![]() A Repeated Measures ANCOVA revealed a positive relationship between both Active and Passive treatment conditions and IMME, as the entire sample demonstrated statistically significant improvement from pre- to posttest IMME scores (p <. That is, no connection was identified linking subjects’ MSC and the amount of musical engagement with their children, lending evidence to the idea that music is a fundamental human drive and intrinsic to the parent/child relationship. ![]() Analysis indicated that variability in IMME attributable to MSC was low (R² =.0030), and that there was no significant difference in IMME of subjects who completed Active and Passive treatments. All subjects took a researcher-constructed survey pre- and post-treatment to assess for any change in IMME. The Passive Group only received the weekly e-newsletters about music-making with young children. The Active Group comprised those receiving weekly electronic newsletters about music-making with young children and who were also enrolled in a 10-week parent/child music class. Subjects were randomly distributed into one of two groups. In order to assess musical self-concept, a modified version of Asmus’ Motivation for Music test was administered to subjects before treatment. Second, the research considers the impact of active and passive parent education methods on frequency of IMME. First, the researcher examined the relationship between parents’ musical self-concept and intentional music-making with their young children (four years of age and under.) An intentional music-making episode (IMME) is defined as a consciously parent-initiated activity or extension of an activity, either spontaneous or planned beforehand, in which both parent and child are musically engaged. The purpose of this mixed-methods experimental study is twofold. Psychology of Music 38(4) 499–502 © The Author(s) 2010 Reprints and permission: sagepub. Nevertheless, a number of contributors found it necessary to declare their allegiance to the edi-tors' notion of communicative musicality, creating needless repetition. In other cases, the thrust or merit of their work is independent of the merits of those assumptions. It is important to note, however, that some contributors to this volume remain neutral with respect to the editors' underlying assumptions. Subscribers to conventional scien-tific approaches should be forewarned. Rich observations of single cases or small samples are interpreted through the theoretical lens of the observer – a stance that will be applauded or bemoaned by readers with matching or mismatching lenses. That is not to imply that the evidence is substan-dard, but it is unquestionably different. These ideas, which build on psychoanalytic foun-dations (e.g., Stern, 2004), diverge from mainstream approaches to the psychology of music both in theory and in standards of evidence. Moreover, innate communi-cative musicality is viewed as the driving force for music, the other temporal arts, interpersonal communication and the origins of language. Infants and mothers are thought to have intuitive access to each other's subjective states or intersubjectivity, which enables reciprocal coordination of their behaviours and emotions. Malloch and Trevarthen consider communicative musicality to be innate and uniquely human. Conceived in this manner, musicality is inherently communicative. 4–5) This rambling definition is likely to confuse many readers, as it did this one. Malloch and Trevarthen define musicality as the expression of our human desire for cultural learning, our innate skill for moving, remembering and planning in sympathy with others that makes our appreciation and production of an endless variety of dramatic temporal narratives possible – whether those narratives consist of specific cultural forms of music, dance, poetry or ceremony whether they are the universal narratives of a mother and her baby quietly conversing with one another whether it is the wordless emotional and motivational narrative that sits beneath a conversation between two or more adults or between a teacher and a class. For the editors of this volume, however, communicative musicality is consid-erably broader in scope. One would therefore expect communicative musicality to involve the sharing of this sensitivity, knowledge or talent with others. Conventional views of musicality involve sensitivity, knowledge or talent for music.
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