Songs Of Nature

In the example below of Stephen’s work a client is talking of an emerging ‘new me’ in contrast to an ‘old me.’2 The ‘old me’ was marked with ‘a lack of self-respect.’ ‘I blame myself when things go wrong, I believe I’m not working hard enough.’ The voice is drone-like, body hardly moving. Figure 5B shows a four-second section of a pitch plot of ‘old me’ voice. Especially in the last line, well controlled musical tricks varying the beat are used to mark a climax and resolution.” (Trevarthen, 1989, p. 96).

A child who sees themselves as a competent musician may attempt to learn a difficult piece of music, and their success at performing this piece will further bolster their sense of competence. And the way a child is welcomed into their musical culture is of vital importance as to whether this child thrives playfully with the musical tools at her disposal, developing her skill in the use of these tools, or shrinks away in disinterest because her own intrinsic musicality is not being heard or valued. For example, the InCanto project is a wonderful example of infants’ and parents’ being encouraged to have their expression of music cultivated in such a way that the infant grows into a child who shows greater ability to sing in tune, a greater range of musical expression, and overall more enthusiasm for music participation.

Bernstein applied the new technology of movie photography to make refined ‘cyclographic’ diagrams of displacements of body parts, from which he analyzed the forces involved to fractions of a second. “The act of musicking establishes in the place where it is happening a set of relationships, and it is in those relationships that the meaning of the act lies. They are to be found not only between those organized sounds which are conventionally thought of as being the stuff of musical meaning but also between the people who are taking part, in whatever capacity, in the performance” Small (1998, p.9). This article sets out to examine what Debussy wrote about music in the light of the discourse on music, literature, and nature that Debussy knew from contemporary literature.

A relationship between our communicative musicality and our culturally made music for the practice of music therapy is proposed by Pavlicevic and Ansdell . They emphasize the peculiarly musical relationship established within music therapy practice – that is, that the cultural elaboration of communicative musicality relates to our communal, social lives. Music therapy engages our shared communicative musicality, and welcomes us into the shared cultural, communal experience of musicking, using the tools of a particular cultural type of music – one of many musics in the world . A recording with a blind 5-month-old girl illustrates intermodal attunement between the heard melody of a mother’s song and the proprioceptive feelings in the body of the baby of a gesturing left arm and hand .

The Nature Connectedness Research Group at the University discovered that connections between young people and nature decreases during teenage years before taking more than a decade to recover. Findings have also revealed that references to nature in contemporary music have decreased consistently since the 1950s. Miles and his team highlight the importance of having a close connection with nature, which helps both the wellbeing of people and our planet. Their research shows that those who are tuned into nature are more likely to care for it and take more action towards the climate and environment emergencies. The Group has found that the connection between young people and nature dips during teenage years and takes more than a decade to recover.

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. Including views from inside the film-making process from the Bristol-based composer William Goodchild, and from the producer-director Vanessa Berlowitz and sound editor Kate Hopkins who have collaborated on award-winning series including the BBC’s Planet Earth and Frozen Planet.

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The infant is born ready to interact and discover her musical culture. Hearing responds to musical sounds from the third trimester of pregnancy (Busnel et al., 1992), and infants can recognize music they heard before birth . They recognize musical contours and rhythmic patterns , and ‘dance’ to music before they are one year old (Zentner et al., 2010). Infant-inclusive singing is preferred, like infant-inclusive speaking1. Lastly, we present the work of Katerina Mazokopaki, a developmental psychologist who is a pianist and teacher of piano playing.