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.

• Table of ContentsPrologue: An Interview of Associate Vice Provost and Professor Keisha Love, University of CincinnatiIntroduction: Why Trauma-Informed Pedagogy in Post-Secondary Music?Kimber Andrews and Kristy SwiftPart I: Responding to Uncertainty, Stress and Trauma Through and With MusicKimber AndrewsChapter 1—Transcending Notes: A Trauma-Informed Care in Music Education for Re-membering and Re-embracing Our WholenessMays ImadChapter 2—Teaching Traumatized StudentsFred MausChapter 3—These Are Magic Words: On Trauma-Informed Pedagogy in Ethnographic FieldworkDrew B. GriffinChapter 4—Designing Trauma-Informed Assessments in the Decolonised Music Classroom: UK and US ContextsMichelle MeinhartChapter 5—Supporting Learners in the Possibility of Environmental Collapse: An Arts-Based and Trauma-Informed CourseTawnya D. SmithChapter 6—Teaching Sound, Music, and TraumaKristy SwiftPart II: Intersectional Trauma–Informed Pedagogy and the Music ClassKristy SwiftChapter 7—Negotiating the Ambivalences of Safe Space through In-Class Open MicsRyan LambeChapter 8––Trauma-informed and Universal-Design Approaches for Rigorous Training in Aural SkillsSamantha BasslerChapter 9––Antiracism as a Pedagogy of Care and RepairJohn Spilker-BeedChapter 10––Trauma-Informed Vocal Pedagogy: Methods to Combat Racial Trauma in Black Singers Within the Vocal StudioBrandi L. DiggsChapter 11––Becoming a Situated Ear: A Feminist, Trauma-Informed Approach to Aural SkillsVivian LuongPart III: Islands of Care: Cultivating Awareness, Connection, Growth, and ResilienceKimber AndrewsChapter 12—Creating the Container: Strategies for Building a Trauma-Informed, Nervous System-Aware Adult Learning EnvironmentJennifer King and Sylvia HernandezChapter 13—“Every Artist Is an Advocate”: Mentoring High-Achieving Students and Negotiating Institutional Pressure in Student Advocacy and ResearchHolly Riley and Noah DurnellChapter 14—Staying Tuned In: Connecting Body and Brain to Deepen Understanding and Learning in the Music ClassroomAmy Stenger-SullivanChapter 15—Firmly Grounded, So You Can Soar: How I Used Universal Design for Learning to Keep Teaching After TraumaNicol HammondEpilogue: Choice and VoiceQuinn Patrick AnkrumIndex

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.

• Table of ContentsPrologue: An Interview of Associate Vice Provost and Professor Keisha Love, University of CincinnatiIntroduction: Why Trauma-Informed Pedagogy in Post-Secondary Music?Kimber Andrews and Kristy SwiftPart I: Responding to Uncertainty, Stress and Trauma Through and With MusicKimber AndrewsChapter 1—Transcending Notes: A Trauma-Informed Care in Music Education for Re-membering and Re-embracing Our WholenessMays ImadChapter 2—Teaching Traumatized StudentsFred MausChapter 3—These Are Magic Words: On Trauma-Informed Pedagogy in Ethnographic FieldworkDrew B. GriffinChapter 4—Designing Trauma-Informed Assessments in the Decolonised Music Classroom: UK and US ContextsMichelle MeinhartChapter 5—Supporting Learners in the Possibility of Environmental Collapse: An Arts-Based and Trauma-Informed CourseTawnya D. SmithChapter 6—Teaching Sound, Music, and TraumaKristy SwiftPart II: Intersectional Trauma–Informed Pedagogy and the Music ClassKristy SwiftChapter 7—Negotiating the Ambivalences of Safe Space through In-Class Open MicsRyan LambeChapter 8––Trauma-informed and Universal-Design Approaches for Rigorous Training in Aural SkillsSamantha BasslerChapter 9––Antiracism as a Pedagogy of Care and RepairJohn Spilker-BeedChapter 10––Trauma-Informed Vocal Pedagogy: Methods to Combat Racial Trauma in Black Singers Within the Vocal StudioBrandi L. DiggsChapter 11––Becoming a Situated Ear: A Feminist, Trauma-Informed Approach to Aural SkillsVivian LuongPart III: Islands of Care: Cultivating Awareness, Connection, Growth, and ResilienceKimber AndrewsChapter 12—Creating the Container: Strategies for Building a Trauma-Informed, Nervous System-Aware Adult Learning EnvironmentJennifer King and Sylvia HernandezChapter 13—“Every Artist Is an Advocate”: Mentoring High-Achieving Students and Negotiating Institutional Pressure in Student Advocacy and ResearchHolly Riley and Noah DurnellChapter 14—Staying Tuned In: Connecting Body and Brain to Deepen Understanding and Learning in the Music ClassroomAmy Stenger-SullivanChapter 15—Firmly Grounded, So You Can Soar: How I Used Universal Design for Learning to Keep Teaching After TraumaNicol HammondEpilogue: Choice and VoiceQuinn Patrick AnkrumIndex

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.

• Table of ContentsPrologue: An Interview of Associate Vice Provost and Professor Keisha Love, University of CincinnatiIntroduction: Why Trauma-Informed Pedagogy in Post-Secondary Music?Kimber Andrews and Kristy SwiftPart I: Responding to Uncertainty, Stress and Trauma Through and With MusicKimber AndrewsChapter 1—Transcending Notes: A Trauma-Informed Care in Music Education for Re-membering and Re-embracing Our WholenessMays ImadChapter 2—Teaching Traumatized StudentsFred MausChapter 3—These Are Magic Words: On Trauma-Informed Pedagogy in Ethnographic FieldworkDrew B. GriffinChapter 4—Designing Trauma-Informed Assessments in the Decolonised Music Classroom: UK and US ContextsMichelle MeinhartChapter 5—Supporting Learners in the Possibility of Environmental Collapse: An Arts-Based and Trauma-Informed CourseTawnya D. SmithChapter 6—Teaching Sound, Music, and TraumaKristy SwiftPart II: Intersectional Trauma–Informed Pedagogy and the Music ClassKristy SwiftChapter 7—Negotiating the Ambivalences of Safe Space through In-Class Open MicsRyan LambeChapter 8––Trauma-informed and Universal-Design Approaches for Rigorous Training in Aural SkillsSamantha BasslerChapter 9––Antiracism as a Pedagogy of Care and RepairJohn Spilker-BeedChapter 10––Trauma-Informed Vocal Pedagogy: Methods to Combat Racial Trauma in Black Singers Within the Vocal StudioBrandi L. DiggsChapter 11––Becoming a Situated Ear: A Feminist, Trauma-Informed Approach to Aural SkillsVivian LuongPart III: Islands of Care: Cultivating Awareness, Connection, Growth, and ResilienceKimber AndrewsChapter 12—Creating the Container: Strategies for Building a Trauma-Informed, Nervous System-Aware Adult Learning EnvironmentJennifer King and Sylvia HernandezChapter 13—“Every Artist Is an Advocate”: Mentoring High-Achieving Students and Negotiating Institutional Pressure in Student Advocacy and ResearchHolly Riley and Noah DurnellChapter 14—Staying Tuned In: Connecting Body and Brain to Deepen Understanding and Learning in the Music ClassroomAmy Stenger-SullivanChapter 15—Firmly Grounded, So You Can Soar: How I Used Universal Design for Learning to Keep Teaching After TraumaNicol HammondEpilogue: Choice and VoiceQuinn Patrick AnkrumIndex