Music, discourses and power: reflections on the hierarchy of knowledge

Abstract

This article presents a critical reflection on the relationship between the legitimation discourses that support the musical genres and the hierarchization of knowledge as a form of domination in the field of science. The text focuses on the polarization of "classical" music and "popular" music, discussing its effects on the formation of contemporary musicians in educational institutions. We use Music for Film as a concrete example of the ambiguities and discursive weaknesses that have placed “classical” music at the centre of academic research and practice. Finally, the inclusion of the theoretical and methodological perspectives of Cultural Studies is suggested as a response to the resistance of traditional Musicology, which has subordinated popular music practices in general and contemporary genres in particular. We advocate an academic repositioning regarding the training of musicians and music, which may result in the democratization and inclusion of contemporary musical practices.