I’ve lately become a great fan of the slightly inelegantly named webiste, Brainpickings. Today they posted on Facebook (don’t knock it – it’s not all egotism) a list of 7 Essential Books on Music, Emotion and the Brain. I feel that two titles have been unfairly omitted: Steven Mithen’s The Singing Neanderthals: The Origins of Music, Language, Mind and Body and Daniel Levitin’s The World in Six Songs: How the Musical Brain Created Human Nature – both of these links lead to lead to Amazon’s ‘look inside’ feature.
I’m continually indebted to Edinburgh University’s Institute for Music in Human and Social Development (IMHSD), and in particular to Dr. Katie Overy, for flagging up many interesting events. In the relatively recent past I have attended a fascinating conference entitled Communicative Musicality and a lecture on Musical Entrainment.
Two more promising events have been brought to my attention in the last couple of days.
The first of these, entitled The Musical Brain, concerns the growing field which links music and neuroscience.*
The second, entitled The Child’s Curriculum: ‘What is the Value of Early Childhood Education and Care?’ concentrates on “ the value of early childhood education and care, with a particular focus on the implications for future practice and policy in Scotland.” This event is, which takes place in Edinburgh’s Royal College of Physicians, is free but registration is required – details here.
Interest in this area has led me to some interesting books which I can recommend:
This Is Your Brain On Music by Daniel Levitin
The Singing Neanderthals: The Origins of Music, Language, Mind and Body by Steven Mithen
Communicative Musicality edited by Stephen Malloch and Colwyn Trevarthen
The Brain That Changes Itself by Norman Doidge
If there’s one thing I like to see it’s the BBC spending my hard-earned cash on repeats – when they are as interesting as one I wrote about last December. You still have 6 days to Listen Again to Ivan Hewitt exploring the origins of music. This subject, still in its infancy, arouses as much controversy as it does interest.
I recently read something in Steven Mithen‘s excellently written and thought provoking book The Singing Neanderthals which stopped me in my tracks. The passage concerned the research, by Professor Willi Steinke of Queens University in Kingston, Canada, into the melodic recall of a subject with amusia, following a stroke at the age of 64. The subject was unable to identify many well-known instrumental themes. However, when themes with lyrics were played, recall was normal – even although the lyrics were not present! Steinke and his colleagues concluded that melody and lyrics were stored in different parts of the brain – the prosody of the lyrics helping to summon up the tune, and the rhythms of the tune aiding the reverse.
Suddenly my mind jumped back 42 years to my first piano tutor book, in which every melody featured lyrics – added after the event by the author, John W. Schaum. At the time I regarded them as a slightly annoying irrelevance because I was six years old and knew everything. Now the aspiration behind them seems clear. I began to think that, although the beginners’ materials I use have no lyrics, there may be an argument for adding some – more particularly for asking the pupils to add their own.
By an amazing coincidence of timing, this topic was brought up at our in service on Thursday, by one of my colleagues who was keen to discover similarities and differences in our approaches to teaching rhythm. Recommendations and reservations were expressed – the latter concerning examples where words had been forced to fit rhythms in an unnatural way, and possible confusion arising from the differing prosody of varying accents and dialects.
Still – it’s something interesting to think about. Any experiences, views, recommendations to offer?