Abstract
Popular music within higher music education has become quite common in the past thirty years. Despite this fact, much is still unclear with regard to what popular music within higher music education actually entails. This lack of clarity extends to essential topics such as the canonization of popular music, educational aims, alignment with the labour market and the definition of popular music within the context of higher music education. Also the fact that popular music is not part of the higher arts creates even more vagueness with regard to what higher popular music education actually is, because higher music education institutes were originally founded for the preservation of the higher arts, not for popular music. In order to understand popular music in the context of higher music education, I focused on the perception of its stakeholders. In this dissertation, I explore how stakeholders in higher popular music education (students, staff, labour market actors) perceive the content and added value of higher popular music education for a successful career in music. The results show that Popular music in a higher music education context seems to have different meanings for different stakeholders. In general, Popular music within the walls of the European HMEI is probably Western art music, based on British/American popular music with a touch of local flavor and popular music programs seemingly educate their students for a labour market similar to that of Western art music programs.
| Original language | English |
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| Award date | 5 Jun 2024 |
| Place of Publication | Rotterdam |
| Publication status | Published - 5 Jun 2024 |
Research programs
- ESHCC A&CS