Recovering Our Humanity: What's Love (and Music) Got to Do With it?

The Rise and Fall of the Human

'A phenomenon in

which two or more independent rhythmic processes synchronize with each other... a process whereby two rhythmic processes interact with each other in such a way that they adjust towards and eventually ‘lock in’ to a common phase and/or periodicity'

(Clayton et al 2004)

"not only to take a community stance on the arts but also to take an aesthetic stance on community engagement." (Jackson 2011)

RE-HUMANISATION

Romantic Love

‘There is good evidence that we find it difficult to maintain more than one genuinely committed romantic relationship at a time. But we can have many kinds of friendships, which grade imperceptibly into each other’

(Dunbar 2013, p.14)

STATE

CHIEFDOM / PEOPLE

TRIBE

BAND

Global Species?

'neuroimaging suggests that maternal love and romantic love are actually two different things: they involve some of the same bits of the brain, but, importantly, they also involve some very different bits of the brain’

(Dunbar 2013 p.17).

Unconditional Positive Regard

‘an outgoing positive feeling without reservations, without evaluations’

(Rogers 1961, p.62)

For its critics, forty years of

Neoliberaslism

has been "an assault on humanism, [enforcing] the reduction of human nature to economic competition, and [suppressing] all attempts to experiment with alternatives." (Mason 2019, p.1404)

Attachment Theory

F#m E D E

(Bowlby 1969; Bowlby 1973; Bowlby 1980)

Gm7 C / Gm7 C / Gm7 C / Bb Csus4

F C / Gm7 C / F C / Gm7 C... Dm

‘our adult romantic and other intimate relationships develop out of, or are scaffolded by, our early experience of mother–infant relationships’.

(Dunbar 2013, p.16).

I want to know what love is

What’s love got to do with it?

In my life there’s been heartache and pain;

I don’t know if I can face it again.

Can’t stop now, I’ve traveled so far

To change this lonely life:

I wanna know what love is;

I want you to show me

I wanna feel what love is;

I know you can show me, oh-woah!

Whoah! What’s love got to do, got to do with it?

What’s love but a second-hand emotion?

What’s love got to do, got to do with it?

Who needs a heart, when a heart can be broken?

Limbic Brain

‘The limbic regions help create the “e-motions” that “evoke motion,” that motivate us to act in response to the meaning we assign to whatever is happening to us in that moment. The limbic area is also crucial for how we form relationships and become emotionally attached to one another.’ (Siegel 2012, p.16)

C D G G7 / C D G G7

C E7 Am C / F G C

Limbic Regulation

Em D C D

All you need is love

‘Because human physiology is (at least in part) an open-loop arrangement, an individual does not direct all of their own functions. A second person transmits regulatory information that can alter hormone levels, cardiovascular function, sleep rhythms, immune function, and more – inside the body of the first. The reciprocal process occurs simultaneously: the first person regulates the physiology of the second, even as he himself is regulated.’

(Lewis et al. 2001, p.85)

What is love anyway?

All you need is love,

All you need is love,

All you need is love, love,

Love is all you need

I love you even if you think that I don’t.

Sometimes I think you doubt my love for you, but I don’t mind,

Why should I mind? Why should I mind?

What is love anyway? Does anybody love anybody anyway?

What is love anyway? Does anybody love anybody anyway?

Wo-oh! Oo-oo!

RECOVERING OUR HUMANITY

Resonance Circuitry

'The “resonance circuitry” includes the mirror neuron system (MNS), the superior temporal cortex, the insula cortex, and the middle prefrontal cortex. This is how we can come to resonate physiologically with others—how even our respiration, blood pressure, and heart rate can rise and fall in sync with another’s internal state. This is the pathway that connects us to one another’

(Siegel 2011, p.61)

(and music!)

Attunement

Love and Attachment

When we attune to others we allow our own internal state to shift, to come to resonate with the inner world of another. This resonance is at the heart of the important sense of “feeling felt” that emerges in close relationships. Children need attunement to feel secure and to develop well, and throughout our lives we need attunement to feel close and connected.

(Siegel 2011, p.27)

"When we see the mind of another person we bring the qualities of being present—curiosity, openness, and acceptance—into our relationships. These qualities seem to me to be the essence of that overused, often misunderstood word: love. I propose that this stance of curiosity, openness, acceptance, and love is at the heart of secure attachments."

(Siegel 2011, p.188)

What's L VE

got to do with it?

What the World Needs Now

Simultaneous Dialogue

F#m E D E

What the world needs now is love, sweet love,

It's the only thing that there's just too little of,

aaat the world needs now is love, sweet love,

No, not just for some, but for everyone.

‘In a spoken dialogue between two human beings, one waits until the other has finished what [they have] to say before replying or commenting on it. In music, two voices are in dialogue simultaneously, each one expressing itself to the fullest while at the same time listening to the other.'

(Barenboim 2009, p.20)

What’s music got to do with it?

Am7 / Dm7 / Am7 / Dm7

Bb / - / C / C6

Am7 / Dm7 / Am7 / Dm7

Bb / - / A / Asus4

Whoah! What’s music got to do, got to do with it?

What’s music but the seat of all emotion?

What’s music got to do, got to do with it?

Who needs a word, when a word can be broken?

dave.camlin@rcm.ac.uk

C - - - / F - C -

C - - - / F - C -

G F C- / G F C-

Mood

Distraction

Distract attention from personal worries (Clift and Hancox 2010; Clift et al. 2010b).

Mood enhancing (Clift and Hancox 2001; Bailey and Davidson 2002, 2005; Palmer 2008; Clift et al. 2008b, 2010b; Bungay et al. 2010; Clift and Hancox 2010),

Socio-intentional

Spirit

performative actions and sound structures that could be interpreted as affording cues about shared intentionality that direct attention in interaction.

(Cross & Woodruff 2009, p.8)

Social

INDIVIDUAL

Strong spiritual dimension to singing (Clift and Hancox 2001; Latimer 2008; Tonneijck et al. 2008).

Mutual Recovery

creative practice as "a powerful tool for bringing together a range of social actors and communities of practice in the field of physical and mental health] ... [to establish and connect communities in a mutual or reciprocal fashion to enhance physical and mental health and well-being." (Crawford et al 2015)

The Risk of Participatory Art

Energising / Relaxing

A physical activity which is both ‘energizing and relaxing’ and can help to relieve stress and tension (Bailey and Davidson 2003; Tonneijck et al. 2008; Jacob et al. 2009).

Dementia

Improve lucidity, mood, focus and to relax for PWD and their carers. (Davidson & Almeida 2014)

Breathing

Postnatal Depression

?

Helps to improve breathing and lung capacity, improves voice quality, and promotes good posture (Clift and Hancox 2001; Clift et al. 2009).

If many of the benefits of group singing are relational / social, how valid is it to infer inter-personal outcomes from intra-personal effects?

The individual is 'the wrong unit of anlysis' (SIAP cited in Crossick et al 2016)

"Group singing workshops could help speed the recovery from symptoms of PND among new mothers"

(Fancourt & Perkins 2018)

Stress

Mental

Health

"Singing modulates mood, stress, cortisol, cytokine and neuropeptide activity in cancer patients and carers." (Fancourt et al 2016)

Assists in the maintenance and recovery of mental health (Clift et al 2011, 2017

Personal Development

Help to develop skills, self-confidence, self-esteem, and a sense of achievement (Bailey and Davidson 2002, 2005; Silber 2005).

Social Bonding

is that it becomes "do-good" activity, "overly instrumentalized, banalizing the formal complexities and interrogative possibilities of art under the homogenizing umbrella of a social goal". (Roche 2006)

Singing brings people together and helps to create a sense of group identity, social support and friendship (Clift and Hancox 2001; Latimer 2008; Lally 2009; Southcott 2009, Bungay et al. 2010).

I still haven't found what I'm looking for

PARAMUSICAL

CULTURAL

ECONOMIC

Cm / - / Ab / Eb - Eb/D

Gm / - / Fm / -

Political

hmmmm...

Participatory music making and dance are among a variety of activities that can be potent resources for social change and provide alternative models for citizenship precisely because (a) they operate according to values and practices diametrically opposed to a capitalist ethos; (b) they are voluntarily open to anyone who is interested and, by nature, engender a kind of egalitarian consensus building

(Turino 2016, p.298)

'We talked a lot about the feeling, about how sometimes-- well, certainly for me, the stronger the feeling and the sensation was about that [social] connection, the less able I was to articulate it in the stories.'

'Singing with others takes me out of myself into another space. Singing on Great Gable was an almost mystical experience. I felt my precious sense of self drifting away on a wave of harmony.'

"a cost-effective way of justifying public spending on the arts while diverting attention away from the structural causes of decreased social participation, which are political and economic (welfare, transport, education, healthcare, etc.)" (Bishop 2006)

'You become more and more interconnected as people and with the place and with the sound. And all of a sudden, something starts happening in your brain. I was driving home thinking, "What is that feeling like?" '

primal cooperative communication system:

• holistic,
• multi-modal,
• manipulative
• musical
• mimetic

(Mithen, 2007)

"The choir knits us together;

we sing, we laugh, we cry

and all is held."

Is this love that I'm feeling?

Participation

Performance

WHAT is singing good for?

Performing 'relationships'

Performing 'works'

Non-linguistic

Interstices

MUSICAL

I have climbed highest mountains,

I have run through the fields

Only to be with you, only to be with you

I have run, I have crawled,

I have scaled these city walls,

These city walls, only to be with you,

But I still haven’t found what I’m looking for,

But I still haven’t found what I’m looking for.

As well as being predominantly

a significant part of music’s power might also be considered to be

in the sense that it is a form of communication that language cannot be a substitute for.

Pre-linguistic

"Free spaces and periods of time whose rhythms are not the same as those that organize everyday life, and they encourage an inter-human intercourse which is different to the “zones of communication” that are forced upon us. (Bourriaud 1998)

Dopamine

'Preliminary studies have shown that music listening and performing modulate levels of serotonin, epinepherine, dopamine, oxytocin, and prolactin' (Levitin et al 2017, p.1)

Oxytocin

'singing in particular can reduce levels of stress hormones such as cortisol, cortisone and progesterone and increase social bonding including the release of oxytocin' (Fancourt et al 2016 p.2)

Serotonin

listening to music and making music provokes motions and emotions, increases between-subject communications and interactions, and—mediated via neurohormones such as serotonin and dopamine—is experienced as a joyous and rewarding activity through activity changes in amygdala, ventral striatum, and other components of the limbic system. (Altenmüller and Schlaug 2013)

Endorphins

'Explanations of social bonding during group musical activities should include reference to endorphins, which are released during synchronized exertive movements.' (Tarr et al 2014)

I wanna love you and treat you right

I wanna love you every day and every night

We’ll be together with a roof right over our head

We’ll share a shelter of my single bed

We’ll share the same room, for Jah provide the bread

Is this love, is this love, is this love, is this love that I’m feeling?

Is this love, is this love, is this love, is this love that I’m feeling?

'Resonance circuitry' attunemment inc.

• Heartrate Variability synchronisation
• Mirror Neuron System (MNS) activiation

MECHANISMS

Vocal Grooming Hypothesis

'musical communication in the form of ‘enhanced vocalization’ may have evolved among our hominid ancestors as ‘an expression of mutual interest and commitment that could be simultaneously shared with more than one individual’ (Aiello & Dunbar 1993, p.187).

Communicative Musicality

'Human infants demonstrate an interest in, and sensitivity to, the rhythms, tempos and melodies of speech long before they are able to understand the meanings of words. In essence, the usual melodic and rhythmic features of spoken language – prosody – are highly exaggerated so that our utterances adopt an explicitly musical character.'

(Mithen 2007, p.74)

Making Meaning

https://emergentmeaning.wordpress.com/

Sensemaker

A collaboration "with partners and citizens to create various global projects that aim to explore connections to people and to place, and go beyond the surface appearance to something deeper."

'The committee discussed the evidence on singing and noted that it is unclear whether it is the singing itself that produces the benefit, the group-based nature of the activity or

but members agreed that the evidence demonstrated a clear benefit.'

(NICE 2015)

'Something Else'?

Singing in Virtual reality

• Distributed ethnography
• Micro-narratives
• Self-signification
• Qual + clusters of 'quant'
• Minimise bias

FELLOWSHIP

SINGS-VR

of Hill and Wind and Sunshine

Simulating Inclusive Natural Group Singing in Virtual Reality

Choir 'Switch'

One week, singing with your own choir, the following week, singing with another choirn in VR

All singers fitted with sensors to record physiological data in addition to UWIST MACL responses. Galvanic Skin Response (GSR) and Blood Volume Pulse (BVP) data were captured as indicators of sympathetic and parasympathetic nervous system activity

National Trust / ACE / AHRC commission, recording large groups of singers singing a commemorative song cycle on Lake District mountain summits in VR, and installing the recordings in Keswick Museum to compare experiences

The project uses the rich multi-media evironment of Sensemaker® (Snowden n.d.) to guide participants in documenting their engagement with music by collecting 'micro-narratives' of their experience: fragments of text, images, audio/visual recordings, and anecdotes. These are then interpreted by the participants themselves through a process of self-signification against a set of variables determined through a critical review of literature pertaining to the field, resulting in rich qualitative and quantitative data, whilst minimising the bias associated with traditional forms of social research.

http://kafka.sensemaker-suite.com/Collector/collector.gsp?projectID=DaveCamlin&language=en#Collector

Fellowship

VALUE

EXPERIENCE

Female

Fellowship

Female

BELONGING

Fellowship

Me

Paramusical

Me

(n=54)

(n=114)

(n=117)

Spiritual

(n=77)

Quality

37%

(n=56)

More than just the music

(paramusical)

27%

I have a stronger sense of who I am

86%

68%

Lifts me out of my everyday experience

59%

(n=160)

Spiritual / Emotional

33%

(n=160)

60%

(n=161)

66%

Spiritual and emotional dimensions of group singing are privileged in participant experience over any affordances to physical health;

Musical quality (performing 'works') and participatory quality (performing 'relationships') co-constitute the conditions for health-promoting cultural participation through music;

78%

37%

"I wasn't prepared for how moving the song 'Joy of Living' would be when sung on top of Scafell and when a white gull soared over and circled back while we were singing it and rededicating the fell to the memory of the fallen. A rare poignant and truly spiritual moment for me. The singers and the song around me where enormously comforting and it felt as if us singers had really acknowledged and perhaps even lightened the enormous legacy of grief and grieving that war and this one in particular entails."

79%

34%

20%

38%

6%

36%

"Stand out moments were being able to walk with one other member of the choir and have time to listen to her life story and getting to know other members of the group that I hadn't met before. The first time that we sang the Fellowship song on the summit was very moving - singing taps straight into the emotional centre of [our] being: we had finally made it 'upon this mountain summit' singing the song that was the whole reason whilst we were there and looking out over the magnificent panorama of the mountains.. Singing the words ‘that the freedom of this land the freedom of our sprit shall endure’ to the mountains themselves just made me well up. The sense of camaraderie amongst the group became very strong through our experience today and I feel that I have made friends on a much deeper level."

22%

65%

My place

My people

My place

My people

Participatory

Aesthetic

Participatory

Aesthetic

Physical

Emotional

Findings

Paramusical

Me

(n=83)

Me

(n=46)

(n=105)

Spiritual

(n=106)

(n=43)

63%

48%

31%

60%

49%

"After months of medical issues I can honestly say It was the best medicine so far! I made friendships which I know will last. Unity in Song! We supported each other both physically and emotionally and over the weeks a bond formed between us. I for one felt more confident and comfortable being totally out of my comfort zone. There was a feeling of safeness within the group. Sadness for the weekend being over but excited for the next time we all meet up."

Complex Benefits

"In our choir we shared stories at an anniversary meal about the choir. One woman shared how the group had recorded songs for her father's funeral. Another how she had arrived in the area with few friends and how singing had brought her into social networks that formed the backbone of her friendship group. And I shared how the choir had sung at our civil partnership. I realised then that the choir knits us together. That we sing we laugh we cry and all is held."

"Travelling to the event there was a great sense of comradeship - a 'we're in this together' feeling. You could almost physically get hold of the excitement. We obviously couldn't chatter during the performance but there were masses of shared looks, shared smiles and shared twinkles of eyes. I am not a good singer and I know that but I am made to feel as if I can sing. We came out of the venue much tighter as a group and all wanting to get on to the next venture. Hugely emotionally satisfying and an end feeling like being snuggled in an enormous warm duvet."

75%

33%

Healthy Public

20%

44%

17%

65%

31%

74%

30%

63%

I feel a stronger connection to the world around me

I feel a sense of brother / sisterhood with others in the group

Group singing can support the formation and development of a ‘healthy public’, emphasising the utility of natural cultural heritage for social bonding;

The mechanism/s underscoring wellbeing through group singing - so-called 'magic moments' (Pavlicevic 2013) is elusive and complex - could be a complex cocktail of neurohormonal activation, interpersonal neurobiological attunement, musical entrainment, cultural enactment and social connectivity.

20%

61%

33%

52%

64%

12%

Making a good sound for others to listen to

(performing 'works')

Having fun making

music together

(performing 'relationships')

Improves my mental well-being

Is good for my physical health

Participatory

Aesthetic

Participatory

Aesthetic

My place

My people

Physical

Emotional

My place

My people

non-Fellowship

Male

non-Fellowship

Male

ENGAGEMENT

TRANSFORMATION

ENVIRONMENT

Sensations in my own body (somatic)

Achieving something challenging

Leadership Style

(n=157)

(n=156)

Limitations / Challenges

58%

(n=158)

28%

59%

• Who is group singing good for? Is it only good for those it's good for?
• Can the intimacy of entrainment be uncomfortable or even distressing, esp. for those recovering from trauma?
• When might it be 'symbolic violence' (Bourdieu 1992, Schubert 2012) against those who feel unable to participate?
• Is relational behaviour / capacity for attachment a pre-condition for participation or an outcome? Or both?
• How do we account for gender differences in responses?
• How can group singing be structured to ensure that those most in need of its benefits are able to participate in it?
• Hypothesis of 'sympathetic entanglement' requires further investigation

73%

45%

60%

32%

19%

68%

Group Dynamic

'Tuning in' to other individuals (perceptual)

Becoming part of the whole group sound (environmental)

Other / Environmental Factors

Improving something

Enjoying something

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