Occupational Traumatic Stress in Professional Orchestras

Why I'm doing PhD research

Because people in orchestras deserve to feel safe at work, and trauma—past or present—shapes how people show up at work.

I come to this work with lived and living experience. As someone who experienced abuse by a music educator and who lives with post-traumatic stress disorder (PTSD), I bring a deeply personal awareness of both the harm that can occur in artistic and educational contexts, and the healing that can come through trauma-informed approaches. Rather than separating this from the research, I treat it as part of the lens through which I see and understand what’s going on.

This research is grounded in my experiences as a performer, leader, and facilitator, and shaped by years of working alongside musicians and arts organisations. It sits at the intersection of social work, organisational culture, mental health and is a new approach to explore how safety, trust, and accountability can be woven into the fabric of orchestral workplaces.

Ultimately, I’m doing this work because I believe that safer, more compassionate cultures in classical music are not only possible—they’re essential. Through this research, I hope to contribute to a future where artistry and wellbeing can coexist, and where everyone in an orchestra can do their best work without fear or shame.

What I’m researching

My research intends to

• Explore and understand the lived experiences of occupational traumatic stress among musicians and staff in professional symphony orchestras. 
   

• Explore the psychological, social and organisational elements and consequences of occupational traumatic stress in orchestras. 
   

• Collaboratively co-design trauma-informed organisational recommendations that promote safer and more sustainable orchestral workplaces.

My intention is to translate the data into plain language and everyday practices so we can care for ourselves and others without causing harm.

What is occupational trauma?

Work-related exposure to an event, or series of events, that causes significant distress, and affects how people feel, think, or behave — especially in situations that feel unsafe or uncertain.

It’s not just the event itself, but how the person experiences it. Two people can go through the same thing and be affected very differently.

In a workplace, trauma can show up as:

• Anxiety or withdrawal in high-pressure settings

• Difficulty trusting others

• Overreacting or shutting down in response to feedback

• Avoiding certain people, places, or tasks

Trauma isn’t always dramatic or visible — it can come from historical or long-term stress, bullying, exclusion, or uncertainty.

What is a trauma-informed approach?

A trauma-informed approach means working in ways that recognise people may be carrying difficult experiences — and designing your systems, rehearsals, feedback, and leadership with that in mind.

It’s about:

• Safety – making sure people feel physically, emotionally, and culturally safe

• Choice – giving people a sense of control wherever possible

• Trustworthiness – being clear, reliable, and consistent

• Collaboration – working with people, not doing things to them

• Empowerment – recognising strengths, not just problems

• Awareness – understanding that trauma affects people’s behaviour and relationships

You don’t need to know someone’s full story. Trauma-informed practice is about creating an environment where people can do their best work without fear or shame.

How I’m doing the research

This research is based in the School of Social Work at the University of Western Australia and takes a practice-led, collaborative approach. That means I’m not just researching orchestras—I’m working alongside them.

When and what’s next

I’m currently in the early stages of the research, I’ll be sharing insights, tools and opportunities for orchestras to get involved.

But if this has struck a chord with you and you’d like to talk now, or you’d like me to deliver presentations introducing the basics of trauma and trauma informed practice within a classical music context - I’d love to talk.

Resources

Book “The Body Keeps the Score” by Dr. Bessel van der Kolk

• Why it’s useful: A foundational text that explains how trauma affects the brain and body, with practical insights for supporting healing.

• Best for: Ideal for musicians and leaders looking to understand why certain behaviours show up in high-pressure environments.

• Heads-up: It includes some confronting content, but it’s widely respected for good reason.

Book “What Happened to You?” by Dr. Bruce Perry & Oprah Winfrey

• Why it’s useful: Uses story-based dialogue to explore how trauma shapes behaviour and relationships.

• Best for: Managers and teams who want to approach trauma-informed practice with compassion and curiosity.