{"id":2557,"date":"2026-09-10T15:01:35","date_gmt":"2026-09-10T15:01:35","guid":{"rendered":"https:\/\/legatto.space\/?p=2557"},"modified":"2026-09-11T02:02:17","modified_gmt":"2026-09-11T02:02:17","slug":"sabes-mas-musica-de-la-que-crees","status":"publish","type":"post","link":"https:\/\/legatto.space\/en\/sabes-mas-musica-de-la-que-crees\/","title":{"rendered":"You know more about music than you think."},"content":{"rendered":"<!-- =========================================================\n     LEGATTO SPACE \u00b7 BLOG\n     SABES M\u00c1S M\u00daSICA DE LA QUE CREES\n     =========================================================\n     SEO TITLE:\n     Sabes m\u00e1s m\u00fasica de la que crees | Musicalidad y percepci\u00f3n\n     META DESCRIPTION:\n     Antes de conocer escalas, acordes o partituras, ya percibimos\n     ritmo, tensi\u00f3n, direcci\u00f3n y reposo. Jacob Collier y la ciencia\n     de la cognici\u00f3n musical revelan cu\u00e1nto sabemos antes de estudiar teor\u00eda.\n     KEYWORDS:\n     aprender m\u00fasica, percepci\u00f3n musical, Jacob Collier, teor\u00eda musical,\n     educaci\u00f3n musical, musicalidad, o\u00eddo musical, cognici\u00f3n musical,\n     armon\u00eda, ritmo, entrenamiento auditivo\n     CATEGORY:\n     Educaci\u00f3n Musical \u00b7 Percepci\u00f3n \u00b7 Conciencia Musical\n     READ TIME:\n     11-13 min\n     ========================================================= -->\n<style>\n\/* =========================================================\n   LEGATTO \u00b7 SABES M\u00c1S M\u00daSICA DE LA QUE CREES\n   ========================================================= *\/\n.legatto-musicalidad{\n    --black:#141414;\n    --dark:#212121;\n    --sun:#f6c703;\n    --paper:#f4f0e7;\n    --paper2:#ebe5d8;\n    --text:#202020;\n    --muted:#6f6b63;\n    --line:rgba(20,20,20,.13);\n    max-width:980px;\n    margin:0 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var(--line);\n    }\n}\n<\/style>\n<article>\n    Musical Awareness. Perhaps you&#039;ve never studied harmony. Maybe you can&#039;t explain what a dominant is, write a scale, or recognize an interval by name. Yet, when a melody hangs suspended, you know something is missing. When it finally resolves its tension, you feel it. When the rhythm changes, your body detects it. When a voice rises, you know where it has moved. Long before we learn the names of things, we are already learning to listen.\n    \n    <!-- RESPUESTA DIRECTA -->\n        Direct answer\n        \n            <strong>Yes: a person can possess complex musical knowledge without having formally studied music theory.<\/strong> Daily exposure to songs, rhythms, voices, and patterns allows one to develop expectations about tonality, meter, tension, relaxation, and structure. Formal training can then provide greater precision, vocabulary, and conscious control over that knowledge.\n        \n    <h2>Experience comes before the name<\/h2>\n    \n        Imagine someone playing a familiar melody and, just before the last note, stopping. Something inside you will likely continue the phrase. You might not even know which note you&#039;re waiting for. You don&#039;t know its name, its harmonic function, or its frequency. But you can feel that\n        <em>Something should happen next.<\/em>.That difference between power <strong>feel a musical connection<\/strong>\n        and power <strong>explain it conceptually<\/strong> It is fundamental. We often confuse musical knowledge with musical vocabulary. Research in musical cognition has been studying precisely this phenomenon for decades. In a major review published in\n        <em>Cognition<\/em>, Emmanuel Bigand and B\u00e9n\u00e9dicte Poulin-Charronnat analyzed the musical abilities of people without formal musical training. The results include perceptions of tension and relaxation, musical expectations, harmonic relationships, and emotional responses. Their provocative description of these individuals is...\n        <strong>\n            <a href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/16412412\/\"\n               target=\"_blank\" rel=\"noopener\">\n                \u201cexperienced listeners\u201d \u2013 experienced listeners\n            <\/a>\n        <\/strong>.Someone may not have spent ten years at a conservatory but have simultaneously spent ten, twenty, or forty years listening to music. That exposure leaves its mark. Listening to music for years is also a form of learning, even though we almost never call it that.\n    <!-- IMAGEN 1 -->\n    <figure>\n        <img decoding=\"async\" src=\"https:\/\/images.unsplash.com\/photo-1727407312488-b9bf6ba17d88?auto=format&#038;fit=crop&#038;w=1800&#038;q=85\"\n            alt=\"Ni\u00f1a escuchando m\u00fasica con aud\u00edfonos, ejemplo de aprendizaje musical cotidiano\"\n            loading=\"lazy\"\/>\n        <figcaption>\n            Much of our auditory education happens long before formal lessons: listening, singing, moving, and repeating music. Photo: Ladislav Stercell \/ Unsplash.\n        <\/figcaption>\n    <\/figure>\n    <h2>Then Jacob Collier raises a hand\u2026<\/h2>\n    \n        There&#039;s a scene that makes this idea almost impossible to ignore. In a conversation with Simon Sinek for\n        <strong>\n            <a href=\"https:\/\/www.youtube.com\/watch?v=22XTudPdOP8&#038;t=931s\"\n               target=\"_blank\" rel=\"noopener\">\n                A Bit of Optimism\n            <\/a>\n        <\/strong>,Jacob Collier recalls how he began transforming his audiences into enormous impromptu choirs. The story, curiously, begins much earlier. One of his earliest memories is watching his mother, the violinist, conductor, and educator Susan Collier, leading groups of musicians. Little Jacob would see her arms move and hear how, immediately, the sound of an entire room would respond. To a child, it seemed like magic.\n        <strong>One person would move their body and many others would turn the gesture into music.<\/strong>\n    \n    \n        Years later, that image would reappear in an unexpected way.\n    \n    <h3>San Francisco, February 2019<\/h3>\n    \n        Collier pinpoints a pivotal moment to late February 2019, during a concert in San Francisco. He was performing <em>Blackbird<\/em>, The Beatles&#039; song, which he frequently used because much of the audience already knew it. As he reached the end, he began to build repetitive patterns with the voices of the audience. He divided the room into <strong>three sections<\/strong>.Each group received a different part of the phrase. The voices began to circulate like human loops until together they formed a chord.\n        <strong>F major<\/strong>.Jacob slowed the pattern down. Finally, the audience was holding the chord. And then something new happened. Collier looked at one of the sections and pointed upward. The group responded by raising their note. He pointed in another direction. The voices moved again. He was no longer teaching melodies note by note. There were no scores, no rehearsals, no explanations of harmony. He had before him an enormous human instrument capable of moving within a tonal space through <strong>gestures<\/strong>.\n    \n    <!-- VIDEO -->\n            <iframe\n                src=\"https:\/\/www.youtube.com\/embed\/22XTudPdOP8?start=931\"\n                title=\"Jacob Collier talks about how he started conducting his audience choirs\"\n                loading=\"lazy\"\n                allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\"\n                allowfullscreen>\n            <\/iframe>\n            The Audience Choir&#039;s story begins at approximately 15:31. Later, around 20:39, Collier develops the idea that people understand much more musically than they believe.\n    <h2>How can a crowd understand those instructions?<\/h2>\n    \n        That&#039;s the truly interesting question. Jacob could have said, &quot;Raise a major second,&quot; &quot;Descend chromatically,&quot; &quot;Now form this inversion,&quot; or any other instruction typical of technical language. Instead, he moves his hands. Up. Down. A little. A lot. Softer. More intensely. And thousands of people respond. In another conversation, this time with\n        <strong>\n            <a href=\"https:\/\/www.pbs.org\/wnet\/amanpour-and-company\/video\/four-days-one-guitar-inside-the-making-of-jacob-colliers-new-album-q0ycgz-2-2\/\"\n               target=\"_blank\" rel=\"noopener\">\n                PBS \/ Amanpour &amp; Company\n            <\/a>\n        <\/strong>,Collier explains a simple principle behind the Audience Choir: divide the audience into groups, establish opening notes, and then let the movement of their hands communicate where each section should move. There he summarizes part of his philosophy with an extraordinarily simple idea: <strong>\u201cpermission is more important than skill\u201d<\/strong>.Permission before ability.\n    \n    <!-- IMAGEN 2 -->\n    <figure>\n        <img decoding=\"async\" src=\"https:\/\/cache.umusic.com\/_sites\/_halo\/jacobcollier3\/images\/HEADER_Tour.jpg\"\n            alt=\"Jacob Collier frente a una gran audiencia durante un concierto\"\n            loading=\"lazy\"\/>\n        <figcaption>\n            At Jacob Collier&#039;s concerts, the audience can transition from spectator to participant and become part of the musical instrument. Image: Jacob Collier&#039;s official website.\n        <\/figcaption>\n    <\/figure>\n    <h2>Music can be reduced to very simple relationships<\/h2>\n    \n        In the interview with Sinek, Jacob proposes something particularly useful for thinking about music education. Before getting to scales, chord symbols, or nomenclature, there are some extremely simple perceptual axes. Pitch\n            <strong>High \u2195 Low<\/strong>\n            Dynamic\n            <strong>Strong \u2195 Soft<\/strong>\n            Density\n            <strong>Much \u2195 Little<\/strong>\n            Space\n            <strong>Wide \u2195 Narrow<\/strong>\n    \n        A child can distinguish a high-pitched voice from a low-pitched one without knowing the words. <em>sharp<\/em> and <em>serious<\/em>.We can recognize that a sound grew louder without calculating its decibels. We can perceive that a texture filled up when twenty voices entered and became empty when only one remained. Conceptual knowledge can come later. First, there was an experience.\n    \n    <h2>We also know when we get home<\/h2>\n    \n        Then Jacob sits down at the piano and adds another axis, much more abstract and perhaps even more interesting:\n    \n    \n        <strong>departure and arrival.<\/strong>\n    \n    \n        Use the key of F as an example.\n    \n        <h3>Fa as \u201chouse\u201d<\/h3>\n        \n            A key can establish a kind of perceptual center. We remain there for a while, and the ear begins to build expectations. We can move away from that center, explore other chords, increase the tension, and finally return. When the return occurs, that peculiar sensation appears:\n            <strong>\u201cAh, we\u2019re here.\u201d.<\/strong>\n        \n    \n        Music theory may call these relationships tonic, dominant, harmonic function, voice leading, or cadence. However, perceptual experience can emerge long before these names. As early as 1979, Carol Krumhansl and Roger Shepard were investigating how listeners judged which notes seemed to adequately complete a tonal context. Their results showed a perceptual hierarchy: some notes feel more stable and more closely related to the tonal center than others. You can consult the\n        <strong>\n            <a href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/528960\/\"\n               target=\"_blank\" rel=\"noopener\">\n                original study on tonal hierarchy\n            <\/a>\n        <\/strong>.\n    \n            <small>01<\/small>\n            <strong>Center<\/strong>\n            <small>02<\/small>\n            <strong>Motion<\/strong>\n            <small>03<\/small>\n            <strong>Strain<\/strong>\n            <small>04<\/small>\n            <strong>Return<\/strong>\n    \n        And this happens constantly while we listen to music. Our brain makes small predictions: something will continue, something will change, something is about to happen, something still needs to be resolved.\n    \n    <h2>But beware: \u201cintuitive\u201d does not mean completely universal<\/h2>\n    \n        Herein lies a crucial distinction. When we perceive a tonal resolution as obvious, we can easily assume that this relationship was ingrained in our minds from birth. Scientific evidence suggests a far more interesting story. Humans appear to be born with extraordinary abilities to detect sonic and temporal relationships. A study by Erin Hannon and Scott Johnson showed that seven-month-old infants could use metric structure to categorize rhythms and melodies. You can consult the\n        <strong>\n            <a href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/15893524\/\"\n               target=\"_blank\" rel=\"noopener\">\n                research published in Cognitive Psychology\n            <\/a>\n        <\/strong>.However, as we grow, our perception also becomes specialized in the music that surrounds us. Hannon and Sandra Trehub found something revealing when comparing the perception of simple and complex metrics. Young babies showed sensitivity to both types of organization, while adults responded according to patterns specific to their cultural experience.\n        <strong>\n            <a href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/15660851\/\"\n               target=\"_blank\" rel=\"noopener\">\n                study on metric categories\n            <\/a>\n        <\/strong>\n        It offers a fascinating window into this process. Literature uses a particularly useful word:\n        <strong>musical enculturation<\/strong>.We listen to hundreds and then thousands of hours of music. Our perceptual system begins to identify patterns: which rhythms appear together, where accents tend to fall, which notes tend to follow others, which combinations signal rest, which generate anticipation. A review of musical acquisition describes precisely this transition between early auditory abilities, cultural exposure, and formal training:\n        <strong>\n            <a href=\"https:\/\/www.sciencedirect.com\/science\/article\/pii\/S1364661307002410\"\n               target=\"_blank\" rel=\"noopener\">\n                Music acquisition: effects of enculturation and formal training\n            <\/a>\n        <\/strong>.\n    \n        <strong>An important distinction<\/strong>\n        Having musical intuition doesn&#039;t mean that everyone in the world anticipates exactly the same chords, scales, or meters. We also learn the grammar of the music that surrounds us. Human musicality combines perception, body, memory, exposure, and culture.\n    <h2>Your ear has been compiling statistics for years without telling you.<\/h2>\n    \n        There&#039;s another way to understand it. Every time you listen to music, your brain receives information about which events tend to occur together. After countless songs, a kind of probabilistic map begins to emerge. Some continuations are frequent. Others are surprising. Some produce a strong sense of stability. Others seem to raise a question. You don&#039;t need to consciously calculate these probabilities. Studies on <strong>auditory statistical learning<\/strong>\n        They have shown that even participants without musical training can acquire regularities within sequences of tones. Further research shows that specialized training can refine some of these abilities. This is a good reason to abandon a very common notion: that before studying music theory, the student arrives &quot;empty.&quot; The student arrives with years of music inside: memories, expectations, movements, songs, accents, tensions, and resolutions.\n    <h2>So, why study theory?<\/h2>\n    \n        To increase resolution. This expression appears very naturally in Jacob Collier&#039;s conversation. We can begin by understanding <em>high and low<\/em>.First we distinguish distances. Later, tones, semitones, and intervals appear. Eventually, we can recognize a major third, a perfect fifth, or a minor ninth. The initial perception remains. What increases is our capacity to\n        <strong>observe it, name it, reproduce it, transform it, and use it deliberately.<\/strong>\n    \n    \n        The same is true of harmony. First we sense that something is receding. Then we can understand why. First we hear stillness. Then we learn to create it. First we recognize a color. Then we discover which notes produce it. In that sense, music theory can function as a\n        <strong>microscope for listening<\/strong>.\n    \n    <!-- IMAGEN 3 -->\n    <figure>\n        <img decoding=\"async\" src=\"https:\/\/images.unsplash.com\/photo-1662478998814-15f53512c6c7?auto=format&#038;fit=crop&#038;w=1800&#038;q=85\"\n            alt=\"P\u00fablico participando durante un concierto\"\n            loading=\"lazy\"\/>\n        <figcaption>\n            A crowd can coordinate rhythm, intensity, entrances, repetitions, and collective singing without sharing technical vocabulary. Photo: Paul \/ Unsplash.\n        <\/figcaption>\n    <\/figure>\n    <h2>A musical education could begin here.<\/h2>\n    \n        Let&#039;s think about a first music lesson. We could begin by showing a page full of symbols. We could also begin by asking:\n    \n    \n        <strong>Which of these sounds feels louder?<\/strong>\n    \n    \n        Then:\n        <strong>Where do you think this melody is going?<\/strong>\n    \n    \n        After:\n        <strong>Which of these two chords feels more stable?<\/strong>\n    \n    \n        Then we can sing, move, imitate, change a note, hold another, and listen to what happens. Finally, the names appear. The concept then finds an experience to hold onto.\n    \n    <h3>A small laboratory<\/h3>\n            01\n            <h3>Listen for directions<\/h3>\n            \n                Play two notes and ask yourself only whether the sound went up or down. No names are necessary yet. 02\n            <h3>Listen from a distance<\/h3>\n            \n                Compare small and large movements. Notice how the sensation changes even if you don&#039;t yet know the name of the interval. 03\n            <h3>Listen for the tension<\/h3>\n            \n                Stop a progression before it resolves. Notice what appears physically: waiting, suspension, impulse, discomfort. 04\n            <h3>Find a house<\/h3>\n            \n                Return to the tonal center. Before analyzing the chord, simply observe the feeling of arrival.\n            \n    <h2>What the Audience Choir really demonstrates<\/h2>\n    \n        It would be easy to watch Jacob Collier&#039;s videos and simply conclude that he possesses an exceptional ability to command crowds. The most interesting part happens on the other side of his hands.\n    \n    \n        <strong>The public responds.<\/strong>\n    \n    \n        Thousands of people can sustain a note, listen to other groups, move up or down, regulate intensity, recognize a center, and adapt collectively. Some members of the audience are professional musicians. Many others are not. Jacob even remarks that when more than half clearly understand the direction, the rest tend to join in. The group begins to behave like a musical system. There is a pedagogical lesson here as well.\n    \n    \n        <strong>Participation teaches.<\/strong>\n    \n    \n        Listening to those around us teaches. Imitating teaches. Intuitively correcting teaches. Feeling how our note fits within a texture teaches. A crowd that just minutes before was an &quot;audience&quot; becomes a choir because someone built a context clear enough to allow them to discover capabilities that were already there.\n    \n        <h2>Perhaps teaching music is also about revealing<\/h2>\n        \n            A significant part of education involves acquiring new skills: technique, coordination, ear training, vocabulary, repertoire, and knowledge. Another part involves recognizing perceptual skills that have been operating silently for years. Music education can take that implicit knowledge and give it form. <strong>greater resolution, awareness, and creative freedom.<\/strong>\n        \n    <h2>You know more about music than you think.<\/h2>\n    \n        You&#039;ve heard thousands of melodies. Your body has found rhythms. You&#039;ve recognized voices. You&#039;ve anticipated choruses. You&#039;ve felt when a song wasn&#039;t over yet. You&#039;ve noticed when a note sounded out of place in a phrase, when the rhythm lost its balance, and when a chord finally allowed you to breathe. Perhaps you&#039;ve never called those experiences what they were.\n        <em>metrics<\/em>, <em>tonal function<\/em>,\n        <em>expectation<\/em>, <em>interval<\/em> or\n        <em>resolution<\/em>.The name can come later. The experience was already happening. Learning music can also be consciously discovering something we&#039;ve been hearing all our lives.\n    <!-- FAQ \/ AEO -->\n    <section>\n        <h2>Frequently Asked Questions<\/h2>\n        <details>\n            <summary>\n                Is it possible to understand music without knowing music theory?\n            <\/summary>\n            \n                Yes. Everyday exposure allows for the development of implicit musical knowledge: expectations about rhythm, melody, tonal stability, tension, and resolution. Theory allows us to consciously organize, name, and manipulate many of these relationships.\n            \n        <\/details>\n        <details>\n            <summary>\n                Are we born understanding music?\n            <\/summary>\n            \n                We are born with powerful auditory and temporal abilities, but our musical perception is also transformed through exposure and culture. The music we listen to throughout our lives influences the structures we find familiar or expected.\n            \n        <\/details>\n        <details>\n            <summary>\n                What does Jacob Collier&#039;s Audience Choir demonstrate?\n            <\/summary>\n            \n                It shows that large groups can respond to pitch, direction, intensity, and tonal context through very simple gestural instructions. It also illustrates how much musical knowledge can operate without explicit technical vocabulary.\n            \n        <\/details>\n        <details>\n            <summary>\n                So, is music theory still important?\n            <\/summary>\n            \n                Yes. Theory increases the precision with which we can observe, communicate, analyze, and transform what we hear. It allows us to turn intuitions into conscious resources for interpreting, improvising, and creating.\n            \n        <\/details>\n        <details>\n            <summary>\n                What is musical enculturation?\n            <\/summary>\n            \n                It is the process by which daily exposure to the music of our environment forms expectations about scales, rhythms, meters, structures and musical relationships specific to that culture.\n            \n        <\/details>\n    <\/section>\n    <!-- FUENTES -->\n    <section>\n        <h2>Sources and readings<\/h2>\n            <strong>\n                <a href=\"https:\/\/www.youtube.com\/watch?v=22XTudPdOP8\"\n                   target=\"_blank\" rel=\"noopener\">\n                    Simon Sinek \u00b7 A Bit of Optimism \u2013 Jacob Collier\n                <\/a>\n            <\/strong><br \/>\n            Conversation about learning, Audience Choir, perception, creativity, tension and resolution.\n            <strong>\n                <a href=\"https:\/\/www.pbs.org\/wnet\/amanpour-and-company\/video\/four-days-one-guitar-inside-the-making-of-jacob-colliers-new-album-q0ycgz-2-2\/\"\n                   target=\"_blank\" rel=\"noopener\">\n                    PBS \u00b7 Amanpour &amp; Company \u2013 Jacob Collier\n                <\/a>\n            <\/strong><br \/>\n            Collier explains the logic of the Audience Choir and how it uses gestures and context to mobilize the voices of the audience.\n            <strong>\n                <a href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/16412412\/\"\n                   target=\"_blank\" rel=\"noopener\">\n                    Bigand &amp; Poulin-Charronnat \u2013 Are we \u201cexperienced listeners\u201d?\n                <\/a>\n            <\/strong><br \/>\n            Cognition, 2006. Review on musical abilities developed without formal musical training.\n            <strong>\n                <a href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/528960\/\"\n                   target=\"_blank\" rel=\"noopener\">\n                    Krumhansl &amp; Shepard \u2013 Hierarchy of tonal functions\n                <\/a>\n            <\/strong><br \/>\n            Classic research on the perception of stability and hierarchy within a tonal context.\n            <strong>\n                <a href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/15893524\/\"\n                   target=\"_blank\" rel=\"noopener\">\n                    Hannon &amp; Johnson \u2013 Infants use meter to categorize rhythms and melodies\n                <\/a>\n            <\/strong><br \/>\n            Research on the perception of metric structure during childhood.\n            <strong>\n                <a href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/15660851\/\"\n                   target=\"_blank\" rel=\"noopener\">\n                    Hannon &amp; Trehub \u2013 Metrical Categories in Childhood and Adulthood\n                <\/a>\n            <\/strong><br \/>\n            A key study for understanding how cultural experience transforms our rhythmic perception.\n            <strong>\n                <a href=\"https:\/\/www.sciencedirect.com\/science\/article\/pii\/S1364661307002410\"\n                   target=\"_blank\" rel=\"noopener\">\n                    Hannon &amp; Trainor \u2013 Music acquisition: enculturation and formal training\n                <\/a>\n            <\/strong><br \/>\n            Review of musical development, cultural exposure, and formal learning.\n    <\/section>\n    <!-- CTA -->\n    <section>\n        <h2>Listening is also something that can be learned.<\/h2>\n        \n            At Legatto we explore music through experience, listening, rhythm, harmony, improvisation and understanding the relationships that make musical sound possible.\n        \n        <a href=\"https:\/\/legatto.space\/en\/aprender\/\">\n            Explore ways to learn \u2192\n        <\/a>\n    <\/section>\n<\/article>","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":2564,"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-2557","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>Sabes 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