Natural Sounds With Music

She repeats the same up-and-down vocal gesture again and again, with almost no vocal participation on the part of the infant. Where the infant does participate , the infant appears to be setting up the possibility for a dialog – vocalizing exactly on the ‘bar-line’ and then around the mother’s pitch . Indeed, the infant’s vocalizations persuade the mother out of her repetitiveness – the mother momentarily takes notice of her infant and responds to her infant’s conversational offering by ceasing her unresponsive repetition and vocalizing once more at the infant’s pitch. But the dialog almost immediately breaks down, and the mother returns to her stereotypical, repetitive vocal gesturing.

Whether that be a song or a piece by Bach, I’m sure that by doing this, day after day, the child will benefit incredibly from it. To mark World Earth Day, Yorkshire Sculpture Park has teamed up with the Nature Connectedness Research Group at the University of Derby, musician Sam Lee, Selfridges, and Tileyard London to search for a piece of original music that tunes into nature – helping to highlight the need for a new relationship with nature and provide vital support for young creative practitioners. Nature relaxation tracks perfect for meditation, relieving stress and anxiety or any production that requires a calming, natural and meditative feel. The Tune into Nature Music Prize searches for a new piece of contemporary music that is inspired by nature and helps to highlight the need for a new relationship with the natural environment. Supported by Tileyard London, Timber Festival and Yorkshire Sculpture Park, the prize also provides support for young creative practitioners.

Later, the growing child will continue to play with how music can convey affect and change their own and others’ mood, the four-part structure of Introduction, Development, Climax and Resolution, identified above in the structure of a proto-conversation, becoming the basis of large scale musical works, as well as verbal argument . In line with Goodrich’s “counter tradition,” their work anticipates the new understanding of the human BrainMind pioneered by Panksepp and Damasio, which gives primary importance to feelings of vitality in movement, and to emotions that express positive and negative affections in sympathetic communication. This is the science of communicative musicality which underpins the music we create and enjoy. Thus, part of the reason music therapy ‘works’ is its invitation for cultural collaboration – we exercise what has been called our ‘deep social mind’ following particular cultural forms.

But the vitality of their spontaneous communicative musicality, highly coordinated and adapted to be shared through narratives with sympathetic and playful companions, enables meaningful communication in the ‘present moment’ (Stern, 2004; Figure 1, Upper Right), which may build serviceable memories extended in space and time . Our musical creativity and pleasure come from the way our body hopes to move, with rhythms and feelings of grace and biological ‘knowing’ (see Merleau-Ponty). The predicting, embodied self of a human being experiences time, force, space, movement, and intention/directionality in being.

The recording supports our contention that even a prematurely born baby is skilled in sharing a musical pulse . Most importantly, study of recordings reveal that modulations of timing, of rhythms, and of the flow of vitality forms shared with infants have the characteristics recognized as musical . These have been precisely defined by acoustic analysis of vocalizations of adult and infant in dialogs and games (Malloch et al., 1997; Malloch, 1999; Trevarthen, 1999; Trehub, 2003). In his work as a pediatrician, Brazelton , developing his now famous Neonatal Assessment Scale (Brazelton, 1973; Brazelton and Nugent, 1995), accepted and encouraged the natural love mother and father felt for their new baby, and showed how appreciative the baby could be of their actions to each other and to the baby.

The playful and emotionally charged behaviors of mothers and other affectionate carers were considered inessential to the young infant, who needed only responses to reflex demands for food, comfort and sleep. As highlighted in the recent pandemic, the human relationship with the rest of nature is essential for our wellbeing, yet the climate and environment emergencies show that the human relationship with the rest of nature is broken. Nature means less and less in our lives and is disappearing as a reference in our music. We need, now more than ever, a new and more connected relationship with nature and music is a great way to celebrate nature and it’s essential role in our lives. For him ‘common sense’ is based on a direct experience of external reality, experience that becomes internal in language, which is based on an innate capacity pre-dating human consciousness, and acting as an instrument for that consciousness.

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