| Summary: | The recent introduction of jazz and pop/rock courses in the curricula of Conservatories impels us to reflect on the role that pedagogical orientations and value criteria referring to fields of application, methods and goals other than those of the Western art musical tradition have played in these same higher education institutions. The theory of audio-tactile music provides us with the tools to identify their respective specificities, even beyond a strictly anthropological-cultural level. Underpinning this approach is the guiding principle that such differentiated domains necessarily entail divergent didactic-pedagogical criteria, whose features are to be determined and described, if we want to avoid the failure of didactic transposition processes and a deleterious confusion between methods and perspectives.
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