Training in music: historical-social places, spaces and times

Abstract

I present and discuss this work regarding what was established (and still is) as a conception of musical knowledge in teacher training courses, as well as instituting experiences with music in educational practices. To this end, I have organized this text into three parts. In the first, I weave conceptual approaches between instituted-instituting and colonial-decolonial and, consequently, I establish relationships between what is already given and seeks to maintain itself, and the strength of instituting experiences that yearn for change. Next, I emphasize the established musical coloniality, highlighting the predominance of the score for the performance of musical works, of certain musical instruments to the detriment of others, as well as the selection of the repertoire, permitted and reliable, by organized groups that are within the institutions, where learning and socialization processes are carried out. In the third part, I describe and analyze institutional and decolonial musical experiences. I chose sources from different contexts to highlight lively pedagogical-musical practices, based on teaching experiences: the first is the story of teacher Leda Maffioletti (Pedrollo, 2022; 2023; Pedrollo; Mateiro, 2023); and, the second, that of professor Jorge Aníbal Coral Guerrón (Salgado Pereira, 2023). I conclude by listing similarities and differences between the two cases. On the one hand, musical training in different cultures, contact and learning of music through “playing by ear”, the accordion as the main instrument, musical studies in music colleges, where the Western European repertoire was the prerequisite for being a teacher and teacher; And, on the other, instituting experiences carried out by the Brazilian teacher in the context of the basic education school and by the Colombian teacher in the university environment, highlighting the presence of music and musical instruments from popular culture.