Trauma and Resilience in Music Education

Trauma and Resilience in Music Education: Haunted Melodies considers the effects of trauma on both teachers and students in the music classroom, exploring music as a means for working through traumatic experiences and the role music education plays in trauma studies. The volume acknowledges the ubiquity of trauma in our society and its long-term deleterious effects while showcasing the singular ways music can serve as a support for those who struggle. In twelve contributed essays, authors examine theoretical perspectives and personal and societal traumas, providing a foundation for thinking about their implications in music education. Topics covered include: - Philosophical, psychological, sociological, empirical, and narrative perspectives of trauma and resilience. - How trauma-informed education practices might provide guidelines for music educators in schools and other settings - Interrogations of how music and music education may be a source of trauma Distinguishing itself from other subjects-even the other arts-music may provide clues to the recovery of traumatic memory and act as a tool for releasing emotions and calming stresses. Trauma and Resilience in Music Education witnesses music's unique abilities to reach people of all ages and empower them to process traumatic experiences, providing a vital resource for music educators and researchers.

Deborah Bradley is retired from the University of Wisconsin-Madison and now serves as External Dissertation Supervisor for Boston University. Juliet Hess is Associate Professor of Music Education at Michigan State University.

Introduction: Trauma and Music Education (Deborah Bradley and Juliet Hess) / PART I: Theoretical Perspectives / 1. Rethinking "Bad Behavior": A Compassionate Response to "Acting Out" in Music Education (Juliet Hess) / 2. Disrupting "What We Know Too Well:" A Relational Frame for Considering Trauma in Music Education (Shannan L. Hibbard) / 3. Teaching Through Trauma: Compassion Fatigue, Burnout, or Secondary Traumatic Stress? (Tawnya D. Smith) / 4. When Music Haunts Memory: Effects of Trauma on Music Learning (Deborah Bradley) / PART II: Personal Trauma / 5. Grief as Transformation: Teaching and Traumatic Loss (Colleen A. Q. Sears) / 6. Multiple Wounds, Liminality, and Crisis: Exploring Arts-Based Approaches for Trauma, PTSD, and Grief (Donna Emmanuel) / 7. Unlearning Academic Music Education: How Music Education Erases Already-Present Musical Identities (Latasha Thomas-Durrell) / PART III: Societal Trauma / 8. Approaching the "Void of Racism": Traumatic Choral Dialogues (John D. Perkins) / 9. Voices from the Inside: Working with the Hidden Trauma Narratives of Women in Custody (Catherine Birch) / 10. Locations of Trauma: Musical Experience and the Holocaust (Teryl L. Dobbs) / 11. Poetics of Suffering and Acoustic Properties of Endurance in Iran (Nasim Niknafs) / 12. The Objective Is to Flourish: Reimagining the One-to-One Music Teaching Studio (Te Oti Rakena) / Conclusion: On Resilience (Juliet Hess and Deborah Bradley)