Commercial music serves a very important role in our musical and cultural vernacular. From school musicals, to movies, to background listening, our students engage with popular music at every turn. Though some philosophies suggest that this music be treated as “other,” there is much we can learn by including popular and commercial music in our choral rehearsal and curricula.

Raiber and Teachout (2013) defines this ongoing dichotomy as “school music” and “student music”- the music we prescribe to our students versus the music in which students choose to listen themselves. With the emergence of wide-spread acceptance in popular culture (GLEE, the Sing-Off, and the Pitch Perfect movies to name a few), we have seen a significant shift in student interest and the general landscape of school music programs.

The main points to be discussed during this session not only address cited concerns among teachers, but will also explore four central ideas: the true definition of “commercial music,” its beginnings in music education, the difference between including commercial music and teaching through commercial music, and strategies to implement this genre in a choral setting. This session will also provide teachers a connection to their existing curricula, including composition, ensemble skill, and vocal pedagogy among others.

Informal learning and popular music can build a bridge between the musical lives of our students in and out of school. The culture of choral music is moving in a direction that supports student identity and meaningful experience, and in order to effectively serve our students, we should consider popular music especially important. As Peter Miksza (2013) states, “As professionals, we are responsible for creating and reflecting our music culture, and must choose repertoire that suits both of those goals.”