Positioning music education's post-covid multi-modal potential

Most students quit band after their public school experience. Not because they didn't love it, but because there's limited opportunities to continue that passion. Most students quit piano lessons at an early age. Not because they don't love music, but because the method and mode is dull and irrelevant.

What are we doing?

Saskatoon has the most live music venues per capita in Canada, and multiple organized cultural music organizations that find places for people of all ages to have a musical outlet. Very few are represented in public schools.

What the hell are we doing?

It seems that the infrastructure for music education in public schools is too entrenched in the past to relate to the needs of the current.

Then, the pandemic hit. Music making moved online, and the flaws in the traditional system were laid bare. Most schools band programs went temporarily belly-up. But at one school, embracing the changes and providing the students with autonomy and agency over their learning, an explosion of student output happened.

Saskatchewan ... Pop Music Education's Third Wave ambassador?

Saskatchewan’s public school music programs often lag behind the vibrant and diverse musical practices of its communities. Traditional models rooted in concert bands and choirs fail to reflect the musical realities of students, leaving a disconnect between classroom learning and lived experiences. However, the province has the potential to lead a “third wave” of popular music education—a movement that builds on the work of scholars like Randall Allsup and Minja Koskela to prioritize equity, creativity, and cultural relevance in music education.

The Problem: Disconnect Between Schools and Communities

In Saskatchewan, music education has long prioritized Western classical traditions and large ensemble structures. As Allsup and Benedict (2008) critique in The Problems of Band, such programs often reinforce conformity and hierarchy at the expense of collaboration and student agency. Meanwhile, communities across the province engage in diverse musical practices, including Métis fiddling, powwow drumming, and hip-hop production. Public school curricula rarely incorporate these forms, alienating students and perpetuating colonial norms.

The Third Wave: Toward Democracy and Decolonization

Allsup’s (2008) vision of a “second wave” of popular music education emphasizes informal learning and student choice. Koskela (2022) expands on this, urging educators to integrate popular music through an intersectional lens, addressing issues like gender and cultural equity. Together, their ideas point to a “third wave” that combines democratic, student-centered approaches with a commitment to decolonization and inclusivity.

A New Vision for Saskatchewan

Saskatchewan could lead this movement by transforming its music programs to:

1. Reflect Community Practices: Partner with local musicians and cultural leaders to integrate Métis, Indigenous, and immigrant musical traditions into the curriculum.

2. Leverage Pop Music: Use pop music to bridge cultural and generational gaps, following Koskela’s (2022) model of thoughtful, inclusive integration.

3. Adopt Democratic Pedagogies: Embrace Allsup’s (2008) call for student-driven learning environments where creativity and collaboration thrive.

4. Advance Decolonization: Move beyond token inclusion of non-Western music to challenge structures that prioritize Western traditions.