Empathy theory, originating from the German term Einfühlung, attempts to define the multitude of ways that we as human beings are able to feel directly with another. Scholars developed this theory throughout the 20th century to clarify two different empathetic phenomenons; cognitive and affective empathetic connections. Education researchers such as Daniel Barton and Nancy Eisenberg have led the way in researching how empathy is developed in educational spaces at the primary level. Music education researchers such as Felicity Laurence (2017) have also investigated ways that empathy is present in music spaces, while others have even attempted to develop empathy in their students through an empathy-promoting curriculum. The author’s dissertation research in the fall of 2024 aimed to expand upon this foundation of research by monitoring and observing potential social behaviors and musical interactions of a youth choral ensemble. The aim of this research study was to observe these interactions, focusing on the social connections between members as well as interactions between members and the director. The data collection timeframe consisted of one concert cycle, approximately twenty hours of rehearsal that was video and audio recorded then later transcribed. Implementing a case study framework that drew on abductive grounded theory, the author utilized an iterative three-tier coding process; open, closed, and a final round implementing abductive analysis. Key findings include what the author defines as "transferences," where members were creating connections to the music and each other by relying on their own past experiences. The author emphasizes in their discussion the strong connections between transferences and the process of perspective-taking, a key empathetic practice. Additionally, the author was surprised to a discover that another key finding was the significant impact the director's connection with the singers had in how they interacted with each other and the music. This finding indicates that ensemble directors have more influence than they might perceive on the social and musical interactions that manifest within those environments. The author strongly believes the findings from the empirical data can assist educators in molding their rehearsal environment to incorporate more empathy-building practices. Additionally, since the author's completion of this dissertation study, they have continued to engage in scholarly research involving empathy in educational settings. Specifically, they are currently exploring ways that affective empathy may lead to unwanted distress and burnout in teachers while a deeper comprehension of cognitive empathy tools lead to more rational prosocial behaviors.