Although blind, Maria knows the feelings of anticipated movement of her hand, and uses them to sense and share the human vitality dynamics in her mother’s voice. This kinematic sensibility was identified by Olga Maratos in her pioneering research in imitation https://www.wikipedia.org/ as foundational for the ability of a young infant to reproduce another person’s expression seen or heard . Indeed, vocal perception, detecting the modulation of pitch and timing in an adult’s voice sounds, develops much faster than vocal production.
Ceitidh Mac selected winner of the unique prize that grows connection to nature through contemporary popular music. Miles is a Professor of Human Factors and Nature Connectedness, a chartered ergonomist, chartered psychologist and Fellow of the Chartered https://www.def-con-one.com/ 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.
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). Lullabies are sung more often in cultures that value quiet infants, playsongs in cultures that value lively enthusiasm in infants .
Research also shows that references to nature in contemporary music have decreased consistently since the 1950s. This matters as a close connection with nature helps both the wellbeing of people and our planet, as people who are tuned into nature are more likely to care for it. The Nature Connectedness Research Group at the University of Derby has found that the connection between young people and nature dips during teenage years and takes more than a decade to recover.
Soothing, relaxing and meditative sound of the ocean waves lapping the shore with gentle, calming steel tongue drums playing throughout. An underwater discovery – join us as we venture the depths of the ocean, A fusion of mellow pads and sea creature sound effects that evolve with the i… This picture of a duplex mind regulated by motives of sympathy anticipates the distinction made by William James in 1892 and by Martin Buber in 1923 between a fundamental “I-Thou” state of awareness and the objective “I-It” relations with the physical word we acquire in communication.
And the music historian Daniel Grimley takes us on a whistlestop tour of composers’ enduring relationship with landscape and the natural world, from Beethoven to John Luther Adams. To explore the place of sound and language, and the sound of language, in our understanding of the world around us, Tom meets the writer Robert Macfarlane, whose books about landscape, nature, memory and travel include Mountains of the Mind, The Wild Places and Landmarks. We also hear from the director Jennifer Peedom, who has collaborated with Macfarlane on Mountain, a new film commissioned by the Australian Chamber Orchestra. You have to play the music as if you are performing to a friend but instead establish it with three thousand people.
“Western philosophy, however, also includes what might be described as a counter-tradition—and one that is more compatible with empirical biological science than the usual canon. Heraclitus, Spinoza, Schopenhauer, Nietzsche, and especially the 20th century French philosopher and psychologist, Merleau-Ponty, all anticipated aspects of Llinás’s and Buszáki’s approaches… sketching out a notion of consciousness emerging from motility, and generating new hypotheses for neurophysiological research.” (Goodrich, 2010, p. 331). Especially in the last line, well controlled musical tricks varying the beat are used to mark a climax and resolution.” (Trevarthen, 1989, p. 96). The mother sings with a clear melodic tone varying her pitch in a treble range and making rises and falls to make a simple development of the ‘emotional narrative’.