International Summer Course am Orff-Institut

Die Anmeldung erfolgt ausschließlich online und sollte so schnell wie möglich erfolgen, da nur eine begrenzte Anzahl von Plätzen zur Verfügung steht.

Das Online-Anmeldeformular, das ab dem 22. Februar 2024 auf https://apps.moz.ac.at/apps/stud/isc/ zur Verfügung steht, muss bis spätestens 15. Juni 2024 ausgefüllt und online eingereicht werden.

Die Gebühr von EUR 490,- ist bei der Online-Anmeldung per Kreditkarte zu entrichten. Wer sich bis zum 24. Juni schriftlich abmeldet, bekommt die Kursgebühr abzüglich EUR 40,- für Verwaltungskosten zurückerstattet. Bei Abmeldungen nach dem 24. Juni wird die Gebühr nicht zurückerstattet - es sei denn, es findet sich ein/e Teilnehmer/in, der/die den Platz einnimmt.

Wie Sie uns erreichen

Mit dem Bus: Linie 3 vom Bahnhof oder Stadtzentrum in Richtung Alpensiedlung Süd bis zur Haltestelle Polizeidirektion (Fahrzeit ca. 20 Minuten). Mit dem Auto: von der Autobahn, Ausfahrt Salzburg-Süd (Anif), Alpenstraße, links abbiegen in den Frohnburgweg (Ampel bei Polizeidirektion).

Unterkunft

Das Orff-Institut kann keine Übernachtungsmöglichkeiten anbieten.

In 10 Minuten zu Fuß erreichbar:
Internationales Kolleg Billrothstraße 10-18, 5020 Salzburg
Tel: +43 662 93030-79
E-Mail: office@guesthouse.at
www.guesthouse.at

Innerhalb von 5 Minuten zu Fuß erreichbar:
Motel One Salzburg Süd Alpenstraße 92, 5020 Salzburg
Tel: +43 662 835020
E-Mail: salzburg-sued@motel-one.com
www.motel-one.com

Für alle anderen Unterkünfte

Tourismus Salzburg GmbH Auerspergstraße 6, 5020 Salzburg
Telefon: +43 662 88987 0
E-Mail: tourist@salzburg.info
www.salzburginfo.at

Eröffnung: Sonntag, 7. Juli 2024, 17 Uhr
Abschluss: Samstag, 13. Juli, abends

Am Mittwoch, 10. Juli, findet kein obligatorischer Nachmittagsunterricht statt.

Morning sessions: 9.00-10.30 a.m. / 11.00-12.30 p.m.

Nicole Berndt-Caccivio
Facilitating dance, music and improvisation skills
Instead of using music as the basic tool for improvisation, we read movement through scores. Instead of perceiving silence as empty, we fill it with body language. Instead of teaching, we give space and freedom for our own desires and interpretations of what learning could be. Instead of searching, we explore. Instead of taking the technique out of dance, we fill it with newly created rules. The word INSTEAD gets a new dimension by revitalising, seeing and redefining it. In this workshop, we create our own forms of improvising with body and music, supported by a facilitator.

Musicians, please bring your own music scores into the workshop—those you would like to work with in that week. We will also bring material for those who don´t have access to any! Please contact me in case of questions or special wishes 10 days ahead of the workshop: nicolec@gmx.net.

Werner Beidinger
Why music education needs imagination
We will explore the current principles of elemental music pedagogy in the tradition of Orff Schulwerk, whose ideas are introduced as an artistic-pedagogical concept. The class reflects on the process of music learning for students of all ages. Worthwhile classroom materials are considered with a focus on songs, speech, movement, body percussion and instrumental pieces. Integrating diverse musical and extra-musical activities, the course examines strategies that lead to a process of teaching which includes more than how to teach a single song.

Ruth Burmann
Moving architecture Innovative architecture as a source of inspiration for movement
How can a static architectural form lead to contemporary dance movement? Perfectly formed architectural structures are preceded by mental movement. We will look for movement in the object and try to use our surroundings as a source of inspiration. We will play with the versatility of body lines and dynamic movements. During choreographic exploration phases, our focus will be on mindfulness, sensitive handling of timing, spacing and movement quality. We will try out different choreographic approaches that can be used in a variety of ways for your own lessons.

Rolf Grillo
Rhythm games around the world and Creative Conducting
Play is a fundamental human activity that unleashes energy, creativity, and innovation. Through play, people unfold their potential and experience vitality and connectedness in community - across cultural boundaries. This workshop presents a selection of movement and rhythm games from different cultures around the world and invites participants to exchange ideas. Creative Conducting - Drum Circle, Musica con Senias, Sound Painting, Vocal Painting...there are now many tried and tested methods for conducting improvised music in groups, with or without instruments. We create elemental forms and experiment with them.

Afternoon Sessions: 2.30 pm–4 pm / 4.30 pm–6 pm

Hildegard Starlinger
Play with your voice, experiment with words
We warm up the speaking voice. We let the voice flow freely and experiment with sounds. We discover different ways of speaking and try out emotions. We explore the sound of the voice in space. We listen. We interact and improvise with voice and language. We create characters using different theatrical methods. We experiment with text (including texts you bring in), rhythm, timbre, and expression. We perform.

Doris Valtiner
Children’s concerts for all the senses
How does one develop concert formats for children? How does one find inspiration for this? How does one develop a well-rounded concert experience for young children? In this workshop, we will cover selected topics, for example: Moderation, dramaturgy, transitions, and the visual and active staging of the individual musical parts—with and for the audience.

Please bring your instrument with you so that we can try out and put the individual ideas into practice!

Clara Tinsobin
Singing in motion – with children from 6 to 12 years old
The focus of this workshop is the children's voice with all its facets of vocal and linguistic expression. Its close connection to dance, movement, rhythm, acting and other activities of elemental music and dance pedagogy is the fundamental principle that shapes this workshop. For a comprehensive and motivating approach to voice and ear training, I would like to provide creative impulses for you and your lessons with exciting possibilities for presenting songs, a variety of methods for rehearsing them, speech and language games, playful exercises and techniques for improvisation.

Cathy Milliken
Composing scores to sound and movement in collective practice
Investigating strategies for collaborative creation and composition is the main focus of this workshop. In practice, we shall be exploring the creation of sound and movement together as well as discussing strategies for such collaborative composition. The workshops will consist of improvisational (musical and movement) as well as musical scoring components. The workshop is intended to facilitate and align music making with other disciplines as well as introduce musical skills that are transferrable in the context of multi-disciplined, collaborative work .

Ari Glage
Circle Songs and More Circle Singing is an adventure
Out of the moment we will develop spontaneous improvisational community singing. Wordless vocal patterns lie over each other and create musical landscapes free of preconceptions. Different approaches encourage us to find our own personal expression. In this workshop we will also try out the possible combinations with forms of body percussion, so that body sound and singing can be experienced at the same time.

^{Directed by Ari Glage, Doris Valtiner, Ruth Burmann Assistants: Carmen Joedike, Caterina Mayer
Duration: 40 hours}