OUR BEGINNINGS
In 1981 Marion Reed and Velma Allen attended the annual National Orff-Schulwerk Association Convention in Albuquerque, New Mexico. Idaho had just become a Charter member of the American Orff-Schulwerk Association. Being awarded a Charter brought new life to teaching approaches in Idaho. Bringing the approach to Idaho had been a long standing priority by other Idaho Charter members and enthusiasts as well. Acquiring the Charter meant meeting specific application criteria. Idaho needed at least eight AOSA members in order to apply. Velma submitted the letter of application which required listing members, writing a formal synopsis of how the Idaho member interest evolved, and offered a formal delineation of the future implementation plans. The application was considered, the review began, and the AOSA announced Idaho had been awarded Charter Membership, a long road from the first Orff-Schulwerk class Velma Allen had taken in 1970. By 1991 the chapter had 37 registered members and was growing very quickly. In 92, 56 members were recorded.
THE VELMA ALLEN STORY (Told by Velma Allen)
By way of background, let me provide a brief history of my interest in bringing Orff-Schulwerk to Idaho. In 1970, my two children had completed their bachelor degrees and were on to future plans. I had put graduate work on hold for myself until my children had graduated. I requested and was granted a one-year leave of absence by the Boise School District and began my master’s program at Brigham Young University. Dr. James Mason was my advisor. He immediately suggested that I register for a special three week Orff-Schulwerk workshop.
Although I had no knowledge of Carl Orff or Grace Nash I spent three exhilarating weeks learning about this new, transformative approach to teaching elementary music. Grace Nash, the guest instructor was inspiring, an extraordinary communicator, and certainly deserved her national renown in teaching the Orff approach. I had had many satisfying years teaching K-12 but this short exposure to Orff-Schulwerk changed my future in music education in a most dramatic way. Afterward I felt I had so much more to offer children-an approach that would further enrich their lives as their creativity was given new latitude. This initial introduction was the motivation for an Idaho Chapter Membership in American Orff-Schulwerk.
After graduating with my master’s degree, I returned to my teaching position in Boise exuberant about the potential for Idaho children. I requested a set of Orff instruments. In the beginning I was disappointed when the Director of Music showed no interest in the new approach. In a discussion with the principal of Garfied School I was delighted and relieved that he shared my enthusiasm for the approach. He went directly to the PTA and I was furnished with a set of Orff instruments. He also supported my request to have Grace Nash present a short session at the Idaho State Music Convention in Boise. Students at Garfield School presented numbers using the Orff instruments at the evening session which generated praise and enthusiasm. It was the perfect opportunity for the Idaho music educators to witness the new approach.
I wanted to pursue more study in this field so I spent the summer of 1971 attending workshops and taking classes in Orff instruction. At the University of Southern California, Martha Wampler, who was nationally active in Orff, offered summer classes. I registered and was fortunate to study with Martha, Margaret Smith, and had the rare privilege of studying with Gertrude Orff of Germany, wife of Carl Orff. From USC, I went to Toronto, Canada and took classes at the Royal Conservatory of Music which was the center of Orff study in North America. Doreen Hall who had translated Carl Orff’s German works into English and published his material was program director. I had classes with the best clinicians: Jos Wuytak, Mariam Samuelson, Joan Sumberland, Fraude Schrattenecker and Doreen Hall. I returned to Boise from the Conservatory knowing I had been exposed to the finest Orff instruction available.
It took time, determination, and a supportive district music director to get instruments in the Boise School System. I encouraged all music specialists to incorporate Orff-Schulwerk in their teaching. I was available to direct workshops and instruct music specialists in the use and value of the instruments as well as to convey Orff’s inherently creative approach in music education. Grace Nash was in great demand at this time in the United State and Europe. She contacted me and encouraged me to teach several of her summer workshops in Oregon and New Mexico. This was an opportunity I had never anticipated and I was thrilled to accept. Through teaching workshops at this level I benefited as much as the attendees. I continued to teach workshops at several colleges and universities during summer months until I retired. I also taught night classes at Northwest Nazarene College in Nampa for 19 years.
The years of association with Grace Nash and my attendance at the American Orff-Schulwerk conventions motivated me to seek an Idaho Chapter of AOSA. In concert with enough very supportive music educators, Idaho’s affiliation with AOSA was granted and chartered. In 1981 I attended the Annual National Orff-Schulwerk Convention in Albuquerque, New Mexico. This convention, this day was significant for Idaho music education. It was a day of tremendous anticipation and gratification for me. I was presented with Idaho’s Charter Membership in the American Orff-Schulwerk Association. I was president of the Idaho Chapter for two terms and continued in the organization until my retirement.
Although I had no knowledge of Carl Orff or Grace Nash I spent three exhilarating weeks learning about this new, transformative approach to teaching elementary music. Grace Nash, the guest instructor was inspiring, an extraordinary communicator, and certainly deserved her national renown in teaching the Orff approach. I had had many satisfying years teaching K-12 but this short exposure to Orff-Schulwerk changed my future in music education in a most dramatic way. Afterward I felt I had so much more to offer children-an approach that would further enrich their lives as their creativity was given new latitude. This initial introduction was the motivation for an Idaho Chapter Membership in American Orff-Schulwerk.
After graduating with my master’s degree, I returned to my teaching position in Boise exuberant about the potential for Idaho children. I requested a set of Orff instruments. In the beginning I was disappointed when the Director of Music showed no interest in the new approach. In a discussion with the principal of Garfied School I was delighted and relieved that he shared my enthusiasm for the approach. He went directly to the PTA and I was furnished with a set of Orff instruments. He also supported my request to have Grace Nash present a short session at the Idaho State Music Convention in Boise. Students at Garfield School presented numbers using the Orff instruments at the evening session which generated praise and enthusiasm. It was the perfect opportunity for the Idaho music educators to witness the new approach.
I wanted to pursue more study in this field so I spent the summer of 1971 attending workshops and taking classes in Orff instruction. At the University of Southern California, Martha Wampler, who was nationally active in Orff, offered summer classes. I registered and was fortunate to study with Martha, Margaret Smith, and had the rare privilege of studying with Gertrude Orff of Germany, wife of Carl Orff. From USC, I went to Toronto, Canada and took classes at the Royal Conservatory of Music which was the center of Orff study in North America. Doreen Hall who had translated Carl Orff’s German works into English and published his material was program director. I had classes with the best clinicians: Jos Wuytak, Mariam Samuelson, Joan Sumberland, Fraude Schrattenecker and Doreen Hall. I returned to Boise from the Conservatory knowing I had been exposed to the finest Orff instruction available.
It took time, determination, and a supportive district music director to get instruments in the Boise School System. I encouraged all music specialists to incorporate Orff-Schulwerk in their teaching. I was available to direct workshops and instruct music specialists in the use and value of the instruments as well as to convey Orff’s inherently creative approach in music education. Grace Nash was in great demand at this time in the United State and Europe. She contacted me and encouraged me to teach several of her summer workshops in Oregon and New Mexico. This was an opportunity I had never anticipated and I was thrilled to accept. Through teaching workshops at this level I benefited as much as the attendees. I continued to teach workshops at several colleges and universities during summer months until I retired. I also taught night classes at Northwest Nazarene College in Nampa for 19 years.
The years of association with Grace Nash and my attendance at the American Orff-Schulwerk conventions motivated me to seek an Idaho Chapter of AOSA. In concert with enough very supportive music educators, Idaho’s affiliation with AOSA was granted and chartered. In 1981 I attended the Annual National Orff-Schulwerk Convention in Albuquerque, New Mexico. This convention, this day was significant for Idaho music education. It was a day of tremendous anticipation and gratification for me. I was presented with Idaho’s Charter Membership in the American Orff-Schulwerk Association. I was president of the Idaho Chapter for two terms and continued in the organization until my retirement.
IOSA 30TH ANNIVERSARY
IOSA celebrated their 30th Anniversary in 2011. The documents below are the results of our efforts to record the history of Orff-Schulwerk in Idaho. Anyone with knowledge of any corrections or missing information in the "IOSA History Project" file below should please contact Beverly Schumacher ([email protected]).
IOSA History Project | |
File Size: | 36 kb |
File Type: | doc |
30th Anniversary of IOSA Speech by Velma Allen | |
File Size: | 26 kb |
File Type: | doc |
PAST IOSA BOARD PRESIDENTS
1981 – 1987 - Velma Allen
1987 – 1991 - Beverly Schumacher
1991 – 1995 - Esther Wesche
1995 – 1997 - Linda Berg
1997 – 1999 - Johnathan Hurtle
1999 – 2001 - Cindy Barrie
2001 – 2003 - Duane Harrison
2003 – 2004 - Dr. David Gonzal
2004 – 2005- Beverly Schumacher and Lori Conlon Khan
2005 – 2007 - Lori Conlon Khan
2007 – 2009 - Anita Edwards
2009 – 2011- Dr. Andy Goodwin
2011 – 2013 - Shirley Van Papaeghem
2013 – 2016 - Teresa Colebrook Finch
2016 – 2018 - Shannon Hotchkiss
2018 – 2019 - Taggart Lewis
2019 – 2020 - Shannon Hotchkiss
Current President - Miranda Rupp
1987 – 1991 - Beverly Schumacher
1991 – 1995 - Esther Wesche
1995 – 1997 - Linda Berg
1997 – 1999 - Johnathan Hurtle
1999 – 2001 - Cindy Barrie
2001 – 2003 - Duane Harrison
2003 – 2004 - Dr. David Gonzal
2004 – 2005- Beverly Schumacher and Lori Conlon Khan
2005 – 2007 - Lori Conlon Khan
2007 – 2009 - Anita Edwards
2009 – 2011- Dr. Andy Goodwin
2011 – 2013 - Shirley Van Papaeghem
2013 – 2016 - Teresa Colebrook Finch
2016 – 2018 - Shannon Hotchkiss
2018 – 2019 - Taggart Lewis
2019 – 2020 - Shannon Hotchkiss
Current President - Miranda Rupp