Response to "Orff Music Therapy"

By Bridget Landers, MT-BC, NMT Fellow, is a graduate student at Saint Mary-of-the-Woods College. Email: Bridget_Landers@smwc.edu

As an undergraduate music therapy student, I was introduced to the Orff-Schulwerk approach during a methods class for music education and music therapy students. The case studies and examples that were presented often involved typically developing children in general music classes. I was interested in utilizing this approach, but wondered how I would do so with the students that I worked with, many of whom had developmental delays. When thinking about how to implement this with my students, I could not help but return to the term "Orffestra". When speaking with fellow music therapists, this is often how they refer to the Orff-Schulwerk approach. Utilizing the term "Orffestra" implies the traditional Orff-Schulwerk configuration of instruments; xylophones, glockenspiels, etc. As a student, I continued to wonder how I could implement this with students who may not be able to partake in traditional group music-making experiences. I questioned whether or not it really be considered the Orff-Schulwerk approach if I adapted the approach to meet the children's needs?

In her article, Melanie Voigt (2003) discusses the evolution of Orff Music Therapy, based largely upon the principles and foundations of the Orff-Schulwerk method. In reviewing the article, I felt as if I had found the missing link between the Orff-Schulwerk method and its implementation into the field of music therapy with children with developmental delays.

The majority of the clientele that I currently work with have a diagnosis on the Autism Spectrum Disorder (ASD). That said, early intervention is the key to their success. Voigt (2003) points out some key proponents of Orff Music Therapy support and the belief that therapy should begin at a young age. There is great emphasis put on the family involvement with the child's therapy within this approach. I also believe that this is a crucial component to a child's success or failure to succeed not only in music therapy, but in all therapies. Open and honest communication is crucial as we are all members of the child's treatment team and must work together in order for success to be attained.

As a member of a school-based treatment team, I work on a consistent basis with occupational therapists, social workers, speech therapists, teachers, and physical therapists in order to create goals specific to each child's current functioning level. We have found that in order for success to be attained at school, the parent must be able to carry the techniques over to their home setting as well. Voigt (2003) includes the example of Mark, and how his parents were a crucial part of his treatment team as evidenced by them using the Orff Music Therapy techniques in their home. All of this information was then included on the Individualized Education Plan (IEP). In Mark's case, the more complex the child's problems were, the greater the need for specialized services.

Voigt (2003) further states that Orff Music Therapy is based upon the humanistic approach to therapy and that the children should be able to actively participate. When first beginning my professional career as a music therapist I utilized the behavioral approach to therapy. This was particularly evident in my work with children with ASD. I began to question, though, how I could help the child change his or her behavior and help move him or her from "Point A" to "Point B" during their sessions. It is when I began to allow myself to step out of my comfort zone and explore the therapeutic environment more in depth that I began to see changes in my students. As I have grown professionally, I now practice much more within the humanistic approach. When I allow myself to improvise and think "in the moment" in order to meet children where they are, they respond with a greater level of focus and attention. This is a primary focus of Orff Music Therapy as Voigt (2003) further states in the article. She makes note of Gertrude Orff's use of the Iso-Principle and its importance during music therapy sessions. I absolutely agree with the use of the Iso-Principle and I have seen the benefits of its use during sessions with my students.

Reading this article has been an eye opening experience for me. I believe that I am implementing more aspects of Orff Music Therapy into my sessions than I did in the past. This article has been an inspiration to me in that I have finally gotten a clear sense of how the Orff-Schulwerk approach has been adapted to fit into a music therapy approach called Orff Music Therapy. I now know that I am able to adapt the traditional "Orffestra" in order to meet my student's functioning levels and that it is still part of Orff Music Therapy. In addition, the Iso-Principle is a very important aspect of the therapeutic process, one in which I will continue to utilize and implement into my daily work with children with a diagnosis on Autism Spectrum.Disorder.