Dancing to Metallica and Dora: Case Study of a 19-Month-Old

Rhythmic movement to music, whether deliberate (e.g., dancing) or inadvertent (e.g., foot-tapping), is ubiquitous. Although parents commonly report that infants move rhythmically to music, especially to familiar music in familiar environments, there has been little systematic study of this behavior....

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Main Authors: Laura K. Cirelli, Sandra E. Trehub
Format: Article
Language:English
Published: Frontiers Media S.A. 2019-05-01
Series:Frontiers in Psychology
Subjects:
Online Access:https://www.frontiersin.org/article/10.3389/fpsyg.2019.01073/full
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author Laura K. Cirelli
Laura K. Cirelli
Sandra E. Trehub
author_facet Laura K. Cirelli
Laura K. Cirelli
Sandra E. Trehub
author_sort Laura K. Cirelli
collection DOAJ
description Rhythmic movement to music, whether deliberate (e.g., dancing) or inadvertent (e.g., foot-tapping), is ubiquitous. Although parents commonly report that infants move rhythmically to music, especially to familiar music in familiar environments, there has been little systematic study of this behavior. As a preliminary exploration of infants' movement to music in their home environment, we studied V, an infant who began moving rhythmically to music at 6 months of age. Our primary goal was to generate testable hypotheses about movement to music in infancy. Across nine sessions, beginning when V was almost 19 months of age and ending 8 weeks later, she was video-recorded by her mother during the presentation of 60-s excerpts from two familiar and two unfamiliar songs presented at three tempos—the original song tempo as well as faster and slower versions. V exhibited a number of repeated dance movements such as head-bobbing, arm-pumping, torso twists, and bouncing. She danced most to Metallica's Now that We're Dead, a recording that her father played daily in V's presence, often dancing with her while it played. Its high pulse clarity, in conjunction with familiarity, may have increased V's propensity to dance, as reflected in lesser dancing to familiar music with low pulse clarity and to unfamiliar music with high pulse clarity. V moved faster to faster music but only for unfamiliar music, perhaps because arousal drove her movement to familiar music. Her movement to music was positively correlated with smiling, highlighting the pleasurable nature of the experience. Rhythmic movement to music may have enhanced her pleasure, and the joy of listening may have promoted her movement. On the basis of behavior observed in this case study, we propose a scaled-up study to obtain definitive evidence about the effects of song familiarity and specific musical features on infant rhythmic movement, the developmental trajectory of dance skills, and the typical range of variation in such skills.
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spelling doaj.art-37c4774ea2964e35bb7bde99759eca032022-12-22T02:41:50ZengFrontiers Media S.A.Frontiers in Psychology1664-10782019-05-011010.3389/fpsyg.2019.01073445994Dancing to Metallica and Dora: Case Study of a 19-Month-OldLaura K. Cirelli0Laura K. Cirelli1Sandra E. Trehub2Department of Psychology, University of Toronto Scarborough, Toronto, ON, CanadaDepartment of Psychology, University of Toronto Mississauga, Mississauga, ON, CanadaDepartment of Psychology, University of Toronto Mississauga, Mississauga, ON, CanadaRhythmic movement to music, whether deliberate (e.g., dancing) or inadvertent (e.g., foot-tapping), is ubiquitous. Although parents commonly report that infants move rhythmically to music, especially to familiar music in familiar environments, there has been little systematic study of this behavior. As a preliminary exploration of infants' movement to music in their home environment, we studied V, an infant who began moving rhythmically to music at 6 months of age. Our primary goal was to generate testable hypotheses about movement to music in infancy. Across nine sessions, beginning when V was almost 19 months of age and ending 8 weeks later, she was video-recorded by her mother during the presentation of 60-s excerpts from two familiar and two unfamiliar songs presented at three tempos—the original song tempo as well as faster and slower versions. V exhibited a number of repeated dance movements such as head-bobbing, arm-pumping, torso twists, and bouncing. She danced most to Metallica's Now that We're Dead, a recording that her father played daily in V's presence, often dancing with her while it played. Its high pulse clarity, in conjunction with familiarity, may have increased V's propensity to dance, as reflected in lesser dancing to familiar music with low pulse clarity and to unfamiliar music with high pulse clarity. V moved faster to faster music but only for unfamiliar music, perhaps because arousal drove her movement to familiar music. Her movement to music was positively correlated with smiling, highlighting the pleasurable nature of the experience. Rhythmic movement to music may have enhanced her pleasure, and the joy of listening may have promoted her movement. On the basis of behavior observed in this case study, we propose a scaled-up study to obtain definitive evidence about the effects of song familiarity and specific musical features on infant rhythmic movement, the developmental trajectory of dance skills, and the typical range of variation in such skills.https://www.frontiersin.org/article/10.3389/fpsyg.2019.01073/fullmusicinfancyrhythmmovementdancedevelopment
spellingShingle Laura K. Cirelli
Laura K. Cirelli
Sandra E. Trehub
Dancing to Metallica and Dora: Case Study of a 19-Month-Old
Frontiers in Psychology
music
infancy
rhythm
movement
dance
development
title Dancing to Metallica and Dora: Case Study of a 19-Month-Old
title_full Dancing to Metallica and Dora: Case Study of a 19-Month-Old
title_fullStr Dancing to Metallica and Dora: Case Study of a 19-Month-Old
title_full_unstemmed Dancing to Metallica and Dora: Case Study of a 19-Month-Old
title_short Dancing to Metallica and Dora: Case Study of a 19-Month-Old
title_sort dancing to metallica and dora case study of a 19 month old
topic music
infancy
rhythm
movement
dance
development
url https://www.frontiersin.org/article/10.3389/fpsyg.2019.01073/full
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