Music from Ground Zero. The coloniality of theory and musical analysis at the university.

This article seeks to answer the influence of the coloniality of knowledge, the cleansing of blood and the hybris of the zero ground in the conception of the theory and musical analysis which is taught in our Latin American universities. The aim is to examine the survival of coloniality in the imaginary of musical theory and analysis in order to recognize the predominant hegemonic discourses and propose some options to decolonize these disciplines of professional music education. The rationale is based on the presentation of some concepts of decolonial studies, research on the conservatory model and the ideology of theory and analysis.<br />The article is divided into three parts. In the first one, an approximation is made to the concept of coloniality and its categories. The second takes the categories to review the ideology of the chosen fields of musical knowledge and the third proposes some options to decolonize our conceptions in higher education