Educational programmes that explore popular music practice in particular have proliferated recently around the world. PMS has featured comparatively little focus on either music-making or pedagogy. He “also questions why researchers from non-musical backgrounds still struggle to address the music of popular music studies, and offers solutions” ( Tagg, 2012, p. He concluded that musicologists working in popular music have failed to make such inroads into conventional musicology that popular music and art music are treated equally. The volume you are reading complements and further develops this and other existing PME scholarship as it relates to both critical and musical theories and practices.Īt the 2011 International Association for the Study of Popular Music (IASPM) international conference in South Africa, IASPM founder member Philip Tagg gave a keynote speech discussing how popular music studies (PMS) has progressed over the 30 years since the organization was founded.
In 2015, the Journal of Music Technology and Education also published a special issue ( Smith & Powell, 2015), on technology and performance in popular music education. Popular music education (PME) is a fast-developing field of study in terms of educational programmes and activities, but relatively few relevant publications are available featuring, for example, case studies of best practice, or relevant theoretical considerations this volume attempts to provide both, building on such pioneering publications as the special issue of the Journal of Popular Music Studies on popular music education ( Oehler & Hanley, 2009), Bridging the Gap: Popular Music and Music Education ( Rodriguez, 2004) (both of which focus largely on the US) and the special issue of IASPM Journal on popular music in education ( Green et al., 2015).
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