Do foetuses communicate? Foetal responses to interactive versus non-interactive maternal voice and touch: An exploratory analysis

How do human newborns come to understand the multimodal environment?

For a long time, newborns were considered as human beings devoid of perceptual abilities who had to learn with effort everything about their physical and social environment. Extensive empirical evidence gathered in the last decades has systematically invalidated this notion. Despite the relatively immature state of their sensory modalities, newborns have perceptions that are acquired, and are triggered by, their contact with the environment. More recently, the study of the fetal origins of the sensory modes has revealed that in utero all the senses prepare to operate, except for the vision mode, which is only functional starting from the first minutes after birth. This discrepancy between the maturation of the different senses leads to the question of how human newborns come to understand our multimodal and complex environment. More precisely, how the visual mode interacts with the tactile and auditory modes from birth. After having defined the tools that newborns use to interact with other sensory modalities, we review studies across different fields of research such as the intermodal transfer between touch and vision, auditory-visual speech perception, and the existence of links between the dimensions of space, time, and number. Overall, evidence from these studies supports the idea that human newborns are spontaneously driven, and cognitively equipped, to link information collected by the different sensory modes in order to create a representation of a stable world.

Neonatal Musicality: Do Newborns Detect Emotions in Music?

This study aimed to explore healthy, term neonates’ behavioural and physiological responses to music using frame-by-frame analysis of their movements (Experiment 1; N = 32, 0–3 days old) and heart rate measurements (Experiment 2; N = 66, 0–6 days old). A ‘happy’ and ‘sad’ music was first validated by independent raters for their emotional content from a large pool of children’s songs and lullabies, and the effect of the emotions in these two music pieces and a control, no-music condition was compared. The results of the frame-by-frame behavioural analysis showed that babies had emotion-specific responses across the three conditions. Happy music decreased their arousal levels, shifting from drowsiness to sleep, and resulted in longer latencies in other forms of self-regulatory behaviour, such as sucking. The decrease in arousal was accompanied by heart rate deceleration. In the sad music condition, relative ‘stillness’ was observed, and longer leg stretching latencies were measured. In both music conditions, longer latencies of fine motor finger and toe movements were found. Our findings suggest that the emotional response to music possibly emerges very early ontogenetically as part of a generic, possibly inborn, human musicality.