Music as creative_language


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Music as Creative Language
A presentation by The Mosaic Art & Sound
Teresa dello Monaco

Published in: Education
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Music as creative_language

  1. 1. Teresa Dello ManacoThe Mosaic Art And Sound Adults Learning for Intergenerational Creative Experiences Project number: 518106-LLP-1-2011-IT-Grundtvig-GMP Advanced Training Course A.L.I.C.E. Learning Unit 2 Music as Creative Language for Adult-Child Interplay
  3. 3. In their first year of life, children activate a non-verbal communication by using rhythm with parts of their body or vocal sounds and inflections that can beintended as musical characteristics
  4. 4. Caregivers and infants are engaged in a sort of communication that does not concern a transfer ofinformation from one to the other, but a simultaneous creative interplay
  5. 5. Through this, they relate and make contact
  6. 6. The communication is continuously recreated in action, through theexpression of simple, shared games of repetitive actions
  7. 7. A typical example is the familiarand universal game of peep-bo
  8. 8. Each new move in the game, hiding for a moment longer, hiding in different way, showing a more exaggerated surprise and so on depends on what has just gone before and, crucially, on how the baby is reacting
  9. 9. The outcome of effectivecommunication is a sympathetic contact which is mutually rewarding to both partners
  10. 10. Communication becomes an active process which brings people together and sustains,enhances and strengthens their connection
  11. 11. In a jazz jam session the music performance exists because ofshared impulses and ideas which are taken and given by the performers
  12. 12. None of the musicians know the outcome of the music combinations that are about to appear in their performance,until they are created at the very moment of their exchange
  13. 13. The creativity depends on anintangible chemistry between the members of the group
  14. 14. It emerges out of musical conversation
  15. 15. Similarly, in non-verbal caregiver- infant interplay, the communicationis not a directional process from two individuals in turn, but operates continuously as an active, dynamic system in which all participants are simultaneously fully engaged.
  16. 16. As the child grows, the samespontaneous, natural structure of music creativity, and thereforecommunication can be cultivated.
  17. 17. A child will be prone to develop harmonious social skills when the adult is adaptive to her/hisspontaneous musical expressions by being able to mediate between hisown music/cultural background and the child’s own musical impetus.
  18. 18. Nevertheless, although in their full spontaneity, in the music games children need to be given clearboundaries within which they can act. This allows them freedom as well as clarity and grounding.
  19. 19. How can we support anddevelop musical communication between parents, caregivers, teachers and young children?
  20. 20. Ask the social initiatives supporting families, nursery and primary schools to draw their attention on the subject of musical communication.
  21. 21. There is the need to develop childrenmusic competencesthat enable them to have harmonious social skills.
  22. 22. At home, have a variety of simplemusic instruments and play them together with the children.The whole family can become a music group.
  23. 23. Percussion instruments can bealso easy to build. For instance,we can use different fruit seedsor shells and put them in boxesof various materials and shake them or we can use different sized pan pipes and so on.
  24. 24. We can use recycled materials or buy a number of inexpensiveeducational instruments and greatly enjoy jamming with our children.
  25. 25. End