MÚSICA POP COMO PROPOSIÇÃO TEÓRICO-METODOLÓGICA EM EDUCAÇÃO MUSICAL

This article systematizes a theoretical-methodological proposition for Music Education that understands pop music as a critical, culturally situated and pedagogically operable mediation. Derived from the reworking of a broader qualitative, bibliographic and documentary investigation, the text shifts the focus from pop music as an occasional resource to pop music as an organizing axis of teaching practice, repertoire curation, conceptual mediation and assessment design. The theoretical framework articulates Paulo Freire, Vygotsky, Fanon, Giroux, Hall, Jenkins, Soares and contributions from critical, democratic and multicultural Music Education. It argues that, in educational contexts marked by platformization, media circulation and disputes over cultural legitimacy, music teaching cannot be restricted to canons detached from students’ lived repertoires. The proposition is organized around four principles: recognition of lived cultural repertoires; mediation between experience and concept; decolonizing teaching with situated curation; and articulation among listening, analysis, creation and circulation. As an applied outcome, the article presents criteria for planning, didactic sequencing, assessment and analytical rigor, arguing that pop music can broaden the epistemological horizon of music teaching without sacrificing academic consistency.