Trauma-Informed Pedagogy and the Post-Secondary Music Class explores the theory and practice of teaching and learning in a traumatized world and aims to support instructors in guiding students and walking with them through challenges that impact learning.
Trauma-Informed Pedagogy and the Post-Secondary Music Class explores the theory and practice of teaching and learning in a traumatized world and aims to support instructors in guiding students and walking with them through challenges that impact learning.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Kimber Andrews is Associate Director of the Center for the Enhancement of Teaching and Learning at the University of Cincinnati. Kristy Swift is Assistant Professor of Music Studies and Bachelor of Arts Music program director at the University of Cincinnati College-Conservatory of Music.
Inhaltsangabe
Table of Contents Prologue: An Interview of Associate Vice Provost and Professor Keisha Love, University of Cincinnati Introduction: Why Trauma-informed Pedagogy in Post-secondary Music? Kimber Andrews Kristy Swift Part I: Responding to Uncertainty, Stress and Trauma Through and with Music Kimber Andrews Chapter 1-Transcending Notes: A Trauma-Informed Care in Music Education for Re-membering and Re-embracing Our Wholeness Mays Imad Chapter 2-Teaching Traumatized Students Fred Maus Chapter 3-These are Magic Words: Trauma-informed Fieldwork in Practice Drew B. Griffin Chapter 4-Designing Trauma-Informed Assessments in the Decolonised Music Classroom: UK and US Contexts Michelle Meinhart Chapter 5-Supporting Learners in the Possibility of Environmental Collapse: An Arts-Based and Trauma-Informed Course Tawnya Smith Chapter 6-Teaching Sound, Music, and Trauma Kristy Swift Part II: Intersectional Trauma-informed Pedagogy and the Music Class Kristy Swift Chapter 7-Negotiating the Ambivalences of Safe Space through In-Class Open Mics Ryan Lambe Chapter 8--Trauma-informed and Universal-Design Approaches for Rigorous Training in Aural Skills Samantha Bassler Chapter 9--Antiracism and Nonviolence as Intersectional Repair and Reconciliation in the Classroom John Spilker-Beed Chapter 10--Trauma-Informed Vocal Pedagogy: Methods to Combat Racial Trauma in Black Singers Within the Vocal Studio Brandi L. Diggs Chapter 11--Becoming a Situated Ear: A Feminist, Trauma-Informed Approach to Aural Skills Vivian Luong Part III: Islands of Care: Cultivating Awareness, Connection, Growth, and Resilience Kimber Andrews Chapter 12-Creating the Container: Strategies for Building a Trauma-Informed, Nervous System-Aware Adult Learning Environment Jenny King Sylvia Hernandez Chapter 13-"Every Artist is an Advocate": Mentoring High-Achieving Students and Negotiating Institutional Pressure in Student Advocacy and Research" Holly Riley Noah Durnell Chapter 14-Staying Tuned In: Connecting Body and Brain to Deepen Understanding and Learning in the Music Classroom Amy Stenger-Sullivan Chapter 15-Firmly Grounded, So You Can Soar: How I Used Universal Design for Learning to Keep Teaching After Trauma Nicol Hammond Epilogue: Choice and Voice Quinn Patrick Ankrum Index
Table of Contents Prologue: An Interview of Associate Vice Provost and Professor Keisha Love, University of Cincinnati Introduction: Why Trauma-informed Pedagogy in Post-secondary Music? Kimber Andrews Kristy Swift Part I: Responding to Uncertainty, Stress and Trauma Through and with Music Kimber Andrews Chapter 1-Transcending Notes: A Trauma-Informed Care in Music Education for Re-membering and Re-embracing Our Wholeness Mays Imad Chapter 2-Teaching Traumatized Students Fred Maus Chapter 3-These are Magic Words: Trauma-informed Fieldwork in Practice Drew B. Griffin Chapter 4-Designing Trauma-Informed Assessments in the Decolonised Music Classroom: UK and US Contexts Michelle Meinhart Chapter 5-Supporting Learners in the Possibility of Environmental Collapse: An Arts-Based and Trauma-Informed Course Tawnya Smith Chapter 6-Teaching Sound, Music, and Trauma Kristy Swift Part II: Intersectional Trauma-informed Pedagogy and the Music Class Kristy Swift Chapter 7-Negotiating the Ambivalences of Safe Space through In-Class Open Mics Ryan Lambe Chapter 8--Trauma-informed and Universal-Design Approaches for Rigorous Training in Aural Skills Samantha Bassler Chapter 9--Antiracism and Nonviolence as Intersectional Repair and Reconciliation in the Classroom John Spilker-Beed Chapter 10--Trauma-Informed Vocal Pedagogy: Methods to Combat Racial Trauma in Black Singers Within the Vocal Studio Brandi L. Diggs Chapter 11--Becoming a Situated Ear: A Feminist, Trauma-Informed Approach to Aural Skills Vivian Luong Part III: Islands of Care: Cultivating Awareness, Connection, Growth, and Resilience Kimber Andrews Chapter 12-Creating the Container: Strategies for Building a Trauma-Informed, Nervous System-Aware Adult Learning Environment Jenny King Sylvia Hernandez Chapter 13-"Every Artist is an Advocate": Mentoring High-Achieving Students and Negotiating Institutional Pressure in Student Advocacy and Research" Holly Riley Noah Durnell Chapter 14-Staying Tuned In: Connecting Body and Brain to Deepen Understanding and Learning in the Music Classroom Amy Stenger-Sullivan Chapter 15-Firmly Grounded, So You Can Soar: How I Used Universal Design for Learning to Keep Teaching After Trauma Nicol Hammond Epilogue: Choice and Voice Quinn Patrick Ankrum Index
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