Abstract
Photo of Alex W. Fung courtesy of the author.
Students need safe learning environments to experience healthy and positive mental growth. 1 Unfortunately, bullying is prevalent in and out of music class, causing anxiety and a sense of insecurity in students. 2 The U.S. Department of Health & Human Services defines bullying as “unwanted, aggressive behavior among school-age children that involves a real or perceived power imbalance. The behavior is repeated, or has the potential to be repeated, over time.” 3
Music educators Kenneth Elpus and Bruce Allen Carter found significant evidence that music ensemble and theatre students were more likely than non–music ensemble and theatre participants to be victimized by bullies. 4 Biannual data from the School Crime Supplement—National Crime Victimization Survey (ranging from 2005 to 2013) show female music and theatre students were 41 percent more likely to be victimized by any in-person bullying behavior than were students who did not participate in music ensembles or school theatre. Male music and theatre students faced an additional 20 percent risk of victimization. 5 As writers Randy and Tana Page explain, “[b]ullies do not need to be stronger or bigger than those they bully. The power imbalance can come from several sources—popularity, strength, cognitive ability—and children who bully may have more than one of these characteristics.” 6 There are three types of bullying: verbal (e.g., teasing, name-calling, making inappropriate comments, taunting, threatening to cause harm), social (e.g., purposefully leaving someone out, telling other children not to be friends with someone, spreading rumors about someone, embarrassing someone in public), and physical (e.g., hitting/kicking/pinching, spitting, tripping/pushing, taking or breaking someone’s property, making mean or rude hand gestures). 7
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Students who are bullied in the classroom may have one or more of the following risk factors: 8
They are perceived as different from their peers.
They are perceived as weak or unable to defend themselves.
They are depressed, are anxious, or have low self-esteem.
They are less popular than others and have few friends.
They do not get along well with others or are seen as “annoying.”
Bullying can happen anywhere and to anyone. 9 Because music students are more likely to be bullied than nonmusic students, 10 music educators and students are obliged to understand, recognize, and prevent bullying.
Educators may notice less bullying during teacher-centered lessons or direct instruction because students recognize a central classroom authority. 11 However, students need to function independently in society. Student-centered learning promotes the idea of student independence. Students perceive more autonomy and less adult authority in student-centered and student-generated learning structures. 12 I found success as a classroom teacher in the following student-centered approaches by fostering cooperation and providing students with opportunities to exercise civility and shared leadership.
Stay Positive
Set the stage for positive interactions. Educational psychologists have shown that students can emulate adult mannerisms, as educational psychologists Dorothy Espelage and Lisa De La Rue write: “Teachers can provide a strong influence as they guide their students in academic activities and interactions with peers, setting a tone for what is appropriate.” 13 Because young musicians are also capable of learning through observations of other young musicians, 14 educators should strive to make positive attitudes infectious.
Author Paula Denton builds positive relations with students by being direct, being honest, conveying faith in students’ abilities and intentions, focusing on actions, using very few words, and listening. 15 Present students with specific options that lead to positive interactions. Instead of telling students what they cannot do, invite students to think of solutions. For example, “Let’s use marshmallow feet when we walk around the class so we can hear the music” or “What can we do to move from one space to another quietly?” One study found musical expression improvement through the use of positive mindset trigger words in preperformance routine. 16
Educators must create focused and well-mannered dialogue with and among students. Conductor Itay Talgam describes constructive dialogue as focusing on positive contributions to inhibit negative tendencies. 17 Conversely, some educators may unknowingly exhibit oppressive communication modes. Conductor Ramona Wis reminds us of conductors “whose coercive rehearsal tactics are the grown-up equivalent of name-calling and peer pressure.” 18 Wis advises, “While we can’t change everyone else, we can refuse to use these tactics in our own work; and with those we lead we can use our influence to show a better way of moving people into action. Do not allow subtle demonstrations of coercion to go unchecked when you see them in your musicians, students, [and] coworkers.” 19
Cultivate safe student-centered learning environments by having students practice and experience positive interactions with student independence as a primary focus. 20 Ultimately, students need to achieve civil autonomy, mutual understanding, and embrace kind values.
Respectful Communication
Respectful communication differs from staying positive because respectful communication is having and exercising regard for others. Veteran educators recommend including a positive comment with constructive critique. Positive comments ease tension and students become more receptive to criticism. Therefore, the educator should ask students to practice observing their peers’ qualities of strength as well as addressing musical issues when they are leading the ensemble or classroom. Students leading discussions may find this form of constructive criticism beneficial in building rapport with one another. Students can establish meaningful dialogue when students share comments knowing their peers are focused on positive aspects of any comment or contribution.
Written commentary can be as effective as verbal interaction. Music educator Benjamin Zander invites his student musicians to write rehearsal observations and coaching advice to him. Zander argues that this approach empowers his musicians to perform more beautifully. 21 He advises that written communication can be anonymous. Furthermore, instead of openly addressing one student in front of others, Zander suggests that educators and students may write directly to each other as part of building relations. Educators should encourage students to share their thoughts openly during class and/or in confidence. This is an appropriate way for students to report bullying issues as well as musical reflection.
When using verbal and written communication, encourage students to find similarities between musical interactions and everyday respectful gestures. George Frideric Handel’s The Arrival of the Queen of Sheba, for example, presents opportunities to discuss many musical and interactive qualities. “By listening for the oboe melody lines and playing softer, we can hear the melody more clearly. You are supporting the melody by giving way!”
Build a Supportive Space
Prompt students to develop a civil communication motto. For example, “Listen to learn, speak to share, and have civil discussions. Positive commentary is welcomed. Express your thoughts musically.” Ask students to refer to such mottos when generating thoughts and peer feedback. Introduce the concept of filtering by relating musical and positive communication ideas. “Avoid unintended sounds by being sensitive to how we produce wonderful tones.” Take it a step further by asking students to analogize music and collegial support. 22
While students make music, listen to music, communicate, as well as demonstrate, encourage students to listen and watch others with an open mind. I found these steps beneficial to fostering student empathy:
Think of why your peer is taking on his or her perspective.
Why do you agree or disagree with your peer’s comment?
What is your position in this matter?
Provide an example or explanation to clarify your position.
Provide an example or explanation to help clarify your peer’s position.
Ask follow-up questions for clarity.
Every student should have an opportunity to lead in small and large groups. Develop student confidence by pairing students before creating larger groups. Working in small groups presents more leadership opportunities and concentrated interactions.
Remind students to seize opportunities to learn more about each other during disagreements. Students should identify the source(s) of conflict, generate possible solutions, choose/apply appropriate solution(s), and try to progress towards resolution after applying solution.
Educators and students should take every opportunity to survey musical and social interactions. While students wonder about musical relations between instrumentations and compositions, educators should also encourage students to wonder about the personalities behind each musical performance. Host an open discussion about the feelings portrayed in various pieces. When students compose and perform for one another, students may utilize performances as opportunities to talk about their musical intentions and creative inspirations. 23 For example,
“Nicely done. Why did you play this musical line rambunctiously?”
“I was going for energetic. Why did you think it was rambunctious?”
This conversation can go in many directions, but at the core, students should seek meaningful explanations as a way toward greater understanding (musically and personally). Students can guide other students in positive dialogue/inquiry, leading to independent peer interactions. 24
Empower Each Other
Educators and students can empower each other to recognize the good character in themselves and others. 25 Staying positive, promoting respectful communication, and building a supportive space are effective approaches to address bullying. Student-centered music activities enable students to prevent verbal bullying in and outside music class by changing the tone of undesired conversations into thoughtful dialogue. When students share well-intentioned supportive feedback in student-centered activities, they are practicing respectful social interaction. This form of thoughtful communication and inclusivity are foundational strategies in preventing physical bullying as well. 26 Students build a supportive space when they exhibit prosocial behaviors and empathize with each other in student-led musical dialogue. In closing, students can use democratic learning opportunities to develop an inclusive perspective toward others so they uphold civility in all areas of socialization.
Footnotes
Alex W. Fung is the orchestra director at Highview Elementary School and A. MacArthur Barr Middle School in Nanuet Union Free School District, Nanuet, New York. He is also a doctoral student in music and music education at Teachers College, Columbia University, New York, New York. He can be contacted at