‘nature’s Orchestra’

It is nurtured from the music, live and recorded, that the child hears all around and contributes to spontaneously, along with the invention of talking and verse-making with playmates, often accompanied by rhythmic stamping, hopping and jumping . Our earliest shared signing of communicative musicality in infancy becomes dialogic ‘musical babbling’ from around 2 months old . Already at 2 months the infant is learning the cultural gestures and preferences that become the tools through which cultural meaning will be created and exchanged (Moog, 1976; Tafuri and Hawkins, 2008).

The pediatrician Sander, (1964, 1975; republished in Sander, 2008) recognized that an infant and caregiver create a coherent system of actions regulated with feelings of vitality in shared time. This dynamic collaboration was also discovered by Daniel Stern when he examined recordings of a mother playing with her three-month-old twins . 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. 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.

The seasons of nature and their different aromas and colours are like the salt and pepper of life. 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 https://www.wikipedia.org/ 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. The Railway Land Wildlife Trust presents ‘Songs of Nature,’ a concert featuring artists from diverse musical backgrounds performing music inspired by nature.

Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness.

It is the medium for all shared experiences and purposes, and for the convivial vitality of music making. However, the practice of music therapy is more than the therapeutic use of preverbal protomusic, however, important this is. Reflecting our discussion above on music and education, music therapy is also making use of the cultural forms of our musicality, and the power these cultural forms have within our psyche (for example, Donald, 1991; MacDonald et al., 2002; Stern, 2010). After describing ‘old me’ the client’s body relaxed, they looked up from the floor, hands lifted from their lap, the volume of their voice increased, its pitch lifted, and they began talking of ‘new me.’ ‘New me is more rational about life. This part says, “Well, I was uncommunicative this morning – that’s all right, that’s OK. ” Figure 5C is a four-second pitch plot of ‘new me.’ The shift in the vitality of the musicality is clear.

Practical knowledge is action embedded knowledge, quite distinct from theoretical knowledge and technical know-how. It is a kind of character-based sense of how best to proceed in situations where best courses of action cannot be determined by previous ones. This ability to discern the right course of action in novel, dynamic situations is precisely the kind of human asset required in today’s rapidly changing world. And musical engagements may, under the right circumstances, nurture this capacity in ways unmatched by any other human endeavour.” (Bowman, 2012, p. 31). The recording of a two-month premature girl with her father, who was holding her under his clothes against his body in ‘kangaroo’ care, shows that they exchange short ‘coo’ sounds, the father imitating her sounds, with precise timing based on a comfortable walking rhythm of andante – one step every 0.7 s.

A more animated song of 18 s shows the same poetic organization with undulations of pitch and vowels rhyming between first and second lines and between final words of each verse. From Trevarthen , a portion of Figure 4, p. 137, and Trevarthen , Figure 3, p. 10. As Bruner, expressing his psychology of education, put it “the LADD needs a LASS” . Child and adult share rules of imagination for all kinds of movement, including spoken propositions. These sensuous qualities of the experienced self are expressed in music, and in other temporal arts, as ‘the human seriousness of play’ . Music, as Susan Langer says so clearly in the quote at the start of this paper, has qualities of this inner life described by Meares as shape, ongoingness and flow, connectedness and unity.

Join us, and our artists, composers and even new musical instruments, to explore wildlife, plants and the great outdoors. 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. The judging panel includes musicians Martyn Ware, Sam Lee, Supriya Nagarajan and poet Zena Edwards. Psychiatrist and literary scholar Iain McGilchrist in The Master and His Emissary has presented a brilliant review of behavioral and brain research, and a clear conception of complementary consciousness in the two cerebral hemispheres.

Two leading scholars in medical science and the science of child development in the past century, Freud and Piaget , declared that infants must be born without conscious selves conceiving an external world, and unable to adapt their movements to the expressive behavior of other people. 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. We present a view that places our ability to create and appreciate music at the center of what it means to be human. We argue that music is the sounds of human bodies, voices and minds – our personalities – moving in creative, story-making ways. These stories, which we want to share and listen to, are born from awareness of a complex body evolved for moving with an imaginative, future seeking mind in collaboration with other human bodies and minds. Musical stories do not need words for the creation of rich and inspiring narratives of meaning.

Miles is a Professor of Human Factors and Nature Connectedness, a chartered ergonomist, chartered psychologist and Fellow of the Chartered Institute of Ergonomics and Human Factors. He founded the Nature Connections Research Group at the University of Derby which has pioneered the first everyday interventions to bring about sustained increases in connection with nature and wellbeing. The winning entry receives a https://chambermusiciantoday.com/ £500 grant to support their work and a free professional remix produced by award-winning songwriter and producer Martyn Ware, Principal of Tileyard Education. They will also be invited to perform at Timber Festival in the National Forest. In addition, three further selected entrants will each benefit from a £250 grant. They will also be invited to perform at Timber, the International Forest Festival, in 2022.