“There is no greater freedom than the freedom to be yourself. Give yourself that gift, and choose to surround yourself with those who appreciate you exactly as you truly are.”
This program is presented as a process of artistic awareness and development through improvisation. People who come in an environment of empathy and cooperation in which it is possible to enjoy are welcomed. A requirement that we consider essential in any form of learning.
Through group work and individual work, interaction meta-patterns are created and learned and an epistemology is developed that favors the creative autopoiesis of each participant in the field of musical practice and, by extension, in other areas of their experience.
In the music made for this video, musicians who had only been on the program for a few months improvised:
This piece of music was generated spontaneously through the interaction of the attendees, in a collective improvisation experience that occurs weekly. We have been able to verify that the cyclical appearance in a meeting of these characteristics has a very high pedagogical value and many of the absolutely essential functions for creating music can be carried out in this way. Afterwards, image and sound were incorporated into improvisation, until the present version was achieved as a derivative work.
Listening to music, playing it, and creating it involves practically all brain regions. Music listening relates first to the subcortical structures of the brain, such as the cochlear nuclei, the brainstem, and the cerebellum. From there, it acts on the auditory cortex, on both sides of the brain. When listening to music, brain memory centers, such as the hippocampus and language centers in the frontal and temporal lobes, are activated.
Tapping also involves the cerebellum, and the frontal lobe, sensory cortex, and motor cortex will also be activated. This happens because when playing requires motor coordination and control, the somatosensory touch and auditory information that many musicians admit to having, makes them develop a great ability to use both hands, compared to other people. The large number of networks that connect the two motor areas between both hemispheres form thick fibers when interconnecting them, making them larger in musicians than non-musicians.
Since the brain has the ability to change (neuroplasticity), music also affects learning abilities, increasing the size of the auditory and motor cortex.
“The main function of music has been thought to unite society which is vital for basic human life. In fact, music is used in var- ious forms including dancing to harmonize groups and emotions and prepare for cooperative activity. Music may possess survi- val benefits through ‘‘the socialization of emotions’’. Music seems to have a function to reinforce social bonding by sharing emotional experiences. Primates used physical grooming to strengthen social bonding, which trigger endorphin activation in the central nervous system. There are reports that group sing- ing release endorphin, thus singing is to mimic the neural effects of physical grooming in primates.
Pro-social behavior and empathy are closely linked on a conceptual level. The evidence shows that sharing emotions of others (empathy) is associated with neural structures’ activation (mirror neuron). Music is renowned for its increase in empathy thus resulting in pro-social behavior. Factually, music does strengthen one’s coping skill and sympathy. Empathy has grown in order to enhance human survival and propagating adaptation, which was quintessential for human society to evolve into the one we have now.
Recent studies have revealed that the emotions evoked by music can modulate activity in all the limbic and paralimbic brain structures which deeply contribute to emotions, and that those emotions tend to be stronger than everyday feelings or moods; therefore, they are registered as a strong experience and are associated with particular brain activity”
Excerpt from the study: Music increase altruism through regulating the secretion of steroid hormones and peptides
In our culture, music education has inherited a vertical methodology from classical music and its hierarchical organization system (interpreters subordinate to a director), in which the student receives instructions from a teacher who will guide him, throughout a series of years, on what are the tasks to be carried out in your training. The student does not need to consider any initiative of their own, since this pedagogical approach prioritizes skills related to psychomotor intelligence, consisting of reinforcing, through repetition, certain exercises and behaviors that are considered technically essential for a certain type of artistic achievement.
What is not taken into account is that the students who attend music training today, if they do not want to dedicate themselves exclusively to acting, want to develop their own creativity and express themselves through it musically, will build a music whose technical needs will respond to their own style of self-expression, something that is outside the scope of our current vision and will be his artistic response in dialogue with a future that we do not know either.
In other cultures, moreover, music is a vital experience, linked to enjoyment, of horizontal transmission, which takes place in community, as a form of fun. There, virtuosity is not an end and, if it is reached, it occurs beyond correction, error and compulsive repetition. Each new virtuoso is the creator of his own definition of virtuosity.
The same questions were asked by Dr. Charles Limb, from Johns Hopkins University in the USA, and to solve it, he took the trouble to develop an intense study for a whole decade, observing the brain activity of musicians of different styles when improvising.
Along with NIH scientist and researcher Allen Braun, Limb subjected numerous musicians to MRI during improvisation. With the resulting images, the scientists observed that during improvisation, the brain activity presented peculiar changes, especially in the upper regions of the brain and in its inhibition centers. The latter show a significant reduction in their activities.
These studies revealed that the region of the dorsolateral prefrontal cortex of the brain, a large region of the frontal part of the brain, showed to slow down its activities during improvisation. This part of the brain is strongly related to planned actions and self-censorship. By lowering activity in this part of the brain, the inhibition to which we are permanently subjected during conventional learning, responsible for the fear of making mistakes and its subsequent paralysis dissipates or is significantly damped.
Furthermore, the researchers also recorded increased activity in the medial prefrontal cortex of the brain, which is located in the center of the frontal lobe. Curiously, this area of the brain has always been related to activities that refer to the personality, subjectivity and consciousness of being as an individual. This part of the brain is generally activated when we are transmitting our individuality, such as when we are telling a very personal story or an anecdote about ourselves. It is the part of the brain that works when it comes to self-expression.
TEMENOS has two versions. A face-to-face version and another online version
IN ORDER TO PARTICIPATE IN TEMENOS ONLINE, YOU NEED A SYMBIONTS INVITATION.
If you are already a registered user of the Busilis network, request an invitation:
If you have not yet registered and you want to participate in either version, or need more information contact us.
If you are already a registered user of the BUSILIS network, and you have not been invited request an invitation