i t i e s t o perform w i t h t h e i r c l a s s e s o r , i n some c a s e s ,

individually, i n weekly assemblies and monthly f e s t i v a l s . High standards

of performance a r e expected.

In t h e Waldorf S c h o o l , a g r e a t d e a l o f emphasis i s p l a c e d on t h e q u a l i t y

and t y p e o f music t o s u i t each age. Music i s thought to influence the

development o f t h e p h y s i c a l , mental, e m o t i o n a l and s p i r i t u a l b e i n g o f t h e

child. F o r t h i s reason, music f o r t h e young c h i l d e s p e c i a l l y , i s selected

for i t s i n h e r e n t beauty, ease o f s i n g i n g , and melodic flow.

The c h i l d r e n a r e taught t o take care o f and r e s p e c t m u s i c a l instruments.

In Grade One, c h i l d r e n make cases f o r t h e i r r e c o r d e r s . The o i l i n g and

cleaning of the recorders i s a r i t u a l in itself.

 267

I m p r o v i s a t i o n a c t i v i t i e s i n a Waldorf School s e t t i n g are meant t o t e a c h

more t h a n m u s i c a l s k i l l s . The c h i l d r e n , through i m p r o v i s a t i o n and through

l i s t e n i n g a r e made more aware of each o t h e r . They l e a r n t o work

c o o p e r a t i v e l y as a group and t o l i s t e n t o each o t h e r .

The use o f s t o r y t e l l i n g and p i c t o r i a l r e p r e s e n t a t i o n t o t e a c h musical

s k i l l s and concepts i s , i n the author's o p i n i o n , a s t r e n g t h of t h e program.

The s t o r i e s s e r v e t o immediately c a p t u r e the c h i l d r e n ' s a t t e n t i o n and

maintain t h e i r i n t e r e s t . Concepts are l e a r n e d and r e c a l l e d much more

e a s i l y through the stories.

As p u b l i c s c h o o l e d u c a t o r s s t r u g g l e t o f i n d a means through which t h e arts

can be i n t e g r a t e d i n t o t h e c u r r i c u l u m without s a c r i f i c i n g depth o f skill

and c o n c e p t u a l development, the Waldorf School may p r o v i d e a u s e f u l model.

Music, as w i t h a l l t h e a r t s , i s taught as a s u b j e c t ( i n most s c h o o l s a t

l e a s t two o r t h r e e time a week). However, music i s p a r t of t h e whole

approach and cannot be s e p a r a t e d from the whole. Music i s woven i n t o the

main l e s s o n i n the primary grades as w e l l as f o r e i g n language, c r a f t , and

other lessons. The c l a s s t e a c h e r i s expected t o s i n g and p l a y r e c o r d e r

w i t h h i s / h e r c l a s s as p a r t o f the d a i l y morning e x e r c i s e s . Class teachers

and music s p e c i a l i s t s o f t e n work t o g e t h e r t o c o o r d i n a t e programs. The

s t u d e n t s see a l l t h e i r t e a c h e r s as "artists."
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The a u t h o r s u g g e s t s t h e s e q u e s t i o n s f o r p o s s i b l e s t u d y :

* Does t h e approach improve l i s t e n i n g s k i l l s and v o c a l p r o d u c t i o n o f

the primary c h i l d ?

* How does t h e Waldorf School approach t o music e d u c a t i o n compare w i t h

t h e Kodaly, O r f f , and D a l c r o z e approaches i n a c t u a l practice?

* Does t h e emphasis on music and the o t h e r a r t s i n Waldorf S c h o o l s

enhance o r h i n d e r t h e academic performance o f t h e s t u d e n t s ?

* Do t h e c h i l d r e n have a p o s i t i v e a t t i t u d e about music i n t h e Waldorf

School?

* What i s t h e v a l i d i t y o f S t e i n e r ' s i d e a s about c h i l d development as

r e l a t e d t o music e d u c a t i o n ( i . e . , no r e a d i n g o f music u n t i l Grade

Three, de-emphasis on t h e beat, e t c . ) ?

* Does involvement i n music-making a c t u a l l y a f f e c t the c h i l d ' s

b r e a t h i n g and s l e e p i n g ?

* Does t h e l a c k o f emphasis on beat i n t h e e a r l y grades a f f e c t rhythmic

development i n l a t e r years?
 269

Does t h e p r o l o n g e d p e r i o d o f m u s i c a l e x p e r i e n c e h e l p t h e c h i l d r e n t o

understand musical concepts?

Does t h e use o f s t o r y t e l l i n g , image, and metaphor h e l p t h e c h i l d r e n

t o understand and r e t a i n m u s i c a l concepts?

Does t h e emphasis on i n s t r u m e n t a l music (recorder, kinderharp,

k a n t e l e , s t r i n g instruments) i n t h e younger grades affect musical

performance i n l a t e r years?

Does t h e Waldorf School approach t o music e d u c a t i o n succeed i n

instilling a life-long l o v e o f music-making? A r e alumni o f Waldorf

S c h o o l s a c t i v e i n p r o f e s s i o n a l o r amateur performance groups?

Waldorf S c h o o l s have been i n e x i s t e n c e f o r seventy y e a r s . No study has

e v e r been undertaken t o e v a l u a t e t h e e f f e c t i v e n e s s o f t h e Waldorf School

approach t o music e d u c a t i o n , perhaps because many o f t h e g o a l s (spiritual

development, " m u s i c a l i t y " f o r example) cannot be measured. The m u s i c a l

e x p e r i e n c e i n t h e Waldorf S c h o o l i s c o n s i d e r e d q u a l i t a t i v e , not

quantitative. The Waldorf School approach i s based on t h e b e l i e f o f t h e

i n n e r e x p e r i e n c e o f t h e human b e i n g . S t e i n e r never s e t out e x t e r n a l

l e a r n i n g outcomes o r o b j e c t i v e s t o be o b t a i n e d . As a r e s u l t , h i s i d e a s , i n

t h i s m a t e r i a l i s t i c age, a r e d i f f i c u l t f o r t h e modern person t o u n d e r s t a n d .

However, some a s p e c t s may be a c c e s s i b l e t o r e s e a r c h . Researchers may find

 270

the i n v e s t i g a t i o n o f the whole Waldorf School music e d u c a t i o n c u r r i c u l u m

and i t s implementation worthwhile.

 271
CHAPTER IX

BIBLIOGRAPHY

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A p e l , W i l l i , ed. Harvard D i c t i o n a r y o f Music. Cambridge, Massachusetts:

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A s t e n , E r i k a V. P r e f a c e t o The Inner Nature o f Music and t h e E x p e r i e n c e o f

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B a r f i e l d , Owen. Romanticism Comes o f Age. London: A n t h r o p o s o p h i c a l

P u b l i s h i n g Company, 1941.

Bellow, S a u l . Foreword t o The Boundaries o f N a t u r a l S c i e n c e , by Rudolf

Steiner. S p r i n g V a l l e y , New York: A n t h r o p o s o p h i c a l P r e s s , v i i - x i i i .

Bellow, S a u l . Humbolt's G i f t . New York: Avon Books, 1975.

Brod, Max. The D i a r i e s o f Franz Kafka 1910-1913. T r a n s l a t e d by Joseph

Kresh. New York: Schocken Books, 1976.

Brugge, P e t e r . D i e Anthroposophen. Hamburg: S p i e g e l V e r l a g , 1984.

B u l f i n c h , Thomas. B u l f i n c h ' s Mythology. New York: Avenel Books, 1978.

Choksy, L o i s e t a l . Teaching Music i n t h e Twentieth Century. Englewood

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Choksy, L o i s . The Kodaly Method. Englewood C l i f f s , New J e r s e y : P r e n t i c e

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F r a z e e , Jane. Discovering Orff. New York: Schott Music C o r p o r a t i o n , 1987.

Godwin, J o s c e l y n . The Harmonies o f Heaven and E a r t h . Rochester, New York:

Inner T r a d i t i o n s I n t e r n a t i o n a l , L t d . , 1987.

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Hemleben, Johannes. Rudolf S t e i n e r . Reinbek b e i Hamburg: Rowalt

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Husemann, G i s b e r t and Johannes Tautz. Der L e h r e r k r e i s um Rudolf S t e i n e r i n

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Johnston, R i c h a r d . Kodaly and E d u c a t i o n I I I , Z o l t a n Kodaly i n North

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K e l l e r , Wilhelm. O r f f - S c h u l w e r k : I n t r o d u c t i o n t o Music F o r C h i l d r e n .
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K n i e r i m , Maja. "Teaching t h e C h o r o i F l u t e , " from P e n t a t o n i c and I n t e r v a l

F l u t e s f o r K i n d e r g a r t e n and the E a r l y Grades by P a r Ahlbom, Anna
Widmark, and Maja K n i e r i m , t r a n s l a t e d by Karen and P e t e r K l a v e n e s s .
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K n i e r i m , Maja. "The I n t e r v a l F l u t e s as P r e c u r s o r s o f t h e P e n t a t o n i c Flute"

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Kodaly, Z o l t a n . The S e l e c t e d W r i t i n g s o f Z o l t a n Kodaly. T r a n s l a t e d by

L i l i Halzpy and F r e d M a c n i c o l . London: Boosey and Hawkes Music
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Ogletree, E a r l J . "A C r o s s - C u l t u r a l E x p l o r a t o r y Study o f t h e C r e a t i v e n e s s

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Germany." Ph.D. d i s s . : Wayne S t a t e U n i v e r s i t y , 1967.

Orff, Carl. I n t r o d u c t i o n t o Music f o r C h i l d r e n , P e n t a t o n i c I, by C a r l Orff

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C o n t r i b u t i o n o f D a l c r o z e , Kodaly, and O r f f , by Beth L a n d i s and P o l l y
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P e d r o l i , Thomas and Deitmar B l o c h . P l a y i n g w i t h C h o r o i F l u t e s ; An

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. Conferences w i t h the Teachers of t h e Waldorf School i n

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. The I n f l u e n c e o f S p i r i t u a l Beings Upon Man. Translation

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. Knowledge o f H i g h e r Worlds and I t s Attainment. Translation

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 277

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S c h o o l s F e l l o w s h i p P u b l i c a t i o n s , 1975, 75-77.

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1 (June 1936): 26-31
 278
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Eterman, L. Unpublished i n t e r v i e w s o f Waldorf music teachers, professional

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Eterman, M. S. Unpublished survey f o r the A s s o c i a t i o n o f Waldorf Schools

i n North America, 1987.

V i s s e r , Norbert. Unpublished a r t i c l e on C h o r o i i n s t r u m e n t s , d a t e d March

29, 1988.

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Lindenberg, Christof-Andreas. P e r s o n a l l e t t e r t o author d a t e d August 22,

1989.

Querido, Rene. Lecture. F a i r Oaks, C a l i f o r n i a , F e b r u a r y 14, 1988.

Schaub, P h i l i a . P e r s o n a l l e t t e r t o author d a t e d J u l y 23, 1989.

Scherlund, K a r i n . P e r s o n a l l e t t e r t o author d a t e d August 18, 1988.

Sease, V i r g i n i a . S i n g i n g workshop, Dornach, S w i t z e r l a n d , A p r i l 1986.

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V i s s e r , Norbert. P e r s o n a l l e t t e r t o author d a t e d September 1988.

B i b l i o g r a p h y of Waldorf Music Books

Ahlbom, Par. Soltrumman Och Andra V i s o r . Jarna: Telleby Verkstader, 1968.

Bauman, P a u l . L i e d e r der W a l d o r f s c h u l e , E r s t e s H e f t f u r d i e K l e i n e n .
Dornach, S w i t z e r l a n d : P h i l o s o p h i s c h - A n t h r o p o s o p h i s c h e r V e r l a g am
Goetheanum, 1970.

Braithwaite, Walter. A Book o f Songs, Volume One. E d i t e d by M i c h a e l

Vaughan. Forward by Yehudi Menuhin. S t o u r b r i d g e Worcs., P r i v a t e
E d i t i o n , 1970.

. E d i t e d by M i c h a e l Vaughan. A Book o f Songs, Volume Two.

 279

G a r f f , H e i n e r and Marianne. Fahr, Mein S c h i f f l e i n , Fahre. Bingenheim,

West Germany: V e r l a g Das S e e l e n p f l e g e - B e d u r f t i g e Kind, 1978.

J a f f k e , C h r i s t o p h and Magda Maier, ed. E a r l y One Morning: F o l k Songs,

Rounds, B a l l a d s , S h a n t i e s , S p i r i t u a l s and P l a n t a t i o n Songs,
Madrigals. ( S t u t t g a r t : Buchversand H. Krausz, 1987.)

Knierim, J u l i u s . O u i n t e n l i e d e r . Bingenheim, West Germany: V e r l a g Das

S e e l e n p h l e g e - B e d u r f t i g e Kind, 1970.

Kunstler, A l o i s . Das B r u n n l e i n s i n q t und saget: L i e d e r und M e l o d i e n f u r

Kinder. Bingenheim, West Germany: V e r l a g Das S e e l e n p f l e g e - b e f u r f t i g e
Kind, 1977.

K u n s t l e r , A l o i s and Olga. Sonne, Sonne s c h e i n e . Bingenheim: V e r l a g Das

S e e l e n p f l e g e - b e d u r f t i g e Kind, 1982.

L e b r e t , E l i s a b e t h . P e n t a t o n i c Songs f o r Nursery, Kindergarten, and Grades

I and I I . E l i s a b e t h L e b r e t , 1971.

L e b r e t , E l i s a b e t h . Shepherd's Songbook f o r Grades I, I I , and I I I o f

Waldorf S c h o o l s . E l i s a b e t h Lebret P r i v a t e E d i t i o n , 1975.

Masters, B r i a n . The Waldorf Song Book. Edinburgh, S c o t l a n d : F l o r i s Books,

1987.

Meyercourt, Margaret, comp. Autumn: Poems, Songs, S t o r i e s c o l l e c t e d by

K i n d e r g a r t e n Teachers from S t e i n e r Schools i n B r i t a i n f o r use i n
t h e i r work. Brookthorpe, U n i t e d Kingdom: Wynstones P r e s s , 1983.

. Gateways: Morning, Evening, B i r t h d a y s , F a i r y t a l e s — P o e m s , Songs,

S t o r i e s c o l l e c t e d by K i n d e r g a r t e n Teachers from S t e i n e r S c h o o l s i n
B r i t a i n f o r use i n t h e i r work. Brookthorpe, U n i t e d Kingdom:
Wynstones P r e s s , 1983.

. S p i n d r i f t : A Volume of M i s c e l l a n e o u s Poems, Songs, S t o r i e s

c o l l e c t e d by K i n d e r g a r t e n Teachers from S t e i n e r Schools i n B r i t a i n

f o r use i n t h e i r work. Brookthorpe, U n i t e d Kingdom: Wynstones P r e s s ,
1983.

. S p r i n g : Poems, Songs, S t o r i e s c o l l e c t e d by K i n d e r g a r t e n Teachers

from S t e i n e r Schools i n B r i t a i n f o r use i n t h e i r work. Brookthorpe,
U n i t e d Kingdom: Wynstones P r e s s , 1983.

. Summer: Poems, Songs, S t o r i e s c o l l e c t e d by K i n d e r g a r t e n Teachers

from S t e i n e r Schools i n B r i t a i n f o r use i n t h e i r work. Brookthorpe,
U n i t e d Kingdom: Wynstones P r e s s , 1983.

. Winter: Poems, Songs, S t o r i e s c o l l e c t e d by K i n d e r g a r t e n Teachers

from S t e i n e r Schools i n B r i t a i n f o r use i n t h e i r work. Brookthorpe,
U n i t e d Kingdom: Wynstones P r e s s , 1983.

Miedaner-Peereboom-Voller, Mieke. Rhvthmische L i e d e r M i t L e i e r b e g l e i t u n g

(Rhythmical Songs w i t h Lvre-Accompaniment f o r B a l l - a n d Ring-Swings.
 280
T r a n s l a t e d by J . Russ and Mrs. Murray. Z e i s t , The N e t h e r l a n d s : A. J .
Miedaner, 1976.

Muller, Christa. Seasonal Songs. Book 1. W i l l y M u l l e r , ed. Eugene,

Oregon: Eugene Waldorf S c h o o l .

Russ, Johanne. Clump-a-and Dump S n i c k l e - S n a c k . S p r i n g V a l l e y , New York:

The Mercury P r e s s , 1977.

Swinger, M a r l y s , a r r . S i n g Through the Day. Compiled and e d i t e d by t h e

Society of Brothers. R i f t o n , New York: The Plough P u b l i s h i n g House,
1968.

Swinger, M a r l y s , a r r . S i n g Through the Seasons. Compiled and e d i t e d by

t h e S o c i e t y o f B r o t h e r s . R i f t o n , New York: The Plough P u b l i s h i n g
House, 1968.
 281

APPENDIXES

APPENDIX A

ORIGIN AND GROWTH OF THE WALDORF SCHOOLS

By t h e end o f 1917, Europe was i n chaos. World War I, t h e "war t o end a l l

wars" had been i n p r o g r e s s f o r t h r e e years and was, i n f a c t , escalating.

In A p r i l 1917, t h e U n i t e d S t a t e s e n t e r e d t h e War d e c l a r i n g t h a t "the world

must be s a f e f o r democracy." In R u s s i a , t h e B o l s h e v i k R e v o l u t i o n was

taking place. A g a i n s t t h i s background, Rudolf Steiner introduced h i s

482
concept o f the "threefold s o c i a l order." In 1917, he p u b l i s h e d a
483

proclamation "To t h e German N a t i o n and t h e C i v i l i z e d World" i n German,

A u s t r i a n , and Swiss newspapers s i g n e d by n i n e t y l e a d i n g c i t i z e n s which

o u t l i n e d h i s i d e a s f o r a new s o c i a l o r d e r . Rudolf Steiner f e l t , at t h i s

time, t h a t r e l i g i o u s i n s t i t u t i o n s and governmental systems o f democracy,

bolshevism, and s o c i a l i s m , were i n c a p a b l e o f s o l v i n g t h e problems o f

humanity. I n essence, Steiner believed that c u l t u r a l - r e l i g i o u s , economic,

and p o l i t i c a l realms should i n t e r a c t i n d e p e n d e n t l y and i n freedom. He was

484
a g a i n s t t h e i d e a o f s t a t e c o n t r o l o f b u s i n e s s and o f e d u c a t i o n .

4 8 2
Tautz, 4.

4 8 3
Rudolf Steiner, " T o t h e German N a t i o n a n d t h e C i v i l i z e d World," a p p e n d i x t o Towards Social

Renewal. trans, a u t h o r i z e d by Rudolf S t e i n e r Nachlassverwaltung (Rudolf Steiner Press, London, 1977),

141-146.

4 8 4
Tautz, 9-10.
 282

In 1919, S t e i n e r ' s T h r e e f o l d Commonwealth (now t i t l e d The T h r e e f o l d S o c i a l

Order) was p u b l i s h e d . E m i l Molt, founder o f t h e s u c c e s s f u l Waldorf

A s t o r i a c i g a r e t t e f a c t o r y i n S t u t t g a r t , Germany, heard S t e i n e r ' s l e c t u r e on

t h e t h r e e f o l d s o c i a l o r d e r and was i n s p i r e d by h i s i d e a s o f s o c i a l renewal.

Molt wanted t o improve t h e l i v e s o f t h e workers o f h i s f i r m . To t h a t end,

Molt named H e r b e r t Hahn t o arrange courses f o r h i s workers. The workers,

however, wanted e d u c a t i o n f o r t h e i r c h i l d r e n . Molt asked S t e i n e r t o t a k e

486

on t h e l e a d e r s h i p o f t h e s c h o o l . On A p r i l 25th, 1919, H e r b e r t Hahn,

K a r l Stockmeyer (a t e a c h e r and an a n t h r o p o s o p h i s t ) , E m i l Molt and R u d o l f

S t e i n e r met t o g e t h e r and made t h e d e c i s i o n t o b e g i n t h e f i r s t Waldorf

S c h o o l i n S t u t t g a r t , Germany. In August, S t e i n e r gave a s e r i e s o f l e c t u r e s

487
t o t e a c h e r s s e l e c t e d t o launch t h e s c h o o l . S i n c e t h e s c h o o l was
i n t e n d e d t o s e r v e t h e c h i l d r e n o f t h e workers o f t h e Waldorf f a c t o r y , t h e

488
name "Waldorf S c h o o l " was d e s i g n a t e d .

The s c h o o l was t o be founded upon S t e i n e r ' s view o f t h e human b e i n g ,

anthroposophy. Steiner stated,

The f i r s t i d e a was t o p r o v i d e an e d u c a t i o n f o r c h i l d r e n
whose p a r e n t s were working i n the W a l d o r f - A s t o r i a F a c t o r y , and
as t h e D i r e c t o r was a member o f t h e A n t h r o p o s o p h i c a l S o c i e t y ,

4 8 5
Rudolf Steiner, The T h r e e f o l d S o c i a l O r d e r , trans. Frederick C . H e c k e l (New Y o r k :

Anthroposophical Press, 1966).

4 8 6
Steiner, Conferences with the Teachers of the Waldorf School in Stuttgart 1919-1920. Volume

One. 8.

4 8 7
Easton, 384.

4 8 8
Steiner, Conferences with the Teachers of the Waldorf School in Stuttgart 1919-1920. Volume

One. 8.
 283

he asked me t o arrange t h i s e d u c a t i o n . I, m y s e l f , c o u l d do
t h i s o n l y on the b a s i s of anthroposophy.

S t e i n e r s e t out several conditions f o r the s c h o o l : 1) t h a t the school be

f r e e o f government c o n t r o l ; 2) t h a t the s c h o o l be open t o a l l r e g a r d l e s s

of r a c i a l , economic, s o c i a l , and r e l i g i o u s background; 3) t h a t the school

o f f e r a t w e l v e - y e a r programme; 4) t h a t the s c h o o l should be open t o both

490
boys and girls.

Steiner intended t h a t the s c h o o l be r e l a t e d t o the c u l t u r a l realm o f his

t h r e e - f o l d concept independent of the government or economic sphere. It

was t o be a "Free S c h o o l , " the " F r e i e Waldorf S c h u l e , " an independent

school.

491

"We do not want t o t e a c h anthroposophical dogmas," S t e i n e r stated.

S t e i n e r b e l i e v e d h i s philosophy was able t o " i n s t i t u t e a s c h o o l on

universal-human p r i n c i p l e s and not upon the b a s i s of s o c i a l rank,

492
p h i l o s o p h i c a l c o n c e p t i o n s or any other s p e c i a l i t y . "

In S t e i n e r ' s day, the Waldorf Schools were r a d i c a l l y d i f f e r e n t from the

state schools. In the s t a t e s c h o o l s , s t u d e n t s from age eleven were

separated i n t o academic and v o c a t i o n a l streams. S t e i n e r advocated a

twelve-year curriculum which exposed students t o a wide v a r i e t y o f

4 8 9
Steiner, A Modern A r t of Education. 26.

4 9 0
Barnes, 324.

4 9
^Steiner, Conferences with the Teachers of the Waldorf School in Stuttgart 1919-1920. 17.

4 9 2
Steiner, A Modern A r t of Education. 27.
 284

493
subjects. Students were a l s o segregated a t t h a t time by sex a t t h e

secondary l e v e l i n p u b l i c s c h o o l s . 4 9 4
S t e i n e r was adamantly a g a i n s t this

practice. He s t a t e d , " . . . many one-sided views . . . have been h e l d i n

495
t h e e d u c a t i o n w o r l d — n o t o n l y t h a t o f t h e s e p a r a t i o n o f t h e sexes."

The movement grew s l o w l y . From 1919 t o 1938, e i g h t o r more s c h o o l s were

founded i n Germany, but i n 1938, t h e N a z i s c l o s e d a l l p r i v a t e s c h o o l s .

A f t e r World War I I , from 1945-1951, w i t h t h e a c t i v e c o - o p e r a t i o n of the

occupying powers i n Germany, f i v e o l d s c h o o l s were r e - e s t a b l i s h e d and

twenty new ones begun. Only t h r e e new s c h o o l s were added from 1951-1969.

However, i n t h e e l e v e n y e a r s from 1969-1980, t h e movement grew t o seventy

schools. 4 9 6
Brugge r e p o r t e d t h a t from 1975-1983, t h e movement i n Germany

grew from f o r t y - t w o s c h o o l s t o e i g h t y s c h o o l s , from twenty thousand t o

t h i r t y - s i x thousand p u p i l s . Of these e i g h t y s c h o o l s , f i f t y - o n e were

considered e s t a b l i s h e d s c h o o l s having been i n e x i s t e n c e f o r a t l e a s t

497
fifteen years.

In North America, t o o , t h e Waldorf School movement began s l o w l y , b u t i t s

p o p u l a r i t y r o s e d r a m a t i c a l l y i n t h e 1970s and 1980s. The f i r s t Waldorf

School i n North America opened i n New York i n 1928. In 1945, t h e r e were

o n l y t h r e e Waldorf Schools i n the United States. From 1945-1969, t e n new

4 9 3
Barnes, 324.

494j b i d .

4 9
^Steiner, A Modern A r t o f E d u c a t i o n . 26.

4 9 6
Tautz, 2.

497 P e t e r Brugge, D i e Anthroposophen (Hamburg: Spiegel Verlag, 1984), 80-81.

 285

s c h o o l s were added. From 1969-1988, f i f t y - s i x new s c h o o l s were

498
established.

By 1988, i n t h e U n i t e d S t a t e s and Canada approximately, t e n thousand

s t u d e n t s were e n r o l l e d i n s e v e n t y - t h r e e schools. Twenty-six o f t h e s e a r e

e s t a b l i s h e d o r "member" s c h o o l s , a c c r e d i t e d by t h e A s s o c i a t i o n o f Waldorf

Schools i n North America. E i g h t e e n s c h o o l s a r e "sponsored" s c h o o l s (not

yet a c c r e d i t e d but sponsored by a member s c h o o l ) . Twenty-nine a r e

" f e d e r a t i o n " or f l e d g l i n g schools (not y e t sponsored, but a f f i l i a t e d t o the

Waldorf S c h o o l movement). Ten s c h o o l s have a complete p r e s c h o o l through

Grade 12 programme. Canada has o n l y two member s c h o o l s , each w i t h a

complete program (Vancouver and T o r o n t o ) , and a number o f sponsored

499
schools.

* °M.
y
S. Eterman, unpublished survey f o r the A s s o c i a t i o n of Waldorf Schools i n North America.

4 9 9
Ibid.
 286

APPENDIX B

UNIQUE FEATURES OF THE WALDORF SCHOOLS

The Waldorf School has s e v e r a l f e a t u r e s which d i s t i n g u i s h i t from the

p u b l i c s c h o o l s today.

* An i n d i v i d u a l c l a s s r o o m t e a c h e r i s r e s p o n s i b l e f o r the same group o f

c h i l d r e n from Grade One through Grade E i g h t , although the children

have l e s s o n s w i t h s p e c i a l i t y t e a c h e r s throughout the day.

* The c l a s s t e a c h e r b e g i n s t h e day w i t h t h e main l e s s o n which l a s t s f o r

two hours. For t h r e e t o f o u r weeks, s t u d e n t s study a s u b j e c t i n t e n -

s i v e l y d u r i n g t h i s time. These p e r i o d s o f time are c a l l e d "main l e s -

son" b l o c k s . S t e i n e r e s t a b l i s h e d a sequence of t h e s e main l e s s o n

b l o c k s t o c o r r e s p o n d w i t h t h e developmental stages o f t h e child.

Other s u b j e c t s (music, a r t , drama, movement, gym, foreign languages)

o f t e n r e l a t e t o t h e theme o f the main l e s s o n so t h a t a l l l e a r n i n g i s

integrated.

* In a Waldorf School, there i s a prolonged p e r i o d of o r a l language

e x p e r i e n c e — l i s t e n i n g to stories, r e - t e l l i n g stories, dramatization,

s i n g i n g , and r e c i t a t i o n . The t e a c h i n g o f r e a d i n g as such b e g i n s i n

Grade Two.

* From Grade One t o Twelve, t h e students w r i t e and i l l u s t r a t e t h e i r own

textbooks. P u b l i s h e d t e x t b o o k s are r a r e l y used i n the elementary

school.
 287

Music, a r t , c r a f t s , and drama form an i n t e g r a l p a r t of t h e e d u c a t i o n .

The c l a s s t e a c h e r u s u a l l y begins the day w i t h s i n g i n g o r r e c o r d e r

playing. Eurythmy, a s p e c i a l type of movement c o n c e i v e d by S t e i n e r ,

i s a l s o p a r t of t h e c u r r i c u l u m f o r a l l grades. Weekly a s s e m b l i e s and

monthly f e s t i v a l s are h e l d . During t h e s e g a t h e r i n g s , t h e students

perform music, eurythmy, r e c i t a t i o n , as a c l a s s , i n groups, or

individually.

Two f o r e i g n languages, u s u a l l y French and German, are t a u g h t

b e g i n n i n g i n Grade One.

C o o p e r a t i o n , not c o m p e t i t i o n , i s s t r e s s e d i n every c l a s s . The more

a b l e s t u d e n t s a r e encouraged t o h e l p the l e s s a b l e . I n s t e a d of

l e t t e r grades, a n e c d o t a l r e p o r t s are g i v e n i n elementary school.

There i s u s u a l l y no headmaster o r p r i n c i p a l i n a Waldorf School. The

t e a c h e r s come t o g e t h e r once a week (or moreJ) t o d i s c u s s t h e running

o f t h e s c h o o l , t h e c h i l d r e n , and pedagogy. In some Waldorf Schools,

t h e s c h o o l board c o n s i s t s of a m a j o r i t y of t e a c h e r s .

P a r e n t a l involvement i s stressed. The c l a s s t e a c h e r a r r a n g e s meet-

i n g s a t l e a s t once a term t o which a l l p a r e n t s and subject teachers

are i n v i t e d . Because the c l a s s t e a c h e r teaches the same group o f

c h i l d r e n f o r e i g h t y e a r s , he/she, i n time, forms a s t r o n g r e l a t i o n -

s h i p w i t h t h e p a r e n t s of the c l a s s , as w i t h the children.

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APPENDIX C

CURRICULA FROM FIVE WALDORF SCHOOLS

Music Curriculum from the Garden City Waldorf School,

Garden City, New York

At t h e Waldorf S c h o o l , our i n s t r u c t i o n i s aimed not o n l y a t u n f o l d i n g each

c h i l d ' s m u s i c a l t a l e n t s , but a l s o a t d e v e l o p i n g h i s c h a r a c t e r and
c o n f i d e n c e . As w e l l as s i g n i f i c a n t l y a s s i s t i n g and s u p p o r t i n g t h e p r o c e s s
of p h y s i c a l and mental development i n t h e f o r m a t i v e y e a r s , we b e l i e v e t h a t
music w i l l harmonize and l i f t t h e i n n e r n a t u r e o f t h e c h i l d r e n . Music has
h e l p e d t o make our s c h o o l as h e a l t h y as i t i s .

Each c h i l d e x p e r i e n c e s d a i l y r e c o r d e r p l a y i n g w i t h h i s c l a s s t e a c h e r . This
b e g i n s i n t h e f i r s t grade and c o n t i n u e s through t h e c h i l d ' s lower s c h o o l
y e a r s , depending on t h e a b i l i t y o f t h e t e a c h e r . By b e g i n n i n g our
i n s t r u c t i o n w i t h c l a s s s i n g i n g and r e c o r d e r p l a y i n g , and w i t h games and
e x e r c i s e s which i n v o l v e m u s i c a l movement, we t r y t o develop t h e w i l l o f t h e
child.

The c u r r i c u l u m f o l l o w e d by t h e two music s p e c i a l i s t s i s as f o l l o w s :

Grade One

Unison s i n g i n g o f s i m p l e melodies, u s u a l l y (though not e x c l u s i v e l y ) p e n t a -

tonic. Tone matching, u s u a l l y w i t h i n t h e range o f t h e f i f t h . Clapped
rhythms o f songs and v e r s e s . D i s c o v e r y o f t h e d i f f e r e n c e between rhythm
and beat. Movement t o music, through w a l k i n g , running, s k i p p i n g , and
clapping. E x p e r i e n c e o f t h e s i m p l e s t note v a l u e s . Use o f simple
percussion instruments. S i n g i n g c i r c l e games. C h o r a l speaking and s i n g i n g
easily inter-relate.

Grade Two

Development o f a l l t e c h n i q u e s used i n Grade One. I n t r o d u c t i o n o f rounds

and canons i n s i n g i n g , speech, and w i t h rhythm i n s t r u m e n t s . S t a r t simple
p a r t songs. S t a r t echo c l a p p i n g . I n t r o d u c t i o n o f t h e tone l a d d e r . Start
recognition of i n t e r v a l s . S i n g melodies w i t h i n range o f t h e o c t a v e , o f t e n
w i t h s c a l e numbers. Introduce s i n g i n g books which c o n t a i n t h e words, but
 289
no music, t o songs t h e c h i l d r e n have l e a r n e d . Simple f o l k dances w i t h i n
the c i r c l e .

Grade Three

Development o f a l l t e c h n i q u e s used i n Grades One and Two through d i f f e r e n t

materials. More i n v o l v e d p a r t songs and canons. Begin t o read notes and
t o w r i t e on t h e s t a f f . Begin the i n v e n t i o n o f melodies. Introduce the
c o n d u c t o r ' s b e a t . Teach more c o m p l i c a t e d dances, some i n l i n e s and w i t h
changing p a r t n e r s .

Begin v i o l i n and c e l l o study as a c l a s s , i n two s t r i n g groups. Encourage

t h e u n d e r t a k i n g o f p r i v a t e l e s s o n s f o r those who seem ready.

Music C u r r i c u l u m from the Rudolf S t e i n e r S c h o o l ,

New York, New York

Grade One

Unison s i n g i n g o f simple melodies, u s u a l l y p e n t a t o n i c . Tone matching,

u s u a l l y w i t h i n the range o f t h e f i f t h . Clapped rhythms o f songs and
verses. D i s c o v e r y o f t h e d i f f e r e n c e between rhythm and beat. Movement t o
music, through w a l k i n g , r u n n i n g , s k i p p i n g and c l a p p i n g . Experience of the
s i m p l e s t note v a l u e s . Use o f simple p e r c u s s i o n i n s t r u m e n t s . Begin simple
songs on t h e p e n t a t o n i c r e c o r d e r through i m i t a t i o n .

Grade Two

Development o f a l l t e c h n i q u e s used i n Grade One. I n t r o d u c t i o n o f rounds

and canons near the end o f the s c h o o l y e a r . S i n g melodies w i t h i n t h e range
of t h e o c t a v e . Continued use of the p e n t a t o n i c r e c o r d e r p l a y i n g a l l the
p e n t a t o n i c songs the c h i l d r e n have a l r e a d y sung.
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Grade Three

More i n v o l v e d rounds and canons. Begin t o read notes and t o w r i t e on the

staff. Begin the i n v e n t i o n o f melodies. I n t r o d u c e t h e c o n d u c t o r ' s beat
and a l l t h e time s i g n a t u r e s . Begin the soprano r e c o r d e r and r e a d notes and
s i m p l e melodies u s i n g t h e r e c o r d e r . Begin t o s i n g , c l a p , and p l a y more
c o m p l i c a t e d rhythms. The c h i l d r e n make t h e i r own music books.

Music C u r r i c u l u m from the Sacramento Waldorf School

by Margaret P r e s t o n

Kindergarten

S i n g i n g by i m i t a t i o n o f t e a c h e r u s i n g very simple melodies i n t h e "Mood of

the F i f t h . " Many songs i n t h e b e g i n n i n g w i l l use o n l y one tone (the A ) .
G r a d u a l l y , t h e t e a c h e r w i l l l e a d t h e c h i l d r e n up t o t h e f i f t h above ( E ' ) ,
then down t o the f i f t h below (D). As the year p r o g r e s s e s , t h e songs ' w i l l
i n c l u d e t h e notes o f t h e p e n t a t o n i c s c a l e D,E,G,A,B,D', E'. The c h i l d r e n
do not s i n g any h a l f - s t e p s ( F - C ) nor do they descend t o Middle C.

Because so l i t t l e music a c t u a l l y e x i s t s of t h e k i n d mentioned above, t h e .

t e a c h e r w i l l have t o compose many songs. The rhythms s h o u l d be simple, up
to four beats. The s u b j e c t s can i n c l u d e t h e f a i r y t a l e world, nature world
and s e a s o n a l songs. A l s o the world around us, home, f a m i l y , h e l p e r s , e t c .
The c h i l d r e n should a l s o have i n s t r u m e n t a l e x p e r i e n c e . T h i s s h o u l d be i n a
p u r e l y i m i t a t i v e way u s i n g simple p e r c u s s i o n , f l u t e s , s t r i n g s . The
i n s t r u m e n t s themselves must be p e n t a t o n i c i n n a t u r e but even have t h e
c a p a b i l i t y o f u s i n g o n l y one o r two notes. There s h o u l d be o p p o r t u n i t y f o r
making simple music t o g e t h e r i n s m a l l groups i n response t o g e n t l e rhythms.

The a u r a l t r a i n i n g i s e s p e c i a l l y important i n e a r l y y e a r s . The c h i l d

s h o u l d be l i s t e n i n g t o a c l e a r , sweet tone ( p e r f e c t l y i n t u n e ) . This
i n c l u d e s t h e t e a c h e r ' s s i n g i n g v o i c e o r any instrument used. The use of
t h e p i a n o w i t h young c h i l d r e n should be s t r i c t l y f o r b i d d e n .

The c h i l d r e n should not be o v e r - s t i m u l a t e d by complex music. Therefore,

a l l music s h o u l d be of t h e most simple n a t u r e . Do not expose young
c h i l d r e n t o dramatic works by g r e a t composers. There i s . p l e n t y of time f o r
(

that l a t e r .
 291
I t i s o f utmost importance t h a t c h i l d r e n hear music, s o f t l y and l o v i n g l y
played. The l o u d music o f today does not belong i n a c h i l d ' s w o r l d .

The l a s t p a r t o f t h e music e x p e r i e n c e f o r t h e k i n d e r g a r t e n c h i l d i n c l u d e s
responding t o music w i t h body movement. T h i s area should a l s o i n c l u d e
simple c i r c l e games (with s i n g i n g ) from a l l p a r t s o f our c o u n t r y and, o f
course, other countries.

The p a r t mentioned above c o n c e r n i n g body movement i n response t o rhythm and

melody can be very f r e e i n nature o r i t can be body movements i n t h e form
o f eurythmy.

The f r e e response would be more o f a c r e a t i v e dance type o f movement. Here

t h e c h i l d r e n (and t h e t e a c h e r ) would respond spontaneously t o a f e e l i n g f o r
t h e rhythm o r melody. Running steps o r stamping s t e p s , t u r n s , c l a p p i n g ,
patschen, t i p t o e , marching, s k i p p i n g , hopping, e t c . c o u l d a l l be used i n a
c r e a t i v e way. There would be more o f an open c r e a t i v i t y g o i n g on w h i l e t h e
music i s b e i n g p l a y e d o r sung. T h i s c o u l d a l s o be done i n response t o
rhythmic v e r s e . The use o f tapes o r r e c o r d s would be completely out o f
p l a c e i n a Waldorf k i n d e r g a r t e n .

Eurythmy i s a s p e c i a l a r t form developed by Rudolf S t e i n e r . I t i s body

movement i n response t o rhythm and melody. I t can be very f o r m a l ( t h e r e
are g e s t u r e s f o r a l l sounds o f t h e l e t t e r s ) o r i t can be v e r y i m a g i n a t i v e
u s i n g many c r e a t i v e dance i d e a s . F o r t h e young c h i l d r e n i t u s u a l l y i s t h e
a c t i n g out i n movement o f a s p e c i a l f a i r y t a l e . The t e a c h e r (one t r a i n e d
i n t h e a r t o f eurythmy) would l e a d t h e c h i l d r e n by i m i t a t i o n through t h e
s t o r y u s i n g much movement and drama. Many o f t h e more formal eurythmy
g e s t u r e s c o u l d be used.

I t s h o u l d be s a i d here t h a t eurythmy i s r e a l l y a very s e p a r a t e t h i n g from

t h e music c l a s s but s u r e l y c r o s s e s over i n many r e s p e c t s .

One c h a r a c t e r i s t i c o f t h e type o f music we l i k e t o use w i t h young c h i l d r e n

i s one t h a t l e a v e s t h e l i s t e n e r w i t h a l o n g i n g f o r more. T h i s i s a c h i e v e d
by t h e ending o f t h e song a s k i n g a q u e s t i o n r a t h e r than by g i v i n g an
answer. In o t h e r words, do not end on t h e home tone (G i n t h i s c a s e ) .
P r e f e r a b l y t h e ending would be on A,D,B, o r E'.

K i n d e r g a r t e n c h i l d r e n do not perform i n p u b l i c . Sometimes t h e t e a c h e r a r -

ranges a v e r y i n f o r m a l program f o r t h e p a r e n t s o f t h e c h i l d r e n .
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Grade One

The c h i l d r e n c o n t i n u e on w i t h music i n the "Mood of the F i f t h " and t h e

pentatonic scale. E v e r y t h i n g s a i d i n the k i n d e r g a r t e n c u r r i c u l u m p e r t a i n s
a l s o t o Grade One.

In a d d i t i o n , t h e c h i l d r e n b e g i n t o p l a y the simple p e n t a t o n i c f l u t e . This

i s taught e n t i r e l y by i m i t a t i o n , u s i n g the s i m p l e s t o f m e l o d i e s . No
p a r t i c u l a r s t r e s s i s p l a c e d on the t e c h n i q u e o f blowing o r t h e use of the
tongue. The c h i l d r e n merely become aware of t h e i r f i n g e r s , t h e i r p o s t u r e
and t h e i r t o n e . There s h o u l d be ample o p p o r t u n i t y f o r l i s t e n i n g t o each
o t h e r p l a y i n s m a l l groups. There should be r u l e s s e t i n the b e g i n n i n g f o r
t h e c a r e of t h e f l u t e s , when t o and when not t o p l a y . A l l s h o u l d be w i t h a
l o v i n g , t e n d e r f e e l i n g f o r the instrument and t h e s o f t , w i n d - l i k e tone i t
produces. (We use the C h o r o i f l u t e s from S w e d e n — a l l p e n t a t o n i c . )

The use o f t h e f l u t e should always be with s i n g i n g . L a t e r on, t h e c h i l d r e n

w i l l a l s o mix i n t h e use of k a n t e l e , g l o c k e n s p i e l , drum, xylophone, e t c .
One would do t h i s s l o w l y and c a r e f u l l y — n o t t o o much a t once. T h i s would
be done i n a n o n - i n t e l l e c t u a l way, u s i n g a rhythmic response. One would
not g i v e c e r t a i n notes t o p l a y o r p a t t e r n s . We do not name t h e notes as
yet (merely s a y i n g 1 f i n g e r f o r B, 2 f o r A, e t c . ) .

I n c l u d e d i n t h e f i r s t grade music l e s s o n would be ample o p p o r t u n i t y t o

match t o n e s . The t e a c h e r s i n g s simple p a t t e r n s , the c h i l d r e n match them
e i t h e r as a group o r as a s i n g l e i n d i v i d u a l . There s h o u l d be l i s t e n i n g
games f o r matching tone p a t t e r n s of f l u t e and g l o c k e n s p i e l o r xylophone.
The c h i l d r e n s h o u l d become e n t i r e l y f a m i l i a r w i t h t h e i r p e n t a t o n i c s c a l e
D,E,G,A,B, D',E'. They should f e e l a t home i n t h e "Mood of t h e F i f t h " w i t h
A as t h e c e n t e r tone. They s h o u l d e a s i l y be a b l e t o match t h e jump from A
- E' and down from A - D.

We l i k e t o keep t h e s u b j e c t matter of the songs s t i l l i n the i m a g i n a t i v e

world, n a t u r e , s e a s o n a l , e t c . We a l s o b e g i n t o b u i l d up a h e r i t a g e of f o l k
songs of our c o u n t r y i n c l u d i n g s i n g i n g games (as i n the k i n d e r g a r t e n ) .
C h i l d r e n a t t h i s age do not use books nor p r i n t e d music. However, t h e y a r e
v e r y aware o f form and come t o f e e l the rhythm v e r y n a t u r a l l y through t h e
i m i t a t i o n o f the t e a c h e r .

I t s h o u l d be understood t h a t the piano i s used v e r y l i t t l e o r not a t a l l i n

Grade I . A l s o no r e c o r d s o r t a p e s .

Some music, of course, i s used t h a t i s not p e n t a t o n i c o r i n t h e "Mood o f

the F i f t h . " However, f o r the most p a r t , i t i s expected t h a t the f i r s t
grader s t i l l should l i v e i n t h e world of the f i f t h .
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Some p e r f o r m i n g i n p u b l i c i s done by t h e end o f t h e f i r s t grade year.
G e n e r a l l y , t h e y perform o n l y f o r t h e i r own p a r e n t s .

Grade Two

The same g e n e r a l c u r r i c u l u m a p p l i e s t o Grade Two as t o k i n d e r g a r t e n and

Grade One. We use t h e "Mood o f t h e F i f t h " and much p e n t a t o n i c music.

They p r o g r e s s with t h e p e n t a t o n i c f l u t e s , s i n g i n g , moving t o music,

instrument p l a y i n g . The c h i l d r e n a r e g i v e n much o p p o r t u n i t y t o make music
i n a n o n - i n t e l l e c t u a l way with t h e use o f i n s t r u m e n t s and s i n g i n g . They
s h o u l d g e t a r e a l f e e l i n g f o r t h e form and how each phrase b l e n d s t o g e t h e r
and how does i t end. Now they w i l l want t o b e g i n t o r e t u r n t o home tone.

Toward t h e end o f t h e year they a r e g i v e n t h e e x p e r i e n c e o f u s i n g music

books. They a r e taught t o r e s p e c t t h e book. They a r e taught t o f o l l o w t h e
words ad f i n d each new s t a r t i n g l i n e . When t h e r e i s more than one v e r s e
t h e y a r e taught how t o f i n d t h e i r p l a c e . We l e a r n t o use t h e song index i n
t h e back o f t h e book. Songs w i t h much r e p e t i t i o n a r e used, such a s :

1) You Turn f o r Sugar and Tea ( P l a y - p a r t y tune from Oklahoma)

2) A l l Night, A l l D a y — S p i r i t u a l

3) Angel B a n d — F o l k song from South Carolina

4) S k i p t o My L o u — A m e r i c a n p l a y - p a r t y song

5) We're Going Round t h e M o u n t a i n — F o l k song from Mississippi

The c h i l d r e n o f t h e second grade a r e ready t o b e g i n p e r f o r m i n g i n p u b l i c

and u s u a l l y make a c o n t r i b u t i o n a t every assembly.
 294

Grade Three

A l l t h a t has been w r i t t e n about k i n d e r g a r t e n , grades One 1 and Two a l s o

p e r t a i n s t o Grade Three. Up u n t i l t h e age o f n i n e , t h e c h i l d s h o u l d not be
b o t h e r e d w i t h a n y t h i n g i n t e l l e c t u a l i n music, nor s h o u l d be b o t h e r e d w i t h
rhythm. A l l m u s i c a l e x p e r i e n c e s should be i m i t a t i v e and p i c t o r i a l i n
n a t u r e . The c h i l d s h o u l d be " l i v i n g " i n the "Mood o f t h e F i f t h " and t h e
pentatonic scale.

He w i l l be e x p e r i e n c i n g t h e s i n g i n g o f simple m e l o d i e s , t h e p l a y i n g o f t h e
p e n t a t o n i c f l u t e , t h e p l a y i n g o f simple i n s t r u m e n t s . There w i l l be
o p p o r t u n i t y f o r i m p r o v i s i n g simple melodies. There w i l l be much l i s t e n i n g
to each o t h e r i n groups and i n s o l o . The t e a c h e r w i l l do much f o r them t o
i m i t a t e , s i n g i n g o r i n s t r u m e n t a l . There w i l l s t i l l be as much movement as
p o s s i b l e t o rhythmic speaking, s i n g i n g and i n s t r u m e n t a l p i e c e s . The
c h i l d r e n s h o u l d g e t a f e e l i n g f o r form.

Sometime d u r i n g t h e t h i r d grade year, t h e c h i l d r e n w i l l show t h a t they a r e

ready t o b e g i n a more i n t e l l e c t u a l approach t o t h e i r music. The t e a c h e r
w i l l sense t h i s u n r e s t and d e s i r e i n t h e c l a s s .

From a d r a m a t i c , p i c t o r i a l image t h e t e a c h e r w i l l b r i n g t o t h e c h i l d r e n t h e
b e g i n n i n g elements o f music w r i t i n g . In t h e t h i r d grade i t i s p r o p e r t o
b l e n d i n t h e main l e s s o n s t o r i e s o f t h e F a t h e r God and t h e s t o r i e s o f
creation. The c r e a t i v e music t e a c h e r can p r e s e n t through an o r i g i n a l s t o r y
of t h e Music o f t h e Angels how music came t o e a r t h .

The c h i l d r e n then embark upon a s e r i e s o f l e s s o n s i n v o l v i n g t h e w r i t i n g o f

music. F i r s t v e r y s i m p l y f i n d i n g G A B on t h e s t a f f . Many songs a r e then
w r i t t e n t o a c q u a i n t t h e c h i l d r e n w i t h these n o t e s . Note v a l u e s a r e
c a r e f u l l y brought i n w i t h s t o r i e s o f t h e e l v e s who made walking s t e p s
[ q u a r t e r notes] o r r u n n i n g s t e p s [ e i g h t h notes] o r had t o stand s t i l l
[ q u a r t e r note r e s t ] . Each c h i l d makes a music notebook and c o p i e s i n t o i t
t h e s i m p l e songs w i t h t h r e e notes, g r a d u a l l y adding t h e o t h e r n o t e s . It i s
u s u a l l y done i n t h i s o r d e r : G A B then D E then D' E'. Then c o u s i n F and
c o u s i n C come t o v i s i t t h e f a m i l y o f notes. F i n a l l y t h e whole f a m i l y i s
complete when middle C i s added (Grandma C ) .

T h i s a d d i t i o n o f middle C i s a most important s t e p . I t i s a special act of

t h e i r own a r r i v a l here on e a r t h . I t i s a most profound and l o n g -
a n t i c i p a t e d l e s s o n and must be p r e s e n t e d i n t h i s l i g h t .

A l l t h a t t h e y a r e l e a r n i n g i n t h e s c a l e i s a t t h e same time a s s o c i a t e d w i t h
t h e c o r r e c t f i n g e r i n g on t h e f l u t e (they change t o a d i a t o n i c f l u t e a t t h i s
time). They a l s o b e g i n t o l e a r n about t h e keyboard o f t h e C h o r o i o r O r f f
.instruments. Some c l a s s e s make v e r y f a s t p r o g r e s s d u r i n g t h i s time, o t h e r s
need more time and need t o go r a t h e r s l o w l y .
 295
Another a s p e c t o f t h e t h i r d grade year i s t h e i n t r o d u c t i o n o f harmony
t h r o u g h t h e use o f rounds, canons and simple o s t i n a t i . The c h i l d r e n do
t h i s i n s i n g i n g and p l a y i n g o f f l u t e s and i n s t r u m e n t s and d i v i d e i n t o
groups as soon as p o s s i b l e . There i s much l i s t e n i n g t o groups and b l e n d i n g
of t h e v o i c e with instruments.

The c h i l d r e n a r e g i v e n much music t h a t i s i n t h e s c a l e o f C. We g e n e r a l l y

do n o t use s h a r p s o r f l a t s i n Grade 3. They do, however, become a c q u a i n t e d
w i t h t h e minor mood and do some songs i n s i n g i n g o n l y They a r e a b l e t o
e x p e r i e n c e t h e d i f f e r e n c e i n f e e l i n g between major and minor.

The t h i r d grade a l s o s t a r t s t h e l e s s o n s as a c l a s s w i t h t h e s t r i n g family.

There i s much p e r f o r m i n g expected o f t h i s grade a t a s s e m b l i e s and p a r e n t

evenings.

Music C u r r i c u l u m from t h e Vancouver Waldorf S c h o o l

by L i n d a Eterman

Much o f t h e c u r r i c u l u m has been taken from t h e L o i s Choksy Kodaly Method,

Jane F r a z e e ' s O r f f C u r r i c u l u m , and t h e B r i t i s h Columbia F i n e A r t s
Curriculum.

C h e c k l i s t o f Expected Achievements i n M u s i c — G r a d e One

Material

Simple songs i n u n i s o n w i t h i n t h e p e n t a t o n i c s c a l e ("Mood o f t h e

Fifth")

S i n g i n g games and dances ( a c t i o n , tone-matching, r i d d l e s , chasing,

c o u n t i n g , c i r c l e dances)

Finger plays

S t o r i e s enhanced by music

Songs based on f a i r y t a l e s , c r a f t s and t r a d e s , n a t u r e , and seasons

 296

M u s i c a l concepts and s k i l l s

The s t u d e n t i s a b l e t o :

Rhythm:

I m i t a t e t h e movements o f t e a c h e r o r another student s i m u l t a n e o u s l y

Demonstrate and i d e n t i f y fast/slow

Use a v a r i a t i o n o f tempo i n s i n g i n g and i n s t r u m e n t a l p l a y i n g

Move t o t h e beat based on t h e movement o f melody (own beat and

imposed)

Echo s h o r t (4 t o 8 beat) rhythms performed by t h e t e a c h e r

Perform t h e rhythm o f a known song (by c l a p p i n g , t a p p i n g , e t c . )

Demonstrate l o n g / s h o r t sounds on i n s t r u m e n t s and w i t h v o i c e

Demonstrate beat o f s i l e n c e ( r e s t ) through movement

Melody:

Demonstrate and i d e n t i f y speaking, s i n g i n g , w h i s p e r i n g v o i c e

Demonstrate and i d e n t i f y h i g h and low p i t c h e s

Match p i t c h / i n t e r v a l s w i t h i n t h e p e n t a t o n i c s c a l e such as so-mi, l a -

so-mi, s o - l a - s o , e t c .

I d e n t i f y ascending, descending, r e p e a t e d t o n e s , l a r g e s k i p s through

hand o r body movements

S i n g most o f t h e Grade One p e n t a t o n i c r e p e r t o i r e i n tune

Form:

Recognize r e p e a t e d p a t t e r n s i n music (demonstrated through movement)

D i s t i n g u i s h between l i k e and u n l i k e phrases (demonstrated through

movement)

Dynamics:

I d e n t i f y and demonstrate loud/soft sounds

 297

Use v a r i a t i o n o f dynamics i n s i n g i n g and instrument p l a y i n g

Timbre:

D i s t i n g u i s h and use d i f f e r e n t q u a l i t i e s o f t h e human v o i c e — s p e a k i n g ,

singing, whispering, e t c .

Use body p e r c u s s i o n (snapping, c l a p p i n g , patschen, stamping)

D e s c r i b e v a r i o u s timbres i n instrument used i n c l a s s such as metal

sounds ( t r i a n g l e s , g l o c k e n s p i e l s , e t c . ) , s k i n s (drums),
wind ( i n t e r v a l and p e n t a t o n i c f l u t e s ) , s t r i n g s ( l y r e and
harp)

Instrumental skills

Kantele:

Strum a c r o s s t h e s t r i n g s i n an upward and/or downward motion

Strum t o beat o f song t o p r o v i d e accompaniment

Can p l u c k i n d i v i d u a l notes u s i n g index and m i d d l e fingers

Perform songs o f tone s e t s :

d-b (cuckoo i n t e r v a l ) b-a

Interval Flute:

Hold f l u t e p r o p e r l y w i t h both hands

C o n t r o l b r e a t h i n g i n o r d e r t o produce an even tone

P l a y a c c o r d i n g t o t e a c h e r ' s hand s i g n a l s

Pentatonic Flute:

Perform songs o f tone s e t s :

d-b (cuckoo interval)

b-a

b-a-g

b-a-g-e-d

d-b-e
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e-d-b-a-g-e-d

Perform simple known songs on t h e p e n t a t o n i c f l u t e by e a r

Improvise melodies on t h e p e n t a t o n i c f l u t e

Tone bells:

Strike b e l l properly ( l i k e a hot s t o v e )

"Pass" t h e sound o f t h e tone b e l l t o o t h e r s i n c i r c l e (using

eye c o n t a c t , hand movement)

Conduct a tone b e l l melody by p o i n t i n g t o c h i l d r e n who h o l d one

tone b e l l each (the "tone b e l l o r c h e s t r a " )

Improvise melodies on t h e "tone b e l l orchestra"

Percussion instruments:

P l a y hand drums, t r i a n g l e , b e l l s , wood s t i c k s , e t c . , i n an

a p p r o p r i a t e manner

Movement Skills

E x p e r i e n c e movements such as w a l k i n g , r u n n i n g , hopping, skipping,

g a l l o p i n g , stamping, t i p - t o e , e t c .

E x p l o r e movements i n v a r i e d tempo

E x p l o r e c o n t r a s t i n g movement and- d i r e c t i o n i n own space such as

high/low, up/down, q u i c k l y , s l o w l y , e t c .

Perform a c t i o n s t o accompany songs

Perform f i n g e r p l a y s

E x p l o r e "working rhythms" (chopping, hoeing, i r o n i n g , stirring,

hammering, rowing, s c r u b b i n g , e t c . )

C r e a t e movements f o r images such as f a l l i n g l e a v e s , f e a t h e r s , flying

like a bird, etc.)

Follow the leader

I m i t a t e rhythms o r movements performed by t h e t e a c h e r o r another

student

Lead t h e o t h e r c h i l d r e n i n movement
 299
Walk t o a steady beat ( i n t e r n a l and imposed)

P a r t i c i p a t e i n c i r c l e games i n which c h i l d r e n form c i r c l e w i t h group,

s i t t i n g o r s t a n d i n g ; form c o n c e n t r i c c i r c l e s w i t h p a r t n e r s

C h e c k l i s t o f Expected Achievements i n M u s i c — G r a d e Two

Material

Simple songs i n u n i s o n w i t h i n p e n t a t o n i c s c a l e , some songs w i t h i n t h e

d i a t o n i c s c a l e w i t h i n t h e range o f an octave

C o n t i n u a t i o n o f s i n g i n g games, f i n g e r p l a y s , s t o r i e s w i t h music

Songs r e l a t i n g t o f a b l e s , s a i n t s , nature, seasons, crafts, and t r a d e s

M u s i c a l Concepts and S k i l l s

In a d d i t i o n t o mastery o f p r e v i o u s l y i n t r o d u c e d concepts and s k i l l s , t h e

student w i l l be a b l e t o :

Rhythm:

Perform rhythm and beat by t a p p i n g , c l a p p i n g , e t c .

Perform t h e beat w h i l e speaking o r s i n g i n g t e x t

Use t h e symbols f o r beat such as p i c t u r e r e p r e s e n t a t i o n and l a t e r

D i s t i n g u i s h between l o u d e r and s o f t e r beats ( s t r o n g accented b e a t s ,

unaccented beats) i n p r e p a r a t i o n f o r u n d e r s t a n d i n g meter)

Recognize t h e "accent"

Melody:
I d e n t i f y ascending, descending, r e p e a t e d notes, l a r g e s k i p s , o f songs
through hand o r body movements

Make simple "melody maps"

Conduct melodies f o r t h e c l a s s through hand movements

S i n g t h e Grade Two r e p e r t o i r e o f songs i n tune

 300

Form:

Demonstrates an u n d e r s t a n d i n g o f phrase through movement

D i s t i n g u i s h between l i k e and u n l i k e phrases

Use simple r e p r e s e n t a t i o n o r l e t t e r s t o i n d i c a t e AB o r ABA form

Improvise q u e s t i o n and answer i n 8 beat phrases u s i n g body p e r c u s s i o n

Improvise i n a rondo form (using i n s t r u m e n t s )

Dynamics:

Recognize t h a t i n c r e a s i n g o r d e c r e a s i n g t h e speed o f t h e beat makes

t h e music f a s t e r o r slower

Timbre:

Perform as p a r t o f an ensemble o f i n s t r u m e n t s o f d i f f e r e n t tone

c o l o r s ( k a n t e l e , p e n t a t o n i c f l u t e s , tone b e l l s , n o n - p i t c h e d
percussion, voice)

Improvise an impromptu p i e c e o f music w h i l e " c o n d u c t i n g " an o r c h e s t r a

of these tone c o l o r s

Instrumental Skills

Pentatonic Flute:

Produce a good steady tone on a l l notes

P l a y as t e a c h e r p o i n t s t o "tone l a d d e r " — c o l o r e d d o t s on b l a c k -
board t o i n d i c a t e p i t c h

P l a y by f o l l o w i n g t e a c h e r ' s hand s i g n a l s

Perform tunes by e a r

"Conducts" melody f o r c l a s s by p o i n t i n g t o "tone l a d d e r " o r by

hand s i g n a l s

Improvise own melodies on t h e p e n t a t o n i c f l u t e

Kantele/Bordun lyre (tuned p e n t a t o n i c a l l y ) :

P l u c k two o r more s t r i n g s t o g e t h e r t o c r e a t e a bordun o r chord

 301
P l u c k i n d i v i d u a l notes u s i n g index, middle, and r i n g fingers,
f r e e and r e s t s t r o k e

b-a-g

b-a-g-e-d (by moving hand t o d i f f e r e n t p o s i t i o n s )

d-b-e

e-d-b-a-g-e-d

Perform simple known songs on t h e p e n t a t o n i c k a n t e l e by ear

Improvise melodies on the p e n t a t o n i c k a n t e l e

Tone b e l l s :

S u s t a i n v e r y simple o s t i n a t o p a t t e r n s on tone b e l l s f o r
accompaniment

P l a y simple songs by ear

Percussion instruments:

S u s t a i n v e r y simple o s t i n a t o p a t t e r n s on p e r c u s s i o n instruments

Movement Skills:

Walk w i t h p a r t n e r t o a steady beat

Perform simple dance s t e p s such as "promenade," "elbow swing," "two-

hand swing," " h e e l - t o e , " e t c .

Perform 4 l e v e l o f body p e r c u s s i o n i n sequence g i v e n by teacher

(snap, c l a p , patschen, stamp)

Change p a r t n e r s i n c o n c e n t r i c c i r c l e dances

Perform l i n e d a n c e s — f o r m arches, "cast-off"

C r e a t e own movements i n o r d e r t o dramatize songs ( i . e . , songs

r e l a t i n g to fables)
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C h e c k l i s t o f Expected Achievements i n M u s i c — G r a d e Three

Material

F o l k songs, a r t songs, work songs w i t h i n p e n t a t o n i c and d i a t o n i c

s c a l e , u s u a l l y w i t h i n t h e range o f an o c t a v e

Simple 2 and 3 p a r t rounds

Songs w i t h simple ostinati

Hymns, psalms, songs w i t h O l d Testament themes, Hebrew songs,

g a r d e n i n g and farming songs, songs about time, months, and
seasons

M u s i c a l Concepts and Skills

In a d d i t i o n t o mastery o f p r e v i o u s l y i n t r o d u c e d c o n c e p t s and s k i l l s , the

s t u d e n t w i l l be a b l e t o :

Rhythm:

I d e n t i f y and perform "rhythm" o f song

D i f f e r e n t i a t e rhythm from beat

Identify "accent"

Conduct songs i n 2/4 time

Conduct songs i n 3/4 time

Conduct songs i n 4/4 time

D i s c o v e r t h e a p p r o p r i a t e meter f o r a g i v e n song (2/4, 3/4, 4/4)

Perform «l as " t a "

Perform f\ as "ti-ti"

Perform ^ as " r e s t " — a s i l e n t b e a t , i n d i c a t e d by hands t o

s i d e , palms upward

Read rhythms w #«* r from a c h a r t o r b l a c k b o a r d

Use p o p s i c l e s t i c k s t o d e r i v e p h r a s e s o f songs o f 2/4, 3/4 o r 4/4

time

Identify } J as a "tie"
 303

Identify as " h a l f note"

Read rhythm charts: Perform simple rhythmic canons

Determine where a c c e n t e d beats are (meter)

Identify "bar lines"

Place bar l i n e s i n musical notation

Identify | | as "measure"

Perform simple o s t i n a t o w h i l e s i n g i n g

Take simple rhythmic d i c t a t i o n

Complete a "rhythm book"—made by the s t u d e n t i n c l u d i n g i l l u s t r a -

t i o n s and t e x t c o n c e r n i n g the rhythmic c o n c e p t s s t u d i e d i n
Grade 3

Melody:

Identify ^ as G c l e f and t r e b l e c l e f

Identify as F c l e f and bass clef

Identify "staff"

Recognize t h a t t h e s t a f f has f i v e l i n e s and f o u r spaces

Recognize t h a t t h e l i n e s and spaces a r e counted from t h e bottom line

o r space up

Recognize, w r i t e , and perform t h e C s c a l e on t h e C - f l u t e and tone

bells

Recognize t h a t stems o f notes u s u a l l y go up below t h e b l i n e and down

above the b l i n e

Copy music from t h e board c o r r e c t l y and neatly

Take simple m e l o d i c d i c t a t i o n

Complete a "melody b o o k " — a book made by the s t u d e n t which i n c l u d e s

i l l u s t r a t i o n s and t e x t c o n c e r n i n g t h e m e l o d i c c o n c e p t s s t u d i e d
i n Grade 3

Harmony:

Sing rounds

Perform rounds on i n s t r u m e n t s
 304

Lead rounds

Hold own w i t h another person i n a two-part round

Form:

Recognize as a "phrase mark

Recognize •I as a " r e p e a t s i g n

Recognize
II as a "double b a r " — e n d o f song

Dynamics:

Use a p p r o p r i a t e dynamics i n a p i e c e o f music

Timbre:

Recognize and name t h e d i f f e r e n t f a m i l i e s o f i n s t r u m e n t s

Instrumental Skills

C-flute

Read and perform on t h e C - f l u t e B-A

B-A-G

C-B-A-G

D-C-B-A-G

F#

(By t h i s time, t h e s t u d e n t may have begun p r i v a t e t u i t i o n on an

instrument of h i s / h e r choice. S t r i n g i n s t r u m e n t s such as v i o l i n and
c e l l o are preferred.)
 305

Movement Skills

Perform s i m p l e s u c c e s s i v e i m i t a t i o n i n canon

Move i n 2/4, 3/4, 4/4 time

C r e a t e own dances

Perform question-and-answer i m p r o v i s a t i o n w i t h body p e r c u s s i o n

Use body movements t o demonstrate symbols o f m u s i c a l n o t a t i o n :

quarter notes—walking;
eighth notes—running;
h a l f n o t e s — s t e p , pause;
d o t t e d h a l f n o t e s — s t e p , pause, pause;
whole n o t e s — s t e p , pause, pause, pause;
s i x t e e n t h n o t e s — r u n n i n g with t i n y steps

Perform simple f o l k dances, i . e . : Dance o f G r e e t i n g ( C l a p , c l a p ,

bow); We Stamp With the L e f t Foot; I See You (Swedish);
Oats, Peas, Beans and B a r l e y
 306

Music Curriculum from The Waldorf School of Baltimore

by Joanne K. Karp

G e n e r a l O b j e c t i v e s (Grades One Through E i g h t ) :

To l e a r n t o understand, a p p r e c i a t e , and perform music through the

following:

1) Ear-training (listening, "echoing")

2) Singing

3) Rhythmic movement ( D a l c r o z e Eurhythmies)

4) Learning to play the recorder

5) I n t r o d u c t i o n t o the violin

6) Improvising ( i n s i n g i n g and recorder)

7) L e a r n i n g t o read and w r i t e music

8) S t u d y i n g music t h e o r y :

Melody-Harmony

Interval-Scales

Modes-Chords

9) S t u d y i n g m u s i c a l form, m u s i c a l s t y l e s and music p e r i o d s

10) Composing

11) A t t e n d i n g c o n c e r t s and m u s i c a l programs

12) Performing i n assemblies, work-shops, and concerts

Grade One

Students w i l l begin t o develop t h e i r s i n g i n g , e a r - t r a i n i n g , rhythmic under-

s t a n d i n g , i m p r o v i s a t i o n , and r e c o r d e r p l a y i n g through t h e f o l l o w i n g
methods:

.Listening
 307

Echoing

Imitating

Games

Stories

Grade Two

Students w i l l review and c o n t i n u e t o develop t h e i r m u s i c a l s k i l l s (as i n

Grade One) w i t h emphasis on b e g i n n i n g t o w r i t e rhythmic n o t a t i o n and
i m p r o v i s i n g t h e i r own music through t h e f o l l o w i n g :

Singing—improvising u s i n g rhythmic n o t a t i o n

P l a y i n g t h e r e c o r d e r u s i n g rhythmic n o t a t i o n

S i n g i n g and p l a y i n g m u s i c a l "questions and answers"

Grade Three

S t u d e n t s w i l l f u r t h e r d e v e l o p t h e i r s i n g i n g and r e c o r d e r s k i l l s and b e g i n
l e a r n i n g b a s i c m u s i c a l form and t h e r e a d i n g and w r i t i n g o f music. T h i s i s
accomplished through t h e use o f :

Singing—using s o l f e g e s y l l a b l e s , numbers and l e t t e r names

S i g n i n g rounds and canons

P l a y i n g rounds and canons on t h e r e c o r d e r

W r i t i n g t h e i r own music

Reading and s i n g i n g music composed by themselves

In a d d i t i o n t o t h e above, a l l t h i r d grade students w i l l be i n t r o d u c e d t o

t h e v i o l i n i n a B e g i n n e r ' s V i o l i n c l a s s , which w i l l meet t w i c e weekly f o r a
p e r i o d o f t h r e e months.
 308

APPENDIX D

SOME CHOROI IMPROVISATION EXERCISES

In Grade One, e x e r c i s e s i n i m p r o v i s a t i o n on t h e i n t e r v a l f l u t e s a r e

d e s i g n e d t o c u l t i v a t e t h e c h i l d r e n ' s tone-matching a b i l i t i e s . As mentioned

e a r l i e r , there are three kinds of i n t e r v a l f l u t e (D-A, E-B, and D-G).

I d e a l l y , t h e r e should be one f l u t e f o r every c h i l d i n t h e c l a s s , r o u g h l y an

e q u a l number o f each type o f f l u t e .

Maja K n i e r i m o u t l i n e d t h e s t r u c t u r e o f a m u s i c a l game w i t h interval

flutes. 5 0 0
In t h i s game adapted by t h e author, t h e t e a c h e r g i v e s a f l u t e

t o each student and chooses t h r e e students w i t h d i f f e r e n t f l u t e s t o be

leaders. The l e a d e r s stand w i d e l y apart i n f r o n t o f t h e c l a s s o r i n t h r e e

c o r n e r s o f t h e room. One by one, t h e r e s t o f t h e c h i l d r e n p l a y t h e i r

flutes, and t r y t o match t h e i r tones w i t h one o f t h e l e a d e r s ' f l u t e s . The

c h i l d r e n s t a n d behind t h e i r r e s p e c t i v e l e a d e r s . T h i s process continues

u n t i l a l l c h i l d r e n have found t h e i r "homes."

The t e a c h e r then l e a d t h e c h i l d r e n i n an i m p r o v i s e d c o m p o s i t i o n conducting

t h e g r o u p s — p a l m down f o r low t o n e s , hand h e l d v e r t i c a l l y f o r high tones.

The c h i l d r e n a r e l a t e r g i v e n t h e e x p e r i e n c e o f l e a d i n g t h e groups.

Maja K n i e r i m p o i n t e d out t h a t t h e C h o r o i f l u t e s can a l s o be a k i n d o f

percussion instrument—a " f l u t e drum." By p l a c i n g t h e f i n g e r s o f t h e r i g h t

hand over t h e h o l e s and s t r i k i n g t h e end o f t h e f l u t e w i t h t h e palm o f t h e

^tylaja Knierim, "The Interval Flutes as Precursors of the Pentatonic Flute," Choroi. by Geert

Mulder et al (Choroi promotional m a t e r i a l ) , 16.

 309

l e f t hand, an i n t e r e s t i n g sound i s p r o d u c e d — a h i g h tone i f a few h o l e s a r e

covered, a low tone i f a l l h o l e s a r e covered. M e l o d i e s may be improvised

501
above a rhythmic o s t i n a t o o r a steady beat c r e a t e d by t h e " f l u t e drum."

In another i m p r o v i s a t i o n e x e r c i s e w i t h i n t e r v a l f l u t e s , the t e a c h e r asks

f i v e c h i l d r e n t o l i n e up i n t h i s o r d e r : D (D-A f l u t e w i t h c l o s e d h o l e ) , E

(E-B f l u t e w i t h c l o s e h o l e ) , G (D-G f l u t e w i t h c l o s e d h o l e ) , A (D-A flute

w i t h open h o l e ) , and B (E-B f l u t e with open h o l e ) . A f t e r the t e a c h e r

conducts t h i s s c a l e up and down, t h e c h i l d r e n change p l a c e s t o c r e a t e a new

melody. Maja K n i e r i m commented on t h e purpose of t h e e x e r c i s e :

The ever-changing note sequences s t i m u l a t e both t h e p l a y e r s and

t h e l i s t e n e r s v e r y s t r o n g l y because o f t h e j o y f u l n e s s ,
a t t e n t i v e n e s s , and excitement they c r e a t e . A f t e r a w h i l e t h e
c h i l d r e n w i l l know from t h e s t a r t how t h e melody w i l l sound
w i t h a new arrangement o f p l a y e r s . They w i l l l e a r n t h e notes
p e r s o n i f i e d by t h e i r f r i e n d s and remember t h e m . ^ 02

Maja K n i e r i m a l s o advocates question-and-answer i m p r o v i s a t i o n u s i n g

interval flutes. The t e a c h e r i m p r o v i s e s a phrase on t h e p e n t a t o n i c flute.

503
The c h i l d r e n answer w i t h a phrase p l a y e d on t h e i r i n t e r v a l flutes.

N o r b e r t V i s s e r recommended t h a t c h i l d r e n p r e t e n d t o c a r r y on c o n v e r s a t i o n s

504
w i t h t h e i r f l u t e s r e g a r d i n g t h e weather, what they want t o do, e t c .

^Maja Knierim, "Teaching the Choroi F l u t e , " P e n t a t o n i c and Interval Flutes for Kindergarten

and the Early Grades, by P a r Ah I bom, Anna Widmark, and M a j a K n i e r i m , trans. P e t e r and K a r e n Klaveness

(Fair Oaks, California: Choroi Musical Instruments, 1986), 11.

5 0 2
Maja Knierim, Choroi. 19.

5 0 3
Ibid, 24.

SO^visser, interview July 1985.

 310

When t e a c h i n g the p e n t a t o n i c f l u t e , the t e a c h e r i s encouraged t o a p p l y much

"echo p l a y i n g " o r i m i t a t i o n of s h o r t m u s i c a l m o t i f s i n t h e b e g i n n i n g . When

t h e c h i l d r e n are f a m i l i a r w i t h the f i n g e r i n g , t h e c h i l d r e n can experiment

with improvisation.

In one game designed by Maja Knierim, which i n c o r p o r a t e s l i s t e n i n g ,

instrumental s k i l l s , and movement, the c h i l d r e n form d i f f e r e n t groups

throughout t h e room. One group i s d e s i g n a t e d t o be, f o r example, b i r d s i n

a p i n e f o r e s t , another b i r d s on a mountain. A " c a l l e r " moves from one

group t o t h e next, p l a y i n g two o r t h r e e note m o t i f s . The children (birds)

r e p e a t t h e phrase. Now s e v e r a l c a l l e r s are d e l e g a t e d t o awaken t h e forest.

The " b i r d s " begin to " f l y " from area t o area w h i l e p l a y i n g t h e i r flutes.

E v e n t u a l l y , perhaps through a s i g n a l from the t e a c h e r , they r e t u r n t o t h e i r

p l a c e and calm is restored. 5 0 5

P e d r o l i and Bloch u t i l i z e d t h i s improvisation e x e r c i s e with f l u t e s . The

c h i l d r e n stand i n a c i r c l e . One c h i l d walks through the circle,

i m p r o v i s i n g , and e v e n t u a l l y s t a n d s i n f r o n t of a n o t h e r c h i l d who t a k e s

his/her place. I t i s emphasized t h a t t h e game s h o u l d take p l a c e w i t h no

506
t a l k i n g — " t h e game i s t o be l e d e n t i r e l y by t h e tone o f the flute."

Helmut Krause, a music t e a c h e r and c l a s s t e a c h e r from t h e Toronto Waldorf

S c h o o l , uses the f o l l o w i n g hand s i g n s t o i n d i c a t e p i t c h e s when t e a c h i n g

songs. Krause and h i s s t u d e n t s use the s i g n s f o r i m p r o v i s a t i o n as w e l l .

^ M a j a Knierim, "Teaching the Choroi Pentatonic Flute," in Pentatonic and Interval Flutes for

K i n d e r g a r t e n and the E a r l y G r a d e s by Par Ahlbom, Anna Widmark, and Maja K n i e r i m , (Choroi promotional

material), 8-9.

->^Pedroli and Bloch, "Playing with Choroi Flutes: An Introduction," 12.

 311

The r i g h t hand i s s p e c i f i e d as the "melody hand." The diagram i s drawn as

507
seen from t h e c h i l d r e n ' s p e r s p e c t i v e .

Pi

The author a s s i g n e d c o l o r s t o each note C ( y e l l o w ) , B (orange), A (red), G

( p u r p l e ) , F (dark b l u e ) , E ( l i g h t b l u e ) , D (green). In Grades One and Two,

o n l y t h e notes DE GAB were used. C o l o r e d d o t s were drawn v e r t i c a l l y on the

board. By p o i n t i n g t o t h e dots, t h e author was able t o t e a c h and review

songs t h e c h i l d r e n had l e a r n e d on t h e i r i n t e r v a l f l u t e s , p e n t a t o n i c flutes,

k l a n g s p i e l , and bordun l y r e . ( C o l o r e d s t r i p s were p l a c e a l o n g t h e pegs of

the l y r e . ) The a u t h o r and the c h i l d r e n were a b l e t o c r e a t e new m e l o d i e s on

t h e board by p o i n t i n g t o the d o t s . Using c o l o r e d p e n c i l s , the c h i l d r e n

drew t h e i r c o m p o s i t i o n s for future reference.

E x e r c i s e s i n bordun l y r e i m p r o v i s a t i o n have a l s o been developed by Waldorf

School music e d u c a t o r s . In one game, t h e c h i l d r e n s i t or s t a n d in a circle

^^Helmut Krause, personal l e t t e r d a t e d June 1982.

 312

holding l y r e s . One c h i l d strums h i s / h e r l y r e and "passes" t h e strum t o t h e

person on h i s / h e r r i g h t o r l e f t . The sound then t r a v e l from c h i l d t o c h i l d

around t h e c i r c l e .

In another l y r e e x e r c i s e , one person i m p r o v i s e s a melody and t h e n , by

making eye c o n t a c t w i t h another person strums t h e instrument i n a downward

f a s h i o n , and "passes" t h e melody t o another person i n t h e c i r c l e who

" c a t c h e s " t h e melody and begins t o i m p r o v i s e .

Andrea Pronto, l y r e p l a y e r and t e a c h e r , r e l a t e d a game which d e v e l o p s

l i s t e n i n g s k i l l s and a l s o encourages movement w i t h t h e l y r e . Two c h i l d r e n

a r e p l a c e d w i t h i n a c i r c l e o f c h i l d r e n who a r e s t a n d i n g h o l d i n g hands. One

c h i l d has a l y r e and t h e o t h e r c h i l d i s b l i n d f o l d e d . The b l i n d f o l d e d child

must touch t h e moving c h i l d who improvises on t h e l y r e w h i l e c o n s t a n t l y

changing position.

A m u s i c a l game w i t h k l a n g s p i e l develops s o c i a l awareness and c r e a t e s a

l i s t e n i n g mood. Each c h i l d i s g i v e n a removeable k l a n g s p i e l ( e i t h e r DE GA

o r B) and a m a l l e t . One c h i l d begins t h e game by s t r i k i n g his/her

k l a n g s p i e l and " p a s s i n g " t h e tone through t h e c i r c l e t o another c h i l d i n

t h e c i r c l e , u s i n g eye c o n t a c t and movement o f t h e k l a n g s p i e l t o i n d i c a t e

choice. No speaking i s a l l o w e d . The c h i l d who r e c e i v e s t h e tone "passes"

i t on t o another c h i l d and so on. When t h e e x e r c i s e i s executed i n

complete s i l e n c e , a melody emerges. T h i s e x e r c i s e can a l s o be t r i e d with

t h e d i a t o n i c s c a l e and t h e twelve-tone s c a l e i n l a t e r grades.

The author devised a v a r i a t i o n o f t h e game c a l l e d "Secret Friends" i n which

tone-matching s k i l l s were p r a c t i c e d . Two s e t s o f k l a n g s p i e l s a r e needed

f o r t h i s game. Each c h i l d i n t h e c i r c l e has a " s e c r e t f r i e n d " w i t h an

i d e n t i c a l sounding k l a n g s p i e l . By p a s s i n g t h e tones through t h e c i r c l e ,

each c h i l d attempts t o f i n d h i s / h e r s e c r e t f r i e n d .

The a u t h o r used s t o r y t e l l i n g e x t e n s i v e l y t o f a c i l i t a t e improvisation. (See

Appendix E, S t o r i e s , "The I s l a n d . " ) In one rondo e x e r c i s e , lyres, flutes,

and k l a n g s p i e l s improvise together i n t h e "A" s e c t i o n . In t h e o t h e r

s e c t i o n s , c h i l d r e n played s o l o s o r group improvisations.

 314

APPENDIX E

STORIES

In t h i s s e c t i o n , some examples o f t e a c h i n g methods o f Waldorf S c h o o l music

t e a c h e r s w i l l be g i v e n t o demonstrate t h e use o f images and metaphor,

p i c t u r e s and s t o r y t e l l i n g i n t h e music lesson.

1. Lebret

E l i s a b e t h L e b r e t , author o f Shepherd's Sonqbook f o r Grade One, Two, and

Three o f Waldorf S c h o o l s employed a v a r i e t y o f media t o t e a c h m u s i c a l

notation.

The songs i n L e b r e t ' s book a r e connected by a s t o r y about t h e adventures o f

a shepherd, h i s f l o c k , and h i s dog. To L e b r e t , t h e metaphor o f a shepherd,

t h a t o f a n a t u r a l a u t h o r i t y , i s a p p r o p r i a t e t o t h e Grade One, Two, and

508
Three Grade level.

L e b r e t b e g i n s her t e a c h i n g o f melodic n o t a t i o n by making t h e c h i l d r e n aware

of the melodic l i n e . "As t h e r e a l music o c c u r s i n t h e i n t e r v a l s , not i n

t h e t o n e s themselves, t h e m e l o d i c l i n e i n i t s movement might be t h e v e r y

509
first s t e p i n t o an awareness o f 'higher' and 'lower'"

5 0 8
Lebret, 3.

5 0 9
I b i d , 68.
 315

To i n t r o d u c e t h e i d e a o f h i g h e r and lower p i t c h e s , she suggested that a

group o f c h i l d r e n move a c r o s s t h e room from l e f t t o r i g h t w h i l e s i n g i n g and

" w r i t e " t h e melody w i t h t h e i r arms i n t h e a i r . A t t h e end o f t h e phrase,

t h e c h i l d r e n r u s h back t o b e g i n again. These movements can then be

produced i n w r i t t e n form i n t h e c h i l d r e n ' s music books and i l l u s t r a t e d with

pictures.

Lebret suggested t h a t t h e s t a f f be i n t r o d u c e d p i c t o r i a l l y . She taught a

t h r e e note song about a r i v e r . She e x p l a i n e d t h a t she drew a t h i c k l o n g

b l u e l i n e t o r e p r e s e n t a r i v e r on t h e board. Above t h e r i v e r , she sketched

brown " r e e d s , " and below t h e r i v e r , a green meadow. These areas represent

the three notes. The s h o r t and long " t r a c k s , " t h e melody r e p r e s e n t i n g t h e

movement o f t h e c h i l d , a r e drawn i n . L e b r e t suggested t h a t t h e song c o u l d

be w r i t t e n on t h e f l o o r as w e l l and t h e song c o u l d then be "walked"

through. The c h i l d r e n then draw t h i s p o r t r a y a l o f t h e song i n t o their

511
music notebooks.

To i n t r o d u c e t h e f i v e - l i n e music s t a f f , L e b r e t made a wooden s t a f f out of

doweling. F i v e h o r i z o n t a l wooden s t i c k s o r doweling were f i t t e d i n t o two

v e r t i c a l poles. The d i s t a n c e between t h e s t i c k s was wide enough f o r a

child fist t o be p l a c e d i n between t o r e p r e s e n t a space i n o r d e r t h a t t h e

c h i l d g a i n s an u n d e r s t a n d i n g o f t h e concept t h a t t h e space i s between t h e

lines. To demonstrate a note on a l i n e , t h e c h i l d grasps t h e s t i c k . The

c h i l d r e n s i n g t h e song w h i l e producing t h e tones on t h e wooden s t a f f . In

t h i s way, t h e s t a f f i s g i v e n t o t h e c h i l d r e n "with t h e c h i l d ' s own l i v i n g

5 1 0
ibid.

5 1 1
I b i d , 69.
 316

512
hand, on t h e b a s i s o f h e a r i n g . " The c h i l d r e n then w r i t e t h e i r songs i n

t h e i r notebooks, e v e n t u a l l y u s i n g e l e v e n notes from C-E^" by t h e end o f

513
Grade Three.

A b s o l u t e p i t c h i s a concept t h a t some c h i l d r e n f i n d d i f f i c u l t t o g r a s p a c -

c o r d i n g t o L e b r e t . To make t h i s i d e a e a s i e r t o understand, Lebret advocated

t h a t t h e t e a c h e r l i n k t h e names o f t h e notes w i t h t h e c h i l d r e n ' s f i r s t o r

l a s t names. L e b r e t r e f e r r e d t o these notes as " f a m i l y . " The "tones" can

be c a r r i e d t o t h e i r proper p l a c e s by c h i l d r e n whose names do not s t a r t with

t h e l e t t e r names o f t h e m u s i c a l alphabet.

Only then i s i t time t o l i n k a note w i t h a p o s i t i o n on t h e s t a f f . Lebret

e x p l a i n e d t o t h e c h i l d r e n t h a t G holds t h e s e c r e t o f where t h e tones should

be on t h e s t a f f . The G f i x e s i t s s i g n on t h e s t a f f t o d e c l a r e t h a t i t s

home i s on t h e second l i n e and t h a t a l l o t h e r s must f a l l in line! Lebret

suggested t h a t t h e t r e b l e c l e f be drawn on t h e f l o o r and t h a t t h e c h i l d r e n

514
have t h e o p p o r t u n i t y t o walk i t s form.

2. Preston

In a b o o k l e t e n t i t l e d "A New S t r i n g E x p e r i e n c e . " Margaret P r e s t o n , music

specialist a t t h e Sacramento Waldorf S c h o o l , o u t l i n e d her l y r e program f o r

5 1 2
Ibid.

5 1 3
Ibid.

^Lebret, 70.
 317

t h e Grade Three C l a s s . C r u c i a l t o her program are her s t o r i e s about the

instruments and how m u s i c a l n o t a t i o n came i n t o b e i n g . The story, "The

F i r s t Harp," an I r i s h t a l e by P a d r a i c Colum, h e l p s the c h i l d r e n t o make a

c o n n e c t i o n t o t h e instrument they w i l l p l a y . Another s t o r y i n t h e b o o k l e t ,

" A p o l l o ' s L y r e , " by Marianna B r i k e , i n t r o d u c e s the notes of t h e p e n t a t o n i c

s c a l e DE GAB. Preston's own s t o r y "Return t o Heaven" i s a s e q u e l t o

"Apollo's Lyre." I t e x p l a i n s how the hero, the S h i n i n g One, returns to

heaven t o t e a c h t h e Angels t o p l a y and s i n g . However, they soon f o r g e t

t h e i r notes. They need a way of s t o r i n g o r remembering the music. The

matter i s taken up by F a t h e r God.

Then the F a t h e r God d i d a strange t h i n g . He motioned f o r

some Music Angels t o b r i n g him a l a r g e , m i s t y c l o u d . He s t o o d
before a cloud of mist. He r a i s e d h i s mighty hands and spread
h i s f i n g e r s wide a p a r t . With a l a r g e sweep a c r o s s t h e c l o u d
w i t h h i s f i n g e r s of one hand, he made f i v e l i n e s appear. With
a l a r g e sweep o f t h e o t h e r hand, he made f i v e more l i n e s appear
below i t . [On t h e chalkboard, the s t o r y t e l l e r w i l l do t h e same
w i t h h i s / h e r hands.] On the t o p p a r t , he made a s i g n which
r o s e up l i k e a f o u n t a i n . On the bottom, he made another s i g n
515
which covered a l l f i v e l i n e s .

The c h i l d r e n r e c i t e t h i s v e r s e as they w r i t e the t r e b l e c l e f i n the a i r or

i n t h e i r music notebooks:

A f o u n t a i n of music r o s e i n the sky

And tumbled down b e f o r e my eye
And s p l a s h e d upon a s t a f f of g o l d
And c u r l e d i t s e l f around my s o u l . ^ 5

•^Margaret Preston, A New String Experience (Fair Oaks, California: Rudolf Steiner College,

1984), 10.

5 1 6
Ibid.
 318

3. Bouldinq

Pam Boulding i s a professional harpist, recording a r t i s t , and music teacher

at t h e Morning S t a r School i n G i g Harbor, Washington. Boulding teaches

music n o t a t i o n i n Grade Four. She b e l i e v e s t h a t i n t e a c h i n g m u s i c a l

n o t a t i o n , t h e l e a r n i n g of the notes s h o u l d precede t h e l e a r n i n g o f rhythmic

values. She argues t h a t " i t i s much more l o g i c a l t o b r i n g i n what t h e s e

n o t e s a r e , and who they a r e , where they a r e , how t h e y sound, how they look

517
on paper b e f o r e you l e a r n what i s a h a l f , a whole, a q u a r t e r note."

Because B o u l d i n g always begins and ends her songs on "A," which she refers

to as t h e "sun tone," she f e e l s t h a t t h i s note i s t h e f i r s t tone t h e

c h i l d r e n should learn. She teaches the c h i l d r e n a song about t h e sun which

c o n s i s t s o f o n l y one note, 'A.' The c h i l d r e n a r e a b l e , i n B o u l d i n g ' s

words, " t o f i n d the 'A' from the a i r , because we always began w i t h 'A. ' . .

. They c o u l d always s i n g "A' and then f i n d i t on t h e lyre."

B o u l d i n g e x p l a i n e d t h a t her s t o r i e s , songs, and methods of t e a c h i n g music

are determined by what t h e c h i l d r e n seem t o need a t t h e moment. She

d e s c r i b e d how she used s t o r y t e l l i n g and p i c t u r e s t o t e a c h m u s i c a l n o t a t i o n

to a p a r t i c u l a r F o u r t h Grade c l a s s :

I drew a s t a f f on the board. I drew a b e a u t i f u l sun where t h e

"A" l i v e d . The next note I brought was the "D" f o r "donkey."
The donkey i s the symbol of c a r r y i n g t h e heavens on i t s back.
We l e a r n e d about the donkey which c a r r i e d a l l t h e s t a f f on i t s
back. T h i s i s , of course, a f i f t h , g o i n g down. Going down i s
always the f i r s t p r o g r e s s i o n w i t h me, so i t was n a t u r a l t o go

^?L. Eterman, unpublished interviews, 10.

 319

from "A" t o "D." So we go from t h e c e n t e r t o t h i s donkey which

i s c a r r y i n g t h i s b e a u t i f u l s t a f f on h i s b a c k . 5 1 8

B o u l d i n g next taught t h e note B. Because i t was c l o s e t o C h r i s t m a s , she

connected t h e "B" w i t h "Baby."

"B", as you know, i s t h e c e n t e r o f t h e s t a f f . We made a

b e a u t i f u l b l u e mantle t h a t wrapped t h i s note, t h i s b e a u t i f u l
golden note wrapped i n Mary's b l u e mantle. I guess t h a t as f a r
as t h e p r i n c i p l e s o f S t e i n e r a r e c o n c e r n e d — I waited f o r t h e
s i g n s o f what t o b r i n g next and when t o b r i n g i t . A l l t h e
music and t h e s e t h i n g s came t o me as g i f t s j u s t a t t h e r i g h t
time. I f e l t , i n a way t h a t i t was a g i f t from t h e s p i r i t u a l
f o r c e s t o b r i n g t h i s music t o t h e c h i l d r e n i n t h i s way. They
know t h e s e sounds and t h e s e n o t e s . 5 1 9

The "E" was i n t r o d u c e d around t h e time o f "Epiphany." Boulding recognized

t h a t t h e s e f o u r notes, "B," "A," "E," and "D" were t h e notes o f t h e Tao,"

the f i r s t f o u r notes a c c o r d i n g t o a n c i e n t Chinese t r a d i t i o n . A f t e r these

n o t e s , "G," "F," and "C" were i n t r o d u c e d .

5 1 8
Ibid / 30.

5 1 9
lbid, 31.

5 2 0
Ibid, 32.
 320
4. Krause

To t e a c h m e l o d i c n o t a t i o n i n Grade Three, Helmut Krause, a c l a s s teacher at

t h e T o r o n t o Waldorf S c h o o l , t o l d a s t o r y about a c a t w a l k i n g down a p a t h .

The h o l l o w d o t s r e p r e s e n t e d l o n g notes and t h e s o l i d d o t s r e p r e s e n t e d s h o r t

notes. Krause e x p l a i n e d :

T h i s i s t h e "A" on t h e C h o r o i f l u t e [the r e c o r d e r used by some

Waldorf S c h o o l c h i l d r e n ] . The middle note from which we move
up and down and t o which we o f t e n r e t u r n . But c a t s a r e v e r y
c u r i o u s c r e a t u r e s . Soon, she jumps on t h e edge o f t h e p a t h t o
walk on t h e l i n e , t h e n back t o t h e s a f e t y o f t h e p a t h — b u t n o t
for l o n g . 5 2 0

Krause and t h e c h i l d r e n c r e a t e d a "path" on t h e f l o o r . The c h i l d r e n moved

as Krause p l a y s a melody on h i s r e c o r d e r .

One day, t h e c a t s became i n v e n t i v e , Krause c o n t i n u e d . A c a t named " A l b e r t "

d e c i d e d he would be t h e l e a d e r and from then on h i s p a t h was c a l l e d

" A l b e r t ' s walk." H i s f r i e n d , Betsy walked on t h e l i n e above and was c a l l e d

5 Helmut Krause, personal letter-to author-dated June 1982.

20
 321

"Betsy's path- L a t e r , Krause and the c l a s s d i s c o v e r e d and named a l l the

notes of the G pentatonic s c a l e (DE GAB DE).

5. Watson

M a r j o r i e Watson d e s c r i b e d how she used s t o r y t e l l i n g t o t e a c h rhythm

n o t a t i o n i n an a r t i c l e i n C h i l d and Man, a magazine f o r Waldorf teachers

521
and parents.

In Grade One, Watson t o l d a s t o r y about a k i n g who wanted t o p r o t e c t h i s

daughters. He sent f o r h i s s o l d i e r s t o march around t h e c a s t l e . The

p r i n c e s s e s skipped and p l a y e d , u n t i l a g r e a t wind h u r l e d them f a r way. The

r e s t o f t h e s t o r y d e a l s w i t h the k i n g ' s p u r s u i t o f the p r i n c e s s e s , l e a d i n g

him t o meet miners, c o b b l e r s , t a i l o r s , cooks, and farmers c a r r y i n g out

t h e i r work i n v a r i o u s rhythms. The teacher and c h i l d r e n i m p r o v i s e music t o

522

accompany t h e movements. The story provided a context i n which a

v a r i e t y o f rhythmic p a t t e r n s were p r a c t i c e d .

521
Watson, 75-77.

5 2 2
U a t s o n , 75.
 322

In Grade Two, Watson taught c h i l d r e n t h e symbols f o r q u a r t e r and e i g h t h

notes. Drawing on t h e s t o r y t o l d i n Grade One, Watson r e l a t e d t h e q u a r t e r

notes t o t h e marching s o l d i e r s . In a game c a l l e d "Horses and D r i v e r s , " t h e

e i g h t h note i s i n t r o d u c e d . Two c h i l d r e n , h o l d i n g hands a r e d e s i g n a t e d as

horses. The d r i v e r stands behind them h o l d i n g t h e i r o u t s i d e hands. The

horses have t o t a k e two s m a l l steps ( e i g h t h notes) t o t h e d r i v e r ' s l o n g

step (quarter note). The c h i l d r e n e v e n t u a l l y a s s o c i a t e t h e e i g h t h notes

w i t h t h e two c h i l d r e n h o l d i n g hands. The h a l f note i s i n t r o d u c e d t h r o u g h a

s t o r y Watson c a l l e d " G i a n t s , Dwarfs, and F a i r i e s . " The dwarf must c a r r y a

524
heavy sack on i t s b a c k — t h u s t h e round open note-head.

6. Gebert

A l i s o n Gebert, a c l a s s t e a c h e r , wove a s t o r y which spanned t h r e e years.

The s t o r y provided a context f o r movement, and a l s o helped t h e c h i l d r e n t o

understand rhythmic notation. Gebert began i n Grade One t o t e l l a story

about a farmer boy, Simon, who p l a y s a f l u t e h i s f a t h e r , an o l d shepherd,

had g i v e n him. The boy p l a y e d so w e l l t h a t t h e Gnome King wished t o keep

him underground as t h e c o u r t musician. When Simon found a g r e a t diamond t o

l i g h t up t h e h a l l , t h e King r e l e a s e d Simon. In Grade Two, Simon and h i s

new f r i e n d , Anna, were asked t o teach t h e gnome s u b j e c t s many songs on t h e

f l u t e by e a r . T h i s they d i d . However, i n Grade Three, t h e K i n g found h i s

5 2 4
I b i d , 76.
 323

s u b j e c t s f o r g o t t h e songs as q u i c k l y as they l e a r n e d them. Simon and Anna

524
were g i v e n t h e t a s k t o h e l p t h e gnomes l e a r n music.

Simon and Anna s t a r t e d on t h e i r quest and met s e v e r a l c h a r a c t e r s who helped

them. The f i r s t c r e a t u r e t h e y met was t h e Hollow Head G i a n t named G i a n t

Hopstickle.

Next, t h e y met G i a n t S t r i d e , who took two s t e p s f o r G i a n t H o p s t i c k l e ' s one

step.

i 3 ' 3

S i r John Walker (whose head was c o l o r e d i n because he was not a g i a n t , but

a human b e i n g . H i s steps looked l i k e this.

5 2 4
Allison~Gebert, "From the T h i r d G r a d e , " Chicago Waldorf School Newsletter <Fall 1984): 8.
 324

Treena and Meena, two dwarfs, s e r v a n t s o f t h e g i a n t , walked two steps t o

525
S i r John Walker's one.

Simon and Anna d e c i d e d t h a t t o make t h e s e drawings f o r e v e r y song would be

t o o time-consuming, so t h e y s i m p l i f i e d t h e i r drawing so t h e y would be

.. 526
easier to write.

7. Eterman

R o y a l Rhythms

These v e r s e s were w r i t t e n by t h e author i n o r d e r t o r e i n f o r c e t h e l e a r n i n g

o f note v a l u e s . . The c h i l d r e n t o o k t u r n s a c t i n g out each role.

The Whole Note

The O l d K i n g by t h e c a s t l e w a l l
So t i r e d , he h a r d l y moves a t a l l .
One whole s t e p t a k e s a count o f f o u r ,
Not any l e s s , and not anymore.

5 2 5
lbid, 9.

5 2 6
Ibid, 10.
 325

The D o t t e d H a l f Note

The O l d Queen i n t h e c a s t l e lane,

So weak, she w a l t z e s w i t h a cane.
Her s t e p s , t h e y t a k e a count o f t h r e e ,
Not any f a s t e r can she be.

The H a l f Note

The r e g a l P r i n c e comes out t o r i d e

Oh, so n o b l e i s h i s s t r i d e .
His s t e p s , t h e y t a k e a count o f two,
That i s t h e q u i c k e s t he can do.

The Q u a r t e r Note

The r o y a l P r i n c e s s , (I d e c l a r e ! )
Come w a l k i n g down t h e r o y a l s t a i r s .
Her s t e p s , t h e y t a k e a count o f one,
And so her work i s q u i c k l y done.

The E i g h t h Notes

The Twins r u n round t h e c a s t l e tower

C a t c h i n g b u t t e r f l i e s and p i c k i n g f l o w e r s
T i - t i , t i - t i , t h e y laugh and say
As t h e y r u n a l o n g t h e i r way.

S i x t e e n t h Notes

F l y i n g round t h e c a s t l e f l o o r
The q u a d r u p l e t s number a f r i s k y f o u r
T i - k i , t i - k i , t i - k i go t h e i r l i t t l e t i n y feet
As t h e y count f o u r t o a beat.
 326

The S t o r y o f the Pear Tree F l u t e

T h i s s t o r y was w r i t t e n by the author f o r t h e purpose o f i n t r o d u c i n g t h e

i n t e r v a l o r p e n t a t o n i c r e c o r d e r t o the Grade One c h i l d r e n .

Once upon a time, i n a l a n d f a r away, a farmer d e c i d e d t h a t i t would be a

v e r y good i d e a indeed t o p l a n t a Pear T r e e . He p l a n t e d the t r e e r i g h t i n
f r o n t o f h i s house by a l i t t l e rocky stream and he thought of t h e p l e a s u r e
such a t r e e might b r i n g him.

In t h e summer when the r a i n s were not so f r e q u e n t , the farmer l o v i n g l y

watered t h e s e e d l i n g . In t h e w i n t e r , the farmer was c a r e f u l t h a t i c e and
snow d i d not break the young branches. Soon the t r e e grew t a l l e r and
t a l l e r , f i r m and proud, and the farmer was v e r y p l e a s e d .

The farmer had many c h i l d r e n who p l a y e d e v e r y day i n the y a r d . The Pear

Tree loved t h e i r singing voices. Sometimes they would c l i m b onto t h e Pear
T r e e ' s s t u r d y branches and l o o k out over t h e farmer's f i e l d s t o t h e pond,
the o r c h a r d , t h e cow p a s t u r e s , and the f o r e s t s . O f t e n the c h i l d r e n would
make a wide c i r c l e around the t r e e and s k i p and dance. These were t h e Pear
T r e e ' s h a p p i e s t days. I t l o v e d the music o f the c h i l d r e n .

"Oh, how, I wish I c o u l d s i n g l i k e the c h i l d r e n , " lamented the Pear T r e e .

In the f a l l , the wind blew through the Pear Tree's l e a v e s . The Pear Tree
l o v e d t h e music the wind made as i t r u s t l e d i t s l e a v e s . By the end o f
autumn, t h e Pear Tree was sad and bare, but i t c o u l d hear the wind as i t
passed though the v a l l e y , s i n g i n g i t s l a s t mournful song of the season.

"Oh, how I wish I c o u l d s i n g l i k e the wind," t h e Pear Tree s i g h e d .

But i n t h e s p r i n g , i t s l e a v e s r e t u r n e d and f l u t t e r e d h a p p i l y i n t h e b r e e z e .
The b i r d s were ever so happy then, and b u s i l y began t o make t h e i r n e s t s i n
the Pear T r e e ' s branches. The Pear Tree d i d not mind. I t l o v e d t h e songs
of t h e b i r d s and soon found t h a t every b i r d sang a d i f f e r e n t but b e a u t i f u l
song.

"Oh, how I wish I c o u l d s i n g l i k e the b i r d s ! " exclaimed the Pear T r e e .

The l i t t l e stream by t h e Pear Tree sang d i f f e r e n t songs, t o o . In t h e hot

sunny summer, t h e ground was d r y and parched. The music of the stream
became s o f t , slow, and l a z y . The f a l l brought more r a i n and t h e water r a n
a c r o s s t h e pebbles making h i g h - p i t c h e d t r i l l s . O f t e n i n the w i n t e r , the
stream became s i l e n t as the i c e c r e p t l i k e a white shadow over i t s s u r f a c e
and soon t h e r e was a s t i l l n e s s , l i k e the hour b e f o r e the dawn. In t h e
s p r i n g , because o f the r a p i d m e l t i n g o f mountain snow, i t s melody became
once a g a i n joyous, l o u d , and f r e e .

"Oh, how I wish I c o u l d s i n g l i k e the streams," c r i e d the Pear T r e e . The

Pear Tree grew and grew. The farmer and h i s f a m i l y l o v e d i t s f l o w e r i n g
form i n t h e s p r i n g ; they r e l i s h e d i t s f r u i t i n the autumn, and t o o k
 327

p l e a s u r e from i t s c o o l shade i n t h e summer; they enjoyed, even i n t h e

w i n t e r , i t s handsome shape and s i l h o u e t t e .

But t h e day came when no c h i l d r e n climbed h i s t r e e . The wind blew, t h e

b i r d s sang, and t h e stream rushed by on i t s way t o t h e r i v e r , j u s t as
b e f o r e , but t h e songs o f t h e c h i l d r e n were heard no more on t h e farm. One
by one, t h e Pear Tree saw them grow up and l e a v e t h e farm. The farmer and
h i s w i f e grew o l d e r and o l d e r every day and i n time, went t o l i v e w i t h
t h e i r e l d e s t son. I t was sad not t o hear t h e c h i l d r e n ' s v o i c e s anymore and
t h e r e was a s t r a n g e and e e r i e s t i l l n e s s on t h e farm.

The Pear Tree grew o l d e r and more g n a r l e d i n form and i t knew one day he
would have t o be c u t down. "Oh, but I am r e a l l y a noble t r e e , " i t thought.
"What e x q u i s i t e wood I have i n s i d e ! I c o u l d be f a s h i o n e d i n t o something
most b e a u t i f u l . Oh, how I wish I c o u l d s i n g l i k e t h e c h i l d r e n who used t o
dance around my t r u n k , o r l i k e t h e wind t h a t r u s t l e d my l e a v e s , o r l i k e t h e
b i r d s t h a t made t h e i r n e s t s i n my branches, o r l i k e t h e stream t h a t
murmured a t my r o o t s , " i t mourned.

J u s t a t t h a t moment, a woodsman walked by t h e Pear Tree, and n o t i c e d t h a t

indeed t h i s Pear Tree was a v e r y unusual t r e e . The Pear Tree d i d not know
whether o r not t h e woodsman c o u l d understand i t , but i t begged, " P l e a s e
don't throw me i n t o your f i r e when you c u t me down, woodsman! My wood i s
much t o o l o v e l y , though my t w i s t e d branches do not show t h a t a t a l l . I f
you c u t me down, I beg you, make me i n t o a f l u t e so t h a t I may s i n g f o r t h e
children."

We do not know whether o r not t h e woodsman heard t h e p l e a o f t h e Pear T r e e ,

but we do know t h a t he, w i t h c a r e , chopped t h e Pear Tree down.

"You would make v e r y l o v e l y f l u t e s , indeed," remarked t h e woodsman.

The Pear Tree would have sung w i t h j o y ( i f i t o n l y c o u l d ! ) .

The Pear Tree, o f c o u r s e , expected t h a t he would be made i n t o a f l u t e r i g h t

away, but t h a t was h a r d l y t h e case. The woodsman s o l d him t o a f a c t o r y
( f o r a v e r y h i g h p r i c e , I might add). He was p l a c e d i n t h e "aging room" by
a workman, who shook h i s head and s a i d , " L i t t l e Pear T r e e , your wood i s
much t o o green! You must wait a w h i l e . You w i l l age."

I t d i d not seem q u i t e f a i r t o t h e Pear Tree t h a t i t would have t o wait i n

silence. But f o r one l o n g y e a r , t h e Pear Tree p a t i e n t l y w a i t e d . After a
y e a r had passed, t h e workman i n s p e c t e d h i s wood a g a i n . "No," t h e workman
pronounced. "The wood i s s t i l l t o o green."

The Pear Tree w a i t e d y e t another l o n g year but when t h e second y e a r had

passed, t h e workman, a l a s , s t i l l d i d not c o n s i d e r t h e t r e e q u i t e ready.
"No, t h i s wood i s s t i l l t o o green, " he judged.

When t h e Pear Tree had w a i t e d f o u r f u l l y e a r s , t h e workman opened t h e

storeroom door, c a r e f u l l y i n s p e c t e d t h e wood o f t h e Pear Tree, and j o y f u l l y
s a i d , "Now, l i t t l e Pear T r e e , you a r e ready!"

The l o n g w a i t i n g was f i n a l l y over!

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The Pear Tree found h i m s e l f i n a very s p e c i a l f a c t o r y . Some of the workers

c o u l d not see, some c o u l d not hear, some c o u l d not speak, some c o u l d not
l e a r n t o read o r w r i t e . But each was g i v e n a j o b t h a t he o r she c o u l d do.

One worker cut t h e Pear Tree i n t o long r e c t a n g u l a r shapes. Another worker

set t h e wood on a l a t h e and made i t i n t o smooth c y l i n d r i c a l shapes. Along
t h e s i d e of the f l u t e two l i t t l e f l a t s u r f a c e s were made t o make i t e a s i e r
f o r a boy o r g i r l t o h o l d i t . Then s m a l l h o l e s were d r i l l e d i n t o t h e
cylinder. T h i s had t o be done m e t i c u l o u s l y so t h a t t h e f l u t e c o u l d s i n g on
pitch precisely. The h o l e a t the top was v e r y important. I t had t o be cut
just right. T h i s was where the f l u t e ' s " h e a r t " would go. T h i s would h e l p
i t s i n g i n tune w i t h o t h e r f l u t e s .

The f l u t e - t o - b e was sanded by a very p a t i e n t worker. He made c e r t a i n t h a t

t h e r e were no rough e d g e s — i n s i d e and out. A b i t of o i l was rubbed i n t o
t h e wood u n t i l i t s s u r f a c e was the t e x t u r e of s i l k .

Meanwhile, i n another p a r t of the f a c t o r y , t h e l i t t l e " h e a r t s " were made.

These were c r a f t e d with utmost c a r e . Even though they were t i n y and
d e l i c a t e , they had a p l e a s i n g shape. The h e a r t s s l i d i n t o a s l o t next t o
t h e h o l e a t the top.

The Pear Tree had made enough f l u t e s f o r one whole c l a s s o f F i r s t Grade

children. Each f l u t e was t e s t e d t o make c e r t a i n i t sang j u s t r i g h t . Each
one was p l a c e d i n a p l a s t i c bag with a wooden c l e a n e r , and then i n t o a l o n g
y e l l o w c y l i n d e r - s h a p e d box.

A t t h a t moment, t h e Pear Tree thought i t heard a b e a u t i f u l sound. I t was

t h e sound o f a whole ensemble of f l u t e s . In t h i s f a c t o r y , the l a b o r e r s
assembled a f t e r a hard day's work t o p l a y t h e i r f l u t e s b e f o r e t h e i r journey
home. The workers p l a y e d and p l a y e d with g r e a t j o y i n t h e i r h e a r t s f o r
t h e y l o v e d t h e i r work. They love t o b r i n g t h e sound of music t o t h e world.
They l o v e d t o be a b l e t o l e t the wood of t h e pear t r e e s i n g f o r e v e r more.
The workers knew t h a t t h e i r h a n d i c r a f t was a p r e c i o u s g i f t t o the c h i l d r e n
of t h e w o r l d .

"Oh, will I sound t h a t b e a u t i f u l ? " asked the Pear Tree.

Then t h e Pear Tree suddenly f e l t very sad. What i f , what i f , no one every
bought i t s f l u t e s ? What i f no one ever b o t h e r e d t o t r y t o p l a y them? The
Pear T r e e thought he would be j u s t l i k e the l i t t l e stream i n the w i n t e r ,
i t s music f r o z e n and s i l e n t .

The l i t t l e f l u t e s of the Pear Tree were sent t o a town v e r y f a r away and

s o l d t o a music shop. There were a l l kinds o f f l u t e s and r e c o r d e r s — b i g
ones, l i t t l e ones, wooden ones, p l a s t i c ones, fancy expensive ones, p l a i n
o r d i n a r y ones. The Pear Tree looked at the o t h e r f l u t e s and r e c o r d e r s with
a heavy h e a r t . "Oh, dear, no one w i l l ever want m e — I am so d i f f e r e n t ! "

Indeed, t h e r e was no o t h e r f l u t e l i k e the Pear Tree F l u t e . I t stood out

amongst t h e o t h e r s f o r i t was very, very d i s t i n c t i n shape and f o r m — a n d
most i m p o r t a n t l y — s o u n d .
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"No one w i l l even t r y t o p l a y my f l u t e s and l i s t e n t o my t o n e — I am so
different!"

Customers came e v e r y day i n t o t h e shop t o purchase f l u t e s and r e c o r d e r s ,

but no one even t r i e d t o p l a y t h e Pear Tree f l u t e s . Yes, some even laughed
a t t h e Pear Tree f l u t e , and some shook t h e i r heads i n d i s b e l i e f when they
saw i t .

The Pear Tree knew t h a t i t s wood was b e a u t i f u l and t h a t i t s tone was v e r y

s p e c i a l but n e v e r t h e l e s s , a f t e r many months, i t began t o l o s e a l l hope o f
b e l o n g i n g t o someone. One day, a remarkable woman e n t e r e d t h e shop. "I
need t h i r t y f l u t e s f o r my c l a s s . I w i l l be t e a c h i n g Grade One i n September
and I want o n l y t h e b e s t f o r my group o f c h i l d r e n . "

The shopkeeper brought out what he c o n s i d e r e d t o be h i s f i n e s t f l u t e . The

t e a c h e r p l a y e d i t , but shook her head. "Not f o r my c h i l d r e n , much t o o
loud."

The shopkeeper brought out another and another u n t i l he had shown

p r a c t i c a l l y a l l o f h i s supply, but e v e r y time, t h e wise t e a c h e r shook her
head and s a i d f i r m l y , "No, not f o r my c h i l d r e n , much t o o s o f t , " o r "No,
not f o r my c h i l d r e n , much t o o s h r i l l , " o r "No, not f o r my c h i l d r e n , much
t o o a i r y , " and so on.

As a l a s t r e s o r t , t h e shopkeeper took t h e Pear Tree F l u t e and o f f e r e d i t t o

t h e t e a c h e r . The t e a c h e r took t h e f l u t e i n t o her hands. I t s wood was
hard, y e t f e l t smooth and warm t o t h e t o u c h . I t seemed t o be made o f t h e
r a y s o f t h e sun and songs o f t h e wind.

"Oh, I hope she t a k e s me t o her s c h o o l ! What s p e c i a l c h i l d r e n they must be

t o have a t e a c h e r who t a k e s so much c a r e ! "

The t e a c h e r knew a s e c r e t about f l u t e s , e s p e c i a l l y wooden f l u t e s , t h a t most

p e o p l e do not know. She knew t h a t f l u t e s always gave a b e t t e r tone i f they
were warm. So she h e l d t h e f l u t e i n her hands f o r a v e r y l o n g time. She
thought about t h e music she would p l a y . Then she took a v e r y deep b r e a t h ,
brought t h e f l u t e t o her mouth, and blew ever so g e n t l y . She knew t h a t t h e
f l u t e s s c r e e c h e d i f they were p l a y e d t o o l o u d l y o r r o u g h l y . I f she p l a y e d
t o o s o f t l y , t h e f l u t e would sound t o o low. I f she p l a y e d t o o l o u d l y , t h e
f l u t e would sound t o o h i g h .

Suddenly, a magic sound rang through t h e room as i f t h e a i r i t s e l f was

singing. The tones r o s e and f e l l . U n l i k e some r e c o r d e r s which sounded
h a r s h and s t r i d e n t , t h e Pear Tree F l u t e was mellow and s o f t i n tone. The
customers i n t h e shop stopped and l i s t e n e d t o t h e performance. I t was
u n l i k e any o t h e r they had ever heard.

The t e a c h e r knew t h a t she had, a t l a s t , found a f l u t e whose tone was l i k e

magic, and t h e Pear Tree knew i t had, a t l a s t , found a home.

The Pear Tree l i v e d i n t h e h e a r t s and s o u l s o f t h e c h i l d r e n f o r e v e r , and

made t h e world a h a p p i e r and more b e a u t i f u l p l a c e indeed.
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The Magic I s l a n d s

S t o r i e s can g i v e form t o i m p r o v i s a t i o n . T h i s s t o r y , and thus t h e

i m p r o v i s a t i o n , i s based on t h e rondo form (ABACA . . . ). The group p l a y s
t h e "A" s e c t i o n and i n d i v i d u a l s v o l u n t e e r t o p l a y s o l o s e c t i o n s . S e c u r i t y
i s p r o v i d e d by t h e s t r u c t u r e , but t h e s t r u c t u r e i s f l e x i b l e enough t o a l l o w
freedom o f e x p r e s s i o n .

In t h i s a c t i v i t y , t h e c h i l d r e n must l i s t e n , and h o l d back as o t h e r s a r e

g i v e n t h e o p p o r t u n i t y t o p l a y s o l o s . They may, i n t u r n , choose t o p l a y a
s o l o and be t h e c e n t r e o f a t t e n t i o n .

The author has t o l d t h i s b a s i c s t o r y t o elementary students as w e l l as

adults.

Here i s t h e s t o r y based on a journey theme:

A l o n g time ago, a group o f b e a u t i f u l i s l a n d s d o t t e d a warm s p a r k l i n g b l u e -

green sea. The weather was always f a i r and t h e perfume o f sweet e x o t i c
f l o w e r s f i l l e d t h e a i r . The music o f nature seemed t o be everywhere. The
s e a g u l l s and o t h e r b i r d s sang melodious songs. The wind blew i t s own tune.
The s e a was, a t times, a g e n t l e murmur, but o t h e r times a monstrous r o a r .
Under t h e s e a , t h e g r e a t g e n t l e whales sang t h e i r songs.

The i s l a n d s were i n h a b i t e d by kindhearted people. Each i s l a n d had i t s own

d i s t i n c t i v e sound. The music o f some i s l a n d s was v e r y f a s t indeed. Other
i s l a n d s demonstrated a p r e f e r e n c e f o r slow music. On some i s l a n d s , t h e
p e o p l e p l a y e d l o u d l y and on some i s l a n d s , t h e people p l a y e d s o f t l y . Some
i s l a n d e r s p l a y e d h i g h , some p l a y e d low. Some o n l y p l a y e d notes i n t h e
m i d d l e and some even p l a y e d them a l l . Some p l a y e d one note a t a time and
o t h e r s p l a y e d many notes a t a time. Some p l a y e d f o r a long time, some
p l a y e d f o r a s h o r t time. There was no l i m i t t o what t h e i s l a n d e r s c o u l d
do. But you see t h i s was t h e a r c h i p e l a g o o f "magic s t r i n g s and s i n g i n g
flutes." No matter how they played, i t a l l sounded b e a u t i f u l . I t was a
m i r a c l e , b u t i n t h a t p l a c e and i n t h a t time, a l l was p o s s i b l e .

(Take a moment and v i s u a l i z e your i d e a l i s l a n d . What does your i s l a n d l o o k

like? A r e t h e r e p l a n t s , animals? What a r e t h e people l i k e ? P r a c t i c e the
music o f your i s l a n d . Experiment.)

On one o f t h e i s l a n d s l i v e d a g i r l . On her i s l a n d , t h e people o n l y p l a y e d

music one way. The music, o f course, was v e r y b e a u t i f u l but ever so o f t e n
l a t e a t n i g h t when t h e work o f t h e day had been completed and a l l was
q u i e t , when t h e ocean was as s t i l l l i k e a m i r r o r , o r i f t h e wind blew j u s t
t h e r i g h t way, she c o u l d hear d i f f e r e n t music, music from o t h e r i s l a n d s .

Oh, how she longed t o e x p l o r e ! You see, although i t was common t o f i s h

from canoes around one's own i s l a n d , no one had ever dared t o t r a v e l t o
t h o s e faraway i s l a n d s i n t h e sea. The people were a f r a i d ( i f you can
imagine t h i s ) t h a t they might even s a i l t o t h e end o f t h e e a r t h and f a l l
off! They were a f r a i d o f t h e c r e a t u r e s o f t h e deep sea. But most o f a l l ,
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the p e o p l e o f her i s l a n d were a f r a i d t h a t the p e o p l e o f t h o s e d i s t a n t

i s l a n d s would not l i k e them. Although she was v e r y much a f r a i d , her
c u r i o s i t y and sense o f adventure was s t r o n g e r t h a n her f e a r .

So one day when the weather was f a i r , she f a s h i o n e d f o r h e r s e l f a s t r o n g

b a r k canoe and began her journey t o the remote and unknown i s l a n d s .

(We now need some "water music." Improvise music t h a t sounds l i k e water.)

Suddenly, r i g h t b e f o r e her eyes was a b e a u t i f u l i s l a n d t h a t r o s e from t h e

sea. The music o f the i s l a n d sounded l i k e t h i s :

(Whose i s l a n d s h a l l we hear?)

The p e o p l e o f the i s l a n d were a s t o n i s h e d t h a t a g i r l had t r a v e l l e d so f a r

i n her canoe by h e r s e l f . "You d i d n ' t f a l l o f f t h e edge o f t h e w o r l d ? " they
asked. "You weren't a f r a i d o f the c r e a t u r e s o f the deep b l u e sea?" "You
weren't a f r a i d o f us?"

The g i r l s a i d t h a t she had indeed been a f r a i d , but she d i d not, a f t e r a l l ,

f a l l o f f t h e edge o f the world, nor d i d any c r e a t u r e s o f t h e deep sea
d i s t u r b h e r . Yes, she had been a f r a i d t h a t t h e p e o p l e would be u n f r i e n d l y ,
but h e a r i n g t h e i r music, she knew a l l would be w e l l .

The g i r l was sad t o l e a v e the i s l a n d , but she knew she had many o t h e r
i s l a n d s t o e x p l o r e . With a mixture o f sadness, f o r she e n j o y e d meeting the
p e o p l e o f t h e i s l a n d , and excitement, f o r she longed t o e x p l o r e , she
p a d d l e d away.

(Let us hear more "water music")

She was guided by the sound o f music from another i s l a n d . As she came
c l o s e r and c l o s e r t o t h e i s l a n d , the music became l o u d e r and l o u d e r .
Suddenly, r i g h t b e f o r e her eyes was another b e a u t i f u l i s l a n d t h a t r o s e from
the sea, and i t sounded l i k e t h i s :

(Whose i s l a n d s h a l l we hear next?)

(The s t o r y can be extended so t h a t a l l p a r t i c i p a n t s have an o p p o r t u n i t y t o

play a solo. F o r more v a r i e t y i n the "A" s e c t i o n , i n t r o d u c e , f o r i n s t a n c e ,
a storm i n t o t h e s t o r y . )

Some e x t e n s i o n s o f the s t o r y :

The g i r l thought i t s t r a n g e indeed t h a t each i s l a n d o n l y p l a y e d one type o f

instrument. The g i r l wondered what i t would sound l i k e i f the p e o p l e o f
the "magic f l u t e s " p l a y e d w i t h the people of t h e " s i n g i n g s t r i n g s . " One
day, she b o l d l y approached the queen o f one i s l a n d . "Why don't you h o l d a
f e a s t and i n v i t e m u s i c i a n s from the o t h e r i s l a n d nearby?" she asked.

You know, the queen had never i n her l i f e c o n s i d e r e d such an i d e a , but she
thought i t was a good one! She had seen t h a t the g i r l had t r a v e l l e d f a r
and wide and had not f a l l e n o f f the edge o f the world, nor had she been
d i s t u r b e d by the c r e a t u r e s o f t h e sea. What a brave l i t t l e g i r l ! In
 332

a d d i t i o n , she had found a l l the i s l a n d e r s f r i e n d l y and a l l t h e music

beautiful.

To show she was not a f r a i d , t h e queen l e d the d e l e g a t i o n t o the n e i g h b o r i n g

i s l a n d and i n v i t e d them t o a f e a s t . They accepted the i n v i t a t i o n . The
m u s i c i a n s from the two i s l a n d s enjoyed the f e a s t so much t h a t they p l a y e d
w e l l i n t o t h e wee hours o f the morning. I t sounded something l i k e t h i s :

(Would two o r more people l i k e t o p l a y t o g e t h e r ? )

W e l l , t h e f e a s t was such a s u c c e s s t h a t the g i r l a u d a c i o u s l y asked t h e

queen i f she had ever c o n s i d e r e d i n v i t i n g the musicians o f a l l the i s l a n d s
to enjoy a f e a s t . The queen l i k e d the g i r l ' s i d e a so much t h a t she d e c i d e d
t o do j u s t t h a t — a n d i t sounded l i k e t h i s :

(Let us hear a l l the i n s t r u m e n t s p l a y t o g e t h e r . )

The p e o p l e o f her own i s l a n d were so happy t o p l a y w i t h o t h e r m u s i c i a n s .

T h e i r music sounded even more b e a u t i f u l when they p l a y e d w i t h o t h e r s . The
i s l a n d e r s were so proud t h a t the brave g i r l had g i v e n them such a b e a u t i f u l
gift. She became q u i t e a h e r o i n e not o n l y because she had shown g r e a t
courage, but because she had brought the people o f the "magic s t r i n g s and
singing f l u t e s " together.

Soon, t h e g i r l began t o l o n g f o r the music o f her own i s l a n d . She began t o

l o n g f o r her f r i e n d s and f a m i l y , f o r her own bed. So the g i r l journeyed
home, happy and c o n t e n t , g r a t e f u l f o r a l l she had seen and heard. And she
went t o bed and f e l l i n t o a p e a c e f u l s l e e p .
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APPENDIX G

SAMPLE QUESTIONNAIRE

QUESTIONNAIRE FOR WALDORF CLASS TEACHERS & MUSIC TEACHERS

What i s your e d u c a t i o n a l background or t r a i n i n g ? Please state area of

study, i . e . , BA P h y s i c s
[ ] Waldorf t r a i n i n g
[ ] BA
[ ] MA
[ ] B. Mus.
[ ] B. Mus. Ed.
[ ] M. Ed.
[ ] Ph.D.
[ ] Conservatory
[ ] Diploma
[ ] Other
[ ] No s p e c i f i c q u a l i f i c a t i o n s

[ ] male [ ] female

Are you a c e r t i f i e d t e a c h e r i n your p r o v i n c e o r s t a t e ?

[ ] yes [ ] no

Instrument(s) you p l a y ?
[ ] Strings
[ ] Winds
[ ] Brass
[ ] Keyboards
[ ] Percussion

Which instrument do you p l a y best?

Do you c o n s i d e r y o u r s e l f
[ ] A v e r y accomplished m u s i c i a n on your major instrument
[ ] An accomplished m u s i c i a n on your major instrument
[ ] An average m u s i c i a n
[ ] A beginner w i t h some s k i l l s and knowledge o f t h e o r y
[ ] A beginner

Are you c u r r e n t l y a c l a s s teacher?

[ ] yes [ ] no

To which grades do you t e a c h music? Please c i r c l e .

K 1 2 3 4 5 6 7 8 9 10 11 12

How l o n g have you taught music?

[ ] l e s s than a year [ ] 5-10 y e a r s
[ ] 1-5 y e a r s [ ] more than 10 y e a r s
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10. How f a m i l i a r a r e you w i t h S t e i n e r ' s i d e a s on music and music education?

[ ] Very f a m i l i a r
[ ] Quite f a m i l i a r
[ ] Somewhat f a m i l i a r
[ ] Have heard o f some o f S t e i n e r ' s i d e a s on t h i s s u b j e c t
[ ] No f a m i l i a r i t y whatsoever with S t e i n e r ' s i d e a s on t h i s s u b j e c t

11. I f you a r e a t l e a s t somewhat f a m i l i a r w i t h S t e i n e r ' s i d e a s on music and

music e d u c a t i o n , what i n f l u e n c e have these i d e a s had on your t e a c h i n g o f
music?
[ ] A great deal
[ ] Quite a b i t
[ ] Some i n f l u e n c e
[ ] Very l i t t l e
[ ] None a t a l l

12. How f a m i l i a r a r e you with t h e C h o r o i impulse i n music education?

[ ] Very f a m i l i a r
[ ] Quite f a m i l i a r
[ ] Somewhat f a m i l i a r
[ ] Have heard o f C h o r o i
[ ] No f a m i l i a r i t y whatsoever with t h e C h o r o i impulse

13. How f a m i l i a r a r e you w i t h t h e Werbeck method o f t e a c h i n g ?

[ ] Very f a m i l i a r
[ ] Quite f a m i l i a r
[ ] Somewhat f a m i l i a r
[ ] Have heard o f some o f Werbeck's i d e a s
[ ] No f a m i l i a r i t y whatsoever with Werbeck's i d e a s on music and music
education

14. How much music i s taught per week i n your s c h o o l i n Grades 1-3 as a
subject?

Grade 1 times minutes per week

Grade 2 times minutes per week
Grade 3 times minutes p e r week

15. Approximately, how much time i s devoted t o music d u r i n g main l e s s o n ?

Grade 1 minutes per week

Grade 2 minutes per week

Grade 3 minutes p e r week

16. I s music i n t h e primary grades i n your s c h o o l taught by a

[ ] specialist [ ] class teacher

17. Ideally, who do you f e e l should t e a c h music i n Grades 1-3?

[ ] specialist [ ] class teacher

Why?
 336

18. I n your o p i n i o n , how important i s q u a l i t y music e d u c a t i o n t o your s c h o o l

community?

Very important
Important
Somewhat important
Of v e r y l i t t l e importance
Not c o n s i d e r e d a t a l l important

19. How would you r a t e t h e q u a l i t y o f your s c h o o l ' s music e d u c a t i o n program?

Excellent
Very good
Good
Fair
Poor

20. I f you t r a i n e d as a Waldorf School t e a c h e r , how would you r a t e your

i n s t r u c t i o n i n music education?

Excellent
Very good
Good
Fair
Poor

21. P l e a s e i d e n t i f y s t r e n g t h s and weaknesses o f t h e music program Grades 1-3

i n your s c h o o l . V S = Very s t r o n g S=strong A=average W=weak
VW=Very weak. I f you do not know, i n d i c a t e D K i n t h e space. I f not
applicable, indicate N / A .

VS w VW
teaching of singing
teaching of recorder
teaching of l y r e or kantele
t e a c h i n g o f movement t o music i n music l e s s o n s
teaching of improvisation
t e a c h i n g o f music t h e o r y
a sequenced music c u r r i c u l u m
ongoing p r o f e s s i o n a l development f o r c l a s s
t e a c h e r s who t e a c h music? c o n f e r e n c e s , courses
on music and music e d u c a t i o n ?
[ ] [ ] [ ] [ ] [ ] Other

Would you c a r e t o comment on any s t r e n g t h s o r weaknesses i n your program?

22. I s t h e r e a w r i t t e n music c u r r i c u l u m i n your school?

[ ] yes [ ] no
 337

23. Which o f t h e f o l l o w i n g instruments, i f any, are used i n which grades i n

your s c h o o l ?
Grade 1 Grade 2 Grade 3

C h o r o i Bordun l y r e s [ ] [ ] [ ]
Choroi Kinderharps [ ] [ ] [ ]
Gartner kanteles [ ] [ ] [ ]
Choroi Interval f l u t e s [ ] [ ] [ ]
Choroi Pentatonic f l u t e s [ ] [ ] [ ]
Choroi Diatonic flutes [ ] [ ] [ ]
C h o r o i xylophones, g l o c k e n s p i e l s [ ] [ ] [ ]
O r f f xylophones, g l o c k e n s p i e l s ( ] [ ] [ ]
T r a d i t i o n a l recorders [ ] [ ] [ ]
Miscellaneous percussion [ ] [ ] [ ]
Other [ ] [ ] [ ]

24. I f you do not use C h o r o i or Gartner instruments i n your s c h o o l , what do

you suppose i s the reason?

[ ] Lack o f u n d e r s t a n d i n g of instruments and t e c h n i q u e s

[ ] Lack o f funds
[ ] F e e l i n g t h a t more t r a d i t i o n a l instruments are b e t t e r
[ ] Concern about q u a l i t y
[ ] Our s c h o o l uses instruments made by a l o c a l instrument maker and
they
are comparable t o C h o r o i and G a r t n e r instruments
[ ] Other

Comments?

25. Would you use O r f f instruments i n your s c h o o l , Grades 1-3?

[ ] yes [ ] no

Comments?

26. Do you use Kodaly hand s i g n a l s t o t e a c h s i g h t - s i n g i n g i n grades 1-3?

[ ] yes [ ] no

Comments?

27. Do you have a s t r i n g ( v i o l i n , v i o l a , c e l l o ) program? I f so, when does

your program s t a r t ?

[ ] Grade 1 [ ] Grade 2 [ ] Grade 3 [ ] Grade 4 [ ] Later

28. I s t h e p i a n o recommended as an instrument f o r the Grade 1-3 child?

[ ] yes [ ] no
Comments?
 338

29. Do you use "Mood o f t h e F i f t h " music i n Grades 1-3?

[ ] yes [ ] no [ ] sometimes, but not always

Comments?

Briefly, what does t h e term "Mood o f t h e F i f t h " mean t o you?

30. Would you say t h a t t h e "beat" i s de-emphasized i n t e a c h i n g music Gr 1-3?

[ ] yes [ ] no
Comments?

31. I s r e c o r d e d music used t o t e a c h music i n Grades 1-3?

[ ] yes [ ] no

Comments?

32. Do you use s t o r y t e l l i n g i n your music l e s s o n s t o i n t r o d u c e songs,

s k i l l s , concepts?

[ ] yes [ ] no

Comments?

33. When do you b e g i n t o t e a c h elementary music t h e o r y and m u s i c a l notation

i n your school?

[ ] Grade 1 [ ] Grade 2 [ ] Grade 3 [ ] Grade 4 [ ] Later

Comments?

34. Do you f i n d i t d i f f i c u l t t o f i n d a p p r o p r i a t e song m a t e r i a l f o r Grade 1-3

i n your s c h o o l ?

[ ] yes [ ] no

Comments?
 APPENDIX H

COMPARISON CHART

STEINER / WALDORF ORFF KODALY DALCROZE

1861 - 1925 1895 - 1982 1882 - 19677 1865 - 1950

Purpose of music Development of musical abil- Development of creativity. Development of musical l i t - Development of comprehensive
education ity in order to enhance so- eracy; in order to pass on musicianship; (Solfege, im-
c i a l , aesthetic and spiri- cultural heritage; correct provisation, eurhythmies).
tual capacities. singing.

to
£>
Curriculum Sequential curriculum, Sequential curriculum, Sequential curriculum, General sequence of concepts o
loosely structured in the loosely structured in order highty structured. g i ven.
form of indications given by that teacher may exercise
Steiner for each age group. his/her own creativity.

Approach / Not a system, method but an An approach, a process A systematic method. An approach.
Method "art" of education based on Teacher given freedom to
the developing human being. present material in his/her
All learning related to own way to encourage impro-
"whole". Teacher given visation and creativity.
freedom to present material
in his/her own way.
 STEINER / WALDORF ORFF KODALY DALCROZE

1861 - 1925 1895 - 1982 1882 - 19677 1865 - 1950

Musical develop- Sequence of curriculum based Sequence of curriculum based Sequence of curriculum based Did not mention any ideas

ment of c h i Id on Steiner's belief that the on Orff's belief that child on Kodaly's belief that regarding the child's reca-

child's musical development recapitulates musical devel- child reenacts musical de- pitulation of the musical
reflects the spiritual de- opment of humankind, from velopment of his/her people, development of humankind.
velopment of humankind, that simple p r i m i t i v e musical re- from simple to complex.
humankind in its evolution sponses to complex musical
lived in certain moods ex- expression.
pressed by intervals; Con-
cepts, mode of presentation
suited to child's develop-
mental level Age 7-14
"feeling" stage.

Teaching of Most important element of Pentatonic music considered Pentatonic music considered F i x e d do s y s t e m used. Devel-

melody music for the young child; appropriate for young child. appropriate for the young opment of absolute pitch en-

precedes teaching of rhythm Melodic intervals introduced child. Melodic intervals couraged.

"Mood o f the Fifth" melodies in order to foster creativ- introduced sequentially in

used in Grades 1 and 2--DE ity--s-m, then la, re, do order to teach music reading

GAB DE melodies centering added. Moveable "Do". Cur- so-mi, la-sol-mi, la-sol-mi-

around A or notes other than wen hand signals sometimes do, la-sol-mi-re-do, then

tonic (G). No set sequence incorporated by Orff's suc- low l a and so.

for teaching melodic con- cessors.

cepts. No t e a c h i n g of Cur-
wen hand signs; eurythmy
gestures for scale in Grade
3.

Rhythm/ Beat generally de-emphasized Most important element of B e a t and r h y t h m e m p h a s i z e d . Musical rhythm emphasized.

Beat before age 8 or 9. music. Beat and rhythm d e - taught through bodily move-

veloped in relationship to ment, etc.

language.
 STEINER / WALDORF ORFF KODALY DALCROZE

1861 - 1925 1895 - 1982 1882 - 19677 1865 - 1950

No harmony introduced before Pedal, bordun, level bordun, Vocal ostinati and two voice Broken chords such from bass

age 8 or 9. Rounds intro- ostinato patterns introduced canons i n primary grades. to soprano. Chord progres-

duced at Grade 3 level. in primary grades. sions introduced, simple to

complex.

Singing Singing very important. Singing important but often Singing very important. Singing important, but not
overshadowed by i n s t r u m e n t s . emphasized as much as move-

ment

Speech Recitation stressed d a i l y by Distinguishing characteris- Not e m p h a s i z e d . Not e m p h a s i z e d ,

child's class teacher; Not tic of Orff speech patterns

necessarily emphasized as leads to rhythm then song,

part of music lesson.

Song repertoire Newly composed songs in Folk songs of country of Folk songs of country of Not s p e c i f i e d .

"Mood of Fifth". Some folk origin. origin,

songs in Grades 2 and 3.

Songs related to classroom

topics, nature, seasons,

festivals.

Movement Movement e s s e n t i a l for young Elemental movement based on Movement sometimes used to Primary means to introduce

child. In addition to move- child's play activities. teach concepts. Singing musical concepts; develop-

ment activities in music Body percussion accompanies games and folk dances ment of an inner sense of

l e s s o n and c l a s s r o o m , eury- singing. Free interpretative taught. energy, space, and time.

thmy taught as a special movement.

subject by trained euryth-

mist.
 STEINER / WALDORF ORFF KODALY DALCROZE

1861 - 1925 1895 - 1982 1882 - 19677 1865 - 1950

Playing of In- Voice—primary instrument. Orff instrumentarium. Voice--primary instrument. A Body--primary instrument.

struments Recorders or Choroi penta- Recorder used in later cappella singing encouraged.

tonic flutes. Lyres, kante- grades. Instruments introduced only

les often used. Copper tone after sight singing ability

bells. Study of violin, vi- and "inner" hearing mas-

ola, or cello recommended. tered.

Piano not used for accompa- Piano generally not combined Piano not recommended as ac- Improvised piano music used

niment or recommended for with O r f f instrumentarium. companying instrument. for accompaniment; children

private study in younger encouraged to improvise at

grades. piano.

Improvisation Not o r i g i n a l l y emphasized by Of utmost importance. Improvisation based on fa- One of the three basic as-

Steiner. Emphasized by miliar patterns or motives; pects of D a l c r o z e music edu-

Choroi. not particularly stressed. cation; Improvisation on p i -

ano, voice, and other in-
struments encouraged.

Integration of Unity of movement, song, and Unity of movement, song, Integration of singing and Integration of solfege, vo-
Media instruments (Choroi). speech, instruments movement for younger chiI- cal and instrumental impro-

(Elemental music). dren. visation, and movement.

Importance of Emphasis on listening, com- Emphasis on "live" music. Emphasis on "live" music. Emphasis on movement to im-

"Live" Music munication. Use of record- Recordings not expressly Recordings not expressly provised music. Quick reac-

ings discouraged. discouraged. discouraged. tion emphasized.

 STEINER / WALDORF ORFF KODALY DALCROZE

1861 - 1925 1895 - 1982 1882 - 19677 1865 - 1950

Reading M u s i c Prolonged experience of mu- Introduced from b e g i n n i n g as Literacy (sight singing, Prolonged period of develop-

Notation sicmaking (singing, playing means of communication and dictation) of utmost impor- ment of aural and kines-

instruments, movement) nec- storing of music; memory of tance. Notation introduced thetic capacities necessary

essary before abstract music music urged a means rather from b e g i n n i n g of program. before introduction of music

symbols introduced in Grade than an end. notation.

3 or 4.

Integration of Music, as well, as the other Not m e n t i o n e d . Not m e n t i o n e d . Not mentioned.

Music into Sub- arts, employed to teach aca-

ject Matter demic subject matter.

R o l e of teacher Guide to musical knowledge Facilitator of child's im- Transmitter of music reading Creator of improvised - music

and skills through metaphor provisation. Specialist. skills. Specialist. at the piano order to lead

and image; storyteller, students to experience musi-

therapist, "shepherd," tra- cal concepts. Specialist.

ditional authority, class-
room t e a c h e r , genera l i s t .

Teacher training Part of Waldorf education Certification - 3 levels. Certification - 3 levels. Spiritual development not

course. Spiritual develop- Spiritual development not Spiritual development not mentioned,

ment important. mentioned. mentioned.