7Th International Conference on Narrative Inquiry in Music Education (NIME7) Trauma, Resilience, and (Re)Engagement in Music Education

October 15 & 16, 2020 (Virtual Conference)

7th International Conference on Narrative Inquiry in Music Education (NIME7) Trauma, Resilience, and (Re)Engagement in Music Education

brocku.ca/education/nime7

DR. SHELLEY GRIFFIN, BROCK UNIVERSITY FACULTY OF EDUCATION

DR. NASIM NIKNAFS, UNIVERSITY OF TORONTO FACULTY OF MUSIC CO-CHAIRS 1

We extend our thanks to the 7th International Conference on Narrative Inquiry in Music Education (NIME7) Proposal Review Committee for their critical, informative, and constructive reviews of the submissions, without whom such a program could not have come to fruition:

• Joseph Abramo, University of Connecticut • Margaret Barrett, Monash University • Deborah Bradley, University of Wisconsin-Madison (Retired) • Wesley Brewer, Oregon State University • Lori-Anne Dolloff, University of Toronto • Kari Holdhus, Western Norway University of Applied Sciences • Koji Matsunobu, Education University of Hong Kong • Tiri Bergesen Schei, Western Norway University of Applied Sciences • Tawnya Smith, Boston University

We appreciate the willingness of many colleagues to assist as virtual Conference Session Presiders:

• Michael Agati, Brock University • Antía Gonzalez-Ben, University of Toronto • Cathy Benedict, Western University • Deborah Bradley, University of Wisconsin-Madison (Retired) • Wesley Brewer, Oregon State University • Kelly Bylica, Boston University • Carol Frierson-Campbell, William Paterson University of New Jersey • Mary Cohen, University of Iowa • Andrea Creech, McGill University • Stephanie Cronenberg, Rutgers University • Lori-Anne Dolloff, University of Toronto • Sandie Heckel, Brock University • Stanley “Bobby” Henry, Brock University 2

• Kari Holdhus, Western Norway University of Applied Sciences • Steven Khan, Brock University • Anjali Khirwadkar, Brock University • Myrtle Millares, University of Toronto • Regina Murphy, Dublin City University • Jeananne Nichols, University of Illinois at Urbana-Champaign • Valerie Peters, Université Laval • Snežana Ratković, Brock University • Carole Richardson, Nipissing University • Patrick Schmidt, Western University • Tawnya Smith, Boston University • Deborah VanderLinde, Oakland University • Jane Wamsley, Brock University • Kari-Lynn Winters, Brock University ~ We extend our heartfelt thanks to Anneke McCabe, Conference Planning Committee Research Assistant, Joint PhD in Educational Studies Student, Brock University, for her outstanding administrative leadership.

We appreciate the guidance and event-planning expertise of Jessica Petrella, Senior Conference Coordinator, Brock University Conference Services, particularly as we transitioned to the online platform, organizing and facilitating an international conference via Microsoft Teams.

We would also like to extend our gratitude to our Deans, Michael Owen, Brock University Faculty of Education, and Don McLean, University of Toronto Faculty of Music, who offered financial support for co-hosting the 7th International Conference on Narrative Inquiry in Music Education.

To all of you ~ who engage in thoughtful scholarship in Narrative Inquiry in Music Education ~ It matters ~ Our deepest gratitude ~ Shelley & Nasim, NIME7 Co-Chairs th 7 International Conference on Narrative Inquiry in Music Education (NIME7) 3 Trauma, Resilience, and (Re)Engagement in Music Education Co-hosts: Brock University, Faculty of Education (St. Catharines, Ontario) & University of Toronto, Faculty of Music (Toronto, Ontario), Canada Virtual Conference Platform: Microsoft Teams

NIME7 Thursday, October 15, 2020 Schedule Time Microsoft Teams Location: Main Team Room A 8:30-9:00 Co-Chair NIME7 Welcome: Shelley Griffin (Brock University) & Nasim Niknafs (University of Toronto) Land Acknowledgement: Anneke McCabe (Brock University, Conference Planning Committee) Dean’s Welcome: Dean Michael Owen (Brock University Faculty of Education) & Dean Don McLean (University of Toronto Faculty of Music) 9:00-9:30 Special Guest Spy Dénommé-Welch (Brock University) Building Sustainable Practices in Music Creation as an Act of Self-Care Event/ Team Room B Team Room C Team Room D Team Room E Session 9:30-10:00 Session 1 Research from the Eye of the Truth and Knowledge through The Use of Trauma-Informed Shifting Landscapes of (Papers) Hurricane – Slow Sensitivity Musical Resonance of Helen’s Community Music Practice in Experience: Temporality and a as Resilient Re-engagement in Story Enabling Narrative Through Narrative Conceptualization of Music Education After Eunhee Park Song Writing Trauma Trauma (Texas A & M University) Catherine Birch Nathalie Reid Torill Vist (Oslo Metropolitan (York St. John University, UK) (University of Regina) University) 10:00-10:15 Break 10:15-10:45 Session 2 Lived Stories of Gaining Auto-ethnography as Embodied Panel (1 hour: 10:15-11:15) (Papers & Resilience Through Music Subjectivity: A Pedagogical, International Coffee House: Panel) Aihua Hu & Tiri Bergesen Arts-led and Reflective Seeing the Moon from My Chat & Sip Schei Approach to Narrative Inquiry Window: Affirmations through Open, drop-in room (Western Norway University of in Arts Education Lullaby Writing Applied Sciences) Fiona Blaikie Jan & David Buley (Brock University) (Memorial University) 10:45-11:15 Session 3 (Hearing the) Truth and Inside(r) Outside(r) in Music (Papers, (Teaching for) Reconciliation: International Coffee House: Education Panel, & Changing the Narrative of Chat & Sip Matthew C. Fiorentino Coffee) University, One Student at a Open, drop-in room (Arizona State University), Time Marcus Moone, & Jeananne Lori Dolloff & Laurel Forshaw Nichols (University of Illinois at (University of Toronto) Urbana-Champaign)

11:15-11:30 Break

Team Room B Team Room C Team Room D Team Room E 4 (Thursday Schedule Continued...) 11:30-12:00 Session 4 Activism as Engagement or Narratives of Resilience in the Controlling the Uncontrollable: The Jazz Gene: Examining the (Papers) How Non-Profit Work Can Face of Trauma: Music How Anna Uses her Voice Use of Jazz Aesthetics in Hip-hop Engender Change for Music Educators’ Negotiation of Through Arts-based Practices Music Education Policy and Intersectional Layers of Lauren Ryals & Anna P. Thomas Francis Practice Identity (pseudonym) (Centennial College & Humber Marissa Silverman Latasha Thomas-Durrell (Temple University) College) (Montclair State University) (University of Dayton) 12:00-12:30 Session 5 Music Education for All? A La Onda: Narrative Fiction Rethinking the Possibility of Storytelling as Politics: Student’s (Papers) Narrative Inquiry from the Based Superhero Research "future" from Music Education. Identity, Autonomy and Perspective of Inclusive Isaac Bickmore A Narrative from Veracruz, Resistance in the Creation of a Classroom Teaching with (University of Central Missouri) México Performance of Eurocentric Implications for Philosophy in Arisbe Martínez Vocal Music Music Education (Universidad Veracruzana, Luiz Ricardo Basso Ballestero, Ina Henning Xalapa, Veracruz México) Éder Augusto Marcos da Silva, & (Hanover University of Music, Marília Velardi Drama and Media, Germany) (Universidade de São Paulo, Brasil) 12:30-1:00 Day 1 Wrap-up: Main Team Room A Co-chairs, Shelley Griffin & Nasim Niknafs Rachel Rensink-Hoff (Brock University): Avanti Chamber Singers Artistic Director The Music of Stillness: Music by Elaine Hagenberg (b. 1979); Text by Sara Teasdale (1884-1933)

There will be rest, and sure stars shining Over the roof-tops crowned with snow, A reign of rest, serene forgetting, The music of stillness holy and low.

I will make this world of my devising Out of a dream in my lonely mind. I shall find the crystal of peace, – above me Stars I shall find.

NIME7 Conference: Friday, October 16, 2020 Schedule 5 Time Main Team Room A 8:45 Co-Chair Welcome (Shelley Griffin, Brock University) & Nasim Niknafs (University of Toronto) 9:00-10:00 Keynote Joshua Pilzer (University of Toronto Faculty of Music) Sound, Silence, and the Limits of Traumatic Narrative: Examples from ‘Korea’s Hiroshima’ 10:00-10:15 Break Event/ Team Room F Team Room G Team Room H Session 10:15-10:45 Session 6 “Transitioning and Traversing the Music Festivals in Serbia as Platforms Emotional Discomforts Generated During the Piano Storm They Call Life”: Critical for Overcoming Postwar Traumas Learning Process: A Narrative Inquiry Stories of Journeys Jelena Arnautović Scheilla Glaser In/Through/Around (University of Priština, Kosovska Escola Municipal de Música de São Paulo, Incarceration Mitrovica, Serbia) Universidade Estadual Paulista (Unesp) Jesse Rathgeber (Augustana College) & David A. Stringham (James Madison University) 10:45-11:45 Session 7 Paper Session (10:45-11:15) Narrative Gallery Paper Session (10:45-11:15) (Papers & (20 minutes each = 15-min presentation & 5- Narrative Exploring the Impact of Trauma min conversation) What about the Band Director? An Examination of Gallery) on Professional and Personal African American Male Urban Music Educators as Identity: An Autobiographical Narrative Beginnings: Mothering Culturally Responsive Leaders Narrative Inquiry Experiences of Child Weight Kevin Jones Rebecca DeWan Management (Stephen F. Austin State University) (Michigan State University) Dianne Fierheller ______Paper Session (11:15-11:45) (McMaster University) Paper Session (11:15-11:45)

Evoking a Soundscape: Engaging Creating Places for Narrative Fiction The Meaning of School Music Education: The Case Teachers in a Reflective Practice in Music Education Research of Two High School Students Anneke McCabe Isaac Bickmore (University of Central Iuri Correa Soares (Brock University) Missouri) & Samuel Peña (Arizona (Instituto Federal do RS, Brasil) State University) 11:45-12:00 Break 12:00-12:30 Session 8 When Narrative is Impossible: “And the Music Room Door was Just Shut”: Stories (Papers & Difficult Knowledge, Storytelling, International Coffee House: of Limitation and Shrinking Spaces of Possibility Coffee) and Ethical Practice in Narrative Chat & Sip for Generalist Teachers Before and During the Research in Music Education Open, drop-in room Pandemic Juliet Hess (Michigan State Terry G. Sefton & Danielle Sirek University) (University of Windsor)

Team Room F Team Room G Team Room H 6 (Friday Schedule Continued...) 12:30-1:00 Session 9 An Outsider Forced Outside: A The Trauma of Separation: (Papers) Narrative Inquiry into One Music Understanding How Music Education Teacher’s Traumatic Professional Worked to Interrupt my Relationship Upheaval with the Non-Human World Leonard A. Grasso & Tawnya Smith (Boston University) David A. Stringham (James Madison University) 1:00-1:30 NIME7 Conference Conclusion: Main Team Room A Co-chairs, Shelley Griffin & Nasim Niknafs Follow-up publication (Liora Bresler series) NIME8: 2022 conference

7th International Conference on Narrative Inquiry in Music Education (NIME7) Trauma, Resilience, and (Re)Engagement in Music Education Co-hosts: Brock University, Faculty of Education (St. Catharines, Ontario) & University of Toronto, Faculty of Music (Toronto, Ontario), Canada Virtual Conference Platform: Microsoft Teams

~ NIME7 Conference Abstracts: Thursday, October 15, 2020

NIME7 Time: Thursday, October 15, 9:00-9:30am Microsoft Teams Location: Main Team Room A Paper: Building Sustainable Practices in Music Creation as an Act of Self-Care Special Guest: Spy Dénommé-Welch, Brock University Abstract: In this presentation I discuss my artistic practice as a composer and librettist, and offer some reflections on the importance of self-care towards maintaining well-being during music creation. Responding to the themes of the conference I examine how issues of trauma in storytelling require processes and methods that honour and protect the artist and performers from additional trauma while maintaining integrity for the composition. Bio: Dr. Spy Dénommé-Welch is an Anishnaabe-Algonquin multi-disciplinary scholar, composer, librettist/playwright, producer who works in opera and theatre. He has written and co-composed a number of works including RADAR (2019); Contraries: a chamber requiem (2018); Bottlenecked (2017); Sojourn (2017); Giiwedin (2010). His music composition, art practice, and research focuses on Indigenous topics in the arts, education, and the impacts of decolonizing through music and performance. In his arts practice, Dr. Dénommé-Welch uses composition as a mode of exploring and articulating Indigenous storytelling, language, and cultural expression. His creative research work examines issues such as representations of gender and sexuality in music, as well as investigates land- based approaches to Indigenous music, visual culture, and decolonization. His current research project, Sonic Coordinates: Decolonizing through Land-based Music Composition, is funded by the inaugural New Frontiers in Research Award and investigates new methods of land-based music composition. He is the Artistic Director of Unsettled Scores. (www.unsettledscores.com)

NIME7 Time: Thursday, October 15, 9:30-10:00am Microsoft Teams Location: Session 1, Team Room B Paper: Research from the Eye of the Hurricane – Slow Sensitivity as Resilient Re-engagement in Music Education After Trauma Presenter: Torill Vist, Oslo Metropolitan University Abstract: Skiing is fun. Roller-skiing is too—until you meet the asphalt, and realize there is no snow to soften your fall. After such a fall, my brain felt like soup, shaken and stirred, I was put out of work and was forced to stay ‘in the eye of the hurricane’. Later, gradually going back to work, my approach to life had to change. Did I still have something to offer as a researcher in music education? Could I still have a relevant voice as an a/r/tographer, and could this voice even have a unique timber? Inspired by Bresler’s (2006) aesthetically based research and Irwin and Springgay’s a/r/tography (Irwin & De Cosson, 2002; Springgay, Irwin & Kind, 2008), I present the experience of being an a/r/tographer after a trauma, when the brain only works part time and in slow motion. I further describe, discuss and explore the “research design” I was forced – or afforded – to choose in this period of nystagmus, concussion and post-commotio syndrome. Far from the hurry of short deadlines and superficial decision-making often experienced in academia, this is a slow, sensuous and embodied first person perspective or design. The specific topics explored in this presentation are slowness, sensitivity and poetry. The main aim of the text is to contribute to knowledge on alternative perspectives in research – whether life changes or not – in our search for an emphatic, resilient and sustainable future in music education research. Bresler, L. (2006). Toward connectedness: Aesthetically based research. Studies in Art Education, 48(1), 52-69. Irwin, R. L. & De Cosson, A. (2002). A/r/tography: Rendering self through arts-based living inquiry. Vancouver: Pacific Educational Press. Springgay, S., Irwin, R. L. & Kind, S. (2008). A/r/tographers and living inquiry. I J. G. Knowles & A. L. Cole (red.), Handbook of the arts in qualitative research: Perspectives, methodologies, examples and issues (s. 83-91). Los Angeles: Sage Publications. Bio: Torill Vist is Professor at OsloMet–Oslo Metropolitan University, Norway, Faculty of Education and International Studies, Department of Early Childhood Education. Earlier, she held the same position at University of Stavanger. She completed her PhD in Music education at Academy of Music in Oslo, examining music experience as a mediating tool for emotion knowledge. She holds a Master in Music Education from the same academy and a Master of Music in piano performance from SMU, Dallas. Torill Vist recently completed the project, Searching for Qualities, funded by The Research Council of Norway. Her special interests are early childhood music, arts-based research, music psychology, and music aesthetics.

NIME7 Time: Thursday, October 15, 9:30-10:00am Microsoft Teams Location: Session 1, Team Room C Paper: Truth and Knowledge through Musical Resonance of Helen’s Story Presenter: Eunhee Park, Texas A & M University Abstract: This study seeks narrative resonance as a researcher chose a unique lens as a mode of inquiry, music. This current study is epistemologically situated in Dewey’s (1938) theory of learning through experience. He defines experience as “what people undergo, 9 the kinds of meaning they construe as they teach and learn, and the personal ways in which they interpret the worlds, in which they live” (Connelly & Clandinin, 1988, p. 4). We are learned and changed in different ways as we go through each experience, and it continues in ways that influence what may be learned from subsequent experiences. Dewey (1934) establishes ‘aesthetic emotion’ as a key idea in his philosophical concept of experience. Aesthetic experience helps people to understand the relationship between cognitive and affective issues. Based on the theoretical frameworks, I chose Narrative Inquiry and A/r/tography as my method to interpret and reinterpret Helen’s teaching experience through the aesthetic experience. As I broadened, burrowed, storied and re- storied Helen’s narrative in a musical way, I unearthed little covered little truth in the narrative. The prominent little truths, discovered through the musical lens of narrative, were both consonance and dissonance closely linked with the original character of the music. Consonance and dissonance always exist in our narratives, within the dwelling-spaces that we live in. The concept helped me to create a new and musical plot of stories - Rondo. Along with the story plots, I was able to not only explore/express my understandings in a different way but also go beyond the limiting constraints of discursive communication to express meanings that otherwise would be ineffable (Barone & Eisner, 2012, p. 1). Bio: Eunhee Park was a musician and a teacher before starting Ph.D. program. When she realized other loves in her life – children and education, she put about on the other tack to find a way to pursue all that she is passionate about. Now she is a Ph.D. student in Curriculum and Instruction at Texas A&M University. She has studied utilizing music in child studies, multicultural education studies, teacher education studies, and musical narrative inquiry. As a musician, an educator, and a researcher in teacher and curriculum studies, she envisions herself as a researcher and practitioner in the fields.

NIME7 Time: Thursday, October 15, 9:30-10:00am Microsoft Teams Location: Session 1, Team Room D Paper: The Use of Trauma-Informed Community Music Practice in Enabling Narrative Through Song Writing Presenter: Catherine Birch, York St. John University, UK Abstract: The focus of this paper is to investigate approaches to trauma-informed community music practice that enable narrative through song writing. As a practitioner for the York St John University Prison Partnership Project, I am in a unique position to unpack the particular approach to trauma-informed practice that we employ, working on a weekly basis with women at a maximum-security UK prison. This has enabled a deeper level of knowledge and understanding of both the participants, the context and the creative processes. Within the weekly practice of the Prison Partnership Project we explore participants’ stories through the use of collaborative song writing. This paper will examine the women’s songs as a way of engaging in their individual and collective narratives. The three strands of narrative inquiry, as rooted in the philosophies of John Dewey (Froelich & Frierson-Campbell, 2013), form the basis for exploration within this complex community setting; interaction; continuity; situation. As ‘Clandinin and Connelly (2000, p. 70) tell us: “Narrative threads coalesce out of a past and emerge in the specific three-dimensional space we call our inquiry field”. The three- dimensional inquiry field they refer to is created by viewing participants’ stories as evolving over time, within their contexts, and in relationship with the researcher’ (Etherington, 2004, p. 23). Using each of these strands in turn, this paper will unpack the stories of 10 the women we work with, voiced through their individual and collective songs, the impact of the setting in which we work and the weekly interactions between participants and facilitator/researcher. Bio: Catherine Birch is a Senior Lecturer in Music at York St. John University, UK, heading up the undergraduate Community Music programme. She is a regular practitioner for the York St John Prison Partnership Project, facilitating weekly singing and song-writing sessions at HMP New Hall. As a community musician, Catherine works primarily as a vocal leader, and has worked with all ages across the education sector as well as in community settings. Catherine is currently a PhD researcher through the International Centre for Community Music (ICCM), supervised by Professor Lee Higgins. The central research theme explores how working in a trauma- informed way, and particularly using the voice in singing and songwriting, can be impactful as a tool in trauma recovery.

NIME7 Time: Thursday, October 15, 9:30-10:00am Microsoft Teams Location: Session 1, Team Room E Paper: Shifting Landscapes of Experience: Temporality and a Narrative Conceptualization of Trauma Presenter: Nathalie Reid, University of Regina Abstract: May 5th, 2016, during conversation with a former colleague who had been evacuated from Fort McMurray, Alberta due to a devastating forest fire, I began to wonder more deeply about teachers’ experiences in the midst of trauma and trauma sensitivity, particularly as I sensed trauma sensitivity was increasingly becoming an added expectation that many teachers were experiencing. Following the fire and this conversation with a former colleague, I awakened to how frequently I was hearing the terms trauma and trauma sensitivity in multiple and diverse contexts, and yet I could not answer the question: What does it mean to be trauma sensitive? I thus engaged in a 2-year narrative inquiry alongside three teachers as coinquirers through which we inquired narratively into a research puzzle focused on how teachers’ personal and professional contexts, knowledge, and identities (conceptualized narratively in my dissertation as stories to live by) are shaped by and shape their experiences of/with trauma. This paper presentation will draw upon my dissertation to share and invite thinking with temporality as a central aspect of a narrative conceptualization of trauma, and then will move to thinking with the stories we are currently living by, and the wonders that have seen become visible in relation with contemporary issues such as climate change, pandemics, and our global connectedness, as experienced both by educators, but also by the children and youth with whom we have the privilege of being alongside. Bio: Dr. Nathalie Reid is currently the Director of the newly established Child Trauma Research Centre at the University of Regina, and a lecturer in the Faculty of Education. Her current research is taking her in many directions including trauma-sensitive pedagogies, mental health and connectivity in rural and remote communities, and child trauma and climate change. Her doctoral research drew from and extended her Master’s research which was entitled Fish Tales: A Hermeneutic Narrative Exploration of the Multi-layered Texture of Death, through which Nathalie thought about the narratives of death in high school contexts. Her doctoral research, entitled Teachers’ Experiences of/with Trauma and Trauma-Sensitivity: A Narrative Inquiry into Trauma Stories and Stories of Trauma sought to foreground the stories of trauma and trauma stories that teachers live by, with, and in. Her research has implications for program and policy development, teacher education, and teacher retention. 11

NIME7 Time: Thursday, October 15, 10:15-10:45am Microsoft Teams Location: Session 2, Team Room B Paper: Lived Stories of Gaining Resilience Through Music Presenters: Aihua Hu & Tiri Beate Bergesen Schei, Western Norway University of Applied Sciences Abstract: Research has substantiated that music engagement such as joining a choir or a band made a difference to those involved across various domains, not only musical skill, but also sociability, self-concept, and even physical benefits. In this paper we share some puzzle pieces from our research on music’s power and how music may foster resilience through the co-composition of the stories that are lived and retold to us, as well as telling our own musical accounts that might be of similar characters to their stories. We wish to understand complexities and wonders, even trauma and layers of relational, emotional and temporal characters. We have started a process of collecting autobiographical stories and interviews from participants in Norway and China, purposefully selected among ordinary people who regularly engage in music, such as in choir or band. We are still in the data collection process. The preliminary findings will be presented in the conference. Bios: Aihua Hu is an associate professor in Early Childhood Teacher Education at Western Norway University of Applied Sciences (HVL). She has published academic articles in different journals on different issues including but not limited to teacher education and teacher development, curriculum, inclusive education, study abroad, and sustainability. Her research interests include teacher education & teacher development, early childhood education, transition, curriculum, language education, comparative and international education. Aihua is a key researcher at KINDKnow – Centre for Systemic Research on Diversity and Sustainable Futures (HVL) and a board member of Nordic Comparative and International Education Society (NOCIES). Currently, she is doing cross-culture research on songs sung in kindergartens and lived stories of people who regularly engage in music activities in Norway and China. Tiri Bergesen Schei is Professor (Dr. Art.) in Music Education at Western Norway University of Applied Sciences (HVL), Institute for Arts Education. Core fields of interest is identity formation and vocal expression, the relationships between the audible body, the physiology of the voice, and the phenomenology of being heard by others. Self-censorship, self-disciplinarily and voice shame are widespread, but most often tacit problems in human communication. Schei chairs the research group Voice InFormation at HVL. She is also a member of the research group Conditions for children as explorer at the KINDKnow – Centre for Systemic Research on Diversity and Sustainable Futures (HVL). During 2009-2014 she conducted research in connection with the strategic research program Kindergarten as an Arena for Cultural Formation. Schei has, for many years coordinated the master’s program in music education at HVL. She was one of the founders of Grieg Research in Interdisciplinary Music Studies (GRS). She is currently responsible for the research education course Theory of Science, Ethics and Academic Text Work in the PhD-program “Bildung and pedagogical Practices” at HVL. In 2016-2017 Schei was a visiting professor at McGill University, Music Research Department.

NIME7 Time: Thursday, October 15, 10:15-10:45am Microsoft Teams Location: Session 2, Team Room C Paper: Auto-ethnography as Embodied Subjectivity: A Pedagogical, Arts-led Narrative Inquiry in Arts Education Presenter: Fiona Blaikie, Brock University Abstract: Auto-ethnography is offered as a pedagogical, arts-led and reflective approach to narrative inquiry in arts education (Adams, 2015). Auto-ethnography in arts teaching, learning, inquiry and creation promotes possibilities for connected contextual multi-modal multi- disciplinary explorations in settings ranging from high school to undergraduate and graduate courses in the arts, advancing possibilities to anyone interested in situated focused creative work via reflective praxis. Utilizing embodied subjectivity as a lens for thinking about habitus (Bourdieu, 1984) in auto-ethnographic work offers multiple possibilities for highly focused explorations of socio-culturally and artistically situated epistemologies and ontologies (Springgay & Freedman, 2008). I will focus on theory and practices that frame an exploration of the body as a site for knowledge and aesthetic knowing, examining personal and cultural epistemologies and ontologies through the lenses of lived experiences of habitus, in and through the body, seeking to gain deeper insights into how all bodies are inscribed by situated relationships, by aesthetics, age, time and place, emotions, family, memories, religion, spirituality, social class, health, sexuality and politics.

Outcomes encompass understanding of auto-ethnography as multi modal, organic and cyclical, and situated in theoretical and practical contexts. Embodied knowing beyond formal curricula is key; essential are theoretical and practical constructs of habitus, and reflexivity in articulating situated understandings of subjective embodiment and the knowing body-mind as the key site for auto- ethnography. Auto-ethnographic as narrative inquiry is evident and implicit in documentary work and in all the arts. Auto- ethnography is supported by research in arts education scholarship (Bresler, 2004; Cole & Knowles, 2008; Hickman, 2008; Le Compte et al., 1992; Pink, 2013; Springgay & Freedman, 2008) and in practice-based evidence in best-practice teaching. This approach enhances students’ reflective understandings and the expression of ideas situated in the arts and texts, and in personal and collective contexts. Theoretical and practical examples of auto-ethnography will be offered, enhancing comprehension of and accessibility to arts-led reflexivity in narrative inquiry in arts education. Bio: Fiona Blaikie is a practicing painter and professor of visual art education in the Faculty of Education at Brock University. Fiona’s scholarly work has evolved from focusing on aesthetic values inherent in criteria for assessment of studio art to epistemological and aesthetic gaps between high school and tertiary art education, and arts led research. Situated in social, cultural, political, gender and class contexts, her recent work on the body and clothing has moved from the aesthetics of scholarship to focus on the aesthetics of youth and young adult cultures in which the body and clothing are examined through art forms and texts as evolving and situated. Fiona is a former President of the Canadian Society for Education through Art. She has served as a university administrator for 15 years, most recently as Dean of the Faculty of Education at Brock University. Fiona has served two terms as an elected World Councilor for the International Society for Education through Art (InSEA), and she has just completed her term as Chief Examiner of Visual Arts for the International Baccalaureate Organization. Currently, Fiona is working on an edited collection for Routledge focusing on global perspectives of young adults and their engagements with social media, social theory on the body, clothing, 13 embodiment, gender and sexuality. In February 2020, Fiona won the 2020 USSEA/InSEA International Ziegfeld Award for her contributions to and impact on arts education globally. This award will be given in 2021 at NAEA in Chicago.

NIME7 Time: Thursday, October 15, 10:15-11:15am Microsoft Teams Location: Session 2, Team Room D Paper: Seeing the Moon from My Window: Affirmations through Lullaby Writing Presenters: Jan Buley & David Buley, Memorial University, Faculty of Education Abstract: The Lullaby Project-NL has reaffirmed an awareness that all persons are creative and capable. In that creativity we access a common humanity. Everyone is seen as an author, composer and creative being, and because of this belief, participants enter the circle of learning with a knowing connection that others view them as capable. When we can offer a fully inclusive and egalitarian approach to poetry, music and art making, participants find their musicality and creativity. Indeed, remarkable things happen when human beings are affirmed as capable, beautiful and creative. The Lullaby Project-NL partners with women in recovery and healing spaces, inviting participants from correctional centres, shelters and drop-in facilities. This presentation will invite participants to reflect on the power of music in their own lives and in the lives of others. We will begin by asking four questions: 1. How are lullabies situated in memory? 2. Where do lullabies come from? 3. What do lullabies imply? 4. How are lullabies gifted to others?

We will draw attention to the importance of relationship-building and re-establishing safety for all and the means through which this can and has occurred in our experience in the Lullaby Project-NL. Additionally, we will talk about the various ways in which this project has impacted our teaching and interactions in university classes. Finally, we will elaborate on our insights about the growth of empathy through this initiative and the surprising discoveries we have made about the spaces and places where The Lullaby Project- NL has been offered. Bios: Dr. Jan Buley completed her Ph.D. at the Steinhardt School of Education and Learning at NYU, with research that focused on the assumptions, beliefs and contradictions associated with family engagement in school communities. An elementary classroom teacher for twenty-five years, Jan also has three master’s degrees in literacy (MSVU and Columbia). Her life has been shaped through her experiences in the Lincoln Centre Imagination in Education summer institutes, guided by Maxine Greene’s hope that we can imagine schools as creative ‘places of other.’ Jan’s personal philosophy of being in the classroom is framed in relational, experiential and invitational learning encounters, and she firmly believes that some of the best teachers on the planet are eight years old. Jan adores living in St. John’s and is thankful for David, her partner who also happens to cook well, her borderless collie, Nelllie and her two cats who keep everyone well-behaved. 14

David Buley is Associate Professor of Music Education in the Faculty of Education at Memorial University. He holds graduate degrees in conducting, sacred music, philosophy, and liturgical studies from Westminster Choir College, in Princeton, and Drew University in Madison, NJ. David has taught classroom music in Nova Scotia and New Jersey, and has led choirs in various situations: church choirs, children's choirs, university choirs, and vocal ensembles. David is a long-time collaborator with R. Murray Schafer through productions such as And Wolf Shall Inherit the Moon; Zoroaster; The Enchanted Forest; and Princess of the Stars. A certified instructor in Dalcroze Eurhythmics, Dr. Buley offers workshops in music education, and choral music as well the worship arts, and enjoys numerous adjudicating experiences. Married and devoted to Jan, David is also owned by a vibrant border-collie, Nelllie, and spends a good deal of time singing outdoors with the largest choir on earth.

NIME7 Time: Thursday, October 15, 10:45-11:15am Microsoft Teams Location: Session 3, Team Room B Paper: (Hearing the) Truth and (Teaching for) Reconciliation: Changing the Narrative of University, One Student at a Time Presenters: Laurel Forshaw & Lori Dolloff, University of Toronto Abstract: The history of Canada is one filled with decimation, erasure of cultural identity and institutional colonization of the Indigenous Peoples whose ancestral territories were subsumed to create the Canadian nation. The history of government-mandated Residential Schools, which operated from 1870s to 1996, was intentionally designed as an assimilation project to “get rid of the Indian in the child” (Duncan Campbell Scott,) and is but one example of the systemic and deliberate attempts by the Canadian government and settlers to gain and maintain control of the lands on which Canada is built. After several failed attempts to address, redress and apologize for this history, a robust, story driven commission was formed to listen to the Truths of the experiences of Residential School survivors and intergenerational survivors that has resulted in cultural genocide and intergenerational trauma.

As Canadians have been called to engage with Indigenous nations and issues, to actively participate in the reparation and healing process, Canada’s universities are playing a critical role in the reconciliation process. In this presentation, we will present a conversation with the narrative data collected from the undergraduate students, none of whom identified as Indigenous, in one of our individual course offerings. We will present some of the voices of participating students, interwoven with our own stories of developing awareness, empathy and sense of responsibility to engage in this important work of recognizing and responding to the imperative to include the Truth for Reconciliation in University Music Education Programs. Bios: Laurel Forshaw is a PhD candidate in Music Education at the University of Toronto, where her research in Indigenization and decolonization seeks to answer the Truth and Reconciliation Commission of Canada’s Calls to Action, specifically those that draw attention to the disparity between Indigenous and non-Indigenous participation in higher music education. Laurel holds a Master of Arts in Music Education (Choral Conducting) and Kodaly and Orff-Schulwerk certification from the University of St. Thomas, MN, and is honoured to hold a Joseph-Armand Bombardier Canada Graduate Scholarship (CGS) Doctoral Scholarship that supports her doctoral dissertation research: Engaging Indigenous Voices in the Academy: Indigenizing Music in Canadian Universities. 15

Lori Dolloff is Coordinator of the Music Education Department and teaches undergraduate and graduate courses in music education and choral performance. Her research on teacher identity and narrative methodology has been published in ACT, MER and GEMS. Recently, her research has been focused on issues of Indigenous reconciliation in Canada through music education. This work is informed by experiences teaching and providing teacher education in schools in the Canadian Arctic. This research has been published in chapters the recent publications, “Engaging First Peoples in Service Learning”, and “Visions for Intercultural Teacher Education”.

NIME7 Time: Thursday, October 15, 10:45-11:15am Microsoft Teams Location: Session 3, Team Room E Paper: Inside(r) Outside(r) in Music Education Presenters: Matthew C. Fiorentino, Arizona State University, Marcus Moone, & Jeananne Nichols, University of Illinois at Urbana- Champaign Abstract: Marcus is an undergraduate music education major working in privileged spaces as a multiply marginalized student. As a trans, gay, person of color and a Korean adoptee, Marcus has queer interactions with the White authority figures who pepper his experience of music making and college. He decides on a daily basis whether he should disclose his gender identity or sexuality, and his coming out is tangled up in his professional and musical identities as well--he’s going to be student teaching in the spring and wonders what going stealth will be like. This paper explores Marcus’s interactions with his band teachers, music faculty, the graduate students who connect him with his coursework, and his friends who support transformative change and queer thriving in Marcus’s school of music. Matthew and Jeananne have worked with Marcus since he was in high school. For the past three years, they’ve worked to make meaning of Marcus’s complex experiences. They’ve provided space to talk, time to reflect, and shreds of their own experiences which might resonate in queer though always-partial solidarity. As gay music teacher educators, this trio of authors think with Marcus toward queer and trans thriving. This paper addresses troubling issues such as, what stealth and disclosure mean to Marcus after transitioning in a field where his stable passing male identity is the source of both inclusion and tension? What does band education mean to this trans man? What could this trans queer man of color mean to band education? Bios: Marcus Moone is currently a senior at the University of Illinois at Urbana-Champaign pursuing a degree in Music Education with an instrumental concentration. He is interested in examining the experiences of multiply marginalized people, including his own, in order to unearth many of the inequities that lie within music education. Other interests of his include the history of wind band from a musicological perspective and bringing equity to the classroom. This is his first time presenting at a conference. Matthew Fiorentino is an Assistant Professor of Music Learning and Teaching at Arizona State University. His research addresses the intersection of music teacher preparation and equity-oriented education with a special focus on how teacher candidates’ conceptions of diversity and justice develop during student teaching. He currently teaches graduate courses in writing, philosophy, teacher education, and qualitative research as well as instrumental methods coursework. Jeananne Nichols, Associate Professor of Music Education, was appointed to the faculty of the University of Illinois in 2011. She teaches undergraduate courses in instrumental methods and graduate courses in research, current issues in music education, and advanced wind band pedagogy. Drawing upon narrative inquiry and other qualitative research designs, Dr. Nichols’ research 16 highlights the lived experiences of persons whose voices may otherwise be muted in the prevailing discourses of music and music education. Her specific projects include participatory music experiences with incarcerated youth, the United States Air Force WAF Band, and the experiences of LGBT students in school music. Dr. Nichols’ work has been published in the Journal of Research in Music Education, The Bulletin of the Council for Research in Music Education, Research Studies in Music Education, The Music Educator’s Journal, The Mountain Lake Reader, and The International Journal of Education and the Arts. She is a member of the Research Studies in Music Education editorial board and has served as guest editor for two issues of the Bulletin for the Council of Research in Music Education.

NIME7 Time: Thursday, October 15, 11:30am-12:00pm Microsoft Teams Location: Session 4, Team Room B Paper: Activism as Engagement or How Non-Profit Work Can Engender Change for Music Education Policy and Practice Presenter: Marissa Silverman, John J. Cali School of Music, Montclair State University Abstract: What is “activism for music education”? While numerous music education scholars over the past 25 years have examined social justice (e.g., Bowman, 2000, 2007; Benedict, Schmidt, Spruce, & Woodford, 2015; Bradley, 2006, 2007; Elliott, 2007; Gould, 2004, 2005, 2007; Koza, 1994; Lamb, 1994, 1996; Morton, 1994; O’Toole, 2002, 2005; Woodford, 2005), only more recently have scholars looked specifically at “activism” as a vehicle for moving the profession forward (e.g., Elliott, 2012; Elliott, Silverman, & Bowman, 2016; Hess, 2019). This paper serves as a contribution to the conversation that connects “activism” with “music education.” Importantly, if we are to reach music education’s full potential, we must engage with and reach communities of people who are not fully “heard.” Music teacher education is focused, primarily, on the public schools and their immediate surrounding communities. However, the music education profession should maintain a wider reach than that which exists within public schools.

This paper provides an auto-ethnography of my work as a Teaching Artist and Board Member of a non-profit organization, Crossing Point Arts, which is dedicated to bringing the arts to survivors of human trafficking (primarily, young women; age 12-24). In this paper I discuss the resilience and courage of survivors of human trafficking, but also my own transformation as a practitioner and scholar. This probing is related to implications for music teacher education and, therefore, assisting future teachers gain experience as “activists” for, not only the communities and students they serve but, more broadly, the world beyond their immediate locals. Bio: Marissa Silverman is Associate Professor at the John J. Cali School of Music, Montclair State University, NJ. A Fulbright Scholar, her research agenda focuses on dimensions of music education philosophy, general music, artistic interpretation, music teacher education, community music, and interdisciplinary curriculum development. Dr. Silverman is author of Gregory Haimovsky: A Pianist’s Odyssey to Freedom (University of Rochester Press, 2018) and co-author of the 2nd edition of Music Matters: A Philosophy of Music Education (Oxford University Press). She is co-editor of Eudaimonia: Perspectives for Music Learning (Routledge), The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education, Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis (Oxford University Press), and Community Music Today (Rowman & Littlefield). As a secondary school teacher, Dr. Silverman taught band, general music, and English literature at Long Island City High School (Queens, New York). 17

NIME7 Time: Thursday, October 15, 11:30am-12:00pm Microsoft Teams Location: Session 4, Team Room C Paper: Narratives of Resilience in the Face of Trauma: Music Educators’ Negotiation of Intersectional Layers of Identity Presenter: Latasha Thomas-Durrell, University of Dayton Abstract: Traumatic events can impact anyone regardless of socioeconomic status, race, sexuality, gender identity, ability, or any other layer of identity. However, people who are already underrepresented and marginalized can experience multiple layers of trauma simultaneously, engulfing them with stress, injury, and/or pain. In my study, I interviewed and observed African American LGBQ K- 12 music educators who teach in the historic Bible Belt. I sought to better understand their life experiences surrounding multiple marginalization. Specifically, we discussed how they negotiate their professional and personal lives in relation to their identity markers (sexual identity, religion, race, etc.). I used narrative inquiry and ethnographic techniques in order to highlight and honor participants’ voices and to embrace the emergent nature of the research. In individual interviews as well as focus groups meetings, participants shared their experiences with me, which I later categorized into four main themes: family, race, music education, and resilience. Trauma surfaced under each of these intersectional themes, with resilience being actions in response to various traumas participants experienced. Their narratives demonstrated the intersectional and complex nature of their layers of identity and the experiences that result from their layers of identity. Each participant shared stories related to dealing with the role of faith in their lives, family members who hold staunchly conservative religious beliefs and mete out acts of loved colored by those beliefs in response to sexually queer children, various racial stereotypes and microaggressions in families and in music education, and the lack of representation and need for advocacy in music education. The conversations always ended in discussions about different acts of subversion through resilience. They expressed that resilience was the catalyst for their successes in life. In their personal lives, I found that participants consistently took actions such as taking care of younger family members and serving as positive role models in direct opposition to the turmoil that their lives presented. Participants also practiced community resilience by doing positive deeds in their classrooms. Some of those actions include embracing difficult conversations in their classrooms, taking a stand against covert and overt homophobia, and encouraging dissent in their classrooms so that students learn to use their voices. Through community resilience ideals, participants absorbed the negativity surrounding their intersectionally marginalized layers of identity, and instead of releasing negativity, chose to sow seeds of inclusion and positivity. This paper presentation will explore the themes and implications found in this study: (1) How society at large but especially school administrators and family members might provide levels of mentorship and support for populations that identify and exist through multiple marginalizations; (2) necessary policy changes for those marginalized school populations; (3) how music educators might see their role in producing changes in music education; and (4) ways to create and support more and better professional development opportunities for educators and school administrators that focus on identity consideration in music education. Bio: Latasha Thomas-Durrell is currently Assistant Professor of Music Education and the Coordinator of Music Education at the University of Dayton, where she teaches various music education courses, including Introduction to Music Education, Instrumental Methods, and Classroom Methods. She also serves as supervisor for music education student teachers. Her research interests include LGBTQ issues in music education, music education and social justice, and African American studies in music education. Thomas-Durrell holds a 18

Ph.D. from Michigan State University in Music Education, a MM in Music Performance from the University of Central Arkansas, a MM in Music Education from the University of North Carolina at Greensboro, and a BME in Music Education from the University of Tennessee at Martin. Her public school teaching experience includes middle school and high school band positions as well as elementary general music.

NIME7 Time: Thursday, October 15, 11:30am-12:00pm Microsoft Teams Location: Session 4, Team Room D Paper: Controlling the Uncontrollable: How Anna uses Her Voice through Arts-based Practices Presenters: Lauren Ryals & Anna (pseudonym), Temple University Abstract: The purpose of this narrative inquiry is to restory the experiences of Anna, a 16-year-old songwriter and playwright. Research questions included: (1) How did Anna’s talent evolve and ability develop in songwriting and playwriting? (2) What are the motivations (both outward and inward) that prompt her prolific production of works? (3) What are the influences of her family, in school educational experiences, outside of school experiences, and peers in shaping her mastery? (4) How does Anna address and express trauma in her art? I came to know Anna through a play produced and performed by an arts-based community organization--the play centered on a school shooting. In her play, Anna provided a glimpse into the world of school shootings from a students’ perspective and how writing songs invites the healing process. Focusing on three students and their loss of a peer during a school shooting, each character processed various levels of trauma during and after the shooting took place. Weaving music poetry and storytelling together, the performance reflects the students’ inability to control their own circumstance. Rather, they use art to control the uncontrollable. Together, Anna and I use narrative inquiry to bring attention to the adolescent voice through reflection on arts-based practices and the influences and educational experiences that have guided her artistic and musical development. Our goal is to provide insight as to how arts-based practices help adolescents share their voice on topics they cannot control in meaningful and creative ways through Anna’s story. Bio: Lauren Ryals is originally from Denver, CO and currently lives in Philadelphia, PA. The majority of her teaching career has been as a secondary instrumental music director. Currently a PhD student and Teaching Assistant in Music Education at Temple University her research resides in trauma informed music classrooms, culturally responsive teaching, and music teacher identity. She earned her Bachelor’s of Science Degree in Music at the University of Colorado and Music Education Master's Degree at the VanderCook College of Music.

NIME7 Time: Thursday, October 15, 11:30am-12:00pm Microsoft Teams Location: Session 4, Team Room E Paper: The Jazz Gene: Examining the Use of Jazz Aesthetics in Hip-Hop Music Presenter: P. Thomas Francis, Centennial College and Humber College Abstract: My paper presentation focuses on the inherent Jazz aesthetics in contemporary African-American music. The trauma and resilience of the Black experience in America cultivated musical and social narratives that have been passed generation to generation. This metaphorical ‘gene’ is a component of hereditary information that grafts its coded traits and characteristics (physical and functional elements) to its musical offspring. The presentation involves tracing Jazz aesthetics (or ‘gene’) from the genres of Jazz through to Hip- Hop. My research examines whether or not contemporary African-American genres cannot exist without the ‘gene’, how it was involved in the genesis of various streams and narratives of Black music, and how it has pushed the evolutionary process.

The paper is approached from a post-jazz perspective, and uses a narrative inquiry lens to examine the movement of Blackness through its contemporary streams and socials. Musicians and archetypes that will guide my research include Miles Davis, Dr. Dre, James Brown, Herbie Hancock, J Dilla, Robert Glasper, and others who inform the reengagement of African-American narratives, histories, and music education. The excerpt, presented from my masters thesis, involves the ‘functional element’ which explores the harmonic and melodic qualities of Jazz aesthetics, the compositional and interactive activations and components, along with understanding song forms and structures, harmonic construction (and reconstruction) and cultural preferences. This paper presentation is a hands-on, multimedia approach of performing popular and standard examples of Black music. We will see why and how these popular examples of Black music have specific aesthetics in their ‘genetic’ makeup — ‘genetics’ that were created, maintained, and survived within the Black experience. Bio: Thomas Francis is one of Toronto’s leading pianists and is well-known for his extensive background in jazz and soul-based musics. He grew up in a house full of music, and has a shared a family lineage of musicianship. Thomas became sensitive to the structure of classical and standards while feeding off of the musicality and expression of Jazz, Soul, Latin and Funk musics. Entering Humber’s Community Music School children’s program at the age of three was the beginning of a long training process for Thomas. He began his piano lessons at age five – eventually making his way to jazz studies at age eight. At 16, Thomas was awarded Downbeat’s Outstanding Performance award, and in the summer of 2007 joined the Toronto All-Star Big Band. He completed his diploma at Humber College’s full-time program, and went on to complete his B.F.A in Music at York University. In 2017, Thomas completed his Master of Arts in Composition, for which he wrote a thesis on the relationship between Jazz and Hip-Hop musics. Outside of piano and keyboard performance, Thomas is an instructor at Centennial College’s Music Industry And Performance program. Additionally, he is well-known for his musicianship skills in writing and arranging for strings, having established his own contemporary string ensemble, The Four Strings. Moreover, Thomas is the host of “The Jazz Gene”, a weekly one-hour show on Toronto’s online Jazz radio platform, Jazzcast.ca. Thomas can be seen playing with Canadian icons such as Juno award winning Jazz vocalist Kellylee Evans, Pop artist Myles Castello, Country artist Emily Reid, or Soul diva Elise LeGrow. He has performed and/or recorded with Tony Royster Jr. (Jay-Z), Alexis Baro (Juno nominated Jazz artist), Dan Talevski (MMVA nominated), Melanie Durrant (Juno nominated 20

R&B artist), KC Roberts & The Live Revolution (Toronto Funk band), The Reklaws (Juno nominated country duo), and George St. Kitts (Juno nominated Toronto Soul icon). He was also musical director for The Spandettes, a female-fronted, Toronto-based, Disco/R&B group, with whom he toured to Japan. Thomas can be seen in his element with his instrumental Hip-Hop/Jazz ensemble, Thomas Francis Friends.

NIME7 Time: Thursday, October 15, 12:00-12:30pm Microsoft Teams Location: Session 5, Team Room B Paper: Music Education for All? A Narrative Inquiry from the Perspective of Inclusive Classroom Teaching with Implications for Philosophy in Music Education Presenter: Ina Henning, Hanover University of Music, Drama and Media, Germany Abstract: This paper approaches equity in the music classroom from the perspective of disabled students. In Germany, these students are still mainly enrolled in special needs schools rather than in inclusive settings even though cooperative learning setups have shown better results. Despite flaws in the transformation of Germany’s segregated school system into an inclusive system, considerable efforts have already been undertaken to accelerate this process in the field of arts and culture. Recent research regarding the inclusive classroom in Germany presents narrative interviews in qualitative research. Eager to provide all students with a possibility to engage in lessons, the different levels of acquirement are adopted to the inclusive music classroom. The model helps students in choosing the level of engagement they feel comfortable with. In this paper, excerpts of a narrative study with four teaching teams show how the model of acquirement is used to map out teachers’ thoughts in preparing for an inclusive lesson. This approach mainly focusses on student- centered classroom activity where all students have plenty of opportunity to participate on adequate levels of acquirement and across different levels of acquirement. Thus, in best case, teacher’s narrative then becomes a story of student participation equity. Bio: Ina Henning finished her undergraduate studies in music in Germany as a double major in accordion and piano performance. After winning two stipends with the German Academic Exchange Service (DAAD), she obtained her Master of Music at the University of Toronto as well as a Master of Arts Degree in Music Therapy at the Faculty of Applied Sciences Heidelberg. Back in Toronto, Ina completed her Doctorate of Music under the tutelage of Prof. Macerollo in 2013. After a part time teaching position at the University of Education in Ludwigsburg, Germany she went back to school becoming a special needs teacher with focus on the inclusive classroom. Publications include artistic research, inclusive music education, music therapy and the co-edition of a book on inclusion. This fall, Ina has started her position as Assistant Professor of Music Education with special focus on inclusion at the University of Music, Drama and Media Hanover.

NIME7 Time: Thursday, October 15, 12:00-12:30 Microsoft Teams Location: Session 5, Team Room C Paper: La Onda: Narrative Fiction Based Superhero Research Presenter: Isaac Bickmore, University of Central Missouri Abstract: Joni Yessenia Sanchez is a (fictional) freshman music education major with the special ability to control sound waves with her mind. We meet her in her second semester as she happens upon the plot of a couple of extra-terrestrial visitors to take over the world, while she is also deciding not to major in music education anymore. We witness her negotiation as she transitions out of music education and transforms into La Onda, a superhero for our times. She might be the hero that our profession needs. Will she actually leave the degree? Will she step up and save her classmates and the world? Is our profession ready to welcome a hero like Joni? Find out in La Onda: The Gatekeepers and the Replicants. Bio: Isaac Bickmore is an assistant professor of music education at the University of Central Missouri. He is a music educator, researcher, narrativist, and interdisciplinarian. He taught kindergarten through 8th grade general music for 5 years with an emphasis on project based learning, popular music, and collaboration with classroom teachers. He has a PhD in music education from Arizona State University. During his time at ASU he was able to focus on technologically mediated musical engagement and learning as the teacher of the Digital Hybrid Lab for five semesters. His research interests include student centered learning, project based learning, critical pedagogy, narrative inquiry, popular music in the lives of adolescents, popular music in young adult literature, and technologically mediated musical engagement. He has co-written two book chapters about the popular music in young adult literature. At his current job he engages undergraduates and master’s students in a variety of educative experiences including projects involving musical coding, ukulele jams and play along videos, and writing interactive children’s musicals. He teaches elementary and secondary general music courses, music technology courses and rock ‘n’ roll history. He also facilitates the New Technology Ensemble. Isaac enjoys making things out of cardboard for his kids, making couch forts, watching movies and wants to build a go kart. He and his wife Lesley have two wonderful boys, William and Van.

NIME7 Time: Thursday, October 15, 12:00-12:30pm Microsoft Teams Location: Session 5, Team Room D Paper: Rethinking the Possibility of “future” from Music Education. A narrative from Veracruz, Mexico Presenter: Arisbe Martínez Cabrera, Universidad Veracruzana, Xalapa, Veracruz Mexico Abstract: This presentation will expose an approach about an unexplored overview regarding Music Education in Mexico. It won’t start from a traditional formative point of view, nor from the schools of Music and school professors “teaching music”, but from a narrative which addresses different scenarios and people who travel around formal and informal musical education in the State of Veracruz (located in eastern Mexico), and mainly in its capital Xalapa. The research collects and narrates the implications of the death of José Ignacio Cortaza, a student of Music Education at the Universidad Veracruzana (UV), re-signifying the impressions and reflections of his generation colleagues at this university, as well as the death of Josué Bernardo Marcial Santos “Tío Bad”, an indigenous musician 22 who was a social activist from the southern region of Veracruz, analyzed from his activist lyric. The certainty of thinking about a stable future brings more and more uncertainty. This presentation shows a series of pedagogical considerations and conclusions interrelated with the experience of death. Bio: Rosa Arisbe Martínez Cabrera graduated in Music Education and Master Degree in Music Theory, both at the Universidad Veracruzana. She has focused on teaching music for 20 years in different levels. She has been a member of various Mexican choral groups such as the Schola Cantorum de Xalapa and the women´s vocal ensemble K'ay Nicté. She has offered courses, lectures and workshops for children and teachers in various forums, festivals, and universities in Mexico. She has been an assistant and participant in academic events such as conferences and seminars from ISME and FLADEM in Argentina, Mexico, Brazil, and Peru. She is currently a full-time professor at the UV Faculty of Music and belongs to the UV research group: Personal development and research in Music Education (Formación e investigación en Educación Musical). She is part of the Organizing Committee of the Foro Internacional de Educación Musical Veracruz.

NIME7 Time: Thursday, October 15, 12:00-12:30pm Microsoft Teams Location: Session 5, Team Room E Paper: Storytelling as Politics: Student’s Identity, Autonomy and Resistance in the Creation of a Performance of Eurocentric Vocal Music Presenters: Luiz Ricardo Basso Ballestero, Éder Augusto Marcos da Silva, & Marília Velardi, Universidade de São Paulo, Brasil Abstract: This narrative research focus on the autobiographical story of an Afro-Brazilian student, as told to his music and art education teachers at the University of São Paulo, Brazil. Presented as a film, and created and edited by the student and the teachers, this presentation aims to reveal and discuss the social, artistic, religious, educational, professional and political contexts in which his early and higher music education has thrived. As a final undergraduate project, the student has presented a (trans)performance in which the limits between a vocal, theatrical and choreographic performance were entirely broken. His performance dealt with issues that are particular to his story and relevant to our country, presently under a far-right political government: gender fluidity, homosexuality, politics and the role of the body as a mean to create, exist and resist in artistic and political terms. Based on his artistic project and storytelling, his narrative seeks to: a) present an exercise of empathetic listening whilst we learn a music student story as told by himself; b) observe how his memories can help us to understand possible relations between his past life and his future goals as a citizen and as an artist; c) demonstrate how an artistic project can challenge (and possibly change) the Academia by allowing students to choose how art and music, especially Eurocentric music, should and can be presented while keeping one’s cultural identity; and d) show how such narrative method can serve as a way of understanding and changing one another. Our theoretical perspectives are drawn from Brazilian authors who have been particularly concerned with the political notions of cultural identity (Barbosa, 1998; Brandão, 1985), interculturality (Barbosa, 1998), art and the aesthetics of the oppressed (Boal, 2009) and pedagogy of autonomy (Freire, 1996). Bios: Luiz Ricardo Basso Ballestero, Associate Professor, born in São Paulo, received his Doctor of Musical Arts Degree from the University of Michigan (USA). He holds a teaching position at the University of São Paulo, where he teaches vocal repertoire for 23 singers, phonetics as applied to singing, chamber music and collaborative piano. He was a visiting faculty at the University of Colorado-Boulder in 2002/03 and has given master classes and lectures at the Festival Intercity of Florence (Italy), University of Indiana-Bloomington, University Musical Society of the University of Michigan, as well as at several Brazilian, American and European universities and music schools. His research has focused on the vocal repertoire and collaborative piano performance and their relationship with linguistics, particularly phonetics and linguistic variations. Recently, he has turned his attention to the possibilities of narrative inquiry in the field of music performance and pedagogy. Éder Augusto Marcos da Silva, former voice student, singer, has finished his undergraduate studies at the University of São Paulo, where he studied voice. Since his early years, he has been a member of several choir projects and groups in São Paulo. His final research project as an undergraduate student was divided in two parts: the written portion discussed genre issues in the context of choral music and the performance part served as the basis of the narrative of this presentation. Marília Velardi, Assistant Professor, holds a teaching position at the University of São Paulo, where she teaches in the Physical Education and Health schools as well as in the Music and Performing Arts courses. She is a teacher and a dissertation advisor in the graduate program of Social Change and Political Participation. As a teacher and researcher, she turns her attention to qualitative and radical qualitative investigations, seeking to develop knowledge about the possibilities of academic research, especially in the Arts. She is particularly interested in discussions and studies on artistic and Latin American epistemologies, especially when the studies are of a transdisciplinary nature. Additionally, she participates in performances, staging and research projects with artists, building practices and studies on body preparation for performance, staging and creating.

NIME7 Time: Thursday, October 15, 12:45-1:00pm Microsoft Teams Location: Main Team Room A Musical Presentation: The Music of Stillness: Music by Elaine Hagenberg (b. 1979); Text by Sara Teasdale (1884-1933) Presenter: Rachel Rensink-Hoff, Avanti Chamber Singers Artistic Director, Brock University Bio: Dr. Rachel Rensink-Hoff is Associate Professor of Music at Brock University, Artistic Director of the Avanti Chamber Singers, and founder of the annual Summer Choral Workshop in Niagara series for choral conductors and educators. Former Vice-President of Programming for Choral Canada and Past-President of Choirs Ontario, she and choirs under her direction have been the recipients of numerous honours. In 2015, her McMaster Women’s Choir was awarded first prize in their category of the National Choral Competition for Amateur Choirs and in 2019, the Avanti Chamber Singers, was named “Most Promising New Adult Ensemble” in the competition. She is also the 2014 winner of the prestigious Leslie Bell Prize for Choral Conducting awarded by the Ontario Arts Council. Recognized in the 2009 National Choral Awards for Most Outstanding Dissertation, Rensink-Hoff has published numerous articles on choral repertoire and pedagogy. She has given many presentations at conferences for Choral Canada and the Ontario Music Educators’ Association and internationally at conferences of the American Choral Director’s Association and the International Federation for Choral Music. Dr. Rensink-Hoff maintains an active career as guest conductor, adjudicator, workshop clinician, and juror locally and across Canada.

NIME7 Conference Abstracts: Friday, October 16, 2020

NIME7 Time: Friday, October 16, 9:00-10:00am Microsoft Teams Location: Main Team Room A Paper: Sound, Silence, and the Limits of Traumatic Narrative: Examples from ‘Korea’s Hiroshima’ Keynote: Joshua D. Pilzer, University of Toronto Abstract: For many people living with the gradual unfolding of trauma, the effort to fold traumatic experience into a story of oneself is an essential struggle for selfhood, a struggle to become a subject and not an object on which violence is visited. And yet traumatic experiences cannot be explained away, or fully rendered in language, without erasing the voids and losses, the senses of chaos, and the repressions that lie at their root. As Korean survivors of the atomic bombing of Hiroshima speak of their experiences, they use sound and silence to find a delicate balance between expression and inexpressibility; this allows them to do the work of selfhood without misrepresenting the experience and the history of trauma. Survivors’ work of spoken narrativization circumscribes zones of ineffability, enfolds long silences, and even breaks down. In this delicate balancing act they reject both social pressures to remain silent and a South Korean public sphere that looks to them to “break the silence” of social repression in spectacular fashion. Bio: Joshua D. Pilzer is Associate Professor of Ethnomusicology in the Faculty of Music, and an affiliate faculty of the Centre for the Study of Korea. His research focuses on the anthropology of music in modern Korea and Japan, women’s musical worlds, and the relationships between music, survival, memory, traumatic experience, marginalization, disability, public culture, mass media, social practice and identity. He is particularly interested in everyday musical practice as a life resource, and in the “musical” features of so- called extra-musical practices like speech and everyday movement. He is the author of Hearts of Pine: Songs in the Lives of Three Korean Survivors of the Japanese ‘Comfort Women’ (Oxford, 2012) and since 2011 has been conducting fieldwork for his next book project, an ethnography of music and song among Korean victims of the atomic bombing of Japan and their children. That book is tentatively titled The Art of Making Life Work in “Korea’s Hiroshima.” Some graduate seminars he teaches concern sound, music, and everyday life; the social poetics of music; music, culture and health; silence; and fieldwork. Some of his undergraduate courses are about ethnomusicological theory and method; undergraduate surveys of East Asian and other world musics; and thematic courses about music, violence and survival.

NIME7 Time: Friday, October 16, 10:15-10:45am Microsoft Teams Location: Session 6, Team Room F Paper: “Transitioning and Traversing the Storm They Call Life”: Critical Stories of Journeys In/Through/Around Incarceration Presenters: Jesse Rathgeber, Augustana College & David A. Stringham, James Madison University Abstract: This presentation is based on data and experiences from a mixed methods study supported by a National Endowment of the Arts Research: Art Works grant, in which we examined impacts of song writing as an avenue to explore incarceration, equity, justice, and community. We extend previous work, focusing on the storied life of one formerly incarcerated participant, Joe Dudash. Engaging with three journeys woven throughout Joe’s lived experiences, we hope to foster empathy for incarcerated/formerly- incarcerated musickers and to add another marginalized voice to the contemporary music education landscape. With Joe’s permission, we share his words and lyrics—gained through interviews, song writing, and observation—through critical storytelling. We outline three simultaneous journeys of trauma and resilience, all of which Joe seemed to be traversing: a professional journey, a health journey, and a musical journey. Lyrics from Joe’s song “Halfway In, Halfway Out” provide structure for his narrative. Alongside this, we intersperse a narrative of our experiences as music teacher facilitators. Bio: Jesse Rathgeber is Assistant Professor of Music Education at Augusta College, Rock Island Illinois. Previously, Jesse was Associate Professor of Music, Associate Director of the Center for Inclusive Music Engagement, and Coordinator of the Music and Human Services Minor at James Madison University in Harrisonburg, Virginia. His research examines the intersection of disability, music learning, popular music, technology, and creativity. He is a frequent presenter at state, national, and international conferences and his work can be found in Accessing Music (a co-authored practitioner text on Universal Design for Learning), the Routledge Research Companion to Popular Music, the upcoming Oxford Handbook of Social Media and Music Learning, the Bulletin of the Council for Research in Music Education, and Music Education Research. Jesse holds degrees from Arizona State University (Ph.D.), Northwestern University (M.M., creativity/composition concentration), and the University of Illinois, Urbana-Champaign (B.M.E., general music concentration). David A. Stringham serves as Associate Professor of Music at James Madison University, and was appointed founding director of JMU’s Center for Inclusive Music Engagement in 2018. His teaching and research interests include generative creativity, lifelong music engagement, and music teacher education. He has presented scholarly work in state, national, and international venues, with recent publications in Qualitative Research in Music Education, Research Studies in Music Education, Visions of Research in Music Education and as co-editor of Musicianship: Improvising in Band and Orchestra. At JMU, Dr. Stringham mentors undergraduate and graduate researchers, coordinates JMU’s interdisciplinary Music and Human Services minor, and facilitates courses on music technology, musical theatre, and music learning and teaching. Prior to joining JMU in 2010, he taught middle school and high school instrumental music in Western New York and earned degrees (BM with highest distinction, MM, Ph.D.) from University of Rochester’s Eastman School of Music.

NIME7 Time: Friday, October 16, 10:15-10:45am Microsoft Teams Location: Session 6, Team Room G Paper: Music Festivals in Serbia as Platforms for Overcoming Postwar Traumas Presenter: Jelena Arnautović, University of Priština, Kosovska Mitrovica, Serbia Abstract: Contemporary music festivals are gathering places for artists and visitors who come from different cultures and offer significant opportunities for understanding and exchanging cultural differences. Therefore, music festivals may be perceived as specific cultural and educative platforms where various identities (cultural, gender, ethnic, national, racial, etc.) are de/re-constructed and interchanged and where intercultural dialogues take place. Such as that, music festivals might help to challenge stereotypes and prejudices within some society. In the case of Serbia, some music festivals at the beginning of the 21st century even helped to overcome postwar traumas. Namely, during the 1990s, Serbia was involved in civil wars with few surrounding ex-Yugoslav countries, and significant economic and social crises took place. Since 2001, the political and economical situation in Serbia has changed for the better (the Democratic Party won the elections, striving to build a civil democratic society and to become a member of the European Union), and the quality of life generally improved. Those turbulent changes had inevitably caused an identity crisis among the population in Serbia, which was also mirrored in the overall cultural and music life of the country. However, in a new democratic era, music festivals became significant platforms for confronting, healing, and overcoming postwar traumas by re-reading national and ethnic identities. Based on this hypothesis, I will analyze representations of ethnic and national identities at Serbian music festivals Exit and Guča, the most popular manifestations at the Western Balkans in the first years of the 21st century. Bio: Dr. Jelena Arnautović is a musicologist from Serbia, now based in Toronto, Canada. She received a BA, MA, and Ph.D.in musicology from the Faculty of Music Art, University in Belgrade (Serbia), and since 2008 she has been employed at the Faculty of Arts of the University of Priština (Serbia) as a Lecturer and Assistant Professor, teaching following subjects: History of Music, Analysis of Music Styles, Methodology of Scientific Research, Music Education and Media. Her main research interests include popular music and media culture of the Western Balkans, women in music, and intercultural dialogues at music festivals. Dr. Arnautović published two monographs and more than twenty scholarly papers in peer-reviewed publications (such as Made in You, Routledge Global Popular Music Series, 2020). She delivered lectures at numerous international conferences in Europe and organized several conferences and workshops. Since February 2020, she is an editor-in-chief of an art academic journal “Triptych”.

NIME7 Time: Friday, October 16, 10:15-10:45am Microsoft Teams Location: Session 6, Team Room H Paper: Emotional Discomforts Generated During the Piano Learning Process: A Narrative Inquiry Presenter: Scheilla Glaser, Escola Municipal de Música de São Paulo, Universidade Estadual Paulista (Unesp) Abstract: This paper presents de use of Narrative Inquiry in a research carried out in São Paulo (Brazil) into the experiences of emotional discomfort generated during the piano learning process. This study addresses some of these discomforts and the narratives that shape them and give them meaning. Narrative Inquiry in Music Education (Barrett & Stauffer, 2009) offered the supporting basis to adopt 27

Narrative Inquiry as our methodology (Clandinin, 2006, 2007, 2013, Clandinin; Connelly, 1990, 2000, 2011). We understand that lived experiences may cause memories, and that negative memories may hinder the experiences and performance of the student pianist (Osborne; Kenny, 2008). In order to undertake Narrative Inquiry, a group with the researcher and 9 volunteer pianists was composed and met 23 times throughout 2018. Along the encounters, the participants told and retold their stories, discussed proposed subjects, and played the piano when, and in the ways, they wished. Methodologically, experiences of the participants were shared both orally and in written form. Each participant also wrote three individual narratives, following Irving Seidman's proposal (2006). The volunteers participated in the construction of the drafts and final text. As the researcher read and reread the narratives, she noted feelings of inadequacy, overload, frustration, and dissatisfaction due to constant comparison, loneliness, performance anxiety, injustice and incomprehension on the part of teachers, colleagues, friends and relatives. Competitiveness emerged as a common denominator that caused these issues. The final discussion promoted a questioning of competitiveness in the piano teaching system in music schools. Bio: Scheilla Glaser is a Brazilian pianist, born in São Paulo, with PhD and Master’s Degree in Music (Unesp), Bachelor's Degree in Piano (Unesp) and Specialization in Psycho-pedagogical Fundamentals of Art and Communication (Mackenzie). She has been working as a piano teacher at Escola Municipal de Música de São Paulo (the public music school from São Paulo city) since 1999, and from 2017 at Mozarteum College of São Paulo (FAMOSP). She is the author of the book O Ensino do Piano Erudito: Um Olhar Rogeriano (The Teaching of Classical Piano: A Rogerian Perspective). Concomitantly to pedagogical activities, she performs as a pianist. During her professional life, she has worked as orquestra pianist, opera répétiteur, piano accompanist, chamber musician and soloist. In 2017, she released the CD Peças Breves, a tribute to Clara Schumann. More about Scheilla can be found at https://www.scheillaglaser.com/.

NIME7 Time: Friday, October 16, 10:45-11:15am Microsoft Teams Location: Session 7, Team Room F Paper: Exploring the Impact of Trauma on Professional and Personal Identity: An Autobiographical Narrative Inquiry Presenter: Rebecca DeWan, Michigan State University Abstract: I am not immune to the far-reaching impact of trauma in our society. For most of my public school teaching career, my story as an educator occupied a discrete space that was separate from my personal story. I compartmentalized the various facets of my identity; Rebecca At Work was different than Becca At Home. In this autobiographical narrative inquiry (Clandinin, 2013), I endeavor to explore the myriad ways in which the events preceding my divorce dissolved that impenetrable divide. Drawing on motherhood studies (Hallstein et al., 2014), a branch of feminist scholarship that seeks to understand the dynamics of motherhood “with special attention to location, experience, and power” (Kawash, 2011, p. 979), and identity constructs in the workplace (Alvesson, 2010), I will use my experiences as knowledge to construct the narrative of my two previously separate identities.

In this paper, I reflect on the reasons my professional and personal identities, as a young high school teacher and an adult living in northern Maine, grew with such rigid compartmentalization. I then explore the effects of my divorce on my professional identity, specifically in the way the shift in identity influenced my approach to programming for choral ensembles. Finally, I consider the 28 impact of breaking down the divide between my professional and personal identities as I move forward in this new chapter of my life as a PhD student and burgeoning researcher. Bio: Rebecca DeWan is a Ph.D. student in music education with a choral cognate at Michigan State University. Previously, she taught music in Maine for thirteen years. At Noble High School in North Berwick, Maine, she directed four choruses and served as the Visual & Performing Arts Subject Area Coordinator. She recently completed a Master’s in Choral Conducting at the University of Southern Maine. She has conducted honors festivals in Maine and New Hampshire. She has presented workshops at the Maine Music Educators Association conference including: “Transgender Singers in the HS Choral Classroom” and “Contemporary A Cappella: A Vehicle for Music Theory.” Her research interests include trauma-informed pedagogy, pre-service music teacher development, and effective professional development. She was named the Maine ACDA 2018 Outstanding Choral Director of the Year.

NIME7 Time: Friday, October 16, 10:45-11:45am Microsoft Teams Location: Session 7, Team Room G Narrative Gallery: Narrative Beginnings: Mothering Experiences of Child Weight Management Presenter: Dianne Fierheller, McMaster University Abstract: Throughout this narrative gallery presentation, I will share with others my own narrative beginnings that formed “in the midst” (Clandinin, 2013, p. 212) of these complex and interconnected stories. Using narrative inquiry as conceptualized by Clandinin and Connelly (2000) I will share the beginnings of my dissertation work-in-progress. Honouring the relational commitment central within narrative inquiry, I will describe how my research puzzle emerged while living alongside mothers in paediatric weight management clinics and the tensions I experienced within this professional knowledge landscape (Clandinin, 2015; Clandinin et al., 2015). Using the three-dimensional framework of temporality, sociality and place, I will share my personal, practical and social justifications and the narrative inquiry methodology guiding my work (Clandinin & Connelly, 2000). The retelling of my story and the ways of knowing and understanding mothering and child weight management have been shaped by the practical knowledge and experiences of mothers. While often silenced by the grand narrative, these maternal stories provide important insight into weight-based discrimination, violence, trauma, bullying and exclusion in many spaces as they intersect with gender, race, class and ability. They include stories of guilt and shame connected to both maternal and child bodies, as normative discourses tell them how they should look and behave in order to live well. These stories also highlight resilience, strength, love and networks of support that challenge assumptions made within the grand narrative. My hope is that by sharing my work-in-progress and engaging others within the fields of narrative inquiry, music, art and education, individuals can start to think about mothering, fatness and children’s health in new ways, creating space for all bodies. Bio: Dianne Fierheller has practiced as a paediatric healthcare social worker from many years at SickKids Hospital and Trillium Health Partners (THP). In the current role of community engagement and partnerships with the Family and Child Health Initiative (FCHI) at the Institute for Better Health (IBH) at THP, Dianne is actively working with community members and organizations across the Peel region to create partnerships and collaborations in the area of family and child health. Dianne has a passion for social justice and 29 health equity, continuously advocating for the voices and experiences of service users to be central in the design and evaluation of health care systems and services. Dianne is also a PhD Candidate at McMaster University, School of Social Work, where her dissertation work is a narrative inquiry into mothering experiences of child weight management. Dianne is also a caregiver of two school age children, and her own mothering experiences are central to her ways of knowing and thinking about child, family and community health.

NIME7 Time: Friday, October 16, 10:45-11:45am Microsoft Teams Location: Session 7, Team Room G Paper: Creating Places in Narrative Fiction for Music Education Research Presenters: Isaac Bickmore, University of Central Missouri & Samuel Pena, Arizona State University Abstract: This is a proposal for a work in progress narrative gallery presentation. We would like to start a collection of narrative fiction based research about music education. This might become something that could be released periodically or it could be released as a book. I already have two pieces that could be adapted for such a collection. Samuel Peña and I are currently collaborating on a story about his pathway to, in, around, and through music education. We plan to fictionalize a version of his story to highlight key elements, issues, problems, ideas, solutions, and principles surrounding his engagement and reengagement with music education. Samuel works at ASU in the department of music. He has been working as a liaison for community outreach and music education efforts in the Greater Phoenix Area. He is now a key figure in the opening of a popular music program at the downtown Phoenix campus of ASU. Samuel is a percussionist, songwriter, beat maker, educator, community music facilitator, collaborator, and performer. He has a masters degree in music education from ASU. We don’t yet know what form his story will take. It could be a comic book, it could be a podcast that we release serially. Will we give Samuel superpowers? If so what powers would best fit him? How might those fictional powers be used to draw attention to issues that he deals with in his engagement with music education? What might he struggle with? What enemies or catastrophes might serve as apt metaphors for the misconceptions or barriers that he is trying to overcome? Furthermore, we are interested in your (attendees of the conference) ideas for other characters, stories, issues, metaphors, fictional contexts, publishers, journals and possible audiences. We imagine that some of you might want to write fiction based research involving principles of music education and we would like to encourage that by having a discussion about it in the narrative gallery. How might narrative fiction based-research reach a wider audience of people who care about music education? How might fictional narratives help create discussions about important issues in music education? These are questions we have and we would like to discuss it with you in the narrative gallery at NIME7. Bios: Isaac Bickmore is an assistant professor of music education at the University of Central Missouri. He is a music educator, researcher, narrativist, and interdisciplinarian. He taught kindergarten through 8th grade general music for 5 years with an emphasis on project based learning, popular music, and collaboration with classroom teachers. He has a PhD in music education from Arizona State University. During his time at ASU he was able to focus on technologically mediated musical engagement and learning as the teacher of the Digital Hybrid Lab for five semesters. His research interests include student centered learning, project based learning, critical pedagogy, narrative inquiry, popular music in the lives of adolescents, popular music in young adult literature, and technologically 30 mediated musical engagement. He has co-written two book chapters about the popular music in young adult literature. At his current job he engages undergraduates and master’s students in a variety of educative experiences including projects involving musical coding, ukulele jams and play along videos, and writing interactive children’s musicals. He teaches elementary and secondary general music courses, music technology courses and rock ‘n’ roll history. He also facilitates the New Technology Ensemble. Isaac enjoys making things out of cardboard for his kids, making couch forts, watching movies and wants to build a go kart. He and his wife Lesley have two wonderful boys, William and Van. Samuel Peña is a community musician and educator whose passion for connecting with people from diverse backgrounds serves as a catalyst for his work in diverse community musical practices. Although Samuel connected with hip-hop culture and music as a child, he noticed that his K-12 school music experiences did not relate to his own socio-cultural background. Ultimately, this disconnect fueled his passion to reach others through participatory and accessible music-making opportunities that speak to their own interests and experiences. Guided by two common themes—groove music and people-centered collaboration Samuel maintains an active performance career in multiple ensembles. He is the founder and director of AZ Beat Lab, an organization that teaches beat making to youth in a collaborative, process driven approach and explores both electronic and folkloric rhythmic styles. He also serves as the music director for the Urban Arts Ensemble where he co-facilitates improvisation of urban music and movement for musicians and dancers. Additionally, Samuel teaches Beat Making for the School of Music, Dance and Theater Samuel holds a Masters in Music Education degree from Arizona State University and is currently serving as Community Engagement Coordinator for the ASU School of Music. With an emphasis on community participatory music, he works to continue sharing creative spaces with the community in order to gain a better understanding of how people around the world use Hip-Hop and Urban Arts to communicate and connect with others. To this end, Samuel hopes to continue being a voice for building responsible communities that promote understanding and respect among various music and dance cultures.

NIME7 Time: Friday, October 16, 10:45-11:15am Microsoft Teams Location: Session 7, Room H Paper: What About the Band Director? An Examination of African American Male Urban Music Educators as Culturally Responsive Leaders Presenter: Kevin L. Jones, Stephen F. Austin State University Abstract: Educators are searching for ways to reverse this statistic and bring success to the schooling process. Compared to other cultural populations, African American male students receive more severe punitive actions, quit school more often, experience significantly more episodes of discrimination, and are more likely to be out of work (Center for Law and Social Policy, 2014). The influence of African American male urban secondary band directors in urban public schools and their pathways to success have not been systematically studied. Attention on improving the academic and social outcomes of Black boys leads us to this paper presentation. This presentation explored practices associated with access, opportunity, and PK-20 preparedness that promote equity, access and social justice in education for Black boys. Through narrative inquiry, this presentation restories the experiences of Glenn, an African American male band director at an urban secondary school. Several themes emerged after critical analysis of the data. The findings from this study indicate that Glenn believed urban music educators should utilize a culturally relevant teaching approach when 31 teaching Black boys and urban music educators should aim to understand Black boys. The main conclusion from this study is urban music educators can successfully teach Black boys through a culturally responsive teaching approach. This study recommends that district and site-based administrators engage in professional development that informs others of African American male band directors’ strategies in teaching Black boys. Bio: Dr. Kevin L. Jones is currently an Assistant Professor of Secondary Education at Stephen F. Austin State University in Nacogdoches, Texas. He teaches courses centered on culturally responsive pedagogy, teacher education, and music education. Dr. Jones recently completed his Ph.D. in Teaching, Learning and Culture (Curriculum and Instruction) at Texas A&M University. He has become an expert in challenging developing educators to better understand and respect the rich diversity found in Texas and global school contexts. Dr. Jones served as a teacher and band director for eight years in Georgia and Texas schools. Further, he also has served as Director of Bands at a liberal arts university for five years. He has great expertise in understanding the brain development of students who receive music education and its impact on their academic development and is one committed to the arts and music development in educational settings.

NIME7 Time: Friday, October 16, 11:15-11:45am Microsoft Teams Location: Session 7, Team Room F Paper: Evoking a Soundscape: Engaging Teachers in a Reflective Practice Presenter: Anneke McCabe, Brock University Abstract: This paper proposal illuminates the contexts of my future research in social, cultural and political areas of education, using narrative inquiry in music as a methodology. From a narrative view of experience, teachers often times pay attention to place and our own life stories within the experiences (Caine et al., 2013). When music teachers take the time to reflect and express their story of journeying to and through music, what will we hear from their stories shared on a ‘soundscape of experience’? Furthering the importance of this research, Leavy (2017) states that teachers with strong artistic ideals need to explore their life journeys through narratives, in order to provide a model for teachers to integrate the arts and teacher identities in themselves. According to Clandinin and Connelly (2000) narrative inquiry is a way of understanding the stories of experience that make up people’s lives, both individually and socially. In the area of qualitative arts-based research there is still room to develop attention to live interactions in the inquiry process and the polyphonic nature and dynamics of collaborative research. This research intends to provide a space for musician-music teachers to engage in narrative inquiry as music educators, guiding them to share in a song writing process that is transactive, that I call ‘evoking a soundscape’. Using music and poetry, participants (including myself) will be invited to critically reflect on their lived experiences by ‘evoking their soundscape’. By creating music and composing together this research could provide a new way for music teachers to reflectively share their knowledge of pedagogy, impacts of classroom practice and/or retain or even expand their love for their craft. Bio: Anneke McCabe is enrolled in the third year of the Joint PhD in Educational Studies Program at Brock University, specializing in Social Cultural and Political Contexts in Education. Anneke takes a creative and research-informed approach to teaching and learning. She has been an elementary school teacher in Ontario for 17 years; in Peel District School Board, Toronto District School Board, 32

Greater Essex District School Board, and the Upper Grand District School Board. Currently, Anneke is an elementary instrumental music teacher at Rockwood Centennial PS. Anneke McCabe is a classically trained pianist who plays a variety of instruments and has recorded on multiple albums. Anneke has worked in various roles in the education sector including curriculum design and leadership. During her PhD at Brock Anneke served as Senior Advisory member for the Teaching Nelson Mandela Curriculum Project at Brock University, collaborating with a team of educators to create lessons to support learning in Grade 7-12 classrooms. Anneke has presented as a keynote speak at the Arts Matter 2020 Conference at Brock University and has enjoyed being part of the planning team for NIME7!

NIME7 Time: Friday, October 16, 11:15-11:45am Microsoft Teams Location: Session 7, Team Room H Paper: The Meaning of School Music Education: The Case of Two High School Students Presenter: Iuri Correa Soares, Instituto Federal do RS, Brasil Abstract: This work aims to discuss the meanings that students assign to the experiences they lived in music education at school. Two high school students, who had music education experience at school from kindergarten to 5th grade, participated in this study. They used to say that they missed music classes. The work sought to understand why those students manifest that feeling. Research information was produced by a preliminary meeting and three narrative interviews. Narrative analysis (Polkinghorne, 1995) built seven plots that generated narrative texts. Different kinds of signification emerged. Participants signify music education as a part of a group of peculiar and enjoyable experiences which belong to the childhood, a phase of their life that they miss. To the participants, music classes may or may not signify music learning. They characterize music education as enjoyable because of the lively way that the teacher works, the students’ autonomy in doing activities, the socializing aspect and the beautiful musical practice production. It is possible to suggest that there is a relationship between characterizing school music education as an enjoyable experience and not signifying it as a moment of music learning. It has to do with a traditional culture that almost determines which ones are the spaces for learning in school. Finally, it is suggested that each participant has a particular way of relating to the music education experiences and this way guides the meaning they assign to music education. Bio: Iuri Soares is a music educator from Porto Alegre, Brazil. He is PhD in education from Universidade Federal do Rio Grande do Sul, Brazil (Federal University of Rio Grande do Sul). Iuri has taught music for children for more than 20 years, formerly in regular schools, and since 2013, as a professor at Instituto Federal de Educação, Ciência e Tecnologia do Rio Grande do Sul, Brazil (Federal Institute of Education, Science and Technology of Rio Grande do Sul). His research interests are in the intersection between sociology of education and music education, particularly in the school curriculum, as well the meaning of school music education for students.

NIME7 Time: Friday, October 16, 12:00-12:30pm Microsoft Teams Location: Session 8, Team Room F Paper: When Narrative is Impossible: Difficult Knowledge, Storytelling, and Ethical Practice in Narrative Research in Music Education Presenter: Juliet Hess, Michigan State University Abstract: Stories impel us to grapple with the humanity of another. Using story to recount experience, however, raises both challenges and questions. This paper explores the complexities that arise when narrative researchers attempt to render difficult stories. I draw upon what Deborah Britzman (1998) calls “difficult knowledge” to explore what the encounter with difficult knowledge may produce. Subsequently, I consider the potential of narrative research to facilitate wrestling with difficult knowledge and address the following question: What considerations should be taken into account to engage ethically in narrative research, particularly narratives that emanate from trauma or that include stories of trauma? This question explicitly speaks to ethical concerns that may emerge when engaging with difficult knowledge. I then consider both the impossibility of representation within narrative research in light of difficult knowledge, and further examine how Delbo’s (1995/2014) “useless knowledge” unsettles straightforward understandings of how we may employ difficult knowledge in pedagogy and in research. Ultimately, I explore possible implications for researchers, followed by an examination of the importance of a politics of refusal as a means to refuse to tell a story, represent a story, or engage with a story. Bio: Juliet Hess is an assistant professor of music education at Michigan State University, having previously taught elementary and middle school music in Toronto. Her book, Music Education for Social Change: Constructing an Activist Music Education, explores the intersection of activism, critical pedagogy, and music education. Juliet received her Ph. D. in Sociology of Education from the Ontario Institute for Studies in Education at the University of Toronto. Her research interests include anti-oppression education, activism in music and music education, music education for social justice, and the question of ethics in world music study.

NIME7 Time: Friday, October 16, 12:00-12:30pm Microsoft Teams Location: Session 8, Team Room H Paper: “And the Music Room Door was Just Shut”: Stories of Limitation and Shrinking Spaces of Possibility for Generalist Teachers Before and During the Pandemic Presenters: Terry G. Sefton & Danielle Sirek, University of Windsor Abstract: In Bachelor of Education programs in Ontario, generalist (non-specialist) teacher candidates take a minimal number of courses in arts education. At our institution, students are required to take one course in music education. Entry surveys that we administer to our students reveal that students feel apprehensive as music learners and unconfident in their ability to teach music, confirming previous research (Adler, 2012; Bremner, 2013; Heyning, 2011). To explore this phenomenon and to find ways to remediate the gap, we started an Action Research project in 2016. Our purpose was to explore how music education curricula, teaching approaches, and institutional practices either create spaces of inclusion and possibility, or throw up barriers. We collected student artefacts, conducted focus groups with our preservice students, and carried out interviews with inservice generalist classroom teachers. The “collective story” that our 34 participants constructed, through visual self portraits, autobiographies, practicum anecdotes, and arts teaching experiences, serves to “narrativize the experience of a social category” (Richardson, 1990).

This paper documents the music strategies we implemented in the preservice music classroom; and the stories our preservice and inservice generalist teacher participants told us about music teaching and learning. Teacher candidates painted a picture of limited opportunities to teach or observe music in their practicum placements. Classroom teachers also told stories of limitation, detailing lack of time, lack of professional development, and lack of resources pre-pandemic; and describing music teaching during the pandemic as closing down in an era of online teaching and classrooms under COVID protocols. Bios: Terry G. Sefton is Associate Professor at the University of Windsor, where she teaches music and arts pedagogy in the Bachelor of Education program; and qualitative and arts based research theory and methodology in the graduate programs. Dr. Sefton has performed as a chamber musician in Canada, USA, Britain, and France, and has worked with contemporary composers, commissioning and performing new compositions. In addition to her performance-based creative work, Dr. Sefton has published in academic journals and books. Her research interests include institutional ethnography, identity of the artist, the arts in higher education, music education, and sociology of the arts. Danielle Sirek teaches at the Faculty of Education and School of Creative Arts at the University of Windsor, Canada. She received her PhD from the Royal Northern College of Music (UK). She also holds a Bachelor of Music from Wilfrid Laurier University (Canada), and a Master of Music from University of Toronto (Canada). Danielle’s program of research is primarily focused on music teacher education; sociology of music education; and intersections between music education and ethnomusicology. Her most recent work can be found in the International Journal of Music Education (2018) and Action, Criticism, and Theory for Music Education (2018).

NIME7 Time: Friday, October 16, 12:30-1:00pm Microsoft Teams Location: Session 9, Team Room F Paper: An Outsider Forced Outside: A Narrative Inquiry into One Music Teacher’s Traumatic Professional Upheaval Presenters: Leonard A. Grasso & David A. Stringham, James Madison University Abstract: In this study, we explore a traumatic experience from a music teacher’s first year. Stanley is an early career music teacher who grew up homosexual in the rural environment of a farming community. The friction between his queerness and his childhood environment led him to pursue a different career path than farmers by which he had been raised. After studying instrumental music education, he took a job teaching elementary general/vocal music in a small rural community, much like the one in which he grew up. During a general music class, Stanley lost grip on a recorder, which subsequently flew across the room and struck a child. This unfortunate— yet not unheard of—event set in motion a series of reactions that included a criminal charge, investigation by Child Protective Services, and departure from his teaching position. These three reactions jeopardized his state teaching license, finances, and future career prospects. Stanley was forced to disengage from—and indeed has been kept from re-engaging with—the specific manifestation of music education for which he had prepared (i.e., being a public school music teacher). He has, however, re-engaged in music education through community music employment opportunities often un(der)considered in tertiary music education curricula. In this 35 paper, we examine Stanley’s journey, ways in which nativism and bigotry may have influenced school and parental reactions, experiences building resilience, and ongoing experiences of re-engagement in, with, and through music education. We offer implications and suggest research related to music teacher preparation, socialization, and professional development. Bios: Leonard A. Grasso (he/him) is a music educator and performer from Charlottesville, VA. He holds a bachelor's degree in music education and is currently completing a master’s degree in music education, both from James Madison University. He has been published as a contributor to “Musicianship: Teaching Improvisation in Band and Orchestra”, published under GIA Publications, and holds a Level 1 Beginning Instrumental certification in Music Learning Theory. Leonard’s experience encompasses preK-12 concert band, marching band, choir, strings, guitar, and general music as a clinician, public school teacher, volunteer, or as part of outreach work as a graduate student. His research/professional interests include community music-making, culturally-responsive teaching, trauma-informed teaching practices, and technology in music education. Additionally, Leonard serves as the co-music director and choral music director for Grace Episcopal Church in Stanardsville, VA. He maintains a private woodwind/piano studio and remains active as a performer in the region. David A. Stringham serves as Associate Professor of Music at James Madison University, and was appointed founding director of JMU’s Center for Inclusive Music Engagement in 2018. His teaching and research interests include generative creativity, lifelong music engagement, and music teacher education. He has presented scholarly work in state, national, and international venues, with recent publications in Qualitative Research in Music Education, Research Studies in Music Education, Visions of Research in Music Education and as co-editor of Musicianship: Improvising in Band and Orchestra. At JMU, Dr. Stringham mentors undergraduate and graduate researchers, coordinates JMU’s interdisciplinary Music and Human Services minor, and facilitates courses on music technology, musical theatre, and music learning and teaching. Prior to joining JMU in 2010, he taught middle school and high school instrumental music in Western New York and earned degrees (BM with highest distinction, MM, Ph.D.) from University of Rochester’s Eastman School of Music.

NIME7 Time: Friday, October 16, 12:30-1:00pm Microsoft Teams Location: Session 9, Team Room G Paper: The Trauma of Separation: Understanding How Music Education Worked to Interrupt my Relationship with the Non-Human World Presenter: Tawnya D. Smith, Boston University Abstract: During my early childhood I was deeply attuned to nature, but as a result of schooling I mostly stopped listening to the ambient soundscape and obediently focused upon human-made sounds. This redirection caused me to view myself and other humans as being separate from the natural world. Joanna Macy asserts that such a sense of separation is the root cause of the current climate crisis because most individuals no longer understand themselves to be a part of the ecosystem, and subsequently engage in the domination of nature. Given the climate crisis, I argue that it has become critical to reconsider how we enculturate children so that we do not sever their identity as a part of the ecosystem. Specifically, I assert that we reconsider the ways that music education has inadvertently contributed to this separation so that we might adapt the current curriculum to prevent trauma for future generations. 36

In this autoethnographic and art-based inquiry, I consider my developmental trajectory to determine the specific ways that my music education experiences created a sense of separation from the earth. I interpret the reflections and artifacts from my childhood through Plotkin’s (2008) Nature of the Human Soul developmental framework and contrast his conceptions of healthy development with my own history to discern which experiences during my musical development fostered growth and which ones led to my trauma of separation from the earth. Bio: Tawnya Smith is assistant professor of music education at Boston University. She teaches graduate courses in research, curriculum, arts integration, and undergraduate courses in creating healthy classrooms, and arts and the environment. Dr. Smith is an integrative researcher who explores expressive arts principles to promote holistic learning. Her background in music education has led her to experiment with free improvisation and multi-modal art response as a means for learners to explore the self in community settings. Her recent work focuses upon arts integration and social justice. Tawnya has published articles in the Journal of Applied Arts and Health, Music Educators Journal, and Gender and Education. She has contributed book chapters to Art as Research; Key Issues in Arts Education; and Queering Freedom: Music, Identity, and Spirituality. She is co-author of the book Performance Anxiety Strategies and co-editor of Narratives and Reflections in Music Education: Listening to Voices Seldom Heard.