In the last decades, the music field has been going through significant changes due to discussions related to colonialism, ownership and representativeness. By questioning traditional music-related values and incorporating debates from diverse social and human sciences, researchers with different backgrounds have become attentive to the function of music education in promoting social justice. Focusing on the Ijexá rhythm, the following article has as its main aim to investigate, analyze and discuss implications of the application of approaches to music education that were developed based on minority groups’ traditional knowledge. Strongly influenced by the critical paradigm’s perspective, this paper presents four specific aims: 1) to present the main sociological, ethnomusicological and religious features of Ijexá; 2) to examine the intentions and effects of traditional Eurocentric approaches to music education; 3) to reflect on the connections between music, music education and collective identities; and 4) to analyze the possible social and educational impacts of the application of decolonization-oriented approaches to music education. Sustained by the aforementioned goals, this research employs the qualitative documental analysis as its methodological approach to examine different sources of written and audiovisual materials, to gather the data, to acquire the information and to develop the knowledge that supports and guides the presented discussions. Its critically oriented reflections intend to contribute to the ongoing scientific debate by investigating the application of an educational approach’s strand that is supported by African-based music and African-based traditions.

Several changes have been made within short periods in the education sector of Mongolia. In the last decade, two curriculum reforms were adopted to strengthen the education system and improve the quality of the curriculum. Thus, the current English language curriculum of upper-secondary education has adopted a competency-based approach. This approach has been reflected significantly in the area of education, particularly curriculum. It was developed by aligning with the Common European Framework of Reference Languages. The present article aims to investigate the influence of the Common European Framework of Reference for Languages in the English language curriculum of upper-secondary education and to acquire a better understanding of the upper-secondary English language curriculum. It embraces document analysis which is a form of qualitative research. As it applies this methodological approach, it aspires to provide possible implications of the hermeneutic perspective to respond more effectively to the English language teaching and learning in Mongolia.

Regardless of the field, the establishment of a curriculum is intrinsically connected with discussions that incorporate struggles from broader social contexts. A scrutinizing analysis of a music course’s curriculum can disclose complex power structures that interfere with the social perception not only of the courses’ direct stakeholders but also with the perception of general members of society. In this context, the current article has as its main aim to reflect on possible connections between the establishment of the curriculum of an influential higher education music institution and the general social perception toward different types of musical knowledge. Influenced by a postcolonial perspective and focused on Salvador, a Brazilian northeastern city, this investigation has three specific aims to support the general purpose: 1) to review the literature which discusses the connections between social struggles and curriculum development; 2) to contextualize the Federal University of Bahia (UFBA) in the Salvador city by presenting their main characteristics that are related to the presented discussion; and 3) to examine the curriculum of the course “Instrument – Acoustic Guitar” offered at UFBA. Supported by the aforementioned aims, this inquiry employs the “Qualitative Document Analysis” methodology to analyze academically relevant sources that can support and foster the proposed reflections. Likewise, this paper intends to contribute to the ongoing scientific debate about the impact of social structures in the curricula of higher education music courses and to stimulate conscious and active participation of higher education organizations in the promotion of fairer societies.