Are We There Yet?

Since entering the conversation on popular music education in 2014, I have learned that making music education more inclusive and recognizing popular music as a valuable component of the curriculum is a marathon, not a sprint. Progress requires persistence, collaboration, and a willingness to reimagine long-standing traditions.

Organizations such as the Association for Popular Music Education (APME), Music Will, and other partner institutions have played a central role in advocating for this shift. Their efforts have contributed to a growing presence of popular music across the educational spectrum, from elementary classrooms to higher education. For example, during the most recent conference season, 16 state music education associations featured sessions on modern/popular music at their annual conferences, signaling a notable shift in acceptance.

And yet, the question remains: Are we there yet? While significant strides have been made, we are not there. Within popular music education scholarship, it is tempting to believe that progress equals arrival. In many ways, we live inside a bubble that reinforces our sense of accomplishment, while the broader field of music education remains far less convinced. The popular APME catch phrase, “find your people,” has worked to build supportive networks, but its reach has been limited. It has helped us sustain the movement, but it has not fully opened the circle.

The goal now must shift toward more people, more music, more ideas. This means reaching beyond the bubble to identify and engage three groups: (a) those who are interested but unsure how to begin, (b) those who are interested but remain skeptical, and (c) those who are adamantly opposed to altering traditional norms. We must foster conversations across all of these groups, acknowledging that while popular music feels legitimate to us, most of the wider music education community is not there yet.

To move the conversation forward, I propose three pathways: detaching from our experiences and silos, collaborating with colleagues, and celebrating and amplifying successes.

1. Breaking out of silos by challenging our experiences and the mindset that classical music is the only legitimate foundation for music education.

This detachment doesn’t mean abandoning traditional music education values or throwing out decades of pedagogical wisdom. Instead, it means releasing our grip on the “this is how we’ve always done it” mentality and creating a more inclusive ecosystem where multiple musics can coexist. Practical detachment ideas include:

• Questioning assumptions about what constitutes “real” music and education
• Examining curriculum through the lens of student interest rather than institutional tradition
• Creating flexible pathways that allow students to explore their musical interests while still developing fundamental skills
• Challenging hierarchical thinking that places some musical genres above others

2. Collaborating with colleagues to address skepticism and co-create practical strategies for integration.

The easiest way to stall a conversation is to make the other person feel as if they are wrong. Rather than viewing resistant colleagues as obstacles, we must see them as potential partners who bring legitimate concerns and valuable perspectives to the table. Effective collaboration requires empathy and understanding. When a colleague expresses concern about “lowering standards” by including popular music, they’re often voicing more profound anxieties that center around rigor, respect for their profession, losing their traditions, and being authentic while integrating popular music. These concerns deserve thoughtful consideration, not dismissive responses.

3. Celebrating and amplifying successes by sharing examples of effective practice in popular music education, ensuring they become part of the larger narrative.

This will force us to look beyond our work and sphere of influence. Many people are doing this work without allies. Celebration serves multiple purposes: it validates the hard work of pioneering and isolated educators, provides concrete examples for skeptics, and offers practical models for others to adapt. When we celebrate success, we also document the journey for future educators who will continue pushing boundaries. By taking these steps and by pushing ourselves to engage with both supporters and critics, we can expand the reach and relevance of music education. The journey is ongoing, and the question “Are we there yet?” serves not as an endpoint, but as a reminder of the work still ahead.

Shane Colquhoun, Ph.D., is a Grammy-nominated music educator, producer, and leader in contemporary music education. He serves as Assistant Professor of Music Technology and Contemporary Music Styles at Alabama State University, where he guides students in exploring performance, production, and creativity across genres. Beyond the classroom, Colquhoun is deeply engaged in national and state-level leadership. He is Chair of the Council for Innovations for NAfME (National Association for Music Education) and Chair of Research and Leadership for AMEA (Alabama Music Educators Association). He also serves on the Board of Directors for the Association for Popular Music Education (APME), contributing to the advancement of popular music in schools. In addition to his educational leadership, Colquhoun is an active producer of popular music, with work that reflects the integration of technology, culture, and artistry. His mission is to bridge tradition and innovation, equipping students and educators to thrive in the evolving landscape of music.