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Findings showed variation in willingness-to-intervene across instrumental ensembles and that willingness significantly predicted relational victimization variance, suggesting differing prevalence and intervention tendencies among ensembles.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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University of Utah  \nHigh School Band and Orchestra Musician’s Willingness to Intervene in School-based Relational Victimization Experiences  \nSchool-based bullying is a serious issue facing adolescents within the United States and relational bullying and victimization behaviors within music ensemble classrooms have become a topic of inquiry among music education researchers  . Using data from a convenience sample of high school youth enrolled in an instrumental music program, we examined the ensemble-level effects on self-reported frequency of relational victimization and perceptions of their willingness to intervene  . Results indicated that a youth’s self-reported willingness to intervene in bullying episodes varies among instrumental music ensembles  .  \nMoreover, self-reported willingness to intervene predicted a significant amount of variance in relational victimization scores  . The current study suggests that instrumental music ensembles may differ in terms of their prevalence of relational victimization experiencesand how youth are willing to intervene in these bullying episodes  .  \nKeywords: instrumental music; relational victimization; willingness to intervene; caring;  \nupstander  \nIntroduction  \nLarge performing ensembles are a prominent feature of North American music education. Elpus and Abril (2019) reported that 24% of the class of 2013 enrolled in at least one year of a course in band, choir, or orchestra at some point during high school and there are perhaps “up to 50,000 specialists in ensemble teaching”(National Center for Educational Statistics, 2002) .  \nContributions to Music Education  \nStudents are driven to participate in music ensembles for a variety of musical, academic, and social reasons (Dagaz, 2012) and these ensembles can play an important role in youth subculture (Adderley et al., 2003) . Studies specifically examining school-based music ensemble participation have focused on sociological topics including gender bias in music instrument selection/assignment, identity formation, and musical meaning and motivation (Richmond, 2012) .  \nBullying is a serious issue facing adolescents within the United States (Polanin & Vera, 2013). Chronic victims of bullying or antisocial-aggression report higher levels of risky health behaviors (e.g., depression and suicide-related behaviors) when compared with students who are not victims (Hertz et al., 2013) . Moreover, high school students who report being bullied are at a higher risk for depression and suicidal thoughts (Hertz et al., 2013) as well as suicide attempts later in life (Klomek et al., 2011). For the purpose of the current study, bullying is defined as “the repeated oppression, psychological or physical, of a less powerful person by a more powerful individual or group of persons”(Rigby, 2007, p. 15) .  \nResearchers have demonstrated that bullying is perpetrated through social networks, as other adolescents can intervene, support, or ignore the aggressive behaviors of their peers (Midgett et al., 2018; Salmivalli, 2010; Salmivalli et al., 1996) . Interpersonal transactions among youth are complex and relational aggression can manifest within these transactions during the transition from childhood to adolescence (Coyne & Ostrov, 2018) . Relational aggression is a form of bullying that involves an intent to “harm others through the use of purposeful manipulation or exclusion in the context of the peer relationship”(Crick & Grotpeter, 1995). Ostensibly then, relational victimization involves experiencing harm through the use of purposeful manipulation or social exclusion.  \nBullying behavior also manifests with music ensemble classrooms and has become a topic of inquiry within the music education community of researchers (Elpus & Carter, 2016; Palkki & Caldwell, 2018; Rawlings, 2016, 2017; Rawlings & Espelage, 2019). In order to clarify","cbCairazmmAbMYG0","https://ap.wps.com/l/cbCairazmmAbMYG0","pdf",250133,17,"English","# Introduction\n# Contributions to Music Education\n# Relational Bullying and Victimization Research in Music Education","[{\"question\":\"What does the study investigate about music ensembles and bullying?\",\"answer\":\"It examines how instrumental music ensembles relate to relationally aggressive behavior, focusing on relational victimization and students’ willingness to intervene.\"},{\"question\":\"How is willingness to intervene related to relational victimization results?\",\"answer\":\"Self-reported willingness to intervene predicted a significant amount of variance in relational victimization scores.\"},{\"question\":\"What is the study’s view of relational bullying and victimization?\",\"answer\":\"Relational victimization involves experiencing harm through purposeful manipulation or social exclusion within peer relationships.\"}]","Contributions to Music Education - Vol. 46 - 2021 pp. 207-223 | PDF",1792089982,43]