Nature Music

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. The notion of music as expressive of the movements of our inner life has also been explored by music theorists, most notably Ernst Kurth . Likewise, in his book Self comes to Mind, Antonio Damasio likens all our emotion and feeling to a ‘musical score’ that accompanies other ongoing mental process (Damasio, 2010, p.254). 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 .

And from even before birth, the self-formation of a personal self in the brain of the fetus is led by manifestations of movement. “Human languages are coaxed into the brain, initially by the melodic intonations of motherese by which emotional communication becomes the vehicle for propositional thought.” (Panksepp et al., 2012, p. 11). We summarize here key findings related to the growth of musical abilities from studies of infant individuals that we have reported previously.

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. You have to play the music as if you are performing to a friend but instead establish it with three thousand people. This is the complexity involved with how to actually perform it – you do have to solve that little problem but, I will find a way.

Listen to the winning songs from the Tune into Nature Music Prize 2021 and then join our music experiment by letting us know your reaction. It must be combined with something, for example, a video, marketing message or voice over. 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. Good, beautiful and enjoyable, music is created out of poetic play. “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.

There are a few humans that are very meaningful to me but the rest seem to be unnecessary and unneeded. You can, instead, devote your time to being amongst nature and, through doing this, you do feel much richer. Every day, I found myself writing a piece of music, and the music came naturally. It was like the music was coming by itself, without any effort from me.

It becomes apparent that Debussy shares with, for example, Mallarme a refusal to consider that his work renders natural scenes present. Indeed, he rejects entirely the notion that music can or should represent anything . Debussy accordingly despises programs and critics who look in his music for images or ideas that they expect him to have put there. I’ve always believed that, in school, the first thing you should do with children is listen to a piece of music with them. 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.

Yet he also allows that music has levels of structure analogous to the phonemes and sentences of language. The absence of words as the connecting level is an obvious and pertinent fact in the structuring of meaning within music as a sign system.” (Champagne, 1990, p. 76). As MAHOGANY”3 is mainly rooted in celebrating and empowering black women, we chose to focus on the unity of our sisters for this shoot in particular. But the element of unity can be seen throughout the project where our models, who individually represent different cultural backgrounds, can be seen embracing and holding each other. Although we placed a lot of importance throughout the project on highlighting particular cultures, we felt it was also important to show community amongst African nations. Steel and concrete can’t beat good old wood to produce the best sounds for music.

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). 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.

They convey relational feelings for the degree of consensuality or sharing of expression in moving. 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 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 . 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 . When taking part in a nursery song, infants demonstrate sensitivity for melodic phrase structure, attending to the rhyming vowels at the ends of lines, and by 5 months the infant can vocalize a matching vowel in synchrony with the mother .