[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-1-en-105":3,"doc-seo-164270-105":53,"doc-detail-164270-en":126},{"code":4,"msg":5,"data":6},0,"success",[7,14,19,24,29,34,39,44,49],{"id":8,"doc_module":9,"doc_module_name":10,"category_name":11,"show_sort_weight":12,"slug":13},11,1,"Template","Presentations",90,"presentations",{"id":15,"doc_module":9,"doc_module_name":10,"category_name":16,"show_sort_weight":17,"slug":18},12,"Resumes",80,"resumes",{"id":20,"doc_module":9,"doc_module_name":10,"category_name":21,"show_sort_weight":22,"slug":23},14,"Invoices",70,"invoices",{"id":25,"doc_module":9,"doc_module_name":10,"category_name":26,"show_sort_weight":27,"slug":28},15,"Posters",60,"posters",{"id":30,"doc_module":9,"doc_module_name":10,"category_name":31,"show_sort_weight":32,"slug":33},16,"Social Media",50,"social-media",{"id":35,"doc_module":9,"doc_module_name":10,"category_name":36,"show_sort_weight":37,"slug":38},17,"Forms",40,"forms",{"id":40,"doc_module":9,"doc_module_name":10,"category_name":41,"show_sort_weight":42,"slug":43},18,"Letters",30,"letters",{"id":45,"doc_module":9,"doc_module_name":10,"category_name":46,"show_sort_weight":47,"slug":48},21,"Paper Templates",5,"papers-templates",{"id":50,"doc_module":9,"doc_module_name":10,"category_name":51,"show_sort_weight":4,"slug":52},158,"General","general-158",{"code":4,"msg":54,"data":55},"ok",{"site_id":56,"language":57,"slug":58,"title":59,"keywords":60,"description":61,"schema_data":62,"social_meta":119,"head_meta":121,"extra_data":123,"updated_unix":125},105,"en","hidden-voices-toward-a-trauma-informed-framework-of-community-music-practice","Hidden Voices - Toward a Trauma-Informed Framework of Community Music Practice","","Community music scholarship increasingly recognizes trauma as a factor shaping individuals and the social fabric of communities, yet community music literature has not sufficiently addressed how trauma may be prevalent across any setting. Because music projects often work with vulnerable groups, trauma-informed practice is being acknowledged without a strong research base for training and implementation. This article traces the origins of trauma-informed practice and proposes a framework, illustrated through the York St John University Prison Partnership Project, to support safe, responsive creative collaboration.",{"@graph":63,"@context":118},[64,80,101],{"@type":65,"itemListElement":66},"BreadcrumbList",[67,71,74,77],{"item":68,"name":69,"@type":70,"position":9},"https://docshare.wps.com","Home","ListItem",{"item":72,"name":10,"@type":70,"position":73},"https://docshare.wps.com/template/",2,{"item":75,"name":11,"@type":70,"position":76},"https://docshare.wps.com/template/presentations/",3,{"item":78,"name":59,"@type":70,"position":79},"https://docshare.wps.com/template/hidden-voices-toward-a-trauma-informed-framework-of-community-music-practice/164270/",4,{"url":78,"name":59,"@type":81,"image":82,"author":87,"headline":59,"publisher":90,"fileFormat":93,"inLanguage":57,"description":61,"dateModified":94,"datePublished":95,"encodingFormat":93,"isAccessibleForFree":96,"interactionStatistic":97},"DigitalDocument",{"url":83,"@type":84,"width":85,"height":86},"https://docshare.wps.com/thumbnails/hidden-voices-toward-a-trauma-informed-framework-of-community-music-practice/164270.png","ImageObject",442,249,{"name":88,"@type":89},"Theodore","Person",{"url":68,"name":91,"@type":92},"DocShare","Organization","application/vnd.openxmlformats-officedocument.wordprocessingml.document","2026-09-19","2026-08-31",true,{"@type":98,"interactionType":99,"userInteractionCount":76},"InteractionCounter",{"@type":100},"ViewAction",{"@type":102,"mainEntity":103},"FAQPage",[104,110,114],{"name":105,"@type":106,"acceptedAnswer":107},"Why does the article argue that trauma-informed practice is needed in community music?","Question",{"text":108,"@type":109},"It argues that trauma can be hidden yet profoundly impactful, and since many music projects involve vulnerable participants, practitioners need frameworks that support safe and appropriate practice.","Answer",{"name":111,"@type":106,"acceptedAnswer":112},"What does the article contribute beyond existing community music literature?",{"text":113,"@type":109},"It explores the origins of trauma-informed practice and examines emerging themes in community music scholarship, using a specific example framework from the York St John University Prison Partnership Project.",{"name":115,"@type":106,"acceptedAnswer":116},"How is trauma-informed practice intended to help practitioners during music sessions?",{"text":117,"@type":109},"It enables practitioners to work reflexively and responsively, better understanding trauma response manifestations and building secure environments where music making can flourish.","https://schema.org",{"og:url":78,"og:type":120,"og:title":59,"og:site_name":91,"og:description":61},"article",{"robots":122,"canonical":78},"index,follow",{"doc_id":124,"site_id":56},164270,1788150361,{"code":4,"msg":5,"data":127},{"doc_id":124,"user_id":128,"nickname":88,"user_avatar":129,"doc_module":9,"category_id":8,"category_name":11,"doc_title":59,"doc_description":61,"doc_content":130,"file_id":131,"file_url":132,"file_type":133,"file_size":134,"view_count":76,"is_deleted":4,"is_public":9,"is_downloadable":9,"audit_status":9,"page_count":135,"language":136,"language_code":57,"site_id":56,"html_lang":57,"table_of_contents":137,"faqs":138,"seo_title":139,"seo_description":61,"update_tm":125,"read_time":20},7971461740886,"https://ap-avatar.wpscdn.com/davatar_3d24733baf745e90a7e4bdd5f77d97b2","Hidden Voices; toward a trauma-informed framework of community music practice\nABSTRACT\nAs the field of community music scholarship continues to evolve, opening up a dialogue around music making with trauma survivors and implementation of trauma-informed practice is both timely and critical. Whilst there has been an acknowledgement of the presence of trauma connected to specific contexts, community music literature has not yet begun to respond to the potential prevalence of trauma within any community music setting. As a field in which music projects will often be operating with groups of vulnerable people, trauma-informed practice is beginning to be acknowledged, but without a broad base of research to support training and implementation. As a community musician working with known trauma survivors, it is my assertion that the question of whether pedagogic frameworks should be developed in order to promote safe and appropriate practices needs to be addressed, especially where traumatic experience can remain hidden, but still be profoundly impactful.\nThis article explores the origins of trauma-informed practice as well as providing an example framework from the York St. John University Prison Partnership Project. A literature review of community music scholarship explores the potential benefits of music making for those who have experienced trauma and emerging themes are examined through the lens of trauma-informed practice. This article also suggests that trauma-informed practice could be integrated more widely within community music in order to: (1) acknowledge that in any group or context, statistically, a number of participants are likely to have experienced trauma; (2) acknowledge that because trauma is often hidden, having an understanding of manifestations of trauma responses will better equip practitioners; and (3) understand that trauma-informed practice enables practitioners to work reflexively and responsively within their groups, thereby building solid foundations on which to develop safe and secure environments in which music making can flourish.\nKEYWORDS\nTrauma-informed practice\nPrison Partnership Project\nTherapeutic processes\nCreative Collaboration\nReflexivity and responsiveness\nVIGNETTE\nFebruary 2019, HMP New Hall – YSJU Prison Partnership Project – Rowan House Emerging Voices project, weekly reflection tool\nThe women were on lock-down until about 2:20pm today, plus line route was called early. My students and I had to condense the session and work with the time we had. We structured more time for getting-to-know-you games to try to regain the fledgling group dynamic from two weeks ago. The creative songwriting was a lot more effective – we had images and quotes based around the idea of resilience, courage and hope, responding to the women’s input last week.\nWe gave the group space to reflect and share their work together. One of the women had written a beautiful poem, based on the idea of “Do Not Give Up” – it was like she was not only speaking to herself but encouraging the other women to do the same. One woman had taken a picture of a tiny seedling growing out of a crack in the desert and reflected on how amazing trees are to grow against the odds from something so small. Another woman had written about music and what it means to her, using some striking imagery and metaphors.\nWe re-clarified Ways of Working this week, re-iterated the ability to opt out, and spoke about keeping the space safe when reflecting or sharing responses or ideas. I had set myself a personal task of being more observant of the group and reading the room better.\nThere was a tense moment where one of the women (J) challenged another on her writing – saying she should have written in the first person, implying it would have been more powerful. The other woman dealt with this incredibly well and was gracious in her response, explaining her decision-making process. J was also getting upset about a typo in the lyrics and I’m recognising she ","cbCaikYy0xfVKAhU","https://ap.wps.com/l/cbCaikYy0xfVKAhU","docx",73638,39,"English","# Abstract\n# Keywords\n# Vignette\n## HMP New Hall - YSJU Prison Partnership Project\n# Introduction\n## Trauma in community music scholarship\n## Need for trauma-informed frameworks","[{\"question\":\"Why does the article argue that trauma-informed practice is needed in community music?\",\"answer\":\"It argues that trauma can be hidden yet profoundly impactful, and since many music projects involve vulnerable participants, practitioners need frameworks that support safe and appropriate practice.\"},{\"question\":\"What does the article contribute beyond existing community music literature?\",\"answer\":\"It explores the origins of trauma-informed practice and examines emerging themes in community music scholarship, using a specific example framework from the York St John University Prison Partnership Project.\"},{\"question\":\"How is trauma-informed practice intended to help practitioners during music sessions?\",\"answer\":\"It enables practitioners to work reflexively and responsively, better understanding trauma response manifestations and building secure environments where music making can flourish.\"}]","Hidden Voices - Toward a Trauma-Informed Framework of Community Music Practice | DOCX"]