Ludovico Einaudi On How Music And Nature Can Unlock Your Soul

The common element is an individual who is highly skilled in attuning to nuances of interpersonal timing and gesture, and who aims to lead back to health another whose personal mindedness of time-in-the-body has become compromised through hardship, suffering, or biological disruption, perhaps leading to a sense of isolation and misunderstanding . The therapist joins with the person who needs help, leading them back to health and wellbeing through their own therapeutic sense of the ‘minute particulars’ in that moment of meeting . This balance has been presented by Bowman and others as a consideration of two Latin roots for the English word ‘education.’ One, educare, means to train or to mold. Its motivation is the initiation of a person into cultural conventions, without which a person is left unable to live effectively within a particular culture, using its tools to communicate.

In spite of very different conventions in musical performances in different communities, a parent, or a child, wanting to share the pleasure of songs and action games with a baby, naturally adopts the intuitive formula of a poetic verse to share a story of body movement. While her baby is lying down during bottle feeding, the mother sings two baby songs including “Mors Lille Olle,” well-known throughout Scandinavia. It was not realized until later when the video was viewed that Maria was ‘conducting’ the melodies with delicate expressive movements of her left hand, while the right hand was making unrelated movements, stroking her body. At certain points in the course of the melody Maria’s finger moves 300 milliseconds before the mother’s voice.

Any attempt to understand how human life has evolved its unique cultural habits needs to start with observing what infants know and can do. Organisms regulate the development of their lives by growing structures and processes from within their vitality, by autopoiesis that requires anticipation of adaptive functions. And they must develop and protect their abilities in response to environmental affordances and dangers, with consensuality (Maturana and Varela, 1980; Maturana et al., 1995). Infants are ready for human cultural invention and collaboration as newly hatched birds are ready for flying – within ‘the biology of love’ (Maturana and Varela, 1980; Maturana and Verden-Zoller, 2008). All organisms reach out in time and space to make use of the ‘affordances’ for thought and action .

Mastery of a musical culture, and of language, starts with the intuitive vocal interactions between caregiver and infant . Our innate communicative musicality is the ‘raw material’ for cultural forms of music and the rules of grammar and syntax. A child makes stories in sound as an active participant whose pride to belong to the rich musical traditions of society propels them into learning and creating. This is the cultivation of communicative musicality to music, from innate self-expression to cultural practice and a musical identity (MacDonald et al., 2002; MacDonald and Miell, 2004). It is brought to life, as language is, with the enthusiastic support of more experienced companions . How the child’s spontaneous musicality, as it grows in group practice without formal training , is received by the surrounding educational culture, is a vital ingredient in the child’s emerging ‘musical identity.’ Musical identity and self-efficacy or mastery of skill in music making inform each other, in reciprocal relationship.

“The function of music is to enhance in some way the quality of individual experience and human relationships; its structures are reflections of patterns of human relations, and the value of a piece of music as music is inseparable from its value as an expression of human experience” Blacking (1995, p.31). We, as black people, are one of the most diverse people in this world. You can see that in our food, music, dressing, languages, cultural practices, and so on. Although we are spread all over the globe, we are still part of the African Diaspora. Nature is a widespread theme in much new music for the shakuhachi. This article explores the significance of such music within the contemporary shakuhachi scene, as the instrument travels internationally and so becomes rooted in landscapes outside Japan, taking on the voices of new creatures and natural phenomena.

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. “For an infant to enter into the sharing of meaning he has to be in communication, which may be another way of saying sharing rhythm…. The problem is how two or more organisms can share innate biological rhythms in such a way as to achieve communication which can permit transmission of information they do not already share.” (Bullowa, 1979, p. 15, italics added).

Play encompasses both the rationality and order of the left hemispheric orientation, and the improvisation and creativity of the right. But play also transcends these oppositions, running rings about them as it encircles the brain’s consciousness” (Turner, 1983, p. 217). First there is evidence from a recording made by Saskia van Rees in an intensive care unit in Amsterdam that rhythms corresponding to those of human locomotion are present in vocalizations of a premature infant which are precisely coordinated with simple vocal exchanges with a caring father . “… the mother and infant were collaborating in a pattern of more or less alternating, non-overlapping vocalization, the mother speaking brief sentences and the infant responding with coos and murmurs, together producing a brief joint performance similar to conversation, which I called ‘proto conversation’. The study of timing and sequencing showed that certainly the mother and probably the infant, in addition to conforming in general to a regular pattern, were acting to sustain it or to restore it when it faltered, waiting for the expected vocalization from the other and then after a pause resuming vocalization, as if to elicit a response that had not been forthcoming.