That's not really how it works though. In the pop world and other areas bordering on it, people just don't generally work from notation. In fact the skills the OP says her DD finds natural - listening to a song and just working it out by ear - are far more important because that's how live arrangements of songs are actually worked out.
On the odd occasion when notation is required, such as when using a string section or more sophisticated brass section, the artist will draft in an arranger for precisely that purpose, who'll be paid a day rate for the work while the artist/writer gets all the royalties. It's a peripheral, specialist and non-essential area of the commercial music industry.
Paul McCartney became one of the most successful songwriters ever without understanding anything about notation, and that's the rule not the exception. Even moreso now, when so much is done by computers.
Of course it's completely different in the classical world, as I said. And just to be clear - I believe that teaching thorough musical literacy is important. It's just that people are good at and gravitate towards different things, and the classical-centric snobbery of music education has long written off people who are bad at sight reading as inferior musicians, accentuated the importance of it (which is fair enough) and ignored the importance of aural creativity and real-world ear training (which isn't).
When you consider how much grass roots pleasure people get out of playing in bands, or the fact that classical music accounts for less the 3% of recorded music sales, this doesn't really make sense.