ways too numerous to reckon. If this
were a film, they would all get executiveproducer credits. As it is, all I can offer
here is my deepest gratitude and affection.
I’d also like to add a special word of thanks to Ms. Akua Mansah, who has
spent the better part of eight years as our children’s caregiver during the days
(and sometimes nights), while my wife and I pursued our respective careers. Rais-
ing three small children while trying to write, teach, and manage all the other
obligations of an academic in today’s university is a challenge even with help, but
Tanz der Spröden (1923). The following year, the two
of them established a school in Munich, with Orff as music director. It was
here that OrfF developed the famous "Schulwerk" method, still used around
the world for enhancing children's receptivity to music.
Günther formed stronger creative collaborations with two of her stu-
dents, Gunild Keetman (b. 1904) and Maja Lex (1906-1986). In 1930 she
formed the Tanzgruppe Günther, for which she acted as a sort of executiveproducer, with Keetman composing all the music for Lex's choreography,
which emerged from the