This series of CD recordings has been created based on the observation that young children sense music and sound differently than adults. This recorded music has been composed specifically to allow the young child a sonic experience of  the profound sense of order that music can create in the young mind - in a quieting state of calmness, in an environment where the mind can develop in it’s most natural way.

Much has been made about the power of music in the lives of children, especially the music of the great European composers Mozart and Bach.

While the recordings of this great music are touted as beneficial for children, it is the belief of the composers of The BabySmart System that the musical structures of Mozart are too intellectual and advanced to be comprehended/processed in a productive sense by the pre-cognizant baby.

While there is no denying Mozart’s aesthetic aspect, and nearly all 18th century-based classical music is far better for intellectual well-being than modern popular music - especially those of a destructive and negative connotation, the pre-cognizant baby who is just beginning to learn the difference between front and back is certainly not going to process the intellectual complexities of complete works of Mozart, Bach or Beethoven.

Sound is vibration.  Sound is at the root of existence.

Infants and young children especially - unconditioned by cultural constraints and definitions of music, order and noise/chaos - respond to sound in it’s purest forms starting with the emanations of the organic music of the mother, the first chamber or sonic space, where the world of the developing child is one of vibration, of sound.

Music as we know it, in all cultures, (especially in the ancient societies) is a microcosm of existence, of being, and seems to stem from a sense of innate order in the human mind (which itself is a fractal of the universe).  Music happens in cycles, patterns & periods and actually mirrors the order of things in our natural world.  This order is what constitutes –harmony- in this sense meaning proportion, the way the Greeks spoke of music.  When subjects or objects are related in certain proportions, we sense harmony, unity and oneness. 

It is important to understand that there are fundamentally TWO separate sciences that combine together to make music as we know it:  1) Pitch and 2) Rhythm.  Musical pitch, and the relationships between pitches is an aspect of proportion.  So is rhythm.  Rhythm is proportions of occurrences. The larger subjective, poetical and narratological aspects of music which we all relate to culturally, would not exist without these basic vibratory mathematical aspects, hence the observations of the first thinkers in music, Pythagoras, Plato, Plutarch and others of the Greco-Roman world, and of the great Indian musicians who still practice within the framework stated here.

Knowing that pitch is the value of the sustained tone(s), and rhythm defines where those tones occur, the following example can be fascinating.

The first CD in the set, (CD#1-Volume 1) is meant for the youngest age group, birth–to–6 months, and is highly unique because rather than the normal 2 sciences co-existing to make the music, we have mapped them into 1 single science.  One single idea forms the whole of the experience – ‘music unfolding in time in perfect symmetry

The pre-cognizant brain can process this information much easier as math and music become one.

Not only could this be beneficial to building brainpower (ensuring that the synapses are connected and stay connected), but it also invokes a primordial sense of perfect order right from the beginning.

We have called this process “pitch/rhythm mapping”, and here is how it works:

The frequency ratio (the proportions of one pitch to another, their difference in highness or lowness) is the same as the time ratio (the duration of each note until the following note enters). That is, each note moves one after the other in a particular time sequence according to the frequency ratio, or pitch ‘distance’ (the note’s relationship to its neighbors).  This creates not a musical narrative, story, or melody constructed from a cultural bias, but instead, a cosmically constructed music based in the inherent observable laws of physics which govern or describe these sounds and their relations.

This realization of musical relationships is profoundly different than the common musical narrative where tones occur in a fixed meter or beat pattern based in anthropomorphic sets of behaviors, like the heartbeat, walking or dancing.  Here the tones occur and reoccur ‘in time’ but in an exact proportion to the pitch relationship of the tones.

We believe this condition of musical unity is sensed as - perfect balance – or –harmony- in the preconditioned human brain.

[Most of us still experience some aspects of this simple reality in folk songs, or in Medieval Chant, or in the music of the Renaissance.] 

The young child (still without the developed sense of beat patterns or meter, made physical through linguistic means as in speech patterns, and movements of the body) will perceive this pitch/time relationship as ‘right order’, as ‘natural’ – as a manifestation of symmetrical beauty.  These musical fragments, we might say are pre-linguistic, pre-verbal, pre-corporeal.  They contain the relationships inherent in the basic consciousness of musical reality which is not a separate reality from that of a ‘mathematical reality’, or as disparate as it may seem, an ‘emotional reality’.

The infant and toddler begin immediately to develop a sense of their environment through many means but at first through the most basic senses: 1) the movement of the body and its orientation to space, 2) the sense of sight through light and darkness and shades between, and 3) the sense of sound and vibration from the mother’s heart, pulse and voice.  The child begins to develop a sense of openness of existence, the irreducible sense of wholeness, then the binary nature of reality with its gradations.  At the early stages of development, these are all pre-verbal realities, not quite describable, yet only one natural language addresses these concepts of existence and being at the non-verbal, and seemingly non-mathematical level.  That language is music.  Music seems strange.  It is indeed mathematical, it describes space and time and yet it conveys emotion, the feelings of life.  These seemingly disparate areas of cognition are not disparate at all.  The language of music teaches us this.

The power of the music of Mozart or Bach lies in this primordial sense of order,or symmetry, and the transcendent beauty realized by these natural proportions of time and pitch and their relationships. The musical structures presented here in this recording are the building blocks of the great forms of music - where many of the secrets of cognition, creativity and the basis of structural and emotional intelligence are to be found.  Through this series of CD recordings a child can experience a profound sense of order and openness in a quieting state of calmness allowing the mind to develop in it’s most natural way, not through the onslaught of disorder in the society but according to infinite beauty of nature itself.

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