Running Head: EMPATHY IN THE CLASSROOM; DOING MORE 1

Empathy in the Classroom; Doing more than bringing us in tune with one another

Joshua A. Acampado

Westminster Choir College of Rider University

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Abstract

This paper will explore the importance of empathy in the music classroom. It will utilise Henri

Tajfels idea of Social Identity Theory to critically analyze the relationships formed within the

classroom that may inhibit, or promote growth. Through the analysis of empathy and how its

application can be relevant, the author seeks to bring an awareness to pre-professionals, and

professionals. The paper will explain how empathy is a means to promote dialogue in the

classroom between students by breaking down bias. Empathy will be defined, as well as

understood as to how it is beneficial through the study by Rabinowitch, Cross, and Burnard

(2012), and connecting music, empathy, and therapy through the study by Myers and White

(2011). In Rabinowitch et al.s study, Musical Group Interactions (MGI) and Empathy

Promoting Musical Components (EPMC) will represent evidence of a positive correlation

between music making, and growth in empathy. This paper will attempt to give examples of

EPMCs as well as other possible ways to promote empathy and empower students to be better

members of society.

Keywords; empathy, bias, group polarization, social identity theory, music education
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Empathy in the Classroom; Doing more than bringing us in tune with one another

Learning is, undoubtedly, a social process. It requires students to not only engage with

the teacher, but also with one another. This means that the classroom is a melting pot of several

different cultures, ideas, and social groups. Students, and their teachers, will disagree with one

another, and it is the job of the teacher to help bring their students to a better understanding of

each other and the world around them. The classroom becomes a microcommunity in which the

teacher must facilitate the social growth of the students. Thomas Regelski (2012) identifies

teaching as a helping profession which have the function of promoting human well-being (p.

1). Within this microcommunity, it is an educators ethical duty to promote a students well-

being, including their awareness of social differences. In a political climate where tensions are

high with regards to issues of race, identity, and religion, educators must be extremely mindful

and must also provide the means to allow students to be more understanding and cooperative.

Music provides a medium for students to understand themselves, first, because of how it

connects individuals to their emotions. Karl Paulnack (2011) stated in his address to the parents

of freshmen at Boston Conservatory, Music has a way of finding the big, invisible moving

pieces inside our hearts and souls and helping us figure out the position of things inside us. This

speech, among other influences, inspired me to find the connection between empathy, music, and

education. Empathy in the classroom breaks down hegemony and social reproduction by

shattering bias through meaningful connection and willingness to help others. Music education is

key in this process because the act of making music in groups lends itself to be a naturally

empathy promoting activity due to the requirement of cooperation and deliberation between

individuals.

Social Identity Theory and Bias in the Classroom

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The idea of identity is extremely fragile, especially in the classroom. Polish social

psychologist, Henri Tajfel, believed that individuals determined their identities and ideas of self-

worth through their personal associations with certain social groups. This idea evolved into

Social Identity Theory. Social identity theory is defined as that part of an individuals self-

concept which derives from his knowledge of his membership of a social group (or groups)

together with the emotional significance attached to that membership (Van Lange, 2012, pg.

381). The psychological process through which an individual identifies with a social group

causes phenomena such as social comparison and social competition. Social comparison is a part

of the psychological process in which an individual identifies the characteristics of a group and

how its characteristics compare to other groups. This in turn can create biases and prejudices

between groups developing a distinct communication. The product of this bias is a stagnant

experience for individuals where diversity and a broad understanding of the world are absent.

Social competition is an identity management strategy where groups challenge the status quo to

improve the position of their group. This can result in competition for superiority, developing

animosity where groups attempt to assert dominance. Other identity management strategies

presented by the social identity theory, such as individual mobility or social creativity is a means

for individuals to disregard the issues of their group and live in denial. While a very passive and

internal strategy, the two do not offer ways in which individuals can come to terms with who

they are, resulting in an unhealthy growth in character (Van Lange, 2012, pg. 383).

Ideas of social comparison, social competition, and the other ideas of identity

management naturally set up ideas of hegemony and oppression between social groups. Peter

McLaren (2002) defines hegemony as the act in which, [the] dominant culture is able to

exercise domination over subordinate classes or groups (pg. 76). Not only does hegemony set
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in, but bias naturally occurs between the different social groups. Bias further prevents the ability

to have dialogue between two groups. The bias shifts dialogue towards the adversarial end of the

spectrum, as opposed to a cooperative model. An adversarial model of dialogue or argument

results in both parties feeling unsatisfied. There is no conclusion, rather the two groups resent

one another, due to a lack of understanding, preventing communication in the future. Maureen

Linker (2015) identifies different forms of argumentative bias that causes this shift.Three forms,

in-group bias, group polarization, and out-group homogeneity give reason as to why it can be

difficult for different groups to interact. In-group bias is when members of the same social group

feel more empowered when surrounded by members who share the same ideas. Naturally,

members want to feel included, so individuals will choose those who belong to the same groups,

or agree on ideas. Group polarization occurs when members of the same group begin to

snowball their ideas until a radical idea has evolved out of the original conversation. Lastly, out-

group homogeneity is the belief that members that are outside of a social group are all the same

and are interchangeable, while members within the same group are unique and invaluable

(Linker, 2015, pg. 108).

In the classroom, these three biases can occur with regards to the simplest of matters, thus

creating a rift between students. Say there are two students who are arguing if Coke or Pepsi is

better. As the two have a civil conversation, a third student joins in the conversation, agreeing

with one of the students, saying that Coke is better. Suddenly, it shifts from an equal

conversation, to an unbalanced situation. The student who thinks Coke is better feels that they

have the upper-hand. They begin to make claims like, Coke is the best soda ever, or, No soda

could ever beat Coke. The Pepsi loving student then feels silenced and believes students who

prefer Coke over Pepsi are unreasonable and they are soda elitists. While a silly scenario, this
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provides context for the bias, and the process in the classroom in which groups refuse to interact

with one another. When another member of the Coke faction appeared, the two students found

comfort in one anothers opinions, creating the first barrier, representing the danger of in-group

bias. In finding comfort with each other, more radical statements were made. Instead of a

conversation of which soda is better, it evolved into what soda is the best soda of all. Group

polarization causes individuals to lose the middle ground, making it ever more difficult to

connect and talk. Without a commonality to talk about, and forcing individuals to pick extreme

sides, the option to reach a cooperative solution is lost. Lastly, the Pepsi student becomes more

distant by concluding that all Coke lovers are the same and are unwilling to talk. Out-group

homogeneity becomes the nail in the coffin that solidifies the rift between the groups. Dialogue

is lost, and the students are no longer open to talking to each other about matters of soda.

Applied on a larger scale, with topics such as politics, religion, or economics, students begin to

distance themselves from one another, preventing even an inkling of understanding and growth.

Relating this back to the opening statements, it is important to recognize how this all ties

into the idea of social reproduction. McLaren (2002) defines social reproduction as,

intergenerational reproduction of social class (pg. 89). This means that middle class students

become middle class adults, and so on and so forth. This paper goes a step further by claiming

that this also means children will most likely stay within the same social groups as those that

came before them. A Christian, conservative, Coke-loving Yankees fan will stay a Christian,

conservative, Coke-loving Yankees fan for all of their life. This is because of the lack of

exposure and ability to interact positively with different social groups. These individuals remain

very close minded, and remain within a small bubble that fills up with the same individuals

because of their inability to engage in productive, understanding dialogue. Schools should be the
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environment where a working-class, liberal, first generation, Christian, gay Latinx can interact

with a upper-middle class, conservative, nth generation, Jewish, cisgendered white student, and

come to a better understanding of one anothers worlds. Often times, it is not, and both students

walk away from each other more frustrated, and filled with more confusion.

Empathy; Bringing Us in Tune

Empathy is relatively new to the world. It is believed that it comes from the German

word Einfhlung which means in-feeling or feeling into. This would be used when

describing when an individual is trying to give life to something that otherwise does not have life

(Morrell, 2010, pg. 41). It is similar to our modern definition of personification, however it has

more of an emphasis on the feelings and emotions of an individual. The word evolves,

emphasizing the role of emotions in empathy. Researchers and philosophers alike cannot agree

on a single working definition of empathy. While they agree that relates to emotion, the

similarities stop there. Empathy is more than just walking in another persons shoes. Individuals

are unable to precisely recreate and experience events and emotions of another person. Past

experiences, ideas, and individual emotions enter the arena, changing the situation. Morrell

(2010) defines empathy as, a process through which others emotional states or situations

affects us (pg. 41). Empathy is more than how it affects a person. Empathy is a culmination of

emotions and events that compels an individual to help others.

Psychologist Daniel Goleman breaks empathy into three different categories; cognitive,

emotional, and compassionate (as cited in Laird, 2015, pg 57). Cognitive empathy is when an

individual is able to understand someone elses emotions. This form of empathy seems

superfluous, and can be used interchangeably with sympathy. Emotional empathy, however, goes

further making individuals feel with each other. Not only is a sense of understanding of the
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emotion is achieved, but a personal connection is reached. Lastly, compassionate empathy is the

culmination of emotion and connection, pushing individuals to want to help each other. This

paper greatly agrees with Golemans idea of compassionate empathy. However, it is missing the

importance of self when trying to help others. For the purpose of this paper, empathy will be

defined as a self reflective process in which an individual is understanding and connecting to

other individuals emotions, and then is moved to help that person.

So why does empathy matter? What else can it do than make individuals feel? Empathy

has the power to break down the previously discussed barriers which prevent dialogue and

promotes misunderstanding. Problems are actively being solved through an understanding of

individuals, and validation of opinions and emotions. Students are able to come to collaborative

solutions and are empowered to understand and connect with one another. Bias might prevent

dialogue, but empathy inhibits bias and promotes connection.

Music Making in Groups and Empathy

Studies have been done looking into connecting music and empathy. Rabinowitch et al.

(2012) was a group that sought to discover if there were any direct connections between the two.

In this study, the group took children ages 8-11 and put them through a program that emphasized

Musical Group Interactions, or MGIs over the course of one school year. These MGIs consisted

of pre-arranged musical games that focused on objectives of entrainment, imitation and

flexibility. While these activities required children to be empathetic towards one another to, the

children were not directly aware of any empathy that was happening. The activities put the

children in situations where they need to directly and frequently interact with one another.

Rabinowitch et al. tested the children before and after the course of the year. While the study

resulted in very minimal results, teachers noted that the children who participated in the program
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were more willing to help other students that were in need, such as when they were having

trouble with work, or were being bullied. Rabinowitch et al. determined that their tests were not

enough to give music definitive evidence, but the positive correlation and anecdotal evidence

gave more meaning to the idea of empathy and music.

Rather than looking for objective results, Myers and White (2011) conducted a literature

review and an investigation involving nine musicians to draw parallelisms between therapeutic

relationships and relationships between musicians. This was achieved by recognizing the

importance of empathy in all of the relationships. The results of the investigation drew three

main themes that are meant to highlight the parallels and provide a better understanding of

empathy. The themes were include, striking a chord, likened to forming an empathic

connection; staying in tune, likened to the working relationship; and, making music, likened to

therapeutic process (Myers, 2011, pg. 261). First was the importance of establishing a

connection, and being able to respect and understand the other members.The musicians in the

study agreed that they were aware of their connections with fellow musicians, and the active

choice to be respectful of each musicians personal statements. Genres of blues, rock, and jazz

were highlighted because of their individual natures. The second theme, staying in tune with one

another, emphasized the importance of synchrony with the other members, and acknowledging

the emotional journey that they have to endure together. Once a member falls out of sync, the

music fails to be a genuine experience for all involved. Members need to commit themselves not

only to the music, but to their fellow musicians to provide an authentic experience. Lastly, the

theme of making music emphasized how therapeutic it was to communicate with other people

without the need for words. There was a free exchange of ideas and emotions in an environment

where it was completely accepting. The participants noted the importance of relationships, and
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talked about how making music together contributed to a circle of energy (Myers, 2011, pg.

268). The musicians felt validated, felt they were heard, and felt that they were being respected.

They enjoyed and were at peace because the community, and empathetic connections they

established created a sense of self healing. When making music together, there was no sense of

animosity, just the feeling of mutual understanding. Empathy allowed them to reach this point,

whether it was a conscious decision or not. One of the participants sums it up nicely by stating,

Without empathy, there is no conversation, without the conversation, no magic, no love.

Without empathy, conversation, magic, or love, there is no music (Dave) (Myers, 2011, pg.

276).

Relevance and Application of Empathy in a Music Classroom

Music teachers have an ethical duty to do more in their classrooms for their students.

One those duties is to promote communication and conversation to allow students to think and

work with one another. Paulo Freire (1970), one of the fathers of Critical Pedagogy, stated,

Without dialogue there is no communication, and without communication there can be no true

education (pg. 93). He believed that the oppressed must stand up and have their voice be heard.

Empowerment was at the center of the educational experience and the subsequent generations

should have the opportunity to create a better world for all of mankind. For Freire, it was not

about one person knowing all and being above everyone else. Working together and learning

together to have equal ground was the focus of his work. John Dewey (1938), one of the pioneers

of American education, beat Freire to the punch when it came to giving everyone a better

experience. He stated, Can we find any reason that does not ultimately come down to the belief

that democratic social arrangements promote a better quality of human experience than do

non-democratic and anti-democratic forms of social life? (Dewey, 1938, pg. 34). Dewey
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believed that the educational system needs to prepare the future generations for the life they are

to endure. Educators need to teach and prepare them for the future, lest they are trapped in the

past and are stuck in a perpetual cycle of complacency and mediocrity.

Empathy is the means to break the cycle. Empathy is the means to empower students to

develop agency in their lives regarding the social climate that they exist in. Empathy is the way

students come to a better understanding with one another, and the best way to do this is through

music. Music gives students the means to connect with one another, to strike the chord, and

begin the connection. By immersing students in an environment that promotes healthy

conversation and understanding, they will take steps towards identifying how to make the world

better. Should students make music together, and form these empathetic bonds, they will take it

out into their communities and affect the world around them.

The music classroom becomes a social group that students begin to identify with.

Students naturally connect through the music they make with one another, whether it be in choir,

band, orchestra, or in general music class. The opportunity to share and make music provides an

emotional outlet to let students connect, understand, then help one another. As these individuals

come in with their diverse pasts, teachers must utilise their space to foster connections to allow

them to come to a mutual understanding. Social comparison and social competition start to

become irrelevant because they identify with one another. Bias begins to disappear, shifting the

conversation from adversarial to cooperative. By making music together, students must be open

with one another, and share an unspoken conservation that connects their intentions together.

They must read each other and understand each other. The microcommunity evolves from ideas

of competition, to cooperation and progress, which has more positive, lasting effects in a

students future. This gives them the skills to thrive, succeed, and lead in society.
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In the music classroom, it is important that the teacher recognize they are also a member

of the group; they are not above it. Dewey (1938) stresses the importance of the teacher serving

more as an organizer of events than a boss leading minions. By giving students multiple

opportunities to lead and work with each other, more empathetic bonds will be formed.

Experiences in which students are exposed to more groups are invaluable. They are more so

when people who identify with those groups are able to speak out. Music of the LGTBQ+

community, world music, different time periods, music written in response to tragedy, music

written by composers with mental illness, all these serve as incredible experiences to expose

students to allow them to become more understanding, more sincere.

Teachers should be aware of how empathy develops in their classrooms. Music already

has the ability to draw people in and connect the invisible strings. Empathy strengthens those

bonds and makes students, and teachers, better people, creating a better society.
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