Power dynamics created through hierarchical Western music pedagogy may result in trauma, despite music’s prominence as a coping tool (Altun & Özdemir, 2018). In 2021, a major university’s music faculty was accused of over 50 counts of sexual assault, alongside harassment, racism, and bullying claims (King, 2021). Another arts education survey indicated that the majority of music students surveyed self-identified as trauma survivors, often directly linked to their education (King, 2025). This research expands upon prior studies through a voice-specific lens and a focus on wellness in the undergraduate studio.

The central question addressed was: how can undergraduate voice studios become more trauma-informed, with pedagogical models rooted in care, community, and healing? We inquired further through the question: which aspects of embodiment or community music practices may promote wellbeing within an undergraduate voice studio?

Two studies were conducted to address trauma-informed, community-oriented, and embodiment-based pedagogy. The first involved an analysis of students in Professor Barber’s voice studio, using semi-structured qualitative interviews and practice log document analysis. Students participated in partner practice, group lessons, and self-reflections. Data was inductively coded and analyzed to produce themes surrounding community and care in singing education. The second study analyzed impacts of embodiment practices on Ontario singers and survivors. 6 singers and trauma survivors participated in group singing, art-making, and interviews before and after a trauma-informed Alexander Technique (AT) intervention, with a focus group immediately afterwards. Data was inductively coded to reveal themes of trauma-informed pedagogy, group singing as connection, and embodiment as musical and personal integration.

Both studies revealed that singing in community often increases feelings of support, care, and safety, and that embodiment and a relationship to the self is crucial for wellbeing. However, they lacked a clear understanding of trauma’s impact on vocal music education and an honest reflection of the full undergraduate experience. This led to a third study in progress: an autoethnographic, document analysis-based case study of Sarah Stapleton’s undergraduate study in Kimberly Barber’s community-based voice course.

Our research demonstrates possibilities for community music practices in the undergraduate voice studio, and reflects the importance of offering trauma-informed interventions as vocal pedagogues.