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 3. Februar 2025 auf https://apps.moz.ac.at/apps/stud/isc/ zur Verfügung steht, muss bis spätestens 21. Juni 2025 ausgefüllt und online eingereicht werden.

Die Gebühr von EUR 520,- ist bei der Online-Anmeldung per Kreditkarte zu entrichten. Wer sich bis zum 23. Juni schriftlich abmeldet, bekommt die Kursgebühr abzüglich EUR 40,- für Verwaltungskosten zurückerstattet. Bei Abmeldungen nach dem 23. 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

Registrierung: Sonntag, 6. Juli ab 15:00 Uhr
Eröffnung: Sonntag, 6. Juli, 17:00 Uhr
Abschluss: Samstag, 12. Juli, abends

Am Mittwoch, 9. Juli, findet kein obligatorischer Nachmittagsunterricht statt.

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

Werner Beidinger
Through Process to Product
We will explore the current principles of Elemental Music Pedagogy in the tradition of Orff-Schulwerk, which ideas are introduced as an artistic-pedagogical concept. The class reflects on the process of musical learning for students of all ages and focuses particularly on the artistic and qualitative dimension.

Worthwhile classroom materials are considered with a focus on songs, speech, movement, body percussion and instrumental pieces. Integrating various musical and extra-musical activities, the course also helps to expand one’s personal teaching experience.

Peta Harper
Exploring Possibilities of Music-Making with Adolescents
How do we apply the principles of the Orff-Schulwerk with students of all ages, particularly adolescents? How does it look? Using music and movement, we will explore ways of unlocking challenging music to make it accessible to all. We will find ways to analyse and understand it and use it as a stimulus to create our own works. Through this exploration we will look at how to develop elemental ideas using a range of stimuli to lead to larger, more complex works.

Markku Kaikkonen
Everyone Can – Everyone Learns
How can we create musical inclusion and accessibility for everyone, regardless of their background, special needs, or level of experience? A varied teaching approach using movement, singing, playing, listening and improvisation provides everyone the opportunity to participate and learn. With respect for each individual's personality and learning potential, everyone is encouraged to participate from their own starting points. With value and respect for each other individual, we create an inclusive learning environment where everyone can participate equally.

Andrea Ostertag
Dancing Images
‘Imagine you are...’ - If our imagination is inspired by appealing stimuli, we can transport ourselves into a wide diversity of worlds and situations. A variety of materials such as picture books, texts, paintings, sculptures or pieces of music set us on the path to expressing our interpretations through dance. This involves both our own experiences and the possibilities of applying them to different target groups.

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

Ari Colares
Drum, Body and Voice - Creative Practices in Brazilian Musicality and Corporality
Participants will experience the structural elements of referenced Brazilian rhythms and practice using the main percussion instruments associated with them. In addition, they discover melodies representative of each rhythm and the corresponding body dynamics. Participants will also be led to creative practice based on improvisation on these traditional rhythms. Strategies for vocalizing the patterns of percussion instruments will be included in the practice, as a mnemonic learning process. Video and audio from both traditional and urban contexts will be presented as reference and research material.

Fabian Chyle
DanceAbility as Choreographic Practice
DanceAbility is a dance improvisation format for all bodies - regardless of ability, age, previous training or gender. Through its clear method, DanceAbility distributes a wealth of knowledge about enabling shared dance experiences, about different approaches to improvisation and about participation in and through dance. The workshop focuses on the choreographic knowledge and the potential of DanceAbility to create performative structures in community settings. Participants should be prepared to also occasionally work outdoors.

Karen Schlimp
Instant composing
We will experience how places, objects or situations can inspire for creating short, site-specific performances. We experiment with different possibilities of musical improvisation which will be connected to spaces and stories.
We will explore time structures, forms and materials of contemporary music and create short “instant compositions” for particular places and objects which are there at hand. If possible, bring your instruments or sounding objects. 

Barbara Tischitz
Swoosh – pling – click!
Do you hear the fire whispering and crackling? Do you see the waves swaying and surging? We will make nets dance, mice rattle and balls whiz. We are going to explore together WHICH materials can be used particularly well for WHICH target groups, HOW to use them and WHY. What can materials trigger and spark? Come, see, feel, smell, taste and hear!

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!

^{Directed by Andrea Ostertag, Doris Valtiner, Assistents: Carmen Joedicke, Caterina Mayer
Duration: 40 hours}