Bowman, W. D. (2004). "Pop" goes . . . ?

Taking popular music seriously In Rodrigues,

C. (Ed.). Bridging the gap: Popular music and music education. US: MENC.
Bowman discusses the integration of pop music into classes in this article. This
includes discussion about the idea that music education has been too far removed from
what music is relevant to todays youth and logistical issues with integrating the pop
music into a primarily classical curriculum. To effectively incorporate popular music
studies into the classroom (which Bowman believes will happen in the future) music
education will have to undergo some major reformations to accommodate teaching both
popular and classical music. This article is not suggesting that we do away with
traditional music education, and Bowman does not believe that it would be a possibility.
He is suggesting that we be more flexible in our educating and allow for an updated
curriculum that includes taking pop music into serious consideration.
When choosing popular music to teach in the classroom, teachers are faced with
the issue of what would be appropriate to choose, because pop music covers such a wide
spectrum Bowman suggests that popular music is that which is not unpopular (p. 31).
This is perhaps, an unhelpful way of looking at things because it forces teachers to
choose materials statistically rather than artistically, making the representation of pop
music in classrooms proportional to the songs success. Although this may be an issue, I
do not think it is unlike what classical music is presented in classrooms. In almost every
historical survey I have taken representative pieces include Spring from Vivaldis Four
Seasons, Mozarts ever popular Eine Kleine Nachtmusik and Debussys Prelude to the
Afternoon of Faun. What is taught its always going to be what is popular, and what can
accurately represent the period it belongs to.
If successfully intergrated into the classroom, teaching pop music will allow
students to analyze the contradictions in music, and a more modern philosophical way of
viewing the music. Bowman asks is music education more concerned with cultural
preservation than cultural transformation? (p. 38) and as of now, I believe that the
answer is yes, and it is important to preserve such a rich history, and long-standing

tradition. Bowman also says that just because something is popular doesnt mean we
need to teach it unless the education system in place is falling out of favor. I agree with
the first part of the statement, just because something isnt popular, doesnt mean you
have to teach it. There is no reason for this to be the case, if students only learned about
things that were popular, they would end up with no skills. As a teacher of any other
subject, there will be students that do and do not like whatever you may be teaching.
There is a reason that we read classic books in English class and not Twilight. As much
as my stance on the matter may be unpopular, I think that the same should be the case for
music. To discard the traditional approach to music because it is unpopular is not the
right answer. Perhaps music educators need to find a way to make the existing
curriculum interesting, and instead of using pop music to do so, show students the
similarities between art music and popular music. This will enrich students learning
experience by tying the course information to something relevant in their lives, while
making traditional music meaningful to them.