The dichotomic gap visible for several decades between the areas of classical and popular music can be described by terms of aesthetics, sociology and musicology. Unfortunately, the musicological conceptual apparatus does not seem fully adequate to the analysis and evaluation of phenomena occurring in the pop-music. Also, academic performance patterns, when sometimes transposed in extenso to popular pieces by classical musicians, seem ridiculously inconsistent with this stylistic area. The reasons for this phenomenon should be sought in the dissimilarity of goals set for each of the antagonized areas. This article is an attempt to bring the performance issues of pop-music to the choral conductors, who in recent years more and more willingly include in their repertoire the arrangements of lighter music. The starting point for the considerations is the selection of musical and aesthetic criteria adequate to the main goal of this work, which is play. A comparative analysis of the dominant features of both stylistic areas was made here. A number of performance issues were also discussed, which aspiring choirmasters should take a closer look at, when working on pieces from the popular domain.