ABSTRACT
Popular music education has, over the last 20 years, developed into a serious and highly respected curricular field of teaching practice, as well as a comprehensive field of scholarly acknowledgement. Especially within higher popular music education (HPME) in the Nordic countries, two interrelated music educational discussions seem to have surfaced in recent years: the notion of individual versus collective perspectives on popular music practice and research, and the notion of dichotomizing musicianship and “teachership”. In a historically-informed case study of popular music entering higher education in Denmark, specifically the Rhythmic Music Conservatory in Copenhagen, this chapter offers suggestions for future educational perspectives on such matters.
