Popular music has been a recognized subject of music education practice and research for about 40 years, and its establishment has been accompanied by a change in the self-conception of music education. This is particularly evident in the claim to pursue approaches to music education that are addressee-, student-, interest-, lifeworld-oriented, as well as democratic, trans- and intercultural, and participatory (cf. Crementa, 2017; Hess, 2019; Lehmann-Wermser, 2016, pp.21-25; Vasil, Weiss & Powell, 2019), while at the same time no longer being guided by the judgmental distinction between art and pop culture, sub-, counterculture. Nevertheless, desiderata, voids, and points of critique become apparent within the developing field of popular music pedagogy (PMP) or popular music education as well as the didactics of popular music, which have hardly been addressed so far.
Godau, M. & Haenisch, M., Herausforderungen für eine Popmusikpädagogik des 21. Jahrhunderts. Kritische Anfragen an das Feld vor dem Hintergrund der musikpädagogischen Diskussion, In: Populäre Musik / Kultur in der Jugendarbeit, hrsg. v. Landesarbeitsgemeinschaft Populäre Musik / Kultur Berlin e.V. (LAG Pop), Berlin 2022, S. 21-65.