In 2017 Intellect launched Journal of popular music education (ISSN 2397-6721; EISSN 2397-673X).
One of the main aims of this journal, especially initially, is iteratively to define the parameters of the field and disciplines of its readership and contributors (especially with regard to other journals in popular music, and music education), this being an emerging field of scholarship and practice.
The other principal aim is to disseminate excellent critique and other forms of scholarship (e.g., phenomenological) in and related to the field. The journal aims to have an inclusive, global reach. Education and popular music are terms that the editors are glad to see stretched and problematized through rigorous examination from multiple international perspectives.
Below, 我和你 (You and me), a song discussed in the inaugural issue.
Konakkoḷ is an important part of the Karnatak music curriculum in South India. The unique aspect of this pedagogical tool is that it is also a performance medium on its own. Classical concerts in India have featured a konakkoḷ soloist performing a vocal percussion solo in the same way that a jazz concert may feature a drum solo.
Konakkoḷ is appealing in its beauty and allows students to express their musical rhythms in performance tempo (even when it is very fast). This relates directly to how music is felt internally by a performer and is precisely why it is of great use in Western music education.
This according to “South Indian konnakkol in Western musicianship teaching” by Tony Tek Kay Makarome (Malaysian music journal V/1  pp. 37–52). Above, Trichy R. Thayumanavar, a renowned konakkoḷ performer; below, a demonstration.
HipHop Academy Hamburg’s rappers, dancers, and beatboxers use hip hop as a platform of integration, shaping feelings of belonging and perceptions of dual identities.
The Academy’s 2013 production DISTORTION examined migrant descendants’ places in Germany and provoked audiences to contemplate the new faces of the nation. This symbiosis of hip-hop and contemporary dance performed macro- and micro-political integration, illuminating how the boundaries of German national identity are disrupted by the presence of interculturality.
This according to “Ich fühle mich Deutsche: Migrant descendants’ performance of integration through the Hamburg HipHop Academy” by Emily Joy Rothchild, an essay included in Transglobal sounds: Music, youth and migration (New York: Bloomsbury, 2016, pp. 155–76).
Above and below, excerpts from DISTORTION.
In 2014 Waxmann launched the peer-reviewed series Perspektiven musikpädagogischer Forschung with Bedeutungszuweisungen in der musikalischen Früherziehung: Integration der kindlichen Perspektive in musikalische Bildungsprozesse by Anne Weber-Krüger.
The series aims to support the scientific examination of music education in all its substantive and methodological breadth with writings by young scientists and researchers as well as experienced scientists. The editorial team hopes that this series excites discussion in both the professional and interdisciplinary worlds.
The music department at the Deichmanske Bibliotek (Oslo Public Library) has recently developed a new package for music teachers in the Norwegian public school system. The service is based on Boomwhackers®, a set of colored plastic tubes that play various notes of the scale when struck.
Children quickly understand the simple notation system based on color, and under the guidance of a teacher begin quickly to play and even compose music. The package includes a set of Boomwhackers®, a detailed guide for teachers based on requirements outlined in the Norwegian national teaching plan of 2006, and a set of large-print sheet music of simple, well-known tunes.
The department also holds courses for teachers, in cooperation with the library’s department for school services, which is part of the Unge Deichman (Young Deichman) department.
This according to “Boomwhackers: A public library service for music teachers in the public school system in Oslo, Norway” by Ann Kunish (Fontes artis musicae LVII/3 [July–September 2010] pp. 291–95). Below, the Unge Deichman department demonstrates.
Launched in 2010 by the Ένωση Εκπαιδευτικών Μουσικής Αγωγής Πρωτοβάθμιας Εκπαίδευσης (Enōsī Ekpaideutiōn Mousikīs Agōgīs Protovathmias Ekpaideusīs/Greek Association of Primary Music Education), Hellenic journal of music, education, and culture (ISSN 1792-2518) is an international, open-access, peer-reviewed journal that aims to reflect a wide variety of perspectives from disciplines within the fields of music education and musicology. Issues include articles, case studies, and book reviews; articles in Greek or English are accepted.
The journal is devoted to the dissemination of ideas relating to theoretical developments, and welcomes interdisciplinary contributions. The inaugural issue’s table of contents is here.
The 200th anniversary of Chopin’s birth in 2010 inspired the launch of a new Russian-language quaterly dedicated to piano, PianоФорум (PianoForum). Published by Международная Муызкально-Техническая Компания (International Music-Technical Company) and edited by the musicologist, pianist, and pedagogue Vsevolod Zaderackij, the journal covers diverse aspects of contemporary pianism, including instrument building, piano repertoire and interpretation, piano competitions and festivals, and piano pedagogy from the beginning level to professional training. A description of the contents of issue no. 3 (2010) in Russian is here.
Launched in 2010 and edited by C. Matthew Balensuela, Journal of music history pedagogy (EISSN 2155-109X) is a biannual, peer-reviewed, open-access, online publication of the Pedagogy Study Group of the American Musicological Society. The journal presents original articles and reviews related to teaching music history at all levels (undergraduate, graduate, or general studies) and in all disciplines (Western, non-Western, concert, or popular musics). Its inaugural issue includes articles about debates and discourses in jazz history textbooks, classroom discussions among music majors, and making music history relevant to the lives of undergraduates.
In 2009 the Nižegorodskaâ Gosudarstvennaâ Konservatoriâ imeni M.I. Glinki launched its new quarterly journal, Konsonans. The first issue presents a chronicle of events in the life of the conservatory during the first semester of the academic year 2008–09, and discusses the activities of individual departments and personalities. The authors of contributions include both faculty members and students. The editor-in-chief of Konsonans is Tat’âna Sidneva, the head of the Kafedra Filosofii i Èstetiki and the prorector for scholarly affairs at the conservatory.