ABSTRACT
The present volume attempts to assemble the full range of methodological and disciplinary approaches to popular music within the Germanophone countries. In co-ordinating such a project, however, it quickly becomes clear how fragmented and fragile such a kaleidoscope of assorted perspectives has to remain if one does not wish it to become a multi-volume compendium, and if one wants to complete the project successfully and by an agreed-upon deadline. Just as rapidly as pop keeps reinventing itself and re-citing itself, German-speaking Europe presently continues to experience a rapid emergence of new publications, studies, organizations and journalistic or academic discourses about it.
