Introduction ...enrichment of the present for its own sake is the just heritage of childhood....1 In this paper, the qualities of artistic pursuit exemplified in the musical play of children and the compositional processes of adults provide a context for exploring how "being with" influences teaching and learning. Specifically I propose that "being with" music generates a sense of the aesthetic as we both transform musical materials — timbres, pitches, rhythms, phrases, harmonies — and are transformed by our experiences with them, and that "being with" others as we partake in musical activity often broadens and deepens that experience. In many ways, this is an exploration into why childhood matters, how it functions as a mirror for our adult lives as we experience and revel in the seemingly miraculous moments of aesthetic insight, where the familiar is welcomed with fresh perception and the addition of novelty is greeted as the solution to a previously unfathomable problem. It is also about why children matter, as our responses to their ways of being connect and transform us as adults. In this piece, recorded observations of children's musicality are juxtaposed with first-person accounts of adults' creative processes, revealing contributions to our understanding of artistry-in-action as it is manifested in both the musical and the pedagogical. The Aesthetic in Childhood and Adulthood To be "in the moment" is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital, aware of surprise relationships between seemingly disparate phenomena, and enveloped by sensory messages of color, sound, and movement meeting personal criteria for beauty. Such experiences exemplify features of artistry, an approach defined by openness to possibility and orientation toward discovery, where cues emanating from involvement in activity are clearly interpreted and utilized, and reflection is an ongoing process informing action. Characterized by a sense of wonder and ability to imagine and invent, the creative worlds of young children have provided a source of artistic genesis cited by composers, performers, psychologists, and educators.2 Edith Cobb's thoughtful, groundbreaking account of the relationship between childhood and artistry, The Ecology of Imagination in Childhood, was introduced by Margaret Mead, who highlighted the work's thesis: "that in the imaginative experiences of childhood could be found the essential kernels of the highest forms of human thought."3 The legacy of childhood is universal to our existence; in acknowledging its contributions to ontological and cultural artistry, we can both connect personal histories across the [End Page 36] lifespan and identify characteristic trends across a spectrum of aesthetic rendering.4 One trait common to both the child and the creative adult is a focused attentiveness to perceived affordances, that is, materials and human resources accessible in the environment. Acting upon and with these resources,children and artists become aesthetic agents as sensitivity to both experience and milieu combine to produce relevant and innovative outcomes.5 These two interactive dimensions have been described in interviews with composers I have interviewed as "being with the moment" and "being with yourself and at the same time with another" and are operating in the musical play of children, as noted in this description recorded by a mother/student: On Thanksgiving Day, we had a family gathering of sixteen people, five of whom are under the age of eight years. Three-year-old Louise is thrilled to be with her female cousins, who all dress up in ballet-type frilly costumes in order to put on a "show" for the family. Cousin Lily, now eight years old, assumes the role of pianist, while Louise, and five-year-old cousin Amy creatively dance to Lily's improvised accompaniment. Their movements are directly related to Lily's playing, in her fluidity and well as "jumps!" Here, family members serve as catalysts for creative activity — costumes and musical instruments in the environment...
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