Modernity, coloniality and tradition: a reflection on the standard concert repertoire in violin study and practice

Abstract

This article proposes a reflection, in the context of concert music, on the standard violin repertoire - homogenized worldwide in both professional and training circles of the instrument. Such repertoire excludes, almost completely, the musical production coming from countries outside the European continent, besides prioritizing the works composed in the eighteenth and nineteenth centuries, and keeping aside, also, the works composed by women from any place or time. Based on decolonial critical thinking, we seek to analyze the matrix of power contained in this tradition, besides making explicit the systematic reproduction of musical works that instigate and perpetuate a Eurocentric vision of the instrument.