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Popular Music in Our Classrooms - It’s Not a Leap of Faith

Michelle Leasor, Ed.D.

Michelle Leasor,

Pickerington Local Schools

Music educators are increasingly noticing a disconnect between the music that has traditionally lived in our classrooms and the music students actually listen to outside of school. Activities that once energized students don’t always spark the same excitement they used to, and repertoire that once felt engaging can sometimes feel distant from students’ everyday musical experiences.

At the same time, the musical world our students inhabit has expanded dramatically. Our classrooms are culturally diverse, and thanks to streaming platforms and social media, even young learners are exposed to musical styles from across the globe. A middle school student today might listen to hip-hop from Atlanta, K-pop from Seoul, Afrobeats from Lagos, and film scores from Hollywood all in the same afternoon.

For music educators, this doesn’t mean abandoning the music that has long been central to our programs. Instead, it invites us to broaden the conversation. Including musical examples students already know and recognize can help bridge the gap between school music and the music they experience every day.

Historically, formal music education in the United States developed around the Western classical tradition. Large ensembles - band, orchestra, and choir - became the backbone of school music programs. Their rehearsal structures, repertoire, and performance models were designed to support that tradition, and generations of students have benefited from the musical and personal growth these ensembles provide.

But this structure also created an unintended hierarchy of musical value. Western art music has often been positioned as the most academically worthy repertoire, while popular music has sometimes been viewed as entertainment rather than something to study. That perception persists even though popular music has been one of the most influential cultural forces of the past century. It shapes identity, community, technology, and artistic innovation. In many ways, it’s the soundtrack of everyday life.

Including popular music in the classroom is sometimes misunderstood as a call to replace traditional repertoire entirely. That isn’t the goal. The aim isn’t to remove long-standing traditions from our ensembles. Those works remain essential to a well-rounded musical education. The real opportunity is to expand our programs so they better reflect the full range of musical experiences students encounter.

One approach that reflects this mindset is the growth of modern band programs. While the name might suggest that traditional ensembles are outdated, the philosophy behind modern band is actually quite inclusive. It recognizes that many students engage with music through instruments and practices common in popular styles - guitar, bass, drum set, keyboards, vocals, songwriting, and digital production. These tools mirror how much of today’s music is created and shared.

Importantly, teaching popular music does not reduce musical rigor. In many cases, it expands it. Students learning a popular song still work with melody, harmony, rhythm, form, and expression. They must listen carefully, collaborate with peers, and balance parts within an ensemble. Creativity, improvisation, composition, and performance across genres are also part of both national and Ohio music standards.

There are many practical ways educators can incorporate popular music without completely redesigning their curriculum. One starting point is repertoire. Ensembles can occasionally perform well-crafted arrangements of popular songs alongside traditional literature. When selected thoughtfully, these pieces reinforce musical concepts while offering stylistic variety that resonates with students.

In my own middle school general music classes, I often teach students to read simple one- and two-string tablature and iconic notation on instruments like ukulele, guitar, keyboard, and bass. We start by learning easy riffs from recognizable popular songs, then look at those same riffs in standard notation. Using familiar music to introduce these skills gives students a sense of ownership over their learning while maintaining musical rigor.

Analytical listening is another effective approach. Teachers might guide students through the structure of a familiar song - identifying form, chord progressions, melodic patterns, or rhythmic grooves. Because students already know the music, they tend to engage more quickly with the analysis. In my experience, students are often more willing to try new listening activities when the music itself feels familiar.

Songwriting projects also provide meaningful opportunities for learning. Asking students to compose a short song - perhaps built around a common four-chord progression - encourages them to apply theoretical concepts creatively. Even simple songwriting activities can strengthen understanding of melody, harmony, and form while giving students space for personal expression.

Technology offers another accessible entry point. Many students are fascinated by music production, and digital audio workstations or looping software allow them to experiment with layering sounds, building beats, and arranging musical ideas. These activities reflect authentic music-making practices in today’s musical world.

Perhaps the greatest benefit of including popular music is that it validates the musical identities students bring with them. When students see their musical interests reflected in the curriculum, they often become more open to exploring unfamiliar styles as well. In this way, popular music can act as a bridge - connecting the traditional Western canon with the evolving musical lives of our students.

Ultimately, our responsibility as music educators is not only to preserve musical traditions but also to prepare students to participate meaningfully in the musical culture around them. Including popular music isn’t a leap of faith - it’s simply an expansion of the musical landscape we invite students to explore, honoring the past while connecting with the musical world they already inhabit.

References Karvelis, N. 2023. Popular music education as a technology of access and intervention: Tanglewood and popular music education in the US. Action, Criticism, and Theory for Music Education 22 (3): 122–43. https://doi.org/10.22176/act22.3.122

Krikun, A., 2017. The historical foundations of popular music education in the United States. In The Routledge research companion to popular music education (pp. 33-45). Routledge.

Powell, B., Krikun, A., & Pignato, J. M. 2016. “Something’s Happening Here!”: Popular Music Education in the United States. Popular Music and Education, 5 (1): 4-22. https://doi.org/10.5429/2079-3871(2015)v5i1.2en

Powell, B. 2023. A History of Popular Music Education in the United States. Journal of Popular Music Education, 7 (1): 87-103. https://doi.org/10.1386/jpme_00079_1

Powell, B., Smith, G. D., West, C., & Kratus, J. 2019. Popular Music Education: A Call to Action. Music Educators Journal, 106 (1): 21-24. https://doi.org/10.1177/0027432119861528

Michelle Leasor, Ed.D. is a general music specialist at Toll Gate Middle School in Pickerington Local Schools. She also serves as an adjunct instructor for undergraduate and graduate music technology courses and is the author of resource guides for general music.

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