Browsing the current text books or coming into Spanish schools and high schools’ classrooms, one can verify how the Music curriculum follows eurocentric rules in which the Western Music are the primary leading thread. This Music Curriculum banish relegates all the rest to mere veneer of commitment, which responses to the interests of the dominant logic leaded by a capitalist conception of the world. Flamenco is a good example of this cultural exclusion. In this article causes and consequences of this fact are investigated. Furthermore, it is exposed a development of alternative theoretical discourses to the Music Curriculum and to the musical praxis at the classroom.