Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual 'patterns of action' which we have identified as our innate ‘communicative musicality’. To support our argument, we present short case studies of infant interactions using micro analyses of video and audio recordings to show the (...) timings and shapes of intersubjective vocalisations and body movements of adult and child while they improvise shared narratives of meaning. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness. Drawing on the experience of the first author as a counsellor, we argue that the strength of one person’s communicative musicality can support the vitality of another’s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited companionship. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. We emphasise that the psychobiological purpose of our innate musicality grows from the integrated rhythms of energy in the brain for prospective, sensation-seeking affective guidance of vitality of movement. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. This view places the shared experience of sensations of living – our communicative musicality – as inspiration for rules of logic formulated in symbols of language. (shrink)

We review evidence that, from birth, infants have purposeful consciousness of rhythmic whole‐body movement, with multi‐modal perception of objects outside their body, and self‐related emotional appraisal of experiences. Newborns also exhibit a special human awareness of the vitality of company in actions and feelings, and a capacity to use imitation of action signs for dialogic exchange of intentions. These abilities are prepared by specific systems of body and brain that develop before birth. Through the first two years, a baby shows (...) age‐related advances with growth of motor powers in use of intersubjective play and object awareness. These developments are adapted for life‐time learning how to identify and share meaningful conventions of a culture, and the description of experiences in words of a living language. Teaching is stimulated and assimilated by the affections, playful humor, and imaginative curiosity of the child in the company of people they know well. (shrink)

Jaswal & Akhtar's outstanding target article identifies the necessary social nature of the human mind, even in autism. We agree with the authors and present significant contributory origins of this autistic isolation in disruption of purposeful movement made social from infancy. Timing differences in expression can be misunderstood in embodied engagement, and social intention misread. Sensitive relations can repair this.

Consciousness directs the actions of the agent for its own purposive gains. It re-organises a stimulus-response linear causality to deliver generative, creative agent action that evaluates the subsequent experience prospectively. This inversion of causality affords special properties of control that are not accounted for in integrated information theory, which is predicated on a linear, deterministic cause-effect model. IIT remains an incomplete, abstract, and disembodied theory without explanation of the psychobiology of consciousness that serves the vital agency the organism.

These remarks on following a rule are especially concerned with what Peter Winch has had to say on the matter, and with the flawed logic of his reasoning; but they are also intended to cast some light on the logical character of metaphysical reasoning generally. In The Idea of a Social Science , one of Winch's main aims is to show that what he calls meaningful behaviour must involve some kind of understanding or reflection. His strategy appears to consist in (...) trying to show, first, that all such behaviour, or perhaps behaviour as a whole, is rule-governed and, secondly, that following a rule necessarily involves ‘matters for reflection’. It will be my contention that the method employed in this argument, like the method employed throughout his book, is essentially metaphysical and incapable of yielding anything other than vacuous conclusions. (shrink)

The incompleteness and artificiality of the ?traditional logic? of the textbooks is reflected in the way that syllogisms are commonly enumerated. The number said to be valid varies, but all the numbers given are of a kind that logicians should find irritating. Even the apparent harmony of what is almost invariably said to be the total number of syllogisms, 256, turns out to be illusory. In the following, it is shown that the concept of a distribution-value, which is related to (...) the traditional theory of distribution, and the familiar concept of quantity together suffice to produce a far better way of enumerating syllogisms and a more complete understanding of the systematic features of syllogistic logic. (shrink)

The purpose of this article is to deal with certain problems stemming from the concept of Ideology. It begins by describing some aspects of the ?ordinary notion? of ideology, and goes on to criticize a standard (the economic determinist) interpretation of Marx's position. It then deals with a problem traditionally connected with ideology, the so?called Problem of Knowledge, and argues that it is a pseudo?problem. The article concludes by proposing a conception of ideology as synecdoche which, it is claimed, helps (...) us to avoid some of the mistakes imbedded in the Problem of Knowledge and the economic determinist interpretation of Marxism. (shrink)

The purpose of this paper is to explore the significance of Kant's claim that geometry is synthetic. I begin by outlining certain criticisms of the Kantian position, criticisms selected with an eye to their popularity, rather than their importance in the abstract. I am no expert on the textual exegesis of Kant, and serious Kantian scholars would not, perhaps, be much troubled by the criticisms I propose to discuss: indeed, they might properly maintain that some of these problems were, for (...) them, resolved long ago. But within the prevailing tradition of English-speaking philosophy certain sorts of criticism of Kant do seem to have sunk deep into our attitudes. It is with these criticisms that I hope to settle accounts. This small aim leads to the more difficult one of trying to understand what Kant means when he says that geometry is synthetic: about this larger task I will make only some preliminary remarks. (shrink)

In this essay the authors provide arguments that teaching is an art and that teachers can learn much about their trade from a careful study of the performances of other artists. Artists and teachers have the same basic challenge: in order to be successful, both groups have to obtain and retain peoples’ attention. This also holds for popular music artists. Ten female student teachers specializing in the Pre-school and Foundation phases of schooling (four-to-six-year olds), and six lecturers from the Faculty (...) of Education at the University of the Free State, Bloemfontein, South Africa, participated in a workshop at a local game lodge. During the workshop, videos of ABBA songs and Mamma Mia! The Movie were analyzed and discussed. The theme of the workshop was “Being an Excellent Teacher: Appreciating ABBA.” The 4D-cycle of Appreciative Inquiry– Discover, Dream, Design and Destiny–was used as a methodological framework to identify numerous positive themes with possible classroom applications from the songs and the film. These themes were then connected to educational theory and embedded in the insights of Benny Andersson, Björn Ulvaeus, Judy Cramer and other people involved with ABBA. A reflective report by one student teacher about the impact the workshop had on her views of teaching and an excellent class that she presented is also included. (shrink)

Jannie Pretorius and Michael Von Maltitz have identified some of the most pressing problems in South African education.1 They have argued that the education system is still suffering from the fragmented effects of apartheid and that the postapartheid government is struggling to set schools in motion to provide learners with authentic perspectives on the realities of their existence in a postapartheid South Africa. Naledi Pandor, the country's previous minister of education, painted a rather somber picture of the situation in the (...) Eastern Cape, one of South Africa's nine provinces:In a context in which there is ineffective system response on core obligations, it is very important to isolate those attributes that are .. (shrink)

In 1975, Colwyn Trevarthen first presented his groundbreaking explorations into the early origins of human intersubjectivity. His influential model dictates that, during intimate and playful spontaneous face-to-face protoconversations, the emotions of both the 2–3-month-old infant and mother are nonverbally communicated, perceived, mutually regulated, and intersubjectively shared. This primordial basic interpersonal interaction is expressed in synchronized rhythmic-turn-taking transactions that promote the intercoordination and awareness of positive brain states in both. In this work, I offer an interpersonal neurobiological model of (...) Trevarthen’s intersubjective protoconversations as rapid, reciprocal, bidirectional visual-facial, auditory-prosodic, and tactile-gestural right brain-to-right brain implicit nonverbal communications between the psychobiologically attuned mother and the developing infant. These co-constructed positive emotional interactions facilitate the experience-dependent maturation of the infant’s right brain, which is in an early critical period of growth. I then address the central role of interpersonal synchrony in intersubjectivity, expressed in a mutual alignment or coupling between the minds and bodies of the mother and infant in face-to-face protoconversations, as well as how these right brain-to-right brain emotional transmissions generate bioenergetic positively charged interbrain synchrony within the dyad. Following this, I offer recent brain laterality research on the essential functions of the right temporoparietal junction, a central node of the social brain, in face-to-face nonverbal communications. In the next section, I describe the ongoing development of the protoconversation over the 1st year and beyond, and the co-creation of a fundamental energy-dependent, growth-promoting social emotional matrix that facilitates the emergence of the highly adaptive human functions of mutual play and mutual love. In the final section, I discuss the clinical applications of this interpersonal neurobiological model of intersubjectivity, which has a long history in the psychotherapy literature. Toward that end, I offer very recent paradigm-shifting hyperscanning research that simultaneously measures both the patient and therapist during a psychotherapeutic interaction. Using the Trevarthen’s two-person intersubjective model, this research demonstrates changes in both brains of the therapeutic dyad and the critical role of nonverbal communications in an emotionally-focused psychotherapy session. These studies specifically document interbrain synchronization between the right temporoparietal junction of the patient and the right temporoparietal junction of the clinician, a right brain-to-right brain nonverbal communication system in the co-constructed therapeutic alliance. Lastly, I discuss the relationship between the affect communicating functions of the intersubjective motivational system and the affect regulating functions of the attachment motivational system. (shrink)

I argue that Axel Honneth, reappropriated Colwyn Trevarthen's distinction between primary and secondary intersubjectivity,into his critical social theory. How the concept of primary intersubjectivity gets re-incorporated, or indeed, re-cognized in Honneth’s conception of recognition, however, is a complex issue that Iexplore in this essay. It is linked to questions not only about child development, but also about whether one should understand recognition in terms of a summons, following Fichte, or in terms of a struggle, as Honneth, following Hegel, (...) suggests, or in terms of a gift, as Ricoeur, following Hénaff suggests. (shrink)

"This paper investigates musical relationships in the case of the early mother-infant dyadic interactions. To accomplish this task, it is first needed to come back to some important authors from the tradition of both phenomenology and psychoanalysis. The theories of Husserl, Schutz and Taipale will prove themselves to be useful. Secondly, I shall deepen the investigation of the early mother-infant interactions through the prism of theories coming from Winnicott, Stern and Thomas Fuchs. My main task will be to demonstrate that (...) these early interactions have a musical quality, similar to Colwyn Trevarthen’s thematization of communicative musicality. To prove my point, I have to first establish the features that make these early interactions be musical-like. Winnicott’s potential space and the example of babbling will follow my argumentation. I will also stress on the importance of the face-to-face interaction through affect attunement and mutual tuning-in. All these interactions are modes of being-with-another (Stern). An example will be found throughout this paper, namely a specific mode of being-with-another, which was called by Winnicott the primary maternal preoccupation. Keywords: musical relationships, babbling, potential space, face-to-face interaction, mutual tuning-in, affect attunement, primary maternal preoccupation, synchronization, rhythm, being-with. ". (shrink)

The arguments advanced in this paper are the following. Firstly, that just as Trevarthen’s three subjective/intersubjective levels, primary, secondary, and tertiary, mapped out different modes of access, so too response is similarly structured, from direct primordial responsiveness, to that informed by shared pragmatic concerns and narrative contexts, to that which demands the distantiation afforded by representation. Secondly, I propose that empathy is an essential mode of intentionality, integral to the primary level of subjectivity/intersubjectivity, which is crucial to our survival (...) as individuals and as a species. Further to this last point, I argue that empathy is not derived on the basis of intersubjectivity, nor does it merely disclose intersubjectivity, rather it is constitutive of intersubjectivity at the primary level. Empathy is a direct, irreducible intentionality separable in thought from the other primary intentional modes of perception, rationality, memory and imagination, but co-arising with these. In regard to the inter-personal level, the concrete relations with others, primary empathy is both the ground for the possibility of the secondary manifestations—pity, sympathy, perspective taking, etc., and motivates them. Thirdly, it is the movement in the core of subjectivity initially generated by shifting attention between the ‘I’ and ‘we’ perspectives and later ‘solidified’ through affect to become shifting identification, which opens up the intersubjective domain. So we can affirm that we are not only born into sociality but our sociality goes to the roots of our being as Husserl, Heidegger and Merleau-Ponty have claimed. (shrink)

We argue that theory-of-mind (ToM) approaches, such as “theory theory” and “simulation theory”, are both problematic and not needed. They account for neither our primary and pervasive way of engaging with others nor the true basis of our folk psychological understanding, even when narrowly construed. Developmental evidence shows that young infants are capable of grasping the purposeful intentions of others through the perception of bodily movements, gestures, facial expressions etc. Trevarthen’s notion of primary intersubjectivity can provide a theoretical framework (...) for understanding these capabilities and his notion of secondary intersubjectivity shows the importance of pragmatic contexts for infants starting around one year of age. The recent neuroscience of resonance systems (i.e., mirror neurons, shared representations) also supports this view. These ideas are worked out in the context of an embodied “Interaction Theory” of social cognition. Still, for more sophisticated intersubjective interactions in older children and adults, one might argue that some form of ToM is required. This thought is defused by appeal to narrative competency and the Narrative Practice Hypothesis (or NPH). We propose that repeated encounters with narratives of a distinctive kind is the normal route through which children acquire an understanding of the forms and norms that enable them to make sense of actions in terms of reasons. A potential objection to this hypothesis is that it presupposes ToM abilities. Interaction Theory is deployed once again to answer this by providing an alternative approach to understanding basic narrative competency and its development. (shrink)

How can imitation lead to free musical expression? This article explores the role of auditory imitation in jazz. Even though many renowned jazz musicians have assessed the method of imitating recorded music, no systematic study has hitherto explored how the method prepares for aural jazz improvisation. The article uses Berliner's assumption that learning jazz by aural imitation is “just like” learning a mother tongue. The article studies three potential stages in the method, comparing them to the imitative, rhythmic, multimodal, and (...) protosymbolic behavior of infant perception (building on the works of Stern, Trevarthen, and Merleau-Ponty). The demonstrations of the aural imitation method draw on pedagogic experiences accumulated since 1979 at the Jazz Program at the Norwegian University of Science and Technology. By analyzing structures of behavior suggested by the method, the article indicates key traits that render aural jazz improvisation possible, such as a fundamental sense of rhythm, formation of symbolic behavior, joint musical attention, and the facility to “hear via the other.” In conclusion, we critically address a frequent theoretical model describing musical improvisation as a synthesis of discrete elements or building blocks. (shrink)

How can imitation lead to free musical expression? This article explores the role of auditory imitation in jazz. Even though many renowned jazz musicians have assessed the method of imitating recorded music, no systematic study has hitherto explored how the method prepares for aural jazz improvisation. The article picks up an assumption presented by Berliner (1994), suggesting that learning jazz by aural imitation is “just like” learning a mother tongue. The article studies three potential stages in the method, comparing with (...) imitative, rhythmic, multimodal, and protosymbolic behavior of infant perception (building on the works of Stern, Trevarthen, and Merleau-Ponty). The demonstrations of the aural-imitation method draw on pedagogic experiences accumulated since 1979 in the Jazz Program at the Norwegian University of Science and Technology. By analyzing structures of behavior suggested by the method, the article indicates key traits that render aural jazz improvisation possible, such as a fundamental sense of rhythm, formation of symbolic behavior, joint musical attention, and the facility to “hear via the other.” In conclusion, we critically address a frequent theoretical model describing musical improvisation as a synthesis of discrete elements or building blocks. (shrink)