{"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    Conciencia Musical\n    \n        Tal vez nunca hayas estudiado armon\u00eda. Quiz\u00e1 no puedas explicar qu\u00e9 es una\n        dominante, escribir una escala o reconocer un intervalo por su nombre.\n        Aun as\u00ed, cuando una melod\u00eda queda suspendida sabes que algo falta.\n        Cuando finalmente resuelve su tensi\u00f3n, lo sientes. Cuando el ritmo cambia, tu cuerpo\n        lo detecta. Cuando una voz sube, sabes hacia d\u00f3nde se movi\u00f3.\n    \n    \n        Mucho antes de aprender los nombres de las cosas, ya estamos aprendiendo\n        a escuchar.\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        Imagina que alguien toca una melod\u00eda conocida y, justo antes de la \u00faltima\n        nota, se detiene.\n    \n    \n        Es probable que algo dentro de ti contin\u00fae la frase.\n    \n    \n        Quiz\u00e1 ni siquiera sepas qu\u00e9 nota esperas. No conoces su nombre,\n        su funci\u00f3n arm\u00f3nica ni su frecuencia. Pero puedes sentir que\n        <em>Something should happen next.<\/em>.\n    \n    \n        Esa diferencia entre poder <strong>feel a musical connection<\/strong>\n        and power <strong>explain it conceptually<\/strong> es fundamental.\n        Con frecuencia confundimos conocimiento musical con vocabulario musical.\n    \n    \n        La investigaci\u00f3n en cognici\u00f3n musical lleva d\u00e9cadas estudiando precisamente\n        este fen\u00f3meno. En una importante revisi\u00f3n publicada en\n        <em>Cognition<\/em>, Emmanuel Bigand y B\u00e9n\u00e9dicte Poulin-Charronnat\n        analizaron capacidades musicales de personas sin formaci\u00f3n especializada.\n        Los resultados reunidos incluyen percepci\u00f3n de tensi\u00f3n y relajaci\u00f3n,\n        expectativas musicales, relaciones arm\u00f3nicas y respuestas emocionales.\n    \n    \n        Su provocadora descripci\u00f3n para estas personas es\n        <strong>\n            <a href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/16412412\/\"\n               target=\"_blank\" rel=\"noopener\">\n                &#8220;experienced listeners&#8221; &#8211; oyentes experimentados\n            <\/a>\n        <\/strong>.\n    \n    \n        Alguien puede no haber pasado diez a\u00f1os en un conservatorio y haber pasado,\n        al mismo tiempo, diez, veinte o cuarenta a\u00f1os escuchando m\u00fasica.\n    \n    \n        Esa exposici\u00f3n deja huellas.\n    \n        Escuchar m\u00fasica durante a\u00f1os tambi\u00e9n es una forma de aprendizaje,\n        aunque casi nunca la llamemos as\u00ed.\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>Entonces Jacob Collier levanta una mano&#8230;<\/h2>\n    \n        Hay una escena que convierte esta idea en algo casi imposible de ignorar.\n    \n    \n        En una conversaci\u00f3n con Simon Sinek para\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>,\n        Jacob Collier recuerda c\u00f3mo comenz\u00f3 a transformar a sus p\u00fablicos\n        en enormes coros improvisados.\n    \n    \n        La historia, curiosamente, empieza mucho antes.\n    \n    \n        Una de sus primeras memorias es observar a su madre, la violinista,\n        directora y educadora Susan Collier, frente a grupos de m\u00fasicos.\n        El peque\u00f1o Jacob ve\u00eda sus brazos moverse y escuchaba c\u00f3mo,\n        inmediatamente, el sonido de toda una habitaci\u00f3n respond\u00eda.\n    \n    \n        Para un ni\u00f1o aquello parec\u00eda magia:\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 sit\u00faa un momento decisivo a finales de febrero de 2019,\n        durante un concierto en San Francisco.\n    \n    \n        Estaba interpretando <em>Blackbird<\/em>, de The Beatles, una canci\u00f3n\n        que utilizaba con frecuencia porque gran parte del p\u00fablico ya la conoc\u00eda.\n        Al llegar al final comenz\u00f3 a construir patrones repetitivos con las voces\n        de la audiencia.\n    \n    \n        Dividi\u00f3 la sala en <strong>three sections<\/strong>.\n    \n    \n        Cada grupo recibi\u00f3 una parte distinta de la frase. Las voces comenzaron\n        a circular como loops humanos hasta formar juntas un acorde de\n        <strong>F major<\/strong>.\n    \n    \n        Jacob fue ralentizando el patr\u00f3n.\n    \n    \n        Finalmente el p\u00fablico qued\u00f3 sosteniendo el acorde.\n    \n    \n        Y entonces ocurri\u00f3 algo nuevo.\n    \n    \n        Collier mir\u00f3 a una de las secciones y se\u00f1al\u00f3 hacia arriba.\n        El grupo respondi\u00f3 elevando su nota.\n    \n    \n        Se\u00f1al\u00f3 otra direcci\u00f3n.\n        Las voces volvieron a moverse.\n    \n    \n        Ya no estaba ense\u00f1ando melod\u00edas nota por nota.\n        Tampoco hab\u00eda partituras, ensayo previo ni explicaciones de armon\u00eda.\n        Ten\u00eda frente a \u00e9l un enorme instrumento humano capaz de desplazarse\n        dentro de un espacio tonal mediante <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        Esa es la pregunta verdaderamente interesante.\n    \n    \n        Jacob pod\u00eda haber dicho:\n        &#8220;suban una segunda mayor&#8221;,\n        &#8220;desciendan crom\u00e1ticamente&#8221;,\n        &#8220;formen ahora esta inversi\u00f3n&#8221;\n        o cualquier otra instrucci\u00f3n propia del lenguaje t\u00e9cnico.\n    \n    \n        En lugar de eso, mueve las manos.\n    \n    \n        Arriba.\n    \n    \n        Abajo.\n    \n    \n        Un poco.\n    \n    \n        Mucho.\n    \n    \n        M\u00e1s suave.\n    \n    \n        M\u00e1s intenso.\n    \n    \n        Y miles de personas responden.\n    \n    \n        En otra conversaci\u00f3n, esta vez con\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>,\n        Collier explica un principio sencillo detr\u00e1s del Audience Choir:\n        divide al p\u00fablico en grupos, establece notas iniciales y posteriormente\n        deja que el movimiento de sus manos comunique hacia d\u00f3nde debe desplazarse\n        cada secci\u00f3n.\n    \n    \n        All\u00ed resume parte de su filosof\u00eda con una idea extraordinariamente\n        sencilla: <strong>&#8220;permission is more important than skill&#8221;<\/strong>.\n    \n    \n        Permiso antes que habilidad.\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        En la entrevista con Sinek, Jacob propone algo especialmente \u00fatil\n        para pensar la educaci\u00f3n musical.\n    \n    \n        Antes de llegar a escalas, cifrados o nomenclaturas, existen algunos\n        ejes perceptivos extremadamente sencillos.\n    \n            Altura\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>.\n    \n    \n        Podemos reconocer que un sonido se hizo m\u00e1s fuerte sin calcular\n        sus decibeles.\n    \n    \n        Podemos percibir que una textura se llen\u00f3 cuando entraron veinte voces\n        y que qued\u00f3 vac\u00eda cuando permaneci\u00f3 una sola.\n    \n    \n        El conocimiento conceptual puede llegar despu\u00e9s.\n    \n    \n        Primero hubo una experiencia.\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 como &#8220;casa&#8221;<\/h3>\n        \n            Una tonalidad puede establecer una especie de centro perceptivo.\n            Permanecemos ah\u00ed durante cierto tiempo y el o\u00eddo comienza a construir\n            expectativas.\n        \n        \n            Podemos alejarnos de ese centro, visitar otros acordes, incrementar\n            la tensi\u00f3n y finalmente regresar.\n        \n        \n            Cuando el regreso ocurre, aparece esa peculiar sensaci\u00f3n:\n            <strong>&#8220;ah, llegamos&#8221;.<\/strong>\n        \n    \n        La teor\u00eda musical puede llamar a esas relaciones t\u00f3nica, dominante,\n        funci\u00f3n arm\u00f3nica, conducci\u00f3n de voces o cadencia.\n    \n    \n        Sin embargo, la experiencia perceptiva puede aparecer mucho antes\n        que esos nombres.\n    \n    \n        Ya en 1979, Carol Krumhansl y Roger Shepard investigaban c\u00f3mo los oyentes\n        juzgaban qu\u00e9 notas parec\u00edan completar adecuadamente un contexto tonal.\n        Sus resultados mostraron una jerarqu\u00eda perceptiva: algunas notas se sienten\n        m\u00e1s estables y m\u00e1s relacionadas con el centro tonal que otras.\n        Puedes consultar el\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        Y esto ocurre constantemente mientras escuchamos m\u00fasica.\n    \n    \n        Nuestro cerebro formula peque\u00f1as predicciones:\n        algo continuar\u00e1,\n        algo cambiar\u00e1,\n        algo est\u00e1 a punto de llegar,\n        algo todav\u00eda necesita resolverse.\n    \n    <h2>Pero cuidado: &#8220;intuitivo&#8221; no significa completamente universal<\/h2>\n    \n        Aqu\u00ed aparece un matiz esencial.\n    \n    \n        Cuando sentimos una resoluci\u00f3n tonal como evidente podemos llegar\n        f\u00e1cilmente a pensar que esa relaci\u00f3n estaba grabada de nacimiento\n        en nuestra mente.\n    \n    \n        La evidencia cient\u00edfica sugiere una historia mucho m\u00e1s interesante.\n    \n    \n        Los seres humanos parecen llegar al mundo con extraordinarias\n        capacidades para detectar relaciones sonoras y temporales.\n        Un estudio de Erin Hannon y Scott Johnson mostr\u00f3 que beb\u00e9s de siete meses\n        pod\u00edan utilizar estructura m\u00e9trica para categorizar ritmos y melod\u00edas.\n        Puedes consultar la\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>.\n    \n    \n        Sin embargo, conforme crecemos nuestra percepci\u00f3n tambi\u00e9n se especializa\n        en las m\u00fasicas que nos rodean.\n    \n    \n        Hannon y Sandra Trehub encontraron algo revelador al comparar la percepci\u00f3n\n        de m\u00e9tricas simples y complejas. Beb\u00e9s peque\u00f1os mostraban sensibilidad\n        hacia ambos tipos de organizaci\u00f3n, mientras que adultos respond\u00edan\n        de acuerdo con patrones propios de su experiencia cultural.\n        El\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        ofrece una ventana fascinante hacia este proceso.\n    \n    \n        La literatura utiliza una palabra particularmente \u00fatil:\n        <strong>musical enculturation<\/strong>.\n    \n    \n        Escuchamos cientos y despu\u00e9s miles de horas de m\u00fasica.\n        Nuestro sistema perceptivo va encontrando regularidades:\n        qu\u00e9 ritmos aparecen juntos,\n        d\u00f3nde suelen caer los acentos,\n        qu\u00e9 notas tienden a seguir a otras,\n        qu\u00e9 combinaciones anuncian reposo,\n        cu\u00e1les generan expectativa.\n    \n    \n        Una revisi\u00f3n sobre adquisici\u00f3n musical describe precisamente esa\n        transici\u00f3n entre capacidades auditivas tempranas, exposici\u00f3n cultural\n        y entrenamiento formal:\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        Hay otra manera de entenderlo.\n    \n    \n        Cada vez que escuchas m\u00fasica, tu cerebro recibe informaci\u00f3n acerca\n        de qu\u00e9 eventos suelen aparecer juntos.\n    \n    \n        Despu\u00e9s de innumerables canciones comienza a emerger una especie\n        de mapa probabil\u00edstico.\n    \n    \n        Algunas continuaciones son frecuentes.\n        Otras resultan sorprendentes.\n        Algunas producen una fuerte sensaci\u00f3n de estabilidad.\n        Otras parecen abrir una pregunta.\n    \n    \n        No necesitas calcular esas probabilidades conscientemente.\n    \n    \n        Estudios sobre <strong>auditory statistical learning<\/strong>\n        han mostrado que incluso participantes sin entrenamiento musical\n        pueden adquirir regularidades dentro de secuencias de tonos.\n        Investigaciones posteriores muestran adem\u00e1s que el entrenamiento\n        especializado puede refinar algunas de esas capacidades.\n    \n    \n        Esta es una buena raz\u00f3n para abandonar una idea muy com\u00fan:\n        que antes de estudiar teor\u00eda musical el estudiante llega &#8220;vac\u00edo&#8221;.\n    \n        El estudiante llega con a\u00f1os de m\u00fasica adentro:\n        recuerdos, expectativas, movimientos, canciones, acentos,\n        tensiones y resoluciones.\n    <h2>So, why study theory?<\/h2>\n    \n        Para aumentar la resoluci\u00f3n.\n    \n    \n        Esta expresi\u00f3n aparece de manera muy natural en la conversaci\u00f3n\n        de Jacob Collier.\n    \n    \n        Podemos comenzar entendiendo <em>high and low<\/em>.\n        Despu\u00e9s distinguimos distancias.\n        M\u00e1s tarde aparecen tonos, semitonos e intervalos.\n        Eventualmente podemos reconocer una tercera mayor,\n        una quinta perfecta o una novena menor.\n    \n    \n        La percepci\u00f3n inicial sigue ah\u00ed.\n    \n    \n        Lo que aumenta es nuestra capacidad para\n        <strong>observe it, name it, reproduce it, transform it, and use it deliberately.<\/strong>\n    \n    \n        Lo mismo ocurre con la armon\u00eda.\n    \n    \n        Primero sentimos que algo se aleja.\n        Despu\u00e9s podemos comprender por qu\u00e9.\n    \n    \n        Primero escuchamos reposo.\n        Despu\u00e9s aprendemos a construirlo.\n    \n    \n        Primero reconocemos un color.\n        Despu\u00e9s descubrimos qu\u00e9 notas lo producen.\n    \n    \n        En ese sentido, la teor\u00eda musical puede funcionar como un\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        Pensemos ahora en una primera clase de m\u00fasica.\n    \n    \n        Podemos comenzar presentando una p\u00e1gina llena de s\u00edmbolos.\n    \n    \n        Tambi\u00e9n podemos comenzar preguntando:\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        Luego podemos cantar, movernos, imitar, cambiar una nota,\n        sostener otra y escuchar qu\u00e9 ocurre.\n    \n    \n        Finalmente aparecen los nombres.\n    \n    \n        El concepto encuentra entonces una experiencia a la cual aferrarse.\n    \n    <h3>A small laboratory<\/h3>\n            01\n            <h3>Listen for directions<\/h3>\n            \n                Toca dos notas y preg\u00fantate solamente si el sonido subi\u00f3\n                o baj\u00f3. Ning\u00fan nombre es necesario todav\u00eda.\n            \n            02\n            <h3>Listen from a distance<\/h3>\n            \n                Compara movimientos peque\u00f1os y grandes.\n                Observa c\u00f3mo cambia la sensaci\u00f3n aunque todav\u00eda\n                desconozcas el nombre del intervalo.\n            \n            03\n            <h3>Listen for the tension<\/h3>\n            \n                Det\u00e9n una progresi\u00f3n antes de su resoluci\u00f3n.\n                Nota qu\u00e9 aparece corporalmente:\n                espera, suspensi\u00f3n, impulso, incomodidad.\n            \n            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        Ser\u00eda f\u00e1cil mirar los videos de Jacob Collier y concluir simplemente\n        que posee una capacidad excepcional para dirigir multitudes.\n    \n    \n        La parte m\u00e1s interesante ocurre del otro lado de sus manos.\n    \n    \n        <strong>The public responds.<\/strong>\n    \n    \n        Miles de personas pueden sostener una nota,\n        escuchar a otros grupos,\n        desplazarse hacia arriba o abajo,\n        regular intensidad,\n        reconocer un centro y adaptarse colectivamente.\n    \n    \n        Algunas personas del p\u00fablico son m\u00fasicas profesionales.\n        Muchas otras no.\n    \n    \n        Jacob comenta incluso que cuando m\u00e1s de la mitad comprende\n        claramente la direcci\u00f3n, los dem\u00e1s tienden a integrarse.\n        El grupo comienza a comportarse como un sistema musical.\n    \n    \n        Hay aqu\u00ed tambi\u00e9n una lecci\u00f3n pedag\u00f3gica.\n    \n    \n        <strong>Participation teaches.<\/strong>\n    \n    \n        Escuchar a quienes tenemos alrededor ense\u00f1a.\n        Imitar ense\u00f1a.\n        Corregir intuitivamente ense\u00f1a.\n        Sentir c\u00f3mo nuestra nota encaja dentro de una textura ense\u00f1a.\n    \n    \n        Una multitud que hace unos minutos era &#8220;p\u00fablico&#8221;\n        se convierte en coro porque alguien construy\u00f3 un contexto suficientemente\n        claro para permitirle descubrir capacidades que ya estaban disponibles.\n    \n        <h2>Perhaps teaching music is also about revealing<\/h2>\n        \n            Una parte importante de la educaci\u00f3n consiste en adquirir nuevas\n            habilidades: t\u00e9cnica, coordinaci\u00f3n, o\u00eddo, vocabulario,\n            repertorio y conocimiento.\n        \n        \n            Otra parte consiste en reconocer habilidades perceptivas\n            que llevaban a\u00f1os funcionando silenciosamente.\n        \n        \n            La educaci\u00f3n musical puede tomar ese conocimiento impl\u00edcito\n            y darle <strong>greater resolution, awareness, and creative freedom.<\/strong>\n        \n    <h2>You know more about music than you think.<\/h2>\n    \n        Has escuchado miles de melod\u00edas.\n    \n    \n        Tu cuerpo ha encontrado pulsos.\n    \n    \n        Has reconocido voces.\n    \n    \n        Has anticipado estribillos.\n    \n    \n        Has sentido cu\u00e1ndo una canci\u00f3n todav\u00eda no hab\u00eda terminado.\n    \n    \n        Has percibido cu\u00e1ndo una nota parec\u00eda extra\u00f1a dentro de una frase,\n        cu\u00e1ndo el ritmo perdi\u00f3 estabilidad y cu\u00e1ndo un acorde finalmente\n        permiti\u00f3 respirar.\n    \n    \n        Quiz\u00e1 nunca hayas llamado a esas experiencias\n        <em>metrics<\/em>, <em>tonal function<\/em>,\n        <em>expectation<\/em>, <em>interval<\/em> or\n        <em>resolution<\/em>.\n    \n    \n        El nombre puede llegar despu\u00e9s.\n    \n    \n        La experiencia ya estaba ocurriendo.\n    \n        Aprender m\u00fasica tambi\u00e9n puede ser descubrir conscientemente\n        algo que llevamos toda la vida escuchando.\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 &#8211; 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 &#8211; 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 &#8211; Are we &#8220;experienced listeners&#8221;?\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 &#8211; 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 &#8211; 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 &#8211; Metrical Categories in Infancy 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 &#8211; 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 v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sabes 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