ABSTRACT
The text aims at inspiring a reflection on the curricula of Brazilian higher education Music programs, highlighting the possibility of naturalization of their structure engendered by habitus dispositions incorporated throughout history. It proposes coloniality as a doxa of music teaching that, based on conservatory dispositions incorporated in the form of habitus, becomes nomos in curriculum documents. Thus, in dialogue with proposals of a decolonial turn and a transmodern project, the study seeks first to denaturalize this doxa, this habitus, and then proceed to redistribute legitimate knowledge and recognize other commonly silenced knowledge. To this end, we do not need to forget the conservatory and silence classical music; however, we must open spaces not only to other sound practices but also to other ways of thinking and organizing them.
KEYWORDS:
music education; coloniality; curriculum