Tawnya D. Smith – författare

This book explores how music education can remain relevant in an era of multiple environmental crises that threaten human thriving and life on a planetary scale. The author argues that music educators must join with educators in other fields to deconstruct unsustainable ideologies and replace them with sustainable curricular practices, while focusing music learning on the project of fostering hope, healing, resilience, justice, and community cohesion. Drawing on the perspectives of radical ecopsychology, ecojustice, and ecofeminism, this book considers how music education can address the emotional and spiritual dimensions of coping with environmental crises. Offering a critique of the compartmentalized nature of current educational practices and envisioning a new approach to music learning that can help teachers and students heal the bifurcations between the psyche, nature, and society at the root of the environmental crises, this book is essential reading for scholars of music and arts education as well as graduate students and educators.

This book explores how music education can remain relevant in an era of multiple environmental crises that threaten human thriving and life on a planetary scale. The author argues that music educators must join with educators in other fields to deconstruct unsustainable ideologies and replace them with sustainable curricular practices, while focusing music learning on the project of fostering hope, healing, resilience, justice, and community cohesion. Drawing on the perspectives of radical ecopsychology, ecojustice, and ecofeminism, this book considers how music education can address the emotional and spiritual dimensions of coping with environmental crises. Offering a critique of the compartmentalized nature of current educational practices and envisioning a new approach to music learning that can help teachers and students heal the bifurcations between the psyche, nature, and society at the root of the environmental crises, this book is essential reading for scholars of music and arts education as well as graduate students and educators.

This book explores how music education can remain relevant in an era of multiple environmental crises that threaten human thriving and life on a planetary scale. The author argues that music educators must join with educators in other fields to deconstruct unsustainable ideologies and replace them with sustainable curricular practices, while focusing music learning on the project of fostering hope, healing, resilience, justice, and community cohesion. Drawing on the perspectives of radical ecopsychology, ecojustice, and ecofeminism, this book considers how music education can address the emotional and spiritual dimensions of coping with environmental crises. Offering a critique of the compartmentalized nature of current educational practices and envisioning a new approach to music learning that can help teachers and students heal the bifurcations between the psyche, nature, and society at the root of the environmental crises, this book is essential reading for scholars of music and arts education as well as graduate students and educators.

Music performance anxiety has long frustrated the artistic community and, while tricks and folk remedies abound, a comprehensive plan to solve this problem has remained elusive. Accomplished violinist Casey McGrath combines her experiences with the research of Karin S. Hendricks and Tawnya D. Smith to provide a resource guide to the most current solutions and therapies, as well as educational applications, for both individual and classroom use.Divided by area of therapeutic interest, Performance Anxiety Strategies presents relevant and noteworthy research and insight into some of the most popular and many lesser-known therapies—including holistic, exposure, cognitive, behavioral, and medicinal treatments. Each chapter also features self-guided activities and exercises, words of wisdom from established performing artists and athletes, and suggestions for music teachers, as well as first-person narratives about the authors’ personal journeys with music performance anxiety both onstage and in the classroom.Including a wealth of offerings and approaches, this book is an invaluable resource for anyone who has ever experienced performance anxiety, from the aspiring classical musician to the garage band guitarist.

Music performance anxiety has long frustrated the artistic community and, while tricks and folk remedies abound, a comprehensive plan to solve this problem has remained elusive. Accomplished violinist Casey McGrath combines her experiences with the research of Karin S. Hendricks and Tawnya D. Smith to provide a resource guide to the most current solutions and therapies, as well as educational applications, for both individual and classroom use.Divided by area of therapeutic interest, Performance Anxiety Strategies presents relevant and noteworthy research and insight into some of the most popular and many lesser-known therapies—including holistic, exposure, cognitive, behavioral, and medicinal treatments. Each chapter also features self-guided activities and exercises, words of wisdom from established performing artists and athletes, and suggestions for music teachers, as well as first-person narratives about the authors’ personal journeys with music performance anxiety both onstage and in the classroom.Including a wealth of offerings and approaches, this book is an invaluable resource for anyone who has ever experienced performance anxiety, from the aspiring classical musician to the garage band guitarist.

This volume offers chapters written by some of the most respected narrative and qualitative inquiry writers in the field of music education. The authorship and scope are international, and the chapters advance the philosophical, theoretical, and methodological bases of narrative inquiry in music education and the arts. The book contains two sections, each with a specific aim. The first is to continue and expand upon dialogue regarding narrative inquiry in music education, emphasizing how narrative involves the art of listening to and hearing others whose voices are often unheard. The chapters invite music teachers and scholars to experience and confront music education stories from multiple perspectives and worldviews, inviting an international readership to engage in critical dialogue with and about marginalized voices in music. The second section focuses on ways in which narrative might be represented beyond the printed page, such as with music, film, photography, and performative pieces. This section includes philosophical discussions about arts-based and aesthetic inquiry, as well as examples of such work.