One way to build a comprehensive, inclusive, and equitable music education is through the inclusion of popular music in curricula. However, it can be challenging for teachers to bring popular music into the classroom for many reasons. We suggest that since many teachers are educated in the Orff Schulwerk approach, this can be one way to teach…

Descriptions of the urban contemporary format remain strongly grounded on the assumption that it is based on musical styles associated with African Americans, such as R&B, soul, hip hop, rap, and reggae. Even for the most progressive educators, to speak of urban music is to refer to a narrow set of musical genres associated with the umbrella term…

There is no doubt that mediation has become a central issue outside formal music education. An outstanding example of this is digital music and its dependence on the new technologies of production, dissemination, and consuming. In this paper, the author argues that (1) mediation is one of the most important aspects of digital artistry and that (2)…

Lucy Green's (2008) "Music, Informal Learning, and the School: A New Classroom Pedagogy" gives rise to an interesting corollary. Does the manner of music's transmission inform one's understanding of a musical category? While categories of music can be difficult to define according to strict musical characteristics, a better understanding of…

This essay emphasizes ways to raise the student interests and help students develop skills for analyzing music and music performances through the television program "American Idol." As music classrooms experience an increase in the number of students from a variety of cultures, valuing the music of all cultures becomes increasingly important.…

Argues that, as an important part of popular culture, jazz and pop music can be the basis for a rigorous and serious program of musical education. (Author)

In this interview, popular composer and recording artist Chuck Mangione discusses his own musical background and his views on music education, including the workshops he conducts for student musicians. This article is part of a theme issue on popular music. (SJL)

The winning of an artist representing the lowest level of Finnish musical taste during the 2006 Eurovision song contest marks not only the rebellious attitude towards the over-sanitized contest, but it was the result of a new practice--voting by text message. Recently, music-biased schools that were once selective of the music they teach are now…

Eight music educators offer their views on the pros and cons of including pop/rock music in the curriculum. Some participants describe methods they've developed to highlight or to integrate contemporary music in their courses. This article is part of a theme issue on popular music. (SJL)

Discusses the role of popular music choirs in secondary schools and colleges. Their extensive repertoires, including folk music, jazz and show-tune medleys, and variety music, make pop choirs an excellent method for teaching singing skills and music theory. Information on starting a pop choir is included. (AM)

Hip hop is the most multicultural of popular musical forms--all races and ethnicities are involved. Simultaneously hip hop is also the most racialized, and indeed the most blackened, musical form of individuals' times. How did this happen and why should it be of interests to music scholars? In this short essay, the author attempts to suggest that…

The job of college music programs is not only to teach the classics but also to teach and encourage appreciation of the relative merits of all forms and periods of music, and to teach methods of evaluating musical quality. (MSE)

While group singing of composed songs and the singing that takes place during circle games are the commonest forms of music instruction for young children, children should also be encouraged to engage in free musical play or spontaneous singing. In spontaneous singing, the child creates a song at a moment's notice while engaged in play. Free…

Addresses tendencies to force popular music into existing school music program formats, rather than include it as a form with its own musical integrity and authenticity. Urges music teachers not to dismiss popular music or turn it into elevator music. (CH)

The 1967 MENC symposium at Tanglewood advocated the inclusion of popular music, along with the classics, in the general music curriculum. The author looks briefly at how well this recommendation is being implemented and discusses the benefits of using popular works in music instruction. (SJL)