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Caleb
Warnar
Professor
Kari
K
Veblen
Music
1800
October
4,
2015
Bowman,
W.
D.
(2004).
"Pop"
goes
.
.
.
?
Taking
popular
music
seriously
In
Rodrigues,
C.
(Ed.).
Bridging
the
gap:
Popular
music
and
music
education.
US:
MENC.
In
this
article,
Bowman
discusses
the
need
for
popular
music
to
be
taken
seriously
in
the
education
system.
He
states
that
most
young
adults
have
little
interest
in
participating
in
classical
music
education,
despite
that
popular
music
plays
a
crucial
part
in
their
lives.
Due
to
the
relevance
of
popular
music
in
todays
society,
Bowman
argues
that
it
should
be
integrated
into
music
education
alongside
classical
music
education.
I
found
it
interesting
that
popular
music
replaces
qualitative
concerns
with
quantitative
ones
(pg.
31).
If
this
is
the
case,
then
where
does
the
true
educational
value
of
popular
music
lie?
I
find
that
this
statement
nearly
contradicts
itself,
because
in
order
for
popular
music
to
have
quantitative
value,
it
must
first
be
recognized
to
have
qualitative
value
by
the
vast
number
of
individuals
that
choose
to
listen
to
it.
So
then
I
ask,
what
value
does
popular
music
hold
in
the
eyes
of
todays
society?
And
as
Bowman
states,
will
popular
music
stand
the
test
of
time
like
classical
and
jazz
music?
In
all,
the
true
value
that
I
have
come
to
recognize
that
popular
music
education
holds
is
that
individuals
of
all
ages
may
be
able
to
become
more
involved
with
music,
while
not
turning
away
from
a
form
of
music
education
that
they
do
not
identify
with.
Bowmans description of popular music surprised me, since his words usually held a very
negative
connotation
to
them.
For
example:
its
products
are
not
creative
or
original,
but
trendy
and
derivative,
Popular
music
is
music
of
the
herd
music
that
numbs
individual
and
critical
awareness,
It
all
sounds
the
same:
formulaic,
predictable,
rhythmic,
and
obvious.
It
is
designed
to
pander
to
the
lowest
common
denominator
of
human
taste
(pg.
34).
What
frustrates
me
about
these
comments
is
that
they
are
not
only
biased
and
insulting
to
the
majority
of
individuals
that
enjoy
popular
music,
but
these
statements
contradict
all
reasoning
that
popular
music
should
be
integrated
into
music
education.
Why
bother
educating
young
students
in
a
style
of
music
that
caters
to
the
lowest
common
denominator
of
human
taste?
Perhaps
then,
it
would
be
of
more
importance
to
find
ways
that
popular
music
and
classical
forms
of
music
education
can
co-exist.
I
know
for
myself,
some
of
the
most
interesting
popular
music
I
have
heard
consists
of
multiple
musical
styles
being
combined
with
each
other.
For
example,
The
Piano
Guys
are
musicians
that
re-create
pop
songs
through
a
classical
focus.
As a comment to the author, I found that Bowman often would contradict himself
throughout
his
article.
He
would
argue
that
popular
music
education
is
vital
in
order
to
remain
relevant
in
todays
society,
but
then
he
would
later
state
that
popular
music
is
beneath
other
forms
of
music.
In
general,
I
found
that
by
doing
this
he
greatly
weakened
his
argument
of
integrating
popular
music
into
the
education
system.