The diversity of ways in the construction of musical knowledge. A socio-community experience.

Abstract

We often take for granted what we refer to when we talk what music is.
Particularly in western cultures, where seems to be consensus about ways of seen the musical phenomenon based in Central European liberal models, which gives an hierarchical and legitimated mode of existence that becomes a pattern to measure others.
Still, an endless number of musical practices have place in communities. That fact gives a sample of the socio-cultural meaning of music and even so of extremely effective ways of transmission inherent to their practices.
That being said, it is necessary to raise two aspects of the same problem. First, contextualize the knowledge constructions, broadening the spectrum for transcending the hedonic and esthetic considerations based on the hegemonic models (Cross, 2010). In second term, review logics of construction and knowledge transmission in order to nourish the musical education and roles of the educators.
This article presents the experience of a process sustained over time, nor gradual or systematic, without focusing in the hegemonic ontologies of text and object, but giving privilege to the initial conditions that promoted the intersubjective encounter (Cross, 2010) and the interpersonal musical participation (Turino, 2008).