Teaching Popular Music: What Educators Really Think

From Musician to Educator: The Journey of Passion

Each of our guests shares a similar trajectory—a passion for music that led them into education, often through unexpected paths.

Michael Parsons, Director of Instrumental and Commercial Music at Briarcrest Christian School, didn’t initially envision himself as a teacher. Starting out as a percussion performance major, he was captivated by the excitement of performing with a band. After years of playing in groups and feeling unfulfilled in orchestral settings, he transitioned into teaching. He inherited a declining band program, and through the inclusion of popular music, he not only revived the program but grew it from 17 students to over 100. His experience underscores the transformative power of popular music education in fostering student engagement.

Steven Potaczek also had a rich background in the music industry before transitioning to teaching. From working as a producer to being an adjunct professor, Steven's experience in the commercial music world shaped his approach to teaching. As Program Director at Samford University, he helped grow a commercial music program that has benefited not only popular music students but also enhanced traditional music programs. He advocates for a holistic approach, blending commercial music with traditional ensembles to enrich students' musical lives.

Theo Metz, Assistant Professor at Samford University, began his journey as a classical percussionist but eventually found his calling in the world of popular music. His passion for performing in garage bands led him to study sound engineering and composition, which ultimately led to a teaching position that blends his love for music production with his desire to mentor the next generation of musicians. His varied experiences in both the performance and production sides of music give him a unique perspective on how to teach music in today’s fast-evolving landscape.

Popular Music Education: Building Student Agency and Creativity

A central theme in today’s discussion is the idea of student agency—allowing students to take ownership of their learning and creative process. Michael emphasizes the importance of letting students choose their repertoire. By guiding them through the process of selecting music, considering factors like skill level and audience preference, students are empowered to make decisions, collaborate, and feel a deep sense of ownership over their band. This, in turn, fosters creativity and autonomy within the ensemble.

Steven and Theo agree that providing students with creative outlets is key to their development. In Steven’s program, students are not just taught how to read standard notation but also learn how to play by ear, read chord charts, and write their own music. This approach encourages them to embrace different musical styles and broaden their understanding of music as a whole.

Theo reflects on the role of sound engineering and production in shaping students’ identities as creators. His experience in composition and live sound has shown him the power of allowing students to explore their own sound, experiment with techniques, and integrate theory with practice. He stresses the importance of offering students multiple ways to express themselves, whether it’s through performance or behind the scenes in production.

Balancing Rigor and Student-Centered Learning

One of the most insightful parts of the conversation is the balance between student autonomy and maintaining structure. As Michael wisely put it, “Hold on loosely, but don’t let go.” While giving students freedom to choose their music and shape their performances is essential for fostering creativity, educators must also ensure there is a level of rigor and discipline in the process. This balance is not always easy to strike, but it’s necessary for creating an environment where students can thrive musically and personally.

All three educators agree that the foundation of any successful music program, whether traditional or popular, is rooted in rigor. Michael’s students learn to read standard notation, but they also learn to interpret music in a variety of ways—by ear, through chord charts, and by improvising. This dual approach—combining technical skills with creative freedom—ensures that students are well-rounded musicians, prepared for any musical environment.

The Power of Popular Music: Bridging the Gap Between Genres

The discussion also touches on the importance of integrating popular music into traditional programs. Steven and Theo emphasize that popular music shouldn’t be viewed as separate or inferior to classical music—it’s all music. By introducing students to both worlds, educators provide a richer, more comprehensive musical education. This “both-and” approach enriches students' ability to play in diverse musical settings, from concert bands to rock bands, and encourages them to see the connections between different genres.

Theo highlights that, in the modern music landscape, musicians must wear multiple hats—whether it’s performing, composing, or managing sound. By exposing students to these different facets of music, educators prepare them for the realities of the industry. Today’s musicians are expected to be versatile and adaptable, and by incorporating popular music into the curriculum, educators give their students the skills they need to succeed in the ever-evolving music scene.

The Future of Music Education: Creating a Holistic Learning Experience

As the conversation wraps up, it’s clear that popular music education is more than just a trend—it’s a vital part of modern music education that benefits both students and educators. By embracing student-centered learning, allowing for creative expression, and integrating traditional and popular music, educators like Michael, Steven, and Theo are shaping the next generation of musicians.

As we look to the future, it’s crucial for educators to continue pushing boundaries, challenging norms, and creating inclusive spaces where all types of music—and all types of students—are valued. Whether in the classroom or in the performance space, the goal is to inspire students to be passionate, creative, and well-rounded musicians.

In our next episode, we’ll dive deeper into how to design a program that balances standards with student choice, and how to build support within the school community. Stay tuned!