The colonialities experienced by blacks: Reflections to break with colonial naturalizations in music training

Abstract

Considering the Brazilian social context between the late nineteenth and early twentieth centuries, and with the popular music of black influence as a background, the present work brings reflections on the need to break with naturalizations and discourses based on coloniality, still so present in the environments of music formation. Debating narratives that evidence the colonialities experienced by black musicians in the history of popular music can be the starting point for a decolonial action that promotes the expansion of perspectives in higher music education, especially avoiding the reproduction of colonialities.