There is much attention currently being given to argument-based inquiry in national and state curriculum documents. Students are being required to be able to generate and evaluate science knowledge, and to think critically and judge the value of evidence and explanations. The intent of the book is to provide a rich and broad view of the impact of argument-based inquiry in the elementary classrooms from the perspective of the teacher. All the teachers and professional development authors were engaged in promoting and using argument based inquiry as the approach to teaching science. They were implementing the Science Writing Heuristic (SWH) approach as the argument based approach for classroom practice.As researchers we constantly work to present our views of these experiences with the voice of the teachers only being relayed through the perspective of the researcher. The intent of this book is to provide an opportunity for us as a community to listen to what the teachers are telling us. Importantly as demands are being placed on classroom experiences that provide opportunities for students to pose questions, make claims, and provide evidence, that is, to think critically and reason like scientists, we need to understand what this looks like from the perspective of the teacher. This book brings together a range of elementary teachers from kindergarten through to year 6 who have used the Science Writing Heuristic approach to teach argument-based inquiry. These teachers have all gone through professional development programs and successfully implemented the approach at a high level.

Since the publication of the first edition of A Spectrum of Voices there have been significant advances in voice studies. Prominent members of the new generation of voice teachers join their voices with now-canonized teachings. Asking questions about technology, pedagogy, and stylistic changes within the field, Elizabeth L. Blades brings the wisdom from the past and present to voice students at all levels. A Spectrum of Voices draws from the brilliance and combined experience of an elite group of exemplary voice teachers, presenting interviews from more than twenty-five notable teachers, six of them new to this second edition. Voice teachers offer valuable insight into their teaching philosophies, the types of auxiliary training they recommend to their students, and how they structure their lessons. This second edition also addresses significant technological advances of the past twenty years, especially the impact on vocal performance and pedagogy. A quick-and-handy reference for the studio teacher, this book also serves as a text for vocal pedagogy courses and as an essential supplement for physiology and vocal mechanics, teachers and students of singing, music educators, and musical theater performers.

This book follows the shared journey of five classroom teachers and a university professor as they together examine the possibilities and dilemmas of collaborative inquiry and teacher empowerment. Teachers’ voices, in spite of their similarities and differences, still are not heard in the clamor for educational reform, nor are they recognized on the national agendas for research on teacher education. Miller and her colleagues articulate and question the contexts and assumptions that influence and frame teaching practice as they explore the contraints and the possibilities of defining and thus empowering teachers as teacher-researchers. Here the multiple and changing voices of teachers are clearly heard, and Miller shares their experiences, their frustrations, their hopes, and their issues. By grounding these concerns within the particularities of their teaching, Miller and her colleagues explore concrete situations in which they challenge and support one another. Through these stories of collaborative efforts, others are invited to join together in the continuous process of creating those spaces in which all teachers’ voices may be acknowledged and valued.

The Singing Teacher's Guide to Transgender Voices is the first comprehensive resource developed for training transgender and nonbinary singers. This text aids in the development of voice pedagogy tailored to the needs of transgender singers, informed by cultural competence, and bolstered by personal narratives of trans and nonbinary singing students. The singing life of a transgender or nonbinary student can be overwhelmingly stressful. Because many of the current systems in place for singing education are so firmly anchored in gender binary systems, transgender and gender nonconforming singers are often forced into groups with which they feel they don't belong. Singers in transition are often afraid to reach out for help because the likelihood of finding a voice teacher who is competent in navigating the social, emotional, physical, and physiological challenges of transition is minimal at best. This text equips teachers with a sympathetic perspective on these unique struggles and with the knowledge and resources needed to guide students to a healthy, joyful, and safe singing life. It challenges professional and academic communities to understand the needs of transgender singers and provide evidence-based voice education and real-world opportunities that are authentic and genuine. The Singing Teacher's Guide to Transgender Voices is the first book of its kind to provide thorough, organized information on the training of trans singers for educators in both the academic and independent teaching realms.

"Many high school theatre teachers do not have access to intensive voice instruction. Rena's book will fill that void. It is instructive, concise, easy to understand, and most importantly for the high school student, fun. High school teachers will find the book an invaluable voice and acting resource. It would be beneficial to all high school theatre programs to have Voice and the Young Actor as a textbook." Kim Moore, High School Teacher, Colorado There are thousands of students enrolled in school drama classes in yet very often young actors cannot be heard, are culturally encouraged to trail off at the ends of sentences, and habitually use only the lowest pitches of the voice. Drama teachers, frequently ask, "How can I get my students to speak up, to be clear, to articulate?" Voice and the Young Actor is written for the school actor, is inviting in format, language and illustration and offers clear and inspiring instructions. A DVD features 85 mins and 28 filmed voice workshop exercises with the author and two students. These students log their reflections in the book on what they have learned throughout their training and there is space for the reader to do the same. A workbook in format, Voice and the Young Actor provides simple, interactive vocal exercises and shows young performers how to take voice work into acting.

We live in dangerous times when educational policies and practices are debated largely in terms of how they fit with the needs of the free market. This volume is a collection of writing by teacher-educators that draws on their unique biographies, experiences and perspectives to denounce these misguided norms. It explores what it means—practically and intellectually—to teach for social justice in conservative times. In a globalised world where the power of capital holds sway, the purposes of social institutions such as universities and schools is being refashioned in ways that are markedly instrumental and technicist in nature. The consequence is that teachers’ work is increasingly constrained by regimes of control such as standardised testing, accountability, transparency, and national curricula. In the meantime, large numbers of students and teachers are disengaging physically, emotionally and intellectually from learning. The contributors to this edited volume present both a powerful critique of these developments and a counter-hegemonic vision of teacher education founded on the principles and values of social justice, democracy and critical inquiry. Teacher education, they argue, involves a commitment to critical intellectual work that subjects some deeply entrenched assumptions, beliefs, habits, routines and practices to closer scrutiny. The contributing authors expose how ideology and power operate in seemingly blameless, rational ways to perpetuate social hierarchies based on class, gender, sexuality, race and culture.

This book is about what teachers need to know before they teach history to students of color. It is a book about the ‘inside feel’ of these students and what they think and say history is for, based on research in the United States with reflections on the United Kingdom. It gives history teachers a better understanding of why culturally relevant pedagogy, inclusion and issues surrounding diversity are of crucial importance if we are to reach these students. We live in a world where many multicultural students think they have little connection with the histories, traditions and values in which they have grown up, some look toward groups who promise them a sense of belonging and ownership of created histories which clash with and threaten democratic societies. This book begins with the belief that it is important to understand how a subject, history, makes non-White students think and feel about themselves. At its center are assertions made by students of color who think learning history that is rich in aspects they can connect with culturally and personally, is important and necessary in gaining and holding their attention. Then I make suggestions of how we best communicate and set high expectations for these students, how as history teachers we use strategies to better engage these students, and redirect the unengaged. We need to make sure history educators provide necessary and appropriate scaffolding for students of colour to better process what they learn in history lessons, making sure they are engaged in higher-order thinking in an equitable safe environment where they see and know that their diversities are respected and valued.

Voice Work: Art and Science in Changing Voices is a key work that addresses the theoretical and experiential aspects common to the practical vocal work of the three major voice practitioner professions - voice training, singing teaching, and speech and language pathology. The first half of the book describes the nature of voice work along the normal-abnormal voice continuum, reviews ways in which the mechanism and function of the voice can be explored, and introduces the reader to an original model of voice assessment, suitable for all voice practitioners. The second half describes the theory behind core aspects of voice and provides an extensive range of related practical voice work ideas. Throughout the book, there are a number of case studies drawn from the author's own experiences and a companion website, providing audio clips to illustrate aspects of the text, can be found at www.wiley.com/go/shewell.

There is only one place where social education can occur and flourish: through the voices that create a pedagogy of change. And it is these voices where the most exciting and provocative moments can occur for those of us who are passionate about education, teaching, social justice, equity, and love. As such, social education is a journey-an endeavor that makes us savor the experience of the journey more than the destination. And social education is a journey that ins enhanced through educator and student voices because it occurs in the most important spaces of our personal and professional lives. It occurs in the hallways of the schools we teach, in the staff meetings we attend, in the mountain villages we venture to visit, in the places we work, and in the spaces we occupy. Moreover, social education is a unique kind of journey because it is a human experience that seldom occurs alone. It happens with our colleagues and our loved ones. It happens with our students, administrators, and other professionals who are fighting for the same things that we so fervently believe. In the end, social education occurs and flourishes in the trenches because it is the active pursuit of getting our hands dirty in our endless pursuit for a better and more just world. Social education is also a narrative, which takes on a different meaning for each one of us. This is because sooner or later each person that embarks into the journey of social education develops its own personal definition of what social education entails through his or her own personal landscape and knowledge. This personal landscape has been evolving since we were very young with some of the best examples of human courage and tenacity in the fight for social justice. Voices of Social Education: A Pedagogy of Change is a collection of personal stories. In this volume, academics, teachers, students, activists, and artists share their personal stories of triumph, tribulations, and courage in their daily fight for social justice and equality. The term social education is not defined as a set number of guidelines or a specific definition; we give the term an organic fluency to stress that social education is a point of encounter--a common space-- where we can share with each other our experiences, values, and culture to form a more genuine and just social experience.

As a teacher, you are required to use your voice more than any other professional! Your voice is the most important tool that you have at your disposal to inspire students and help them learn effectively. Using your voice powerfully and effectively is the key to becoming an outstanding teacher. Developing a strong vocal presence in the classroom influences everything else that you do, helping to build your confidence and positive interactions with students. If you neglect your voice as a teacher, you are more likely to end up stressed, have a shorter teaching career and suffer from vocal health issues. This book explores how you can learn to use your voice effectively in the classroom, linking together basic theory about vocal production and teacher identity with numerous practical tips, tricks and exercises which you can apply to your own teaching. Covering all aspects of the voice and its employment both inside the classroom and its importance to daily life outside, the book tackles topics such as: the philosophy of the voice, how it develops and its role in creating your own identity the mechanical and mental skills required to develop a teaching voice acquiring confidence and an exploration of body language to underpin your vocal production the relationship between the student’s voice and the teacher’s voice the importance of practice for a teacher the practicality of caring for one’s voice. Using Your Voice Effectively in the Classroom offers a much-needed exploration and thorough examination of the voice in the classroom and will be an indispensable guide for trainee teachers, as well as valuable reading for all practising teachers.