Traumas Resisted and (Re)Engaged: Inquiring into Lost and Found Narratives in Music Education (Landscapes: the Arts, Aesthetics, and Education, 36)

Acknowledgements
Contents
Editors and Contributors
Locating Profound Sensitivity and High Intensity in Facing Trauma in Music Education
	1 Running Wild
	2 Pioneering the Integration of Trauma Studies and Narrative Inquiry
	3 Establishing Roots in Narrative Inquiry
	4 Connecting Narrative Inquiry with Scholarly Work in Music Education
	5 Locating Profound Sensitivity and High Intensity
	6 Inquiring into Lost and Found Narratives in Music Education
		6.1 Separation Revisited
		6.2 (Re)Engaging with Lost and Found
	7 Retelling and Reliving Lost and Found Narratives in Music Education
	References
Separation Revisited
When Grief Takes Hold: Unravelling Narrative Beginnings
	1 When Grief Takes Hold: Unravelling Narrative Beginnings
	2 A Dull Ache
	3 Coming to Narrative Inquiry
	4 Body Mapping as a Site for Vulnerability
		4.1 The Hush of Vulnerability
	5 Temporal Movement
		5.1 Ruptured Writing
		5.2 Pulling on Relational Courage
		5.3 Avoiding Academization
	6 Holding Grief
	7 My Brave Heart
	References
Unpublished (Re)Becca: Exploring the Professional Impact of Personal Trauma Through Narrative Beginnings
	1 Introduction
	2 Narrative Inquiry
		2.1 Product and/or Process
		2.2 Experience as Knowledge
		2.3 Five Design Considerations
	3 Trauma
		3.1 Research Interests
		3.2 Definition
		3.3 Research Puzzles
	4 Narrative Beginnings
		4.1 Professional Identity: Rebecca at Work
		4.2 Personal Identity: Becca at Home
		4.3 My Trauma
		4.4 Pedagogical and Creative Changes
	5 Research Justifications
		5.1 Social
		5.2 Practical
		5.3 Personal
		5.4 Moving Forward as (Re)Becca
	References
Inhabiting Music from Absence: Rethinking the Possibilities of Music Education in Veracruz, México
	1 Introduction
		1.1 Xalapa, Veracruz, January 27, 2018
		1.2 Sayula de Alemán, Veracruz, December 16, 2019
	2 A Starting Point, from the Plural of the First Person
	3 Walking Around Trauma: Documentary Research
	4 Art as Accompaniment
	5 Music Education as a Support in Trauma Processes
	6 Method of Inquiry
		6.1 Voices of Absence
	7 TíoBad, Defense of Life with Dignity and Justice
	8 Re-inhabiting Through Music Education
		8.1 Pedagogy of Memory and Music Education
	References
Verlust, Idée Fixe, and Teufelsmühle: Trauma Inside and Outside of a Music Education Researcher
	1 Prélude Quasi Non Mesuré (… Where the Pianist and Researcher Try Out the Instrument, Style, and Key)
	2 Trauma Outside and Inside Music Education
	3 Narrative Inquiry in the Form of a Four-Movement Quasi Partello-Sketch
		3.1 Arioso Dolente (… into the Sauna Out of the Map [BWV 245, 30. Aria])
		3.2 Rondo (… in My Solitude Entering the Fellowship of the Ill)
		3.3 Andante (… “ ‘Emancipating’ the Dissonance:” The Christmas Gift of Revisiting Chopin)
	References
Reclaiming Musical Identities Confounded by Injury and Damage
	1 Introduction
	2 The Research Project
		2.1 Participants
		2.2 Data Collection and Analysis
	3 Developing the Performer Identity
		3.1 Jenny
		3.2 Katy
		3.3 Claire
		3.4 Skylar
	4 Trauma as an Undermining Force and Reconstructing Identity
		4.1 Jenny
		4.2 Katy
		4.3 Claire
		4.4 Skylar
	5 Resonances Across the Narratives
	6 Conclusion
	References
Research from the Eye of the Hurricane: Slow Sensitivity as Resilient Re-engagement in Research After Physical Trauma
	1 Introduction
		1.1 Trauma and Resilience …
		1.2 … as Narrative Inquiry
	2 Lived Inquiry in the Eye of the Hurricane
		2.1 The Story Begins
		2.2 Afforded Qualities or Research Design
		2.3 Slow: “… and the Only Urges I Had Were for Rest, Calm, and Stillness”
		2.4 … Sensitivity: “… Nor Could I Remember Having Been Closer to Absolute Pitch”
	3 Discussion
		3.1 Slow Sensitivity
		3.2 Narrative Agendas—A Quest Narrative?
		3.3 Topic or Structure, Tale or Telling—Analyzing Narrative or Narrative Analysis
		3.4 Dot and Line—Poetry or Narrative, Poetry as Narrative
	4 Conclusion
	References
(Re)Engaging With Lost and Found
Shifting Landscapes of Experience: Temporality and a Narrative Conceptualization of Trauma
	1 Beginning in Experience
		1.1 Nathalie
		1.2 Tobias
		1.3 Learning Together
		1.4 Our Shared Research Puzzling
	2 Situating Our Emergent Theoretical Understandings of Trauma
		2.1 Shifts in Understanding Trauma
		2.2 Shifts in Understanding Trauma-Informed and Trauma-Sensitive
	3 Trauma, Temporality, and Music Education
		3.1 Stories of Teacher/ing, Stories of Trauma, and the Conduit
		3.2 Narrative Inquiry and Temporality
		3.3 Trauma, Temporality, Music, & Music Education
	4 Movements Toward a Narrative Conceptualization of Trauma
		4.1 Retelling and Reliving Stories of Trauma and Trauma Stories
		4.2 Tobias’ Stories in Moving Toward a Narrative Conceptualization of Trauma
		4.3 Naming the Void
		4.4 Temporal Interruptions in Tobias’ Trauma Stories
		4.5 Understanding Infolding in a Narrative Conceptualization of Trauma
	5 Forward-Thinking Possibilities for (Music) Teachers’ Forward-Looking Stories
		5.1 Forward-Looking Possibilities for Pre- and In-service Teacher Education
		5.2 Forward-Hoping
	References
A Narrative of Disability and Inclusion in Germany: Implications for Trauma-Informed Inclusive Classroom Education in Music
	1 Dad—A Personal Narrative of Disability
	2 Narrative Inquiry as a Methodological Framework for Understanding Inclusion
	3 A Brief History of Inclusion and Disability in Germany
	4 The Binary of Dis/ability and Its Visibility in Music
		4.1 Trauma and Disability
		4.2 Trauma-Informed Care Principles and Inclusive Practice
		4.3 Trauma and the Inclusive Classroom in Music
	5 Conclusions for the Inclusive Trauma-Informed Music Classroom
	References
The Use of Trauma-Informed Community Music Practice in Enabling Narrative Through Songwriting
	1 Introduction
	2 Narrative Inquiry: A Methodological Frame
	3 Trauma-Informed Practice
		3.1 Narrative Interlude One
	4 Safety
		4.1 Narrative Interlude Two
	5 Trustworthiness
		5.1 Narrative Interlude Three
	6 Collaboration
		6.1 Narrative Interlude Four
	7 Empowerment
		7.1 Narrative Interlude Five
	8 Choice
	9 Conclusion
	References
The Conceivable Traumas of Narrative Inquiry in Music Education
	1 Running Wild, Still
	2 The Double-Edged Sword of Narrative Inquiry in Music Education
	3 The Negative Capacity of Narrative Inquiry
	4 The Liminal Space of Time
	5 The Temporal Nature of Experience: There Is No End to the Story…
	References