This welcoming of the newborn as a person with intelligence and sociable impulses confirmed the parents’ belief that they could communicate feelings and interests by responding to their baby’s exquisitely timed looks, smiles, hand gestures and cooing with their own exquisitely timed gestures of voice and body. As Brazelton declared in Margaret Bullowa’s book, “The old model of thinking of the newborn infant as helpless and ready to be shaped by his environment prevented us from seeing his power as a communicant in the early mother-father-infant interaction. To see the neonate as chaotic or insensitive provided us with the capacity to see ourselves as acting ‘on’ rather than ‘with’ him” (Brazelton, 1979, p.79).
“This primal role of music is to some extent lost today, when we have a special class of composers and performers, and the rest of us are often reduced to passive listening. One has to go to a concert, or a church or a musical festival, to recapture the collective excitement and bonding of music. In such a situation, there seems to be an actual binding of nervous systems, the unification of an audience by a veritable ‘neurogamy’ (Sacks, 2006, p. 2528). After the baby is born and seeks intimate communication of all motives with a parent, the affective system remains as the director of learning and appreciation of what is gained by new awareness. “The first generalized movements occur in week 8 (de Vries et al., 1984), but already in week 5 monoamine transmission pathways grow from the brainstem to animate the primordial cerebral hemispheres.
Effort to manage the grace and morality of movements can be cultivated to assist well-being of those whose actions are confused or fearful – that is, the making or ‘poetry’ of their movements may be enhanced to provide responsive and relational care or therapy (Hobson, 1985, ch3; Stern, 2000, p. xiv; Osborne, 2009b; Meares, 2016). All through the https://www.wikipedia.org/ development of children’s singing, repetition and variation, basic tools of any piece of music , are primary features as children explore the possibilities of musical form. Repetition and variation between the vocalizations of infant and caregiver feature from the very first shared vocalizations, regulating feelings in social interactions .
If you could devote some of your time solely to nature – like looking at the sky, at the way the grass grows, the way the flowers arise, the beginning of autumn, or spring, how the leaves fall, the change of temperature – that would be amazing. I especially enjoyed it during lockdown as I had a lot more time to really dive in and explore and experience nature completely. When life is ‘normal’ and you are always working, you have less opportunity because work takes over and is the main thing that you do. At the same time, I felt that music was the territory wherein I knew I could express myself. Outside of music, I felt that my life was more black and white. In the wake of his first solo piano album in 20 years, which he says came “naturally” during the stillness of lockdown, Country Living spoke to Ludovico from his home in rural Italy about all things music, nature and wellbeing.
The launch in 2020 saw 180 entries and resulted in the inaugural winner, I Eden by LYDIAH. The Oak Project is supporting the the prize this year and with a judging panel including musicians Martyn Ware, Sam Lee, Supriya Nagarajan and poet Zena Edwards we are in 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. To mark World Earth Day, The Oak Project has announced the second edition of the Tune Into https://www.artmindfestival.com/ Prize, following a successful launch in 2020 which saw 180 entries and resulted in the inaugural winner, LYDIAH. The Oak Project, with a judging panel including musicians Martyn Ware, Sam Lee, Supriya Nagarajan and poet Zena Edwards, are in 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. In her review of the role of movement and sense of time in the creation of intelligence, Barbara Goodrich, as a philosopher, traces a history of ideas supporting the view that consciousness is founded on emotions for agency, which we argue are the sine qua non for music.