Incorporating Vernacular Music into the Orchestra Classroom

King argues for the integration of vernacular music (i.e jazz, folk, mariachi, and bluegrass) to increase student engagement, cultural relevance, and technical versatility in orchestra class.

King sees that traditional Western European classical canon often creates a "cultural gap" for today’s students. By incorporating vernacular music, directors can validate student identity. Students from diverse backgrounds see their own musical heritage reflected in the curriculum. Students’ motivation may also increase. King highlights research that suggests students often prefer alternative styles such as Celtic or Jazz over standard pedagogical pieces, which can lead to higher retention rates in elective orchestra programs.

King writes that there are technical benefits of "eclectic" styles. Vernacular music is not "easier" than classical music but rather develops different, essential skill sets. These include rhythmic precision, ear training, and extended techniques. Styles like bluegrass and jazz require a high degree of "groove" and rhythmic independence. King highlights the value of learning "by ear," a common practice in vernacular traditions. Her research indicates that students are often evenly split in their preference for reading notation versus learning by ear; utilizing both methods strengthens overall musicality. Many alternative styles introduce students to "the chop," different vibrato speeds, and unique bowing patterns (such as shuffling) that aren't typically found in Mozart or Haydn.

King recognizes pedagogical barriers that cause music directors to hesitate to teach these styles. While "authentic" recordings and performances are the gold standard, "arranged" versions can serve as a bridge for younger students (Grade 4–8) to feel successful while still exploring new cultural sounds. King acknowledges that many orchestra directors are classically trained and may feel insecure teaching jazz or mariachi. She advocates for utilizing "culture bearers" (community members or specialist musicians) and digital resources to support the instructor.

King’s central message is that an inclusive orchestra classroom is one that treats vernacular music with the same academic and artistic rigor as classical music. By doing so, educators create a more equitable environment that prepares string players for a 21st-century musical landscape where stylistic flexibility is a requirement, not an option.

It seems string orchestra music programs have a history of disengaging students through repertoire. How could this be? I support King’s view that planning repertoire choice can help to captivate/motivate students. However, what drew so many of us to pursue and take great interest in classical music? Perhaps today’s music educators (such as myself) are part of the 1% (the elitists) that hold their noses high and look down at vernacular music. Maybe we are all afraid of change and educators are more confident presenting what they know instead of taking the time to evolve and learn with their students? This is an important discussion and the topic will not end here. I can only encourage all educators (early, mid-career, veteran, etc.) to keep an open mind and accept change. We get to meet a new cohort of students every year. We shouldn’t treat the experience as “Groundhog day.” We might always see the same age group of children, but nonetheless, they are different people every year.