Cathy Benedict, Ed.D
  • Home
  • Education
  • TC - NYC
    • Masters Project
  • Presentations
  • Publications
  • Western / FIU / NYU
    • Western >
      • The Teacher
      • Kodály Based Musicianship >
        • 2020-2021
        • 2019-2020
        • 2018-2019
        • 2017-2018
      • Music Education in Inclusive Contexts
      • Undergrad Research
      • Elementary Music 2022 >
        • Elementary Music 2020
      • Study Hall
      • Grad photos
      • MESA Students
      • Study Abroad
      • Research in Music Education
      • Curriculum and Policy 2022
      • Theories Of Music Education
      • Intro to Music Ed >
        • Fall 2019
        • Fall 2021
        • Fall 2018
        • Winter 2018
        • Fall 2017
        • Winter 2017
        • Fall 2015
        • Winter 2016
        • Fall 2016
  • Guest Teaching
  • Western Kodály Levels
    • Summer 2022
    • Summer 2019
    • Summer 2018
    • Summer 2017 >
      • Kodaly videos etc
    • Summer 2016
    • Photos from Kodaly club
    • IKS Alberta 2017
  • New Horizons Band
  • United Nations Project
  • Blog
  • Allsup Book Launch
  • MLAL
Back after two summers away:  Kodály Level III - !
Picture



Ing, Ting (coming in from Thailand - which was a day and night switch for them, Alisha, Cathy, Leslie, Danielle, Sara
Picture
Picture
Picture
Picture
In reflection, I am glad for the two summers off - I was able to rethink, even more deeply, the ways in which a singular focus on western notation  - to the detriment of other notational and aural ways of knowing and experience our world - is colonizing. Thus, we began the two weeks of Level III pedagogy and materials learning to problematize by peeling back layers of questions: Always beginning with Who Benefits? We then thought through multiple examples of Essential questions and continued to return to these daily and in our final projects.

Here are the Essential Questions that spoke to each:

Alisha:
•In what ways does music and musicking convey messages about social and humanitarian issues?
I chose this because music can be so powerful in changing lives and ideas.

Sara:
• How is our understanding of culture and society constructed through and by music?
This question asks us to think critically about the music in our lives and to better understand why we “know” what we “know”. It can also open doors to new ways of understanding how perspectives are formed.

Danielle:
• In what ways can we teach and learn in a space that affirms the spectrum of students’ and instructors’ genders and sexual identities?
 I want classrooms to be inclusive spaces where students and teachers can be their authentic selves.

Ting:
Why sing?
Singing is one of the expressions of human emotions.

Ing:
• Why listen?
Listening is connecting. You can hear the thoughts and feeling of someone else.
We can learn through listening

Leslie:
• How is music used to manipulate us?
I see this in religious environments and wish to know how to be more authentic in my motives.



The pedagogical focus for the two weeks was aural - those moments when we often reach for a pencil to write something out that we have heard, were not allowed. We spent the two weeks improvising, arranging (including creating mashups) and composing (including pop songs), and playing (and hearing) along with ukuleles. It was an amazing two weeks! I am honoured to have spent these years with these people -thank you for bringing me into your lives.
Powered by Create your own unique website with customizable templates.