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Anotaes de Daniel Stern. The issue of vitality. Nordic Journal of Music Therapy Vo l. 19, No.

2, September 2010, 88 102 Formas dinmicas ou Formas de vitalidade so compostas de movimento, fora, espao, inte no e tempo Movimento: primeira percepo "Things move, and then out of that movement you can get approach and withdrawal, and out of approach and withdrawal you can get different emotions. From there you can get concepts consisting of all different things, bo dily concepts, or psychosomatic concepts. And then you can get language that is built upon what the body already knows and does, and then you get verbal concept s on this. But all of it gets layered upon, and is always sustained by our abili ty to move in time and space" (p. 89) The first thing a foetus does, which you can see at five weeks, is that they mov e. They can bend at the spine. At 10 weeks, they can make gestures, they startle , they can suck their thumb, and touch the uterine wall, and they can put their hand to their face." (p. 89) So movement is where it all starts from (p. 89). Em seguida vm o tempo e o espao O Cosmos Albert Einstein was once asked Do you think in words or do you think in pictures? He said I don t think in either of those. He said I think in terms of forces and volumes moving in time and space and I have to feel that in my body, and whe n I have that in my body, and only then, can I write a formula. That s how I see t he world. (p. 89) Msica "Kerth the famous musicologist who in the 1920s said that music was sound in mov ement, sound in motion. It s mental motion, like I said" (p.90) "We re talking about psychology here as well, we re not talking about physics. We re t alking about the way a human being perceives other people and musical events" (p . 90) Exploding, surging, slipping away, fading, effortful, easy, floating, fleeting, attacking . . . (...) This is a very curious list because these are not sensatio ns, these are not emotions, these are not cognitions. What are they? What I m sayi ng is that they are dynamic forms of vitality, and they are separate from all of these other things (p. 91) "these forms of dynamics, or of vitality are not tied to a content. They float f reely, they are totally multi-modal, they are totally interdisciplinary from the point of view of sensation, cognition, emotion, etc. They apply to everything" (p. 91) Explosivo the experience of exploding actually can belong to anything it seems to have its own existence it falls between the cracks. We can t say it s a sensation, because t here is no sensory organ for feeling this kind of a thing. There is no dynamic e xperience sensory organ that we have as yet found out. It s probably everywhere in the brain, and no t just in the eyes or the ears or something like that. It s the same with emotion.

Exploding is not an emotion, or surging. You can be angr aggressively, explosiv ely, your anger can surge up, your anger can fade away" (p. 91) "vitality is one of the most essential things there is in our psychological expe rience certainly of other people, and of what they do, and of what they perform" (p. 92) Ex. corpo morto. um choque v-lo, no pela ausncia da pessoa ("esse um processo mais lento"), mas pela ausncia de vida naquele corpo (no respira, no movimento os msculos faciais - algo que sempre buscamos no importa no que nos concentremos -, sem ton icidade, e sem mover tambm no pensa, no sente, no tem emoes these forms of vitality is really the stuff that music creates and plays with, a nd it s what we, in communicating with one another, create and play with. Tony Wigram - matching: "taking some kind of musical event and keeping some aspe cts of it the same in response let s say the key, or the dynamic texture, or the t empo, etc. but you change something. So it s not an imitation, but a matching. (p. 93) Stern - affect attunement *at the base of so much of the relationship and the tr ansmission and communication between therapist and client)

Ex: Respostas da me brincadeira da criana "So if you have a little boy and his mother, and he visits somebody else s house, and he is n ot allowed to have guns but this other kid has a gun, a toy gun. So he picks it up and he goes Bam Bam!! , and he s excited and he goes Aa . . . aaaa!!! like that, an looks at his mother. His mother doesn t want him to play with a gun at all, but sh e doesn t want to embarrass him, and she doesn t want to cut his enthusiasm complete ly. So instead of saying Aa . . . aaaa!!! like he did, she is going to do a sort of semi-matching what I would call under attunement and instead of Aaa . . . aaa, she will go mm . . . hmm. Now if, instead, the boy had taken something she really thought was reall y terrific for him to do, she would have gone Ahhhaaaa like that. So she would have taken the same thing but exaggerated aspects of it a selective imitation. In tha t way, through the vitality form of the sound, she is shaping from inside how sh e wants him to feel about what it is that he does. So this becomes an absolutely vital technique in having emotional and other communication with other people" (p. 94) crescendo s decrescendos, staccato, legato, forte, piano, fortissimo we have sforz ando to really attack the note. All of these are forms of vitality, the dynamic forms. (p. 94)

Transpor emoes ou idias msica ou dana difcil, voc pode pode faz-lo grosseiramente mores, ou de uma maneira precisa com formas dinmicas - formas de vitalidade. esse idioma comum, espcie de Esperanto, que possibilita colaboraes dana-msica por exemplo . (p. 96) Some of the basic goals in any therapy are: . You have to establish inter-subjective contact so that more and more can becom e inter-subjectively shared, and the field of inter-subjectivity can expand. . You want to have some level of identification between the people involved. . You need to have some dialoguing. . You need to find out where your own authenticity is. . You do need to have some kind of holding environment. . You have to be able to animate one another, to make each other more vital. . Lastly there is the question of do you want to make it aware, so that it can b ecome cognitive, and become talked about.

Inter-subjective contact and expansion Descoberta do affect attunement: criana com quebra cabea e sua me: There was a litt le girl she was nine months old, and she was sitting on the ground in front of her mother, and she was trying to get this pie ce into a puzzle, and she was having a lot of trouble. Finally she gets the piec e in the puzzle, and she looks up at her mother and she is delighted, and in a b urst of enthusiasm she open s up her face wide, in a sort of rapid opening, and sh e lifts her arms simultaneously and drops them making a sigh [Dan demonstrates], and she comes back down. So her face opens up, makes a lovely crescendo then de crescendo, and the arms do the same thing. Now how does the mother respond to th at?What the mother would like to be able to say, although the girl is only nine months old, is Honey, I know what that was like. She can t say that because she doesn t understand, so what does she do? She could imitate it if she imitates it, the girl could say Hey, you imitated wha t I did, but how do I know that you know what it felt like to do what I did? Or th e girl could say Hey, you could be a robot, you could be a Martian how do I know y ou have a mind? So the mother has to do something different. So what she does is m atching or affect attunement. She will then take the same thing the child did, the formal parts of it, the parts t hat do the form of vitality, and she will keep those and imitate them but put th em into a different modality. So instead of copying exactly what the child did, the mother will go Yeeeeaaahh [Dan illustrates with a rising and falling gentle ton e while saying the word], so that her voice makes a crescendo-descrescendo of th e exact same duration as the child s behaviour. So she said I understood from my own experience what it was like for you to have your experience. They ve created someth ing. The girl immediately smiles, looks down and goes ahead with playing" (p. 97-98) Identification There has to be some identification going on. Not all the time, not totally, but clinically useful. No se trata de imitar, mas de incorporar um gesto de outro "What you do is, if you care about them, the person you identify with in some wa y, you start to assume their movement signatures. This is why you sometimes feel like You know, I m sitting the way my father sits or when I sigh, my head goes to the ide that s exactly the way my mother sighed, and the sound that her throat made. You have to have, somehow, with mirror neurones, gone into their system so that you have captured their signature of vitality forms un der a particular circumstance" (p. 98) Identificao no um assunto cognitivo ( preciso conseguir a assinatura do movimento qu e est no fluxo dinmico" (p. 98) Dialoguing Me e seu dilogo com o beb, proibindo-o de comer as peas do quebra cabea: "It is her t eaching him a way of negotiating a contract between him and another person, in p articular his mother and other women. He is learning how to deal. He is learning the most basic art he has to learn in dealing with other people, especially if it s women in an intimate relationship. And he is learning it at 10 months. And it s all done through a progression and sequence of forms of vitality between them. Nothing s been said, nothing of any meaning has been said." (p. 100) Animating Jogo internacional de bebs: "Vou pegar voc, peguei!" "Actually what the mother doe s is very interesting it s a form of constantly violating the expectations of the vitality form that is going to follow (...) So then she violates the baby s expect

ations at the short end and the baby bursts into laughter, because there has bee n an acceptable violation." (p. 101) Falar sobre msica (terapia): I don t know when you need to or should put any of the things that happen in a nonverbal therapy like music therapy into a cognitive a nd linguistic mode. My feeling is that none of our theories are very good on thi s. It is no longer true that you have to talk about it to get any good out of it . You don t have to make it conscious it can become part of implicit knowledge. An d yet o the other hand sometimes it does help to make it conscious, and I think yo can only go case by case and that s the best you can do, and use your judgement and your experience.