{"id":2549,"date":"2026-09-10T03:45:41","date_gmt":"2026-09-10T03:45:41","guid":{"rendered":"https:\/\/legatto.space\/?p=2549"},"modified":"2026-09-10T03:45:41","modified_gmt":"2026-09-10T03:45:41","slug":"educacion-musical-tiene-que-evolucionar","status":"publish","type":"post","link":"https:\/\/legatto.space\/en\/educacion-musical-tiene-que-evolucionar\/","title":{"rendered":"Music education needs to evolve."},"content":{"rendered":"<!-- =========================================================\n     LEGATTO SPACE \u00b7 BLOG\n     LA EDUCACI\u00d3N MUSICAL TIENE QUE EVOLUCIONAR\n     SEO + AEO \u00b7 LONG FORM EDITORIAL\n     ========================================================= -->\n<style>\n#legatto-educacion-musical{\n  --black:#141414;\n  --dark:#212121;\n  --sun:#f6c703;\n  --white:#ffffff;\n  --paper:#f7f7f4;\n  --text:#242424;\n  --muted:#676767;\n  --line:rgba(20,20,20,.12);\n  font-family:\"Raleway\",sans-serif;\n  color:var(--text);\n  font-size:18px;\n  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max-width:680px;\n}\n#legatto-educacion-musical .cta a{\n  display:inline-block;\n  margin-top:10px;\n  padding:13px 21px;\n  border:1px solid var(--sun);\n  color:var(--white);\n  text-decoration:none;\n  font-size:14px;\n  font-weight:800;\n}\n#legatto-educacion-musical .cta a:hover{\n  background:var(--sun);\n  color:var(--black);\n}\n@media(max-width:700px){\n  #legatto-educacion-musical{\n    font-size:17px;\n  }\n  #legatto-educacion-musical .answer-box,\n  #legatto-educacion-musical .manifesto,\n  #legatto-educacion-musical .cta{\n    padding:30px 24px;\n  }\n  #legatto-educacion-musical .six-axis{\n    grid-template-columns:1fr;\n  }\n  #legatto-educacion-musical .principle{\n    grid-template-columns:44px 1fr;\n  }\n}\n<\/style>\n<article id=\"legatto-educacion-musical\">\n\nThere are people who have studied music for years and still feel fear when someone tells them: <em>\u201cNow improvise\u201d<\/em>. There are others who have learned dozens of songs through tutorials, chord charts, or videos, but freeze up when they need to transpose a melody, recognize an interval, accompany someone else, or understand why what they&#039;re playing works. These are seemingly opposite problems. In reality, they point to the same question:\n<strong>What does it really mean to learn music?<\/strong>\n\n\nFor a long time, much of music education was caught between two extremes. At one extreme, we find highly structured teaching: technique, sight-reading, exercises, a pre-established repertoire, exams, and a vertical relationship between teacher and student. This model has produced extraordinary performers and preserved invaluable knowledge, but when it becomes a rigid structure, it can separate the student from something essential: <strong>listen, discover, play, create and understand music from within.<\/strong>\n\n\nAt the opposite extreme, an understandable reaction emerged: learning exclusively by playing songs, watching tutorials, memorizing patterns, downloading tablature, or accumulating small practical resources. This can be fun, immediate, and accessible. However, it can also lead to another kind of stagnation: after years of playing, the student possesses a collection of movements, songs, or formulas, but still lacks a roadmap. Short answer\n<h2>Why does music education need to evolve?<\/h2>\n\nBecause learning music requires simultaneously <strong>structure, autonomy, listening, understanding, technique and creation<\/strong>. A pedagogy that is too rigid can stifle curiosity; a completely fragmented pedagogy can prevent students from building deep connections. The music education of the future needs to teach how to play music and, at the same time, help students understand how it works.\n\n<h2>We can teach playing without actually teaching music.<\/h2>\n\nIt seems like a contradiction. But it happens constantly. A student can learn where to place their fingers, read certain figures, and perform an entire piece without being able to sing its melody, recognize its structure, or discover for themselves which notes make it up. They can also memorize four chord positions and accompany twenty songs without understanding the relationship between those chords, how to find them in another key, or how to create a new progression. They can play a scale for years as a technical exercise and never discover that a scale is, in reality, <strong>an architecture of relationships between heights<\/strong>.You can memorize the definition of syncopation before you&#039;ve ever felt it in your body. You can identify a perfect fifth in an exam and not recognize it when it appears in a song. Herein lies a fundamental distinction:\n\n<blockquote>\nReproducing musical information and developing musical thinking are different things.\n<\/blockquote>\n\nA truly autonomous student begins to listen for relationships. They can recognize, compare, anticipate, modify, transpose, improvise, compose, accompany, and ask questions. Information then ceases to be a collection of isolated data and begins to become <strong>language<\/strong>.\n\n<figure>\n<img decoding=\"async\" src=\"https:\/\/commons.wikimedia.org\/wiki\/Special:FilePath\/Aula_del_Conservatorio_Superior_de_M%C3%BAsica_Eduardo_Mart%C3%ADnez_Torner.jpg\"\nalt=\"Aula de conservatorio como ejemplo de educaci\u00f3n musical formal\"\nloading=\"lazy\"\/>\n<figcaption>\nAcademic tradition has preserved immense knowledge, techniques, and repertoires. The contemporary challenge lies in expanding its tools, not erasing its legacy. Image: Wikimedia Commons.\n<\/figcaption>\n<\/figure>\n<h2>The problem was never studying theory.<\/h2>\n\nIt&#039;s important to be clear about this. The solution isn&#039;t to eliminate theory, abandon music reading, or declare instrumental technique obsolete. These are all extraordinary tools. The problem arises when <strong>The representation replaces the experience it represents<\/strong>.A musical score is a powerful system for encoding certain musical elements. But the staff is not music. Nor is the name \u201cC major\u201d the sonic experience of C major. The 1-3-5 formula can describe a chord, but knowing the formula doesn&#039;t necessarily mean hearing the third, feeling the stability of the fifth, or understanding how that chord relates to the rest of a key. That&#039;s why a contemporary music education needs to continually connect:\n\n\n<strong>symbol \u2192 sound \u2192 body \u2192 listening \u2192 concept \u2192 creation.<\/strong>\n\n\nAnd we can also go the other way. We can listen first, sing later, identify a relationship, play it, visualize it, and finally discover how to write it down. When that happens, theory stops feeling like an added element to the music. Theory <strong>emerges from the music itself<\/strong>.\n\n<h2>The invisible cost of an overly rigid pedagogy<\/h2>\n\nFor decades, many students learned within models where the teacher chose virtually everything: repertoire, interpretation, pace of progress, exercises, criteria for success, and even, in some cases, the definition of what it meant to \u201cbe musical.\u201d The intention was to achieve excellence. And often it worked. But excellence and rigidity are not synonymous. Contemporary research on musical motivation is paying special attention to three psychological needs that have been extensively studied since the <strong>Self-Determination Theory<\/strong>Autonomy, competence, and relationships with others. Recent studies on music school dropout rates indicate that when these needs are consistently frustrated, motivation can decline. The pedagogical question, then, changes. Instead of:\n\n<p><strong>\u201c&quot;How do I get this student to practice?&quot;\u201d<\/strong><\/p>\n\nwe can ask:\n\n<p><strong>\u201c&quot;What conditions would allow this student to begin to take ownership of their learning?&quot;\u201d<\/strong><\/p>\n\nYou can delve deeper into this line of research in\n<a href=\"https:\/\/www.frontiersin.org\/journals\/psychology\/articles\/10.3389\/fpsyg.2024.1385840\/full\" target=\"_blank\" rel=\"noopener\"><strong>This study on the causes of dropout in music schools<\/strong><\/a>\nand in\n<a href=\"https:\/\/www.frontiersin.org\/journals\/psychology\/articles\/10.3389\/fpsyg.2024.1378843\/full\" target=\"_blank\" rel=\"noopener\"><strong>This research on motivation and dropout tendency<\/strong><\/a>.\n\n<h2>And then came the opposite extreme.<\/h2>\n\nThe internet has democratized an amount of musical knowledge that would have been unimaginable thirty years ago. Today, someone can learn their first chord in minutes, watch a pianist&#039;s hands in slow motion, look up sheet music, isolate the stems of a song, change its key, discover a Japanese scale, and listen to it immediately. It&#039;s extraordinary. But access to information and education are different things. YouTube can answer:\n<p><em>\u201cHow do you play this song?\u201d<\/em><\/p>\n\nAnd an app can respond:\n<p><em>\u201cDid you guess this score?\u201d<\/em><\/p>\n\nWhat no random collection of tutorials alone guarantees is to answer:\n\n\n<strong>\nWhat are you learning?<br \/>\nHow does this connect to what you learned yesterday?<br \/>\nWhat principle is repeated in other music?<br \/>\nWhat should you listen to?<br \/>\nWhat don&#039;t you understand yet?<br \/>\nSo what&#039;s the next step?\n<\/strong>\n\n\nThe result could be what we might call <strong>horizontal learning<\/strong>Every week new songs, new riffs, new chords, and new tricks appear, but the depth remains relatively stable. There is movement. There is not necessarily evolution. Research on <strong>metacognition and self-regulated learning in musicians<\/strong> It precisely demonstrates the importance of learning to plan, observe, evaluate, and modify one&#039;s own practice. The advanced student not only knows more; they progressively learn to become their own master. A particularly useful review on this topic can be found in\n<a href=\"https:\/\/www.frontiersin.org\/journals\/psychology\/articles\/10.3389\/fpsyg.2019.01583\/full\" target=\"_blank\" rel=\"noopener\"><strong>The Role of Metacognitive Skills in Music Learning and Performing<\/strong><\/a>.\n\n<blockquote>\nA good musical education should become less and less necessary because the student becomes increasingly capable of learning on his own.\n<\/blockquote>\n<h2>So, structure or freedom?<\/h2>\n\nBoth. This may be one of the most damaging false dichotomies in music education. Structure allows us to see relationships. Freedom allows us to explore them. Structure without freedom produces dependence. Freedom without structure can produce dispersion. A mature pedagogy creates a map clear enough to orient oneself and open enough to deviate from the path. This aligns with a vast number of pedagogies that, from different perspectives, have attempted to expand traditional music learning.\n\n\n<a href=\"https:\/\/dalcroze.com\/\" target=\"_blank\" rel=\"noopener\"><strong>\u00c9mile Jacques-Dalcroze<\/strong><\/a> He placed the body and movement at the center of the rhythmic experience. The approach of <strong>Carl Orff<\/strong> It integrated language, movement, play, percussion, and improvisation. The tradition associated with <strong>Zolt\u00e1n Kod\u00e1ly<\/strong> She highlighted singing and auditory development.\n\n\n<a href=\"https:\/\/suzukiassociation.org\/es\/about\/about-the-suzuki-method\/\" target=\"_blank\" rel=\"noopener\"><strong>Shinichi Suzuki<\/strong><\/a> She emphasized listening and musical learning inspired by the acquisition of the mother tongue. More recently, the researcher <strong>Lucy Green<\/strong> He studied how popular musicians learn outside of formal institutions: selecting music they love, copying by ear, working with friends, learning entire songs, and blending listening, performance, improvisation, and composition. His work in\n<a href=\"https:\/\/www.ucl.ac.uk\/ioe\/research-projects\/2017\/jun\/adapting-popular-musicians-practices-classroom\" target=\"_blank\" rel=\"noopener\"><strong>UCL Institute of Education<\/strong><\/a>\nThis is particularly relevant because it shows that formal education can learn a great deal from informal processes without abandoning the teacher&#039;s role. None of these proposals needs to become a new orthodoxy. Each reveals a part of the phenomenon. Perhaps the next step is to stop searching. <strong>the definitive method<\/strong> and begin to build educational ecosystems capable of integrating different ways of knowing.\n\n<figure>\n<img decoding=\"async\" src=\"https:\/\/commons.wikimedia.org\/wiki\/Special:FilePath\/Primary_school_students_playing_musical_instrumets_01.jpg\"\nalt=\"Ni\u00f1os tocando instrumentos musicales durante una actividad colectiva\"\nloading=\"lazy\"\/>\n<figcaption>\nCollective learning, play, imitation, and direct musical participation are essential dimensions that can coexist with theory and technique. Wikimedia Commons, CC BY-SA.\n<\/figcaption>\n<\/figure>\n<h2>Latin America needs its own conversation<\/h2>\n\nIn Latin America, this discussion takes on another dimension. Our formal music education systems did not emerge in a vacuum. Much of professional music education inherited structures from the European conservatory: disciplinary divisions, the centrality of the score, the Western academic repertoire, the separation between theory and performance, and certain ideals of virtuosity. All of this legacy contains extraordinary knowledge. The difficulty begins when a particular historical system is presented as if it were <strong>the neutral, universal, and definitive way to understand all music<\/strong>.Latin American researchers have been questioning this phenomenon for years. The article\n<a href=\"https:\/\/www.revistaeducacionmusical.org\/index.php\/rem1\/article\/view\/136\" target=\"_blank\" rel=\"noopener\"><strong>\u201cMusic from Ground Zero. The coloniality of musical theory and analysis in the university\u201d<\/strong><\/a>\nIt specifically analyzes the persistence of certain hegemonic ideas within the teaching of theory and analysis in Latin American universities. Furthermore,\n<a href=\"https:\/\/revistas.unlp.edu.ar\/Epistemus\/article\/view\/2971\" target=\"_blank\" rel=\"noopener\"><strong>\u201cProblematizing the colonial legacy in music education\u201d<\/strong><\/a>\nIt examines how the conservatory model historically contributed to defining not only what music was legitimate, but even what we understood by musician and by musical knowledge. A study of\n<a href=\"https:\/\/revistas.unilibre.edu.co\/index.php\/entramado\/article\/view\/7335\" target=\"_blank\" rel=\"noopener\"><strong>Tolima Conservatory in Colombia<\/strong><\/a>\nIt has also examined the tensions that arise when Colombian music is incorporated into curricular structures inherited from other paradigms. This discussion matters profoundly because Latin America possesses one of the richest musical ecologies on the planet. Here, Indigenous, African, European, and mestizo traditions coexist; rhythmic systems transmitted orally; ritual and community music; sones, marimbas, call-and-response songs, polyrhythms, d\u00e9cimas, joropos, sambas, cumbias, chacareras, huaynos, boleros, salsa, Latin jazz, rock, electronic music, reggaeton, hip-hop, and a virtually immeasurable number of local musical languages. However, for generations, it was perfectly possible to study music professionally in Latin America and learn far more about certain 18th-century European repertoires than about musical traditions existing just a few kilometers from the university itself.\n\n<blockquote>\nThe problem isn&#039;t studying Bach. The problem arises when Bach ends up functioning as the complete map of music.\n<\/blockquote>\n\nA contemporary Latin American music education can encompass European counterpoint and Afro-Cuban clave. Equal temperament and traditional tuning systems. Beethoven and Violeta Parra. Tonal harmony and modal music. Score and oral transmission. Orchestra and electronic production. We don&#039;t need to narrow the scope. We can expand it.\n\n<h2>Access is also part of the problem.<\/h2>\n\nBefore discussing how we teach music, we must acknowledge that millions of people still have highly unequal access to a quality arts education.\n<a href=\"https:\/\/www.unesco.org\/es\/articles\/marco-de-la-unesco-para-la-educacion-cultural-y-artistica-guia-de-aplicacion?hub=917\" target=\"_blank\" rel=\"noopener\"><strong>UNESCO<\/strong><\/a>\nIt has been pointed out that cultural and artistic education is still not systematically integrated at all educational levels around the world. In Latin America and the Caribbean, this reality is further compounded by profound geographic and socioeconomic inequalities that affect the education system as a whole. This means that discussing pedagogical innovation without addressing access would be insufficient. We need better methods. But we also need more teachers, shared resources, spaces, infrastructure, technology, community programs, and models capable of operating outside of traditional institutions.\n\n<figure>\n<img decoding=\"async\" src=\"https:\/\/commons.wikimedia.org\/wiki\/Special:FilePath\/El_Sistema_en_Maracay.jpg\"\nalt=\"J\u00f3venes m\u00fasicos participando en El Sistema de Venezuela\"\nloading=\"lazy\"\/>\n<figcaption>\nCollective programs like El Sistema in Venezuela raised another fundamental question: what happens when music education is also considered as social and community infrastructure? Image: Wikimedia Commons.\n<\/figcaption>\n<\/figure>\n\nOne of the most internationally influential Latin American experiments in collective music education has been\n<a href=\"https:\/\/elsistema.org.ve\/que-es-el-sistema\/\" target=\"_blank\" rel=\"noopener\"><strong>The Venezuelan System<\/strong><\/a>,Founded in 1975 and built around collective practice through orchestras and choirs, its enormous expansion, regardless of any debates that may arise regarding any specific program, revealed something fundamental:\n<strong>Music education can be conceived as a community structure and not merely as a sequence of private classes.<\/strong>\n\n<h2>The United States faces another version of the same dilemma<\/h2>\n\nThe situation in the United States is different, but it serves as a contrast. Recent data from\n<a href=\"https:\/\/nces.ed.gov\/surveys\/spp\/results.asp\" target=\"_blank\" rel=\"noopener\"><strong>National Center for Education Statistics<\/strong><\/a>\nThey indicate that music continues to be one of the most widely offered artistic disciplines in US public schools. However, the existence of a music subject in a school does not mean that all students participate, that there are the same resources, or that the educational experiences are equivalent.\n<a href=\"https:\/\/artseddata.org\/\" target=\"_blank\" rel=\"noopener\"><strong>Arts Education Data Project<\/strong><\/a>\nIt has documented inequalities in access and participation, especially related to low-income communities and historically underserved groups. The United States has also been engaged in another debate for decades: school bands, choirs, and orchestras produce extraordinary musical communities, but certain programs can end up being primarily oriented toward concerts, festivals, and competitions. The student learns to perform their part within the ensemble. But the question arises again:\n<p><strong>Is he also learning to think like a musician?<\/strong><\/p>\n\nCan they play without a conductor? Can they improvise? Can they arrange? Can they produce? Can they learn a song by ear? Can they understand music outside the ensemble&#039;s repertoire? The answer depends on the program. And that&#039;s precisely why we need to broaden the definition of musical literacy.\n\n<h2>Reading music cannot be our only definition of literacy<\/h2>\n\nImagine if we called someone &quot;literate&quot; simply because they could read a language, even if they were unable to listen to it, understand it, converse in it, or formulate a sentence of their own. It would seem absurd. However, in music, we have long accepted a similar idea. Reading is a form of musical literacy. But so are:\n\n\n<strong>\nlisten to a melody and play it back;<br \/>\nfeel a metric;<br \/>\nto recognize a harmonious relationship;<br \/>\nmemorize a shape;<br \/>\naccompany another musician;<br \/>\ntune the voice;<br \/>\nimprovise;<br \/>\ntransport;<br \/>\ncreate variations;<br \/>\nproduce sound;<br \/>\ncompose;<br \/>\nand understand the cultural context of what we hear.\n<\/strong>\n\n\nA contemporary education should develop several of these literacies simultaneously.\n\n<h2>The nature of music should be made visible<\/h2>\n\nHere we arrive at one of the biggest problems with fragmented methods. When we teach only songs, positions, patterns, or definitions, it can take the student years to discover that beneath thousands of different musical pieces lie relationships that reappear time and again. An octave is not simply \u201ceight notes.\u201d An interval is a relationship between frequencies and, at the same time, a perceptual experience. Scales organize melodic possibilities. Chords organize simultaneous relationships. Rhythm organizes events within time. Form organizes memory, repetition, expectation, and contrast. Timbre allows two sounds of similar pitch to possess entirely different identities. Harmonics connect acoustics, tuning, timbre, and the history of different musical systems. When these relationships begin to reveal themselves, the student stops learning thousands of exceptions. They begin to recognize families. Patterns. Symmetries. Tensions. Transformations. Then theory fulfills its true purpose:\n<blockquote>\nto make audible what was previously hidden.\n<\/blockquote>\n<h2>Creating shouldn&#039;t be the reward after learning<\/h2>\n\nThere&#039;s a strange idea in some music education: first you study for years, and when you finally &quot;know enough,&quot; then you can improvise or compose. But a child learning language doesn&#039;t wait to master grammar to invent a sentence. They experiment from the very beginning. They make mistakes. They imitate. They combine. They ask questions. They play. Creation shouldn&#039;t appear at the end of the musical process. It can be one of the mechanisms by which we learn. A student who has just learned three notes can already invent a melody. Someone who discovers a pulse can improvise rhythms. A student who knows two chords can explore tension and release. Someone who discovers a scale can build small compositions with it. Every new concept can immediately become creative material. That radically changes the relationship with knowledge. The student stops simply asking questions:\n<p><em>\u201c&quot;Did I do it correctly?&quot;\u201d<\/em><\/p>\n\nand he also begins to ask:\n<p><em>\u201c&quot;What can I do about this?&quot;\u201d<\/em><\/p>\n<h2>The future needs different teachers<\/h2>\n\nThis doesn&#039;t mean the teacher disappears either. Quite the opposite. A more open education requires better-prepared teachers. It&#039;s relatively easy to follow a fixed method page by page. It&#039;s much more complex to observe a student and ask oneself:\n\n<strong>\nWhat are you listening to now?<br \/>\nWhat relationship do you still not perceive?<br \/>\nWhat concept would unlock several problems simultaneously?<br \/>\nWhat repertoire would spark curiosity?<br \/>\nWhen do you need an explanation?<br \/>\nWhen do you need to repeat?<br \/>\nWhen do you need silence?<br \/>\nWhen does he need to play?<br \/>\nWhen should I intervene and when should I let them discover?\n<\/strong>\n\n\nThe teacher of the future is less like a guardian of answers and more like a <strong>cartographer<\/strong>.He knows the territory well enough to show paths, connections, and shortcuts, but he doesn&#039;t force all students to take exactly the same route.\n\n<figure>\n<img decoding=\"async\" src=\"https:\/\/commons.wikimedia.org\/wiki\/Special:FilePath\/Digital_audio_workstation_classroom.webp\"\nalt=\"Aula contempor\u00e1nea de producci\u00f3n y tecnolog\u00eda musical con instrumentos electr\u00f3nicos\"\nloading=\"lazy\"\/>\n<figcaption>\nTechnology radically expands what a music classroom can mean: recording, producing, visualizing, experimenting, and listening can coexist with acoustic instruments and traditional practices. Wikimedia Commons, CC0.\n<\/figcaption>\n<\/figure>\n<h2>Technology changes the tools, but it doesn&#039;t solve pedagogy.<\/h2>\n\nWe are also entering an even more complex stage. Production software, automatic instrument separation, audio visualizers, smart tuners, interactive platforms, and artificial intelligence offer extraordinary educational possibilities. A student can receive immediate feedback. They can slow down music without altering its pitch. They can analyze a spectrum. They can record themselves and compare their performance. They can generate accompaniments. They can explore harmonies without needing a full orchestra in front of them. But technology presents precisely the same pedagogical dilemma. It can increase autonomy. It can also create dependency. A systematic review published in 2026 on digital tools and artificial intelligence applied to musical practice points to both their potential to support self-regulation and the risk of a <strong>overattendance<\/strong> that reduces student autonomy. You can consult the study at\n<a href=\"https:\/\/www.frontiersin.org\/journals\/psychology\/articles\/10.3389\/fpsyg.2026.1947824\/abstract\" target=\"_blank\" rel=\"noopener\"><strong>Frontiers in Psychology<\/strong><\/a>.The best educational technology doesn&#039;t think for the student. It helps them to better observe what they need to think about.\n\n<h2>What might a music education that does evolve look like?<\/h2>\n\nWe don&#039;t need another rigid methodology that claims to have all the answers. We can start with some principles.\n\n<h3>10 principles for a new music education<\/h3>\n01\n<h3>The sound before its explanation<\/h3>\n<p>Whenever possible, listen, sing, move, or touch a relationship before turning it into terminology.<\/p>\n02\n<h3>Theory as a map<\/h3>\n<p>Teach concepts because they allow you to connect experiences and solve problems, not because they appear on an exam.<\/p>\n03\n<h3>Create from day one<\/h3>\n<p>Improvisation, composition, variation, and play can accompany any technical level.<\/p>\n04\n<h3>Spiral learning<\/h3>\n<p>Returning to rhythm, melody, intervals, harmony, and form with increasing depth instead of considering them as chapters that are &quot;finished&quot;.<\/p>\n05\n<h3>Listen to multiple types of music<\/h3>\n<p>Understanding Western academic music, popular music, oral traditions, local music, and musical systems from other cultures expands one&#039;s ear and thinking.<\/p>\n06\n<h3>Integrate body, voice, and hearing<\/h3>\n<p>Musical knowledge doesn&#039;t reside solely in the fingers or on a screen. Pulse, breath, tuning, and listening are also embodied.<\/p>\n07\n<h3>Teach how to practice<\/h3>\n<p>Defining goals, detecting problems, choosing strategies, observing results, and adjusting the process should be explicit skills.<\/p>\n08\n<h3>Connecting concept and repertoire<\/h3>\n<p>A scale only makes sense when it can be heard in real songs. A chord only makes sense when it can be transformed and used.<\/p>\n09\n<h3>Using technology to reveal<\/h3>\n<p>Visualization, recording, production, and digital tools can make perceptible phenomena that were previously abstract.<\/p>\n10\n<h3>Building autonomy<\/h3>\n<p>The ultimate goal of teaching is not to produce dependence on the teacher, but students capable of listening, researching, creating, and continuing to learn.<\/p>\n<h2>Six verbs could reorganize the entire curriculum<\/h2>\n\nIf we were to reduce this proposal to an extremely simple structure, perhaps we wouldn&#039;t start with subjects. We would start with actions. 01\n<h3>Hear<\/h3>\n<p>Distinguish, remember, compare, anticipate and recognize sound relationships.<\/p>\n02\n<h3>Feel<\/h3>\n<p>Integrate rhythm, breathing, movement, coordination, and body experience.<\/p>\n03\n<h3>Grasp<\/h3>\n<p>Discover structures, proportions, scales, intervals, harmony, form and acoustics.<\/p>\n04\n<h3>Tap<\/h3>\n<p>Develop technique to convert musical intention into sound.<\/p>\n05\n<h3>Create<\/h3>\n<p>To improvise, to transform, to arrange, to compose and to produce.<\/p>\n06\n<h3>Share<\/h3>\n<p>Listening to others, accompanying, dialoguing, rehearsing and building music collectively.<\/p>\n\nA beginner student can practice all six. A professional musician can too. What changes is the depth. Perhaps therein lies an essential difference between a curriculum built as a ladder and one built as... <strong>multidimensional map<\/strong>.\n\n<h2>We don&#039;t need to produce only professional musicians.<\/h2>\n\nThere&#039;s another idea that deserves further development. The success of a music education shouldn&#039;t be measured solely by how many students become professional musicians. Just as teaching literature doesn&#039;t assume everyone will become a novelist, learning music has value even if someone never makes a living from it. We can train professional composers, performers, and producers. We can also cultivate exceptional listeners. People who sing with their children. Adults who improvise with friends. Teachers. Researchers. DJs. Instrument makers. People who understand the sounds around them. Communities that preserve a tradition. And human beings capable of participating musically in their own culture. That, too, is educational success.\n\n<h2>Music also doesn&#039;t need to defend itself by saying that it improves mathematics.<\/h2>\n\nFor years, a common strategy for defending music education has been to claim that studying music necessarily makes children better at math, reading, or general intelligence. It&#039;s an appealing narrative. The scientific evidence is more complex. Some research has found certain associations and close transfers, while methodologically rigorous meta-analyses have questioned whether music instruction automatically produces overall improvements in academic performance or intelligence. For example,\n<a href=\"https:\/\/pmc.ncbi.nlm.nih.gov\/articles\/PMC7683441\/\" target=\"_blank\" rel=\"noopener\"><strong>This meta-analysis on musical training and children&#039;s cognitive performance<\/strong><\/a>\nIt actually encourages us to be much more cautious with those claims. And that doesn&#039;t weaken the argument in favor of music. It strengthens it.\n\n<blockquote>\nWe don&#039;t need to justify music because it might improve another subject. Learning music is already learning something profoundly complex, human, and valuable.\n<\/blockquote>\n\nMusic develops specifically musical skills: listening, synchronization, coordination, auditory memory, interpretation, expression, repertoire, timbre sensitivity, and temporal awareness. Furthermore, it creates cultural and social experiences that have intrinsic value. It does not need to become a tool subordinate to mathematics to deserve a place in education.\n\n<h2>Latin America can build something that the rest of the world needs to learn.<\/h2>\n\nFor too long, educational innovation in our region has been described as the task of striving for models developed elsewhere. In music, we could invert the question. What can the world learn from a region where oral tradition remains alive? What can we learn from cultures where music and dance are still deeply intertwined? What can a tradition teach us in which playing and gathering are often one and the same? What happens if we bring contemporary acoustic knowledge into dialogue with ancestral instruments? Electronic production with folk music? The exploration of scales with repertoires from diverse cultures? Improvisation with geometry, movement, voice, and technology? Latin America doesn&#039;t need to choose between tradition and future. It has the material to build futures precisely because it possesses so many traditions.\n\n<h2>Music education of the future will have to be profoundly human.<\/h2>\n\nStudents starting today will grow up in a world where a machine can generate harmonies, accompaniments, scores, mixes, and perhaps technically flawless performances in seconds. This changes our responsibility as educators. Memorizing information that a computer can instantly retrieve will have less and less value on its own. Deep listening will have more. Asking questions will have more. Developing critical thinking will have more. Understanding relationships will have more. Creating with intention will have more. Finding one&#039;s own voice will have more. Playing with other human beings will have more. Music education doesn&#039;t need to compete with technology. It needs to develop people capable of using it without surrendering their curiosity, their ear, or their ability to make decisions.\n\n<h2>A new definition of musical progress<\/h2>\n\nPerhaps we should also reconsider what \u201cprogress\u201d means. Progressing isn\u2019t just about playing more difficult pieces. It can also mean: hearing something we didn\u2019t hear before; understanding a relationship that previously seemed invisible; needing fewer instructions to learn a song; detecting our own mistakes; finding multiple solutions to the same problem; playing with someone who thinks musically in a different way; daring to improvise; creating a melody; or discovering that what seemed complicated is based on a surprisingly simple principle. That, too, is virtuosity.\n\n<h2>The question is no longer which method we should defend<\/h2>\n\nPerhaps that is precisely the conversation that needs to change. For decades we have defended schools, methods, genres, and traditions as separate territories. Music has never been so separate. Rhythm, melody, voice, movement, proportion, timbre, memory, culture, technology, and community are all part of the same extraordinarily complex phenomenon. Music education can begin to resemble more closely what it seeks to teach. It can have structure without becoming a cage. It can be free without losing its direction. It can respect tradition and continue to explore. It can study early repertoires and produce electronic music. It can read and play by ear. It can analyze and feel. It can train professionals and amateurs. It can teach answers. And, above all, it can teach how to ask better questions.\n<blockquote>\nMusic education will have to evolve because music always has.\n<\/blockquote>\n<h2>Frequently Asked Questions about Music Education<\/h2>\n<h3>What&#039;s wrong with traditional methods of music education?<\/h3>\n\nTraditional methods are not inherently negative and have produced extraordinary musicians and knowledge. The problem arises when they are applied rigidly, reducing autonomy, creativity, listening skills, or exposure to different repertoires and learning styles.\n\n<h3>Is it possible to learn music without studying theory?<\/h3>\n\nYes, it is possible to develop many musical skills through listening, imitation, and informal practice. However, well-taught theory can accelerate understanding by revealing relationships between rhythm, intervals, scales, harmony, and form. The key is to always connect the concept to a sonic experience.\n\n<h3>What is the best way to learn music?<\/h3>\n\nThere is no single ideal method for everyone. A comprehensive education combines listening, instrumental practice, voice, rhythm, applied theory, repertoire, improvisation, creation, feedback, and progressive autonomy.\n\n<h3>Why do some students drop out of music?<\/h3>\n\nThe reasons are numerous. Recent research points to factors such as motivation, autonomy, sense of competence, relationship with the teacher, repertoire, expectations, academic pressure, and compatibility of musical studies with other areas of life.\n\n<h3>Should music education include improvisation?<\/h3>\n\nYes. Improvisation allows for the active use of rhythm, melody, scales, ear training, and harmony. It can be introduced at beginner levels with simple constraints and its complexity gradually increased.\n\n<h3>Why is it important to include Latin American music in education?<\/h3>\n\nBecause they allow the study of other forms of rhythm, transmission, musical organization, identity, and community practice. Integrating them broadens the student&#039;s musical horizons and connects learning with the cultures of the region.\n\n<h3>Will artificial intelligence replace music teachers?<\/h3>\n\nYou can automate tasks, offer feedback, and facilitate access to information, but teaching music involves observing human processes, developing judgment, listening to context, supporting motivation, and designing meaningful experiences. The teacher&#039;s role will likely change more than it will disappear.\n\n<h3>Sources and readings for further study<\/h3>\n<ul>\n<li>\n<a href=\"https:\/\/www.unesco.org\/es\/articles\/marco-de-la-unesco-para-la-educacion-cultural-y-artistica-guia-de-aplicacion?hub=917\" target=\"_blank\" rel=\"noopener\">\n<strong>UNESCO \u2013 Framework for Cultural and Artistic Education<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/www.unesco.org\/en\/articles\/implementation-guidance-unesco-framework-culture-and-arts-education\" target=\"_blank\" rel=\"noopener\">\n<strong>UNESCO \u2013 Implementation Guidance for Culture and Arts Education<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/www.frontiersin.org\/journals\/psychology\/articles\/10.3389\/fpsyg.2024.1385840\/full\" target=\"_blank\" rel=\"noopener\">\n<strong>Frontiers \u2013 The key reasons for dropout in music schools<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/www.frontiersin.org\/journals\/psychology\/articles\/10.3389\/fpsyg.2024.1378843\/full\" target=\"_blank\" rel=\"noopener\">\n<strong>Frontiers \u2013 Who stays? Who goes? Motivation and tendency to drop out<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/www.frontiersin.org\/journals\/education\/articles\/10.3389\/feduc.2022.1102011\/full\" target=\"_blank\" rel=\"noopener\">\n<strong>Frontiers \u2013 Creative autonomy support in school music education<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/www.ucl.ac.uk\/ioe\/research-projects\/2017\/jun\/adapting-popular-musicians-practices-classroom\" target=\"_blank\" rel=\"noopener\">\n<strong>UCL \u2013 Lucy Green: informal musical learning in the classroom<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/discovery.ucl.ac.uk\/id\/eprint\/10006725\/\" target=\"_blank\" rel=\"noopener\">\n<strong>UCL Discovery \u2013 Informal learning in the music classroom<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/www.frontiersin.org\/journals\/psychology\/articles\/10.3389\/fpsyg.2019.01583\/full\" target=\"_blank\" rel=\"noopener\">\n<strong>Frontiers \u2013 Metacognition in music learning and performing<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/pmc.ncbi.nlm.nih.gov\/articles\/PMC12602492\/\" target=\"_blank\" rel=\"noopener\">\n<strong>Research on feedback and independent musicianship<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/revistas.unlp.edu.ar\/Epistemus\/article\/view\/2971\" target=\"_blank\" rel=\"noopener\">\n<strong>Problematizing the colonial legacy in music education<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/www.revistaeducacionmusical.org\/index.php\/rem1\/article\/view\/136\" target=\"_blank\" rel=\"noopener\">\n<strong>The coloniality of musical theory and analysis in the university<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/revistas.unilibre.edu.co\/index.php\/entramado\/article\/view\/7335\" target=\"_blank\" rel=\"noopener\">\n<strong>Coloniality, curriculum and interest in music education: Tolima Conservatory<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/artseddata.org\/\" target=\"_blank\" rel=\"noopener\">\n<strong>Arts Education Data Project \u2013 United States<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/nces.ed.gov\/surveys\/spp\/results.asp\" target=\"_blank\" rel=\"noopener\">\n<strong>National Center for Education Statistics \u2013 Arts Education<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/elsistema.org.ve\/que-es-el-sistema\/\" target=\"_blank\" rel=\"noopener\">\n<strong>The System \u2013 Venezuela<\/strong>\n<\/a>\n<\/li>\n<li>\n<a href=\"https:\/\/pmc.ncbi.nlm.nih.gov\/articles\/PMC7683441\/\" target=\"_blank\" rel=\"noopener\">\n<strong>Meta-analysis \u2013 Cognitive and academic benefits of music training<\/strong>\n<\/a>\n<\/li>\n<\/ul>\n<h2>The future of music education is also built by learning differently.<\/h2>\n\nAt Legatto, we explore music as a territory where listening, understanding, and creating are all part of the same process. Rhythm, melody, harmony, voice, scales, proportion, improvisation, and sonic experience connect on a shared map.\n\n<a href=\"https:\/\/legatto.space\/en\/metodologia\/\">\nLearn about our methodology\n<\/a>\n&nbsp;&nbsp;\n<a href=\"https:\/\/legatto.space\/en\/aprender\/\">\nExplore programs\n<\/a>\n<\/article>\n<!-- =========================================================\n     FAQ SCHEMA \u00b7 AEO\n     ========================================================= -->","protected":false},"excerpt":{"rendered":"<p>Music education has oscillated between two extremes: rigid methods that can stifle curiosity and unstructured learning that hinders profound progress. We explore what needs to change and how a freer, more rigorous, humane, and Latin American-focused music education could be built.<\/p>","protected":false},"author":1,"featured_media":2550,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[21,22],"tags":[102,105,104,103],"class_list":["post-2549","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-research","tag-educacion","tag-educacion-musical-2","tag-metodos","tag-musical"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>La 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