Musical notation appears as a problematic aspect in the debate about the forms of coloniality of knowledge. It is often seen as an instrument of domination because it imposes i t s e l f a s a m o d e o f representation for music coming from oral tradition, which finds innumerable limitations in the notation for its record. The e p i s t e m o l o g y o f m u s i c a l notation that is questioned here as hegemonic is that which: (i)