Rock Music in American Schools: Positions and Practices Since the 1960s

Abstract

The challenge that rock music has historically faced in achieving widespread acceptance within American music education can be attributed to six common arguments: 1) Rock music is aesthetically inferior; 2) Rock music is damaging to the health of youth; 3) School time cannot be spent on the vernacular; 4) Music teachers are not trained in rock; 5) Rock music encourages rebelliousness and anti-educational behavior; and 6) Rock music curriculum is difficult to acquire. The strengths and weaknesses of each of these six claims is herein analyzed, and the authors' conclusions discuss the potential benefits of rock music studies.Popular music as such need not, must not be taught in the public classrooms. This music will carry itself. The music educator's job is to perpetuate Western art music and to open doors to its perception in the minds of the children of the nation (Anderson 1968, p. 87).Imagine Simon Anderson's surprise, were he to discover that at the entry to the twenty-first century American school teachers were more inclined to associate with rock singer Jim Morrison (at the mention of 'doors' of 'perception') than with the exclusionary sentiments voiced in the quotation. It is indeed a

“What Is a Good Musician?” An Analysis of Student Beliefs

“…While 44-percent participation is a good market share, more could be done to improve curricular offerings that might foster increased participation. Within each grade level, the topcited meaning of good musician is "performing/practicing on an instrument"; these data suggest that the music education faculty in this school district might benefit from exploring new ensemble environments and music learning situations that differ from traditional instrumental music (Allsup 2004;Boespflug 2004;Campbell 1995;Durrant 2001;Frith 1981;Green 2004;Hebert and Campbell 2000). If "practicing/performing on an instrument" is indeed what this culture views as an important indicator of a good musician-keeping in mind that a majority (56%) of students are not involved with any kind of school music within the culture at large-it seems reasonable to believe that by offering a wider selection of instruments, perhaps those that the students themselves recommend for inclusion, would help increase the participation levels within the school music program.…”

Multicultural and popular music content in an American music teacher education program

“…Hebert and Campbell (2000) wrote recently about music education students now participating in various types of world music ensembles, albeit not rock bands. Indeed, in 2003, the institution in this study added a gamelan ensemble to its group of 'ethnic' groups mentioned earlier.…”

Adolescents' Expressed Meanings of Music in and out of School

“…Music educators have argued that popular music should be incorporated into the core curriculum of secondary schools (Allsup, 2004;Boespflug, 2004;Campbell, 1995;Durrant, 2001;Frith, 1996;Green, 2004;Hebert & Campbell, 2000). They suggest that popular music has its own aesthetic and social values, that it has considerable potential to connect with the everyday lives of adolescents, and that the informal processes of making popular music, such as improvisation and group composition, could make the educational experience more stimulating and more enjoyable to adolescents.…”