Tune Into Nature Music Prize

Scores and other tools that record the product of musicking, performed or imagined, aid the retention of ideas, as semantics of language does, and they serve discussion and analysis – but they are not the same as the breathing, moving, embodied experience of human musicking . To mark World Earth Day it’s great to announce the second running of the Tune Into Nature Music Prize. The launch in 2020 saw 180 entries and resulted in the inaugural winner, I Eden by LYDIAH. The Oak Project is supporting the the prize this year and with a judging panel including musicians Martyn Ware, Sam Lee, Supriya Nagarajan and poet Zena Edwards we are in search for a piece of original music that tunes into nature – helping to highlight the need for a new relationship with nature and provide vital support for young creative practitioners.

Companionship involves exchanging affect through sharing the quality or virtue of impulses of motivation, which is the original rich meaning of ‘sympatheia’ in Greek . As well as showing inflexible, ‘non-graceful’ behavior of a mother who is suffering from BPD, this example also shows the resilience and hope of the infant in the face of her mother’s rigid communicative style. This will of our communicative musicality, evident from the earliest of interactions with infants (Papoušek, 1996), is utilized in therapies that employ in-the-moment intersubjective interactions as means for healing (Stern et al., 1998; Stern, 2000, p. xiv). This immediately responsive interaction may be through talking, through music-making, through dance, or touch.

Further, we argue that music comes from the way in which knowing bodies (Merleau-Ponty, 2012 , p. 431) prospectively explore the environment using habitual ‘patterns of action,’ which we have identified as our innate ‘communicative musicality,’ observed while infants are in intimate communication with loving caregivers . In short case studies of infant interactions with micro analyses of video and audio recordings, we show communicative musicality in the timings and shapes of intersubjective vocalizations and body movements of adult and child that improvise with delight shared narratives of meaning. We propose that teachers and students of music at all levels learn how best to do their work by deliberately invoking the rhythms of the student’s innate creative vitality while demonstrating https://www.pancakemeow.com/ cultural conventions that make rich use of this talent . In all instances the motives of the learner, and how they may change with development of the body and experiences gained, are of crucial importance (Bannan and Woodward, 2009; Ingold, 2018). As with all education, the success of teaching depends on recognition of how children’s ‘zest for learning’ (Whitehead, 1929; Dewey, 1938) changes with age and the development of body and mind. In our opinion brain science has been most insightful into the nature of the self and what makes us human, and how we share the joy and pains of life, when it investigates ‘Primary Process’ emotional guidance of brain growth for regulation of vitality in body movement and its ‘seeking’ awareness (Hess, 1954; Solms and Panksepp, 2012).

Maria and her mother were assisting in a project of Professor Gunilla Preisler in Stockholm to aid communication with blind and deaf infants. 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. These sensuous qualities of the experienced self are expressed in music, and in other temporal arts, as ‘the human seriousness of play’ .

Supported by insights of Charles Darwin and by new findings of anthropology and animal ethology they studied infant initiatives to perceive and use objects, and they were impressed by the intimate reciprocal imitation that develops between infants and affectionate parents and caregivers who offer playful collaboration with the child’s rhythms and qualities of movement. Film studies showed that young infants make complex shifts of posture and hand gestures that are regulated rhythmically, similar to the same movements of adults (Bruner, 1968; Trevarthen, 1974). Infants have no language to learn what other humans know, or what ancestors knew. But the vitality of their spontaneous communicative musicality, highly coordinated and adapted to be shared through narratives with sympathetic and playful companions, enables meaningful communication in the ‘present moment’ (Stern, 2004; Figure 1, Upper Right), which may build serviceable memories extended in space and time .

A stimulating contribution to this new approach came from the work of anthropologist and linguist Mary Catherine Bateson, daughter of anthropologists Gregory Bateson and Margaret Meade. In 1969 Bateson had her first child after beginning postgraduate studies at MIT with Margaret Bullowa, researching language development using statistical analysis of vocal expressions. Observing a film in Bullowa’s collection as well as the experience of rich exchanges with her own infant opened her awareness of the form and timing of communication that developed in the first 3 months, which she called ‘proto-conversation’ . She benefitted from attention to the field studies of Albert Scheflen on the stream of conversation and Ray Birdwhistell on body movements in natural conversation . Nature relaxation tracks perfect for meditation, relieving stress and anxiety or any production that requires a calming, natural and meditative feel. In the 1960s a major shift in understanding of the creative mental abilities of infants was inspired by a project of the educational psychologist Bruner , and the pediatrician Brazelton , who perceived that infants are gifted with sensibilities for imaginative play and ready to start cultural learning from the first weeks after birth.

In line with Goodrich’s “counter tradition,” their work anticipates the new understanding of the human BrainMind pioneered by Panksepp and Damasio, which gives primary importance to feelings of vitality in movement, and to emotions that express positive and negative affections in sympathetic communication. This is the science of communicative musicality which underpins the music we create and enjoy. Thus, part of https://www.wikipedia.org/ the reason music therapy ‘works’ is its invitation for cultural collaboration – we exercise what has been called our ‘deep social mind’ following particular cultural forms. This wish to learn the forms of culture, our ‘conformal motive’ , comes to life within an environment where we sense our communicative gestures are being valued by another or others through the creation of shared narratives of vitality forms .

In over ten years of working as a creative outdoor learning provider I have found that people feel more moved to be adventurous, express themselves and be playful outside. In the example presented in Figure 5A we see a consistent rigidity of expression and a lack of self-confident invention on the part of a mother suffering from BPD . She repeats the same up-and-down vocal gesture again and again, with almost no vocal participation on the part of the infant.

A reflection of nature in all seasons this piece is beautifully relaxed w… Browse handpicked quality stock music for your multimedia projects. Listen and learn about the wild soundscapes of the world through live and original music.