Heranças coloniais no atual ensino de música na licenciatura.

Abstract

Based on the profound reflections of scholars on the educational processes developed in Brazil, currently, we have observed a significant growth of studies on the influences of coloniality on educational models adopted in different educational contexts, especially in higher education in music. Following this diagnostic and reflective trend, this monograph has the general objective of understanding the repertoire and the teaching-learning methodologies addressed in the curricular components aimed at the practical study of theories and rules, structure and analysis of pieces and periods contemplated in training offered by the Degree in Music from Universidade X. The general objective further unfolds in the following specific purposes: to identify the courses focused on the study of theories and rules, structure and analysis of pieces and compositional periods of the history of music; to carry out a survey of the repertoire and teaching-learning methodologies used in the disciplines of study of theories and rules, structure and analysis musical of the degree course in music at university x; to analyze possible influences of coloniality in the choice of repertoires and the pedagogical proposals of musical practice and analysis courses. The work was conducted based on qualitative, descriptive, and documentary research from a primary source based on the analysis of the program plans of eight courses offered by the degree in music at the university X. The criteria for selecting the analyzed courses were: 1. focusing primarily on the study of theories and rules, structure and analysis of pieces and compositional periods in music history; 2. being shared between the Bachelor's and Licentiate's programs in music at University X. Based on the analysis of the data collected, it was possible to verify, in line with the literature in the area, the predominant use of European composers and knowledge in the selected disciplines, as well as the majority application of classes described as "expository". Such results corroborate previous analyses on the influences of coloniality in the processes of higher music education in Brazilian universities. It highlights the need to promote and implement decolonial ruptures and re-significations in the processes and pedagogical practices, making education more compatible with our cultural plurality.