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Language Before Music – Music Before Language?

So what if…

did you see a sound

could you hear the thought

did you smell the right way?

What if it was all about spirals…

Human ancestors probably intuitively appreciated that the world was formed around spirals and responded much more holistically to the perception of sound with their mind-body connection.

Recently (early 2009), the little furry mutants from Leipzig started making a slightly lower-pitched ultrasonic whistle.

This was the result of an experiment carried out at the Max Planck Institute for Evolutionary Anthropology in Leipzig. Scientists have ambitiously created a mouse strain that contains the human version of a gene called FOXP2.

It is a gene linked to many critical tasks, including human language ability.

Unsurprisingly, a recent comparison of mice with the new gene showed that these mice actually communicate differently, using slightly lower-pitched ultrasonic whistles. What’s even more interesting: the neurons they cultured in a region of the brain are significantly more complex than those in unaltered mice.

These anthropological discoveries can help us better understand what constellation of genes and cultural practices underpins people’s ability to speak.

As a rehabilitation consultant – helping to restore neuro-muscular function – related to physical balance, I see a strong connection between music and human movement and communication. I hypothesize that the rhythmic appreciation found in music is a survival and training tool for repeating the important sounds of everyday life. The role of birds as communicators in the survival of humans and other animals has a well-documented precedent. Birds warn of potential danger, sing to sleep, connect cross-cultural spiritual beliefs, and are perhaps the first earthly rhythmic entertainers.

Very evident in the evolution of our brains and neural networks is the idea that sound manipulation was designed to enhance our survival by improving coordinated movement and communication for social interaction, reproduction, bonding, and avoiding danger.

When we measure emotional response to music, we primarily look at the personification of ‘meaning’ – whether the person understands the ‘meaning’ of the various sounds they hear. This seems in part to be genetically (at least hard-wired), familiar, and easily learned throughout life.

A coherent, organic system that connects our body to a pre-wired brain process (that responds to the sounds and movements we experience throughout life) lends us this reason to survive.

Absorbing vibration, music, rhythm, and even echolocation is the first language that arrives in the body in sensual form. The ancestral connection to a blossoming social journey that begins in the womb. To grasp and understand this indivisible truth at an elementary level, we need only explore the influence of environmental energy (energy is nature’s most fundamental pattern of order) in relation to its influence on pre-born infants and its influence on social gatherings. the basis of personal identity (in the form of rituals of solidarity).

Take the discovery of the world’s first flute as an example.

The nearly finished flute was excavated in 2008 by Nicholas J. Conard, an archaeologist at the University of Tübingen in Germany, from Hohle Fels Cave, about 14 miles southwest of Ulm, suggesting that the people who first occupied Europe had a fairly sophisticated musical culture. The griffin’s vulture wing bone, with five precisely drilled holes, is the oldest known instrument (a 35,000-year-old relic of early human society), which appears to have contributed to improved social cohesion and new forms of individual expression. communication. This probably indirectly contributed to the demographic expansion of modern humans at the expense of the more culturally conservative Neanderthals.

Social cohesion goes hand in hand with the dawn of social grouping. Humans initially gathered and lived together on a scale based on faith, trust, and habit, which intuitively fit the community of human nature. In earlier times, humanity, like animals, was very strongly connected to group consciousness and operated as a group for survival. This coherence naturally created the process of what we might call enhanced intuitive communication. In nature, hypercommunication has been used successfully for thousands of years to organize dynamic groupings. The organized flow of a school of fish or a flock of birds on the wing demonstrates this dramatically. Modern man only knows it on a much subtler level as “intuition”.

Yet our primordial tribal form is based on a mental personal data assistant carried in our heads that matches “faces to places” and allows us to name a member of our tribe even in unfamiliar surroundings. This is not an archaic social formation process, but an ancient one. Until the most recent part of human history, humans lived in “tribe-sized” groups, and even today our tendency consistently brings us back to this comfort zone. For example, in modern literature, it is no coincidence that the bard King Lear retires from the throne, but keeps 100 knights around him to keep his sense and rule in the realm of the “royal” community.

While the formation of personal identity is literally half of the social perception of music and language evolution, a vital element of the formation of “community unity” is found in the group personification of sound. In order to develop and experience individuality, we humans had to mask, or perhaps more precisely, ensnare our emerging personality in musical form and expression. Thus, the social gathering (intended to elicit and control an emotional response) became essential for acoustics and rhythm to play an integrative role. These aspects of ambient sound have a surrogate social role that resonated a biosphere to enliven the audience and ultimately strengthen the sense of community. An example of this cross-cultural emphasis is the Renaissance Indian ritual of Astakaliya Kirtan, in which prolonged chanting is accompanied by rhythmic drumming to enthrall the participants.

Fragrant sound

However, movements outside our audible range are still rhythmic and serve us in the same way as audible sound. We perceive movement through our three body balance centers. These systems connect fluid to electrical impulses through the central nervous system (brain and spinal cord), skeletal structure, and musculature. It is a complex system that works as a team to provide adequate performance to properly stabilize the body against the forces of gravity. Body movements depend on messages to and from the brain’s control room. The brain remembers movement patterns through rhythm, not individual muscle interactions. Thus, even our sense of smell tells us the direction if it is not clear.

For example, the polyvagal theory, a study of the evolution of the human nervous system and the origins of brain structures, postulates that more social behavior and emotional disturbances than are usually biological in origin. think.

The term “polyvagal” is a combination of “poly,” meaning “many,” and “vagal,” which refers to the longest set of cranial nerves called the vagus (affectionately known as the “vagus nerve”). To understand the theory, a deeper understanding of the vagus nerve should be carefully considered. This nerve is the primary component of the autonomic nervous system. The nervous system you don’t control. This makes it do things automatically, like digest food. The vagus nerve exits the brainstem and has branches that control structures in the head and many organs, including the heart and colon. The theory suggests that the two different branches of the vagus nerve are related to the unique way we respond to situations we deem safe or unsafe by positioning the body appropriately for flight or fight. Significantly, this nerve uniquely interacts with the only muscles in the body that are supplied by the cranial and spinal nerves in the neck and upper back (sterno cleido and upper trapezius). These muscles also intertwine with the olfactory aspect of the limbic brain to allow us to instinctively turn our heads to sense the direction of potential danger.

So it is easy to understand how we perceive sound vibration and movement with our physical body and how our body can perform cognitive tasks to support the multitasking of the brain. Using our bodies in this way fosters a certain type of survival intelligence. Especially since our bodies are hard-wired to recognize rhythmic patterns, there are sensors in each of our joints. This allows us to communicate with our bodies, think, recall and perform cognitive tasks.

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