have a greater chance of impacting the student body of the school.


When and from whom bullying behaviors appear in the classroom. Broadly, reports of bullying behavior are gendered. Adoles- cent girls are most responsible for self-reports involving a relational aggression while boys remain mostly responsible for teacher reported cases of physical and verbal aggression. Research evaluating anti-bullying programs throughout the United States reported a trend with the evolution of aggres- sion typology from primary to secondary schools. Trends indicated a peak of bullying behaviors (direct/overt and in- direct/covert) in seventh – eighth grade. Most of the research has been focused on students in middle grades; however, generalizable findings for primary and later secondary stu- dents have revealed forms of direct/overt aggression exist throughout P-12 schooling. Intensity of these forms of ag- gression increase through primary years, peak in seventh- eighth grade, and subside in later secondary years. Indirect/ covert forms of aggression have been reported to begin in the later primary years, quickly intensify during the middle years, and then dissipate throughout adulthood (postsecond- ary).


What do I do when I see bullying behaviors? Music teachers have a parallel vision with school build- ings for safe and supportive classrooms. As most districts in Michigan have adopted an anti-bulling policy, what obliga- tions do we have to follow it? Legally and ethically, music teachers are bound to enforce an anti-bullying policy in their classroom. Procedures will differ between school districts, so being informed is the best policy.


Recommendations for Creating a Safe and Supportive Music Classroom. 1. Do not freeze people in time. People are in a process and forever developing. By remembering one moment and clas- sifying that people in a context does not honor their personal or musical potential. 2. Explain terminology and practice to students. By not ex- plaining terminology related to bullying behavior, students are left to assign a meaning to it. This is how the word bul- lying is commonly misused to represent behavior, like ha- rassment. The focus on discussions should be placed on the meaning behind the word, not the word choice. That will come with experience. 3. Locate the barriers to creating a safe and supportive space for music education. What are the hurdles to provid- ing a safe and equitable musical education to your students? One music teacher is not going to change the culture of the school; however, the music teacher can be a start to changing the school context and climate. 4. Be adaptive. Adaptability may require a lot of energy. Choosing to unlearn what we have learned and what we are


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comfortable with takes energy and will power. 5. Meet students where they are. Having students involved in recognizing bullying behavior is a powerful activity and one that can be delicate. Take time to discuss those behav- iors within the socio-cultural context of the community and school. Behaviors may be different depending on the con- text, age, gender, etc.


Final Thoughts


In the past twenty years, researchers have made progress in the area of bullying research, although little is still known about bullying in schools. There is a strong body of research to support that intervening will diffuse bully behavior and types of aggression. Music teachers have an opportunity to keep the discussion going about ways to eliminate bullying behavior in order to create a safe and supportive musical education for all students.


Resources for Teachers 100 tips and strategies for teachers K-8. Minneapolis: Free Spirit.


Breakstone, S., Dreiblatt, M., & Dreiblatt, K. (2013). How to stop bullying and social aggression: elementary grade lessons and activities that teach empathy, friendship, and respect. New York: Constable & Robinson.


Carter, B. A. (2011). A safe education for all: Recogniz- ing and stemming harassment in music classes and ensembles. Music Educators Journal, 97(4), 29–32. doi:10.1177/0027432111405342


Coloroso, B. (2008). The bully, the bullied, and the bystand- er: from preschool to high school : how parents and teachers can help break the cycle of violence. New York: Collins Living.


Hourigan, R. M. (2009). The invisible student: Understand- ing social identity construction within performing ensembles. Music Educators Journal, 95(4), 34–38. doi:10.1177/0027432109335435 Kohut, M. R. (2007). The complete guide to understanding, controlling, and stopping bullies & bullying: a com- plete guide for teachers & parents. Ocala, FL: Atlantic.


Laminack, L. L., & Wadsworth. (2012). Bullying hurts: teaching kindness through read alouds and guided conversations. Portsmouth, NH: Heinemann.


Meyer, E. J. (2009). Gender, bullying, and harassment: strategies to end sexism and homophobia in schools. New York: Teachers College Press.


Rivers, I., & Duncan, N. (2013). Bullying experiences and discourses of sexuality and gender. NY: Routledge.


Swearer, S. M., Espelage, D. L., & Napolitano, S. A. (2009). Bullying prevention and intervention: realistic strate- gies for schools. NY: Guilford Press.


Taylor, D. M. (2011). Bullying: What can music teach- ers do? Music Educators Journal, 98(1), 41–44. doi:10.1177/0027432111411717


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