Abigail Carissa Lindo

SCHOLAR/ARTIST • EDUCATOR • RESEARCHER

Click here for Azorean AcoustemologiesClick here for EthnowithAbby



Greetings!
I am a Jamaican-born music researcher, cultural theorist, educator, and creative. My dissertation is an (eco)feminist, sonic ethnography of Ponta Delgada, considering how the musical behaviors and performances of culture on the island aid in creating a distinct musical identity in the region, considering postcolonial realities, intersectional identity, and collective musical experiences.

Abigail Lindo

About Me

I am a Jamaican-born cultural theorist, educator, creative, and social scientist of music and sonic culture primarily concerned with African American musicking and Portuguese vernacular music practices in the Azores. My dissertation is an (eco)feminist, sonic ethnography of Ponta Delgada, the capital of the Azores (an autonomous region of Portugal), considering how the musical behaviors and cultural realities on the island aid in creating a distinct musical identity in the region. I am a former K-12 music educator and classically trained mezzo-soprano who writes songs in my downtime and occasionally performs (independently and in ensembles). I am actively incorporating performance into my current research endeavors and presentation methodologies, using multimedia to produce more public-facing research. I am in the final year of my PhD at the University of Florida in Gainesville, FL.


Education

University of FloridaUniversity of FloridaNew College of Florida
PhD in EthnomusicologyMasters in Music EducationBachelors of Arts in Music
2024 (expected)20172012

Certificates (in-progress): Modern European Studies, Gender Studies, and Instructional Design


Research Interests

Portuguese Folk, Religious, and Vernacular Music Practices
Music Festival Culture and Community Music Making
Black Sonic Expression and Embodiment
Feminisms and Gender Studies
Jamaican Popular Music
Ecomusicology

The background image on this website was taken on the northeastern coast of São Miguel.

Abigail Lindo

Teaching Experience

Gender and Colonial Legacies in 21st Century Iberian Popular Music
Undergrad/Graduate Music and Gender Course (Designed and Instructed)
University of Florida, Spring 2024

Music and Social Engagement with the Environment
Undergraduate Music Course (Teaching Assistant)
University of Florida, Fall 2023

Popular Music in the USA
Undergraduate Music History Course (TA)
University of Florida, Summer 2023

Experiencing Music
Undergraduate Music Appreciation Course (TA)
University of Florida, Summer 2023

Ethnomusicology in the K-12 Classroom
Graduate Music Education Course (Designed and Instructed)
Shenandoah University, Summer 2022

Experiencing Music
Undergraduate Music Appreciation Course (TA)
University of Florida, Summer 2022

That's the Joint: Hip-Hop History and Culture
Undergraduate Music History Course (Designed and Instructed)
Duquesne University, Fall 2021 - Present

African American Popular Music in the K-12 Classroom
Graduate Music Education Course (Designed and Instructed)
Shenandoah University, Summer 2021

The "Good Life"
Undergraduate Humanities Course (TA and Discussion Leader)
University of Florida, Summer 2021

Jazz, Hip-Hop, and African Culture
Grad/Undergraduate Music Course (Research Assistant/ Course Designer)
University of Florida, Fall 2020

Experiencing Music
Undergraduate Music Appreciation Course (TA)
University of Florida, Fall 2019

General, Vocal, and Instrumental Instruction
Charlotte County Public Schools
2014 - 2019

General and Instrumental Instruction; Choral Music Director
School District of Lee County
2013 - 2014

Substitute Teacher
Charlotte Country Public Schools
2013


Workshops, Trainings, and Career Development Experiences

2023 Institute on Teaching and Mentoring
Southern Regional Education Board (SREB): Tampa, Florida
2023 Southeastern Conference (SEC) Emerging Scholars Career Preparation Workshop
University of Arkansas: Fayetteville, Arkansas
2023 International Workshop for Doctoral Students in Ethnomusicology
Center for World Music at the University of Hildesheim: Hildesheim, Germany
Online Diversity, Inclusion, and Belonging Training (2023)
University of Florida: Gainesville, FL USA
UF Center for Latin American Studies Soundings Workshop 2022
University of Florida: Gainesville, FL USA
Graduate School Summer 2021 Dissertation Writing Workshop
University of Florida: Gainesville, FL USA
Ethnic Culture, Teaching and Learning Workshop 2021
Shenandoah University: Winchester, VA USA (online)

Abigail Lindo

Presentations

2023 Environmental Humanities Conference
“Sonic Eco-Cosmopolitanism: Alternative Music Festival Culture, Gender, and Eco-humanism in the Azores”
Online

2023 American Studies Association Annual Meeting
“On Introspective Resonances: SZA's SOS and Modern Narratives of Black (Self)Love”
Montreal, Québec

2023 Society for Ethnomusicology Annual Meeting
“Rupture and Improvisation in 'Otherwise Possibilities': EDM in Modern Azorean Cosmopolitanism”
Ottawa, Ontario

Triennial International Conference on Timbre 2023 in Thessaloniki, Greece
“The Viola da Terra as Metaphor: Post-colonial Sonorities of Azorean Saudade”
(Online) Poster Presentation

University College Dublin Music and Pleasure Before the Law Conference
“Lorde’s Erotic and Transatlantic/Transfem Postcolonial Sonic Expression”
Online and In-Person

University of Connecticut (UConn) Graduate Music Conference 2023
“Gendered Legacies of the Viola da Terra: Postcolonial Cultural Politics of Azorean Folclóricos”
Online

Global Online Chapter of the Society for Ethnomusicology (GOCSEM) Inaugural Meeting 2023
“Azorean Acoustemologies, Part 1: [Hybrid] Fieldwork and Presence”
Online

CUNY Graduate Students in Music (GSIM) Conference 2023
“Gendered Legacies of the Viola da Terra: Postcolonial Cultural Politics of Azorean Folclóricos”
Online

Society for Ethnomusicology Southeast and Caribbean (SEMSEC) Annual Meeting 2023
“Gendered Legacies of the Viola da Terra: Postcolonial Cultural Politics of Azorean Folclóricos”
University of Florida

Women at the Piano 1848-1970 International Conference 2023
“Nina Simone on the Keys as Black Feminist Sound”
University of California, Irvine

Musicology and Festivals: Latin American and Iberian Perspectives 2022
“Tremor's Sonic Landscapes and the Eco-cosmopolitan City”
Universidad Internacional de Andalucía

American Musicological Society (AMS-SMT-SEM Joint Annual Meeting)
“Tucson's 'Black Renaissance' and the Cultural Rupture it Shaped”
New Orleans, LA

Feminist Theory and Music Conference 2022
“Simone on the Keys: Living as Black Feminist Sound”
University of Guelph

Music and the Moving Image Conference 2022
“Sounding the Revolution: Black Music and the Black Messiah”
New York University (Online and In-Person)

Columbia Music Scholarship Conference 2022
“Sounding Geography: The Black Atlantic Traversing African American Popular Music”
Columbia University (Online)

UF College of Education Research Symposium 2022
“Blending Music Education and Ethnomusicology in K-12 Musical Instruction”
University of Florida

Society for American Music (SAM) Annual Conference 2022
“Tucson’s “Black Renaissance” and the Cultural Rupture It Shaped"
University of Arizona (Online)

Society for Christian Scholarship in Music Annual Conference 2022
“The Sound of Covid-19 Grief: Jamaican Gospel Music as Surrogate to Touch in Pandemic Mourning”
Mercer University

Diversity & Belonging: Unsung Keyboard Stories 2022
“Simone on the Keys: A Protest Dressed in Black Feminine Identity”
University of Michigan (Virtual and In-Person)

Society for Ethnomusicology Annual Meeting 2021
“The Sound of Covid-19 Grief: Jamaican Gospel Music as Surrogate to Touch in Pandemic Mourning”
Indiana University (Virtual)

Southern Graduate Music Research Symposium 2021
“Pandemic Mourning and Jamaican Gospel Music: Sound as Surrogate to Touch”
University of Georgia (Virtual)

Western University Graduate Symposium on Music 2021
“Humanizing Black Bodies with Hip-Hop Music Videos in the BLM Era”
Western University (Virtual)

Transformations of Musical Creativity in the 21st Century Conference 2021
“Black Musical Nostalgia Verzuz Pandemic Isolation: How Webcast Concert Competitions Connect African American Social Media Users”
University of Bristol and Istanbul Technical University (Virtual)

Columbia Music Scholarship Conference 2021
“Verzuz and Black Pandemic Music-Making”
Columbia University (Virtual)

Midwest Graduate Music Consortium Conference 2021
“Beyond” Black and White: Humanizing Black Bodies with Hip Hop Videos in the BLM Era”
University of Michigan (Virtual)

Music, Sound, and Media in Times of Crisis International Study Day 2021
“Black Musical Nostalgia Verzuz Pandemic Isolation”
Carleton University (Virtual)

Society for Ethnomusicology Southeast and Caribbean (SEMSEC) Annual Meeting 2021
“Black Musical Nostalgia Verzuz Pandemic Isolation”
Various Institutions (Virtual)

American Musicological Society Southern Chapter, Annual Meeting 2021
“Jay-Z Samples Nina’s Burden: Cross-Generational Messages of African American Angst”
University of Alabama (Virtual)

Southern Graduate Music Research Symposium 2020
“Jamaican Dancehall Masculinity: Misogynoir, Violence, and National Identity”
The University of Georgia (Virtual)

American Musicological Society Southern Chapter Annual Meeting 2020
“Jamaican Dancehall Masculinity: Negotiating Gender and National Identity Through Sound”
Florida State University

Fall 2019 UF Musicology Colloquium Series, 2019
“Gender, Masculinity, and National Identity in Jamaican Dancehall Music”
University of Florida

Publications

"Sonic Junk and Techno Trash: How Performances with Recycled Objects Democratize Engagement and
Further Collective Environmental Ethos"
Peer-Reviewed Article, International Journal of Community Music (2024)
(under review)
“The Black Female Voice and Visage in 20th Century American Popular Music”
Book Chapter: Singing Out: The Musical Voice in Audiovisual Media
Edinburgh University Press, 2024 (forthcoming)
“Geography as Sound”
Book Chapter: Name/Understand/Play: Reflecting on Metaphors in Music and Sound
Duke University Press, 2024 (under review)
“‘Four Women,’” Three Songs: Nina Simone’s Voice (as Object) in Global Hip Hop Sampling”
Peer-Reviewed Article, Music Research Forum (2023)
Queer Voices in Hip-Hop: Cultures, Communities, and Contemporary Performance
Book Review, Notes (2023)
“Tremor’s Ethos of Sustainability: Theorizing Sonic Eco-cosmopolitanism”
Peer-Reviewed Essay, Society for Ethnomusicology Student Newsletter 19.1 (2023)
“Research Realities in Ethnography and the Poetry of Alternative Identities”
Peer-Reviewed Essay, Society for Ethnomusicology Student Newsletter 18.1, 2023
“Beyond Black and White: Humanizing Black Bodies Through Hip Hop Videos in the BLM Era”
Scholarly Article: Currents in Music Research (inaugural issue)
University of Michigan, 2021.

Abigail Lindo

Selected Honors, Awards, and Fellowships

SEC Emerging Scholar
Southeastern Conference (SEC), 2023-24

P.E.O. Scholar Award
P.E.O. International, 2023-24

Edward A. Bouchet Graduate Honor Society
Yale University, 2023

Graduate Travel Grant
UF Chief Diversity Office, 2023

Graduate Student Research Travel Award
UF College of the Arts, 2023

Graduate Student Research Travel Award
UF School of Music, 2023

Fulbright U.S. Student Fellowship
Institute for International Education (IIE), 2022-23

Research Abroad for Doctoral Students Grant
UF International Center, 2022-23

Gertrude Robinson Travel Award
Society for Ethnomusicology, 2022

Evelyn L. Wenzel Memorial Scholarship
UF College of Education, 2022-23

Graduate Travel Award
UF Center for European Studies, 2022

Graduate Travel Award
UF Office of Research, 2022

Graduate Student Research Travel Award
UF College of the Arts, 2022

Graduate Student Research Travel Award
UF School of Music, 2022

Rothman Doctoral Fellowship
UF Center for Humanities in the Public Sphere, 2022

Dale A. Olsen Prize for Best Student Conference Paper
Southeastern Chapter of the Society for Ethnomusicology (SEMSEC), 2021

Graduate Student Research Travel Award
UF College of the Arts, 2021

Graduate Student Research Travel Award
UF School of Music, 2021

Foreign Language and Area Studies (FLAS) Fellowship
UF Center for European Studies, 2021-22

Foreign Language and Area Studies (FLAS) Fellowship
UF Center for European Studies, 2020-21

Graduate Student Research Travel Award
UF College of the Arts, 2020

Graduate Student Research Travel Award
UF School of Music, 2020

Southern Regional Education Board Fellowship (SREB)
UF Office of Graduate Student Initiatives and the SREB, 2019

Board of Education (BOE) Summer Fellowship
UF Graduate School, 2019

PhD Fellowship for Ethnomusicology Study
UF College of the Arts, 2019

Diversity Enhancement Award
UF Graduate School, 2019

Invited Talks

SEM Student News Roundtable; SEM Annual Meeting in Ottawa, ON, 2023
African American Music as Catalyst for Cultural Change (BHM Talk at UAç), 2023
On Diversity and Musical Engagement in the Language Classroom (UAç), 2023
UF Center for Humanities in the Public Sphere Synergies Series, 2023
“Sonic Black Feminism and Cultural Transmission in the Work of Nina Simone”; UAç, 2023
Experiences in American Higher Education; Fulbright Commission Portugal (UAç), 2022
UF Center for Latin American Studies, Soundings Workshop, 2022
Society for Christian Music Scholarship, Annual Meeting Graduate Career Roundtable, 2022
UF Brown Center for Leadership, LeadUF Motivational Speakers, 2021
UF Center for European Studies, Lunchtime Symposium Presentation, 2021

Abigail Lindo

Service Experiences

Service to the FieldGraduate Student Committee Member, Project Spectrum, 2023 - Present
Student Board Member, SEMSEC, 2022 - Present
Visiting Reviewer, New Florida Journal of Anthropology, 2022
Event Organizer, UF Student Society for Musicology, 2019 – 2022
Vocal Coach, UF Popular Music Ensemble, 2020 – 2022
Session Volunteer, American Musicological Society, 2021 – 2021
Graduate Representative, UF College of the Arts DEI Committee, 2020 – 2021
Treasurer, UF Student Society for Musicology, 2020 – 2022
Non-(Ethno)musicology and Community Service ExperienceVolunteer Performer and Academic Speaker, University of the Azores American Corner, 2022 – 2023
Reviewer, UF Journal of Undergraduate Research, 2022 – 2022
Peer Advisor, UF Graduate Diversity Initiatives BOE, 2021 – 2021
Leadership Coach, LeadUF Spring 2021 Leadership Program, 2021 – 2021
Madrigal Singer, Charlotte County Players Winter Ensemble, 2018 – 2018
Event Coordinator, Charlotte County Public Schools, 2017 – 2019
Youth Music Director and Ministry Leader, Discipleship Driven Ministries, 2016 – 2019
Event Organizer, New College of Florida Gender and Diversity Center, 2010 – 2012


Academic Planning

Intersecções Sónicas: Musical Intersections in Interdisciplinary Research
University of the Açores: Ponta Delgada, Summer 2023
Creative Resilience
Graduate Research Symposium
UF Student Society for Musicology, Fall 2021

Abigail Lindo | Ethnomusicologist

Dissertation Research

Azorean Acoustemologies: Gender, Sonic Identity, and Ecotourism in São Miguel
My dissertation is a feminist ethnographic exploration into the contemporary sonic culture driven by music festivals on São Miguel, the largest of nine islands in the Portuguese autonomous region of the Azores. I will focus on the capital city of Ponta Delgada as an area of cultural exchange, with musical gatherings acting as temporary communities for often subjugated populations. In these spaces, queer and female participants often celebrate and express their identities through sonic engagement as a liberatory practice. I will consider collective ideas of cultural value, “acceptable” gendered behavior, and the experiences of female and queer performers and attendees of musical events (especially those who grew up in the region) to understand how they form identity among others during musical engagement and view themselves as gendered individuals while they perform or respond to music.
Click here to read more.


Other Research Topics and Media

On Introspective Resonances: SZA’s SOS and Modern Narratives of Black (Self)Love
Situating Audiovisual Dissonance: Home Alone, Shittyflute, and the Collective Confusion of 5-Minute Crafts
In Praise of Hybrid Fieldwork: Depictions and Realities in Presentation and Presence
Betraying EDM as Eurocentrism: African American Cultural Practices and Azorean Nightlife
Sonic Junk and Techno Trash: How Performances with Recycled Objects Further Collective Environmental Ethos
Sound(ing) as Geographic Body: Blackness and Blankness


Media and Public-Facing Research

“Trying to Tremor: Alternative Identity and Alternative Music in São Miguel,” 2021
“Queer Fado and Nationality: Going Beyond the Gendered Genre with a Queer Perspective,” 2021
"Covid Grieving and Jamaican Pentecostal Breath," 2021
“Four Women, Three Songs: Nina Simone Sampled in Polish and American Hip Hop,” 2020
“Fado’s Romanticized Landscape: Saudade and the Portrayal of Gendered Environment,” 2020
“Luso-American Cultural Amalgamation through Radio in the Early 20th Century,” 2020

Click here to visit my public research site.Click here to visit the site for Azorean Acoustemologies,
an ongoing research project beginning with my dissertation.

Abigail Lindo

Professional Affiliations

Society for Ethnomusicology
(National and Southeastern and Caribbean Chapter)
Gertrude Robinson Network
American Musicological Society
(National and Southern Chapter)
Society for American Music

American Association of University Women
(National Chapter)
American Studies Association
Society for Christian Scholarship in Music
(2022)
Southern Regional Board of Education


Professional Competencies and Skills

• Excellent organizational, oral, and written communication skills
• Educator with almost ten years of classroom experience (in-person and online)
• Experience with culturally responsive teaching practices and writing standards-based curriculum
• Awareness of instructional design and delivery in K-12 and higher education
• Developed curricular resources for other educators and diverse learners
• Knowledge of Universal Design, Kagan, Thinking Maps, and other educational frameworks/approaches
• Proficient with common office software programs on Mac and PC (including Microsoft Office Suite)
• Skilled with online education platforms (including Canvas and Blackboard)
• Capability in recording and editing audio and video content for academic and social media applications
• Knowledgeable with Quaver Music and other online music education resources
• Reads, sings (classically trained mezzo-soprano), plays (piano, violin, guitar, & clarinet), improvises, and composes musical works
• Proficient with music production software (including Pro Tools and Logic digital audio workstations)
• Understanding of and engagement with technoculture, social media, and standard institutional data management and storage systems
• Flexible, team player who is comfortable working (and learning) in a fast-paced environment


Languages

Portuguese, Intermediate (2 Years)
Spanish, Intermediate (1 year)
Jamaican Patios, Fluent (Native Speaker)

Abigail Lindo

Contact

Email: abbylindo@icloud.com
Text and Voice Messages: 941-882-0812
Institutional Mailing Address
P.O. Box 117900
435 Newell Drive (MUB 130)
Gainesville, FL 32611-7900

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Abigail Lindo | Ethnomusicologist

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Abigail Lindo

Performance Statement

Performance is a mode of presentation: whether it is individual or collective, it serves as an extension of bodily knowledge to provide a sonic identity that is temporally fleeting, emotionally resonant, and dynamic in function. In my undergraduate studies, I learned the piano, continued to play the clarinet, and formalized my vocal practice through private voice lessons with Carlo Thomas. During my previous experiences as a K-12 educator, I relished opportunities to teach students to play the ukulele (soprano and baritone), keyboards, guitar, violin, and various percussion instruments. Simultaneously, I played keyboard and drums at my church in Port Charlotte, FL, assisting with the senior praise team and leading the youth singers.In my present existence as a researcher, adjunct instructor, and student, I am actively seeking to apply my musical knowledge and creative capabilities within and outside the context of my dissertation. This presently manifests in recorded improvisatory vocal explorations, the composition of a lecture-performance, a forthcoming vocal album (with the prospect of peer collaborations), and diverse applications of the viola da terra, an Azorean string instrument I am learning during my Fulbright-funded tenure in São Miguel. Outside of my own ongoing performance projects, I believe that instruction is greatly impacted by the addition of performance, something I incorporate as a mode of assessment for my adjunct course in hip-hop history and culture. I look forward to exploring other modes of vocal and bodily performance in my future instruction.


Recent Performance Ensemble Involvement

Viola da Terra Ensemble
Escola da Violas sa Fajá do Baixo (Portugal)
2022 – 2023
Pazeni Sauti (Africa Choir)
University of Florida
2021 – 2022

Jacaré Brazil (Brazilian Performance Ensemble)
University of Florida
2022 – 2022
Popular Music Ensemble
University of Florida
2020 – 2021


Albums and Compositional Projects

TBA
Recording Project, 2024
Apropos
Recorded Album, 2018

Be Epic
Recorded Album, 2015
Then Sings My Soul
Recorded Album, 2013

Abigail Lindo

Dissertation Research

Azorean Acoustemologies: Gender, Sonic Identity, and Ecotourism in São Miguel

My dissertation is an (eco)feminist ethnographic exploration into the contemporary sonic culture driven by music festivals on São Miguel, the largest of nine islands in the Portuguese autonomous region of the Azores. I focus on the capital city of Ponta Delgada as an area of cultural exchange, with musical gatherings acting as temporary communities for often subjugated populations. In these spaces, queer, female, and BIPOC participants often celebrate and express their identities through sonic engagement as a liberatory practice. I will consider collective ideas of cultural value, “acceptable” gendered behavior, and the experiences of female, queer, and BIPOC performers and attendees of musical events to understand how they form identity among others during musical engagement and view themselves as gendered individuals while they perform or respond to music.

Additionally, I explore how Black sonic influence is understood and shapes current musical engagement despite Black bodily absence. The interpolation of geographically and culturally specific ideas from works of Black feminist scholars into the ethnographic work will aid in a sociocultural critique of postcolonial sonic realities on the island, recognizing the shifting definition of cultural identity in the Azores in response to globalization and contextualizing how understanding the colonial past transforms the geographical sounding and silence into sexualized and racialized realities. Data for the creation of the dissertation will be collected in São Miguel during the 2022-2023 academic year on a fieldwork trip funded by a Fulbright U.S. Student Fellowship.

Click here to visit the Azorean Acoustemologies website

Abigail Lindo

Excerpts from My Teaching Philosophy and Diversity Statement

We are all lifelong learners: whether it is something we acknowledge actively or passively. As an educator, my role is to provoke students to think critically about music, enjoy the learning process as they better develop their awareness of sound and its potential for diverse meanings, and to appreciate music in a personal way through individual and shared experiences. My pedological approach is student-centered, interdisciplinary, culturally and historically driven, and diverse in delivery. I use whole-brain teaching to provide instruction that is applicable in different contexts, intentionally structuring instructor-student interactions.Specific strategies are employed to elevate learning experiences for students’ abilities, backgrounds, and skill ranges. Appealing to auditory, kinesthetic, and visual learners, I often employ the use of technology, performance, and movement to illuminate concepts and develop meaningful and memorable learning experiences. Potentially, this is a result of my six years teaching elementary music and secondary choral classes, but university students still desire to be engaged in their learning and enjoy it in the process. Therefore, my instruction is not lecture-heavy.Connections: it is what learning is all about. Students collaborate and engage with the materials through scaffolded instruction and varied activities inside and outside of our course time together: they become stronger as independent thinkers. Students engage with new ideas and build understanding through discussion and peer-collaboration, with assessment manifesting through project-based assignments and critical thinking demonstrated through independent written work.In the classroom environment I encourage students to strengthen their musicianship and understanding through creation, in the form of written work (including lyrics, poetry, reflective prose, and more traditional essays), compositions, projects, and presentations. It is through active participation in discussion and the creation of these products that students demonstrate the application of their skills in critical thinking and understanding of the material. Differences are embraced, with instruction designed to acknowledge the value of students’ varied backgrounds.

Diversity Statement

We are all lifelong learners: whether it is something we acknowledge actively or passively. As an educator, my role is to provoke students to think critically about music, enjoy the learning process as they better develop their awareness of sound and its potential for diverse meanings, and to appreciate music in a personal way through individual and shared experiences. My pedological approach is student-centered, interdisciplinary, culturally and historically driven, and diverse in delivery. I use whole-brain teaching to provide instruction that is applicable in different contexts, intentionally structuring instructor-student interactions.Specific strategies are employed to elevate learning experiences for students’ abilities, backgrounds, and skill ranges. Appealing to auditory, kinesthetic, and visual learners, I often employ the use of technology, performance, and movement to illuminate concepts and develop meaningful and memorable learning experiences. Potentially, this is a result of my six years teaching elementary music and secondary choral classes, but university students still desire to be engaged in their learning and enjoy it in the process. Therefore, my instruction is not lecture-heavy.Connections: it is what learning is all about. Students collaborate and engage with the materials through scaffolded instruction and varied activities inside and outside of our course time together: they become stronger as independent thinkers. Students engage with new ideas and build understanding through discussion and peer-collaboration, with assessment manifesting through project-based assignments and critical thinking demonstrated through independent written work.In the classroom environment I encourage students to strengthen their musicianship and understanding through creation, in the form of written work (including lyrics, poetry, reflective prose, and more traditional essays), compositions, projects, and presentations. It is through active participation in discussion and the creation of these products that students demonstrate the application of their skills in critical thinking and understanding of the material. Differences are embraced, with instruction designed to acknowledge the value of students’ varied backgrounds.

Abigail Lindo

Thank you for viewing my video CV. This is an alternative approach to reading about my experiences and, using sounds (including my voice) and images, you are able to better understand me as a potential candidate.


Utilize the Links Below to Access Additional Employment information
CV - Academic and Employment since 2013
Resume - Complete Employment

Trying to Tremor