![]() In both studies, we assessed children's vocabulary when they were 20 months old. In Study 2 (n = 30), we coded infant rhythmic movements during the mother's singing. In Study 1 (n = 30), we measured infant EEG and used an encoding approach utilizing ridge regressions to measure neural tracking. In total, 60 mother-infant dyads were observed during two singing conditions (playsong and lullaby). The goal of this study was to examine neural and movement responses to live and dynamic maternal singing in 7-month-old infants and their relation to linguistic development. Infant-directed singing has unique acoustic characteristics that may allow even very young infants to respond to the rhythms carried through the caregiver's voice. Quarter notes dominate-12 within each line-with a longer note (equal in duration to two quarter notes) at the end of the three main phrases (corresponding to the words “are”, “sky”, and “are”) and at the boundary between sub-phrases (corresponding to the words “star”, “high”, and “star”). Note that the first and third lines are identical and that each of the three main phrases has 14 notes. The tune has a simple structure consisting of three main phrases (lines 1, 2, and 3), each of which can be subdivided into two sub-phrases. ![]() Figure 1 presents a notated version of Twinkle, Twinkle, Little Star with numbered phrases and bars. Thus it is unclear how many of them rehearsed their songs before the onset of recording. Nevertheless, they were told to take as much time as they needed before beginning their recording. Mothers interacted with their infants prior to the recording of Twinkle, Twinkle, Little Star, sometimes by talking, sometimes by singing other songs. Obviously, conditions were different for the ID and non-ID performances. These latter singers, who remained alone in the test room, started and stopped the recording. They were asked to try, to the best of their ability, to reproduce the casual singing style they would use if they were singing on their own at home. A compari- son sample of non-mothers ( n = 10), consisting of women who were similar in age, musical back- ground, and native language, provided a single sample of Twinkle, Twinkle, Little Star. Only those who sang Twinkle, Twinkle Little Star ( n = 10) were included in the present study. Mothers were instructed to sing in their usual manner of singing to infants. Mother and infant were seated face-to-face, very close to one another, and no observer was present in the room. ID recordings were obtained from a previous study (Nakata & Trehub, 2004) in which mothers sang songs of their choice to their 6-month-old infants in the course of informal interactions under controlled conditions. performances were recorded digitally (Sony TCD-D7 DAT recorder, Sony PC-62 lapel micro- phone) in a double-walled sound-attenuating room (Industrial Acoustics). ![]() The most interesting thing about Taylor’s poem is that it remains a catchy tune that will continue to captivate lovers of poetry and music, all while causing infants and young children to nod off to sleep-celestial bodies captivating their potential dream states. And this French melody, adapted to fit the lines of Taylor’s poem, is still heard today in musical form. Indeed, a specific piece of French music, which dates back to 1761, is directly associated with “Twinkle, Twinkle, Little Star. Hill created different versions of the first two stanzas of “The Star” in their works-Marryat in his novel and Hill in her sheet music. And other writers and novelists like Frederick Marryat and Mildred J. Author Lewis Carroll had his infamous character, the Mad Hatter, twist the lines of this famous poem in Alice’s Adventures in Wonderland. ![]() Regarding some interesting history tied to the poem, the first two lines of the five-line stanza have adaptations in the form of both songs and written works. Jane Taylor created the poem “ The Star,” which was part of her 1806 work, Rhymes for the Nursery. This poem, turned lullaby, would have also been heard from mothers’ voices, cradling their swaddling infants at night. Indeed, Jane Taylor put together these famous lines and wonderful pacing to create a well-known lullaby that is still recited today over cribs. The creation of the world-famous line, “Twinkle, Twinkle, Little Star,” is credited to a poet named Jane Taylor (1783–1824).
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