We present a view that places our ability to create and appreciate music at the center of what it means to be human. They are to be found not only between those organized sounds which are conventionally thought of as being the stuff of musical meaning but also between the people who are taking part, in whatever capacity, in the performanceвЂќ Small (1998, p.9). вЂњThe act of musicking establishes in the place where it is happening a set of relationships, and it is in those relationships that the meaning of the act lies. вЂњThe function of music is to enhance in some way the quality of individual experience and human relationships its structures are reflections of patterns of human relations, and the value of a piece of music as music is inseparable from its value as an expression of human experienceвЂќ Blacking (1995, p.31). вЂњThere are certain aspects of the so-called вЂinner lifeвЂ™-physical or mental -which have formal properties similar to those of music-patterns of motion and rest, of tension and release, of agreement and disagreement, preparation, fulfilment, excitation, sudden change, etc. This view places the shared experience of sensations of living вЂ“ our communicative musicality вЂ“ as inspiration for rules of logic formulated in symbols of language. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. We emphasize 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. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. Drawing on the experience of the first author as a counsellor, we argue that the strength of one personвЂ™s communicative musicality can support the vitality of anotherвЂ™s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited 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. 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. 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. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual вЂpatterns of action,вЂ™ which we have identified as our innate вЂcommunicative musicality.вЂ™ 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 vocalizations and body movements of adult and child while they improvise shared narratives of meaning. Music is at the centre of what it means to be human вЂ“ it is the sounds of human bodies and minds moving in creative, story-making ways.

3Department of Psychology, School of Philosophy, Psychology and Language Sciences, The University of Edinburgh, Edinburgh, United Kingdom.

2The MARCS Institute for Brain, Behaviour, and Development, Western Sydney University, Sydney, NSW, Australia.1Westmead Psychotherapy Program, Sydney Medical School, The University of Sydney, Sydney, NSW, Australia.

Stephen Malloch 1,2* and Colwyn Trevarthen 3*

Mj human nature piano lesson