Trauma-Informed Pedagogy and the Post-Secondary Music Class

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.

Autorentext

Kimber Andrews is an Associate Director at 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.

Klappentext

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.

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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 and 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: On Trauma-Informed Pedagogy in Ethnographic Fieldwork

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 D. 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 as a Pedagogy of Care and Repair

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

Jennifer King and Sylvia Hernandez

Chapter 13-"Every Artist Is an Advocate": Mentoring High-Achieving Students and Negotiating Institutional Pressure in Student Advocacy and Research

Holly Riley and 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