In the following footage, you'll meet Julia, mother of Santiago. She's going to share some of their interactions so that we can show you how communicative musicality theory can be seen in action. Julia is drawing on her knowledge as a mother, a music therapist, and a speech pathologist. Julia, can you tell a little bit about Santiago? >> Santiago is fourteen months old, and we live in Northern Italy. I sing a lot with Santiago, because that's what I do in my normal life too. So I think he has had a musical beginning to life. He’s an active boy who always wants to be doing things, I spend a lot of time attending to him and responding to his early communication. >> In the footage we're about to watch, you're playing with Santiago using toys and games. Even a little bit of peek a boo. You're naturally using the musical features that Steven Malloch and Colwyn Trevarthen have described as pulse, quality, and narrative. >> [NOISE] [LAUGH] Boo! >> Ba boo! Haha! [INAUDIBLE]. >> You can see how much he enjoys this game, and that it's familiar to him. I really enjoyed this game too because it becomes part of the web of our relationship overtime. It's like we are learning to understand one another during these times as well as learning about things like permanence and egocentricity and of course. >> Let's look at another piece of footage now. And that's you and Santiago reading a book together. Let's notice how naturally you introduce musical features into that experience. >> [SOUND] >> [MUSIC] [SOUND] [NOISE]. [SOUND] >> [NOISE] >> [SOUND] >> [NOISE] >> [SOUND] >> [SOUND]- for us, as to me it's similar to what a song provides. There's a beginning an end and a form in between, and that’s the story provides a melody. We always experience all the other qualities in our bodies as we move. With a story and take time to connect with one another what we share. And of course because I'm a speech and language pathologist I'm also thinking about joint attention. And how this is really important for his communication development as well as for our relationship. >> Now let's have a look at some footage where we see you and Santiago using your voices and your bodies to interact with one another in a really musical way. >> [SOUND] [SOUND] >> [SOUND] >> [SOUND] >> [SOUND] >> [SOUND] >> [SOUND] >> [SOUND] >> [SOUND] >> [SOUND] >> [NOISE] [INAUDIBLE] [SOUND] No, no, no, no, no. No, no, no. [SOUND] No, no, no, no, no, no, no. >> [NOISE]. >> [NOISE] [SOUND] [SOUND] [MUSIC] [SOUND]. I love to feel Santiago's musicality in the way that he is responding to me. He's too young to be doing anything really musical, but this is the kind of metro musicality that all people are born with. And that I sometimes see when I'm working with children who have disabilities as well. >> Now we're going to have a look at something which is much more in the realms of being traditionally musical. Santiago reaching out and trying to play the guitar. >> [MUSIC] [MUSIC] >> Now I'd really like to finish with some footage of you using music as a part of Santiago's sleep routine. It's lovely to watch you use the rhythm of rocking and repetitive singing as well as all the multi-modal elements of a parent-baby encounter. And there's some lovely examples of vocal interplay in there, as well. You must have been really happy that it worked. >> Yes, I was happy. And I know he doesn't care about my voice quality or whether we just keep singing the same thing over and over. The research proves that it doesn't matter what I sing, a baby just prefers the sound of it's parent's voice no matter what. [MUSIC]