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Prof. Colwyn Trevarthen, Department of Psychology, University of Edinburgh, Scotland

INSTITUTE FOR MUSIC IN HUMAN & SOCIAL DEVELOPMENT (IMHSD)

PERCEPTION, MOVEMENT & ACTION RESEARCH CENTRE (PMARC)

How Communicative Musicality Moves Us: From Infancy to Old Age, Telling Stories In Sight and

Sound of Moving:

GENERATIONS Bringing together people of all ages through opera and dance

18‐20 October 2012, Warsaw, Poland in cooperation with Teatr Wielki (Polish National Opera)

European Network ���for Opera and Dance ���

Education

Music Moves Us Together from Birth.

THE MUSIC AND DANCE OF 4 GENERATIONS

Téa, 5, dances with her grandmother to French fiddle music played by her uncle, with a doll made by her greatgrandmother

-- a national organisation promoting creative and reflective practice in early childhood education. Our approach begins with the premise that children are born innately sociable, curious, competent and creative, and that the role of early years education is to nurture these qualities, creating engaging and meaningful learning environments for children. ���

 20 Great North Road, Newcastle upon Tyne, ���Tyne and Wear NE2 4PS +44 (0)191 261 7666 Email: info@sightlines-initiative.com Website: www.sightlines-initiative.com

A group of six year old girls, with a musician ‘guide’, retell ���an old, much loved story, creating their own performance of

“Awakening Beauty” They are invited, first, to think about the sounds of emotion

They go into the woods and, with easy-to-play instruments,

one group of six compose ���the happy dance of the ���

GOOD FAIRIES

In another place in the woods, with rhythm on drums, two girls

have chosen to compose ���the angry dance of the ���

BAD FAIRIES In rehearsal two girls dance

gracefully as GOOD FAIRIES, to the melodic music played by the

‘orchestra’ of their friends.

And one girl choreographs the menacing violence of the dance of the BAD FAIRIES, to the drums.

The play is presented with the teacher. The cast are ready, in the costumes they designed and in front of the castle. The

good fairies dance with the princess, and the plot is described.

The princess marches up stairs to her chamber, followed by the bad fairies. They put her to sleep with stamping dance,

then the good fairies waken her with their happy ballet.

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The opera “Awakening Beauty” is performed for the whole school, and for the teachers ���and parents, who applaud a

beautiful performance. The cast bow to show their

appreciation, and pride

WHAT IS BEAUTIFUL AND UGLY IN MUSIC?

“The two different feelings of pleasure and annoyance are not so much based upon the quality of the external things when exciting them as upon the sentiment, peculiar to each man, of being moved to pleasure or displeasure...”

Immanuel Kant: THE SENSE OF THE BEAUTIFUL AND OF THE SUBLIME (1764)

CHILDREN ARE BORN MUSICAL They have the emotional sensibilities of a musician, without training in composition, or performance.

They move with rhythm and explore the tones and melodies of their voice, imitating the intonations and narratives of other persons' expressions long before they can talk. They love to perform for the attention and appreciation of others.

This is what we call 'communicative musicality’. It is the foundation for the learning of many stories of human interest besides music.

  “Sympathy In Movement” The Infant Self & Inter-Subjectivity,

Revealing Human Motives & Emotions.

Our research tries to find the creative processes of intelligence that generate and regulate human

actions, communication and learning. To find how play and cooperation transmit

meanings, beliefs, rituals and skills, and pleasure in conforming to rules of family, community and then

productive work in a busy society. It all begins in how we move together.

Japanese Boy, 10 Months Old, ���With His Mother, Appreciating Her Performance He watches her rhythmic hand play to accompany a

nursery song, and bows politely to her at the end.

Building on Charles Sherrington's discovery of the neurophysiology of body awareness in the early 1900s, the Russian physiologist Nicholai Bernstein, in the 1930s, made a brilliant analysis of how human movements are generated in the brain, imaginatively. His six laws of 'biodynamic structures' that make adaptive movements possible explain how excitations of muscular activity are controlled by motor images to produce highly efficient rhythmic actions with a heavy body of many parts and many biomechanical 'degrees of freedom’.

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A GYMNAST MAKES HER BODY SPEED UP AND SLOW DOWN BY MOVING HER LEGS.

STRETCHING OUT, SHE SLOWS TO MAKE A PERFECT LANDING

MOVNG THE BODY IS FUN

There are two sides to the dynamic shapes of all human art -  self-regulation of feeling in the body and in its moving; -  and sharing meaning in stories of imagined action, and in interactive communication or drama.

Art has beauty of self-conscious form, and moral purpose in community. Music as art in sound must be well done, but it is more than formal technique or sound technology, either in composition or in performance. And Dance is the pure expression of the artful imagination of movement.

The Apple in Eden: How Do We Share Meaning Before Words? Infant psychology teaches us that we are born to live in a cultural world, all beginning as works of imitative art, sensing bodies in movement, together.

Titian - “The Fall of Adam” Technology, science and mathematics, and the arts strive to master practice in the material world. They are all conventional products of practice. They begin in how we move and move together, learned with aesthetic feeling, and moral sensibility, in ‘communicative musicality’. And an infant is ready for it.

Artificial Language is invented in common experience, a fabricated tool of human collective fantasy. It can be thought for oneself, or studied as a ‘thing’ in text, but is learned by sharing, with emotion, in active dialogue and cooperative tasks.

Music and Dance cultivate motives and emotions of shared movement, for their own sake, making stories of vitality, as Natural Language.

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“..a description always implies an interaction. What we do as observers when we make descriptions is exactly that: We behave in an interlocked manner with other observers in a consensual domain ontogenically generated through our direct (mother-child relation) or ��� indirect (membership in the same society) ��� structural coupling.”

Maturana, H. R. (1978). Biology of language: The epistemology of reality. In: Miller, George A., and Elizabeth Lenneberg (Eds.) Psychology and Biology of Language and Thought: Essays in Honor of Eric Lenneberg. New York: Academic Press,. 27-63

HOW MOTIVES ARE SENSED A remarkable lesson from advanced technology, showing us something of what we feel is intuitively right about natural motives, but is difficult to talk about ‘logically’.

These elements are not moved by ‘cognitive’ rules – they are emotive life processes, provoking dynamic thoughts and dreams. To understand them we require a different science of mind – not of fate and fact, but of hope and value in moving.

CAN OBJECTS IN MOTION COME TO LIFE? These two objects simulate movements in a 3D space. ���Do their motions convey intimate vitality?

Is their motion just physical?

Are they alive – moving -- acting with vitality?

Are they aware or intelligent?

Are there two of them, separately active?

Are they communicating, socially?

Do they show changing emotions?

Are they showing signs of sympathy?

Could they be telling a story?

Baby Bailey moving Red marker, left arm; Green right arm

and "Wee Willie Winkie", ���a traditional Scottish

lullaby, sung by Sheena Wellington

With "Wee Willie Winkie", ���a traditional Scottish lullaby.

Wee Willie Winkie runs through the town, Up stairs and down stairs in his night-gown, Tapping at the window, crying at the lock, Are the children in their bed, for it's past ten o'clock?   Hey, Willie Winkie, are you coming in? The cat is singing purring sounds to the sleeping hen, The dog's spread out on the floor, and doesn't give a cheep, But here's a wakeful little boy who will not fall asleep!

From The Connected

Baby A film conversation Dr. Suzanne Zeedyk

& Jonathan Robertson,

who matched the song with the baby’s

movements suzanne@suzannezeedyk.com  : jonathanar@yahoo.com  http://www.theconnectedbaby.org/

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The theory of Communicative Musicality, based on research with the musical talents of infants, attempts to give these principles precise definition, identifying the essential parameters of pulse, quality and narrative in NATURAL SYMPATHY OF ACTION.

‘Musicality’ may be defined as the Human Way of Moving, with Rhythm and Expression -- to Create Action of all the Body, and to Communicate Stories of Purpose, Thought and Feeling.

It is active in all the ‘imitative arts’, which play with the pulse and melody inherent in movements, however they may be transmitted: in sound, by acting and dancing, by drawing and painting, and by speaking and writing -- all are ‘musical’ in form and meaning, for those moved by them.

The Mystery of Musical Narrative

Projects of the Moving Body With Prospective Control That Propose Connection

Shapes of Human Sound That Tell Stories: From Intimate Dialogue or To Carnival

The sound of the voice, or of music, is a mirror between souls, reflecting the sensations of limbs in movement, so the ‘felt Me’ becomes the ‘felt We’

with the creative energies of life – its ���Intrinsic Motive Pulse

THE DYNAMICS OF A NARRATIVE CYCLE A surge of life processes in the body

as movements are imagined by the Brain/Mind, -- over tens of seconds

Jonathan Delafield-Butt, working in the Edinburgh Royal Infirmary, has recorded the performance of a narrative of motor activity by a newborn, with the mother’s voice as an appreciative ‘audience’!

The technique of video motion capture gives us an accurate description of the infant’s gestures.!

Neonatal Unit Studio Edinburgh Infirmary

Parent-infant motion, video, and audio capture:

•  500Hz Qualisys

•  Double digital video

•  Double digital audio

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Kabuki Baby Ben

TSUMORU KOI YUKI NO SEKINOTO

Baby Ben is one month premature. He tells a story of self-awareness in movements of his body,

and is accompanied by his mother’s voice. They make music and poetry together.

How Baby Ben was filmed while his mother spoke to him, sharing his story

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TIMES OF THE MIND AND OF MUSIC ���ARE INNATE, APPEARING IN THE

MOVEMENTS OF INFANTS

Basic rhythms, and their emotional qualities, are the same in infants and adults.

This makes communication of the shared vitality of intentions, interests and feelings possible, before 'facts' of shared knowledge about actions and objects are named in speech.

Forms of Vitality: Exploring Dynamic Experience in Psychology, the Arts, Psychotherapy and

Development Daniel N. Stern M. D.

Oxford University Press 2010

“Vitality dynamics are psychological, subjective phenomena. They concern temporally contoured movements that are initiated by invisible felt forces … felt as aliveness. Vitality dynamics are … designed to fit the workings of the human world.”

Consider the following list of words. exploding surging accelerating Swelling bursting fading drawn out disappearing fleeting forcefull powerful weak cresting pulsing tentative rushing pulling pushing relaxing langourous floating fluttering effortful easy tense gentle halting gliding swinging tightly holding still loosely bounding and many more.

These words are common, but the list is curious. Most of the words are adverbs or adjectives. They are not emotions or motivational states … pure perceptions … sensations -- they have no modality. They are not cognitions or acts, as they have no goal state and no specific means. They fall in between all the cracks. They are the felt experience of force – in movement – with a temporal contour - and a sense of aliveness. … shapes of expressive movement. They concern the How, the manner, the style, not the What nor the Why.

Vitality dynamics are the child of movement.

Movement is our primary experience and vitality dynamic experience is the most primitive and fundamental of all felt experience. A CHILD IS BORN WITH BODY & BRAIN READY TO

MOVE IN COMPANY - MUSICALITY IS INNATE - IT CONDUCTS OUR MENTAL DRAMA & SHARES IT

Infants are much cleverer than we had thought at discriminating musical rhythms and tones of human sounds, and appreciating a story. They hear and learn musicality of mother's talk and simple tunes before birth. A two-month-old can be a skilled performer in an improvised vocal duet or protoconversation, a shared story over tens of seconds.

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NEWBORNS ARE EXPRESSIVE

A Musician’sDaughter, 6 Hours Old

The rhythms of speech are innate !

A premature infant has a conversation. !A video of Naseera, born 3 months premature, was made in an ICU in Amsterdam by Saskia van Rees.

She makes videos of birth, neonatal care, and communication with infants and children with special needs. Saskia van Rees Stichtinglichaamstaal (Body Language Foundation) Internet: http://www.stichtinglichaamstaal.nl/ Email: info@stichtinglichaamstaal.nl/!

Naseera, born 3 months early, kangarooing with father

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EFFICIENT FREE MOVEMENT HAS PACE, FORM & TONE, LIKE MUSIC

‘Musicality’ may be defined as the human way of moving with Rhythm and a wealth of Expression --

It Creates Action of the Body with Emotion, and It Communicates Stories of Purpose, Thought and Feeling -- Driven by Time in the Brain in a

CHRONOBIOLOGICAL SPECTRUM OF RHYTHMS

Age-Related Developments in Body and Mind In the first 18 months after birth advances in communication and self-awarenessare related to developments in the body and movement, and in perception, cognitive abilities and memory.

The ‘grasp’ of the mind is growing, with new ‘plans for activity’, and new friends are found. The growth of a creative human cultural intelligence needs not ‘stimulation’, but the appreciation of sympathetic human company to share experiences, and help them intend and experience, with pride.

PREPARED FOR HUMAN LIFE

At birth the human brain is one third the size of an adult brain, but has all major parts in place, including unique human sensory & motor organs for communicating emotions, intentions & states of consciousness. They wait for company.

At 7 weeks Téa is very Interested in communicating.

IN EARLY WEEKS A BABY SEEKS INTIMATE CHATS

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New Zealand baby Chatting, 10 Weeks old Old, with more open gaze, sharing vocal mind time.

SYNRHYTHMIC REGULATION: Mother and infant can communicate psychologically, regulating sympathy by expressions of emotion.

Passing expressions ���of face, voice and hands ���back and forth, rhythmically, imagining each other, participating in feelings

Baby

Mother

Telling and acting out stories with emotion, listening to thoughts and imitating actions is how humans learn -- in

shared vitality and awareness.

THE BABY LEADS THE DANCE OF INTERSUBJECTIVITY Jody, 9 weeks old, and his mother at the ���

Center for Cognitive Studies, Harvard University, 1969

Research Project on Infant Communication with Prof. Jerome Bruner, Dr. T. Berry Brazelton and Dr. Martin Richards

Kay

Louise

Laura

Ben

The Prosser Family in Edinburgh, 1979 We tell one another our intentions, interests and feelings from birth, by moving in sympathy -- creating stories of

life with people we love.

Laura, at 6 weeks, starts to chat with her Mother, Kay, at Edinburgh University. She pays attention.

THE BODY SHOWS INTIMATE INTENTIONS Laura, 6 weeks old, and her mother, Edinburgh University, 1979

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INTERSUBJECTIVE CHRONOBIOLOGY

The rhythms, expressive qualities and narrative making in movements of dialogues or

'protoconversations' with 2-month-old Laura in Edinburgh led to Dr. Stephen Malloch, a violinist and

music acoustics expert, to a theory of Communicative Musicality

This explains how time and energy in moving communicates by sensing messages in the expressive vitality, or 'flow' of energy, in human movements.

The theory is explored in a book published this year

Communicative Musicality:

Exploring the Basis of Human Companionship

Stephen Malloch and

Colwyn Trevarthen

Oxford University Press 2009 & 2010

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“As I listened, intrigued by the fluid give and take of the communication, and the lilting speech of the mother as she chatted with her baby, I began to tap my foot. I am, by training, a musician, so I was very used to automatically feeling the beat as I listened to musical sounds. … It suddenly dawned on me that I was tapping my foot to human speech—not something I had ever done before, or even thought possible.

I replayed the tape, and again, I could sense a distinct rhythmicity and melodious give and take to the gentle promptings of Laura’s mother and the pitched vocal replies from Laura.”

Music communicates because it engages !an Intrinsic Motive Pulse (IMP) in the brain. !

The sense of 'musicality' comprises: !(1)! PULSE: A rhythmic time sense (syllables, the beat, phrases and longer elements); !(2)! QUALITY: Sensitivity for the temporal variation in intensity, pitch and timbre of voices and of instruments that mimic the human voice;!(3)! NARRATIVE: Perception of the emotional development of the melodic line, which supports anticipation of repeating harmonies, phrases and emotional forms in a vocal or musical performance. !

COMMUNICATIVE MUSICALITY! (Malloch, 1999)!

Narrative!

• Pulse and Quality are combined in the forms of emotional narrative, which allow two persons to share a sense of purpose in passing time. !

• We examine the musical companionship that is created with her baby as a mother shares a protoconversation or chants a nursery rhyme. !

• We conclude that Communicative Musicality is vital for companionable communication between mother and infant.!

Stephen Malloch (1999).!

The proto-conversational story becomes a life story.!

Kay

Louise

Laura Audrey 2 Years

Thirty Years Later in Vancouver

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“Music is given to us with the sole purpose of establishing an order in things, including, and particularly, the co-ordination between man and time"

Stravinsky, I. (1936): Chronicle of My Life. Gollancz. London, p.83.

But just as the eye completes the lines of a drawing, which the painter has knowingly left incomplete, just so the ear may be called upon to complete a chord and cooperate in its resolution. ... Dissonance, in this instance, plays the part of an allusion. … All music is nothing more than a succession of impulses that converge towards a definite point of repose. That is as true of Gregorian chant as it is of a Bach fugue, as true of Brahms's music as it is of Debussy's. … This general law of attraction is satisfied in only a limited way by the traditional diatonic system, for that system possesses no absolute value.!Igor Stravinsky (1947). Poetics of Music in the Form of Six Lessons. Cambridge, MA: Harvard University Press, pp. 34 to 36.

The sounding tone constitutes … the essential axis of music. Musical form would be unimaginable in the absence of elements of attraction which make up every musical organism and which are bound up with its psychology. The articulations of musical discourse betray a hidden correlation between the tempo and the interplay of tones. All music being nothing but a succession of impulses and repose, it is easy to see that the drawing together and separation of poles of attraction in a way determine the respiration of music.!Igor Stravinsky (1947). Poetics of Music in the Form of Six Lessons. Cambridge, MA: Harvard University Press, p. 36.

Imaginative Meaning Is Shared In Movement Technology, science and mathematics strive to measure and master the material world logically, free of sentiment and fantasy. But their ideas are conventional products of romantic imagination in action. However disciplined by rules to give stable definition to our collective experience of the time and space of experience, knowing can begin only in how our complex human bodies move. We know the world and share vital emotions -- aesthetic feelings for what is creative and harmonious, and moral sense in relationships, both of which make cooperation and ‘common sense’ possible.

STAGES OF EXPERIENCE, RELATIONSHIPS AND EDUCATION TO SCHOOL AGE – ALL BEGINS IN THE

INTIMACY OF SHARED MOVING Whitehead (1929) Romance Discipline Generalization Creativity & Cooperation Erickson (1950) Trust Autonomy Initiative Industry Ego Development, v Mistrust v Shame & Doubt v Guilt v Inferiority Emotions in Relationships Piaget (1947) Sensory-Motor Pre-Operational Concrete Formal Cognitive Mastery of Objects Bruner (1968) Enactive Iconic Symbolic Cognitive Representation Donaldson (1999) Point Line Construct Transcendent Modes, of Action, Here There Anywhere Nowhere Loci of Concern, & Now & Then Anytime Intellect & Emotion

A child shares of habits of moving before birth, sensingthe feelings and sounds of the mother's life, learning the rhythms and emotions of her activity. In first moments after birth, an infant may look and listen with innocent concentration for confirmation of human expressions, already building knowledge of others' being. The process of shared consciousness and story-making advances rapidly, from the 'ritual courtesy' of protoconversations, to the teasing fun of games, and then to cooperation in practical tasks and 'acts of meaning’ by which a common sense world becomes ready to name its objects and actions with words.

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NEWBORNS Talk on the First Day

PROTOCONVERSATIONS 6 weeks to 3 months

GAMES & SHOWING OFF 5 & 6 months

SHARING TASKS & KNOWLEDGE, 1 year

STAGES IN DEVELOPMENT OF COMPANIONSHIP IN KNOWING

DEPRESSED MOTHERS���LOSE MUSICALITY -- THEY CANNOT

SHARE MOTIVES AND FEELINGS���

When they talk with their infants, taking part in adventures of action and of thought

is more difficult for both, when���‘out-of-touch’. ���

The baby may become depressed, too.

GAMES & RITUALS, ���WITH PEOPLE ���

AND WITH THINGS���

Person-Person, ���with a performer’s pretence ���

then���Person-Person-Object with ‘toys’.

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After 3 months, a baby quickly becomes stronger, more curious, eager to look at surroundings, and to grasp and manipulate things.

There is a growing tension between doing something for oneself, or with others -- and this makes for self-consciousness, teasing and fun, and invention of games. (This is why the infant begins to find mirrors puzzling-- they tease new expectations of communication)

Leanne, 4 months: Enjoying a song. Reaching for a ball.

Looking about. Ignoring mother��� “If it’s your foot you want, here!”

Vasudevi Reddy’s study of babies’ ‘coyness’ in front of the mirror began her interest in ‘other awareness’.

‘SELF-CONSCIOUSNESS’ AT 3 MONTHS

Vasudevi���Reddy���“How���Infants���Know���

Minds”

Harvard���University���

Press

2008

A mother and all the family become more lively. They start playing rhythmic body games, and enjoy music, songs and dancing which become part of the fun of their life together.���They are sharing their special rituals and dramas, feeling them intimately in their bodies and minds, and remembering them in a ‘proto-culture’.���

They negotiate the invented life of meaning.

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Jack, 4 Months, learns to say, “AAH BOO”, and when he does it, his mother says, “You get a kiss for that”, and she kisses him on the forehead.

Research on songs for infants in many languages has taught us how we share story-telling underneath, or beyond, the spoken word -- in the body. !

The infant's rhythmical feelings can be mirrored and modified by song and instrumental music. !

Responses to music prove that the organized rhythm and melody catch a baby's attention and move him or her to dancing in time with hands and legs. !

Songs are quickly learned and remembered. They become favourite messages of friendship, emblems of the infant’s identity, or membership of a group.!

THE HIDDEN REALM OF ‘’VITALITY DYNAMICS’’:

Exploring Dynamic Experience and Vitality in Psychology, Neuroscience, Development, and Art

Daniel N. Stern M. D. Coming soon. Oxford University Press

Vitality dynamics are psychological, subjective phenomena. They concern temporally contoured movements that are initiated by invisible felt forces … felt as aliveness. Vitality dynamics are … designed to fit the workings of the human world

Consider the following list of words. exploding surging accelerating Swelling bursting fading drawn out disappearing fleeting forcefull powerful weak cresting pulsing tentative rushing pulling pushing Relaxing langourous floating fluttering effortful easy Tense gentle halting gliding swinging tightly holding still loosely bounding and many more.

These words are common, but the list is curious. Most of the words are adverbs or adjectives. They are not emotions or motivational states … pure perceptions … sensations -- they have no modality. They are not cognitions or acts, as they have no goal state and no specific means. They fall in between all the cracks. They are the felt experience of force – in movement – with a temporal contour - and a sense of aliveness. … shapes of expressive movement. They concern the How, the manner, the style, not the What nor the Why.

Vitality dynamics are the child of movement.

Movement is our primary experience and vitality dynamic experience is the most primitive and fundamental of all felt experience.

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Mors lilla Olle

Mother’s little Olle meets ���a bear and feeds him blueberries

A WONDERFUL EXAMPLE OF TRANSMODAL MEANING A Swedish Mother Sings to Her Blind Daughter

• • • • •

•

How Maria shows us the shape of phrases and stories in song. This five-month old blind baby girl conducts her mother’s songs with her left hand. Her hand moves 1/3 second before the melody of her mother’s voice, making graceful gestures, telling a story she knows well.

The baby’s finger, dancing to the music, sometimes moves about 0.3 seconds before the mother’s voice. At other times she synchronizes. She knows the ‘performance’.

The Rhythms and Tones of a Story

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MUSICAL COMPANIONSHIP The rhythm and expression of music carries a message of human company, the friendly ‘Other’, telling a moving narrative, giving fresh human purpose to time in the mind. Music teacher and psychologist Dr. Katerina Mazokopaki has studied the development of rhythmic talents of babies in Crete.

Mazokopaki, K. & Kugiumutzakis, G. (2008). Infant rhythms: Expressions of musical companionship. In Malloch, S. & Trevarthen, C. (Eds.) Communicative Musicality: Narratives of expressive gesture and being human, 185-208. Oxford: Oxford University Press.

Babies at home in Crete celebrate the pleasure of a traditional Greek children’s song. They happily express their appreciation of musical rhythm. ���Georgos, 3.5 months, dances with face and hands. ���Katerina, 9 months, beats time with her arms. Both sing.

Seated on the carpet, Panos, 9 months, beats time with his hand and Anna, 10 months, who stand in her cot, bounces and sings with her whole body, wiggling her hips. Both also sing their delight.

• First he is surprised and interested. • Then he looks around, “Who is there?”. • He smiles with pleasure, recognising

the happy sounds. • And then he joins in, celebrating the

rhythm with his hand and 'singing’.

Baby Panos hears the story the music is telling. He is sitting on the floor at home in Crete by himself when a cheerful song comes on from the radio.

SURPRISE

JOY PARTICIPATION

INTEREST

Round and round the gar-den, • ‘ • ‘ • • Ran a ted-dy bear, • ‘ • ‘ • - One step, two step, • • • • Tic-kl-y un-der there. • ‘ ‘ • ‘ • -

A FAVOURITE ACTION SONG

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Leanne, 5 months. “Round and round the garden”, with Interest and Pleasure.

Megan, “Round and round the garden” “-- and a tickly under there!”

Clappa, clappa handies, • ‘ • ‘ • • Mommy’s at the well, • ‘ • ‘ • - Daddy’s away to Hamilton, • ‘ • ‘ • ‘ • To buy wee Megan a bell. ‘ • ‘ • ‘ •

A POPULAR SCOTTISH CLAPPING STORY Megan, 5 months, “Clappa-clappa-handies”

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Emma, 6 months: Looking at self, touching Mother’s tongue Her pride is marked by the circles.

Clapping hands with shared joy; imitating, watching own tongue

Emma, 6 months: “Clap Handies!” (She is left-handed).

Emma, 6 months, On father’s knee.

Her mother says, “Clap handies!”

Emma ‘shows’ or ‘performs’ to the camera, with intent look and a proud grin.

(Photo © John and Penelope Hubley, 1979)

That’s pride!

But, With a Stranger she is worried and ‘Ashamed’ -- He does not ‘get it’.

Even a nice stranger is hard for a 10-month-old to bear.

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And Mother gets told off!

DEVELOPMENT OF COOPERATING IN TASKS ���

Beginning to share the endless game of cultural jobs to do, and tools to do them.���

‘Secondary Intersubjectivity’ or ���Sharing Tasks

At about 9 months important advances occur in sharing experience. The baby’s increased interest in what other people are doing and the things they use leads to following directive messages, trying to make conventional messages or to use objects ‘properly’ -- in the approved ‘ritual’ way. This is vital preparation for learning language to name meanings or conventions of ‘human sense’.

“Master Baby” by Sir William Orchardson, Scottish National Gallery. A one-year-old with her mother. Person-Person-Object Game.

BEFORE 9 MONTHS TWO ATTENTIONS “Put the man in ���the truck!”

Emma, 7 months Is bright, but she doesn’t get her mother’s message. She is too young to share the purpose ���of a task.

“Don’t chew it. Put it in there!”

Object

Person

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For Basilie, 12 months, it is easy and amusing.

“Here, put this one in the truck!”

OK, If that’s what you want No problem!

Easy!

“Oh, what a clever girl!” (Yes I am good, aren’t I)

Happy?.

Basilie pointed and vocalised a ‘protolanguage’ request for the magazine. Her mother said, “Oh, she recognizes the National Geographic by its yellow cover, and likes to look at the pictures.”

Sharing meaningful things with a best friend

Adegbenro, Lagos, like to play his piano with his mother.

(Photo © John and Penelope Hubley, 1979) (Photos © John and Penelope Hubley, 1979)

Mother and uncle in Adegbenro’s Zone of Proximal Development.

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(Photo © John and Penelope Hubley, 1979)

But Adegbenro is a capable and proud performer on his own. Adegbenro asks for his favourite rattle.

(Photos © John and Penelope Hubley, 1979)

His mother gives it to him.

(Photo © John and Penelope Hubley, 1979)

“Look what I’ve got!”

Mother smiles.

Toddlers play with and explore an imaginative ‘unreality’ that others may believe has beauty and practical value, and want to share.

On their own, and with friends, the make practical sense of the world creatively, sharing the pleasure of knowing and doing.

In play with dancing voice and body they create what the Norwegian Professor of Musicology Jon-Roar Bjørkvold calls Children’s Musical Culture

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A proud family in a remote forest in Canada in 1907. Sampson and Leah Beaver with their daughter Frances Louise. ���

As Blackfoot Indians they lived with little technical culture, not even using canoes. They are close to nature, rich in art, and very fit.

www.childscurriculum.org.uk

Cockpen Nursery Edinburgh

Playground

Sharing Tasks

Sand Pit

Nursery School Garden

A BOOK PROPOSAL Those concerned for the future of children and our care of them will be interested to read in here a wide range of experience and the best information available on the talents of the early years, and how to share life and learning���with young children.   Eds. Jonathan Delafield-Butt, Aline-Wendy Dunlop, Colwyn Trevarthen

“Born for Art, and the Joyful Companionship of Fiction” Colwyn Trevarthen

UNIVERSITY of NOTRE DAME COLLEGE of ARTS and SCIENCES

Center for Children and Families Symposium on Human Nature and Early

Experience:

Addressing Our Evolutionary Heritage

October 10-12, 2010

For: Evolution, Early Experience and Human Development: From Research to Practice and Policy. Edited by D. Narvaez, J. Panksepp, ���A. Schore & T. Gleason. Oxford University Press, 2012

http://ccf.nd.edu/symposium/symposium-presentations/

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“Watching someone grasping a cup of coffee, biting an apple, or kicking a foot-ball activates in our brain the same cortical regions that would be activated if we were doing the same.” Gallese, V. (2012). Introduction in M. Ammaniti and V. Gallese, The Birth of Intersubjectivity, Norton.( In press)

‘Mirror’ neurons : Man and Monkey

26

“It must be added that by means of its functional connectivity, TPJ is part of a network … implicated in multisensory integration during self-related and other-related events and experiences. Thus, one could hypothesisze that TPJ systematic involvement with mindreading tasks doesn’t depend upon the fact that it contains false-belief ascription-specific neurons, ���but because self-other differentiation at a bodily level is a necessary ingredient of such mentalizing activity.” (Gallese, 2012)

Convergence of the major emotional systems on the self-coordinating mechanism of the periaqueductal grey (PAG) in the midbrain (of, for example, a rat)

[Panksepp, J. and Trevarthen, C. (2009). The neuroscience of emotion in music. In Malloch, S. and Trevarthen, C. (eds), Communicative Musicality: Exploring the Basis of Human Companionship, 105-146. Oxford: Oxford University Press.]

Merker, B. (2007). Consciousness without ���a cerebral cortex. BBS, 30, 63-134.

The reaction of a three-year-old girl with hydranencephaly in a social situation in which her baby brother has been placed in her arms by her parents, who face her attentively and help support the baby while photographing

27

THE DEEP INTEGRATIVE FUNCTIONS OF THE SELF

“The nature of the self has been one of the central problems in philosophy and most recently in neuroscience. Here, we suggest that animals and humans share a ‘core self’ represented in homologous underlying neural networks. We argue that the core self might be constituted by an integrative neuronal mechanism that enables self-related processing (SRP).” [With the pulse of vitality, which can be shared]

Georg Northoff and Jaak Panksepp (2008). The trans-species concept of self and the subcortical–cortical midline system Trends in Cognitive Sciences, 12(7), 259-264.

Promoting Social Interaction for ���Individuals with Communicative Impairments: Making Contact

Edited by ���M. Suzanne Zeedyk

Jessica Kingsley London, 2008

Jerome Bruner

1990 Acts of Meaning.

1996 The Culture of Education.

“We are story-making creatures”

.

TEACHERS AND COMPANIONS IN THE STUDY OF INFANT VITALITY AND IMAGINATION

Daniel Stern Margaret Donaldson

ON CREATIVITY, ARTFUL CULTURE AND INFANT MUSICALITY

Bjørkvold, J.-R. (1992). The Muse Within: Creativity and Communication, Song and Play from Childhood through Maturity. New York: Harper Collins.

Custodero, L. A. and Johnson-Green, E. A. (2003). Passing the cultural torch: Musical experience and musical parenting of infants. Journal of research in music education, 51 (2), 102-14.

Dissanayake, E. (2000). Art and Intimacy: How the Arts Began. University of Washington Press, Seattle and London.

Gratier, M. and Trevarthen, C. (2008). Musical narrative and motives for culture in mother-infant vocal interaction. The Journal of Consciousness Studies, 15(10-11), 122-158.

Malloch, S. (1999) Mother and infants and communicative musicality. In: Rhythms, Musical Narrative, and the Origins of Human Communication. Musicae Scientiae, Special Issue, 1999-2000, Deliège, I., ed. Liège, Belgium: European Society for the Cognitive Sciences of Music, pp. 29-57.

Malloch, S. and Trevarthen, C. (2009). (eds) Communicative Musicality: Exploring the Basis of Human Companionship. Oxford: Oxford University Press.

Reddy, V. (2008). How Infants Know Minds. Cambridge MA: Harvard University Press. Smith, A. ([1777] 1982). Of the Nature of that Imitation which takes place in what are called the

Imitative Arts. In W. P. D. Wightman and J. C. Bryce (eds.) with Dugald Stewart’s account of Adam Smith (ed. I. S. Ross), D. D. Raphael and A. S. Skinner (General eds.), Essays on Philosophical Subjects (pp. 176–213). Indianapolis: Liberty Fund

Stern, D. N. (2010). Forms of Vitality: Exploring Dynamic Experience in Psychology, the Arts, Psychotherapy and Development. Oxford: Oxford University Press.

Trevarthen, C. (1995). Mother and baby - seeing artfully eye to eye. In: R. Gregory, J. Harris, D. Rose and P. Heard (eds.) The Artful Eye. Oxford: Oxford University Press, 157-200

Trevarthen, C. (1999). Musicality and the Intrinsic Motive Pulse: Evidence from human psychobiology and infant communication. In "Rhythms, musical narrative, and the origins of human communication". Musicae Scientiae, Special Issue, 1999-2000, pp. 157-213. Liège: European Society for the Cognitive Sciences of Music

Trevarthen, C. (2008) The Value of Creative Art in Childhood, Children in Europe, Issue 14, 2008, pp. 6-9.

Trevarthen, C. (2012). Born for art, and the joyful companionship of fiction. In Narvaez, D., Panksepp, J., Schore, A., & Gleason, T. (eds.). Evolution, Early Experience and Human Development: From Research to Practice and Policy. New York: Oxford University Press. (in press).

Trevarthen, C. & Delafield-Butt, J. (2012). Biology of shared experience and language development: Regulations for the inter-subjective life of narratives. In M. Legerstee, D. Haley, & M. Bornstein. The Developing Infant Mind: Integrating Biology and Experience. New York: Guildford Press (in press)

Trevarthen, C. & Malloch, S., 2002, Musicality and music before three: Human vitality and invention shared with pride. Zero to Three, September 2002, Vol. 23, No, 1: 10-18.

Turner, V. W. (1982). From Ritual to Theatre: The Human Seriousness of Play. New York: PAJ Publications.

CHAPTER TITLES FROM COMMUNICATIVE MUSICALITY Malloch, S. and Trevarthen, C. (2009). Communicative Musicality: Exploring the Basis of Human

Companionship. Oxford: Oxford University Press. 1 - Malloch, S. and Trevarthen, C. (2009). Musicality: Communicating the vitality and interests of life. 1-11. 2 - Dissanayake, E. (2009). Root, leaf, blossom, or bole: Concerning the origin and adaptive function of

music, 17-30. 3 - Brandt, P. A. (2009). Music and how we became human — a view from cognitive semiotics: Exploring

imaginative hypotheses, 31-44. 4 - Merker, B. (2009). Ritual foundations of human uniqueness, 45-60. 5 - Cross, I. and Morley, I. (2009). The evolution of music: Theories, definitions and the nature of the

evidence, 61-81. 6 - Lee, D. and Schögler, B. (2009). Tau in musical expression, 83-104. 7 - Panksepp, J. and Trevarthen, C. (2009). The neuroscience of emotion in music, 105-146. 8 - Turner, R. and Ioannides, A. (2009). Brain, music and musicality: Inferences from neuroimaging, 147-

181. 9 - Mazokopaki, K. and Kugiumutzakis, G. (2009). Infant rhythms: Expressions of musical companionship,

185-208. 10 - Powers, N. and Trevarthen, C. (2009). Voices of shared emotion and meaning: Young infants and their

mothers in Scotland and Japan, 209-240. 11 - Eckerdal, P. and Merker, B. (2009). 'Music' and the 'action song' in infant development: An

interpretation, 241-262. 12 - Bradley, B. S. (2009). Early trios: Patterns of sound and movement in the genesis of meaning between

infants, 263-280. 13 - Marwick, H. and Murray, L. (2009). The effects of maternal depression on the ‘musicality’ of infant-

directed speech and conversational engagement, 281-300. 14 - Gratier, M. and Apter-Danon, G. (2009). The improvised musicality of belonging: Repetition and

variation in mother–infant vocal interaction, 301-327. 15 - Osborne, N. (2009). Music for children in zones of conflict and post-conflict: A psychobiological

approach, 331-356. 16 - Pavlicevic, M. and Ansdell, G. (2009). Between communicative musicality and collaborative musicing:

A perspective from community music therapy, 357-376. 17 - Robarts, J. Z. (2009). Supporting the development of mindfulness and meaning: Clinical pathways in

music therapy with a sexually abused child, 377-400. 18 - Bond, K. (2009). The human nature of dance: Towards a theory of aesthetic community, 401-422. 19 - Wigram, T. and Elefant, C. (2009). Therapeutic dialogues in music: Nurturing musicality of

communication in children with autistic spectrum disorder and Rett syndrome, 423-445. 20 - Erickson, F. (2009). Musicality in talk and listening: A key element in classroom discourse as an

environment for learning, 449-464. 21 - Bannan, N. and Woodward, S. (2009). Spontaneity in the musicality and music learning of children,

465-494. 22 - Fröhlich, C. (2009). Vitality in music and dance as basic existential experience: Applications in teaching

music, 495-512. 23 - Custodero, L. A. (2009). Intimacy and reciprocity in improvisatory musical performance: Pedagogical

lessons from adult artists and young children, 513- 530. 24 - Dissanayake, E. (2009). Bodies swayed to music: The temporal arts as integral to ceremonial ritual, 533-

544. 25 - Osborne, N. (2009). Towards a chronobiology of musical rhythm, 545-564. 26 - Davidson, J. and Malloch, S. (2009). Musical communication: The body movements of performance,

565-584. 27 - Rodrigues, H. M., Rodrigues, P. M. and Correia, J. S. (2009). Communicative musicality as creative

participation: From early childhood to advanced performance, 585-610.

ON MOVING TO COMMUNICATE STORIES OF VITALITY AND FEELING

Bernstein, N. (1967) Coordination and Regulation of Movements. New York: Pergamon.

Bråten, S. (2009). The Intersubjective Mirror in Infant Learning and Evolution of Speech. Amsterdam/Philadelphia: John Benjamins Publishing Company.

Bruner, J. S. (1990). Acts of Meaning. Cambridge, Mass.: Harvard University Press.

Hobson, P., 2002, The Cradle of Thought: Exploring the Origins of Thinking. London: Macmillan

Lashley, K. S. (1951). The problems of serial order in behavior. In: L. A. Jeffress (ed.), Cerebral Mechanisms in Behavior, pp. 112-136. New York: Wiley.

Nadel, J. and Pezé, A. (1993). Immediate imitation as a basis for primary communication in toddlers and autistic children. In J. Nadel and L. Camioni (Eds.), New Perspectives in Early

Communicative Development, (pp. 139-156). London: Routledge,.

Panksepp, J. (2005). Beyond a joke: From animal laughter to human joy? Science, 308, 62–63.

Papoušek, H. (1996). Musicality in infancy research: biological and cultural origins of early musicality In I. Deliège and J. Sloboda (eds.), Musical Beginnings: Origins and Development of Musical Competence, (pp. 37-55). Oxford, New York, Tokyo: Oxford University Press.

Rogoff, B. (2003). The Cultural Nature of Human Development. Oxford: OUP

INTERESTING WEB SITES

http://www.oilycart.org.uk/early_years/

www.musicateatral.com

www.sightlines-initiative.com

http://www.starcatchers.org.uk/