Reflections for the construction of an intercultural musical education: When pedagogical and epistemologica! aspects are out of focus

Abstract

The present work seeks to analyze the formative models of music educators at the conservatories of Buenos Aires, attentive to a certain difficulty manifested in students and novice graduates for generating significant musical practices in classrooms with a high level of cultural and social diversity. Firstly, ideas of diversity and interculturality in the current contexts marked by globalization, as a figure of a homogeneous world will be discussed. Then, a genealogical tracing of the ancient, but still valid, classical-popular dichotomy, will be coped with, showing that, far from referring to a strictly musical dispute, it drags from its origins an homologation of the classical to the cultured, and from the popular to the vulgar, defined from the paradigm of the Enlightenment in Modern Europe. Thus, it is argued that the construction of an intercultural musical curriculum must necessarily deconstruct these models, in order to reconstruct them in permanent dialogue between historical traditions, situated traditions and the multiplicity of current musical experiences.