When it comes to the reasons middle school boys love and remain in choral music, the findings are clear and concise: the main factors motivating boys in choral music center around the value of three core elements: (a) a love of singing; (b) the influence of the teacher; and (c) a sense of belonging among peers (Kennedy, 2002; Freer, 2012; Lucas, 2011; Ramsey, 2016; Sweet, 2010).


Research has suggested that successful middle school cho- ral classrooms are built upon (a) meaningful and scaffolded curriculum; (b) fair and consistent classroom management; (c) learner-centered pedagogical choices; and (d) safe and supportive classroom environments. For middle school boys within these settings, research posits that elements such as (a) general vulnerability; (b) voice change; (c) social pressures and issues of masculinity; and (d) repertoire, pose elements of struggle. When examining elements of success for middle school boys in choir, research points to (a) a love of singing; (b) the influence of a teacher; and (c) a sense of belonging among peers within the choral community.


So, how do we frame our practice to encompass the principles of basic psychological needs in order to provide positive choral experiences for our middle school boys?


Suggestions for the Middle School Choral Music Teacher


It is likely that many of us are addressing boys’ needs for com- petence, relatedness, and autonomy in our current work. Tat said, my goal is to encourage us to be more intentional in how we cultivate relationships, encourage the healthy perception of skill and ability, and empower the independence of our boys within the curriculum we construct and the classroom com- munities we foster. I will share successful methods from my own teaching experience as well as offer additional approaches to consider.


Te desire for connectivity and relatedness is perhaps the most powerful force of motivation for boys in middle school choral classrooms. Te development of relationships and communi- ty was central to my own teaching practice. It was important that my boys knew they could trust me. It was important that they felt comfortable speaking with me before or aſter class about any aspect of their lives, knowing that I would listen and provide counsel or mentorship as best I could. In addition to the relationships I cultivated with my boys, it was important that I supported them in building authentic relationships with each other. Tis connectivity relied on the establishment of a classroom safe space that empowered vulnerability, risk-taking, understanding of self, and the support of others. I never shied away from putting our music aside to sit and have a ‘check-in day’ (as the boys called it). Full-group conversations provid- ed me and the boys an opportunity to collectively exhale; to reflect on their experiences, each other, and the outside world. I tended to allow the boys to steer the direction of such conver-


sations. At the beginning of the year, the boys’ sharing would typically revolve around meaningful triumphs in their lives like a point scored at a sports game, a decent grade achieved on a test, or the blossoming of a new crush. However, as the year progressed and the community bonds strengthened, the boys would begin to share increasingly intuitive moments of personal struggle, sadness, achievement, and anxiety. To- gether, we cultivated a vulnerability-affirming safe space that produced new generations of 12, 13 and 14-year old boys who could express empathy and articulate emotion more effectively than many adults. Not surprisingly, this inward understanding and intimate connectivity with others translated to stronger musical bonds and heightened success as a choral ensemble.


Middle school choral educators can address issues related to competence with their boys in honest, productive, and sen- sitive ways. I attempted to provide my male students with varying opportunities to analyze and reflect upon their skills and abilities in choir. I strove to develop activities and engage boys in discussions that broadened their understanding of their own competencies and how those merged with others in the ensemble. I emphasized the idea that competence, talent, and effort were not interchangeable. I found that my boys oſten characterized their competence through narrow ideas of perceived ability or talent. I was diligent in deconstructing the notion that to be an effective and important member of the choral ensemble they had to be the standout vocalist or the most confident sight-reader. I strove to encourage and cele- brate varying examples of my boys’ competencies: from vocal and sight-reading leaders, to the boy who identifies ensemble errors, to the boy who stands in the front of the room when the class learns show choir choreography, to the boy who build- ups classmates when they are feeling down, or the boy who plans choral social gatherings. Building a classroom culture that acknowledges and honors a wide variety of boys’ abilities and competencies reinforces the notion that all contributions are valued and necessary for the community to thrive.


Cultivating autonomy in a room of middle school boys is more challenging due to the ensemble-nature of our work. Tere are ways, however, that teachers can be creative in their efforts to provide student agency in middle school choral classrooms. Te first, and perhaps most important element, is to establish a classroom climate that welcomes student input and opinion. Middle school boys know whether their feelings and opinions matter to their teacher. If teachers model genuine interest and authentic contemplation toward the curiosities, debates, and suggestions of boys, then they affirm the boys’ inclination to think, speak and explore freely. I found success in creating ways to have boys rotate through autonomous activities that would provide the platform to think and make choices for themselves and the ensemble. Examples included allowing boys to: (a) lead a physical focus activity before warm-ups; (b) decide what order to sing the warm-up series; (c) listen at the front of the room and provide feedback to the ensemble; and (d) suggest repertoire for performance. Tese are just a few ideas to consider. Supporting autonomy and incorporat- ing student agency into our curriculum does not require a


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