Articles scientifiques et presse

Sommaire Liste des articles scientifiques ............................................................................................................ 2 Liste des articles de Presse ............................................................................................................... 15

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Tomatis 2008 Liste des articles scientifiques Author: Sheldon Wilfred, Samuels Year: 2008 Title: A Moral History of the Evolution of a Caste of Doctors: The Issue of Trust and the Public Health Model Volume: 14 Pages: 68-78 Short Title: A Moral History of the Evolution of a Caste of Doctors: The Issue of Trust and the Public Health Model Alternate Title: International Journal of Occupational and Environmental Health; Philadelphia ISBN/ISSN: 1077-3525 Abstract: Careful analyses of actual distortions in the process of discovery, data interpretation and presentation have been published, on the basis of which a set of standards can be developed for the proper conduct of epidemiologic and other forms of scientific discovery.3-5 The issues (which are essentially moral questions) are not whether there should be reform, or how to conduct an honest study associated with protective regulation or compensatory litigation, but, rather, what should that reform be, how will it be implemented, and who will enforce the standards for proper professional practices and research procedures.

Author: Greg, Toppo Year: 2008 Title: Seeing, hearing a difference; Experimental therapies help some schools help children to focus Pages: D.7 Short Title: Seeing, hearing a difference; Experimental therapies help some schools help children to focus Alternate Title: USA TODAY; McLean, Va. ISBN/ISSN: 0734-7456 Abstract: The American Medical Association in 2007 noted that some research points to video games as a risk factor for attention deficit hyperactivity disorder (ADHD); other research suggests that video games can be "a useful treatment."

Author: Blythe, A. Corbett; Kathryn, Shickman; Emilio, Ferrer Year: 2008 Title: Brief Report: The Effects of Tomatis Sound Therapy on Language in Children with Autism Volume: 38 Pages: 562-6 Short Title: Brief Report: The Effects of Tomatis Sound Therapy on Language in Children with Autism Alternate Title: Journal of Autism and Developmental Disorders; New York ISBN/ISSN: 0162-3257 Abstract: Due to the myriad of problems associated with autism, parents often consider alternative treatments. The investigation was undertaken to determine the effects of the Tomatis Method on language skills in children with autism utilizing a randomized, double-blind, placebo-controlled, crossover design. The results indicated that although the majority of the children demonstrated general improvement in language over the course of the study, it did not appear to be related to the treatment condition. The percent change for Group 1 (Placebo Treatment) for treatment was 17.41%, and placebo was 24.84%. Group 2 (Treatment/Placebo) showed -3.98% change for treatment and 14.15% change for placebo.

The results reflect a lack of improvement in language using the Tomatis Method for children with autism. [PUBLICATION ABSTRACT] Author: Anonymous Year: 2008 Title: Stressed out financiers relax with music at Tomatis Pages: n/a Short Title: Stressed out financiers relax with music at Tomatis Alternate Title: Turkish Daily News; National ed.; Ankara Abstract: After that five-day cure, [Iris Steinfeld]'s husband, a psychologist and pedagogue, threw away all the medication he used. That was the moment he believed in his wife and the miraculous power of the [Alfred Tomatis] method. They decided to found a Tomatis center in Turkey. In fact, the story of how Steinfeld was introduced to the Tomatis method, dates back even further. After completing her studies in the fields of psychology and pedagogy, she first learned about the method in Austria while she was treating a child with concentration disorders. "The child overcame all the problems that we dealt with for two years after he underwent a couple of therapy sessions at the Tomatis center in Vienna," said Steinfeld. Then, she started researching the method. Though interrupted when she got married to a Turk and moved to Turkey, her studies bore fruit after she decided to open a Tomatis center in Istanbul. Establishing such a business cost Steinfeld $100,000 and she also underwent a long training period. "First the soul gets sick, then the body follows," said Steinfeld, adding that those who work under stress get rid of their problems such as concentration disorders, migraines, insomnia, panic attacks and ringing in the ears after therapy sessions at Tomatis. Stress causes the right and the left part of 2

Articles scientifiques & articles de la presse

Tomatis 2008 the brain to get interrupted in terms of functioning, she said. "And interruptions make us more vulnerable to negative effects," she said. "Here, at this center, we apply an anti-stress cure involving the middle ear and the auditory ossicles in the ear," she said. The Tomatis Listening Center welcomes an average of 10 patients daily. Stock exchange dealers are most interested in the therapy.

Steinfeld said they often complain about panic attacks, insomnia, concentration problems, ringing in the ears and vertigo, problems that all derive from working under stress. Depression, lack of energy, and emotional problems, on the other hand, are what businessmen suffer due to their busy work life. "Businessmen use the Tomatis method for learning foreign languages more easily," said Steinfeld.

Author: Anonymous Year: 2008 Title: WEEKENDER: health Pages: n/a Short Title: WEEKENDER: health Alternate Title: BusinessWorld; Manila ISBN/ISSN: 0116-3930 Abstract: [Enrique]'s grandmother, who lives in Spain, suggested that he undergo the Tomatis Method which was widely available in that part of the world. It turns out that her own son Miguel stuttered when he was young and the Tomatis Therapy helped remedy the problem. Miguel is Enrique's father and Ms. [Ria Vecin]'s husband. Ms. Vecin took Enrique to Spain and returned after a month of therapy.

Positive changes began to manifest. Enrique could still at his desk to finish schoolwork, he became comfortable with his shirt tags and the sound of dogs barking.

Year: 2008 Title: If music be the food of emotional therapy, play on Pages: 1 Short Title: If music be the food of emotional therapy, play on Alternate Title: Irish Independent; Dublin Abstract: The aspect of musical intervention that captured most public attention is termed the 'Mozart effect' after the work of Dr Alfred Tomatis in 1991. He believed that listening to the music of Mozart could help the ear and brainto develop.

In 2007, the German Research Ministry published a detailed review and failed to find any long-term effect on intelligence but recommended further research. Putting aside the false promise generated by Mozart's music, there is more solid evidence that emotions and mood are affected by music. For example, grunge rock has been found to increase tension, aggression and fatigue, while country music, with its focus on love gone wrong has been linked to depression and suicide.

More positively, 'easy listening' improves mood and classical music is said to uplift.

Author: Leah, Hall; Jane, Case-Smith Year: 2007 Title: The Effect of Sound-Based Intervention on Children With Sensory Processing Disorders and Visual-Motor Delays Volume: 61 Pages: 209-15 Short Title: The Effect of Sound-Based Intervention on Children With Sensory Processing Disorders and Visual-Motor Delays Alternate Title: The American Journal of Occupational Therapy; Bethesda ISBN/ISSN: 0272-9490 Abstract: This study investigated the effects of a sensory diet and therapeutic listening intervention program, directed by an occupational therapist and implemented by parents, on children with sensory processing disorders (SPD) and visual-motor delays. A convenience sample was used of 10 participants, ages 5 to 11 years, with SPD and visual-motor delays. In the first phase, each participant completed a 4-week sensory diet program, then an 8-week therapeutic-listening and sensory diet program. The Sensory Profile was completed by the participants' parents before and after both study phases. The Draw-APerson test, Developmental Test of Visual Motor Integration (VMI), and Evaluation Tool of Children's Handwriting (ETCH) were administered before and after each phase.

Over 12 weeks, the participants exhibited significant improvement on the Sensory Profile, increasing a mean of 71 points.

Parents reported improvements in their children's behaviors related to sensory processing. Scores on the VMI visual and ETCH legibility scales also improved more during the therapeutic listening phase.

Therapeutic listening combined with a sensory diet appears effective in improving behaviors related to sensory processing in children with SPD and visual-motor impairments.

Author: Kate, E. DeCleene; Ashley, A. Hayden-Sewall Year: 2007 Title: Sound Therapy: How Did It Evolve and What Is Occupational Therapy's Role?

Volume: 14 Pages: 1-3 Short Title: Sound Therapy: How Did It Evolve and What Is Occupational Therapy's Role?

Alternate Title: School System Special Interest Section Quarterly / American 3

Articles scientifiques & articles de la presse

Tomatis 2008 Occupational Therapy Association; Bethesda ISBN/ISSN: 1093-7242 Abstract: Motivational and emotional needs begin with listening, listening plays a fundamental role in language, the auditory system relates self to self, others and the universe, and the brain needs sound energy to enable the thinking process and the development of integration, (as cited in Frick & Hacker, 2001, p. 1-2) Tomatis was one of the first to take the principles of listening and integrate them into other areas of development.

According to Lazzarini (2004), occupational therapists have extensive knowledge of sensory integrative techniques and neurology, specifically related to the field of neuro-occupation ("the blending of neuroscience and occupation" [p. 1]) and can contribute a great deal of knowledge to Therapeutic Listening and other sound therapy programs.

Author: Cristina, Morini; Italian, Feminisms Year: 2007 Title: the feminization of labour in cognitive capitalism Volume: 87 Pages: 40-59 Short Title: the feminization of labour in cognitive capitalism Alternate Title: Feminist Review; London ISBN/ISSN: 0141-7789 Abstract: The article starts with a definition of the concept feminization of labour. It aims to signal how, at both the Italian and the global level, precarity, together with certain qualitative characteristics historically present in female work, have become decisive factors for current productive processes, to the point of progressively transforming women into a strategic pool of labour. Since the early 1990s, Italy has seen a massive increase in the employment of women, within the wave of legislation that has introduced various flexible contracts -so-called atypical work. I show how cognitive capitalism tends to prioritize extracting value from relational and emotional elements, which are more likely to be part of women's experiential baggage. The results of a study conducted in November 2006 among freelance workers of the Rizzoli Corriere della sera group, the largest publishing group in Italy, will be used to show how women are able to move more easily on the shifting sands of precarity, within the context of cognitive work.

Author: Andrea, Manzi-Davies Year: 2007 Title: 'I would have tried anything, even IVF' Helena Bonham Carter, alternative therapy devotee, tells Andrea Manzi-Davies how she resorted to fertility drugs in her quest to conceive a second child at 41 Pages: 027 Short Title: 'I would have tried anything, even IVF' Helena Bonham Carter, alternative therapy devotee, tells Andrea ManziDavies how she resorted to fertility drugs in her quest to conceive a second child at 41 Alternate Title: The Daily Telegraph; London (UK) Abstract: She still wasn't pregnant and the next option was to try IVF. "I think we probably would have, yes," she says now.

"Obviously, you don't know what you'd do unless you were actually in that situation. I think we might have gone for a round of IVF, but that would have been that. There was an argument for just having one child, because we thought if that's the way it's meant to be, so be it." "I was working so hard at the time," she recalls. "The first three months being pregnant while filming, I felt totally spaced out. You do need to multi-task with acting. You've got to remember your marks, your lines, singing, everything, and actually -you have no brain! Suddenly your own brain is growing another person's brain, so yours goes defunct. It wasn't ideal, but then I was so happy to be pregnant." During pregnancy, the technique is supposed to produce an alert, relaxed, and physically toned baby, and an easy delivery because it calms the mother. "That was absolutely the case for me with [Billy Ray]," she says. "Billy was able to hold his head up at a very early stage, he was very laid-back, and although I love chubby babies, Billy has always been physically toned. I really think listening therapy might have helped a lot. The birth wasn't drama-free, but I felt very relaxed."

Year: 2007 Title: Lifelines Short Title: Lifelines Alternate Title: Irish Times Abstract: FILTERING OUT LEARNING DIFFICULTIES: Some children with learning difficulties have problems filtering out background noises which then distract them from the words in a conversation and affect their concentration and communication skills.

Author: Lautenslager, Greg Year: 2006 Title: Centre of balance; [2 Edition] Pages: 17 Short Title: Centre of balance; [2 Edition] Alternate Title: The Nelson Mail; Nelson 4

Articles scientifiques & articles de la presse

Tomatis 2008 Abstract: "[Julie Marshall-Tideman] had been advised to start using pictures in order to communicate with her son. She wanted to give this a go first, even though I could not promise her I'd be able to help. I will always remember [Michael] and Julie, also because they were my first New Zealand clients.'' Julie sought treatment that didn't involve drugs and was intrigued by music therapy. She found [Paulina Aarts] very calm, professional and easy to talk to and the centre soothing and relaxing. "It was hard to get him to wear them,'' Paulina says. "It took us a week at least before he allowed them on.

One day Julie tried to calm him down by giving him a massage. He fell asleep on her lap. I put the headphones on him, and that was the turning point.

Author: Harry, Eyres Year: 2006 Title: FT.com site : The music of Mozart can drive you mad Pages: 1 Short Title: FT.com site : The music of Mozart can drive you mad Alternate Title: FT.com; London Author: Harry, Eyres Year: 2006 Title: Why the music of Mozart can drive you mad; [LONDON 1ST EDITION] Pages: 18 Short Title: Why the music of Mozart can drive you mad; [LONDON 1ST EDITION] Alternate Title: Financial Times; London (UK) ISBN/ISSN: 0307-1766 Abstract: Easy to listen to, I mean. Who could not be seduced by Don Giovanni's "La ci darem la mano", Cherubino's achingly amorous arias, the celestial slow movement of the Piano Concerto K.467, even the early violin concertos with their outpourings of gorgeous melody? Mozart, with the possible exception of [Franz Schubert], simply wrote more good tunes than any other composer. And he scored those melodies in the most ravishing tone colours: Charles Rosen has written that Mozart was a far greater orchestrator than Beethoven. Just one example: the divided violas which play the accompaniment to the famous tune at the start of the Symphony No. 40 in G Minor -a grainy effect simply impossible to transcribe on the piano, as Mendelssohn once said. I don't wish to conclude that Mozart drives you mad. On the contrary, I am firmly convinced that Mozart is good for you. Here we can move from musicology to medicine. The controversial French ear, nose and throat specialist Dr Alfred Tomatis discovered that "the music of Mozart invariably calmed listeners, improved spatial perception and allowed them to express themselves more clearly, communicating with both heart and mind". In the 1950s, as Mozart's biographer Wolfgang Hildesheimer reports, the Swedish obstetrician Dr Erich Bloch found that playing a tape of Mozart's Piano Concerto in C K.467 relaxed mothers and made childbirth less painful and dangerous. The infant mortality rate in his clinic in Halmstad was much lower than in other clinics.

Author: Gaby, Vargas Year: 2006 Title: Genio y Figura / El poder de Mozart Pages: 6 Short Title: Genio y Figura / El poder de Mozart Alternate Title: Reforma; Mexico City ISBN/ISSN: 1563-7697 Abstract: Es el mas distraido! En la escuela tiene muy bajas calificaciones, y desde chico le cuesta mucho trabajo hacer amigos. Lety me platica acerca de su hijo de 10 anos. Hasta que un dia, alguien me recomendo un tratamiento del cual nunca antes habia escuchado: conectarnos, tanto el como yo, a una maquina llamada "oido electronico". Durante un mes y medio, dos horas diarias, tres veces por semana, escuchariamos musica de Mozart. El resultado es increible, no sabes como mejoro su atencion y se volvio un nino mas abierto. Este 27 de enero se cumplen 250 anos del nacimiento de Wolfgang Amadeus Mozart. Su popularidad no solo ha crecido por lo grandioso de sus composiciones, pues en las ultimas decadas su musica ha sido utilizada como terapia para diversos padecimientos: tartamudeo, epilepsia, desordenes de conducta, deficit de atencion, depresion y hasta Alzheimer.

Author: Fiona, Shaw Year: 2006 Title: Speaking volumes; [Final 4 Edition] Pages: 11 Short Title: Speaking volumes; [Final 4 Edition] Alternate Title: The Times; London (UK) ISBN/ISSN: 0140-0460 Abstract: She begins with a dramatic description of the anatomy of the voice, conveying the elasticity of our vocal cords, which oscillate with more than a million cycles a day. Alfred Tomatis discovered that opera singers who lost their voices had deafened themselves and deduced that we can only reproduce what the ear can hear - therefore we make sound with our ears too! This prejudice carried on into the discouraging of women's voices on radio, their high notes being seen as 5

Articles scientifiques & articles de la presse

Tomatis 2008 "off-putting". Women's voices have deepened in the past 30 years, while men are feminising theirs -a complete contrast to perceptions in the 1930s, when high voices were associated with demureness in women and low voices with sexuality, so that what suited serious broadcasting was associated with promiscuity. Apart from mentioning the death of vocal clarity in actors and the effect of sex on tenors' high notes, this is not -despite a formidable bibliography -a guidebook for voice development. [Anne Karpf] has no theory of correct voice production and makes no reference to the great Cicely Berry who rediscovered and transformed voice performance in this country.

Author: Bruce, A. Cohn; Darrell, S. Rigel; Robert, J. Friedman; Alfred, W. Kopf; David, Polsky Year: 2006 Title: In Consideration of the E in the Melanoma ABCDE Mnemonic/In reply Volume: 142 Pages: 528-9 Short Title: In Consideration of the E in the Melanoma ABCDE Mnemonic/In reply Alternate Title: Archives of Dermatology; Chicago ISBN/ISSN: 0003-987X Abstract: Asymmetry, border irregularity, color variegation, and diameter greater than 6 mm have been the noticeable (ie, perceptible or conspicuous) clinical features that have represented the ABCD acronym for the past 20 years.1 Because each of these 4 features is a noticeable physical finding that in many instances has resulted from evolving in an aberrant way, and also because it should be self-evident that any change that is occurring in any lesion has some possibility of being a worrisome finding, perhaps it is debatable whether the addition of E to this melanoma mnemonic offers sufficient value to merit its inclusion. Rather, the more appropriate goal is to raise the index of suspicion for early melanomas by identifying a subset of pigmented lesions with the highest chance of being melanoma so that rapid effective treatment can be delivered.

Year: 2006 Title: Mozart's music eases children's burden Pages: 2 Short Title: Mozart's music eases children's burden Alternate Title: Irish Times; Dublin Abstract: Until speech therapist Karen O'Connor began providing the Listening Fitness Trainer (LiFT) programme in her west Galway clinic, parents of children diagnosed with autism, dyslexia, speech and language difficulties and attention disorders were taking out loans to travel to Canada. Catherine Sides, who lives in New Quay, Co Clare, enrolled her daughter for music therapy with O'Connor when she was four years old, and then signed her up for LiFT in autumn 2004 and 2005. Her daughter has no specific diagnosis, but has had language difficulties.

For more information on LiFT, Karen O'Connor can be contacted at the Kidzfirst Clinic Listening Centre, Furbo, Co Galway at 086 8420062. Information on LiFT is also available on www.listeningfitness.com Year: 2006 Title: All One Girl Needed In Her Struggle with Autism Was Help From Mozart!

Volume: 36 Pages: 28-30 Short Title: All One Girl Needed In Her Struggle with Autism Was Help From Mozart!

Alternate Title: The Exceptional Parent ISBN/ISSN: 0046-9157 Abstract: The writer discusses the experiences of author Sharon Ruben, the mother of a 7-year-old girl who recovered from autism. The girl attended the Spectrum Center in Bethesda, Maryland, where she was introduced to Mozart and the Tomatis Method, a sound stimulation therapy that retrains the ear's natural ability to listen.

Year: 2006 Title: Speaking volumes Pages: 1 Short Title: Speaking volumes Alternate Title: Irish Independent; Dublin Abstract: [Anne Karpf] feels that the term 'voice' has been hijacked from meaning 'the sounds that we make' into meaning 'literary self-expression', and wants to reinstate this complex production of a preverbal message through neurology, biology and physics, via the elasticity of phonetic and acoustic event. Karpf declares that vocal pitch has become a weapon in gender wars. Men talk as if they were bigger and women as if they were smaller than they actually are. She points out a taboo against women's voices -Echo and Philomel, who were punished for being heard in classical myth, are linked to a piece of 16th-century rhetoric:What becomes a woman best and first of all, silence, and second, silence. This prejudice carried on into the discouraging of women's voices on radio, their high notes being seen as off-putting. Karpf discusses the global misunderstandings of volume and intonation, with Americans sounding too quiet and insincere to Arabs, who sound 6

Articles scientifiques & articles de la presse

Tomatis 2008 too loud to Americans. Indeed, it is in the world of global politics that the voice of the individual has held such sway. Think of the intimacy of Franklin D Roosevelt, the scream of Hitler that numbed the listener, the fruity timbre of Churchill, the folksy sound of Reagan and the pained hoarseness of Clinton, borrowed to excess by Tony Blair in times of sorrow.

Year: 2006 Title: Lifelines Short Title: Lifelines Alternate Title: Irish Times Abstract: COMMUNICATION STYLE: It's Not What You Say, It's How You Say It is the theme of a seminar by author and international public speaker Allan Pease in the Astra Hall, University College Dublin on Thursday, November 23rd at 7pm.

Author: Paul, Madaule Year: 2005 Title: The Listening Ear Volume: 55 Pages: 38-39 Short Title: The Listening Ear Alternate Title: The American Music Teacher; Cincinnati ISBN/ISSN: 0003-0112 Abstract: Madaule claims that learning to play an instrument and to sing is a highly effective way to teach listening. Here, he discusses the ear-voice connection and its effect on posture, vocal production, learning ability, and communication. Among other things, he opines that openness and clarity in the upper range of the auditory spectrum is necessary for maintaining a high level of attention and focus while learning, practicing and performing.

Author: Laura Zahn Pohl Daily Herald, Correspondent Year: 2005 Title: Workshop to explore music's healing power; [F3,F4 Edition] Pages: 1 Short Title: Workshop to explore music's healing power; [F3,F4 Edition] Alternate Title: Daily Herald; Arlington Heights, Ill. Abstract: In this book, [Don Campbell] spells out his position and gives evidence of the influence of particular sounds, tones and rhythms on mental performance and spiritual outlook, as well as in the treatment of disease. He combines stories of ordinary men and women with solid research by doctors, psychologists, and music therapists to show how music can be used to improve memory, learning, endurance and productivity, and can soothe nerves, unlock creative impulses and heal the body. As a young child in Texas, Campbell was fascinated by the sounds and vibrations coming from the family's piano.

Raised in the United Methodist Church, he became involved in choir, the school band and piano lessons. His family's moves to France and Germany provided him with experiences that affected his understanding of music and led to his life's work.

Campbell returned to the United States to study organ and education at the University of North Texas and choral conducting at the University of Cincinnati Conservatory of Music. Later, as an organist in Haiti in the Episcopal cathedral, he discovered the traditional drumming and chanting that Haitians had brought to the island from Africa. Contrasted with the Western Classical tradition, Campbell began to witness the fundamental nature of music and sound in the human experience.

Author: Laura Luz, Morales Year: 2005 Title: Es la musica aliada en la educacion Pages: 6 Short Title: Es la musica aliada en la educacion Alternate Title: Palabra; Saltillo, Mexico Abstract: "Me refiero a la musica porque el beneficio que tiene es que es el arte mas espiritual y su entendimiento es el mas facil. Se requiere cierto bagaje cultural para poder entender una obra pictorica o se requiere tener cierta capacidad intelectual para entender una obra literaria, y la musica no, simplemente la capacidad de escuchar", dice. "A partir de este estado de calma somos capaces de procesar la informacion para aprender, y dado que la musica se procesa especificamente en el lobulo temporal, la musica activa los procesos de memoria, de calculo y de razonamiento, de ahi que la musica que genera ondas Alfa en nuestro cerebro sea tan recomendada para potenciar los procesos cognitivos y por supuesto, potenciar la inteligencia". "Si no se modera y vigila, es muy facil que los maestros conviertan la musica dentro del salon de clase en un distractor para los alumnos, o simplemente caemos en condicionar y hacemos que el alumno relacione la palabra musica con aburrimiento, por eso es necesario que el maestro que va a incluir musica vaya moldeando al grupo y preparandolo para escucharla".

Author: Erlend, Clouston Year: 2005 7

Articles scientifiques & articles de la presse

Tomatis 2008 Title: G2: Arts: Out&About: Classical: 5,000 miles with Mozart Pages: 10 Short Title: G2: Arts: Out&About: Classical: 5,000 miles with Mozart Alternate Title: The Guardian; London (UK) ISBN/ISSN: 0261-3077 Abstract: The idea that classical music is good for your health was first raised around the second world war by a French doctor called Alfred Tomatis. Subsequent emphasis on Mozart's subliminal potency may merely reflect scientists' ignorance of other composers, according to Paul Robertson, leader for 35 years of the Medici String Quartet. "There are lots of interesting theories, and more than a smidgin of truth in them," Robertson asserts. The effect of phrase length on the brain's alphawave activity comes into it. Assuming his loudspeakers remain waterproof, [Brown] will douse his alphawaves with a daily hour of Mozart. He will also pack his guitar as back-up: "If the worst happens, it could be used as a buoyancy aid."

Author: Donna, Jacobs Year: 2005 Title: Mozart can make you smarter, but that's not all music can do for you Series: Mornings; [Final Edition] Pages: A2 Short Title: Mozart can make you smarter, but that's not all music can do for you Series: Mornings; [Final Edition] Alternate Title: The Ottawa Citizen; Ottawa, Ont. ISBN/ISSN: 0839-3222 Abstract: The 1990s Mozart craze started at the University of California in Irvine, where 10 minutes of Mozart's Sonata for Two Pianos in D Major boosted test-takers' spatial IQ scores. Follow up studies showed tests taken to Mozart music yielded scores four times higher than tests taken in silence, and five times higher than tests taken with other music or a story on tape. Healing through music is ancient. [Alfred Tomatis], though, is regarded as the father of modern music therapy. His methods, adapted to thousands of schools and hospitals, are used in more than 250 Tomatis Centres worldwide, including Toronto and Montreal. Centre staff tailor music to malady, from delayed language development in children to a short attention span, from reading and writing difficulties to stuttering. (Tomatis prescribed listening to Mozart two hours a day for several months to cure French actor Gerard Depardieu of his stutter.) The centres also use music to boost energy, confidence and mood. Photo: Mozart, classical: 'Boosts concentration and memory'; Photo: Louis Armstrong, jazz: 'Inspires deep feeling of joy or sorrow.'; Photo: [Elvis Presley], rock: 'Stirs feelings of energy, sheds tension.'; Photo: Benny Goodman, big band: 'Boosts sense of well-being.'; Photo: [Frederic Chopin], romantic: 'Provokes a response of sympathy or love.'; Photo: Gene Simmons of Kiss, heavy metal: 'Can goose the nervous system.'

Author: Christina, A. Samuels Year: 2005 Title: ATTENTION SEEKERS Volume: 24 Pages: 36-39 Short Title: ATTENTION SEEKERS Alternate Title: Education Week; Bethesda ISBN/ISSN: 0277-4232 Abstract: Some parents of children with attention deficit hyperactivity disorder (ADHD) say alternatives such as brain exercises or music therapy are better than medication. Samuels discusses some alternative treatments for children with ADHD. The Dore method is only one of those alternative treatments.

Author: Carlos, A. Charles; Vivian, S. K. Yee; Stephen, W. Dusza; Ashfaq, A. Marghoob; et al.

Year: 2005 Title: Variation in the Diagnosis, Treatment, and Management of Melanoma In Situ: A Survey of US Dermatologists Volume: 141 Pages: 723-9 Short Title: Variation in the Diagnosis, Treatment, and Management of Melanoma In Situ: A Survey of US Dermatologists Alternate Title: Archives of Dermatology; Chicago ISBN/ISSN: 0003-987X Abstract: Charles et al assess the current practices of Us dermatologists regarding the diagnosis, treatment, and management of melanoma in situ (MIS). Findings suggest that most dermatologists preferred excisional and saucerization biopsies as the method of choice for sampling. Furthermore, considerable variability exists in the clinical concept and management of MIS. 8

Articles scientifiques & articles de la presse

Tomatis 2008 Year: 2005 Title: The ear and the voice. (reprint, 1988) Volume: 29 Pages: n/a Short Title: The ear and the voice. (reprint, 1988) Alternate Title: Scitech Book News; Portland ISBN/ISSN: 0196-6006 Author: Barbara, J. Crowe; Robin, Rio Year: 2004 Title: Implications of Technology in Music Therapy Practice and Research for Music Therapy Education: A Review of Literature Volume: 41 Pages: 282-320 Short Title: Implications of Technology in Music Therapy Practice and Research for Music Therapy Education: A Review of Literature Alternate Title: Journal of Music Therapy; Silver Spring ISBN/ISSN: 0022-2917 Abstract: This article reviews the use of technology in music therapy practice and research for the purpose of providing music therapy educators and clinicians with specific and accurate accounts of the types and benefits of technology being used in various settings. Additionally, this knowledge will help universities comply with National Association of Schools of Music requirements and help to standardize the education and training of music therapists in this rapidly changing area.

Information was gathered through a literature review of music therapy and related professional journals and a wide variety of books and personal communications. More data were gathered in a survey requesting information on current use of technology in education and practice. This solicitation was sent to all American Music Therapy Association approved universities and clinical training directors. Technology applications in music therapy are organized according to the following categories: (a) adapted musical instruments, (b) recording technology, (c) electric/electronic musical instruments, (d) computer applications, (e) medical technology, (f) assisstive technology for the disabled, and (g) technology-based music/sound healing practices. The literature reviewed covers 177 books and articles from a span of almost 40 years.

Recommendations are made for incorporating technology into music therapy course work and for review and revision of AMTA competencies. The need for an all-encompassing clinical survey of the use of technology in current music therapy practice is also identified. [PUBLICATION ABSTRACT] Author: Anonymous; American, speech-Language-Hearing Year: 2004 Title: Auditory Integration Training Volume: 24 Pages: 96-102 Short Title: Auditory Integration Training Alternate Title: ASHA Leader; Rockville ISBN/ISSN: 1085-9586 Author: Larry, Dossey Year: 2003 Title: Taking note: Music, mind, and nature Volume: 9 Pages: 10-4 Short Title: Taking note: Music, mind, and nature Alternate Title: Alternative Therapies in Health and Medicine; Aliso Viejo ISBN/ISSN: 1078-6791 Abstract: Dossey explores the underlying reason for the astounding interest humans have afforded to music. The fear of the effects of music on individual behavior and their souls has made repressive fundamentalist governments prohibit music relentlessly and fanatically. Right-wing Western extremists on the other hand, uses hate music to incite aggression and ensnare people into their cause.

Author: John, Mangum Year: 2003 Title: SCIENCE? or Wishful Thinking?

Volume: 66 Pages: 18-19 Short Title: SCIENCE? or Wishful Thinking?

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Articles scientifiques & articles de la presse

Tomatis 2008 Alternate Title: American Record Guide; Washington ISBN/ISSN: 0003-0716 Abstract: According to an announcement before the july 6 lecture-concert, the first of this year's Mozart Festival, the addition of the pre-performance talks was [Gustavo Romero]'s idea-there had been none in the past. The lecturer was "Mozart Effect" guru Don Campbell who, at least on the basis of this appearance, seems to be a cipher for and distiller of particular arguments supporting various contentions about the power of Mozart's music.

Author: Barbara, Rosado; Scott, Menzies; Alexandra, Harbauer; Hubert, Pehamberger; et al.

Year: 2003 Title: Accuracy of computer diagnosis of melanoma: A quantitative meta-analysis Volume: 139 Pages: 361-7 Short Title: Accuracy of computer diagnosis of melanoma: A quantitative meta-analysis Alternate Title: Archives of Dermatology; Chicago ISBN/ISSN: 0003-987X Abstract: BACKGROUND: Recent developments in computer technology have raised expectations that fully automated diagnostic instruments will become available to diagnose cutaneous melanoma without the need of human expertise.

OBJECTIVES: To critically review the contemporary literature on computer diagnosis of melanoma, evaluate the accuracy of such computer diagnosis, analyze the influence of study characteristics, and compare the accuracy of computer diagnosis of melanoma with human diagnosis. METHODS: Quantitative meta-analysis of published reports. DATA SOURCES: Eligible studies were identified by a MEDLINE search covering the period from January 1991 to March 2002, by manual searches of the reference lists of retrieved articles, and by direct communication with experts. RESULTS: Thirty studies with substantial differences in methodological quality were deemed eligible for meta-analysis. Five of these complied with the predetermined list of "good quality" requirements, but none met all methodological quality requirements. Ten of these studies compared the performance of computer diagnosis with human diagnosis. The diagnostic accuracy achieved with computer diagnosis was statistically not different from that of human diagnosis (log odds ratios, 3.36 vs 3.51; P =.80). The diagnostic performance of the computer diagnosis was better for studies that used dermoscopic images than for studies that used clinical images (log odds ratios, 4.2 vs 3.4; P =.08). Other study characteristics did not significantly influence the accuracy of the computer diagnosis. CONCLUSIONS: The computer diagnosis of melanoma is accurate under experimental conditions, but the practical value of automated diagnostic instruments under real-world conditions is currently unknown.

We suggest minimum requirements for methodological quality in future experimental studies or, ideally, randomized controlled trials.

Author: Robert, Aitken Year: 2002 Title: Formal practice: Buddhist or Christian Volume: 22 Pages: 63-76 Short Title: Formal practice: Buddhist or Christian Alternate Title: Buddhist -Christian Studies; Honolulu ISBN/ISSN: 0882-0945 Abstract: Aitken writes from a Mahayana perspective and takes up seven Buddhist practices and the views that bring them into being, together with Christian practices that may be analogous, in turn with their inspiration. The Buddhist practices sometimes tend to blend and take on another's attributes and functions.

Author: Christo, Potgieter; Esther, Bredenkamp Year: 2002 Title: Cross-cultural communication: A program addressing the effect of migration on South African education Volume: 78 Pages: 200-205 Short Title: Cross-cultural communication: A program addressing the effect of migration on South African education Alternate Title: Childhood Education; Olney ISBN/ISSN: 0009-4056 Abstract: Potgieter and Bredenkamp give a general background of migration in South Africa and examine its effect on education today. They focus on a cross-cultural communication skills development program funded by Saambou Bank that creatively addresses the outcomes of migration in South Africa.

Author: Barbara, Eaglesham Year: 2002 Title: Rx: Music Volume: 11 Pages: 27-29 10

Articles scientifiques & articles de la presse

Tomatis 2008 Short Title: Rx: Music Alternate Title: Odyssey; Peterborough ISBN/ISSN: 0163-0946 Abstract: Throughout history and across cultures, music has been seen as powerful medicine. In an article for children, the healing power of music is discussed.

Author: Kathleen, Sullivan Year: 2001 Title: Heal Yourself with Sound and Music Volume: 126 Pages: 182-183 Short Title: Heal Yourself with Sound and Music Alternate Title: Library Journal; New York ISBN/ISSN: 0363-0277 Abstract: AUDIO REVIEWS Heal Yourself with Sound and Music by Don Campbell 5 cassettes. unabridged. 6 hrs. Sounds True. 2001. ISBN 1-56455-806-1. $29.95.

HEALTH Author: Kate, Lindemann Year: 2001 Title: Persons with adult-onset head injury: A crucial resource for feminist philosophers Volume: 16 Pages: 105-123 Short Title: Persons with adult-onset head injury: A crucial resource for feminist philosophers Alternate Title: Hypatia; Bloomington ISBN/ISSN: 0887-5367 Abstract: The effects of head injury, even mild traumatic brain injury, are wide-ranging and profound. Persons with adultonset head injury offer feminist philosophers important perspectives for philosophical methodology and philosophical research concerning personal identity, mind-body theories, and ethics.

Author: du Plessis, Wynand; Burger, Stefan; Munro, Marth; Wissing, Daan; Nel, Werner; du Plessis, Wynand Year: 2001 Title: Multimodal enhancement of culturally diverse, young adult musicians: a pilot study involving the Tomatis method Volume: 31 Pages: 35 Short Title: Multimodal enhancement of culturally diverse, young adult musicians: a pilot study involving the Tomatis method Alternate Title: South African Journal of Psychology ISBN/ISSN: 0081-2463 Abstract: Musicians, seeking stress relief and vocal/instrumental enhancement, often turn to the Tomatis Method of sensori-neural integration training, based on the interdependence and interaction between hearing and listening, psychological attitude and speech and language. The paucity of impact studies on musicians, despite its acclaimed efficacy, has prompted the current multidisciplinary pilot study, involving a two group, pre-post experimental design. Listening aptitude, psychological well-being and vocal (voice) quality were assessed in availability samples of culturally diverse young, adult musicians (n=28), recruited from two tertiary institutions and assigned to a control group (n=10) and an experimental group, consisting of sub-experimental group one (n=10) and sub-experimental group two (n=8). Reasonable preprogramme group equivalence was established between the two sub-experimental groups and the control group. A Tomatis programme of 87.5 half hour listening sessions and concomitant counseling was completed by the total experimental group (n=18). Results indicated practically significant enhancement of: (i) listening aptitude on the Listening Test and (ii) psychological well-being, in terms of reduced negative and increased positive mood state (vigor) on the POMS in both subexperimental groups, together with enhanced behavioural and emotional coping in sub-experimental group 1 on the CTI. (iii) Vocal enhancement, perceived both by singer-participants in both sub-experimental groups and a professional voice teacher, culminated in (iv) distinctly enhanced musical proficiency in 28% of all programme participants. Despite indications of multimodal enhancement, further research, necessitated by current methodological limitations, remains a prerequisite for achievement of definitive results. [ABSTRACT FROM AUTHOR] Author: Brosch, H. Year: 2000 Title: [Sound therapy according to Alfred Tomatis] Volume: 19 Pages: 412-4 Short Title: [Sound therapy according to Alfred Tomatis] 11

Articles scientifiques & articles de la presse

Tomatis 2008 Alternate Title: Kinderkrankenschwester: Organ Der Sektion Kinderkrankenpflege Deutsche Gesellschaft Fur Sozialpadiatrie Und Deutsche Gesellschaft Fur Kinderheilkunde ISBN/ISSN: 0723-2276 Author: Gerber, Suzanne Year: 1998 Title: The sound of healing Pages: 68 Short Title: The sound of healing Alternate Title: Vegetarian Times ISBN/ISSN: 0164-8497 Abstract: Discusses the healing effects of music and sound on the body. Examples of the healing power of sound; Role of Alfred Tomatis, M.D., on the study of human ear and the effects of musical sound on the brain; Findings of Herbert Benson, M.D. in his study of the effects of chanting mantras on human physiology; Other details on sonic healing. INSETS: Sound advice;Stocking a healing music library.

Author: Thomas, R. Verny Year: 1994 Title: Working with Pre-and Perinatal Material in Psychotherapy Volume: 8 Pages: 161-186 Short Title: Working with Pre-and Perinatal Material in Psychotherapy Alternate Title: Pre-and Peri-natal Psychology Journal; New York ISBN/ISSN: 0883-3095 Author: Fuller, Diane Year: 1994 Title: Teresa can read Pages: 98 Short Title: Teresa can read Alternate Title: Mothering ISBN/ISSN: 0733-3013 Abstract: Describes how the author's hearing-impaired adopted daughter Teresa Fuller developed her listening and linguistic skills by means of the Tomatis Method of stimulating the muscles of the middle ear. Center for the Advancement of Listening & Language (C.A.L.L) in Regina, Saskatchewan; Physician Alfred A. Tomatis' development of treatment program; Electronic Ear equipment; C.A.L.L. sessions. INSET: How the Tomatis Method helped me, by Teresa Fuller.

Author: Kaganoff, P. Year: 1992 Title: Forecasts: Paperbacks Volume: 239 Pages: 49 Short Title: Forecasts: Paperbacks Alternate Title: Publishers Weekly ISBN/ISSN: 0000-0019 Abstract: Reviews the book `The Conciousness Ear: My Life of Transformation Through Listening,` by Alfred A. Tomatis, foreword by Marilyn Ferguson, preface by Don Campbell.

Author: Huang, Samuel T. Year: 1992 Title: Education --The Conscious Ear: My Life of Transformation Through Listening

by Alfred A. Tomatis Volume: 117 Pages: 131 Short Title: Education --The Conscious Ear: My Life of Transformation Through Listening by Alfred A. Tomatis Alternate Title: Library Journal; New York ISBN/ISSN: 0363-0277 Abstract: Review.

Author: Huang, S. T. Year: 1992 Title: Book reviews: Social sciences 12

Articles scientifiques & articles de la presse

Tomatis 2008 Volume: 117 Pages: 131 Short Title: Book reviews: Social sciences Alternate Title: Library Journal ISBN/ISSN: 0363-0277 Abstract: Reviews the book `The Conscious Ear: My Life of Transformation Through Listening,` by Alfred A. Tomatis.

Author: Timothy, M. Gilmor Year: 1989 Title: The Tomatis Method and the Genesis of Listening Volume: 4 Pages: 9-26 Short Title: The Tomatis Method and the Genesis of Listening Alternate Title: Pre-and Peri-natal Psychology Journal; New York ISBN/ISSN: 0883-3095 Author: Marie-Andr�e, Michaud Year: 1989 Title: One Who Listens Speaks: An Interview With Dr. Alfred Tomatis Volume: 4 Pages: 27-32 Short Title: One Who Listens Speaks: An Interview With Dr. Alfred Tomatis Alternate Title: Pre-and Peri-natal Psychology Journal; New York ISBN/ISSN: 0883-3095 Author: Bancroft, W. Jane Year: 1984 Title: Three Methods for Language Acquisition: Total Physical Response; the Tomatis Program; Suggestopedia Short Title: Three Methods for Language Acquisition: Total Physical Response; the Tomatis Program; Suggestopedia Abstract: Total Physical Response is a strategy for learning second languages developed by James J. Asher. The Tomatis program, developed in France by Alfred Tomatis, is a method for treating dyslexia and communication problems and is also used for teaching basic elements of foreign languages. Suggestology is a psychotherapeutic system based on yogic techniques of physical and mental relaxation, created in Bulgaria by Georgi Lozanov. Suggestopedia is the application of suggestology to education, and specifically to foreign language instruction. Although seemingly different, the three methods have important elements in common: (1) they are based on the way children learn their native language, that is, by acquiring listening comprehension before speaking, reading, and writing skills.

(2) They share the premise that learning a second language should be a "natural" experience with emphasis on communicative competence and realistic utterances. (3) They perceive language globally, with attention to detail emphasized later in the learning process. (4) They emphasize use of the brain's right hemisphere, for implicit learning.

(MSE) Author: Bancroft, W. Jane Year: 1982 Title: The Tomatis Method and Suggestopedia: A Comparative Study Short Title: The Tomatis Method and Suggestopedia: A Comparative Study Abstract: Developed in Bulgaria in the 1960's by Dr. Georgi Lozanov, Suggestopedia is a unique system of foreign language teaching, combining yoga relaxation and verbal suggestion with the direct method. In the 1950's in France, Dr. Alfred Tomatis began his research into the ear and the voice and subsequently developed his own unique system for treating dyslexia and teaching foreign languages. Both Lozanov and Tomatis are medical doctors, therapists and researchers who have been influenced by yoga. Both emphasize the teacher's authority, the pact of confidence between teacher and student, and the role of the physical and social environment. Both stress the importance of intonation or tone of voice as well as rhythmic presentation of material. Both the Tomatis and Lozanov Methods favor the use of baroque or classical violin music and emphasize the training of the ear and the development of memory through listening and repetition.

Comprising an active and a passive phase or session, both systems promote indirect attention to, and unconscious absorption of lesson materials while the students are in a relaxed state. The aim of both Suggestopedia and the Tomatis Method is to develop the whole personality of the individual in a pleasant learning environment.

Author: Tomatis, Alfred Year: 1969 Title: Dyslexia Short Title: Dyslexia 13

Articles scientifiques & articles de la presse

Tomatis 2008 Abstract: It is stated that dyslexia is a disorder of auditory origin. The meaning of dyslexia is divided into the medical and educational aspects of the disease in an attempt to lead the teacher to emphasize hearing in education rather than merely sight. The role of the teacher, doctor, and psychologist in the history of dyslexia is discussed. In dealing with the proposed concept of dyslexia, it is suggested that there is an interaction between audio and phonatory functions and that this function is important in reading. The methods of audio-psycho-phonologic diagnosis are treated along with audio-psychophonologic treatment using filtered music, the maternal voice, and electronic auditory equipment. The conclusion reached is that better listening leads to better reading. (JM) Title: Therapeutic Listening Short Title: Therapeutic Listening Abstract: Alfred Tomatis, a French Ear, Nose and Throat specialist. Therapeutic Listening has adapted this methodology by using less specialized equipment and instead developing a protocol ...

Title: STARS is a resource team that will support all programs and classrooms Short Title: STARS is a resource team that will support all programs and classrooms Abstract: STARS is a resource team that will support all programs and classrooms serving students with intensive social, communication and behavior needs through access to technical ...

Title: Regulations.gov Short Title: Regulations.gov Abstract: lowrey alfred h, naval research lab ... tomatis lorenzo, intl agency for research on cancer Title: Origin Short Title: Origin Abstract: Alfred Tomatis. "Research with Mozart's music began in France in the late 1950s when Dr. Alfred Tomatis began his experiments in auditory stimulation for children with speech and ...

Title: NLS/BPH: Instructional Music Cassettes: Music and the Human Experience Short Title: NLS/BPH: Instructional Music Cassettes: Music and the Human Experience Abstract: Chant expert Alfred Tomatis gives the history and techniques of chant.

Duke Ellington High School for the Arts CBM 724 A visit to one of the fifty high schools in America.

Title: THE MOZART EFFECT - Music for Children Tune Up Your Mind Short Title: THE MOZART EFFECT - Music for Children Tune Up Your Mind창 Abstract: Alfred Tomatis, a French physician, began to research the relationship between listening and learning: in particular, recognizing that children develop listening abilities even ...

Title: How Listening to Music Can Improve Your Quality of Life Short Title: How Listening to Music Can Improve Your Quality of Life Abstract: Based on the work of Alfred Tomatis as well as advances in sound engineering, this innovative program requires as little as 15 minutes a day of focused listening to an ...

Title: Horizon Information Portal Short Title: Horizon Information Portal Abstract: The conscious ear : my life of transformation through listening / Alfred A. Tomatis ; translated by Stephen Lushington ; editing in collaboration with Billie M. Title: Content and Format Petition Short Title: Content and Format Petition Abstract: ... electronically modified musical data could be created by a software program such as Cool Edit in lieu of the Electronic Ear following the theories and tenets of Alfred A. Tomatis.

Title: ADHD Discussion Page Short Title: ADHD Discussion Page Abstract: The most well-known of these trainings was developed by Alfred Tomatis, a French physician. Children participating in this training practice listening by being exposed to high ...

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Articles scientifiques & articles de la presse

Tomatis 2008 Liste des articles de Presse Horizons En Suisse, peu de gens ont entendu parler des «protéodies». La station fédérale...

1,039 mots 15 septembre 2008 L’Express-L’Impartial L'EXPRESS Français Copyright 2008 L'Express-L'Impartial. All Rights Reserved.

En Suisse, peu de gens ont entendu parler des «protéodies». La station fédérale de recherches agricoles de Changins est muette sur le sujet. «Il est effectivement difficile de trouver des informations émanant d'institutions nationales ou scientifiques», dit Sarah Rish, documentaliste à l'Agence d'informations agricoles Agridea, à Lausanne. Le scepticisme prévaut donc. «Je ne veux pas dire que ce soit loufoque, mais si c'était vraiment sérieux, on le saurait», dit-on très directement à l'Union maraîchère de Genève. /fsa science Ecouter Dalida ou Tino Rossi ferait du bien aux tournesols Les chansons de Dalida ou Tino Rossi favoriseraient la photosynthèse des tournesols. Les tomates soumises à un certain régime acoustique resplendissent. La liste des vertus de la musique est infinie.

Francesca sacco Plusieurs revues ont récemment consacré des articles aux pouvoirs des rythmes et des sons musicaux. Eclaircissements et bilan des connaissances actuelles. Tout d'abord, les végétaux: sous des apparences peu propices à la mélomanie, les tomates et les tournesols cachent une étonnante sensibilité musicale. Des recherches scientifiques suggèrent en effet que la chanson populaire «O sole mio», ainsi que le tube d'Elvis Presley «Love me tender» auraient des effets positifs sur la croissance de certaines plantations. Les œuvres de Tino Rossi et Dalida, en particulier, stimuleraient la photosynthèse des tournesols.

Comment est-ce possible? Au début des années 1990, Joël Sterheimer, un chercheur français, affirme que les acides aminés (dont les chaînes constituent les protéines) émettent une vibration particulière, un signal qui peut être mesuré et transposé en une note de musique. Lorsqu'elle est jouée, la partition ainsi composée favoriserait la synthèse de la protéine en question dans l'organisme dont elle est issue. Joël Sternheimer dépose un brevet et obtient la reconnaissance du grand botaniste français Jean-Marie Pelt. Les travaux de Joël Sternheimer laissent supposer que la mélodie afférente à la protéine ATP6, impliquée dans la photosynthèse du tournesol, présente des correspondances avec les chansons de Dalida et Tino Rossi.

Joël Sternheimer parvient à décoder un certain nombre d'enzymes, dont celle qui favorise la résistance à la sécheresse de la tomate: c'est la TAS 14. En 1993, il décide de tester un cocktail mélodique à base de TAS 14 et de LAT 52 (pour la floraison) et impose donc des concerts particuliers à des plants de tomates à Lacave, en Ariège. La musique - tout bonnement indescriptible - est diffusée trois minutes par jour, à l'aide d'un simple radiocassette. Les tomates soumises à ce régime acoustique resplendissent, en comparaison avec le groupe contrôle: elles sont deux fois plus nombreuses et deux fois et demie plus grosses, plus sucrées et plus savoureuses. En outre, elles ne sont pas attaquées par les insectes, contrairement aux autres. L'arrosage a pu être diminué de moitié, ce qui présente clairement un intérêt dans la perspective des canicules.

Le rendement est multiplié par dix, voire vingt. Des poireaux rejoignent bientôt l'auditoire, avec des carottes et des haricots: ces légumes aussi deviennent plus abondants et plus volumineux.

Durant l'été 1994, Joël Sternheimer tente une expérience sur des plants de tomates en Suisse romande. Plus exactement sur le Mont Pèlerin, près de Vevey, et à Saillon, en Valais. Là encore, il utilise «un radiocassette ordinaire du commerce, actionné quotidiennement à heure fixe par un disc-jockey automatique». A la mi-août, les relevés quantitatifs indiquent une nette supériorité en faveur des tomates cultivées dans les «serres musicales», soit +25% à Vevey et +32% à Saillon.

En 1997, Joël Sternheimer réalise une nouvelle expérience sur des avocats, auxquels il fait écouter un thème inhibiteur de plusieurs enzymes responsables du mûrissement. La durée de consommation des fruits s'en trouve plus que doublée.

Aujourd'hui, la seule utilisation commerciale des «protéodies» s'observe au Japon. Plusieurs entreprises nippones s'y intéressent, notamment pour améliorer la fermentation des levures employées dans la fabrication de miso et de sauce à 15

Articles scientifiques & articles de la presse

Tomatis 2008 base de soja. La société Shikishima Baking Co commercialise ainsi, depuis 1990, un pain qui serait plus volumineux, moins acide et de meilleure conservation qu'un pain traditionnel. /FSA-La Liberté Scepticisme en Suisse Les tomates soumises à ce régime acoustique resplendissent, elles sont deux fois plus nombreuses et deux fois et demie plus grosses, plus sucrées et plus savoureuses La musique comme outil thérapeutique Grâce à l'association «Musique et santé», créée en 2007 à Strasbourg, les hôpitaux français reçoivent parfois de drôles de visites: des musiciens sont autorisés à venir jouer de leur instrument au chevet d'un enfant pour favoriser son rétablissement. Un réseau européen s'est développé, des formations sont proposées en Italie à l'attention des musiciens.

«La musique est un moyen de communication universel. On ne peut pas toujours communiquer avec nos patients qui arrivent de l'étranger», explique le Professeur Yves Aigrin, au service de chirurgie viscérale de l'Hôpital Robert Debré, à Paris.

Aux Etats-Unis, on utilise la musique pour stimuler les capacités spatiales des patients Alzheimer. L'Université du Texas a développé une «thérapie musicale» pour soigner l'insomnie, l'anxiété et la dépression. Les patients dorment avec un casque diffusant une musique dont le rythme est calqué sur leurs propres ondes cérébrales préalablement enregistrées. A Helsinki, la mémoire des patients ayant souffert d'une attaque cérébrale a augmenté de 60% (contre 29% pour le groupe contrôle) grâce à une thérapie consistant à écouter sa musique préférée deux heures par jour pendant trois mois.

Le précurseur de la thérapie par la musique reste l'oto-rhino-laryngologiste français Alfred Tomatis, inventeur de la méthode du même nom. Elle consiste à utiliser la voix maternelle, filtrée électroniquement, afin de reconstituer «l'environnement sonique» de l'utérus. Son effet thérapeutique a été démontré sur une quantité de troubles comme la dyslexie, l'hyperactivité, l'autisme, la dépression, etc. /fsa

guimauve Des recherches scientifiques suggèrent que la chanson populaire «O sole mio», ainsi que le tube d'Elvis Presley «Love me tender» auraient des effets positifs sur la croissance de certaines plantations. Tino Rossi et Dalida stimuleraient la photosynthèse des tournesols. (richard leuenberger) 16

Articles scientifiques & articles de la presse

Tomatis 2008

Wissenschaft / Forschung Spezial Akzent auf die Ohren setzen Doris Griesser 634 mots 16 juillet 2008 Der Standard 1_BL Seite 18 Allemand (c) 2008, Der Standard. http://www.derstandard.at/ Um den österreichischen Zungenschlag beim Englischsprechen klar und deutlich auszumachen, bedarf es keiner phonetischen Herausforderungen wie "Mother's smoothy is sweet". Warum nur klingt das englische "th" aus deutschsprachigem Mund meist so erbarmungswürdig nach Zungenkrampf? Und warum haben umgekehrt die Engländer solche Probleme mit dem Französischen oder Spanischen und vice versa? - Fragen, mit denen sich auch der französische HNO-Arzt und Forscher Alfred Tomatis in den 1950er-Jahren beschäftigt hat und dabei zu erstaunlichen Ergebnissen gelangte.

Laut Tomatis benützen die verschiedenen Sprachen unterschiedliche Hauptfrequenzbereiche. Da Menschen von Kindheit an durch das Hören der Muttersprache gewisse Hörgewohnheiten aufbauen, werden sie für die ungewohnten Frequenzen anderer Sprachen quasi "taub". Um diese für das Lernen von Fremdsprachen bahnbrechende Erkenntnis wissenschaftlich zu überprüfen, haben sich mehrere Institute der Grazer Karl-Franzens-Universität im Projekt FauvoT ("Fremdsprachenunterricht durch audio-vokales Training") zusammengeschlossen.

"Unsere Analysen von Einzellauten haben gezeigt, dass es tatsächlich Unterschiede in den Hauptfrequenzbereichen der Sprachen gibt", berichtet Projektleiterin Ingrid Pfandl-Buchegger vom Institut für Anglistik. So liegen nach Tomatis etwa jene Bereiche, die ein deutsches Ohr besonders gut wahrnimmt, zwischen 125 und 3000 Hertz, während das Englische vorzugsweise Bereiche über 2000 Hertz nutzt.

Das deckt sich wiederum so gut wie gar nicht mit den bevorzugten Hörbereichen des Französischen. Was erklärt, warum sich Engländer und Franzosen bei der Artikulation der jeweils anderen Sprache gar so schwertun. "Zwar ähneln einander in den verschiedenen Sprachen die Grundfrequenzbereiche der Laute, die Obertöne weisen aber jeweils unterschiedliche Frequenzmuster auf", so Pfandl-Buchegger. "Dadurch ergeben sich die unterschiedlichen Akzente in den einzelnen Sprachen."

Die eingeprägten muttersprachlichen Hörmuster bilden eine Art Filter, der es für uns schwieriger macht, die Frequenzbereiche anderer Sprachen richtig zu hören, und das führt zu Problemen bei deren Erlernen. "Wir hören eine Fremdsprache mit 'österreichischen' Ohren und sprechen sie auch dementsprechend mit einer 'österreichischen' Artikulationsbasis, wodurch der 'typisch österreichische' Akzent entsteht."

Im FauvoT-Projekt wollen die Forscher nun untersuchen, ob das Hören von bevorzugten Frequenzbereichen einer Sprache eine "Öffnung des Ohrs" für diese Frequenzen bewirkt, und ob diese akustische Sensibilisierung zu einer besseren Aussprache und einem schnelleren Erlernen der Sprache führt. Technische Basis dieser Untersuchungen ist das von Alfred Tomatis entwickelte "Elektronische Ohr", mit dem die akustische Wahrnehmungsfähigkeit durch elektronische Frequenzmodifikationen trainiert werden kann. Dabei wird der Schall mithilfe spezieller Kopfhörer sowohl über die Luft als auch über eine zusätzliche "Knochenleitung" direkt über die Schädelknochen übertragen. "Durch die gezielte akustische Stimulierung mit gefiltertem Ton- und Sprachmaterial beginnt das Ohr, nicht (mehr) gut wahrgenommene Frequenzen auch jene einer bestimmten Fremdsprache - korrekt zu hören", erläutert Pfandl-Buchegger. "Die 'aufgeschlossenen' Frequenzen können so auch von der Stimme der Lernenden besser reproduziert werden, wodurch sich die Aussprache verbessert und der muttersprachliche Akzent verringert."

Das "Öffnen" der Ohren erfordert mehrere Arbeitsschritte: "Zuerst wird in einem Hörtest festgestellt, welche Frequenzbereiche schlecht oder gar nicht wahrgenommen werden", so die Projektleiterin. "Dann wird den Studierenden gefilterte Musik (Mozart) zum Einhören vorgespielt."

Anschließend hören sie zunächst gefiltertes Sprachmaterial, wobei durch die Filterung bevorzugte Frequenzbereiche der Zielsprache verstärkt wurden, um das Ohr dafür zu öffnen. Im letzten Schritt sprechen die Studierenden das Gehörte nach, wobei sie gleichzeitig ihre eigene Stimme gefiltert über die Kopfhörer zugespielt bekommen. "Für den universitären 17

Articles scientifiques & articles de la presse

Tomatis 2008 Unterricht muss diese Methode allerdings noch grundlegend adaptiert werden, um eine vereinfachte digitalisierte Anwendung im Gruppenunterricht zu ermöglichen", so Ingrid Pfandl-Buchegger.

Die bisherigen Grazer Untersuchungen versprechen ähnlich positive Ergebnisse wie einzelne bisher durchgeführte Studien an anderen europäischen Universitäten, bei denen durch den Einsatz dieser Methode die Lernziele deutlich schneller erreicht werden konnten: Grund genug für das Grazer Team, diese Methode weiter zu erforschen, zu verfeinern und letztlich allen Studierenden und Schülern zur Verfügung zu stellen. Denn zurzeit kommen nur zahlungskräftige Firmen und Privatkunden in den Genuss dieser Form des Fremdsprachenunterrichts.

Akzent auf die Ohren setzen(637832)

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Articles scientifiques & articles de la presse

Tomatis 2008 CULTURA Cura el cuerpo y fortalece la mente "El efecto Mozart" en los niños.

505 mots 19 juin 2008 Agencia Mexicana de Noticias, NOTIMEX Espagnol Agencia Mexicana de Noticias, NOTIMEX. Copyright © Todos los derechos reservados México, 19 Jun (Notimex).- La música tiene el poder para curar el cuerpo, fortalecer la mente y liberar el espíritu creativo que se expresa en "El Efecto Mozart", una serie de discos compactos para niños, que contiene una selección de la mejor música del gran músico austriaco.

Este trabajo realizado por Don Campbell fue producido en cuatro discos compactos que pretenden estimular, inspirar y producir el máximo de beneficio en niños.

La capacidad de escuchar con atención puede afectar todos los aspectos de la vida, incluyendo la salud física, emocional, espiritual e intelectual.

Este proyecto retoma a este genio de la música, Wolfgang Amadeus Mozart, quien nació en Salzburg, el 27 de enero de 1756, porque ya escuchaba violines y pianos mucho antes de nacer, pues su padre Leopold era un gran músico y le gustaba tocar el violín cuando Wolfgang Amadeus estaba en el vientre de su madre.

Cuando tenía apenas cuatro años de edad, el compositor austriaco comenzó a componer y a tocar música para los amigos importantes que su papá tenía en el palacio real.

A los ocho años de edad, Mozart ya escribía música excelente. Pese a que este destacado músico murió muy joven, poco antes de cumplir los 36 años, en su corta vida compuso más de 600 importantes obras musicales, incluyendo óperas, sinfonías, conciertos y grandes piezas corales.

Luego de más de dos siglos del nacimiento de este famoso compositor, el doctor Alfred Tomatis, un médico francés, comenzó a estudiar la relación entre la audición y el aprendizaje, y descubrió que los bebés comienzan a desarrollar su oído antes de nacer.

Asimismo, el doctor Tomatis descubrió que tocar música de Mozart puede contribuir al desarrollo del lenguaje, a mejorar la motricidad y a desarrollar la actividad del hemisferio cerebral izquierdo, que es el que controla el pensamiento lógico.

A principios de los 90, investigadores de la Universidad de California comprobaron que escuchar música de Mozart 10 minutos antes del examen aumentaba considerablemente el rendimiento intelectual.

En estudios posteriores se comprobó que niños de edad preescolar pueden aprender a tocar en el piano melodías de Wolfgang Amadeus Mozart y de Ludwig van Beethoven, después de tomar apenas seis meses de lecciones.

También, los niños que recibieron instrucción musical básica demostraron una inteligencia espacial y temporal considerablemente mayor que aquellos que estudiaron computación y otro tipo de actividades. Los efectos de este aumento de inteligencia se prolongaron más en los niños de preescolar que en los jóvenes universitarios.

Don Campbell es músico profesional, crítico musical y autoridad mundial en el empleo sanador de la música. Discípulo de Nadia Boulanger y fundador del Instituto de Música, Salud y Educación. Ha escrito varias obras sobre música y sanación.

La música de Mozart prepara la mente y el cuerpo para el aprendizaje, la creatividad y el descanso, además crea un ambiente en el cual los niños pueden aprender, escuchar, relajarse y crear al máximo de su potencial.

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Articles scientifiques & articles de la presse

Tomatis 2008 LIFE Seeing, hearing a difference ; Experimental therapies help some schools help children to focus Greg Toppo 634 mots 4 juin 2008 USA Today FINAL D.7 Anglais Š 2008 USA Today. Provided by ProQuest Information and Learning. All Rights Reserved.

A small but growing number of schools are using experimental therapies to retrain students' hearing and vision, in essence reteaching them to hear and see. It's a bid to reverse problems with the ability to focus and learn brought on by years of excessive TV, poor nutrition and, for some, in vitro drug exposure.

At Gordon Parks Elementary School, a charter school in Kansas City, Mo., 60% of kindergartners in 2004 failed a visual-skills test. Most had 20/20 vision, but they struggled to focus on moving objects, track lines of print and refocus from near to far.

That fall, Gordon Parks began regular lessons in visual skills. Therapist Cheryl Steffenella says dangerous neighborhoods and the ubiquity of TV and video games means many of her students "aren't doing kid things" -- climbing trees, jumping and running -- that help develop visual and motor skills. Even playing video games that require a lot of eye movement exercises children's vision minimally, she says.

Research on the health effects of TV and video games is, so far, inconclusive. The American Medical Association in 2007 noted that some research points to video games as a risk factor for attention deficit hyperactivity disorder (ADHD); other research suggests that video games can be "a useful treatment."

Less ambiguous is medical research on prenatal exposure to drugs such as cocaine and heroin: It can result in visual, auditory, behavioral and other problems, such as slow visual reaction times, shorter attention spans and delayed language skills in children. Nutrition research also shows, for instance, that children with an iron deficiency -- the most common nutritional deficiency, according to the U.S. Centers for Disease Control and Prevention -- have a higher incidence of both hearing and vision problems.

Parks retrains many students' listening abilities as well, through lessons pioneered by French physician Alfred Tomatis. The sessions use students' voices and modified recordings of Mozart, played through headphones, to retrain the brain. By boosting high or low frequencies, the sessions help strengthen a child's ability to focus and hear a variety of sounds.

"If I'm mad, it'll calm me down," says Paige Burns, 9, a fourth- grader who spent three semesters in the listening sessions.

The techniques don't have a stamp of approval from the American Academy of Pediatrics or the American SpeechLanguage-Hearing Association (ASHA). "There really is no evidence to support" using Tomatis, says Anne Oyler, ASHA's associate director of audiology professional practices. "The research is not consistent."

She says schools should keep meticulous records on results, but cautions: "The problems with some of these kids have to be identified very carefully; there's hardly a one-size-fits-all remediation approach."

Other schools that have adopted programs similar to Gordon Parks include: *Grand Traverse Academy, a K-12 charter school in Traverse City, Mich. "We're giving (students) activities that help them visualize, to see with their minds -- see words, see meaning, predict," says Steven Ingersoll, the school's chief administrative officer. *27 districts in Missouri. Michael Flynn, executive director of Learning Insights, a non-profit working to bring the vision treatment to schools, says about 42% of Missouri kindergartners have inadequate vision.

Advocates here and elsewhere say they see progress in better focus and skills and calmer children.

"If children are trying to learn to read and their eyes aren't functiong the way they need to function, it's just going to make that learning process more difficult," Flynn says. "It's not that kids couldn't get by without it, but why should they have to?"

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COSES DE LA VIDA;EL DIA AL DIA La tècnica Tomatis 89 mots 28 avril 2008 El Periódico de Catalunya (Catalan Language) Catalan Grupo Zeta Plaça de Mañé i Flaquer, 9. Baixos. Tlf. 93 415 32 76.

L'oïda té un paper fonamental en l'estimulació cerebral. Aquesta tècnica d'entrenament neurosensorial per estimular el cervell es deu a l'otorinolaringòleg i terapeuta francès Alfred Tomatis. Música, cançons i la mateixa veu recuperen el contacte amb les sensacions, activen el pensament, la reflexió, la creativitat, i desenvolupen la memòria i tam- bé la capacitat d'atenció i de concentració. CARME ESCALES CC01P037D002.XML Document PDCTLN0020080428e44s0002j

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Tomatis 2008

COSAS DE LA VIDA;EL D A POR DELANTE La técnica Tomatis 87 mots 28 avril 2008 El Periódico de Catalunya Espagnol Grupo Zeta Plaza de Mañe i Flaquer, 9. Baixos. Tlf. 93 415 32 76.

Los oídos juegan un papel fundamental en la estimulación cerebral. Al otorrinolaringólogo y terapeuta francés Alfred Tomatis se le debe esta técnica de entrenamiento neurosensorial para estimular el cerebro. Música, canciones y la propia voz recuperan el contacto con las sensaciones, activan el pensamiento, la reflexión, la creatividad, y desarrollan la memoria y la capacidad de atención y concentración. CARME ESCALES EC01P037D002.XML Document PDCES00020080428e44s0002j

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Tomatis 2008 Stressed out financiers relax with music at Tomatis 1,126 mots 15 mars 2008 Turkish Daily News Anglais (c) 2008 The Turkish Daily News (TDN) Bankers and stock exchange dealers facing psychological problems due to economic crises and stress at work take a deep relaxing breath at the Tomatis Listening Center where musical therapy provides balance between the left and right lobes of the brain and therefore accelerates its functioning Elif Batu Yener ISTANBUL - REFERANS Each problem brings about its own solution. Just like an economic crisis eventually presents a new opportunity…

The 2001 economic crisis that hit thousands of bankers and stock exchange dealers in Turkey was, without a doubt, one such problem. And what it brought about or, in other words, introduced to Turkey was a unique therapy method that has already been used in Europe for more than half a century and has recently been employed around the globe. Briefly, the 2001 economic crisis played a key role in introducing the Tomatis to Turkey, a special method of listening cures or musical therapy that were tailored for those who were victimized by the crisis the most, namely the bankers, stock exchange dealers and businessmen. Most of the individuals visiting the Tomatis Listening Center, located in Istanbul's Ulus district, suffer either from concentration disorder, insomnia, migraine, or reflux. The center, though present in Turkey only for the last four years and not having held any promotional campaigns thus far, has never experienced a day with no customers or patients since it opened. Bankers and stock exchange dealers receiving the musical therapy at the center eliminate incongruities between the left and the right lobes of their brain, therefore getting relief from the everyday sufferings caused by stress.

Herself a victim of the economic crisis: Iris Steinfeld, who pioneered the implementation of the Tomatis method in Istanbul, is herself a victim of the 2001 economic crisis, a sad experience for Turkey. This method was founded in the 1950s by Alfred Tomatis (1920-2001), a French ENT doctor, and is defined as a pedagogy of listening. It provides harmony and dialogue between the right part of the brain – center of creativity, empathy, social and emotional life – and the left part of the brain – center of logic, career and organizational skills. Steinfeld, who once left behind her home country Austria and came to Turkey with her Turkish husband, found herself at a Tomatis center in Vienna when her husband fell into a depression after being heavily hit by the 2001 economic crisis. Frequency therapy, which is the source of life energy and during which her husband switched his ears and brain off because of his instinct for self-preservation, took only five days at that center in Vienna.

After that five-day cure, Steinfeld's husband, a psychologist and pedagogue, threw away all the medication he used. That was the moment he believed in his wife and the miraculous power of the Tomatis method. They decided to found a Tomatis center in Turkey. In fact, the story of how Steinfeld was introduced to the Tomatis method, dates back even further. After completing her studies in the fields of psychology and pedagogy, she first learned about the method in Austria while she was treating a child with concentration disorders. “The child overcame all the problems that we dealt with for two years after he underwent a couple of therapy sessions at the Tomatis center in Vienna,” said Steinfeld. Then, she started researching the method. Though interrupted when she got married to a Turk and moved to Turkey, her studies bore fruit after she decided to open a Tomatis center in Istanbul. Establishing such a business cost Steinfeld $100,000 and she also underwent a long training period.

So, how does the Tomatis method function? Steinfeld said anyone who comes to the Tomatis Listening Center is initially asked to take a frequency test in which both ears undergo an intensive listening session composed of various frequencies.

“Based on these tests, we reach a result. And then we start the treatment process,” said Steinfeld. The frequency test helps to understand whether the subject uses the right part or the left part of the brain more intensively to reveal what kind of physical and mental problems they have. For example, the right part of the brain is the center of creativity, empathy, and social and emotional sensitivity. Thus, those with intensively functioning right lobes might undergo panic attacks during a stressful moment. They might even have heart palpitations. “At Tomatis Listening Center, we discover what part of a person's brain is problematic and what kind of therapy it needs,” said Steinfeld.

First soul, then body: “First the soul gets sick, then the body follows,” said Steinfeld, adding that those who work under stress get rid of their problems such as concentration disorders, migraines, insomnia, panic attacks and ringing in the ears after therapy sessions at Tomatis. Stress causes the right and the left part of the brain to get interrupted in terms of functioning, she said. “And interruptions make us more vulnerable to negative effects,” she said. “Here, at this center, we apply an anti-stress cure involving the middle ear and the auditory ossicles in the ear,” she said. The Tomatis Listening Center welcomes an average 23

Articles scientifiques & articles de la presse

Tomatis 2008 of 10 patients daily. Stock exchange dealers are most interested in the therapy. Steinfeld said they often complain about panic attacks, insomnia, concentration problems, ringing in the ears and vertigo, problems that all derive from working under stress. Depression, lack of energy, and emotional problems, on the other hand, are what businessmen suffer due to their busy work life. “Businessmen use the Tomatis method for learning foreign languages more easily,” said Steinfeld.

Right vs. left part of brain: Steinfeld referred to an example to explain which part of a person's brain is more dominant. “We all need to control our voices,” she said, adding that control over the voice is undertaken either by the left or the right ear. If a person follows his own voice with his right ear, this means that the left part of his brain is more dominant than the right. This resembles a human type that attaches great importance to career, chooses the shortcuts, listens to the voice of reason more than emotions and is quite systematic. Left-handed persons fall into that category. But if a person controls his own voice with his left ear, then he is mostly dominated by the right part of the brain. Highly creative, empathetic, social and emotional people are those with a dominant right brain. The secret of Tomatis, on the other hand, is to set the balance between the right and the left parts of the brain so that one can use its full capacity. The Tomatis method is applied in 300 locations around the world.

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Tomatis 2008 Horizons thérapie L'oreille, ce chef d'orchestre qui met notre corps en éveil 1,129 mots 11 mars 2008 L’Express-L’Impartial L'EXPRESS Français Copyright 2008 L'Express-L'Impartial. All Rights Reserved.

«Savoir écouter est la condition première de tout apprentissage!» Sur la base de ce credo, Patrick Dumas de la Roque donne quelques clés pour comprendre l'origine de nombreux blocages. Auteur du livre «L'écoute c'est la vie», le psychologue français animera trois tables rondes en fin de semaine à Bienne, La Chaux-de-Fonds et Neuchâtel. catherine favre «C'est du Mozart, la sonnerie de votre portable?» s'exclame Patrick Dumas de la Roque, joint par téléphone dans son cabinet de Toulouse, alors qu'un autre appel retentit de notre natel pourtant enfoui au plus profond d'un tiroir. Le psychologue clinicien a l'oreille fine. Normal, il consacre sa vie à perpétuer l'œuvre du médecin-inventeur Alfred Tomatis (1920 - 2001).

Travaillant sur le langage, cet oto-rhino-laringologue français a démontré que l'organe majeur de la communication est l'oreille, et non pas la voix, et que notre écoute réagit aux moindres modifications du psychisme. Des observations qui ont donné naissance à une nouvelle discipline, l'audio-psycho-phonologie, appelée aussi «pédagogie de l'écoute».

Cette méthode trouve de multiples champs d'application, que ce soit pour les troubles du langage, l'apprentissage des langues étrangères ou le chant. A l'exemple de Maria Callas et d'autres divas qui ont eu recours aux bons soins du Dr Tomatis. Dans son ouvrage conçu comme un guide pratique, Patrick Dumas de la Roque évoque son expérience de praticien au Centre de l'écoute et du langage de Toulouse. Entretien.

Alors, «l'écoute, c'est la vie»?

Oui. Dans chaque dynamique de développement, savoir écouter est à la base de toutes situations, qu'elles soient relationnelles, d'apprentissage, de créativité. Et l'oreille tient le rôle d'un chef d'orchestre qui met tout notre corps, tous nos sens en éveil. On adopte une posture d'écoute, on «tend» l'oreille, on se redresse, le regard se fixe sur un point. Ce n'est pas qu'une question d'audition, les sourds savent écouter. L'écoute vient du cœur, si on n'écoute pas, on se referme sur soi-même.

Dans votre livre, vous écrivez que certains enfants en situation d'échec scolaire auraient besoin de lunettes «autant pour bien voir que pour bien écouter»... !?

Parfaitement. J'ai soigné un garçon de 10 ans qui avaient de gros problèmes à l'école. Nos tests ont montré d'importantes distorsions de l'écoute. Il présentait une hypersensibilité auditive et avait toutes les peines du monde à «viser un son», comme la voix de ses enseignants, tout en se coupant des bruits ambiants. A la suite d'une rééducation de son écoute, il a non seulement surmonté ses problèmes de dyslexie, de concentration, de mémorisation, mais sa déficience visuelle s'est nettement atténuée. Et le cas n'est de loin pas exceptionnel.

On peut tout soigner par l'oreille?

Non, bien sûr. C'est pourquoi je me suis aussi formé à d'autres thérapies. Mais on peut vraiment surmonter beaucoup de troubles: insomnies, dépressions, vertiges. On obtient aussi de très bons résultats en cas d'enfants adoptés, d'autisme, d'hyperactivité... L'idéal serait que les tests d'écoute soient utilisés systématiquement dans les écoles en guise de dépistage des troubles d'apprentissage. Mais dans les milieux de la médecine et de l'enseignement, on peine encore à admettre que «l'homme est une oreille en totalité». Ce que le Dr Tomatis a démontré il y a plus de 40 ans. C'est pourquoi j'ai fait ce livre.

Pour m'adresser directement au public. /CFA «L'écoute c'est la vie», de Patrick Dumas de la Roque, éd. Jouvence, novembre 2007 A écouter et à entendre l Tables rondes et journées portes ouvertes dans les centres de l'écoute Tomatis avec Patrick Dumas de la Roque: Yverdon : 13 mars, rue des Remparts 13, à 20h. Bienne: 14 mars, rue du Stand 33, table ronde 14h30 - 15h, portes ouvertes 14h - 16h.

La Chaux-de-Fonds : 15 mars, rue Neuve 8, table ronde 9h30 - 11h30, portes ouvertes 9h - 12h. Neuchâtel : 15 mars, rue du 25

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Tomatis 2008 Bassin 4, table ronde 14h30 - 15h, portes ouvertes 13h - 15h. Infos: www.a-p-p.ch , tél. 032 968 08 29. l Centres de l'écoute Les techniques d'éducation et de rééducation du Dr Tomatis sont appliquées dans quelque 200 centres, dont 13 en Suisse. Les praticiens agréés sont regroupés sous l'égide de l'Association professionnelle d'audiopsycho-phonologie. Thérapies partiellement remboursées par les assurances complémentaires. l Oreille Tomatis C'est un Neuchâtelois, Christophe Besson, qui a fabriqué la fameuse «Oreille électronique» inventée par Alfred Tomatis. Réactualisé selon les nouvelles technologies, ce système électro-acoustique complexe, connecté à un casque et un lecteur de CD, agit sur les muscles de l'oreille moyenne. l Cures d'écoute Les sons présentés dans les écouteurs (musique et /ou voix) sont modifiés électroniquement, constamment remodulés et graduellement filtrés, amenant ainsi la personne à développer une meilleure perspective auditive et une meilleure auto-écoute. /cfa «Si on écoute mal, on écrit et on lit mal» «La voix ne reproduit que ce que l'oreille perçoit correctement. Entendre ne suffit pas, il faut savoir écouter», disait Alfred Tomatis. Résultats? «Si on écoute mal, on communique, on lit et on écrit avec difficulté». En d'autres termes, on vit mal.

Autant de mal-être et de blocages que la thérapie de l'écoute se propose de surmonter.

Les praticiens formés à la méthode Tomatis travaillent donc sur la rééducation des petits muscles de l'oreille moyenne, mais aussi sur l'émotionnel; c'est-à-dire sur tout ce qui fait que l'oreille ne s'est pas ouverte sur le monde extérieur.

Patrick Dumas de la Roque: «Un bébé qui passe trois semaines en couveuse ne sera pas dans la même dynamique d'écoute qu'un nourrisson stimulé par la voix de sa mère. Les cures d'écoute permettent de percevoir le monde sans distorsions auditives, ce qui ouvre les portes de tout apprentissage, de toute communication.»

La méthode Tomatis permettrait aussi d'apprendre des langues aussi complexes que le chinois ou le russe: «C'est toujours le même principe. La stimulation auditive permet de nous ouvrir aux fréquences étrangères que notre oreille ne sait pas décoder.» /cfa «Certains enfants en situation d'échec scolaire ont besoin de lunettes, autant pour bien voir que pour bien écouter» Patrick Dumas de la Roque

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développement Hypersensibles au bruit, les tout-petits ont besoin d'un environnement sonore harmonieux pour stimuler leur écoute. (kibo /pixelio.de) patrick Dumas de la roque Un homme à l'écoute. (SP) thérapie L'oreille, ce chef d'orchestre qui me(964841)

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Tomatis 2008 El-Ejido Los escolares mejoran su atención y memoria gracias a la música de Mozart EUNATE SERRANO 702 mots 10 mars 2008 Ideal Almer’a Espagnol Copyright 2008 Ideal Un total de 25 profesores reciben clases de musicoterapia en el CEP de El Ejido Han comprobado que con sencillos ejercicios logran captar su interés De siempre se ha dicho que la música amansa a las fieras y a cualquier persona una canción puede cambiarle el estado de ánimo; sin duda, la música tiene efecto sobre los seres humanos. Por esta razón varios investigadores iniciaron hace unos años un estudio sobre la aplicación de la música con fines pedagógicos. Alfred Tomatis investigó cómo la música de Mozart puede mejorar la capacidad de estudiar. A partir de aquí, Don Campbell le toma el relevo y publica 'El efecto Mozart' una divulgación de los estudios de Tomatis a través de la cual trata de mejorar la memoria gracias a las canciones del compositor austriaco. A través de estas a estas investigaciones un grupo de 25 profesores de distintos centros de la provincia están aprendiendo cómo aplicar la música de Mozart en sus aulas. Las clases las están desarrollando en el Centro de Profesorado (CEP) de El Ejido. «La música de Mozart por sus características puede favorecer la memoria, facilita el cambio de ánimo, es decir, puede relajar o por el contrario activar», explicó José Luis Gil Carrasco, especialista en musicología. Este curso que aborda el efecto Mozart sobre los escolares comenzó el año pasado. Gil Carrasco lleva un control de resultados de las pruebas que se llevan a cabo en las escuelas. «Se están obteniendo resultados positivos y la música está ayudando a que los escolares de educación infantil tengan una mejor disposición para poner más atención en clase, estar callados o estar más atentos», matizó el musicólogo. La música de Mozart tiene sin duda unas características especiales que ayudan a mejorar esta disposición del alumnado. «Las frecuencias agudas están más presentes y esto científicamente está comprobado que activan el funcionamiento del cerebro, además es una música neutra que no tiene un color emocional destacado por lo que es fácil de escuchar y no es necesario tener conocimiento musical», puntualizó Gil Carrasco. Este especialista destacó que Mozart fue un compositor joven -falleció con 35 años- y por tanto se dice que sus composiciones tienen «aires infantiles». Aplicación y resultados En el colegio los escolares viven momentos de tranquilidad, pero también de gran agitación o excitación como es la entrada a primera hora de la mañana o tras el recreo. Son estos momentos los más adecuados para aplicar el 'efecto Mozart'. «Hay un ejercicio que consiste en que los niños con un par de platos de plástico o cartón han de marcar el ritmo de la música que están escuchando según les indique el profesor y se trata, además, de un ejercicio de lateralidad pues al mover las dos manos se activan los dos hemisferios del cerebro», propuso el musicólogo. Esta es una actividad que, según los profesores que acuden a las clases que se ofrecen en el CEP, los niños siempre están esperando a que se desarrolle. También hay otro tipo de ejercicios como hacerles un viaje guiado (con la música puesta) para su relajación. Los resultados avalan esta técnica menos habitual en las escuelas. «El año pasado en uno de los centros, al inicio de las clase pasaban 40 minutos hasta que los niños se quedaban tranquilos, con el 'efecto Mozart' esto se redujo a la mitad», concretó José Luis Gil Carrasco. Propuestas Pero además de Mozart otras composiciones musicales son igual de válidas siempre que se adecuen a las actividades que se van a desarrollar. Gil Carrasco propuso a los asistentes al curso que pusieran la música mientras los escolares estaban haciendo un puzzle y que comprobaran qué pasaba si el puzzle lo hacían sin música. Los resultados están por ver. Los profesores a través de la página web del Centro de Profesores de El Ejido también trabajan en el desarrollo de actividades. Así participan en dos sesiones presenciales y después se hace un seguimiento en los distintos centros escolares. Asimismo el musicólogo les propone tareas para desarrollar en un periodo de dos semanas y que después se pueden consultar en la web del centro.

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Tomatis 2008 If music be the food of emotional therapy, play on...

608 mots 18 fĂŠvrier 2008 Irish Independent Anglais (c) 2008 Independent Newspapers Ireland Ltd Most people listen to music, even if it's only when they're in a traffic jam. It has been described as an international language. Even when we know nothing of the culture, we can relate to its music.

Think of our reaction to hearing a tango or an Indian sitar. You might feel like dancing, stomping your feet or simply sitting to reflect on life. It is these reactions that for centuries have led to speculation that music might have therapeutic value.

As far back as the middle ages, Al-Kindi -- an Arabian physician -- recognised the therapeutic potential of music and used it to try to cure a quadriplegic boy. And The Anatomy of Melancholy by Robert Burton, a 17th century British physician, identified music as an agent ofpsychological healing.

In Britain and the US, music therapy has been in use since the 1940s and has a role in a variety of specialities including geriatric, palliative care, psychiatry and learning disability, while universities worldwide provide degree courses for those wishing to become music therapists.

The aspect of musical intervention that captured most public attention is termed the 'Mozart effect' after the work of Dr Alfred Tomatis in 1991. He believed that listening to the music of Mozart could help the ear and brainto develop.

Another study in 1993 and published in Nature, the science journal, suggested that this could result in an increase in IQ by up to nine points, prompting the Governor of Georgia in the US to propose a budget to provide all newborn babies with a CD of classical music.

The Atlanta symphony orchestra were commissioned to select the pieces. While most investigations demonstrated an effect of Mozart's music (in particular Piano Sonata in D major), when the enjoyability factor iscontrolled in the statistical analysis, the effect disappears.

In 2007, the German Research Ministry published a detailed review and failed to find any long-term effect on intelligence but recommended further research. Putting aside the false promise generated by Mozart's music, there is more solid evidence that emotions and mood are affected by music.

For example, grunge rock has been found to increase tension, aggression and fatigue, while country music, with its focus on love gone wrong has been linked to depression and suicide. More positively, 'easy listening' improves mood and classical music is said to uplift.

And these effects are physiological correlated. Music affects both the right and left side of our brains, rhythm the left or logical part, while emotion impacts on the right side.

Moreover, recent studies in Italy suggest that it is the periods of silence between notes that induce relaxation, rather than the notes themselves.

Music that is 'dysrhythmic' (greater than 120 beats per minute) increases the heart rate by up to five beats per minute, while the converse occurs with slower tempos.

Respiration and muscle tension also varies with the rhythm. The emotions generated are more likely to be linked to memories of events associated with the piece and the mood at first hearing.

Some speak of music being addictive. Many listeners to rock music certainly describe a low mood if they are unable to listen regularly, but it is thought that this arises from changes in the states of physiological arousal that this generates if played for lengthy periods.

It would be wrong to call this an addiction since it does not possess other features of addiction, such astolerance or craving.

There is little doubting the emotional effects of music, so choose wisely and life may just become a little moretranquil, uplifting and joyous.

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Tomatis 2008

competences Les nouveaux outils d'apprentissage des langues MURIEL JASOR 692 mots 8 février 2008 Les Echos 13 20106 Français All rights reserved - Les Echos 2008 Visitez le site web: lesechos.fr pour plus d´informations.

La mondialisation oblige à comprendre les autres, y compris ceux qui s'expriment dans une langue qui n'est pas la leur.

L'audition d'un être humain s'étale sur un spectre sonore qui va des graves aux aigus et s'échelonne sur 11 octaves.

Un vocabulaire moderne, des supports pratiques, un rythme d'apprentissage ad hoc, de la souplesse, de l'accessibilité et une mesure fiable des progrès. C'est en somme ce que réclament ceux qui désirent rapidement progresser dans une langue étrangère. Leur motivation première est de toujours mieux comprendre des interlocuteurs aux multiples origines. Car il n'est pas seulement nécessaire de comprendre les natifs d'un même pays, il faut aussi pouvoir communiquer avec des Chinois qui s'expriment en anglais, des Néerlandais en espagnol, des Italiens en allemand, des Australiens en mandarin, etc.

De quoi permettre au Salon Expolangues 2008, qui a ouvert ses portes mercredi pour quatre jours, de déployer toute une panoplie de nouveaux outils d'apprentissage. « Le problème que rencontrent les Français est qu'ils ne captent pas les fréquences dominantes de la plupart des autres langues », souligne Denise O'Neill, chef de projet au Centre d'étude des langues de Grenoble.

Logiciels spécifiques Du coup, nombre d'entreprises s'orientent vers l'utilisation de logiciels spécifiques destinés à rééduquer l'oreille et à faire travailler la mémoire auditive. « Si l'on modifie l'audition, on modifie inconsciemment et naturellement la prononciation », assure Jacky Munger, chef de produit chez Speedlingua, un organisme adepte des théories en audio-psycho-phonologie du professeur Alfred Tomatis. Une affirmation que confirme Michèle Tomis, responsable des formations linguistiques au sein du département Training & Talent Development chez UCB Pharma : « Les cours en groupes traditionnels ne consacrent que peu de temps à la compréhension et à l'audition, car ils doivent tenir compte des objectifs d'apprentissage de chacun (vocabulaire, grammaire, «writing skills», conversation...). Or, depuis que nous offrons à nos collaborateurs la possibilité d'utiliser le programme permettant d'améliorer les compétences phonologiques, nous avons pu constater de réels progrès en termes de compréhension orale et de prononciation. » L'écoute de sons inhabituels préalablement à un cours traditionnel de langue aiderait les apprenants à mieux capter les intonations et à améliorer leur mémoire auditive. « C'est vrai, après une phase d'écoute musicale, la compréhension est plus facile et, à chaque prise de parole, les stagiaires gagnent en assurance », confirme Denise O'Neill. « Les immerger dans un univers de sons et de rythmes tels qu'ils sont entendus et prononcés par des locuteurs natifs permet d'améliorer l'accent et la prononciation en relativement peu de séances. » Rééducation de l'oreille Et c'est salutaire, car combien de Français finissent, exténués par une heure de conversation en anglais, par porter la main à leur mâchoire ? Ils se sont exprimés en faisant 50.000 grimaces pour prononcer les mots correctement mais n'ont en définitive pas été compris par leurs interlocuteurs. Un travail sérieux et régulier de rééducation de l'oreille permettrait aux Français de ne plus aspirer les « h » de façon inopportune en anglais, aux Espagnols d'apprendre à prononcer les « u », aux Chinois les « gue » et les « que ». Mais, il n'y a pas de miracle, ces progrès sur le terrain de l'intonation et de la compréhension nécessitent beaucoup d'entraînement et de travail. « Les outils modernes facilitent grandement les choses. Ils s'adaptent à la disponibilité, au rythme et à la culture de chacun, se félicite Michèle Tomis. Mais ils ne doivent pas être utilisés seuls. » En effet, par leur maniabilité et leur flexibilité, les techniques d'« e-learning » s'associent harmonieusement aux enseignements traditionnels. Des organismes comme Go Fluent, Telelangue, Call international, Gapfillers, etc. l'ont bien compris. Mais, pour l'heure, aucun logiciel n'a encore réussi à remplacer la qualité d'un contact en face-à-face ou bien téléphonique avec un professeur de langues étrangères.

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Articles scientifiques & articles de la presse

Tomatis 2008 Les 5 langues vivantes les plus enseignées dans les collèges et lycées français 1. L'anglais2. L'espagnol3. L'allemand4. L'italien5. Le chinois

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ECO; ECO Het geluk van anderen als loon jba 812 mots 1 décembre 2007 De Standaard Vlaams-Brabant/Brussel; West-Vlaanderen; Antwerpen; Oost-Vlaanderen; Limburg 72 Néerlandais (c) 2007 De Standaard (VUM-Belgium) Jozef Vervoort is sinds zijn pensionering nog actiever dan voorheen, als therapeut en afgevaardigd bestuurder.

'Ik heb last van een helperssyndroom' uw geld en uw leven van onze medewerker jan bosteels SINT-TRUIDEN Je zou het niet zeggen dat Jozef Vervoort (67) met pensioen is. De schooldirecteur op rust is meer dan voltijds bezig met zijn levenswerk, het geven van auditieve training met de Tomatismethode in het Atlantis-instituut in Sint-Truiden. Tegelijk leidt hij met Mozart Brain Lab nieuwe therapeuten op en werkt hij aan de wetenschappelijke erkenning van zijn therapie. De Tomatis-luistertherapie of Mozart-therapie maakt gebruik van gemoduleerde geluidsbestanden op basis van de stem van de moeder of de muziek van Mozart. De bedoeling is kinderen en ook volwassenen- beter te leren horen en (leer)stoornissen te behandelen. Als zoon van een Kempisch keuterboertje wist Vervoort al op zijn zesde wat hij wou worden: onderwijzer. 'De leraar van het zesde leerjaar heeft mijn ouders overtuigd om me verder te laten studeren. De Broeders van Liefde van Leopoldsburg hebben me gratis laten studeren in het middelbaar en mijn diploma van onderwijzer heb ik via de middenjury gehaald.' Tijdens zijn studie in de jaren vijftig had Jozef een kantoorbaantje in een houthandel, waar hij 3.500 frank per maand verdiende. In 1959 ging Vervoort aan de slag als onderwijzer in Lommel, voor een loon van zo'n 5.000 frank in de maand. Hij ontdekte er zijn voorliefde voor het werken met zwakke leerlingen. 'Ik was een soort taakleraar avant la lettre. Hoe dat komt? Ik heb een helperssyndroom -dat is geen verdienste, maar een talent. Ik heb er soms ook veel last van (lacht).' Drie kinderen met leermoeilijkheden in zijn familie waren een andere bepalende factor. In 1965 trok Jozef Vervoort met zijn inmiddels overleden echtgenote naar Duitsland, waar hij werkte in een school voor kinderen van Belgische militairen. In 1972 werd hij schooldirecteur in Euskirchen. Op zoek naar een geschikte therapie voor zijn zoon die met zuurstoftekort was geboren, belandde hij in Parijs bij de KNO-arts Alfred Tomatis. 'In veertien dagen zagen we de reacties van mijn zoon erop vooruitgaan en binnen het jaar bereikte zijn taal het normale peil. Dat effect had logopedie of ergotherapie nooit kunnen bereiken.' Jozef Vervoort volgde de opleiding tot Tomatis-therapeut en paste de methode toe op de basisschool. 'Het is een ideale luistervaardigheidstraining waardoor het kind zich beter kan concentreren en beter gaat functioneren.' Als onderwijzer en directeur in Duitsland kon Vervoort genieten van een buitenlandpremie. 'Per maand kregen we 310 Duitse mark (155 euro) en we hadden een gratis woonst.

Onze auto konden we kopen zonder btw, we kregen benzinebons en de sigaretten waren spotgoedkoop. Aan al die voordelen hield je bijna een tweede loon over. Met het extra geld hebben we een huis in België gekocht, waar we na het opdoeken van het garnizoen in Euskirchen gingen wonen.' In Sint-Truiden werd Vervoort directeur van vier scholen die er eveneens prat op gingen dat ze speciale aandacht hadden voor zwakkere leerlingen. In 1999 nam Jozef Vervoort op verzoek van Tomatis diens levenswerk over. 'Ik wou de school niet eerder verlaten, maar ik zag dat die prachtige methode dreigde teloor te gaan door mismanagement door de zoon van Tomatis. We moesten een nieuw netwerk uit de grond stampen, de documentatie ordenen en nieuwe therapeuten opleiden -dat was niet meer te combineren met mijn werk als directeur.'

Voor zijn werk in Atlantis en Mozart Brain Lab ontvangt Vervoort geen loon. Zijn pensioen is zijn enige inkomen. 'Als ik geld zou krijgen van het instituut, zou ik belastingen moeten betalen voor iets wat ik wil doen voor de medemensen. Dat zie ik niet zitten. Iedereen werkt voor een loon, maar in mijn wereld is het veel belangrijker om mensen gelukkig te maken. Ook dat is een vorm van betaling. Ik krijg geld genoeg via mijn pensioen. Wat zou ik doen met meer geld? Ik heb geen tijd om ergens naartoe te gaan. Ik ben altijd bezig -mijn werk is mijn hobby.' Is de toekomst van Vervoorts levenswerk veiliggesteld?

'Atlantis is een vzw, het is een prachtig bezit, maar het is van niemand -ook niet van mij. Het is zoals een pastoor die een kerk bouwt: het is een doel, geen bezit. Mozart Brainlab is een nv, we hebben een neuroloog in dienst en een dokter. Via neurologisch onderzoek proberen we de therapie op een hoger niveau te tillen. Een van mijn doelstellingen is de wetenschappelijke erkenning van de methode te realiseren. We kunnen wel bijzondere gevallen beschrijven, maar het is erg moeilijk om iets via double blind-studies te bewijzen.' Jozef Vervoort schat dat hij zeker nog zo'n twintig jaar verder kan bouwen aan zijn instituut. Zijn dochter staat klaar om zijn werk in Atlantis voort te zetten.

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Features: Health: 'I would have tried anything, even IVF' Helena Bonham Carter, alternative therapy devotee, tells Andrea Manzi-Davies how she resorted to fertility drugs in her quest to conceive a second child at 41

By Andrea Manzi-Davies 1,439 mots 15 octobre 2007 The Daily Telegraph 027 Anglais (c) 2007 Telegraph Group Limited, London HELENA RECOMMENDS...

Listening Therapy Listening therapy was developed by Alfred Tomatis, a French neurologist who now has 200 centres around the world.

Patients are "taught'' by listening to a series of music tapes over six months. This is said to re-educate the middle-ear muscles and aid concentration. It is used to help children with problems such as attention deficit disorder and autism, and is also offered to pregnant women to make them feel more relaxed. www.tuneyourears.com Acupuncture Acupuncture is an ancient Chinese treatment, based on the premise that illness is due to an imbalance of "vital energy'' (qi) said to flow through the body along 12 "meridians''. Needles are stuck into these meridians to restore the energy. With lower back pain some studies have shown acupuncture achieves better results than conventional treatment, and it is also used for fertility problems, stress, addiction and pain relief. The British Acupuncture Council regulates acupuncturists. www.acupuncture.org.uk Traditional Chinese medicine TCM is a range of medical practices developed in China over several thousand years. Treatment is usually a combination of herbal remedies - either taken in tablet form or as a "tea'' of barks, roots and herbs - acupuncture and Tui Na massage.

There has been concern about unregistered and poorly trained practitioners working in the UK; registered TCM doctors can be found through the Association of Traditional Chinese Medicine www.atcm.co.uk Pregnancy at 41 certainly agrees with Helena Bonham Carter. Seven months into carrying her second child, vibrant and beaming, she is licking big globules of Marmite - her latest craving - off her fingers. She knows she is lucky. Not because of her successful acting career maintained over 25 years but because, after trying for two long years, she finally managed to conceive naturally.

Bonham Carter already has one son, Billy Ray, four, with her partner, the cult film director Tim Burton, best known for the Gothic Edward Scissorhands and two of the Batman films. But she was desperate to have a second child and, while more women are becoming mothers over the age of 40 - there has been a 50 per cent increase in the past 10 years - she was well aware that only 7.8 per cent of women over the age of 42 are able to conceive with their own eggs.

So, like many women in her position, the actress, whose career has moved from playing Merchant Ivory heroines to the evil Bellatrix Lestrange in the Harry Potter movies, was open to considering all options. And while Bonham Carter is renowned for her interest in alternative therapies, after trying and failing to get pregnant she decided to try conventional fertility medicine. The experience was not a happy one.

She took a fertility drug called Clomid, which stimulates egg production, after being told that she might not have been ovulating. The drug, which was also taken by Jools Oliver, wife of the chef Jamie Oliver, and is prescribed on the NHS, tells the brain that not enough oestrogen is being produced. But Bonham Carter is angry that she was not warned about 33

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Tomatis 2008 potential side-effects.

"I had a terrible reaction to it. Many people think it is the only thing that's going to make them ovulate, but as it turned out I was ovulating anyway. It stressed me out beyond belief. Hormonally, I was all over the shop and I got really low emotionally. Lots of people don't have that reaction, but on the internet I found a Clomid Club, with people who react to the stuff discussing it online.''

Reassured that she was not the only one to suffer this way, she stopped using it and concentrated on alternative therapies.

"I tried acupuncture two years ago,'' she says. "I went to the Chinese acupuncturist in Belsize Park. Dr Deng, who practices there, is brilliant, and has helped so many local people. She kept saying that I was 'too weak, too weak', and gave me several types of tea to help build my strength up.''

She also tried Tui Na (literally "push and grasp''), a form of Chinese massage that follows the same pattern as acupuncture and is an alternative for patients anxious about needles.

But she still wasn't pregnant and the next option was to try IVF. "I think we probably would have, yes,'' she says now.

"Obviously, you don't know what you'd do unless you were actually in that situation. I think we might have gone for a round of IVF, but that would have been that. There was an argument for just having one child, because we thought if that's the way it's meant to be, so be it.''

Ironically, however, she finally became pregnant naturally, just when she was under intense pressure at work. Immersed in a demanding role as Mrs Lovett in the Stephen Sondheim musical Sweeney Todd (with Johnny Depp in the title role and directed by Burton), Bonham Carter was putting in long days with little sleep, singing for hours on end.

"I was working so hard at the time,'' she recalls. "The first three months being pregnant while filming, I felt totally spaced out. You do need to multi-task with acting. You've got to remember your marks, your lines, singing, everything, and actually - you have no brain! Suddenly your own brain is growing another person's brain, so yours goes defunct. It wasn't ideal, but then I was so happy to be pregnant.''

At that time, she also returned to Listening Therapy, where patients listen to Mozart and Gregorian chants to help them unwind. The theory is that by exposing the muscles of the middle ear to different frequencies, concentration improves and stress decreases. The therapy, based on the work of the French neurologist Alfred Tomatis, has been used to help children with learning difficulties but it is also offered to pregnant women to help them relax before giving birth.

Years ago, Bonham Carter used the therapy to learn a language for an acting role, and revisited it when she was expecting Billy Ray. During pregnancy, the technique is supposed to produce an alert, relaxed, and physically toned baby, and an easy delivery because it calms the mother. "That was absolutely the case for me with Billy,'' she says. "Billy was able to hold his head up at a very early stage, he was very laid-back, and although I love chubby babies, Billy has always been physically toned. I really think listening therapy might have helped a lot. The birth wasn't drama-free, but I felt very relaxed.''

Despite their reputation for unconventionality - they live in separate houses connected by a hallway - both she and Burton attended antenatal classes before Billy was born. A fan of homoeopathy, she would have preferred a natural birth but "when it came to it, I just went for an epidural'', she says. "Although arnica and camomile were really helpful afterwards, what I'd like to know is if there is anything for new fathers.'' In fact there is; homoeopaths recommend Arg Nit (silver nitrate) or aconite, which can be used for shock and panic, as well as vitamin-B complex and Rescue Remedy.

This time Bonham Carter is, she says, more relaxed about her pregnancy although she has had to give up some treats. "One of my favourite dishes is carpaccio and I love sushi but I've avoided them during this pregnancy,'' she says. "Obviously anything with raw eggs is forbidden, too. I don't drink caffeine as much as I would normally and try to restrict myself to one cup of coffee a day.''

Instead she has become a glutton for peppermint tea and is also snacking on goji berries, hailed as the latest superfood they are said to have more betacarotene than carrots, more vitamin C than oranges and more iron than steak. As we speak, she wolfs down slices of soda bread with a generous layer of butter and large dollops of Marmite (enriched with Guinness).

She will be giving birth in a hospital again - although she does not reveal which hospital nor will she give details of her birth plan. Is it safe to assume that the hospital will run the show? Or will Burton revert to type and suggest a Gothic birth? There are gales of unrestrained laughter. "Oh no! The hospital I hope...''

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Tomatis 2008 TheBackPage Lifelines.

286 mots 25 septembre 2007 Irish Times 8 Anglais (c) 2007, The Irish Times.

FILTERING OUT LEARNING DIFFICULTIES: Some children with learning difficulties have problems filtering out background noises which then distract them from the words in a conversation and affect their concentration and communication skills.

French ear, nose and throat specialist Dr Alfred Tomatis developed a therapy that uses music and vocal sessions to train the ear to listen effectively. Two practitioners of this therapy will give a free public talk on the Tomatis therapy on Saturday at 2pm in the Red Cow Moran Hotel, Naas Road, Dublin. Advanced booking on tel: 01-4940210. You can also log on to www.cluas.ie • PERSONALITY WORKSHOP: The role of personality in emotional and mental health is the theme of a two-day workshop on Saturday and Sunday in the Institute for Psychosocial Medicine, 2 Eden Park, Dún Laoghaire, Dublin. The workshop will examine the nine personality styles as defined by the Enneagram system. It will be facilitated by Barry Ahern, supervisor of the Enneagram professional training programme. The cost is €175. Tel: 01-2878514 or e-mail info@enneagram.ie • HOLISTIC HEALTH SEMINAR: Susan West Kurz, author of Awakening Beauty, the Dr Hauschka Way, and Irish beauty therapist Mary Berkery will give a holistic health seminar on Saturday, October 6th, 11am-4pm at the Royal Marine Hotel, Dún Laoghaire, Dublin.

Kurz will introduce her programme, which includes repairing skin with biodynamically grown healing plants, meditation, diet and exercise.

The seminar costs €95. Tel: 01-2896990 or e-mail info@heavenandearth.ie • POSITIVE AGEING: Positive Ageing Week runs from Friday, September 28th, to Saturday, October 6th. Log on to www.ageaction.ie for details of countrywide events or tel: 01-4756989.

Lifelines is compiled by Sylvia Thompson

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Listening as therapy Rowena C. Burgos 861 mots 31 juillet 2007 Philippine Daily Inquirer Anglais Copyright 2007 Inquirer Interactive, Inc. All Rights Reserved. http://www.inq7.net Ria Vecin's son, Enrique, was 4 years old when his preschool teacher noticed that something was not quite right with him.

He was subsequently diagnosed as having Attention Deficit/Hyperactivity Disorder (ADHD).

Vecin found out about the Tomatis Method from her mother-in-law, who lived in Barcelona, Spain. It seemed like the perfect answer for Enrique, but Vecin was dismayed that the nearest facility offering the therapy was in Australia.

“All things considered, it made more sense to take Enrique to Spain to try Tomatis, since we could stay with my mother-inlaw while he was doing the therapy,” Vecin said.

But now the first Tomatis Center in Southeast Asia has opened at the Ecoute Center in Alabang. The Philippine Tomatis Center is managed by Joanne Pedrosa and Vecin, with Gem Mañosa as consultant.

All Tomatis centers are professionally directed by practitioners in medicine, education, psychology, speech and language or music therapy.

Mañosa has a master's degree in Family Life and Child Development, with 15 years of teaching experience. Pedrosa and Vecin, together with Mañosa, underwent one year of intensive training with psychologist Francoise Nicoloff, director of the Australian Tomatis Method in Sydney, Australia.

The French-Australian Nicoloff, who was in town recently, is president of the International Association of Registered Tomatis Consultants.

The method introduced in 1947 by French ear, nose and throat specialist Alfred Tomatis aims to stimulate the muscles of the middle ear to enhance the development of listening, language and communication skills.

“The improved response to sound,” said Nicoloff, “appears to generate improvement in a number of other areas like attention span and concentration, bodily control, eye contact, mood and spirit, as well as listening, language, confidence, self-expression, posture and energy level.”

Nicoloff said the Tomatis technique also eased other conditions like brain dysfunction, autism, hyperactivity, depression, stuttering, some auditory disorders and a wide variety of learning disabilities.

“It has also helped adults heighten their attention and concentration skills and increase their productivity at work,” she said.

Assessment A client joining the Tomatis Program undergoes a listening assessment to determine his/her auditory skills and conditions.

An individual program is then designed to meet the person's specific needs.

“An average program consists of a minimum of 60 hours in three block sessions. Some clients may need additional sessions,” said Nicoloff.

A listening test is conducted after every 20 hours of the program to track progress. It is usually followed by a short interview or counseling session to summarize what has been achieved and to explore reactions, thoughts and feelings.

Since the influence of music on the brain and its value on a child's physical, emotional and cognitive development are now widely recognized, Tomatis clients spend two hours daily of the initial block of 10 days, listening through headphones to classical music, mostly by Mozart.

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Tomatis 2008 As they listen, the children play games, draw, paint and engage in other passive activities that increase sensory awareness or improve balance and coordination. Adults draw, solve puzzles, meditate, rest or sleep. In the active phase, vocal exercises are added.

Moms needed Young children undergoing the Tomatis Method should be accompanied by their mothers.

“In most cases, listening to the mother's voice is a positive experience for the child and accelerates progress, provided that the mother accompanies the child every step of the way,” said Nicoloff.

The mother also has listening sessions with the Electronic Ear, a specialized equipment that accentuates and diminishes different sound frequencies, stimulating the muscles of the ears to improve their response to a wide range of sound frequencies.

“These will not only help her relax but will also help her and the child accept the behavioral changes brought about by the program,” Nicoloff said.

She added that the Tomatis Method worked very well with occupational therapy, sensory integration, speech therapy and other natural therapies.

But while the Tomatis was a significant breakthrough for listening-based language, learning, and behavior problems, Nicoloff said it was not a cure-all.

And many people wanting to avail of the program might also find its cost rather steep, P5,000 just for initial assessment.

Still, in a study by Canada's Toronto Center, some 95 percent of parents of over 400 children and adolescents who underwent the Tomatis reported improvements in their children's voice quality, concentration, comprehension, ability to communicate, reading skill, oral and written expression, motor skills, speed, punctuality, sense of rhythm, self-reliance and general behavior.

Vecin herself says, “(Though) there are days when we experience some regression (in) his behavior … always … son would bounce back and we would notice again days of progression afterwards. I highly recommend the Tomatis Method for children with behavioral or learning difficulties. Seeing your child flourish and bloom in a most positive way is an irreplaceable and gratifying gift that will benefit not only your child and yourself but everyone in the family as well.”

The Philippine Tomatis Center (771-2046; cell phone 0917-3296979; website http://www.tomatis.com.ph ) is at Ecoute Center, 5F Mapfre/Insular Building, Acacia Avenue, Madrigal Business Park, Alabang.

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Musicians play to ease patients' anxiety, pain

By PAM MELLSKOG 1,011 mots 21 juillet 2007 11:01 Associated Press Newswires Anglais (c) 2007. The Associated Press. All Rights Reserved.

LONGMONT, Colo. (AP) - When Elizabeth Linder goes to work, she looks like a modern gypsy -- a folk singer pushing a cart overloaded with tambourines, maracas, tone chimes and a synthesizer keyboard. An autoharp hangs off one end. An acoustic guitar drapes the other. Songbooks and binders with music imagery scripts clutter her cart's lower level.

But she's no minstrel working Main Street.

Linder, 27, pushes her cart to patient rooms and therapy circles at Longmont United Hospital to use music to help alleviate pain and anxiety, lift spirits and give those with little control a chance to express themselves. The hospital pays her salary as part of its commitment to complimentary care, and she refuses tips.

"I try to be one less person who's trying to medicalize (patients)," she said. "I let them know I'm not there to stick them with a needle or talk with them about their bowel movements."

Instead, she asks patients to tell her something about their life, and she'll compose and play a song about that. Other times, she plays the keyboard softly and describes soothing imagery to a patient. She helps some imagine being at the beach or visualize themselves enveloped by light.

It's a feel-good job. But her certification with the Maryland-based American Music Therapy Association required her to complete an approved music therapy curriculum -- she graduated with a related master's degree from Colorado State University at Fort Collins -- and take the national examination to become a certified music therapist.

Anthropological studies show music has been used in healing since the earliest of times.

"I think almost anybody would say, 'I feel better when I am singing or clapping,'" said Thomas Riis, director of the University of Colorado at Boulder's American Music Research Center and a CU music history professor.

However, the intuitive belief of music as therapy wasn't put into clinical practice until after World War I, according to the AMTA Web site. That's when hospital workers noticed the healing influence of music when visiting musicians played for troops recovering from physical and psychological trauma.

Michigan State University in 1944 developed the first music therapy program in the world. Other universities, such as Temple University in Philadelphia, now strive to study music's healing properties scientifically.

Music therapy professor Cheryl Dileo, Temple's director of the Arts and Quality of Life Research Center, in 2000 began one of the most ambitious studies to measure the effects of music therapy. She shared her results at the AMRC's Fifth Susan Porter Symposium on Music and Health in America at CU from June 28-30.

She reviewed 183 studies published since 1963 that involved more than 8,000 subjects.

Among her findings: music therapy can be effective in decreasing aggression in Alzheimer's patients and alleviating pain in cancer patients, among other applications.

"Maybe music therapy should be the first prescription, rather than pain medications," Dileo said.

However, she noted that music therapy is most beneficial in surgery, cardiology, fetal response and Alzheimer's patients; dentistry patients showed the least benefit.

Other symposium presenters highlighted the experiential side of music's healing sound.

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Tomatis 2008 Jonathan Goldman, an educator who's been performing blues music for 40 years, conducts his Healing Sounds seminar at universities, hospitals, holistic health centers and expos.

Before performing a sampling of blues with the Zen Bardo Blues Band, Goldman explained that blues likely first took shape around spirituals and the calls of mule drivers and cotton pickers "to express sorrow over worldly conditions" of slavery in the Mississippi Delta.

Something about blues music's framework of statement, emphatic restatement, then resolution proved cathartic then and now, he said.

Symposium attendee and AMRC board member Don Campbell acknowledged that some view music therapy with skepticism.

"It's because we live in such a noisy world," he said. "One hundred years ago, sound was always potent."

TVs, cell phones, video games and air conditioners have cluttered the so-called soundscape, he said.

"Silence may be just as important as the right kind of music," he said.

He has spent 30 years studying the "right" kind of music and its influence on health and performance -- namely by extending the research of Frenchman Alfred Tomatis, who in the 1950s began experimenting with using Mozart's music to stimulate children with speech and communication disorders.

Campbell wrote a best-selling book called "The Mozart Effect" to document how music can reduce stress, depression or anxiety; induce relaxation or sleep; activate the body; and improve memory or awareness.

Mozart wrote more than 600 major compositions. Something about them has been linked with stimulating the brain, according to findings released by researchers at the University of California at Irvine who studied the so-called Mozart Effect in the 1990s.

At Longmont United Hospital, Linder uses all sorts of music on many instruments to help patients heal. Sometimes, she'll hand a patient recovering from a hip replacement tone chimes to join her in playing chords to Simon and Garfunkel's "The 59th Street Bridge Song (Feelin' Groovy)."

Other times, she strums her autoharp up a scale and down again to encourage stroke patients in lifting and lowering a sluggish left leg.

Many times, she uses music to help open a stroke victim's brain pathways to speech.

One woman who was unable to speak wanted to ask the nurse for tea. Linder created a simple ditty on her guitar, "I would like some tea."

They practiced.

"Then, I faded out and just let her sing it (to the nurse)," Linder said. "She looked at me, and she was crying. She held my hand and said 'thank you' on her own."

-----On the Net: American Music Therapy Association: http://www.musictherapy.org/ CU American Music Research Center: http://ucblibraries.colorado.edu/amrc/ Temple University's Arts and Quality of Life Research Center: http://www.temple.edu/boyer/ResearchCenter/index.htm Longmont United Hospital: http://www.luhcares.org/

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Articles scientifiques & articles de la presse

Tomatis 2008

Ecco come poter vincere il panico da confronto faccia a faccia Presentato il Laboratorio di dizione fonazione espressione 234 mots 30 juin 2007 La Nazione Firenze 12 Italien Copyright 2007 MONRIF NET S.R.L. Tutti diritti riservati-Credits Ecco come poter vincere il panico da «confronto faccia a faccia» Presentato il «Laboratorio di dizione fonazione espressione» VINCERE UNA VOLTA per tutte il panico da “confronto faccia a faccia” imparando ad esprimersi in maniera corretta ed efficace? Tra poco sarà possibile stando seduti davanti al proprio pc. E’ infatti in uscita lo speciale cofanetto “Laboratorio di dizione fonazione espressione” promosso- e presentato alla Rai Toscana- da Atelier della Voce. Frutto di due anni di intenso lavoro da parte di un’equipe di specialisti, psicologi, attori professionisti, musicisti e tecnici coordinati da Gabriella Minarini , il laboratorio di autoapprendimento si presenta come un concentrato di tecniche semplici ed intuitive per migliorare la propria capacità espressiva. «L’idea- spiega Minarini- prende le mosse dalle teorie del francese Alfred Tomatis , secondo il quale per parlare benebisogna percepire l’intera gamma delle frequenze sonore.

Lo scopo didattico del Laboratorio- continua la direttrice-, è il sostegno concreto alle persone in difficoltà espressiva e relazionale, che possono così ritrovare fiducia e interagire con gli altri in modo piùsoddisfacente» Il cofanetto- che contiene un Cd multimediale, un Cd audio e un libretto esplicativo di accompagnamento- è disponibile presso la sede dell’Atelier della Voce (via dè Rondinelli 1) e sarà presentato nelle scuole come sostegno per le classi con alunnis tranieri. Caterina Ceccuti

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Articles scientifiques & articles de la presse

Tomatis 2008

Social Affairs Estimulación musical Nellie Torres 810 mots 25 mai 2007 El Nuevo Día Espagnol Copyright 2007 NoticiasFinancieras. All Rights Reserved.

Por Nellie Torres Especial El Nuevo Día Los resultados reflejaron que ese grupo de estudiantes presentó puntuaciones más altas en tareas que evaluaban razonamiento temporo-espacial, o la habilidad de rotar y manipular mentalmente objetos en el espacio contrario. El otro grupo que no escuchó ninguna música sólo escuchó unos sonidos de relajación. Los resultados fueron publicados en el libro "Music Enhances Learning: Keeping Mozart in Mind".

Así fue que llegó a los medios el término "El Efecto Mozart" y se generalizó la noticia de que la música del compositor aumentaba el cociente de inteligencia, por lo que no tardaron en surgir detractores que se encargaron de sembrar dudas sobre los resultados del estudio.

Sin embargo, el estudio no mencionaba el cociente de la inteligencia en general, sino las destrezas temporo-espaciales exclusivamente, aunque en los últimos años ya se habla de varios tipos de inteligencia y ahora se acepta que ésta es una.

A pesar de las críticas de algunos escépticos, Mozart fue redescubierto por el mundo y Don Campbell, discípulo del doctor Alfred Tomatis quien fue pionero en usar la música de Mozart desde los años 1950 con el método terapéutico que lleva su nombre, comercializó el Efecto Mozart en una serie de libros y discos compactos adjudicándole propiedades terapéuticas.

De igual forma, múltiples investigaciones alrededor del mundo comenzaron a surgir tratando de explicar el fenómeno de la música en el cerebro humano. En términos generales, aparentemente la música involucra todos los niveles del cerebro y tiene el poder de afectar la actividad neurológica.

Investigadores establecen que la música ayuda al desarrollo del lenguaje en los niños. La música, al igual que el lenguaje, consta de una serie de secuencias, patrones, tonos, duración y ritmo. Los sonidos del idioma tienen diferentes frecuencias y se unen en diversos patrones para formar sílabas y palabras. Todo lenguaje tiene un acento que para el oído extranjero suena como una melodía. Para un puertorriqueño, los mexicanos "cantan" el español y viceversa.

Los idiomas tienen ritmo e inflexiones que le cambian el sentido a la oración (Ej. ¡Eres tú! vs ¿Eres tú?). Todos esos elementos, de alguna forma ocurren en la música. Al escuchar la música sentimos las emociones que el compositor quiso transmitir. Áreas del cerebro que típicamente se señalan como asociadas al lenguaje; se ha encontrado que también trabajan con la música. La región del cerebro conocida como el área de Broca, una de las áreas del lenguaje, también ayuda a decidir si una serie de tonos (como los de la música) se oyen bien.

La conciencia fonológica o la percepción de que las oraciones se componen de palabras, que a su vez se componen de sílabas y sonidos o fonemas, es una destreza básica para el aprendizaje de la lectura. La música se convierte en una precursora de esta destreza al estimular el oído con variedad de tonos y secuencias.

Se han reportado aumento en destrezas cognoscitivas como memoria, desarrollo visual y temporo-espacial, destrezas verbales, así como de concentración y atención. Inclusive se han reportado progresos en destrezas de matemática. La matemática tiene como parte de sus fundamentos unas buenas destrezas temporales (secuencia) y viso-espaciales.

La música puede tener un efecto relajante en el individuo. En el Antiguo Testamento el rey de Israel, Saúl, sufría de ataques de ansiedad y angustia y la música del arpa que le tocada David lo calmaba. Mientras en Egipto, el mismo jeroglífico usado para la palabra alegría, se usa para música. Así que parece ser que desde tiempos antiguos se había descubierto los poderes que puede ejercer la música en el ser humano.

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Articles scientifiques & articles de la presse

Tomatis 2008 Estos resultados explican el auge que ha tenido la música sobre todo la de Mozart como base para diferentes tratamientos o terapias alrededor del mundo y aún continúan surgiendo innumerables programas que enarbolan la bandera de progreso para diversas áreas en dificultad en el ser humano.

Sin embargo, queda mucho camino por investigar. Los últimos estudios señalan a un progreso mayor en individuos que reciben educación musical (aprender a tocar un instrumento) que al que sólo la escucha en su casa o en su carro a través de un disco compacto.

Inclusive, se han hecho estudios del cerebro y se han encontrado diferencias, básicamente en el tamaño de ciertas áreas, entre el cerebro de un músico y el de una persona sin ninguna educación musical. Por supuesto, el que toca un instrumento debe escuchar música como parte de su disciplina para desarrollar un oído musical, esto es parte de la filosofía básica en el Método Suzuki de educación musical.

Luego de este viaje musical a través del cerebro, quizás deberíamos reflexionar sobre una frase del maestro Pablo Casals quien dijo que era, quizás, la música quien podría hacer una diferencia, un cambio en el mundo. © NoticiasFinancieras - © GDA - El Nuevo Dia - All rights reserved

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Articles scientifiques & articles de la presse

Tomatis 2008

Insolites Non, Mozart ne rend pas intelligent Luigi Bignami 551 mots 24 mai 2007 Courrier International 62 864 Français Copyright 2007 Courrier International All Rights Reserved La Repubblica (Rome) Ecouter passivement la musique de Mozart, ou de tout autre compositeur, ne développe pas l'intelligence de celui qui l'écoute. Tel est le verdict d'une recherche menée par un groupe de neuroscientifiques, de psychologues, de philosophes et de musicologues à la demande du ministre allemand de la Recherche. "Nous avons étudié tous les ouvrages de référence pour être absolument certains de ne pas tirer de conclusions erronées. Force est de reconnaître que ce qu'on appelle l''effet Mozart' n'existe pas", commente Ralph Schumacher, de l'université Humboldt, à Berlin. Cet "effet Mozart" fut évoqué pour la première fois en 1991 par le psychologue français Alfred Tomatis, qui décrivit son expérience de musicothérapeute dans Pourquoi Mozart ? (Fixot, 1991). L'ouvrage fait état de résultats remarquables dans des cas de troubles du développement, allant de la trisomie à l'autisme. Deux ans plus tard, Frances Rauscher, violoncelliste et psychologue à l'université de Whoshoa (Wisconsin), et Gordon Shaw, physicien à l'université d'Irvin (Californie), publient dans Nature un article dans lequel ils montrent une augmentation temporaire des performances dans quelques tests d'intelligence spécifiques, effectués sur 36 étudiants ayant écouté l'Allegro con spirito de la Sonate en ré majeur pour deux pianos K 448 de Mozart. Les cobayes présentent pendant une quinzaine de minutes une amélioration de 8 à 9 points sur l'échelle de Stanford-Binet. Si l'opinion publique accepta aussitôt ces conclusions avec enthousiasme, le monde scientifique, lui, fut beaucoup plus sceptique, ne serait-ce que parce que les reproductions de cette expérience ne donnaient pas les mêmes résultats. L'hypothèse se mit à vaciller lorsque Frances Rauscher soutint que les rates enceintes qui écoutaient Mozart donnaient naissance à des rats qui s'orientaient mieux que les autres dans les labyrinthes expérimentaux. La chercheuse avait oublié que les rats naissent non seulement aveugles, mais également sourds. La communauté scientifique n'était pas convaincue non plus par un autre effet que les auteurs attribuaient à l'écoute passive de la musique de Mozart sur l'homme : ils soutenaient, en effet, que celle-ci pouvait activer une "décharge neuronale" identique à celle produite lorsqu'on effectue des tâches visiospatiales (par exemple, une étude sérieuse sur ordinateur), bien qu'il n'existe aucun lien entre ces deux types d'activité cérébrale. Ceux qui s'opposaient aux thèses de Frances Rauscher soutenaient que, à supposer qu'il existe un "effet Mozart", le renforcement de l'activité cérébrale n'était pas dû à la musique de Wolfgang Amadeus : n'importe quelle stimulation musicale agréable pouvait produire un état émotionnel rendant temporairement le sujet plus réceptif. Et cette stimulation peut provenir aussi bien de la musique de Mozart que d'un morceau de rock ou d'un chœur tyrolien. Une autre des certitudes de Frances Rauscher s'effondra en 1996, lorsque Susan Hallam, de l'université de Londres, testa plus de 8 000 enfants de 10 à 11 ans. Les participants furent divisés en trois groupes auxquels on fit écouter du Mozart, de la musique pop, ou la voix d'un acteur leur racontant une histoire, avant de leur faire passer des tests de QI. Conclusion : pas de différence de score chez les enfants ayant écouté Mozart.

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Articles scientifiques & articles de la presse

Tomatis 2008

Un requiem per l´"effetto Mozart" - Gli scienziati: la sua musica non rende più intelligente chi l´ascolta - i film, da Sacks alla Stasi - gli autori, da Schubert ai Blur - Seccamente smentita la teoria elaborata nel 1993. Gli studiosi: "Qualunque sinfonia o brano rock può aiutare lo sviluppo del cervello" - l´effetto mozart LUIGI BIGNAMI 1,061 mots 15 avril 2007 La Repubblica Italien (c) Copyright LA REPUBBLICA LUIGI BIGNAMI ROMA - Ascoltare passivamente la musica di Mozart o di qualunque altro musicista non fa assolutamente aumentare a breve termine l´intelligenza dell´ascoltatore. E dunque il noto "effetto Mozart" non esiste.

L´indagine per verificare scientificamente, e una volta per tutte, se quanto da tempo si racconta sugli effetti della musica mozartiana ha un reale fondamento è stata voluta addirittura dal ministro per la ricerca tedesco. Subissato da numerose richieste in tal senso, ha radunato un gruppo di neuroscienziati, psicologi, filosofi ed esperti di musica per avere da questi la risposta definitiva. «Abbiamo studiato tutta la letteratura esistente sul tema, perché volevamo essere assolutamente certi di non giungere a conclusioni errate, ma dobbiamo dire che il cosiddetto "effetto Mozart" non esiste», ha spiegato Ralph Schumacher dell´Università Humboldt di Berlino.

Del fenomeno si iniziò a parlare nel 1991, quando lo psicologo francese Alfred Tomatis descrisse la sua esperienza di musicoterapeuta nel libro Pour quoi Mozart?, dove riferiva dei notevoli risultati raggiunti nell´affrontare disturbi dello sviluppo, della sindrome di Down e dell´autismo. Due anni più tardi, nel 1993, Frances Rauscher, violoncellista e psicologa dell´Università di Whoshoa (Usa) e Gordon Shaw, fisico dell´Università di Irvin (Usa), pubblicano un articolo su Nature dove riferiscono di un transitorio aumento dei punteggi in alcuni particolari test d´intelligenza effettuati su 36 studenti che avevano ascoltato l´Allegro con spirito dalla Sonata in Re maggiore per due pianoforti K 448 di Mozart. I ragazzi mostravano un modesto miglioramento di 8-9 punti sulla scala Stanford-Binet - uno dei sistema più utilizzati per misurare il QI - che durava però solo una quindicina di minuti.

Se l´opinione pubblica accettò subito e con entusiasmo questi risultati, il mondo scientifico fu assai più scettico, anche perché i tentativi di ripetere gli esperimenti dei due ricercatori non davano eguali risultati. L´ipotesi iniziò a vacillare quando la Rauscher sostenne che l´ascolto della musica di Mozart in ratte incinte migliorava la capacità dei figli di orientarsi nei labirinti sperimentali. La ricercatrice non aveva tenuto conto che i ratti nascono, oltre che ciechi, sordi. Alla comunità scientifica, inoltre, pareva poco convincente anche un´altra spiegazione fornita dagli autori su come l´ascolto passivo della musica mozartiana agisse sull´intelligenza dell´uomo: sostenevano che è in grado di attivare una di "scarica neuronale" identica a quella prodotta da compiti visuo-spaziali (per esempio uno studio serio al computer), nonostante fra questi due tipi di attività cerebrale non esista alcuna relazione.

Chi si opponeva alle ipotesi elaborate da Rauscher sosteneva invece che, se anche fosse esistito un "effetto Mozart", non era certo la musica mozartiana a rendere il cervello degli studenti più attivo: un qualsiasi stimolo musicale piacevole avrebbe indotto ad uno stato emozionale tale da rendere il soggetto temporaneamente più ricettivo. E lo stimolo sarebbe potuto giungere tanto da Mozart quanto da un brano di musica rock o di un coro alpino. Un altro pilastro della Rauscher crollò quando, nel 1996, Susan Hallam dell´Università di Londra (GB) testò oltre 8000 bimbi tra i 10 e gli 11 anni. Divisi in tre gruppi ascoltarono in contemporanea brani di Mozart, di musica pop o un attore che raccontava loro una storia. I risultati mostrarono che i bambini che avevano ascoltato Mozart non ottenevano punteggi di QI superiori agli altri.

E ora, dalla Germania, per l´effetto Mozart giunge il requiem. Che però non esclude in modo drastico che la musica in genere possa avere effetti positivi sul cervello. Spiega Shumacher «Alcune ricerche che abbiamo esaminato dimostrerebbero che a lungo termine la musica può davvero far aumentare il quoziente di intelligenza. Ma una cosa è certa: non può trasformare un bambino in un genio».

21mozart_10757408 la storia Il primo studioso a parlare di "effetto Mozart" fu nel 1991 il musicoterapeuta Alfred Tomais. La teoria venne poi elaborata da Rauscher e Shaw (con pubblicazione di una articolo su "Nature") e quindi contestata da più parti. Fino al verdetto definitivo emesso in questi giorni la ricerca La ricerca nega l´effetto Mozart ma non l´influenza che la musica in 44

Articles scientifiques & articles de la presse

Tomatis 2008 generale può avere sullo sviluppo neurologico dei bambini l´esperimento Dall´università di Toronto il test più recente: 144 bimbi divisi in 4 gruppi, di cui uno "musicale": è stato quello che ha totalizzato i QI più alti A uno dei suoi pazienti affetti da una "malattia del sonno" il neurologo Oliver Sacks dedicò un capitolo di un suo libro, "Risvegli", poi trasformato in film con Robin Williams e De Niro. Ma un altro film ha recentemente messo in luce il legame tra musica e cervello: ne "La vita degli altri" il protagonista, un agente della Stasi, vede il vuoto della sua esistenza, che muta profondamente, ascoltando un brano di musica classica Sono ormai molte le ricerche scientifiche che hanno stabilito come il cosiddetto effetto Mozart si verifichi anche ascoltando altri autori. In particolare alcuni esperimenti hanno messo in luce i risultati positivi riscontrati su un gruppo di bambini di dieci anni a cui sono stati fatti ascoltare prima brani classici dal repertorio di Schubert e poi diverse canzoni tratte dall´ultimo album del gruppo brit-pop dei Blur la sonata k448 di wolfgang amadeus Nel 1993 Frances Rauscher e Gordon Shaw effettuarono test di intelligenza su 36 studenti dopo che questi avevano ascoltato l´Allegro con spirito dalla Sonata in RE maggiore per due pianoforti K448 di Mozart. I ragazzi mostrarono un miglioramento di 8-9 punti sulla scala Stanford-Binet, utilizzata per misurare il QI la teoria Per "effetto Mozart" si intende il fatto che la sua musica sarebbe in grado di far aumentare i punteggi in alcuni particolari test d´intelligenza. Secondo alcune teorie ciò dipende dal fatto che quel tipo di musica aiuta a organizzare i circuiti neuronali nella corteccia cerebrale il verdetto Il cosiddetto "effetto Mozart" non ha alcun fondamento scientifico. Questo è quanto ha stabilito una volta per tutte un team di studiosi su sollecitazione del ministero della ricerca tedesco. Alla ricerca hanno partecipato neuroscienziati, psicologi, filosofi e musicologi

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Articles scientifiques & articles de la presse

Tomatis 2008

Enfance - Autisme 515 mots 28 février 2007 13:18 All Africa Français (c) 2007 AllAfrica, All Rights Reserved Feb 28, 2007 (La Presse/AllAfrica Global Media via COMTEX) -Dans le monde, quatre ou cinq enfants sur dix mille sont autistes. En Tunisie, ils sont environ cinq cents à être atteints d'autisme, maladie qui se caractérise par une totale rupture avec le monde extérieur et un repli sur soi-même.

Les équipes médicales en Europe et aux Etats-Unis la définissent scientifiquement comme étant un «encrassement» de la transmission des informations au niveau du système nerveux central qui empêche celui qui en est atteint de communiquer correctement avec son environnement.

Pour aider les autistes en Tunisie, Mme Dany Bey a créé l'Association des parents et des amis autistes (Association Pas à Pas). Cette mère d'un enfant autiste a décidé d'introduire, pour la première fois en Tunisie, la méthode Tomatis qui est une technique moderne mise en place par feu Alfred Tomatis et qui consiste à stimuler sensoriellement les enfants autistes pour pouvoir établir un contact avec eux.

Le projet, lancé par Mme Bey, prévoit la création d'un centre d'écoute animé par un médecin spécialiste formé dans des instituts spécialisés à l'étranger et qui assure des séances d'entraînement à l'écoute.

Comment cela se passe-t-il exactement ?

Partant du principe qu'un trouble du mécanisme d'écoute va entraîner chez les enfants et les adolescents des difficultés de communication et un trouble du comportement, ainsi qu'un retard du développement affectif et psychologique, le médecin va soumettre l'enfant à une stimulation auditive continue qui va permettre d'améliorer la qualité de son écoute et de faciliter ainsi ses capacités communicationnelles et d'apprentissage. Avant, l'enfant devra être soumis à un test d'écoute afin de repérer le ou les dysfonctionnements au niveau de l'oreille et d'y remédier ainsi par la démarche appropriée.

Le nouveau centre, dans lequel auront lieu les séances, a été doté du matériel nécessaire à l'application de la méthode Tomatis, consistant essentiellement en l'utilisation d'un appareil «d'entraînement à l'écoute». On pose sur la tête de l'enfant un casque muni de deux oreilles électroniques liées à un ampli relativement important et qui vont permettre de stimuler les muscles de l'oreille grâce à la diffusion de sons.

Cette technique, qui consiste à rééduquer cet organe, par une mise en condition sonore, permettra, au fur et à mesure des exercices effectués, d'optimiser les capacités fonctionnelles de l'écoute et de remédier ainsi à certains dysfonctionnements.

Il faut comprendre que cette démarche nouvelle présente un précieux avantage : elle permet ainsi à l'enfant de s'intégrer plus facilement dans son environnement grâce à l'amélioration de sa capacité à communiquer, et ce, en étant capable d'écouter et de comprendre le langage verbal.

Le centre, qui sera inauguré officiellement le 3 mars, accueillera initialement douze autistes par jour. Ces derniers seront soumis à des tests et suivront des séances de rééducation auditive. Une démarche qui permettra à beaucoup de parents de voir le bout du tunnel et de reprendre espoir pour leurs enfants.

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Articles scientifiques & articles de la presse

Tomatis 2008

Institut für Audio-Psycho-Phonologie nach A. Tomatis (D) - Kanton Zug 191 mots 25 janvier 2007 D & B SHAB Allemand SHAB Information serialised by Dun & Bradstreet (Schweiz) AG. Homepage Address: http://www.dbswiss.ch HR SHAB Nr. 17 vom 25.01.2007, Kanton ZG (D) 19.01.2007 (556) Institut für Audio-Psycho-Phonologie nach A. Tomatis (D) 6300 Zug Stiftung SHAB Nr. 181 vom 19.09.2006, Seite 17 Führung eines Institutes im Kanton Zug, welches die Audio-Psycho-Phonologie von Dr. Alfred Tomatis ZG Mutationen Institut für Audio-Psycho-Phonologie nach A. Tomatis, in Zug, CH-170.7.000.536-3, Führung eines Institutes im Kanton Zug, welches die Audio-Psycho-Phonologie von Dr. Alfred Tomatis anwendet, Stiftung (SHAB Nr. 181 vom 19.09.2006, S. 17, Publ. 3555428).

Ausgeschiedene Personen und erloschene Unterschriften: Schwendener, Lotte genannt Lotti, von Buchs SG und Sevelen, in Schwarzhäusern, Mitglied, ohne Zeichnungsberechtigung.

Eingetragene Personen neu oder mutierend: Küng-Bachmann, Elisabeth, von Aristau, in Cham, Mitglied des Stiftungsrates, ohne Zeichnungsberechtigung; revidis GmbH, in Freienbach, Revisionsstelle; Annen, Patricia, von Schwyz, in Ennetmoos, Präsidentin des Stiftungsrates, mit Einzelunterschrift (bisher: Mitglied mit Einzelunterschrift); Eichenberger, Verena, von Landiswil, in Hauptikon, Mitglied des Stiftungsrates, mit Einzelunterschrift (bisher: Präsidentin mit Einzelunterschrift).

Tagebuch Nr. 556 vom 19.01.2007

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OPINION Conmemoracion de efemerides EDUARDO ROLDAN 1,159 mots 31 décembre 2006 El Mundo - Valladolid 2 Espagnol (c) Diario EL MUNDO, 2006. http://www.elmundo.es.

En efecto, Mozart Como si del muñeco de prácticas de un acupunturista chino se tratara, decenas de alfileres alertas taladran el calendario de principio a fin recordándonos que sí, que hoy también se conmemora alguna efeméride más o menos añeja, que también hoy debe dedicarse el día naciente a una causa más o menos estimable. Mas no importa cuál, importa sólo el alfiler diario; la voracidad marcadora amenaza con no dejar fecha sin estigma en su deseo incansable de un aniversario continuo en trescientas sesenta y cinco cápsulas dosificado (apúrense y formulen su propuesta sin más dilación, apenas quedan ya casillas intactas. Yo sugiero «el día de la hipoteca a 30 años», por lo que de condicionante tiene el hecho en nuestras vidas; aunque, bien mirado, tal recordatorio se antoja ocioso, las entidades de crédito se encargan sin fallo de encendernos la bombilla cada primero de mes). Tal desmesura aboca en el resultado opuesto al inicialmente pretendido; desbordado el límite de la capacidad ciudadana de asombro, pues el estado de perpetuo asombro es como el del movimiento perpetuo, imposible de mantener, la atención termina por no distinguir entre el SIDA y los refugiados afganos, hastiada ante lo que considera un tótum revolútum infinito e indiferente. No obstante algunos eventos -pocos- consiguen alzarse de este magma mareante y desplegar su recuerdo más allá de las fugaces fronteras temporales de las 24 horas; suelen ir asociados a cifras rotundas, por lo general acabadas en cero o en cinco, que, cuando se leen o escuchan, producen cierto impacto perplejo, más profundo aun si la cifra ha rebasado la centena.Así, en 2006 no han dejado de recordarnos se cumple el V Centenario del fallecimiento de Cristóbal Colón en Valladolid (con gala de la Caballé como colofón vocal incluida) o, gracias sobre todo a la pasada retrospectiva en la Casa Revilla, el 125 aniversario del nacimiento -y 50 de la concesión del Nobel de Literaturade aquel cristalino escultor de versos que fue Juan Ramón Jiménez. ¿Quedará alguna huella tras la resaca de los fastos? ¿En qué medida incidirán en nosotros estos alfileres especiales, perdurarán sus marcas de alguna forma en el panel de nuestros asediados gustos? Quizá en ciertos casos logre despertarse, semilla de fortuna, una pasión crónica por la poesía o la historia a través del alfiler/Juan Ramón o el alfiler/Colón, quizá más modestamentealguien haya descubierto por vez primera los trotecillos de algodón y azabache de cierto burro fuerte y tierno con nombre de acero y plata. No parece imposible, aunque para evaluar el alcance real de estos hitos transitorios y cíclicos a lo mejor convendría acudir a una suerte de prueba del nueve, al alfiler de oro que ha dado nombre a este año moribundo: si el 250 aniversario del nacimiento del para tantos mayor genio que la música -y acaso cualquier disciplinahaya conocido no ha encendido en el lego la cosquilla del interés y en el docto renacido su antigua emoción, podría concluirse sin demasiada osadía que estas conmemoraciones impuestas pecan de fútiles o al menos que la manera de promoverlas no resulta la más fecunda. En efecto, si entre el heterogéneo abanico de efectos que se le atribuyen al «efecto Mozart» no se encuentra el de prender o renovar la curiosidad por la obra del brujo de Salzburgo en tan redonda fecha, efectivamente debería efectuarse una reforma efectiva en la efectuación de las distintas efemérides.

Diversas tentativas han pretendido acercarnos la figura del músico en este tan señero año: golosas recopilaciones de la integral mozartiana que con comercial urgencia las compañías de discos se apresuraron a adelantarnos las navidades pasadas (antes por tanto de cumplido el aniversario); reedición de cuantas biografías de Mozart se conocen, desde la pedante y farragosamente erudita aproximación de Hildesheimer hasta la más intuitiva y anecdótica de Stendhal; agotadores ciclos en teatros y auditorios de cualquier ciudad del mundo de todas sus óperas, todas sus sinfonías, todas sus sonatas para violín y piano..., así como el retorno -debidamente promocionado- de una fascinación ingenua pero irresistible por un nebuloso hallazgo científico conocido como «efecto Mozart», tentativa no por aceptada menos discutible.

Aseguran sus prosélitos que la mera «exposición» a la música de Mozart durante diez minutos desarrolla la capacidad de razonamiento espacio-temporal, que su escucha programada incrementa el cociente intelectual, favorece el riego sanguíneo, endereza la tartamudez; incluso un melómano asegura que mientras toca Mozart no le atacan sus tics pseudoepilépticos, y sí mientras a Brahms o Chopin.Con todo, ningún testimonio alcanza las delirantes dimensiones de los del fundador de la secta, primer y más acérrimo defensor de su propia teoría (en esto hace bien hasta prueba en contrario), el otorrinolaringólogo francés -ya fallecido- Alfred Tomatis, quien en su libro Pourquoi Mozart, biblia seminal del movimiento, defiende la certeza curativa de las frases de La flauta mágica o la Sonata para dos pianos en Re mayor, su 48

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Tomatis 2008 poder único para facilitar el pensamiento y la respiración, también para, por increíble o ridículo que parezca, aumentar la producción diaria de leche en las vacas que las «escuchan». Lo dicho, Mozart el brujo. ¿De dónde este deseo por encontrar en la música un fundamento más allá de la música en sí, de dónde su aceptación insensata? Justificar el arte en un sentido práctico carece de sentido; salvo para galeristas o marchantes, el arte no tiene otro fin que el de procurar un disfrute personal. Y en ningún otro arte se evidencia esto como en la música, por ser el único etéreo por naturaleza, el de recepción más inmediata y directa, y asimismo el más autónomo, desde la perspectiva de no necesitar de otros referentes -verbales, plásticos, históricos- al margen de los puramente musicales para su completo disfrute (la precariedad de los a primera vista más sustanciosos referentes verbales en sus repetidos intentos por tratar de explicar la música, pura expresión de sentimientos que en última instancia descansa sobre lo inefable, se demuestra al comprobar cómo a una misma pieza se le han atribuido hitlerianamente algunas de las características más impías del superhombre nietzscheano y también las opuestas de concordia y proyecto en común por el judío Barenboim, y de igual forma en la irrelevancia casi total de los títulos de las composiciones instrumentales, en gran medida meras etiquetas intercambiables). El único «efecto Mozart» certificable - deleitar al oyente- es común a toda música, de Bach a Ornette Coleman, de Beethoven a Prince, en modo alguno algo exclusivo de la del prodigio austriaco.

Borges, en su Otro poema de los dones, daba gracias, en último pero no menor lugar, «por la música, misteriosa forma del tiempo»; Mozart puede, en efecto, ser una de las más gratas vías para descubrir ese don sin igual, no la exclusiva, ese don hecho de tiempo al que los contornos del calendario no afectan, siempre presto a que alguien lo descubra o reencuentre.

Tal vez hoy, tal vez por usted.

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Tomatis 2008

FT WEEKEND - LAST WORD Why the music of Mozart can drive you mad.

By HARRY EYRES 977 mots 16 dĂŠcembre 2006 Financial Times London Ed1 Page 18 Anglais (c) 2006 The Financial Times Limited. All rights reserved We've had torrents of Mozart (both the music and writing about it) over the past year - the 250th anniversary of the composer's birth - but I don't know that we've got any closer to the essence of this paradoxical and mysterious musician.

I'm not speaking of cloak-and-dagger mystery, Shaffer-esque conspiracy theory or premonitions of death. I'm glad to learn that the composer was still in pretty fine fettle only a week or so before he died and that the old canard of his writing the Requiem for himself has been disproved. The paradox I mean is that Mozart is both easy and extremely difficult.

Easy to listen to, I mean. Who could not be seduced by Don Giovanni's "La ci darem la mano", Cherubino's achingly amorous arias, the celestial slow movement of the Piano Concerto K.467, even the early violin concertos with their outpourings of gorgeous melody? Mozart, with the possible exception of Schubert, simply wrote more good tunes than any other composer. And he scored those melodies in the most ravishing tone colours: Charles Rosen has written that Mozart was a far greater orchestrator than Beethoven. Just one example: the divided violas which play the accompaniment to the famous tune at the start of the Symphony No. 40 in G Minor - a grainy effect simply impossible to transcribe on the piano, as Mendelssohn once said.

But Mozart is also very difficult. Researching this column in an extended fashion over the past year, I have noticed how many outstanding musicians (Gabriel Faure, Artur Schnabel, Claudio Arrau, Alfred Brendel, Mitsuko Uchida) are on record saying that Mozart is the ultimate challenge - simply the most difficult composer to perform. This is not because of the sheer quantity of notes - the philistine criticism levelled by Emperor Josef II in Shaffer's Amadeus - but because every single one of those notes demands to be heard and sounded perfectly.

When Mozart came to write a sonate facile, or easy sonata, he composed the simple and profound and profoundly difficult Sonata in C K.545. Why difficult, when it consists largely of C major and F major scale passages? Because those scale passages need to be played with a perfectly even legato, which is superhumanly difficult to achieve, or because each note needs to sing its heart out. "To control such a transparent texture," writes one of the supreme Mozartians of our time, Alfred Brendel, "actually demands a greater degree of mastery than can ever be attained."

What makes Mozart difficult to grasp as well as to play? Perhaps it is that there are so few obvious handholds or cracks in the surface. Behind Beethoven's magnificently achieved constructions there are obviously unruly emotions, despair, enthusiasm. With Schubert we contact profound subjectivity and loneliness. With Berg or Mahler there is neurosis. It's not that Mozart is inhuman - far from it. He offers a Shakespearean range of moods and characters. But those moods and characters are so perfectly transformed into music that we are left gasping at sublime beauty.

Sublime beauty is the thing, and it was not achieved by accident. In one of his few pronouncements on his methods (written in 1781 when he was composing Die Entfuhrung aus dem Serail), Mozart states that "music, even in the most terrible situations, must never offend the ear, but must please the hearer, or in other words must never cease to be music". Mozart composed strange, terrible and awe-inspiring music, in the weird introductions to the "Dissonance" quartet or the finale of the G minor string quintet (inhabiting a region of pure despair) or in stretches of Don Giovanni and the Requiem but he could not help making it at the same time sound beautiful.

I sometimes wonder about the effect of all this beauty, in a world overcome by ugliness (if you wonder what I mean, consider the fate of the Aral Sea or the Yangtze River or what has happened to the Mediterranean coast of Spain in the past 40 years). Driving through endless suburbs and along arterial roads while listening to a Mozart quartet or concerto I have been assailed by a sort of cognitive dissonance - how can these two human creations coexist, or what possible relation obtains between them? Is Mozart a compensation for the unrelieved mundaneness of the world we have created?

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Tomatis 2008 I don't wish to conclude that Mozart drives you mad. On the contrary, I am firmly convinced that Mozart is good for you.

Here we can move from musicology to medicine. The controversial French ear, nose and throat specialist Dr Alfred Tomatis discovered that "the music of Mozart invariably calmed listeners, improved spatial perception and allowed them to express themselves more clearly, communicating with both heart and mind". In the 1950s, as Mozart's biographer Wolfgang Hildesheimer reports, the Swedish obstetrician Dr Erich Bloch found that playing a tape of Mozart's Piano Concerto in C K.467 relaxed mothers and made childbirth less painful and dangerous. The infant mortality rate in his clinic in Halmstad was much lower than in other clinics.

But I don't think it was this kind of physical benefit Sir Thomas Beecham had in mind when he said that if he became dictator he would insist that everyone listened to Mozart for 15 minutes a day for five years. No, I believe Beecham was thinking more along the lines of Franz Schubert, who comes closest to Mozart among all succeeding composers, and who exclaimed: "A world that has produced a Mozart is a world worth saving. What a picture of a better world you have given us, Mozart!" harry.eyres@ft.com More columns at www.ft.com/eyres

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Tomatis 2008

FT.com site : The music of Mozart can drive you mad.

Harry Eyres 973 mots 15 dĂŠcembre 2006 Financial Times (FT.Com) Anglais (c) 2006 The Financial Times Limited. All rights reserved We've had torrents of Mozart (both the music and writing about it) over the past year - the 250th anniversary of the composer's birth - but I don't know that we've got any closer to the essence of this paradoxical and mysterious musician.

I'm not speaking of cloak-and-dagger mystery, Shaffer-esque conspiracy theory or premonitions of death. I'm glad to learn that the composer was still in pretty fine fettle only a week or so before he died and that the old canard of his writing the Requiem for himself has been disproved. The paradox I mean is that Mozart is both easy and extremely difficult.

Easy to listen to, I mean. Who could not be seduced by Don Giovanni's "La ci darem la mano", Cherubino's achingly amorous arias, the celestial slow movement of the Piano Concerto K.467, even the early violin concertos with their outpourings of gorgeous melody? Mozart, with the possible exception of Schubert, simply wrote more good tunes than any other composer. And he scored those melodies in the most ravishing tone colours: Charles Rosen has written that Mozart was a far greater orchestrator than Beethoven. Just one example: the divided violas which play the accompaniment to the famous tune at the start of the Symphony No. 40 in G Minor - a grainy effect simply impossible to transcribe on the piano, as Mendelssohn once said.

But Mozart is also very difficult. Researching this column in an extended fashion over the past year, I have noticed how many outstanding musicians (Gabriel Faure, Artur Schnabel, Claudio Arrau, Alfred Brendel, Mitsuko Uchida) are on record saying that Mozart is the ultimate challenge - simply the most difficult composer to perform. This is not because of the sheer quantity of notes - the philistine criticism levelled by Emperor Josef II in Shaffer's Amadeus - but because every single one of those notes demands to be heard and sounded perfectly.

When Mozart came to write a sonate facile, or easy sonata, he composed the simple and profound and profoundly difficult Sonata in C K.545. Why difficult, when it consists largely of C major and F major scale passages? Because those scale passages need to be played with a perfectly even legato, which is superhumanly difficult to achieve, or because each note needs to sing its heart out. "To control such a transparent texture," writes one of the supreme Mozartians of our time, Alfred Brendel, "actually demands a greater degree of mastery than can ever be attained."

What makes Mozart difficult to grasp as well as to play? Perhaps it is that there are so few obvious handholds or cracks in the surface. Behind Beethoven's magnificently achieved constructions there are obviously unruly emotions, despair, enthusiasm. With Schubert we contact profound subjectivity and loneliness. With Berg or Mahler there is neurosis. It's not that Mozart is inhuman - far from it. He offers a Shakespearean range of moods and characters. But those moods and characters are so perfectly transformed into music that we are left gasping at sublime beauty.

Sublime beauty is the thing, and it was not achieved by accident. In one of his few pronouncements on his methods (written in 1781 when he was composing Die Entfuhrung aus dem Serail), Mozart states that "music, even in the most terrible situations, must never offend the ear, but must please the hearer, or in other words must never cease to be music". Mozart composed strange, terrible and awe-inspiring music, in the weird introductions to the "Dissonance" quartet or the finale of the G minor string quintet (inhabiting a region of pure despair) or in stretches of Don Giovanni and the Requiem but he could not help making it at the same time sound beautiful.

I sometimes wonder about the effect of all this beauty, in a world overcome by ugliness (if you wonder what I mean, consider the fate of the Aral Sea or the Yangtze River or what has happened to the Mediterranean coast of Spain in the past 40 years). Driving through endless suburbs and along arterial roads while listening to a Mozart quartet or concerto I have been assailed by a sort of cognitive dissonance - how can these two human creations coexist, or what possible relation obtains between them? Is Mozart a compensation for the unrelieved mundaneness of the world we have created?

I don't wish to conclude that Mozart drives you mad. On the contrary, I am firmly convinced that Mozart is good for you.

Here we can move from musicology to medicine. The controversial French ear, nose and throat specialist Dr Alfred Tomatis discovered that "the music of Mozart invariably calmed listeners, improved spatial perception and allowed them to express themselves more clearly, communicating with both heart and mind". In the 1950s, as Mozart's biographer Wolfgang Hildesheimer reports, the Swedish obstetrician Dr Erich Bloch found that playing a tape of Mozart's Piano Concerto in C 52

Articles scientifiques & articles de la presse

Tomatis 2008 K.467 relaxed mothers and made childbirth less painful and dangerous. The infant mortality rate in his clinic in Halmstad was much lower than in other clinics.

But I don't think it was this kind of physical benefit Sir Thomas Beecham had in mind when he said that if he became dictator he would insist that everyone listened to Mozart for 15 minutes a day for five years. No, I believe Beecham was thinking more along the lines of Franz Schubert, who comes closest to Mozart among all succeeding composers, and who exclaimed: "A world that has produced a Mozart is a world worth saving. What a picture of a better world you have given us, Mozart!" harry.eyres@ft.com More columns at www.ft.com/eyres

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Articles scientifiques & articles de la presse

Tomatis 2008 TheBackPage Lifelines.

318 mots 21 novembre 2006 Irish Times 8 Anglais (c) 2006, The Irish Times.

COMMUNICATION STYLE: It's Not What You Say, It's How You Say It is the theme of a seminar by author and international public speaker Allan Pease in the Astra Hall, University College Dublin on Thursday, November 23rd at 7pm.

Pease will take a witty and irreverent look at the different communication styles of men and women and how to avoid arguments, disagreements and conflicts. Tickets are €50 online on www.seminars.ie or tel: 01 2875584.

• AUDITORY TRAINING PROGRAMME: Aspergers Syndrome and Auditory Processing is the theme of a talk at the Cluas Centre in Exchange Hall, Belgard Square North, Tallaght, Dublin on Saturday at noon. The centre uses classical music as part of an auditory training programme to help children with developmental delay. The approach, known as the Tomatis method, was developed by French ear, nose and throat specialist Dr Alfred Tomatis. See www.cluas.ie or tel: 01 4940210 for more details.

• ATTACKING PANIC: What personal dilemmas cause panic and anxiety? What is happening within your body during a panic attack? How can you control and eliminate panic attacks? These are the questions that will be answered in a one-day seminar on panic attacks, facilitated by psychotherapist and author of When Panic Attacks (Newleaf) Dr Aine Tubridy.

The seminar will be held on Saturday, 10am-5pm, in the Institute of Psychosocial Medicine, 2 Eden Park, Dún Laoghaire, Co Dublin. Cost €100. More details on tel: 01 2800084.

• SELF-SABOTAGE WORKSHOP: Overcoming self-sabotage is the ambitious title of a day of talks and workshops on Saturday, organised by the Wealth of Women movement. Facilitators at the workshop in St Teresa's Centre, Clarendon Street (above Café Bell), Dublin include a practitioner of neurolinguistic programming and hypnotherapy. Irish Times columnist Róisín Ingle is a guest speaker. Cost €125. Tel: 086 1675272. See also www.wealthofwomen.com Lifelines is compiled by Sylvia Thompson

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Tomatis 2008 CENTRE OF BALANCE Greg LAUTENSLAGER, 2,870 mots 1 novembre 2006 The Nelson Mail (NZ) 17 Anglais Š 2006 Fairfax New Zealand Limited. All Rights Reserved.

When her two-year old son stopped talking, Julie Marshall-Tideman of Motueka started searching.

She looked for someone, something, some place that could help her autistic child Michael and give him hope of a life free of the silence and humiliation that shrouds many victims of the disorder.

She found it, as have others affected by this and other mental and physical afflictions, in Nelson East, at a three-storey stucco home with gold letters shining above the mail slot - ``Joya''.

Julie was welcomed at the Joya Centre of Balance, New Zealand's first Listening Centre, by a Dutch practitioner keen to make a difference in Michael's life.

Paulina Aarts met Michael and his mother and showed them to a downstairs studio equipped with all sorts of electronic equipment and a large assortment of toys and books.

For 15 days in a row, Michael and his mum drove to Nelson to sit and play while listening with headphones to Mozart and Gregorian chants, waiting for something to happen, something to change. ``One never knows where those changes start, what they entail. It can be anything - a change in sleeping patterns, posture, more emotional balance - it is a surprise time and time again,'' Paulina says. ``Julie had been advised to start using pictures in order to communicate with her son. She wanted to give this a go first, even though I could not promise her I'd be able to help. I will always remember Michael and Julie, also because they were my first New Zealand clients.''

Paulina grew up in Amsterdam. She had a private practice as a psychotherapist but spent many years travelling around the world as a documentary maker. She wrote radio-plays and songs which landed her unexpectedly on the Dutch hit charts. ``I do not identify myself with any of these things any more,'' she says. ``It was an interesting time while it lasted.''

She became fascinated with the work of Dr Alfred Tomatis, a French professor who laid the groundwork for a multidisciplinary science exploring the impact of auditory stimulation of the brain and discovered that listening problems can be the root cause of many learning disabilities. ``Only in recent years have we begun to understand the importance of sound as a means to charge the brain,'' Paulina says. ``Not only does the ear control our sense of rhythm and movement, its function can also be likened to a dynamo, a place where sound is transformed into electrical pulses.''

In 1988, American neurobiologist Gordon Shaw did a computer simulation based on someone's brain activity. He decided to turn the output of the simulation into sound rather than a normal printout. To his surprise, these patterns of neurons firing in certain frequencies and rhythms sounded like music. ``Glue-ears, ear infections, emotional distress - there are lots of reasons why our listening skills can be impaired,'' Paulina says. ``There certainly is a psychological component to listening. People can have good hearing while still finding it difficult to listen. They filter out or even totally delete certain things from their perception and create their own version of reality. We all do that to some extent. ``Distortions can already start in the womb. Halfway through the pregnancy the baby will be able to perceive the sounds of the mother's heartbeat, breathing and voice. This is the beginning of listening and involves our whole body, with the skeletal system acting as a resonator since we are in a fluid environment. Mother and child are a unit and as such the ``disharmonies'' in life impact on both.

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Tomatis 2008 ``Becoming a parent is a rite of passage and not always easy. One of the benefits of doing Listening Training for pregnant mothers is that it helps them be more relaxed and energised, especially in those demanding last months of pregnancy.''

The work of Tomatis, who died in 2001, aged 81, has impacted on more than pregnant mums and children with autism. It has benefited those with learning problems like dyslexia and dyspraxia, attention deficit disorder, Asperger's syndrome, depression, speech and communication difficulties, hearing deficit, anxiety and stress, and such neurological disorders as stroke, vertigo and epilepsy.

Paulina says she initially intended doing a documentary about Tomatis and went to Paris for the required research. That was more than 10 years ago, in the mid-1990s.

Her stay at the Paris headquarters was an eye-opening experience that finally caused her to change her career altogether.

She continued to study in London and spent time in the Sydney centre.

In 2000 she moved, with her two sons, to Nelson, renovated her house, and set up her practice in October 2002 in what she believes is the only residential Listening Centre in the world.

She had a waterfall, pond, deck and gardens built in her backyard with a view of the sea, city and mountains to make the setting more serene for her clients.

She made brochures, a website and held lectures for Autism New Zealand and other organisations.

But her best advertisements were her results. Word of mouth spread and soon people came from all over New Zealand and abroad. People from the United States and Europe saw the benefits of combining Listening Training with a holiday.

She has added a self-contained studio to accommodate such guests. She says she has had 75-80 clients.

Julie learned of the Joya Centre from her doctor. She says her son Michael displayed all the characteristics of autistic children: withdrawal, obsessive behaviour, little eye contact, tantrums, sensory imbalances and no spoken language. ``He made noises, but no real words. It was a lot of garble,'' Julie says. ``Michael was alone and aloof and didn't like to be touched, especially on the head. ``When I took him to the hairdresser, he would scream so loud people would come in off the street to see what was going on,'' she says.

Julie sought treatment that didn't involve drugs and was intrigued by music therapy. She found Paulina very calm, professional and easy to talk to and the centre soothing and relaxing.

The headphones were on a long lead, which allowed her son to wander, play with the toys and be outside on the secluded terrace overlooking the gardens.

But Michael at first wanted little to do with the headphones. They even ended up in the pond. ``It was hard to get him to wear them,'' Paulina says. ``It took us a week at least before he allowed them on. One day Julie tried to calm him down by giving him a massage. He fell asleep on her lap. I put the headphones on him, and that was the turning point. ``From then on, he sat there playing with trains and Lego and accepted the headphones without any further problems.''

Near the end of the third week, Julie was reading one of Michael's favourite books to him and she pointed at a picture of a piglet and a knife and read the word underneath: ``butcher''.

Michael took his mum's finger and pressed it on the word, again and again. Julie said ``butcher'' a number of times. Then he spoke clearly and repeated her. ``Butcher!'' ``We almost shot out of our chairs with the excitement of it all,'' Julie says.

The progress continued during the remaining sessions, and by the end Michael was making good eye contact and felt much more at ease with his surroundings. They returned for two more series of sessions and did a top-up in January.

Julie says she realises there is no cure for autism, but it can be managed and that Michael can have a normal family life with his older brother and their mother and father. Julie can even bring him to the hairdresser.

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Tomatis 2008 ``I took him there the other day,'' she says. ``He was like a lamb.''

The Joya Centre training is considered an alternative practice by the medical profession, but it is not dismissed. ``You have to be cautious about any treatment,'' says Dr Nick Baker, a community paediatrician in Nelson. ``In ADD, for instance, there are a large number of fad treatments for clients. Doctors have been very successful in treating this.''

Baker says parents should first seek medical help for themselves or their child and adds that most doctors are ``open to trying other things''. ``If the treatment is unlikely to cause harm, the patient had not been making previous progress, and the patient (or the parent) is not being bankrupted, then so be it.''

With autistic children, Baker says their behaviour is unpredictable and it is difficult to tell what treatment helps. ``Kids with autism change randomly. You think you've done something for them by flipping a switch.''

Still, Paulina is confident in her treatment with a variety of clients and she points to their testimonials on the website www.joyacentre.co.nz .

A man diagnosed with hearing loss in both ears said that after undergoing the Listening Training he now uses his hearing aid minimally and he has a greater openness to communicate.

An Auckland singer and sound engineer tells how the training had a profound effect on his work and his interpersonal relationships. A local solo performer who does a lot of improvisational theatre mentions how the Listening Training helped her both on a creative and energetic level.

The nervousness and mental exhaustion she would usually feel before a performance diminished and her voice quality in speaking and singing has become even better than before. ``That is a living proof of one of Tomatis' insights that earned him a knighthood in France,'' Paulina says. ``There is a direct relationship between the sounds we perceive and the ones we produce. ``Maria Callas, Yehudi Menuhin, Pavarotti, Sting, Gerard Depardieu - all these celebrities who made Tomatis' fortune in the beginning, did not come to him because they had hearing problems. They came to him because they wanted to improve their perception, improve their instrument. They wanted to add richness and nuance, in a way that could not be achieved otherwise. ``At first the Tomatis Method was an elitist thing for the rich and famous. It still is in most parts of the world.''

In Nelson it has been a godsend for many people, including some who asked not to be identified because of the sensitive nature of their children's disabilities.

A Richmond woman - Linda for this article - has a son with a sensory integration problem. He didn't make his first sentence until he was almost five and then spoke in monologues for up to 15 minutes in length about machines he wanted to invent, without making eye contact. ``If he got wound up about things, he would shout and have a tantrum,'' Linda says. ``He ate only crunchy food and turned his nose up at porridge and bread. He had difficulty remembering names, what day it was and even what he had been doing during the day.''

Linda turned to the Joya Centre since she felt she had nothing to lose. She and her son attended the first series of 12 daily sessions and sat and listened to classical music and chants filtered at different frequencies through the ``Electronic Ear'', a patented device developed by Tomatis.

She says the improvement in his communication and short-term memory was remarkable. ``Now he stops and he talks to you, looks you in the face. The other day he was jumping on the trampoline and called out to me: `Do you remember Daddy's friend, such and such'.''

Linda doesn't know what would have happened to her son without the Listening Training.

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Articles scientifiques & articles de la presse

Tomatis 2008 ``In terms of having a life filled with friendships and relationships, he would have had a struggle.''

Another Nelson mother, who asked to be identified as Susie, went through a lot of trouble for years with her eight-year-old son, who has dyspraxia.

She said he was very vague and lost in the world and failed to reach normal milestones like riding a bike. He lacked organisation, and she had to keep repeating things. It took him a long time to learn.

The boy became one of the first clients for Paulina, who had created an environment where her son could feel at ease. ``It's a big ask for a child to be there for two hours with headphones for 15 straight days, then eight days, and then another eight days,'' Susie says.

But there was a profound difference. ``His personality suddenly jumped out, a sense of freedom to be who he is,'' Susie says.

She introduced a friend from Upper Moutere - we'll call her Donna - to the Joya Centre. Donna's six-year-old son acted up at kindy. ``He was constantly running around, throwing things and going silly.''

The boy also didn't like loud sounds, would not do as he was told and could be overly aggressive. Paulina sorted him out. ``A friend who we hadn't seen for years came up from Christchurch and noticed the difference immediately,'' Donna says. ``Finally, my son is better socially, he is more cooperative, more tolerant, less sensitive to sound and more aware of others.

It has opened up his world.''

The world has also opened for those who have accompanied their young children to the Joya Centre. The parent gets charged $100 for the initial assessment and $40 per hour but listens for free.

According to Paulina, results are best and more likely to be lasting when the parent also gets a chance to go through the process.

Linda says she is more relaxed, can think things through more and takes a more positive approach to life. Donna says that doing Joya relieved her depression and made her happier and more accepting of things. Susie says she feels much more at home with herself.

It's the same good feeling Paulina experienced when she first did the training more than 10 years ago. ``I was amazed how profound this method is,'' she says. ``It is one of these things you have to experience more than talk about. ``Before I started my own private practice in the Netherlands, I worked for a time within more institutionalised mental health and specialised in child abuse. I know how long it can take before people come to terms with the past. There are always new layers, old wounds to uncover. ``What I appreciate most is the serenity and simplicity of the method. Nothing and no one is pushing you to remember or to relive things. There is no `therapist' and no talking, unless a client really wants to share experiences. ``Don't ask me exactly why this works, because I do not have the full answer. One part of it is the Electronic Ear, and the individualised programmes I write for each client on the basis of an assessment. ``The CDs I use are specialised, professional CDs - mainly Mozart and Gregorian chants which have been modified in a music laboratory in Europe. ``There are areas where the music is `densified', a system where layer over layer of the same music is recorded on top of each other to create optimal stimulation of the brain.''

Paulina says that she hopes Listening Training will become more available to the general public. There are about 250 centres worldwide, and some schools and hospitals in the US. France and Germany have already experimented with the method.

And while she was working in the London centre, there was a successful project going on where Listening Training was 58

Articles scientifiques & articles de la presse

Tomatis 2008 offered to inmates of a low security prison. Vibrational therapies, like the Tomatis Method, are gentle, non-toxic and fast.

According to Paulina, too many pills are prescribed for the young as well as the old and she thinks there is a growing need for other valid ways to tackle a lot of the mental health problems we have. ``One of my clients had been on Prozac from age 11 - he was 21 when he was diagnosed with Asperger's syndrome, a form of high-functioning autism. He came to me urged by his mother who feared he was on a downward spiral. ``He hardly got out of bed any more, sat in front of the television all day and had hardly any social contacts outside the family. He weaned himself off the medicine, did a course at the polytech and embarked on a totally different journey and will soon be living independently, no longer in need of his mum to do the washing and the cooking for him.''

Listening Training has the potential to create happier, more well-adjusted people, like the woman who testified that she had struggled with guilt, regret and sorrow for years since the break-up of her marriage.

Her experience at the Joya Centre helped work it out for her. ``I believe Listening Training has been instrumental in overcoming these feelings and that it helped in a subtle but powerful way to bring back balance,'' she writes in a testimonial on the website. ``I feel more connected and grateful and feel a sense of strength within, which hasn't been there before.''

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Articles scientifiques & articles de la presse

Tomatis 2008

Mit Mozart wird das Ohr erzogen 437 mots 27 septembre 2006 Frankfurter Rundschau 36 Allemand (c) Copyright Frankfurter Rundschau 2006 www.fr-aktuell.de Die Musik des Komponisten steht im Zentrum der Hörtherapie einer Niddataler Sprachheillehrerin Mit Mozarts Musik trainiert Sigrid Strassheim das Ohr, das sie als Tor zur Welt, zum Körper und zum Sein versteht. Ihre ganzheitlichen Therapie soll helfen, Fremdsprachen leichter zu erlernen und vor allem richtig zu "horchen".

Niddatal · In diesem Jahr feiern weltweit Musiker, Künstler und Liebhaber klassischer Musik in festlichen Konzerten den 250. Geburtstag von Wolfgang Amadeus Mozart. Obwohl Mozarts Werke von vielen Menschen gern gehört und geschätzt werden, wissen die meisten nicht, dass seine Musik auch in der Medizin und Psychotherapie seit über einem halben Jahrhundert erfolgreich eingesetzt wird.

Entwickelt wurde die "Audio-Psycho-Phonologie"-Methode (A.P.P.) zur "Erziehung des Ohres" von dem französischen HNOArzt und Chirurgen Dr. med. Alfred Tomatis (1920 - 2001) im Zuge seiner For-schungen über Schwerhörigkeit bei Piloten und Flugzeugwerftarbeiten. Sie beruht auf der wissenschaftlichen Erkenntnis, dass die Funktionen des Hörens, Verstehens und Sprechens vielfach miteinander verknüpft sind und dass deren optimale Vernetzung maßgeblich für das seelische Gleichgewicht ist.

In der Wetterau wendet die Sprachheillehrerin und A.P.P.-Hörtherapeutin Sigrid Strassheim die international anerkannte Hörtherapie in ihrer Praxis in Niddatal-Ilbenstadt an. "Die frühen Werke Mozarts regen das Gehirn an und rufen eine therapeutische Wirkung hervor, die vor allem Menschen mit Konzentrationsschwäche, Angstzuständen und Sprachproblemen, bei Schwangeren zur Vorbeugung von Frühgeburten oder bei Wachkomapatienten erfolgreich ist."

Horchtraining Das auf dem Tomatis-Effekt beruhende Horchtraining, bei dem mit Hilfe eines computergesteuerten "elektronischen Ohrs" gefilterte Frequenzbereiche durch spezielle Kopfhörer wiedergegeben werden, bietet vielfach Hilfe. Zum Beispiel bei Störungen der gesprochenen und geschriebenen Sprache wie Stottern, Legasthenie oder Dyslexie, bei Störungen der Grobund Feinmotorik oder bei der Rehabilitation nach einem Hörsturz oder Schlaganfall. "Das Ohr ist nicht nur Gehör- und Gleichgewichtsorgan, es spielt auch eine wesentliche Rolle in zahlreichen anderen Entwicklungsbereichen. Oft hören Kinder oder Erwachsene zwar, aber sie horchen kaum. Horchen setzt den ganzen Menschen in Bereitschaft", erklärt Sigrid Strassheim.

Gefilterte Frequenzen Für das Horchtraining verwendet die Sprachheillehrerin vom Computer gefilterte Frequenzen, Instrumentalmusik von Mozart, Gregorianische Choräle und Kinderlieder. Während des Trainings können sich die Klienten einfach entspannen, schlafen oder kreativ betätigen.

Gymnasiast Gideon Göhler (14) aus Marburg kommt regelmäßig zu Sigrid Strassheim, um seine Konzentration, Wachheit und Achtsamkeit im Unterricht zu verbessern. Der sehr gute Schüler nutzt die Tomatis-Methode vor allem, um sein "französisches Ohr", das heißt schmalbandige Frequenzen, zu trainieren.

Die Kosten für eine Horchtherapie mit drei oder vier Hörphasen, deren Erfolge messbar sind, liegen um die 2000 Euro.

Christine Fauerbach Informationen zur Hörtherapie gibt es bei Sigrid Strassheim unter 0 60 34 - 43 52

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Articles scientifiques & articles de la presse

Tomatis 2008

Institut für Audio-Psycho-Phonologie nach A. Tomatis (D) - Kanton Zug 142 mots 19 septembre 2006 D & B SHAB Allemand SHAB Information serialised by Dun & Bradstreet (Schweiz) AG. Homepage Address: http://www.dbswiss.ch HR SHAB Nr. 181 vom 19.09.2006, Kanton ZG (D) 13.09.2006 (11004) Institut für Audio-Psycho-Phonologie nach A. Tomatis (D) 6300 Zug Stiftung SHAB Nr. 69 vom 11.04.2002, Seite 15 Führung eines Institutes im Kanton Zug, welches die Audio-Psycho-Phonologie von Dr. Alfred Tomatis a ZG Mutationen Institut für Audio-Psycho-Phonologie nach A. Tomatis, Sitz: Zug, CH-170.7.000.536-3, Führung eines Institutes im Kanton Zug, welches die Audio-Psycho-Phonologie von Dr. Alfred Tomatis anwendet, Stiftung (SHAB Nr. 69 vom 11.04.2002, S. 15, Id. 422312).

Eingetragene Personen Neu: Zentralschweizer BVG- und Stiftungsaufsicht (ZBSA), in Luzern, Aufsichtsbehörde.

Gelöscht: (Amt für berufliche Vorsorge und Stiftungsaufsicht, in Zug, Aufsichtsbehörde).

Tagebuch Nr. 11004 vom 13.09.2006

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Articles scientifiques & articles de la presse

Tomatis 2008 Speaking volumes 762 mots 19 aoĂťt 2006 Irish Independent Anglais (c) 2006 Independent Newspapers Ireland Ltd The Human Voice By Anne KarpfBloomsbury, â‚Ź29.80 Fiona ShawI remember the actor Donal McCann once saying: "We are all in permanent confession." He believed that every word we uttered carried our true natures, our sorrows, histories and sensibilities, all held in the voice.

Anne Karpf's thrilling book explores with enthusiastic brio this fundamental capacity that is "leaking information about our biological, psychological and social status." It is crammed with fact, incident, anecdote and research, and tumbles into areas such as the history of social and sexual relations, as well as politics, stardom and power.

She jumps from tribal tendencies, such as the Tzeltal people of Mexico, who have different names for different kinds of speech - like Norman Bates inPsycho who is controlled by his mother's voice - to individual ones, such as Margaret Thatcher's adjustment from high-pitched rant to patronising depth, Gerry Adams' banned voice and Brad Pitt's bland voice.

Karpf feels that the term 'voice' has been hijacked from meaning 'the sounds that we make' into meaning 'literary selfexpression', and wants to reinstate this complex production of a preverbal message through neurology, biology and physics, via the elasticity of phonetic and acoustic event.

She begins with a dramatic description of the anatomy of the voice, conveying the elasticity of our vocal cords, which oscillate with more than a million cycles a day. Alfred Tomatis discovered that opera singers who lost their voices had deafened themselves and deduced that we can only reproduce what the ear can hear - therefore we make sound with our ears, too!

Babies can distinguish their mother's voice from others long before they can differentiate faces, and linguists have discovered that baby talk is international. The cooing of mothers and babies develops into the cooing of adult lovers, but the voice box becomes Pandora's box as sociology gives way to sexual politics.

Karpf declares that vocal pitch has become a weapon in gender wars. Men talk as if they were bigger and women as if they were smaller than they actually are. She points out a taboo against women's voices - Echo and Philomel, who were punished for being heard in classical myth, are linked to a piece of 16th-century rhetoric:What becomes a woman best and first of all, silence, and second, silence. This prejudice carried on into the discouraging of women's voices on radio, their high notes being seen as off-putting.

Women's voices have deepened in the past 30 years, while men are feminising theirs - a complete contrast to perceptions in the 1930s, when high voices were associated with demureness in women and low voices with sexuality, so that what suited serious broadcasting was associated with promiscuity.

The effect of mucus on the vocal cords, which distorts sound into the panting whisper of Marilyn Monroe, was emulated by many women to appear aroused - and brainless - even when they were not. There is a double standard, too, with volume women appear to be talking more loudly when actually they are not. Amusingly, women and men speak louder when talking to each other.

The Human Voice expands to the cultural mannerisms of sound-making. The Japanese haveaizuchi - agreeing sounds made by listeners during conversation. Our endless capacity to adjust to each other's rank and class is called convergence.

Karpf discusses the global misunderstandings of volume and intonation, with Americans sounding too quiet and insincere to Arabs, who sound too loud to Americans. Indeed, it is in the world of global politics that the voice of the individual has held such sway. Think of the intimacy of Franklin D Roosevelt, the scream of Hitler that numbed the listener, the fruity timbre of Churchill, the folksy sound of Reagan and the pained hoarseness of Clinton, borrowed to excess by Tony Blair in times of sorrow.

Apart from mentioning the death of vocal clarity in actors, and the effect of sex on tenors' high notes, this is not - despite a formidable bibliography - a guidebook for voice development.

Karpf has no theory of correct voice production and makes no reference to the great Cicely Berry who rediscovered and transformed voice performance in Britain. We are, however, led to ask: where in this noisy world can the space be found 62

Articles scientifiques & articles de la presse

Tomatis 2008 for this delicate instrument?

It moves with us, our evolving selves, our chaos, our beauty, our confessions. This book, like the human attribute that it illuminates, celebrates rather than concludes.

Fiona Shaw is an actress and one of the judges for this year's Man Booker prize.

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Tomatis 2008

Miscellaneous Falta de atención o de saber escuchar Nellie Torres 544 mots 11 août 2006 El Nuevo Día Espagnol Copyright 2006 NoticiasFinancieras. All Rights Reserved.

El ADD se confunde con frecuencia con un problema de procesamiento auditivo. Asegúrate de que tu hijo tiene el diagnóstico correcto Los padres de Pablo ya no saben que más hacer. Aunque lucharon por años en contra de la recomendación del médico para medicar a Pablo con el propósito de mejorar su atención en la escuela, cuando al final claudicaron y pusieron toda la esperanza en el medicamento, el mismo no presentó los resultados esperados: los cambios no fueron sustanciales.

Pablo continúa desconectándose en el salón de clases, se le hace difícil seguir instrucciones por lo cual la maestra para ayudarlo se las repite frecuentemente y le coloca la mano en el hombro para que él vuelva a "conectarse".

Se distrae con los ruidos más insignificantes, confunde lo que se le ha dicho o sólo retiene parte de lo que escucha. Al final del día termina agotado y frustrado porque se siente perdido en el salón. Sus calificaciones no son las mejores a pesar de todo el esfuerzo, las tutorías y las terapias. Sus destrezas de lectura y escritura están por debajo de lo esperado. Para tener éxito en la escuela no basta con oír (función pasiva), es necesario saber escuchar (función activa).

Si el medicamento no ayudó en forma significativa a Pablo, cuyo diagnóstico es uno de trastorno de déficit de atención de tipo inatento, ¿qué otra cosa se podrá hacer?

El caso de Pablo es uno muy común y generalmente refleja el problema de una confusión en el diagnóstico. Las características de Pablo son compatibles con un problema de procesamiento auditivo, el cual se confunde con frecuencia con un trastorno de atención de tipo inatento (ADD por sus siglas en inglés) o con pérdida auditiva, aunque al evaluarlos un audiólogo descubre que oyen muy bien. Oír es una función pasiva mientras que el escuchar, según descubrió el doctor Alfred Tomatis, otorrinolaringólogo francés, es una función activa que implica la habilidad, la intención y el deseo de enfocar en los sonidos.

Un procesamiento auditivo deficiente es uno de los problemas más comunes en nuestros niños en edad escolar y sigue proliferando como una plaga. Un agravante que se ha identificado y que empeora la condición es la exposición temprana excesiva de nuestros niños a estímulos visuales tecnológicos (TV, Gameboy, Nintendo, XBox y computadoras, entre otras).

Mientras los niños desde pequeños se convierten en entes cibernéticos que aprenden visualmente, el sistema educativo tiene como fundamento unas buenas destrezas auditivas, algo prácticamente en peligro de extinción en nuestros niños.

En el interín, los padres de Pablo están en una encrucijada porque aunque hay niños que tienen ambos problemas, el de trastorno de atención de tipo inatento o con hiperactividad y un problema de procesamiento auditivo. Su hijo es un claro ejemplo del segundo.

Pablo es un personaje ficticio… pero muy real y demasiado común. Puede estar en tercer grado, en octavo o ser un joven adulto. ¿Su futuro? Lleno de obstáculos si no recibe ayuda. Como en cualquier otra condición, la intervención temprana puede hacer la diferencia.

La autora es patóloga del habla y directora del Centro Tomatis de Puerto Rico. lfcarella@aol.com © 2005 NoticiasFinancieras - © 2005 GDA - El Nuevo Dia - All rights reserved

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Tomatis 2008 News Classic cures for children 332 mots 9 ao没t 2006 Whitehorse Leader 119 Anglais Copyright 2006 News Ltd. All Rights Reserved MUSIC is good for the soul and may also be capable of treating a range of childhood behavioural difficulties, including attention deficit disorder and learning difficulties.

Martha Mack, psychologist and director of Victoria's Listen and Learn Centre, teaches the Tomatis Method, a sophisticated sound therapy that works by retraining the ear with a device called the electronic ear, designed by Dr Alfred Tomatis, a French ear, nose and throat physician.

Dr Tomatis believed that a person needs to be able to hear the full spectrum of sound frequencies to process and understand information correctly.

If any of the sound frequencies are blocked or hindered, children are at a distinct disadvantage when it comes to learning.

"If there is a problem, then the fast information is not going to be analysed effectively," Ms Mack said.

"So what you end up seeing is the symptom where the child needs to have information repeated or may miss the information altogether."

The Listen and Learn Centre offers a complex listening test to establish whether a child has an auditory processing disorder.

"After doing the listening test, we can target the area or the range of frequencies that the child is having troubles with. So by giving the child a full range of sounds via music and the voice, it teaches the ear to analyse and decode and improve. It's like going to the gym for your ears."

The music of Mozart and in particular his early symphonies have proven to be the most effective because of the wide range of frequencies in his music.

"My clients start from the age of three. I see so many children with communication disorders, autism, learning difficulties and dyslexia. The level of improvement that happens in them is remarkable," Ms Mack said. "We see less repetition of instructions, an improvement in following directions, better conversation skills and memory. Overall learning improves reading, speed and sequencing of thoughts."

65

Articles scientifiques & articles de la presse

Tomatis 2008 News Trying a classic cure 339 mots 9 ao没t 2006 Diamond Valley Leader 1 - DVV 25 Anglais Copyright 2006 News Ltd. All Rights Reserved MUSIC is good for the soul and may also be capable of treating a range of childhood behavioural difficulties, including attention deficit disorder and learning difficulties.

Martha Mack, psychologist and director of Victoria's Listen and Learn Centre, teaches the Tomatis Method, a sophisticated sound therapy that works by retraining the ear with a device called the electronic ear, designed by Dr Alfred Tomatis, a French ear, nose and throat physician.

Dr Tomatis believed that a person needs to be able to hear the full spectrum of sound frequencies to process and understand information correctly. If any of the sound frequencies are blocked or hindered, children are at a distinct disadvantage when it comes to learning.

"If there is a problem, then the fast information is not going to be analysed effectively," Ms Mack said. "So what you end up seeing is the symptom where the child needs to have information repeated or may miss the information altogether."

The Listen and Learn Centre offers a complex listening test to establish whether a child has an auditory processing disorder.

"After doing the listening test, we can target the area or the range of frequencies that the child is having troubles with. So by giving the child a full range of sounds via music and the voice, it teaches the ear to analyse and decode and improve. It's like going to the gym for your ears," Ms Mack said.

The music of Mozart and in particular his early symphonies have proven to be the most effective because of the wide range of frequencies in his music.

"My clients start from the age of three. I see so many children with communication disorders, autism, learning difficulties and dyslexia. The level of improvement that happens in them is remarkable," she said.

"We see less repetition of instructions, an improvement in following directions, better conversation skills and even improved memory.

"Overall learning improves improved reading, speed of reading and sequencing of thoughts."

66

Articles scientifiques & articles de la presse

Tomatis 2008 News Classic cures for children 332 mots 8 ao没t 2006 Waverley Leader 1 - WGV 19 Anglais Copyright 2006 News Ltd. All Rights Reserved MUSIC is good for the soul and may also be capable of treating a range of childhood behavioural difficulties, including attention deficit disorder and learning difficulties.

Martha Mack, psychologist and director of Victoria's Listen and Learn Centre, teaches the Tomatis Method, a sophisticated sound therapy that works by retraining the ear with a device called the electronic ear, designed by Dr Alfred Tomatis, a French ear, nose and throat physician.

Dr Tomatis believed that a person needs to be able to hear the full spectrum of sound frequencies to process and understand information correctly.

If any of the sound frequencies are blocked or hindered, children are at a distinct disadvantage when it comes to learning.

"If there is a problem, then the fast information is not going to be analysed effectively," Ms Mack said.

"So what you end up seeing is the symptom where the child needs to have information repeated or may miss the information altogether."

The Listen and Learn Centre offers a complex listening test to establish whether a child has an auditory processing disorder.

"After doing the listening test, we can target the area or the range of frequencies that the child is having troubles with. So by giving the child a full range of sounds via music and the voice, it teaches the ear to analyse and decode and improve. It's like going to the gym for your ears."

The music of Mozart and in particular his early symphonies have proven to be the most effective because of the wide range of frequencies in his music.

"My clients start from the age of three. I see so many children with communication disorders, autism, learning difficulties and dyslexia. The level of improvement that happens in them is remarkable," Ms Mack said. "We see less repetition of instructions, an improvement in following directions, better conversation skills and memory. Overall learning improves reading, speed and sequencing of thoughts."

67

Articles scientifiques & articles de la presse

Tomatis 2008 News Classic cures for children 332 mots 8 ao没t 2006 Maroondah Leader 127 Anglais Copyright 2006 News Ltd. All Rights Reserved MUSIC is good for the soul and may also be capable of treating a range of childhood behavioural difficulties, including attention deficit disorder and learning difficulties.

Martha Mack, psychologist and director of Victoria's Listen and Learn Centre, teaches the Tomatis Method, a sophisticated sound therapy that works by retraining the ear with a device called the electronic ear, designed by Dr Alfred Tomatis, a French ear, nose and throat physician.

Dr Tomatis believed that a person needs to be able to hear the full spectrum of sound frequencies to process and understand information correctly.

If any of the sound frequencies are blocked or hindered, children are at a distinct disadvantage when it comes to learning.

"If there is a problem, then the fast information is not going to be analysed effectively," Ms Mack said.

"So what you end up seeing is the symptom where the child needs to have information repeated or may miss the information altogether."

The Listen and Learn Centre offers a complex listening test to establish whether a child has an auditory processing disorder.

"After doing the listening test, we can target the area or the range of frequencies that the child is having troubles with. So by giving the child a full range of sounds via music and the voice, it teaches the ear to analyse and decode and improve. It's like going to the gym for your ears."

The music of Mozart and in particular his early symphonies have proven to be the most effective because of the wide range of frequencies in his music.

"My clients start from the age of three. I see so many children with communication disorders, autism, learning difficulties and dyslexia. The level of improvement that happens in them is remarkable," Ms Mack said. "We see less repetition of instructions, an improvement in following directions, better conversation skills and memory. Overall learning improves reading, speed and sequencing of thoughts."

68

Articles scientifiques & articles de la presse

Tomatis 2008 News Classic cures for children 332 mots 8 ao没t 2006 Knox Leader 127 Anglais Copyright 2006 News Ltd. All Rights Reserved MUSIC is good for the soul and may also be capable of treating a range of childhood behavioural difficulties, including attention deficit disorder and learning difficulties.

Martha Mack, psychologist and director of Victoria's Listen and Learn Centre, teaches the Tomatis Method, a sophisticated sound therapy that works by retraining the ear with a device called the electronic ear, designed by Dr Alfred Tomatis, a French ear, nose and throat physician.

Dr Tomatis believed that a person needs to be able to hear the full spectrum of sound frequencies to process and understand information correctly.

If any of the sound frequencies are blocked or hindered, children are at a distinct disadvantage when it comes to learning.

"If there is a problem, then the fast information is not going to be analysed effectively," Ms Mack said.

"So what you end up seeing is the symptom where the child needs to have information repeated or may miss the information altogether."

The Listen and Learn Centre offers a complex listening test to establish whether a child has an auditory processing disorder.

"After doing the listening test, we can target the area or the range of frequencies that the child is having troubles with. So by giving the child a full range of sounds via music and the voice, it teaches the ear to analyse and decode and improve. It's like going to the gym for your ears."

The music of Mozart and in particular his early symphonies have proven to be the most effective because of the wide range of frequencies in his music.

"My clients start from the age of three. I see so many children with communication disorders, autism, learning difficulties and dyslexia. The level of improvement that happens in them is remarkable," Ms Mack said. "We see less repetition of instructions, an improvement in following directions, better conversation skills and memory. Overall learning improves reading, speed and sequencing of thoughts."

69

Articles scientifiques & articles de la presse

Tomatis 2008 News A sound way to learn 332 mots 7 ao没t 2006 Bayside Leader 134 Anglais Copyright 2006 News Ltd. All Rights Reserved MUSIC is good for the soul and may also be capable of treating a range of childhood behavioural difficulties, including attention deficit disorder and learning difficulties.

Martha Mack, psychologist and director of Victoria's Listen and Learn Centre, teaches the Tomatis Method, a sophisticated sound therapy that works by retraining the ear with a device called the electronic ear, designed by Dr Alfred Tomatis, a French ear, nose and throat physician.

Mack believed a person needs to be able to hear the full spectrum of sound frequencies to process and understand information correctly.

If any of the sound frequencies are blocked or hindered, children are at a distinct disadvantage when it comes to learning.

"If there is a problem, then the fast information is not going to be analysed effectively," Mack said.

"So what you end up seeing is the symptom where the child needs to have information repeated or may miss the information altogether."

The Listen and Learn Centre offers a complex listening test to establish whether a child has an auditory processing disorder.

"After doing the listening test, we can target the area or the range of frequencies that the child is having troubles with.

"So by giving the child a full range of sounds via music and the voice, it teaches the ear to analyse and decode and improve. " It's like going to the gym for your ears."

The music of Mozart in particular his early symphonies has proved to be the most effective because of the wide range of frequencies it covers.

"My clients start from the age of three," Mack said.

"I see so many children with communication disorders, autism, learning difficulties and dyslexia.

"The level of improvement that happens in them is remarkable.

"We see less repetition of instructions, an improvement in following directions, better conversation skills and even improved memory.

"Overall learning improves improved reading, speed of reading and sequencing of thoughts."

70

Articles scientifiques & articles de la presse

Tomatis 2008 News Classic cures for children 332 mots 7 ao没t 2006 Lilydale & Yarra Valley Leader 119 Anglais Copyright 2006 News Ltd. All Rights Reserved MUSIC is good for the soul and may also be capable of treating a range of childhood behavioural difficulties, including attention deficit disorder and learning difficulties.

Martha Mack, psychologist and director of Victoria's Listen and Learn Centre, teaches the Tomatis Method, a sophisticated sound therapy that works by retraining the ear with a device called the electronic ear, designed by Dr Alfred Tomatis, a French ear, nose and throat physician.

Dr Tomatis believed that a person needs to be able to hear the full spectrum of sound frequencies to process and understand information correctly.

If any of the sound frequencies are blocked or hindered, children are at a distinct disadvantage when it comes to learning.

"If there is a problem, then the fast information is not going to be analysed effectively," Ms Mack said.

"So what you end up seeing is the symptom where the child needs to have information repeated or may miss the information altogether."

The Listen and Learn Centre offers a complex listening test to establish whether a child has an auditory processing disorder.

"After doing the listening test, we can target the area or the range of frequencies that the child is having troubles with. So by giving the child a full range of sounds via music and the voice, it teaches the ear to analyse and decode and improve. It's like going to the gym for your ears."

The music of Mozart and in particular his early symphonies have proven to be the most effective because of the wide range of frequencies in his music.

"My clients start from the age of three. I see so many children with communication disorders, autism, learning difficulties and dyslexia. The level of improvement that happens in them is remarkable," Ms Mack said. "We see less repetition of instructions, an improvement in following directions, better conversation skills and memory. Overall learning improves reading, speed and sequencing of thoughts."

71

Articles scientifiques & articles de la presse

Tomatis 2008 News Classic cures LISTEN 206 mots 7 ao没t 2006 Frankston Standard/Hastings Leader 1 - FSV 22 Anglais Copyright 2006 News Ltd. All Rights Reserved MUSIC is good for the soul and may also be capable of treating a range of childhood behavioural difficulties, including attention deficit disorder and learning difficulties.

Martha Mack, psychologist and director of Victoria's Listen and Learn Centre, teaches the Tomatis Method, a sophisticated sound therapy that works by retraining the ear with a device called the electronic ear, designed by Dr Alfred Tomatis, a French ear, nose and throat physician.

Dr Tomatis believed that a person needs to be able to hear the full spectrum of sound frequencies to process and understand information correctly.

The Listen and Learn Centre offers a complex listening test to establish whether a child has an auditory processing disorder.

"After doing the listening test, we can target the area or the range of frequencies that the child is having troubles with," Ms Mack said. "So by giving the child a full range of sounds via music and the voice, it teaches the ear to analyse and decode and improve.

"It's like going to the gym for your ears."

Mozart's early symphonies have proven to be the most effective because of the wide range of frequencies in his music.

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Features Speaking volumes;Human development;Nonfiction;Books Fiona Shaw 778 mots 5 ao没t 2006 The Times Books 11 Anglais (c) 2006 Times Newspapers Limited. All rights reserved THE HUMAN VOICE:The Story of a Remarkable Talent. by Anne Karpf I REMEMBER THE ACTOR Donal McCann once saying: "We are all in permanent confession." He believed that every word we uttered carried our true natures, our sorrows, histories and sensibilities, all held in the voice.

Anne Karpf's thrilling book explores with enthusiastic brio this fundamental capacity that is "leaking information about our biological, psychological and social status". It is crammed with fact, incident, anecdote and research and tumbles into areas such as the history of social and sexual relations -as well as politics, stardom and power.

She jumps from tribal tendencies, such as the Tzeltal people of Mexico, who have different names for different kinds of speech -like Norman Bates in Psycho who is controlled by his mother's voice -to inidvidual ones, such as Margaret Thatcher's adjustment from high-pitched rant to patronising depth, Gerry Adams's banned voice and Brad Pitt's bland voice.

She feels that the term "voice" has been hijacked from meaning the sounds that we make into meaning "literary selfexpression" and wants to reinstate this complex production of a "preverbal message through neurology, biology and physics via the elasticity of phonetic and acoustic event".

She begins with a dramatic description of the anatomy of the voice, conveying the elasticity of our vocal cords, which oscillate with more than a million cycles a day. Alfred Tomatis discovered that opera singers who lost their voices had deafened themselves and deduced that we can only reproduce what the ear can hear - therefore we make sound with our ears too!

Babies can distinguish their mother's voices from others long before they can differentiate faces. Linguists have discovered that baby talk is international.

The cooing of mothers and babies develops into the cooing of adult lovers, but the voice box becomes Pandora's box as sociology gives way to sexual politics.

Karpf declares that vocal pitch has become a weapon in gender wars. Men talk as if they were bigger and women as if they were smaller than they actually are.

She points out a taboo against women's voices -Echo and Philomel, who were punished for being heard in classical myth, are linked to a piece of 16th century rhetoric: "What becomes a woman best and first of all, silence and second, silence."

This prejudice carried on into the discouraging of women's voices on radio, their high notes being seen as "off-putting".

Women's voices have deepened in the past 30 years, while men are feminising theirs -a complete contrast to perceptions in the 1930s, when high voices were associated with demureness in women and low voices with sexuality, so that what suited serious broadcasting was associated with promiscuity.

The effect of mucus on the vocal cords, which distorts sound into the panting whisper of Marilyn Monroe, was emulated by many women to appear aroused -and brainless -even when they were not. There is a double standard, too, with "volume" women appear to be talking more loudly when actually they are not.

Amusingly, women and men speak louder when talking to each other.

The Human Voice expands to the cultural mannerisms of sound-making. The Japanese have aizuchi -agreeing sounds made by listeners during conversation.

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Tomatis 2008 Our endless capacity to adjust to each other's rank and class is called "convergence". Karpf discusses the global misunderstandings of volume and intonation, with Americans sounding too quiet and insincere to Arabs, who sound too loud to Americans.

Indeed, it is in the world of global politics that the voice of the individual has held such sway. Think of the intimacy of Franklin D. Roosevelt, the scream of Hitler that numbed the listener, the fruity timbre of Churchill, the folksy sound of Reagan and the pained hoarseness of Clinton -borrowed to excess by Tony Blair in times of sorrow.

Apart from mentioning the death of vocal clarity in actors and the effect of sex on tenors' high notes, this is not -despite a formidable bibliography -a guidebook for voice development. Karpf has no theory of correct voice production and makes no reference to the great Cicely Berry who rediscovered and transformed voice performance in this country.

We are, however, led to ask where in this noisy world can the space be found for this delicate instrument? It moves with us, our evolving selves, our chaos, our beauty, our confessions. This book, like the human attribute that it illuminates, celebrates rather than concludes.

Bloomsbury, Pounds 20; 416pp Pounds 18 (free p&p) 0870 1608080 timesonline.co.uk/booksfirst (c) Times Newspapers Ltd, 2006

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lebensart Das Wunder der Singstimme MARINA BERGMANN 1,059 mots 22 juillet 2006 Salzburger Nachrichten 63 Allemand (c) 2006. SN. All rights reserved.

Der singende Mensch steht derzeit im Mittelpunkt einer faszinierenden Sonderschau, die – als Hommage an das Mozartjahr – über die gesamte Festspielzeit im Salzburger Haus der Natur zu sehen sein wird.

Salzburg – Festspielzeit. Man geht durch den Festspielbezirk und hört Sänger, die Tonleitern singen, um ihre Stimme aufzuwärmen. Welche Höchstleistungen die menschliche Stimme zu vollbringen vermag, werden die Festspielbesucher alljährlich gewahr, wenn Opern und Konzerte beginnen und die weltbesten Sänger ihr Instrument – ihre Stimme – erklingen lassen.

Ja, die Stimme ist ein ganz besonderes Instrument, und zwar eines, das man weder sehen noch angreifen kann. Wird die Orgel „die Königin der Instrumente“ genannt, so ist die menschliche Stimme das perfekteste Instrument schlechthin – „das Instrument der Instrumente“. Mozart ließ sich bei seinen Kompositionen – auch für Orchester und Soloinstrumente – stets von der menschlichen Stimme inspirieren. Und den geläufigsten Gurgeln seiner Zeit hat er Arien „auf den Leib“ komponiert.

Zur Eröffnung betonte Museumsdirektor Eberhard Stüber, dass die große Herausforderung dieser Ausstellung es war, die Komplexität der menschlichen Stimme auf verständliche Weise darzustellen, was dem Initiator und Kurator der Schau, Josef Schlömicher-Thier in Zusammenarbeit mit Experten des Austrian Voice Institute, den Universitäten in Salzburg, dem Haus der Natur und den Salzburger Festspielen hervorragend gelungen ist. Schlömicher-Thier genießt seit einem Jahrzehnt als Facharzt für HNO der Salzburger Festspiele das Vertrauen der Opernstars aus aller Welt. Ihm ist wichtig, dass „der professionelle Sänger, der mit einem Hochleistungssportler mit all seinen physiologischen Besonderheiten und Verletzlichkeiten vergleichbar ist, als ,Mensch‘ gesehen wird“.

Seit der Antike, wo Orpheus mit seinem Gesang Berge, Wälder und Steine zu Tränen rührte und selbst Eurydike kurz der Unterwelt zu entreißen vermochte, haftet dem Gesang etwas Magisches an. Sänger, die ihr Publikum berühren, werden bis zum heutigen Tag als „Diven“ – „Götter“ und „Ikonen“ – gefeiert.

In der Evolutionsgeschichte des Menschen taucht vor etwa 200.000 Jahren das mutierte Sprach-Gen FOX P2 auf, das für eine bessere Kontrolle über die Mund- und Gesichtsmuskeln verantwortlich sein soll. Dank dieses wunderbaren Gens entwickelte der Mensch die Fähigkeit zur Artikulation, zur Sprache und zum Gesang!

Vom Kastratengesang zum Popkonzert Musikgeschichte und Entwicklung des Gesangs gehen Hand in Hand. Mit der Entstehung der Oper um 1594 mit Jacopo Peris „Daphne“ in Florenz begann der Gesang sich als eigenständige Kunstform zu etablieren. Im Kirchenstaat war es Frauen verboten, in der Kirche oder auf der Bühne zu singen – so übernahmen Kastraten die Frauenpartien.

Farinelli war der berühmteste unter ihnen und die Hysterie, die sich um seine Auftritte in den Theatern entwickelte, ist mit der eines heutigen Popstars vergleichbar.

Die Arten der Tonproduktion der menschlichen Stimme sind in den verschiedenen Kulturen äußerst vielfältig. Neben dem Kunstgesang, den wir aus der Oper kennen, bis zum Rock- oder Popgesang, kann die Stimme die verschiedensten Klänge erzeugen, wie den fernöstlichen Obertongesang, den Kulnig oder Joik in Skandinavien oder den alpenländischen Jodler.

Durch die Möglichkeit zur Tonaufnahme kann man heute sagen, „der Mensch vergeht, die Stimme bleibt“. So sind die unvergleichlichen Stimmen von Enrico Caruso, Maria Callas, Elisabeth Schwarzkopf, Fritz Wunderlich und Hermann Prey, wie die von Louis Armstrong, Ella Fitzgerald oder Frank Sinatra, die der Beatles oder der Rolling Stones bis zu Robbie Williams und von vielen anderen „goldenen Stimmen“ aller Genres – auch aus Film und Schauspiel – zum Glück als Tondokumente von unschätzbarem Wert für die Nachwelt erhalten.

Schon der berühmte Tenor Enrico Caruso erklärte, dass ein seriöses Gesangsstudium zehn Jahre dauere und der Sänger bis 75

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Tomatis 2008 ans Ende der Karriere ständig an seiner Stimme arbeiten sollte. Mussten die Kastraten Farinelli oder Caffarelli jahrelang täglich die gleichen Gesangsübungen singen, die ihnen ihr Lehrer Porpora auf einem einzigen Notenblatt notiert hatte, so ist auch heute die Gesangsausbildung kein leichtes Unterfangen.

In der Klassik gibt es kaum Gesangslehrer, die die überlieferte alte Belcantotechnik noch beherrschen. Und der Gesangsschüler, der klassischen oder modernen Gesang studiert, hat keine Garantie, dass er nach jahrelangem Studium auch wirklich „Karriere“ macht und den Gesang als Beruf ausüben kann.

Wie kommt das Gold in die Kehle? Nur wenige werden zum „Star“, verdienen Millionen und füllen Stadien wie Luciano Pavarotti, Placido Domingo und José Carreras, Anna Netrebko, Rolando Villazón, die Rolling Stones und Madonna.

Dem Gesamtkünstler Mark Wolf ist in der Schau eine Videowand gewidmet. Er gilt als weltweit einzigartiges Beispiel an professioneller Stimmbeherrschung der verschiedensten Stilrichtungen von der Oper über das Lied zum authentischen Rock-, Pop- und Sopranistengesang. Der österreichische Sänger, der Film- und Tonstudios in Salzburg und in den USA führt, komponiert Musikstücke für seine Stimme, die einen Tonumfang von fünf Oktaven – vom tiefen Bass bis zum hohen Sopran – umfasst.

Das Stimmphänomen Mark Wolf Hermann Prey, der Mark Wolf für den Liedgesang entdeckte und zu gemeinsamen Auftritten bei der „Schubertiade“ in den Wiener Musikverein einlud, sagte über den Sänger, dass er eine der schönsten Stimmen besitze, die er je gehört habe – einschließlich aller Soprane! Mark Wolfs Credo ist, alte Hörmuster zu durchbrechen und mit Visionen in der Musik Verborgenes und „Unerhörtes“ hörbar zu machen. Wolf: „Den visuell fixierten Menschen von heute gelingt es am besten über das Visuelle zum Hören zurückzuführen. Daher ist in meinen Arbeiten die Verbindung von Bild und Ton zu einem audiovisuellen Gesamtkunstwerk extrem wichtig.“ (Info: www.markwolf.info ) Politiker – speziell im Wahlkampf (!) –, Schauspieler, Universitätsprofessoren, Lehrer, Manager, Firmenchefs, Journalisten – sind alles Klienten von „Stimmcoaches“, die „Stimmdesign“ betreiben. Wer erfolgreich sein will, sollte eine gut geführte, „offene“, sympathische Stimme besitzen, die bei langem Sprechen nicht ermüdet und nicht heiser wird. Dabei ist die „Stimmhygiene“ besonders wichtig. Rauchen, scharfe alkoholische Getränke und Speisen sind zu vermeiden, und bei Heiserkeit sollte man nicht gleich zu betäubenden Halswehpastillen greifen, sondern besser ist es, mit Salzwasser, Salbei-, Malven- oder Thymiantee zu gurgeln. „Singen macht jeden Menschen glücklich“ Jeder Mensch sollte singen, denn Singen macht glücklich. Es ist wissenschaftlich erwiesen, dass beim Singen vermehrt das „Glückshormon“ Endorphin ausgeschüttet wird. Dazu werden die Atmung und das Ganzheitsgefühl des Körpers gefördert, Sauerstoffzufuhr und Stoffwechsel angeregt und die Abwehrkräfte gestärkt.

Jeder Mensch kann singen „lernen“ und seine Stimme bis zu einem gewissen Grad ausbilden, ohne die zwei Oktaven Stimmumfang und 115 Dezibel eines Opernsängers zu erreichen oder Popstar werden zu müssen.

Alfred Tomatis hat Studien betrieben, die den Zusammenhang von Gehör und Stimme belegen. Je besser das Gehör, desto besser die Stimme. Deshalb heißt „singen lernen“ vor allem „hören lernen“. Und wie der Volksmund sagt: „Wer täglich singt, dass alles schallt, wird 99 Jahre alt!“

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Mozart-Matinee in ORF 2: Festspieleröffnung und zwei spannende Dokus 790 mots 21 juillet 2006 03:22 Austria Presse Agentur-OTS Allemand OTS - "ORIGINAL TEXT-SERVICE UNTER VERANTWORTUNG DES AUSSENDERS" "Steifzug Kultur" macht "Mit Haut und Haaren" den "Mozart-Test" Wien - Die ersten Salzburg-Highlights im ORF-Festspielsommer: Am Sonntag, dem 23. Juli 2006, steht um 11.05 Uhr in ORF 2 und 3sat live die Eröffnung der diesjährigen Salzburger Festspiele auf dem Programm. Der Festakt zur Eröffnung findet heuer erstmals im neuen Haus für Mozart statt, das nach dem Abriss des alten Kleinen Festspielhauses gerade noch rechtzeitig zum Beginn des Mozart-Jubiläumssommers fertig gestellt worden ist. Bevor es jedoch so weit ist, weiß in ORF 2 der "Streifzug Kultur" (Moderation: Barbara Rett, die am 26. Juli auch zur Live-Premiere von "Le nozze di Figaro" um 19.55 Uhr in ORF 2 begrüßt): Es ist "Ein toller Tag" - so das Motto dieser Matinee: Darin unternimmt Christoph Wagner-Trenkwitz in der neuen Ausgabe von "Variationen und ein Thema" aus Anlass der "Figaro"-Premiere unter dem Titel "Mit Haut und Haaren" um 9.30 Uhr in ORF 2 einen klingenden Streifzug durch haarige Situationen der Operngeschichte. Er stattet Mozarts Friseur einen Besuch ab und lüftet auch das Geheimnis des Weihnachtsstriezels. Im Anschluss (10.00 Uhr) stellt die Dokumentation "Der Mozart-Test" des preisgekrönten Dokumentarfilmers Frederick Baker - ein weiteres Highlight des umfangreichen ORF-Programmschwerpunkts anlässlich des Mozartjahres, der unter dem Claim "Mozart 06" firmiert - die Frage, ob Mozarts Musik tatsächlich Heilkräfte hat, und nimmt die Hintergründe des so genannten "Mozart-Effekts" unter die Lupe.

"Variationen und ein Thema: Mit Haut und Haaren" (Sonntag, 23. Juli, 9.30 Uhr, ORF 2): Haare hatten zu allen Zeiten Symbolbedeutung auf der Musiktheater-Bühne: In Mélisandes Locken liegt ihr Geheimnis, in Samsons Mähne seine übermenschlichen Kräfte. Die fürs (Bart-)Haar und seine Pflege Zuständigen sind nicht selten die Spielmacher in der Oper.

So der Barbier von Bagdad, jener von Sievering (im Altwiener Singspiel) und natürlich das berühmteste Exemplar: Dem Figaro setzten Paisiello und Rossini in ihren Vertonungen des "Barbier von Sevilla" Denkmäler, übertroffen nur vom heiratswilligen Kammerdiener in Mozarts "Le nozze di Figaro".

"Der Mozart-Test" (Sonntag, 23. Juli, 10.00 Uhr, ORF 2): In dieser Dokumentation des preisgekrönten Filmemachers Frederick Baker werden die Hintergründe des so genannten "Mozart-Effekts" unter die Lupe genommen. Der französische Hals-Nasen-Ohren-Arzt Alfred Tomatis entdeckte in den fünfziger Jahren, dass vor allem Mozarts frühe Werke das menschliche Gehirn auf besondere Weise anregen und eine therapeutische Wirkung hervorrufen. Er entwickelte ein Hörtraining, bei dem mit Hilfe eines computergesteuerten "elektronischen Ohrs" gefilterte Frequenzbereiche durch spezielle Kopfhörer wiedergegeben werden. Dabei werden die Vibrationen der Musik zusätzlich über die so genannte Knochenleitung vom Körper aufgenommen.

Diese Form der Therapie mit Kompositionen von Mozart erwies sich als großer Erfolg bei Menschen mit Konzentrationsschwächen, Angstzuständen oder Sprachproblemen sowie bei Schwangeren zur Vorbeugung von Frühgeburten und bei Wachkomapatienten. Der Schauspieler Gérard Depardieu machte dieses Hörtraining, um seine Texte besser lernen zu können. Der amerikanische Musiktherapeut Don Campbell entwickelte die Tomatis-Methode weiter, ließ sich den "Mozart-Effekt" patentieren und erstellte ein Therapie-Konzept für ein Krankenhaus. Je nach den Bedürfnissen von Mitarbeitern, Patienten und deren Angehörigen werden unterschiedliche Musikstücke gespielt. Die amerikanische Wissenschafterin Frances Rauscher fand heraus, dass Mozarts Sonate für zwei Klaviere KV 448 den IQ eines Menschen steigert und das räumliche Denken verbessert. Hans-Ullrich Balzer vom Salzburger Mozarteum verglich verschiedene Musikrichtungen und Werke unterschiedlicher Komponisten. Die Testergebnisse bestätigen den "Mozart-Effekt". Und die persönlichen Erfolgsgeschichten von Menschen, die sich mit Musik von Mozart therapieren ließen, sprechen für sich. Der britische Pianist James McConnel, der am Tourette-Syndrom leidet, beweist eindrucksvoll, dass Mozarts Musik ihm hilft, seine zwanghaften Ticks unter Kontrolle zu halten. Er behauptet sogar, dass Mozart selbst an dieser Krankheit litt und das Chaos in seinem Gehirn mit seiner eigenen Musik therapierte.

"Live aus dem Haus für Mozart in Salzburg: Eröffnung der Salzburger Festspiele 2006" (Sonntag, 23. Juli, 11.05 Uhr, ORF 2): Intendant Peter Ruzicka wird in seiner fünften und letzten Salzburger Saison den 1.500 Festgästen sein "Mozart 22"-Projekt in einer eigens produzierten szenisch-musikalischen 20-Minuten-Collage vorstellen, die der junge Komponist Moritz Eggert unter dem Titel "Zum zarten Pol" mit Sängerinnen und Sängern der Salzburger Festspiele erarbeitet hat. Es spielt das Mozarteum-Orchester Salzburg unter der Leitung von Manfred Honeck. Schauspielchef Martin Kusej präsentiert sein 77

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Tomatis 2008 Programm mit den Ausdrucksmöglichkeiten einer Soloperformance des Pantomimen Patrice Thibaud. Am Klavier begleitet Philippe Leygnac. Nach einer Begrüßung durch Festspiel-Präsidentin Helga Rabl-Stadler und nach kulturpolitischen Grußworten von Landeshauptfrau Gabi Burgstaller und Bundeskanzler Wolfgang Schüssel eröffnet Bundespräsident Heinz Fischer die Salzburger Festspiele 2006 offiziell. ORF 2 überträgt im Rahmen seines Mozartjahr-Programmschwerpunkts "Mozart 06" live.

Rückfragehinweis: ORF-Pressestelle Markus Wibmer (01) 87878 - DW 14076 http://presse.ORF.at

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副刊 《医者莫扎特》; 音乐灵药 谢慧心 942 mots 26 juin 2006 香港经济日报 (简体) C19 Chinois (Simplifié) Copyright 2006. Hong Kong Economic Times. All Rights Reserved. 香港经济日报版权所有， 不得转载 。

「莫扎特效应」已非新鲜课题，近年在唱片店，不难发现很多以此作标榜的古典乐唱片推出。医学界、音乐界亦不 断有学者专家，企图分析其效能。明珠台本周五播映的纪录片《医者莫扎特》，与观众分享好些有趣个案，信者得 救。 今年是莫扎特诞生 250 周年纪念，对于后人将其作品与药物相提并论，相信他泉下有知，亦始料不及。

所谓「莫扎特效应」中以古典音乐「入药」，其实准确来说，该是一帖心药。节目的被访者，有孕妇、有车祸后心 理受创的母女、有因长期紧张而咬唇磨牙的病人，也有自信心、专注力不足的演员，他们接受过度身订造的古典乐 「药方」后，都有不同程度的改善。究竟莫扎特的威力何在？ 10 分钟 「疗效」 法国医生

Dr.

Alfred

Tomatis

一直提倡莫扎特效应，他在维也纳开设医疗中心，专门提供其设计的「莫扎特疗法」，客户之一包括法国著名演员 谢勒狄柏度（Gerard Depardieu）。

除了选播莫扎特的古典乐章，他的「秘方」是一个特制耳筒，可随音乐频率震动头颅。疗效更可直接传送给胎儿， 曾有早产病史的孕妇，怀孕初期接受「治疗」后而有改善。 相信更多家长关心古典乐对孩童智力可有帮助？节目中便有一个实验，是一班学生听莫扎特最著名乐章《D 大调双钢琴奏鸣曲

K448

号》，然后接受一个摺纸看图推理测试。聆听纾缓情绪音乐及没听音乐的两组经对比后，莫扎特组答对者最多。负 责此研究的奥地利学者分析后指出，莫扎特的音乐可增强人们的空间感，效果可维持 10 分钟。 乐理分析

综合心理学家及作曲家的分析，莫扎特是采用高音最多的音乐家，而高音拥有一种令脑部「充电」的能量，令他的 作品具有特别疗效。亦有分析指，他的作品集兴奋与纾缓两种特性于一身，为人们的情绪带来正能量。 然而，令莫扎特写出这种独特旋律的原因，除了才华，亦因他患上罕见的杜瑞氏症（Tourette's

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Tomatis 2008 Syndrome）。因这种神经系统疾病，他经常不由自主地抽搐，而他写下不少乐章，均有重复某几个 音符的特色（后人称为 Papageno），其实正是他病发时的状态所致。 多用途古典乐

姑勿论莫扎特的音乐疗效，是偶然还是人为，不少现代人都将其古典乐章，广泛应用在不同范畴中。除了专门以莫 扎特的乐章为疗程的音乐治疗中心，美国亦有医院选播他的音乐，在走廊播放的曲目，可替长期轮班工作的医护人 员减压；而手术等候区的曲目，则旨在令病人家属有清醒的脑筋，分析医生的意见。 除此以外，直接购买一张莫扎特音乐 CD 欣赏，亦未尝不是良方。原来古典乐 CD 以往在国际唱片市场上，只占 3 % 的销售率。面对其余 97% 的受众，「莫扎特效应」的出现，想起来也不无道理。 ---------------------------------Info 《医者莫扎特》 播映日期：6 月30 日 播映时间：8︰30 pm 频道：无线明珠台 系列名: 资料提供: 鸣谢:

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副刊 《醫者莫扎特》; 音樂靈藥 謝慧心 942 mots 26 juin 2006 香港經濟日報 (繁體) C19 Chinois (Traditionnel) Copyright 2006. Hong Kong Economic Times. All Rights Reserved. 香港經濟日報版權所有， 不得轉載 。

「莫扎特效應」已非新鮮課題，近年在唱片店，不難發現很多以此作標榜的古典樂唱片推出。醫學界、音樂界亦不 斷有學者專家，企圖分析其效能。明珠台本周五播映的紀錄片《醫者莫扎特》，與觀眾分享好些有趣個案，信者得 救。 今年是莫扎特誕生 250 周年紀念，對於後人將其作品與藥物相提並論，相信他泉下有知，亦始料不及。

所謂「莫扎特效應」中以古典音樂「入藥」，其實準確來說，該是一帖心藥。節目的被訪者，有孕婦、有車禍後心 理受創的母女、有因長期緊張而咬唇磨牙的病人，也有自信心、專注力不足的演員，他們接受過度身訂造的古典樂 「藥方」後，都有不同程度的改善。究竟莫扎特的威力何在？ 10 分鐘 「療效」 法國醫生

Dr.

Alfred

Tomatis

一直提倡莫扎特效應，他在維也納開設醫療中心，專門提供其設計的「莫扎特療法」，客戶之一包括法國著名演員 謝勒狄柏度（Gerard Depardieu）。

除了選播莫扎特的古典樂章，他的「秘方」是一個特製耳筒，可隨音樂頻率震動頭顱。療效更可直接傳送給胎兒， 曾有早產病史的孕婦，懷孕初期接受「治療」後而有改善。 相信更多家長關心古典樂對孩童智力可有幫助？節目中便有一個實驗，是一班學生聽莫扎特最著名樂章《D 大調雙鋼琴奏鳴曲

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號》，然後接受一個摺紙看圖推理測試。聆聽紓緩情緒音樂及沒聽音樂的兩組經對比後，莫扎特組答對者最多。負 責此研究的奧地利學者分析後指出，莫扎特的音樂可增強人們的空間感，效果可維持 10 分鐘。 樂理分析

綜合心理學家及作曲家的分析，莫扎特是採用高音最多的音樂家，而高音擁有一種令腦部「充電」的能量，令他的 作品具有特別療效。亦有分析指，他的作品集興奮與紓緩兩種特性於一身，為人們的情緒帶來正能量。 然而，令莫扎特寫出這種獨特旋律的原因，除了才華，亦因他患上罕見的杜瑞氏症（Tourette's

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Tomatis 2008 Syndrome）。因這種神經系統疾病，他經常不由自主地抽搐，而他寫下不少樂章，均有重複某幾個 音符的特色（後人稱為 Papageno），其實正是他病發時的狀態所致。 多用途古典樂

姑勿論莫扎特的音樂療效，是偶然還是人為，不少現代人都將其古典樂章，廣泛應用在不同範疇中。除了專門以莫 扎特的樂章為療程的音樂治療中心，美國亦有醫院選播他的音樂，在走廊播放的曲目，可替長期輪班工作的醫護人 員減壓；而手術等候區的曲目，則旨在令病人家屬有清醒的腦筋，分析醫生的意見。 除此以外，直接購買一張莫扎特音樂 CD 欣賞，亦未嘗不是良方。原來古典樂 CD 以往在國際唱片巿場上，只佔 3 % 的銷售率。面對其餘 97% 的受眾，「莫扎特效應」的出現，想起來也不無道理。 ---------------------------------Info 《醫者莫扎特》 播映日期：6 月30 日 播映時間：8︰30 pm 頻道：無線明珠台 系列名: 資料提供: 鳴謝:

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Tomatis 2008 Television La 'Noche Temática' celebra en La 2 que hace 250 años nació Wolfgang Amadeus Mozart JOSÉ PRIETO 339 mots 10 juin 2006 La Verdad Cartagena Espagnol Copyright 2006 La Verdad La Noche Temática de La 2 celebra hoy el 250 aniversario del nacimiento de Wolfgang Amadeus Mozart, el genio más grande de la música europea hasta el punto de que hay un antes y un después en la historia musical. A pesar de su corta vida -murió a los 35 años- escribió más de 600 obras porque, como niño prodigio, a los seis años ya era un consumado intérprete de instrumentos de tecla y violín y llegó a componer sinfonías, divertimentos, sonatas, música de cámara, óperas y música religiosa. El programa se inicia con el documental En busca de Mozart, un retrato del músico y compositor, en el que se adentra en el ambiente cultural, social y político que vivió. Entre los cuatro y seis años compuso 22 piezas que su padre publicó en una monografía, despertó la admiración de emperadores y príncipes y fue admirado, pero cuando murió en 1791, se cree que por una dolencia renal, tenía problemas económicos y sólo fueron a su entierro algunos amigos.

El efecto Mozart será el siguiente documental, que analiza los efectos beneficiosos de la música de Mozart en la salud y sobre todo en las mujeres embarazadas y fetos. El médico francés Alfred Tomatis sostiene que los sonidos de alta frecuencia dan energía al cerebro mientras que los de baja se la restan y las composiciones de Mozart son las preferidas porque son ricas en agudos. El tercer documental, El misterio de Mozart, desvela algunos misterios que se ocultan tras la muerte del genial músico, ya que mientras su música es una de las más conocidas de la historia, su muerte aparece rodeada de sombras. Aunque fue enterrado en una fosa común, diez años después fue desenterrado y la calavera de la Fundación Internacional Mozartiana (Salzburgo) es la suya, lo que intenta demostrar esta asociación. EN ANTENA I La Noche Temática, hoy, a partir de las 23.45 horas, en La 2.

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Tomatis 2008 Television 'La noche temática' celebra el 250 aniversario de Mozart JOSÉ PRIETO 383 mots 10 juin 2006 El Norte de Castilla Valladolid Espagnol Copyright 2006 El Norte de Castilla Dos documentales analizan la vida del genial compositor, su entorno histórico y los misterios sobre su muerte El programa investiga los efectos saludables de su música La 'Noche temática' de La 2 celebra hoy el 250 aniversario del nacimiento de Wolfgang Amadeus Mozart, el genio más grande que ha dado la música europea hasta el punto de que hay un antes y un después en la historia musical de este continente. A pesar de su corta vida -murió a los 35 años- escribió más de 600 obras porque, como niño prodigio que fue, a los seis años ya era un consumado intérprete de instrumentos de tecla y violín y llegó a componer sinfonías, divertimentos, sonatas, música de cámara, óperas y música religiosa. El programa se inicia con el documental 'En busca de Mozart', que hace un retrato del músico y compositor, en el que, además de recordar su vida, se adentra en el ambiente cultural, social y político que le tocó vivir. Entre los cuatro y seis años compuso 22 piezas que su padre publicó en una monografía, despertó la admiración de emperadores y príncipes y fue admirado, pero cuando murió en 1791, se cree que por una dolencia renal, tenía problemas económicos y solo fueron a su entierro algunos amigos. 'El efecto Mozart' es el título del siguiente documental que analiza los efectos beneficiosos de la música de Mozart en la salud y sobre todo en las mujeres embarazadas y en los fetos. El médico francés Alfred Tomatis sostiene que los sonidos de alta frecuencia dan energía al cerebro mientras que las de baja frecuencia se la restan y las composiciones de Mozart son las preferidas porque son ricas en agudos y proporcionan energías. El tercer documental, 'El misterio de Mozart', desvela algunos de los misterios que se ocultan tras la muerte del genial músico, ya que mientras su música es una de las más conocidas de la historia, su muerte, en cambio, aparece rodeada de sombras. Aunque fue enterrado en una fosa común, diez años después fue desenterrado y la leyenda asegura que la calavera que hoy se encuentra en la Fundación Internacional Mozartiana, en Salzburgo, su ciudad natal, es la suya, lo que está intentando demostrar esta asociación.

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Tomatis 2008

Análisis de la vida y obra del genio de la música Wolfgang Amadeus Mozart 232 mots 9 juin 2006 20:00 La Voz de Galicia GENERAL Espagnol (c) Copyright LA VOZ DE GALICIA S.A. http://www.lavozdegalicia.com.

Recomendaciones de hoy LA NOCHE TEMÁTICA | LA 2 | 23.45 Aprovechando el 250 aniversario del nacimiento de Wolfgang Amadeus Mozart (1756-1791), La noche temática (La 2) le dedica un interesante monográfico en tres documentales. En busca de Mozart, de Phil Grabsky, es una excepcional biografía del músico y compositor, en la que además de recordar su vida, se adentra en el ambiente cultural, social y político de su tiempo. El efecto Mozart, de Frederick Baker, en torno a un riguroso estudio realizado hace medio siglo, según el cual la música de Mozart produce un gran beneficio sobre el cerebro humano. Tanto en los más de 250 centros fundados en todo el mundo por Alfred Tomatis como en la Universidad de Viena, las composiciones del genio vienés son las preferidas por los musicoterapeutas. Que se lo pregunten al actor Gerard Depardieu, quien participó en estas terapias. Por último, El misterio de Mozart, de Ute Gebhard, aborda la biografía del genio, fallecido en Viena a los 35 años en la miseria y con sólo un puñado de amigos asistentes a su entierro. Dicen que murió de una dolencia renal crónica, pero se especula sobre su posible envenenamiento. El documental también afronta algunas aficiones del compositor, entre ellas su gran pasión por el juego del billar.

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Tomatis 2008

Análisis de la vida y obra del genio de la música Wolfang Amadeus Mozart Miguel Anxo Fernández 236 mots 9 juin 2006 20:00 Diario de León Edición General Espagnol (c) Copyright Diario de León http://www.diariodeleon.com. | Las recomendaciones de hoy | LA NOCHE TEMÁTICA | LA 2 | 23.45 Aprovechando el 250 aniversario del nacimiento de Wolfgang Amadeus Mozart (1756-1791), La noche temática (La 2) le dedica un interesante monográfico en tres documentales. En busca de Mozart , de Phil Grabsky, es una excepcional biografía del músico y compositor, en la que además de recordar su vida, se adentra en el ambiente cultural, social y político de su tiempo. El efecto Mozart , de Frederick Baker, en torno a un riguroso estudio realizado hace medio siglo, según el cual la música de Mozart produce un gran beneficio sobre el cerebro humano. Tanto en los más de 250 centros fundados en todo el mundo por Alfred Tomatis como en la Universidad de Viena, las composiciones del genio vienés son las preferidas por los musicoterapeutas. Que se lo pregunten al actor Gerard Depardieu, quien participó en estas terapias. Por último, El misterio de Mozart , de Ute Gebhard, aborda la biografía del genio, fallecido en Viena a los 35 años en la miseria y con sólo un puñado de amigos asistentes a su entierro. Dicen que murió de una dolencia renal crónica, pero se especula sobre su posible envenenamiento. El documental también afronta algunas aficiones del compositor, entre ellas su gran pasión por el juego del billar.

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Tomatis 2008

L Lebhaft und mit anschaulichen Beispielen berichtete Jozef Vervoort gestern im...

41 mots 7 avril 2006 Rheinische Post Rheinische Post Xanten Allemand Š Copyright 2006. Rheinisch-Bergische Druckerei- und Verlagsgesellschaft mbH. All rights reserved. For further information see http://www.rp-online.de Lebhaft und mit anschaulichen Beispielen berichtete Jozef Vervoort gestern im Placidahaus Xanten von der Klangtherapie nach Alfred Tomatis. R P-FotoS (4): Olaf Ostermann

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Tomatis 2008

L So klingt Heilung VON BIRGIT KRUMMHEUER 342 mots 7 avril 2006 Rheinische Post Rheinische Post Xanten Allemand © Copyright 2006. Rheinisch-Bergische Druckerei- und Verlagsgesellschaft mbH. All rights reserved. For further information see http://www.rp-online.de Xanten „Stefan war immer ein sehr mobiles Kind“, erinnert sich seine Mutter Gabi Uschkurat. Etwas zu mobil. Bald nach seiner Einschulung stellten sich die ersten Schwierigkeiten ein: Konzentrationsstörungen, Aufmerksamkeitsschwächen. Über Umwege erfuhr Gabi Uschkurat von der Klangtherapie nach Alfred Tomatis, die Jozef Vervoort in Belgien praktiziert und entschied sich, der exotisch anmutenden Methode eine Chance zu geben. Heute ist Stefan 13 Jahre alt. „In der Schule kommt er viel besser zurecht“, berichtet die Mutter froh.

Der Schlüssel zu diesem Erfolg war gestern Gegenstand eines Vortrages im Berufskolleg Xanten. Vervoort, der Leiter des belgischen Instituts Atlantis, war selbst gekommen, um den angehenden Heilpädagogen mit lebhaften Worten aus Theorie und Praxis zu berichten. Am Anfang der Therapie stehe immer ein Horchtest, erläuterte er. Auf diese Weise wird ermittelt, welche Frequenzen das Kind wie deutlich wahrnimmt. So war es auch bei Stefan. „Obwohl er Stefan noch nie gesehen hatte, konnte Jozef Vervoort an Hand der Hörkurve das Verhalten meines Sohnes genau beschreiben“, erinnert sich Gabi Uschkurat.

Der nächste Schritt führte die Xantenerin in eine Aufnahmestudio, wo sie einen Text vorlesen sollte. Die Aufnahme wurde dann so bearbeitet, dass sie den Klang ihrer Stimme imitiert, wie Stefan sie im Mutterleib gehört hatte. Das fertige Klangprodukt bekam der damals neunjährige Junge dann „auf die Ohren“: Drei Mal am Tag setzte er für eineinhalb Stunden einen Kopfhörer auf. Dabei durfte er spielen, schlafen, tun, was er wollte. Mit der Zeit habe sich sein Verhalten verändert.

Von ganz ähnlichen Beispielen berichtete Vervoort den Xantener Studenten, von Erfolgen in der Behandlung von Autismus, Lernschwächen, Sprachschwierigkeiten. „In der Ausbildung zum Heilpädagogen besprechen wir verschiedenste Formen der Wahrnehmungsschulung, darunter auch die Klangtherapie“, erklärt der stellvertretende Leiter des Berufskollegs HansJürgen Reuber. Die Methode sei Jahre lang umstritten gewesen, seit Mitte der 90er Jahre jedoch anerkannt. Die Studenten des Berufskollegs lernen sie von dem Mann kennen, der sich am besten auskennt: von Jozef Vervoort. Vor Ort in SintTruiden in Belgien oder, wie gestern, beim Vortrag in der eigenen Schule.

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Tomatis 2008 Klangvoller Tag der offenen Tür KAATZAN 182 mots 1 avril 2006 Märkische Allgemeine POS Allemand Copyright 2006 Märkische Allgemeine – Brandenburgs beste Seiten. All rights reserved. For further information see http://www.MaerkischeAllgemeine.de CAPUTH Das Haus der Klänge, Bergstraße 10b, veranstaltet am Samstag, dem 1.April, einen Tag der offenen Tür. Besucher können ab 14Uhr alte und neue Musikinstrumente ausprobieren oder nur zuhören, und es gibt das musikalische Schattentheater „Jorinde und Joringel“. Zum Kurzvortrag „Was ist das pädagogische Hörtraining nach den Grundlagen von Prof. Alfred Tomatis?“ wird um 17 Uhr eingeladen. Um 18 Uhr gibt es dann noch Klänge zum Entspannen.

Bericht über Boots-Diebstahl GLINDOW Der Diebstahl von zwei Booten und drei Außenbordmotoren der Deutschen Lebensrettungsgesellschaft Ende Februar aus einer Halle in Glindow (MAZ berichtete) ist Thema der nächsten RBB-Sendung „Täter-Opfer-Polizei“ am 2. April um 19 Uhr. Filiale wieder in ihren Räumen GROSS KREUTZ Nach umfangreichen Renovierungsarbeiten wird die Geschäftsstelle der Brandenburger Bank, VolksbankRaiffeisenbanken eG, am kommenden Montag, dem 3. April, ihren Geschäftsbetrieb wieder in den bisherigen Räumlichkeiten aufnehmen. Wie berichtet, konnten diese wegen eines Wasserrohrbruchs vor zwei Monaten in der darüber liegenden Wohnung nicht genutzt werden. Die Kunden erhielten die Leistungen der Bank in der Zwischenzeit im Nachbarhaus.

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Tomatis 2008

L Placidahaus informiert über die Klangtherapie 100 mots 27 mars 2006 Rheinische Post Rheinische Post Xanten Allemand © Copyright 2006. Rheinisch-Bergische Druckerei- und Verlagsgesellschaft mbH. All rights reserved. For further information see http://www.rp-online.de Xanten (LT) Legasthenie, Probleme beim Lesen, Schreiben und Rechnen, Wahrnehmungsstörungen, Fehlhörigkeit - nur beine Auswahl der Probleme, die mit der Klangtherapie nach Alfred Tomatis behandelt werden. Jozef Vervoort, Leiter des Instituts Atlantis in Sint-Truiden / Belgien, wird über Horchen und Hören, Klangtherapie und Audio-Psycho-Phonologie im Berufskolleg Placidahaus Xanten sprechen. Die Studierenden der Fachschule für Heilpädagogik am Placidahaus besuchen übrigens das Institut im Rahmen ihrer Ausbildung.

Anmeldung wegen begrenzter Teilnehmerzahl zwingend erforderlich (telefonisch): Schulsekretariat Placidahaus, 028012796. Der Vortrag findet am 6.April, 15 Uhr im Berufskolleg statt.

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Tomatis 2008

Aus der Nachbarschaft Placidahaus informiert über die Klangtherapie 88 mots 27 mars 2006 Rheinische Post Rheinische Post Wesel Allemand © Copyright 2006. Rheinisch-Bergische Druckerei- und Verlagsgesellschaft mbH. All rights reserved. For further information see http://www.rp-online.de Xanten (LT) Legasthenie, Probleme beim Lesen, Schreiben und Rechnen, Wahrnehmungsstörungen, Fehlhörigkeit - nur eine Auswahl der Probleme, die mit der Klangtherapie nach Alfred Tomatis behandelt werden. Jozef Vervoort, Leiter des Instituts Atlantis in Sint-Truiden/Belgien, wird über Horchen und Hören, Klangtherapie und Audio-Psycho-Phonologie im Berufskolleg Placidahaus Xanten sprechen.

Info Anmeldung wegen begrenzter Teilnehmerzahl zwingend erforderlich (telefonisch): Schulsekretariat Placidahaus, 02801-2796. Der Vortrag findet am 6.April ab 15 Uhr im Berufskolleg statt.

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Tomatis 2008 YourHealth Mozart's music eases children's burden.

960 mots 21 mars 2006 Irish Times 2 Anglais (c) 2006, The Irish Times.

Music is being used to improve radically the lives of children with autism, dyslexia and attention disorders. Lorna Siggins reports Wolfgang Amadeus Mozart is alive and well and performing in the Connemara Gaeltacht village of Furbo . . . but his celebration there has absolutely nothing to do with the 250th anniversary of his birth.

The much-quoted Mozart effect, whereby the composer's music can help to reduce stress, improve memory and listening disorders, is having a radical impact on children with particular needs.

Until speech therapist Karen O'Connor began providing the Listening Fitness Trainer (LiFT) programme in her west Galway clinic, parents of children diagnosed with autism, dyslexia, speech and language difficulties and attention disorders were taking out loans to travel to Canada.

Now parents are travelling from all over Ireland - and as far as Britain - to sign their children up for O'Connor's programme.

"And the hardest part of it is the awareness that not all parents can afford to do this," Helen McLoughlin, a Galway-based mother of three, explains.

Her middle son had been diagnosed with autism in Canada, where she and her husband lived until their return to Ireland in 1998. His participation in sound therapy, followed by the LiFT programme, has improved his social skills significantly.

"Put it this way - I can now see a future for my son as a contributing taxpayer, rather than as a beneficiary of sheltered housing paid for by the State.

"That's why I believe the State should be encouraging and helping parents of children with particular needs to avail of initiatives like this," according to McLoughlin.

LiFT is an educational technique which uses the voice and pre-recorded music, rich in high frequency, to develop and improve listening skills.

Whereas one relies on the ear for hearing, listening is a "whole body" experience, as exemplified by dancing to music - or a teacher's ability to detect from a student's posture and facial expressions whether he or she is paying attention.

A French ear, nose and throat specialist, Dr Alfred Tomatis, is credited with developing some of the earliest methods of listening training in the late 1950s, using sound stimulation, and the Tomatis method was applied in north America by Paul Madaule, director of the Listening Centre in Toronto.

Karen O'Connor qualified in speech and language therapy in Britain and undertook postgraduate training in New Zealand and North America before returning to Ireland.

During that time she became very interested in therapeutic listening, saw the direct benefits of it when working with preschool children in Rahoon, Galway, and signed up for training with Madaule in Toronto several years ago.

LiFT is quite distinct from other sound therapy programmes in terms of its intensity, she says, and its ability to integrate the auditory, vestibular and vision systems.

The results it achieves in terms of concentration, articulation, comprehension, expression, co-ordination and socialisation are akin to "finding the missing piece in a jigsaw" or "the key to a door which unlocks learning".

At her Kidzfirst clinic in Furbo, three young children appear to be happily playing away with toys, books and jigsaw puzzles while wearing headphones and a small backpack.

They chat among themselves, almost oblivious to the fact that each of them is listening to Mozart at a particular frequency.

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Tomatis 2008 The group will continue the two-and-a-half hourly "play dates" for 15 consecutive days, and there will be a second phase of 15 sessions about 15-30 days later.

The results are not immediate for some children, while other parents notice the difference after the first fortnight.

Catherine Sides, who lives in New Quay, Co Clare, enrolled her daughter for music therapy with O'Connor when she was four years old, and then signed her up for LiFT in autumn 2004 and 2005. Her daughter has no specific diagnosis, but has had language difficulties.

"It was several months later, after Christmas really, when I began to notice the benefits of LiFT, and they were quite extraordinary in terms of her improvement in language skills, reading, writing and mathematics," Sides says.

"We had one or two hiccups - when one of the CDs was changed, for instance, my daughter reacted badly. It took me a while to realise this was all part of the experience and that she would come through it in the most positive sense."

Eleanor Maher from Co Galway has two children with dyspraxia, and both have been treated with LiFT. "I enrolled them at different times, as both have different difficulties, and both benefited pretty much immediately," she says. "Language improved, and my child with visual, perceptual and balance problems became much more aware and in control."

The cost of the programme is â‚Ź1,500 in total, and there is tax relief on the expenditure.

"When I worked out what I would be paying over a period for other treatments, I realised it was well worth it," Helen McLoughlin says.

"But it breaks my heart - when we have had so many recent reports about wasted State money - to think that there are children who won't benefit because of the cost," she says.

"In Canada, parents of children with special needs are given grants, and can choose the assistance they require - because there is a recognition that it will save the State money in the long term.

"The parent does know the child best, and in my case I can only say that this particular treatment has changed all our lives."

For more information on LiFT, Karen O'Connor can be contacted at the Kidzfirst Clinic Listening Centre, Furbo, Co Galway at 086 8420062. Information on LiFT is also available on www.listeningfitness.com

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Tomatis 2008

Ponad trzydzieści szkół specjalnych dostało specjalistyczny sprzęt do terapii dzieci niedosłyszących Alicja Katarzyńska 355 mots 15 mars 2006 Gazeta Wyborcza Polonais © 2006, Gazeta Wyborcza, all rights reserved, for further information visit http://www.gazeta.pl Dzięki „elektronicznemu uchu” Daria będzie lepiej mówić, Michał przestanie być agresywny, a Karolowi poprawi się słuch.

Uchem - specjalistycznym sprzętem do terapii dzieci upośledzonych, niedosłyszących, jąkających się, nadpobudliwych i autystycznych - od kilku dni cieszy się szkoła podstawowa i Gimnazjum nr 26 w Gdańsku.

- W tej szkole uczą się dzieci niepełnosprawne, mające ogromne problemy z komunikacją - mówi Iwona Tor, surdologopeda ze szkoły nr 26 (specjalista od diagnozy i terapii dzieci niedosłyszących). - Z różnych przyczyn: bo niedosłyszą, bo się jąkają są agresywne lub w ogóle nie potrafią porozumiewać się ze światem. Naszym zadaniem jest zmniejszenie ich deficytów.

Bardzo pomoże w tym sprzęt, który dostaliśmy dzięki Ministerstwu Edukacji.

- To projekt ministerialny - mówi Krystyna Laudańska, dyrektor wydziału opieki i profilaktyki społecznej kształcenia specjalnego gdańskiego Kuratorium Oświaty. - Urzędnicy wytypowali szkoły, które dostaną sprzęt i będą pracować na nim z dziećmi. W Pomorskiem jest to na razie około trzydziestu szkół, na ponad sto zajmujących się kształceniem specjalnym.

Wart 240 tys. złotych sprzęt to system komputerów, tzw. ucho elektroniczne, które tak przetwarza dźwięki, że stymulują ucho słuchające. Dziecko zaczyna słyszeć dźwięki, których do tej pory nie słyszało. Dzięki temu uruchamia się szereg procesów: uczeń po terapii zaczyna lepiej mówić, słyszeć itp. Oprócz konkretnych i łatwych do zauważenia rzeczy leczą się też jego emocje. Dzieci nadpobudliwe i agresywne wyciszają się, zahukane stają się bardziej kreatywne. Jak to możliwe?

Podczas treningu dzieci słuchają utworów Mozarta i chorałów gregoriańskich, takie właśnie dźwięki jako niezwykle skuteczne wybrał Alfred Tomatis, francuski otolaryngolog, twórca „ucha elektronicznego” i metody stymulującej prawidłowe słuchanie. Dziś metodę Tomatisa uważa się za bardzo skuteczną w leczeniu dzieci niedosłyszących, upośledzonych.

- Terapia polega na słuchaniu muzyki przez 80 minut dziennie przez 10 dni - mówi Iwona Tor. - To fenomen, nadpobudliwe dzieci nakładają słuchawki, słuchają Mozarta i zastygają. Ktoś kładzie się na materacu, inni siedzą na krzesłach, spokojni, skupieni. Nikt nie protestuje, nie nudzi się, nie zdejmuje słuchawek. Intuicyjnie czują, że to coś dobrego dla nich. Dla mnie to niezwykłe widowisko.

- Dzieci po seansach są wyciszone, spokojniejsze, od razu widać rezultaty - mówi Janina Szmyt-Kuty, nauczycielka klas początkowych w gdańskiej szkole.

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Culture/Entertainment La música de Mozart y su efecto El Comercio 285 mots 5 mars 2006 El Comercio Espagnol Copyright 2006 NoticiasFinancieras. All Rights Reserved.

La exposición "El Efecto Mozart" estará a cargo del Dr. Jorge Smith Maguiña, consultor del Programa de las Naciones Unidas para el Desarrollo (PNUD), además de editor en Lima de Perú News Reviews (Los Ángeles).

Smith fue alumno en París del Dr. Alfred Tomatis, quien inició a finales de la década de los años 50 en Francia, diversos experimentos que usaban la música de Mozart para tratar a niños con desórdenes en el habla y la comunicación. Él descubrió este efecto hace más de 40 años y desde entonces lo usa en el método que lleva su nombre y que se aplica en más de 250 centros en el mundo. Según Tomatis, hay varias maneras de probar las cualidades terapéuticas excepcionales de la música de Mozart. Las más evidentes son: el análisis estético y psicológico de sus composiciones; los efectos neurofisiológicos en el cuerpo humano y por último, el análisis en laboratorio del espectro sonoro de su música.

Posteriormente, Tomatis fue también maestro de Don Campbell, quien publicó el libro "El efecto Mozart".

Como complemento a la exposición, los asistentes tendrán oprtunidad de escuchar los comentarios de los panelistas, Norma Reátegui Colareta,Decana de la Facultad de Psicología de la UPCH y Luis Matos Retamozo, profesor de Psiquiatría de la UPCH. Asimismo, Jorge Berríos, director del Centro Cultural y Académico de la UPCH, participará como moderador.

La cita es el martes 14 de marzo, a las 7:30 p.m., en el auditorio "Hugo Lumbreras" del Centro Cultural y Académico de la Universidad Peruana Cayetano Heredia (Av. Armendáriz 445, Miraflores). El ingreso es libre. l © 2005 NoticiasFinancieras - © 2005 GDA - El Comercio - All rights reserved

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Lokales Mit Mozarts Musik das Gehörte besser verstehen 425 mots 3 février 2006 Allgemeine Zeitung Mainz 0 Allemand (C) 2006 Verlagsgruppe Rhein Main GmbH & Co. KG 15000-Euro-Spende des Lions-Fördervereins unterstützt spezielle Therapieform / Erlös aus Verkauf von Adventskalendern Von Hella Rau BODENHEIM Nicht jeder, der hört, der versteht auch. Seit 1992 bietet Regina Leupold in Bodenheim in ihrem "Logopädischen Zentrum für Audio Vokale Integration und Therapie" (AVIT) die spezielle Therapieform nach Tomatis an.

Diese kann Kindern und Erwachsenen helfen, die zwar hören können, aber unter einer Hörverarbeitungsstörung leiden.

Um diese Therapieform zu unterstützen und bedürftigen Patienten damit zu helfen, überreichten Roland Staller, Heiner Trossbach, Julia und Jürgen Brenken und Rainer Volz vom "Förderverein der Lions-Clubs in Mainz" 15000 Euro an Regina Schmiedt, Vorsitzende der "Interessengemeinschaft zur Förderung der Audio-Vokalen Integration und Therapie" (IGAVIT).

Der 1997 gegründete Verein setzt sich für den Erhalt und den Ausbau der "Therapie nach Prof. Alfred Tomatis" ein und will mit dem Geld das Logopädie-Zentrum unterstützen, das schwerpunktmäßig diese Behandlungsform anbietet. Das Geld stamme aus dem Erlös von 5000 Mainzer Adventskalendern, die der Förderverein der Lions-Clubs vor Weihnachten verkauft hatte und welche zugleich Gewinnlose darstellten, erklärte Trossbach. "Wir sind der Meinung, dass diese Therapieform Unterstützung braucht, weil die Krankenkassen keine Zahlungen leisten", unterstrich Trossbach. "IGAVIT bezahlt mit der Spende Teile der Therapie, die hauptsächlich bedürftigen allein erziehenden Eltern und sozial Schwachen zugute kommen soll", verdeutlichte Regina Schmiedt und übte zugleich harsche Kritik: "Es ist unserem Verein und Frau Leupold trotz zahlreicher Bemühungen nicht gelungen, Krankenkassen zur Anerkennung der Therapie zu bewegen. Wir stoßen dort auf Mauern."

Doch was steckt eigentlich hinter der Therapie, mit der eine im Gehirn veranlagte Hörverarbeitungsstörung behandelt wird?

Der französische Hals-Nasen-Ohrenarzt Prof. Alfred Tomatis entdeckte bereits in den 50-er Jahren, dass vor allem Mozarts frühe Werke das menschliche Gehirn auf besondere Weise anregten. Er entwickelte ein Hörtraining, bei dem mit Hilfe eines computergesteuerten "Elektronischen Ohrs" gefilterte Frequenzbereiche durch spezielle Kopfhörer wieder gegeben werden. Regina Leupold hat diese Erfahrungen nach Deutschland gebracht und weiterentwickelt. "Diese Therapie mit Mozarts Kompositionen erwies sich als großer Erfolg bei Menschen mit Konzentrationsschwäche, Angstzuständen und Sprachproblemen", verdeutlichte Regina Schmiedt. Zu den Symptomen der Hörverarbeitungsstörung zählten aber unter anderem auch Hyperaktivität oder Lese- und Rechtschreibschwäche. "Es ist ein zunehmend hoher Prozentsatz an Kindern, die an der Hörverarbeitungsstörung leiden", informierte Regina Leupold. "Innerhalb von 20 Minuten können wir die Störung mit einem non-verbalen Test feststellen", erklärte die Logopädin und Hörverarbeitungstherapeutin den ersten Schritt. Dann erfolge die Therapie in mehreren Phasen, die Horchsitzungen bis hin zu Kontrolltests mit diagnostischen Gesprächen beinhalteten und erste Erfolge stellten sich bald ein.

Informationen unter Telefon (06135)8380

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"El Efecto Mozart" perdura en el 250 aniversario del compositor 642 mots 29 janvier 2006 10:53 Agencia EFE - Servicio General Espagnol Copyright 2006 Agencia EFE. All Rights Reserved Por Alejandra Villasmil Nueva York, 29 ene (EFE).- Los presuntos beneficios neurológicos de la música de Wolfgang Amadeus Mozart, conocidos como "El Efecto Mozart", parecen perdurar al cumplirse esta semana el 250 aniversario del nacimiento del compositor.

Psicólogos y neurólogos continúan investigando el uso de la música de Mozart como terapia para tratar enfermedades tan dispares como el alzheimer, la epilepsia, las úlceras gástricas, la arritmia cardíaca o la neurosis.

Hay incluso quien asegura que las piezas del compositor austríaco ayudan a elevar el coeficiente intelectual.

Los estudios sobre ese uso de la música de Mozart, para algunos pseudo-científicos, comenzaron a proliferar cuando la terapia pasó a convertirse en una moda y, por extensión, en un negocio que abarca colecciones de discos compactos, libros y una página en Internet.

La empresa, como tal, surgió en Estados Unidos de la mano del músico y maestro Don Campbell, quien en los años 90 acuñó el término de "El Efecto Mozart" para definir el potencial que tienen las composiciones del músico para inspirar y estimular la mente.

Los productos de "El Efecto Mozart" han sido diseñados "para obtener distintas mejoras, como el aumento del coeficiente intelectual, el estímulo de la creatividad y la exploración del movimiento y la expresión corporal", según Campbell.

El autor asegura que la música, en particular la de Mozart, ha ayudado a mejorar la vida de muchas personas, entre ellas el actor francés Gerárd Depardieu, que de niño superó la tartamudez mediante una terapia musical.

En su página web, www.mozarteffect.com , también publica un artículo que reseña que el primer ministro israelí Ariel Sharon ha estado escuchando música clásica, incluido Mozart, como parte de su recuperación tras su operación quirúrgica cerebral.

Campbell, así como otros entusiastas de "El Efecto Mozart" en todo el mundo, aseguran que la música del compositor austríaco ayuda a mejorar la concentración, bajar la presión arterial, reducir la ansiedad y tratar el autismo.

Un estudio citado por Campbell sostiene que los fetos de las embarazadas se sienten más a gusto al escuchar a Mozart o Vivaldi, mientras que los que escuchan rock comienzan a patear el vientre de sus madres y registran una aceleración de los latidos del corazón.

El pionero en descubrir los supuestos beneficios neurofisiológicos de Mozart fue el profesor y médico francés Alfred Tomatis, que hace 40 años ya realizaba tratamientos de desórdenes infantiles y depresión adulta utilizando su música.

Para Tomatis, "Mozart fue un virtuoso del sistema neurovegetativo y un especialista en neurología funcional", y hay varias maneras de probar las cualidades terapéuticas excepcionales de su música, como el análisis estético y psicológico de sus composiciones.

La clave está, según músicos y científicos, en la forma como Mozart repite sus melodías, esto es, cómo tiende a repetir regularmente sus secuencias musicales.

Al cerebro humano, añaden, le encantan los patrones y las melodías bien organizadas.

Varios estudios han demostrado que la música melódica activa áreas del cebrero asociadas con las emociones pasivas, lo que incrementa el flujo sanguíneo cerebral en las mismas regiones que son estimuladas por la comida, el sexo y las drogas.

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Tomatis 2008 En EEUU, estas nociones ganaron el apoyo científico tras la publicación, en 1993, de un estudio que mostraba que un grupo de universitarios que escucharon música de Mozart tuvieron un mejor rendimiento en una prueba de razonamiento espacial que quienes no lo escucharon.

Pero la sabiduría popular trastocó el estudio, simplificando sus conclusiones en la noción de que escuchar a Mozart aumenta la inteligencia o que, incluso, tiene poderes "mágicos".

Es así como se han publicado libros como "Mozart para Mamis y Papis: Estimule el Coeficiente Intelectual de su Hijo", o cómo un viñero italiano, Carlo Cagnozzi, asegura que "las uvas responden a 'La Flauta Mágica', porque es una composición bien equilibrada". EFE

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L'Express va plus loin, Courrier des lecteurs Mozart sur ordonnance 290 mots 26 janvier 2006 L´Express 93 2847 Français L’Express Copyright Groupe Express-Expansion All rights reserved L’Express – (date of publication and Author) Permettez-moi de me présenter: je suis la veuve du Pr Alfred Tomatis, dont vous avez parlé dans le numéro spécial consacré à Mozart (voir L'Express du 22 décembre 2005). Ce que vous avez dit en quelques lignes de mon époux représente un survol très exact de ce qu'il était, de ce qu'il a fait, de ce qu'il a laissé derrière lui. […] De nombreux appels téléphoniques m'ont fait comprendre que votre article avait eu un écho favorable chez tous ceux qui l'ont connu, en amont comme musicothérapeute, en aval comme un cœur qui bat au rythme de la souffrance d'autrui. Je l'ai accompagné pendant presque cinquante ans dans la plénitude d'une mission qui a fait de l'audio-psycho-phonologie une science humaine à part entière, non reconnue par les institutions (en France), mais vécue dans la chair de ceux qui ont éprouvé au travers de l'œuvre de Tomatis le véritable sens de l' «écoute de la parole».

Et tout cela s'est réalisé sous la baguette du divin Mozart, celui qui a inspiré Tomatis tout au long de son chemin de pionnier, de réveilleur et sans doute, pour certains, de dérangeur. […] Je suis tout à fait d'accord avec vous pour dire qu'une compilation de Mozart ne correspond pas à ce qu'exprime l'œuvre céleste de cet être exceptionnel que fut Wolfgang Amadeus. Il portait bien son nom et nous fait ressentir le poids du chemin de croix qu'il dut parcourir tout au long de sa vie. […] Quoi qu'il en soit, l'année Mozart 2006 commence très bien, grâce à vous.

Léna Tomatis, Carcassonne.

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Don Campbell, el gran difusor 103 mots 24 janvier 2006 19:00 La Voz de Galicia Suplemento Espagnol (c) Copyright LA VOZ DE GALICIA S.A. http://www.lavozdegalicia.com.

Don Campbell es, sin duda, la persona que más ha trabajado en el desarrollo y difusión publicitaria y comercial del efecto Mozart. Nacido en Tejas, se educó siguiendo los pasos musicales de la Iglesia metodista y enseguida completó sus estudios en el Conservatorio de Fontaineblau (Francia). Su relación con el investigador de música, profesor y terapeuta Alfred Tomatis lo convirtió en un viajero de todo el mundo, autor y divulgador de cursos que tienen como base sus 18 libros y 17 álbumes musicales, que abarcan los más variados aspectos de aplicación del bum Mozart.

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L Sekt- oder Selters: Party im Café Country Medizinische Heilhypnose hilft tiefenwirksam Klang-Therapie nach Prof.

Tomatis für Kinder 206 mots 24 janvier 2006 Rheinische Post Rheinische Post Wesel Allemand © Copyright 2006. Rheinisch-Bergische Druckerei- und Verlagsgesellschaft mbH. All rights reserved. For further information see http://www.rp-online.de Hamminkeln (RP) Samstag, 28. Januar, kommt der Schneemann mit seinen Freunden ins Café Country und serviert Sekt oder Selters. Pünktlich um 22Uhr knallen die Korken. Sekt und Wasser sind den ganzen Abend frei. spritzig aufgelegt werden die besten Hits der letzten Jahre vom Café-Country- DJ-Team.

Niederrhein (RP) Da nahezu alle Erkrankungen ihre Wurzeln in unterbewusst verankerten seelischen Belastungen und Konflikten haben, kann medizinische Heilhypnose helfen bei Ängsten, Depressionen, Allergien, psychosomatischen Erkrankungen, chronischen Schmerzen, Schlafstörungen, Lern- und Konzentrationsstörungen, Suchterkrankungen, Prüfungs- und Examensängsten. Das Bildungswerk Raesfeld bietet dazu am Donnerstag, 2.Februar, um 20 Uhr in der Villa Becker einen Vortrag an.

Anmeldungen unter der Rufnummer: 02865/10073.

Niederrhein (RP) Für Kinder mit Lern-, Entwicklungs- und Verhaltensstörungen wird vom Bildungswerk am Freitag, 10.Februar, um 20 Uhr im Raesfelder Rathaus eine Phonetik-Therapie nach Prof. Alfred Tomatis, einem französischen HNOArzt, vorgestellt. Grundthese: Wer nicht richtig hört, bekommt Probleme beim Lesen, Sprechen und Schreiben. Horchtests zur Klang-Therapie finden Samstag, 11.Februar, von 9.30 bis 18 Uhr in der Villa Becker in Raesfeld statt.

Anmeldung unter der Rufnummer 02865/ 10073.

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Gente Genio y Figura / El poder de Mozart Gaby Vargas 619 mots 22 janvier 2006 Reforma 6 4418 Espagnol © Derechos Reservados 2006 Consorcio Interamericano de Comunicación, S. A. de C. V. "Su popularidad no sólo ha crecido por lo grandioso de sus composiciones, pues en las últimas décadas su música ha sido utilizada como terapia para diversos padecimientos: tartamudeo, epilepsia, desórdenes de conducta, déficit de atención, depresión y hasta Alzheimer" ¡Es el más distraído! En la escuela tiene muy bajas calificaciones, y desde chico le cuesta mucho trabajo hacer amigos. Lety me platica acerca de su hijo de 10 años. Hasta que un día, alguien me recomendó un tratamiento del cual nunca antes había escuchado: conectarnos, tanto él como yo, a una máquina llamada "oído electrónico". Durante un mes y medio, dos horas diarias, tres veces por semana, escucharíamos música de Mozart. El resultado es increíble, no sabes cómo mejoró su atención y se volvió un niño más abierto.

Este 27 de enero se cumplen 250 años del nacimiento de Wolfgang Amadeus Mozart. Su popularidad no sólo ha crecido por lo grandioso de sus composiciones, pues en las últimas décadas su música ha sido utilizada como terapia para diversos padecimientos: tartamudeo, epilepsia, desórdenes de conducta, déficit de atención, depresión y hasta Alzheimer.

Uno de los pioneros en usar la música de Mozart como terapia es el doctor francés Alfred Tomatis, quien desde los años 60 asegura que el oído es el sentido por medio del cual el cerebro recibe más estímulos. Y aunque el éxito obtenido con miles de pacientes en sus 240 clínicas alrededor del mundo es indiscutible, algunos científicos puristas cuestionan dichas terapias.

Esta teoría también fue avalada en 1993 por la profesora Frances Rauscher, de la Universidad de Wisconsin, cuando antes de aplicar a un grupo de universitarios un examen de destreza mental, los expuso el primer movimiento de la Sonata en R Mayor para dos pianos de Mozart. Resultó que este grupo lo resolvió mucho mejor que otros alumnos que no la escucharon.

Esto, a su vez, llamó la atención de Don Campbell, creador de la corriente "Efecto Mozart", una serie de CD y libros que inundaron el mercado americano, seguido por creaciones como "Mozart para Bebés", "Mozart para Mamás Embarazadas" y un sinfín de productos más.

Todos sabemos el gran efecto que provoca la música sobre nosotros, pero ¿quién puede expresarlo con palabras?

De una manera misteriosa, nos llena de energía, de nostalgia, de paz; evoca épocas y momentos. La música es la puerta que se abre hacia terrenos interiores; toca lugares fuera de nuestro alcance. Pero, ¿por qué Mozart?

Al observar los efectos de diversos tipos de música, Tomatis encuentra que las composiciones de Mozart logran un perfecto equilibrio entre los sonidos graves y agudos, especialmente los conciertos de violín y flauta. Él considera a los tonos agudos como sonidos de "carga", ya que transmiten una energía muy intensa al cerebro. Los graves, como los producidos por el rock pesado, el tráfico, o el motor de un avión, por el contrario, no dan energía suficiente a la corteza cerebral.

Virginia Chenillo, directora del Centro Tomatis México del Sur, explica: "Hay tipos de música muy corporales. Si escuchas a Strauss, quieres bailar; una belicosa con tambores y ritmos cortantes te invita a pelear; los cantos gregorianos nos relajan, al lograr que nuestro ritmo cardiaco y respiratorio empaten con ellos. Así, la música de Mozart estimula la concentración, aumenta la capacidad mental y favorece el aprendizaje".

Al ver los avances de mi hijo, yo también decidí tomar el tratamiento de Tomatis, concluye Lety.

Terapéutica o no, la música de Mozart, a 250 años de su nacimiento, sigue siendo una especie de discurso inarticulado, 102

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Tomatis 2008 insondable, que nos conduce a la orilla de lo infinito y nos permite, por momentos, asomarnos a ĂŠl. GocĂŠmosla. gaby@gabyvargas.com

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Culture/Entertainment Mozart, genio y figura que se ha conservado 250 años 925 mots 21 janvier 2006 Portafolio Espagnol © Copyright 2006 NoticiasFinancieras. All rights reserved.

El 27 de enero el mundo cultural celebra el nacimiento de este fructífero compositor austríaco.

Tal vez sea el hombre más popular en este momento en Europa. Su cara está impresa en camisetas, pocillos, libretas y toda clase de objetos, incluyendo envoltorios de chocolates, que propios y turistas compran afanosamente como si se fueran a acabar. Desprevenidos transeúntes y furibundos aficionados, se toman fotos junto a sus dobles hechos en cartón. Muchos hacen fila, en medio del frío, para poder entrar y conocer su casa. Y eso que no se trata de un atractivo o excéntrico cantante o actor famoso. Por el contrario, usa peluca, es algo cachetón, bajito...

Pese a todo esto, Wolfgang Amadeus Mozart despierta toda clase de pasiones. El encanto de este hombre del que se habla no solo en Europa sino en gran parte del mundo, está en la música que compuso: 626 obras de todos los géneros musicales conocidos en su época (óperas, conciertos, sinfonías, misas, música de cámara, etc.). Y lo hizo en tan solo 27 años. Eso equivaldría, a escribir 23 obras por año.

Dicen que Mozart nació con la música adentro, en sincronía con el universo para poder componer, en parte, porque a su papá, Leopoldo, le gustaba darle serenata de violín a su séptimo hijo, cuando estaba en el vientre de su madre. Entonces, este bebé interiorizó lo escencial de la música y a los 8 años comenzó a escribir sus propias melodías, cuando todavía no sabía ni leer ni escribir. Pero para poner corcheas, semicorcheas, fusas y semifusas en el pentagrama era todo un genio.

EL GENIO MUSICAL Existe la anécdota de que a esa edad, 8 años, le pidió a su hermana que le transcribiera las partes de los instrumentos de cuerda que le estaban 'sonando' en la cabeza. Y que le dijo: "No me olvides de escribir luego algo valioso para los instrumentos de viento", como si fuera algo tan natural como sumar y restar como corresponde a esa edad. Cuando completó lo que quería el resultado fue la Sinfonía K 16.

Y ahí arrancó su carrera musical patrocinada, promovida y hasta aprovechada por su padre, quien se dedicó por completo a su hijo cuando vio el talento y el potencial que poseía. Él fue quien se encargó de llevarlo por varias cortes de Europa convirtiéndose en el niño consentido de reyes y nobles.

"Componía en la cabeza y luego se sentaba y escribía toda la obra de una sola vez. Con solo oír una vez una composición era capaz de interpretarla inmediatamente. Tapaba el teclado con una tela y podía tocar sin problemas", comenta Ilse de Greiff, de la Corporación Otto de Greiff. ¿Y cómo hizo este joven prodigio para que todo lo que compusiera, a ese ritmo y con esa juventud, sonara bien?

"Sus composiciones son muy exactas, mesuradas, corresponden perfectamente a las reglas de cada género y todo lo hacía con calidad, aún las obras infantiles", agrega.

Con él no hay sobresaltos, ni dramatismos extremos y forzados, ni angustias soslayadas. Hay armonía y tranquila expresión de los sentimientos más profundos del ser humano.

"No reflejaba sus problemas personales en la música, pero era sensible a todo", agrega la directora de la Corporación.

En medio de este frenético ritmo de creación, Mozart aportó e innovó en la música, a pesar de seguir las reglas de la composición con rigurosidad. Según la académica, el autor austríaco, por vivir el periodo de la Ilustración, incorporó muy bien en su pensamiento aquello de que todos somos iguales. "El democratizó mucho la música. En sus óperas, por ejemplo, les da protagonismo a personajes como el peluquero, la empleada. Y la forma de componer, sencilla, logra acercar a la gente común a la música que sólo se oía en las cortes", agrega.

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Tomatis 2008 Mozart también sorprendió al público al componer sinfonías y conciertos en los que involucra a los instrumentos de viento, cuando los que se usaban más eran los de cuerda.

Por todo esto, y más, el mundo celebra el nacimiento de este genio. El 27 de enero, se cumple su aniversario número 250.

EVENTOS PROGRAMA. Dos semanas de conciertos comienzan hoy en Salzburgo. Sin embargo, el evento central será en el verano, del 21 de julio al 31 de agosto, cuando se presenten las 22 óperas del artista.

COLECCIÓN 10 discos conforman la colección que el sello Harmonía Mundi lanzó con el repertorio más representativo de la obra de Mozart. Incluye el 'Réquiem' y su ópera 'Cosi fan tutte'.

ESTIMULANTE TEORÍAS. El otorrinolaringólogo francés, Alfred Tomatis, estudió hace 40 años la música de Mozart y llegó a la conclusión de que ésta tiene un efecto positivo sobre el organismo. Según sus investigaciones, los ritmos, las melodías, la métrica, el tono, el timbre y las frecuencias de sus composiciones estimulan el cerebro humano, especialmente en aquellas zonas relacionadas con el hemisferio derecho. La música no sólo activa las redes neuronales, sino que incide también en la concentración, la atención y la memoria, estimulando el proceso de aprendizaje, especialmente en edades tempranas.

"En sus obras reina un sentimiento de seguridad permanente. No hay momentos insólitos. Todo está perfectamente ligado.

El pensamiento se desarrolla sin choques ni sorpresas", dijo el doctor. A todo esto se le ha llamado el Efecto Mozart. Esta teoría ha llevado a utilizar la música de este compositor para la estimulación temprana de bebés, prácticamente desde que están en el vientre de la madre. © 2005 NoticiasFinancieras - © 2005 GDA - Portafolio - All rights reserved

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Moda Genio y Figura / El poder de Mozart Gaby Vargas 599 mots 21 janvier 2006 El Norte 2 24519 Espagnol © Derechos Reservados 2006 Consorcio Interamericano de Comunicación, S. A. de C. V. ¡Es el más distraído! En la escuela tiene muy bajas calificaciones y, desde chico, le cuesta mucho trabajo hacer amigos. Lety me platica acerca de su hijo de 10 años. Hasta que un día, alguien me recomendó un tratamiento del cual nunca antes había escuchado: conectarnos, tanto él como yo, a una máquina llamada "oído electrónico". Durante un mes y medio, dos horas diarias, tres veces por semana, escucharíamos música de Mozart. El resultado es increíble, no sabes cómo mejoró su atención, y se volvió un niño más abierto.

Este 27 de enero se cumplen 250 años del nacimiento de Wolfang Amadeus Mozart. Su popularidad, a través del tiempo, no sólo ha crecido por lo grandioso de sus composiciones; en las últimas décadas, la música de este compositor ha sido utilizada como terapia para diversos padecimientos: desde problemas como tartamudeo, epilepsia, desórdenes de conducta, déficit de atención, depresión y hasta Alzheimer.

Uno de los pioneros en usar con mucho éxito la música de Mozart como terapia es el doctor francés Alfred Tomatis, quien, desde los años 60, asegura que el oído es el sentido por medio del cual el cerebro recibe más estímulos. Y aunque el éxito obtenido con miles de pacientes en sus 240 clínicas alrededor del mundo es indiscutible, algunos científicos puristas cuestionan dichas terapias.

Esta teoría también fue avalada en 1993 por la profesora Frances Rauscher, de la Universidad de Wisconsin, cuando antes de aplicar a un grupo de universitarios un examen de destreza mental, los expuso al primer movimiento de la Sonata en R Mayor para dos pianos de Mozart. Resultó que este grupo lo resolvió mucho mejor que otros alumnos que no la escucharon.

Esto, a su vez, llamó la atención de Don Campbell, creador de la corriente "Efecto Mozart", una serie de CDs y libros que inundaron el mercado americano, seguido por creaciones como Mozart para bebés, Mozart para mamás embarazadas y un sinfín de productos más.

Todos sabemos el gran efecto que provoca la música sobre nosotros, pero ¿quién puede expresarlo con palabras?

De una manera misteriosa, nos llena de energía, de nostalgia, de paz; evoca épocas y momentos. La música es la puerta que se abre hacia terrenos interiores; toca lugares fuera de nuestro alcance. Pero, ¿por qué Mozart?

Al observar los efectos de diversos tipos de música, Tomatis encuentra que las composiciones de Mozart logran un perfecto equilibrio entre los sonidos graves y agudos, especialmente los conciertos de violín y flauta. Él considera a los tonos agudos como sonidos de "carga", ya que transmiten una carga de energía muy intensa al cerebro. Los graves, como los producidos por el rock pesado, el tráfico, o el motor de un avión, por el contrario, no dan energía suficiente a la corteza cerebral, agotando incluso a la persona.

Virginia Chenillo, directora del Centro Tomatis México del Sur, explica: "Hay tipos de música muy corporales. Si escuchas a Strauss, quieres bailar; una belicosa con tambores y ritmos cortantes, te invita a pelear; los cantos gregorianos nos relajan, al lograr que nuestro ritmo cardiaco y respiratorio empaten con ellos. Así, la música de Mozart estimula la concentración, aumenta la capacidad mental y favorece el aprendizaje".

Al ver los avances de mi hijo, yo también decidí tomar el tratamiento de Tomatis, concluye Lety.

Terapéutica o no, la música de Mozart, a 250 años de su nacimiento, sigue siendo una especie de discurso inarticulado, insondable, que nos conduce a la orilla de lo infinito y nos permite, por momentos, asomarnos a él. Gocémosla. gaby@gabyvargas.com 106

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Tomatis 2008 Music The Power of Mozart The legendary composer is not just for listening to anymore--250 years after his birth, he's a health fad Peter Gumbel/ParisBethany Bell/Salzburg; Julia Mason/Paris 2,459 mots 16 janvier 2006 Time International Atlantic Ed. 48 Anglais Copyright (c) 2006 ProQuest Information and Learning Company. All rights reserved.

Katia Eliad, a Paris-based artist, was stuck in a rut. She felt blocked in her creativity, out of touch with herself and for some inexplicable reason unable to use green or blue in her abstract paintings. So last spring, she started an unusual treatment: daily two-hour sessions of Mozart's music for three weeks at a time, filtered through special vibrating headphones that sometimes cut out the lowest tones. The impact, she says, was dramatic. "I'm much more at ease with myself, with people, with everything," says Eliad, 33. "It feels like I've done 10 years of psychoanalysis in just eight months." Blue and green are back in her palette. As for Mozart, "he's become like a grandfather who calms you when you wake up in the middle of a nightmare."

Wolfgang Amadeus Mozart was born 250 years ago, on Jan. 27, 1756, and lavish celebrations are being planned around the world to celebrate his anniversary. This year will be filled with his music, but it will also be a time to re-examine the contradictions and conflicting interpretations of his brief 35-year life. He has been cast in many roles: the infant prodigy paraded around European courts by his father, Leopold; the foulmouthed brat whose letters attest to a fondness for offcolor practical jokes. One widespread misconception has him buried in a pauper's grave in Vienna's St. Marx Cemetery.

Another unproven legend, given widespread credence thanks to the hit movie Amadeus, depicts him as the victim of his jealous court rival Antonio Salieri. Fervent admirers have argued that he was divinely inspired, but some modern psychologists detect an infantile-regressive personality. And if he were alive today, says Herbert Brugger of the Salzburg tourism office, he would be "a pop star--somewhere between Prince, Michael Jackson and Robbie Williams."

There's little new about such typecasting. But over the past decade, Mozart has increasingly been placed in a role that is perhaps the most controversial of all: as healer of mind and body. In this New Age interpretation, Mozart is the ultimate composer- therapist whose music can help treat ailments ranging from acne to Alzheimer's disease and even, it is claimed, make you and your kids smarter. Some of these claims are based on science. One neurosurgeon in Chicago has conducted studies that show certain Mozart pieces can reduce the severity and frequency of epileptic seizures in some patients, while researchers in Irvine, California, have found that some people with Alzheimer's are better able to perform mental tests after listening to Mozart for 10 minutes.

But much of the supporting material is anecdotal. French actor Gerard Depardieu says Mozart helped to cure his childhood stutter. Eliad, the painter, received her treatment at an institute founded by a Paris physician named Alfred Tomatis, who pioneered the use of Mozart's music to treat all sorts of childhood disorders as well as adult ailments including depression.

Few national authorities officially recognize the treatment, and traditional music therapists are deeply skeptical. Still, Poland is currently introducing Tomatis' methods nationwide in centers that help children with learning difficulties. And in the London suburb of Richmond, Jackie Hindley credits it with helping her 6-year-old son Lawrence. He was a slow developer and hyperactive, Hindley says, with a particular language difficulty: whenever people spoke to him, he would stay quiet for half an hour before coming back with an answer, she says. After several sessions of listening to Mozart, "he's now a very active speaker who responds immediately to whatever is said to him," Hindley says. "He's taken very profound steps forward."

By far the most widespread--and most disputed--recent claim is that Mozart can enhance your brain power. That notion was first given scientific support in a 1993 article in Nature, which found that college students who listened to the first movement of Mozart's Sonata in D Major for Two Pianos performed better on a spatial reasoning test that involved mentally unfolding a piece of paper. The study's main author, Frances Rauscher, an associate professor at the University of Wisconsin who is also a cellist, went on to do a similar test using laboratory rats. They were exposed to the same piano sonata in utero and for two months after birth, and then let loose in a maze. There they navigated their way out far quicker than three other groups of rats, which had been exposed to white noise, silence or a highly repetitive piece by American composer Philip Glass.

In the decade since, these studies have sparked an academic storm, with many of Rauscher's peers either refining or debunking her findings. Other researchers have had mixed success in replicating her results. But her work received widespread media attention and gave rise to a pop-psychology trend known as the "Mozart effect." Dozens of Mozart compilation CDs that promise to enhance intelligence are now on the market, with titles such as Mozart for Mommies and Daddies--Jumpstart Your Newborn's IQ. The claims have had social-policy repercussions: in 1998, the U.S. state of Georgia 107

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Tomatis 2008 began handing out classical-music CDs to the parents of all infants, and there are similar but less official programs in Colorado, Florida and elsewhere.

Behind much of this enterprise is a U.S. musician named Don Campbell, who is not a scientist and had nothing to do with the original research, but who quickly trademarked the term "Mozart effect," and has written two best-selling books on the subject and compiled more than a dozen CDs. "In an instant, music can uplift our soul. It awakens within us the spirit of prayer, compassion and love," he writes. "It clears our minds and has been known to make us smarter."

Rauscher is both bemused and sometimes amused by such rank commercialization. "At least somebody managed to make money out of it," she says. But she bristles at the way her findings are misrepresented. "Nobody ever said listening to Mozart makes you smarter," she complains, pointing out that her research showed only a temporary and limited improvement in the student's spatial reasoning, rather than a sustained and general increase in IQ. Today, she's even revising her own initial conclusions in the light of subsequent research by others, working on a book tentatively titled Music and the Mind Beyond the Mozart Effect. Listening to Mozart, she now reckons, may not be as important for the brain as the general sense of mood of arousal brought about by doing something that is enjoyable. Campbell, who is based in Colorado, isn't fazed by her attitude, nor by the open scorn he encounters in the academic community. "I don't think we can prove anything, but we can't disprove it either," he says. "To be most honest, we don't understand why music has such a powerful influence on the brain."

He has a point. Scientific studies show that many different areas of the brain are activated when a person listens to music.

There's also some overlap between the areas of the brain most responsive to music and those used in spatial reasoning. But beyond that, there's little certainty as to why some pieces of music stimulate more than others--and even less understanding of music's sometimes soothing effects.

Glenn Schellenberg, a psychology professor at the University of Toronto at Mississauga, built on Rauscher's study by comparing the effects of a happy-sounding Mozart piece to a sad-sounding Albinoni piece, and then testing to see if music by the British rock band Blur had a bigger impact. (The answer is yes, among 10- and 11-year- old boys). At one point he even did research that pitted Mozart's music against a Stephen King story. His conclusion: listeners who preferred Mozart performed better after listening to Mozart than to the story. Listeners who preferred Stephen King did better after the story. Such findings are in line with those of neurosurgeons who have long tracked the effect of various stimulants, including music and drugs, on the brain's electrical discharge patterns. A growing volume of research suggests that music may hardwire the brain, building links between the two hemispheres. Exactly how this process works is still unclear, but such brain stimulation can lead to peaks of performance and awareness.

Why should Mozart's music be the focal point of this debate, rather than other classical composers such as Bach, Beethoven or Chopin? Many sounds, from Hindu chanting to the noise of the surf breaking on a shore, are believed to be therapeutic.

As for classical music, Gerard Mortier, the director of the Paris opera, is one of many who reckons that Mozart isn't the only composer who soothes. "You find the most appropriate music for the pathology," Mortier says. "For some people it might be [Johann Sebastian Bach's] 'Goldberg' Variations. For others it might be the second act of [Richard Wagner's] Tristan and Isolde. For a third it could be a Schubert quartet, and for another it's Mozart."

Still, John Hughes reckons Mozart yields the best results. He's a neurologist at the University of Illinois Medical Center who specializes in epilepsy. One day a colleague handed him a tape of the same Mozart sonata that Rauscher used in her studies. The next morning, he tried it out on a patient in a coma, and was stunned to find that it substantially reduced the frequency of seizures. He followed up with a series of studies on 36 patients; 29 of them responded in the same way to the music. "There's no question about it, about 80% of the time it has a beneficial effect on seizures," he says. That's when he started testing other classical music on patients, only to find that Mozart was consistently the most effective on his epileptic patients.

The key, he believes, lies in the way Mozart repeated his melodies. "He turned a melodic line upside down and inside out.

That gave people something interesting to listen to. Our brain loves pattern." Some of Bach's music scored highly, as did works by Mendelssohn and Haydn. But Mozart's musical sequences tend to repeat regularly every 20-30 seconds, which is about the same length of time as brain-wave patterns and other functions of the central nervous system. His conclusion is that the frequency of patterns in Mozart's music counteracts irregular firing patterns of epilepsy patients. Unlike the IQ tests, Hughes says, the response he measured has nothing to do with theories of mood and arousal: "Most of my patients are in a coma so you couldn't explain it as, 'I feel better so I perform better.' This is a direct effect on the brain."

Michelle Quatron doesn't have a clue why Mozart's music works, but she says she can see the effect on her 6-year-old daughter Lucy, who is autistic. "She used to sit in a corner and have no interaction with anyone," Quatron says. Two years ago, she began taking Lucy to a center in Lewes, England, that uses the Tomatis method of playing music through what's called an "electronic ear"-- essentially regular headphones with a piece in the middle that vibrates against the scalp, 108

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Tomatis 2008 conveying sounds through bone conduction. Tomatis and his followers claim that this has a profound impact on patients' ability to hear and listen to others and themselves, which is the core of the treatment. Still, since there's no conventional scientific proof for the method, health authorities in many countries, including the Food and Drug Administration in the U.S., don't recognize it.

Quatron says she was skeptical about the treatment at first, but is now a convert. "The first thing that astonished us is that she allowed it to happen--that she sat for two hours listening to Mozart, and not just once but every day for 14 days," Quatron says. And she's thrilled with the changes she sees. "Lucy is making friends. Her eye contact has improved and her language has come on so much. It's like she's opening out. She's coming right out of herself."

In the official world of music therapy, such methods are viewed as hokey. That's because registered therapists working with handicapped or troubled children usually get them to make music as a way of expressing themselves and interacting with one another. In Britain, where music therapy has been a registered health profession since 1999, Gary Ansdell at the Nordoff Robbins Music Therapy Center in London points out that "it's all about active music making, not passive listening."

Ansdell is also scornful of Don Campbell and his "Mozart effect" empire. "It has to be more complex than that," he says.

"We're not doing Mozart a favor to reduce him to an effect."

But in this Mozart anniversary year, it seems, anything goes. Just ask Carlo Cagnozzi. He's a Tuscan winemaker in Montalcino, near Siena, who has been piping Mozart to his vines for the past five years. He first had the idea as a young man, when he would bring his accordion to the grape harvest. Playing Mozart round the clock to his grapes has a dramatic effect, he claims. "It ripens them faster," he says, adding that it also keeps away parasites and birds. If Mozart had really been buried in a pauper's grave, he would probably be spinning in it. But with so little still understood about the psychological and physiological effects of music, researchers from the University of Florence are now studying Cagnozzi's claims. Says Don Campbell, the Mozart effect author: "Mozart has universal appeal. The discussion needs to continue. We are just beginning to ask the right questions." The swirling controversy seems sure to continue--and Campbell will carry on selling his CDs. Even if his claims about Mozart's music making us smarter are bogus, he's helping to introduce a lot of people to a composer whose music remains relevant, 250 years after his birth.

See also additional image(s) in Table of Contents of same issue.

PHOTO: CORBIS MAGIC FLUTES: Mozart, in a portrait by Gerrit Greve; his music has been used to treat ailments ranging from acne to Alzheimer's disease PHOTO: JOHN VAN HASSELT--CORBIS BOOM TOWN: Salzburg's tourism industry thrives on the fact that it's Mozart's birthplace

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Tomatis 2008 De ser genio y sus gajes MERCEDES CEBRIÁN 1,064 mots 8 janvier 2006 La Vanguardia 6 Espagnol (C) 2006 La Vanguardia El Wunderkind D MERCEDES CEBRIÁN De lo que se come se cría: este dicho popular, por burdo que parezca, puede muy bien aplicarse a la filosofía de la línea de productos para recién nacidos Baby Einstein, comercializados en decenas de países, entre ellos España. En su catálogo figura una colección de CDs con grabaciones musicales especialmente concebidas para estimular la curiosidad natural del bebé. Las obras de Mozart, y en concreto algunos de sus grandes hits, la Sonata para piano en Do Mayor K 545 y ciertas arias de La flauta mágica, son las estrellas del repertorio. Si mi niño escucha a Mozart desde su nacimiento, ¿me saldrá tan Wunderkind como Wolfgang Amadeus? Esta parece ser la pregunta que han venido haciéndose, además de muchos padres de familia, investigadores como el otorrino francés Alfred Tomatis o el músico norteamericano Don Campbell, ambos expertos en el denominado efecto Mozart. El primero empleó por primera vez dicho término hace ya cuatro décadas para referirse a los beneficios terapéuticos de la música del compositor austriaco tanto en niños como en vacas lecheras e incluso en ratas de laboratorio, quienes, tras escuchar la Sonata para dos pianos en Re Mayor K 448, encuentran más rápidamente la salida de los laberintos a los que se les confina en los experimentos.

Tomatis supo ver en Mozart un virtuoso, pero del sistema neurovegetativo. En su libro Pourquoi Mozart afirmaba que las frecuencias agudas, muy presentes en su obra, vienen de perlas a los oidos aún por formar, así como el sentimiento de seguridad permanente –sin choques ni sorpresas– que genera Wolfgang Amadeus a través de su pensamiento musical. Esto tampoco habría de extrañarnos demasiado: por algo Mozart es el arquetipo del Clasicismo musical, una de cuyas piedras angulares es el gusto por el equilibrio en las formas.

El propio Mozart tuvo también, aunque anacrónicamente, su momento Baby Einstein gracias a su padre y principal artífice de su carrera de niño prodigio: el violinista y compositor Leopold Mozart. Mediante las piezas sencillas que componía para sus hijos Nannerl y Wolfgang, Leopold fue inculcándoles el gusto por la música. Su Sinfonía de los juguetes, en la que se simulan artefactos mecánicos y cacharritos por medio de matracas, triángulos y silbatos, es una de las obras más del gusto de los niños de todos los siglos. Sí, era obvio que la música estaba presente a diario en el número 9 de la Getreidegasse salzburguesa, casa natal de Mozart en cuya puerta hacen cola hordas de turistas en un intento de hacerse con el espíritu del niño prodigio de la música por antonomasia.

Es un hecho que la figura del genio infantil es más frecuente en la música que en otras disciplinas artísticas, probablemente porque la interpretación musical está emparentada en algún grado con el lenguaje de lo malabar, con la destreza circense que sólo alguien flexible y ágil como un niño puede desempeñar con facilidad. Si tuviésemos que dar nombres de arquitectos o escritores que hayan dejado un legado más o menos importante en su etapa prepúber, no se nos ocurriría ninguno. En cambio la música proporciona cientos de ejemplos: además de la paradigmática figura de Mozart tenemos a Mendelssohn, cuyo talento juvenil fue admirado por Goethe, o, en España, a Juan Crisóstomo de Arriaga. Nacido en 1807 el mismo día de enero que su homólogo austriaco, el compositor bilbaino da hoy nombre al teatro de ópera de la capital vizcaina y es lo más cercano a un Wunderkind musical español.

Para mostrarle al mundo las habilidades milagrosas que procedían de sus propios genes, Leopold Mozart decidió iniciar en 1762 un periodo de trashumancia junto a sus hijos Wolfang y Nannerl –también prodigiosa aunque menos que su hermano pequeño–. Estos viajes dieron lugar a cientos de anécdotas que figuran en la bibliografía sobre el compositor y, muchas de ellas, también en la obra Amadeus de Peter Schaffer, llevada al cine por Milos Forman. De ahí que lo primero que llame la atención de Mozart como artista sea su facilidad para tocar el clave con los ojos vendados frente a la realeza de toda Europa o la proeza de haber copiado de oido a los 14 años las nueve voces de un fragmento del Miserere de Allegri, obra cuya reproducción total o parcial estaba terminantemente prohibida fuera del Vaticano.

Parece claro que uno de los principales males del Wunderkind que llega a la vida adulta es percatarse de que la sociedad lo ha recluido en una especie de Wunderkammer o gabinete de curiosidades, como si su genialidad se acercara más a una deformidad que a un don. Si el niño prodigio afamado como intérprete tiene intenciones de probar su madurez artística en el campo de la composición debe decir adiós a malabares y cabriolas: componer es una actividad solitaria, no genera historietas curiosas y no es vistosa en directo. Aunque, una vez más, la avidez por la anécdota convierte las primeras líneas de las biografías de los Wunderkinder en una competición por ver quién escribió la obra más compleja a la edad más 110

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Tomatis 2008 temprana. Así, en el caso de Mozart, tenemos datos soprendentes: a los 5 años compuso sus primeras piezas para clave y a los 9 su primera sinfonía en Mi bemol , la catalogada como K 16 . Pero la sed de obras ambiciosas se sacia al saber que su singspiel Bastián y Bastiana, favorito de los programadores de conciertos pedagógicos, data de 1768, cuando contaba sólo 12 años. Tampoco Mozart ha logrado escapar del retrato de adulto enfant terrible propio del niño artista. Sus primeros biógrafos del siglo XVIII, Schlichtegroll y Niemetschek, ya escribieron acerca de su carácter hedonista y su difícil adaptación a los cánones modosos de comportamiento de la época. Sólo nos hace falta recordar la risita frívola de Mozart en Amadeus.

Esta risita no hace sino contrastar con la hondura y madurez artística de su música, que en definitiva es el elemento más real y metafóricamente tangible con el que contamos para juzgar la más que posible genialidad de Mozart.

Miquel Desclot es poeta, prosista y traductor. Premio de la Crítica Serra d'Or en tres ocasiones, ha publicado ‘L'edat d'or de la música.

Iniciació al classicisme vienès’ (Angle, 2003) El genio infantil es más frecuente en la música que en otras disciplinas artísticas, y Mozart

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Ze světa Máme lebku Mozarta, doufají vědci RUTH JAVUREK, ZITA SENKOVÁ 510 mots 5 janvier 2006 Mlada Fronta Dnes 12 Tchèque (c) 2006 Mladá Fronta DNES, Newton IT s.r.o. All rights reserved Tým profesora Walthera Parsona z Innsbrucku spolehlivě identifikoval lebku hudebního génia Salcburk, Praha - Rakouští vědci na základě analýzy DNA podle všeho identifikovali lebku geniálního hudebního skladatele Wolfganga Amadea Mozarta.

V mezinárodním roce 250. výročí narození světoznámého skladatele si Rakušané a všichni Mozartovi příznivci snad ani lepší objev nemohli přát.

Ano, je to jeho lebka!

Srovnávací test s genofondem z kostí zaručeně pokrevních Mozartových příbuzných uskutečnili odborníci z Institutu soudní medicíny při lékařské fakultě v Innsbrucku. Jejich výsledky potvrdili američtí experti. Závěry testů budou oficiálně oznámeny až v neděli v pořadu rakouské televize ORF. „Ano, jedná se s největší pravděpodobností o lebku génia,“ řekl včera v telefonickém rozhovoru pro MF DNES vedoucí projektu Walther Parson, renomovaný profesor. „Předchozí anatomické testy nevedly k jednoznačným závěrům. Profil lebky byl zpočátku porovnáván s dobovými kresbami.

Vzhledem k tomu, že každá z nich byla odlišná, nebylo možné jednoznačně určit, zda byl nález lebky pravý. To dávalo manévrovací prostor pro různé interpretace. Teprve na bázi DNA se nám nyní podařilo dosáhnout jednoznačného výsledku,“ upřesnil pro MF DNES Walther Parson. „Musíte ale počkat do neděle,“ dodal s úsměvem šťastný „objevitel“ a vysvětlil postup svého týmu. „Byly porovnány lebeční kosti a dva Mozartovy zuby se vzorky kostí jeho babičky a neteře. Zájem o ženské příbuzné byl kvůli mitochondriální DNA, protože ta na rozdíl od jiných částí DNA nepodléhá mutacím. Proto lze spolehlivě zjistit rodovou příbuznost,“ objasnil MF DNES profesor Walther Parson. Testovaná lebka je ve vlastnictví salcburské nadace Mozarteum teprve od roku 1902. Není ale jediná, o které se tvrdilo, že patřila tomuto géniovi. Skladatel zemřel 5. prosince 1791 ve Vídni v naprosté chudobě. Údajně byl proto pochován v hromadném hrobě mezi tuláky na hřbitově svatého Marka.

Až o mnoho let později se opět rozpoutal zájem o jeho osobu a skladatelovu lebku vyjmul z hromadného hrobu tehdejší hrobník. V roce 2004 pak byla otevřena hrobka rodiny Mozartových v Salcburku. Vědci z ní získali genetický materiál, který posloužil k expertizám.

Testy probíhaly celý loňský rok. Jejich oficiální výsledek bude oznámen v pořadu rakouské televize Mozart - Eine Spurensuche (Mozart - Hledání stop), a to v neděli 8. ledna ve 21.55 hodin v televizi ORF2, která výzkum financovala.

Následovat bude debata a pak film Mozart režiséra slovenského původu Juraje Herze z roku 1991.

Mozartova hudba na recept?

Letošní Mozartův rok nebudou provázet pouze stovky speciálních koncertů, výstav a dalších akcí, a to nejen v Rakousku, ale také zajímavé „objevy“. Několik studií dokázalo, že hudba Wolfganga Amadea Mozarta stimuluje lidský mozek.

Jedním z prvních, kteří přišli na to, že Mozartova díla mají terapeutické účinky, byl francouzský specialista na nemoci dýchacích cest a na psychoakustiku Alfred Tomatis. Podle něj pravidelný poslech zejména Mozartových houslových skladeb měl kladný vliv na pacienty trpící nespavostí, depresí či úzkostmi. Rytmus jeho skladeb překvapivě připomíná tlukot srdce embrya v matčině lůně.

Od 90. let američtí neurologové začali pouštět Mozartovu hudbu pacientům v kómatu. Také některé francouzské nemocnice 112

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Tomatis 2008 ji předepisují těhotným ženám.

Není proto vyloučeno, že díla hudebního génia budou možná jednou lékaři ordinovat jako lék.

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Evenement De Richard Wagner à Michel Portal - Profession : mozartien Ivan A. Alexandre 2,320 mots 22 décembre 2005 Le Nouvel Observateur 82,84 2146_2147 Français (c) 2005 Le Nouvel Observateur Chefs ou instrumentistes, ils entretiennent ou ont entretenu un rapport privilégié avec l'auteur des « Noces de Figaro ». lls s'en sont nourris. Sans être jamais rassasiés. Témoignages Richard Wagner (1813-1883) Richard Strauss (1864-1949) Wilhelm Furtwängler (1886-1954) Thomas Beecham (1879-1961) Josef Krips (1902-1974) Nikolaus Harnoncourt (né en 1929) Riccardo Muti (né en 1941) John Eliot Gardiner (né en 1943) René Jacobs (né en 1946) Emmanuel Krivine (né en 1947) Artur Schnabel (1882-1951) Lili Kraus (1905-1986)Yehudi Menuhin (1916-1999) Paul Badura-Skoda (né en 1927) Michel Portal (né en 1935) Christian Zacharias (né en 1950) Andreas Staier (né en 1955) Ivan A. Alexandre Compositeur allemand tenu pour le premier «chef artiste» Comparé à Haydn, Mozart est grand presque uniquement par le cantabile sentimental de ses thèmes instrumentaux.

Comparons les huit premières mesures de la célèbre Symphonie en mi bémol majeur [n°39] jouées d'une part aussi simplement que semble l'exiger la notation succincte des nuances et d'autre part l'exécution de ce thème merveilleux conçu par un musicien doué de sentiment. Que retiendrons-nous de Mozart dirigé de la première manière, en lui refusant la couleur et la vie ? Une musique sans âme, rien d'autre.

Compositeur et chef allemand, cofondateur du Festival de Salzbourg Vous voyez les deux mesures adagio dans le finale du premier acte de « Don Giovanni », après l'invitation de Leporello aux trois personnages masqués, juste avant le Trio tragique ? Eh bien ! je donnerais volontiers trois de mes opéras pour avoir 114

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Tomatis 2008 composé ces deux mesures.

Chef allemand dont la lecture tragique de «Don Giovanni» a trouvé d'innombrables adeptes Si Mozart n'a plus la tranquillité épique de Bach, il n'a pas encore la dramatique agitation de Beethoven - ou plutôt il réunit, de façon unique, le calme et le frémissement. Ce qu'il fait, il le fait tel un escrimeur accompli, avec la plus grande aisance dans la plus grande maîtrise ; il se tire des entreprises les plus vastes et les plus ardues avec une parfaite urbanité, et sans ombre de fatigue ou d'hésitation. C'est pourquoi il est le rêve des théoriciens et des gens de Conservatoire.

Chef britannique partagé entre les mille couleurs de l'orchestre moderne et les lignes pures du siècle «classique» Mozart a libéré la musique d'une époque formaliste tout en restant la vraie voix du XVIIIe siècle. La nouveauté du sentiment ou de l'émotion qu'exprime une technique incomparable, voilà le don suprême qu'il a fait au monde. Ce sentiment était une manière d'intimité, une mâle tendresse tout à fait unique - quelque chose de confiant, d'aimant.

Chef autrichien dont le style «antiromantique» fit le mozartien par excellence de l'après-guerre Beethoven atteint parfois le ciel, mais Mozart, il en vient, comme un ange qui n'a touché la terre que pour très peu de temps. Je répète toujours : si une oeuvre du répertoire n'est pas « de Mozart », c'est qu'elle est mal jouée. J'entends par là : il faut tout diriger - même Wagner et Tchaïkovski - d'une manière parfaite, transparente, pure, claire, comme si c'était du Mozart.

Otto Klemperer(1885-1973) Chef allemand. D'aucuns citent toujours sa version de «la Flûte enchantée» (1964) en référence Il arrive encore qu'on le définisse comme un génie lumineux. Mais Mozart, dont les thèmes sont souvent emplis de ténèbres et de mort, est plus qu'un génie lumineux. Les Allemands ne voient pas, ou ne veulent pas voir, le véritable Mozart, l'optimiste dans « l'Enlèvement au sérail », le pessimiste par excellence dans « les Noces de Figaro », l'inquiétant « Don Giovanni », la solennelle « Flûte enchantée » et « Così fan tutte », cet opéra empreint d'une profonde philosophie.

Chef autrichien. Le cycle Mozart monté à Zurich en collaboration avec Jean-Pierre Ponnelle a marqué les années 1980 Nous savons, grâce à ses lettres, que l'idée de la mort, qu'il abordait en croyant, était familière et naturelle à Mozart. Ainsi écrivait-il à son père malade en 1787, donc à l'âge de 31 ans : «...Comme la mort (si l'on considère bien les choses) est le vrai but de la vie, je me suis, depuis quelques années, familiarisé avec cette fidèle et meilleure amie de l'homme, si bien que son image, non seulement n'a plus rien d'effrayant pour moi, mais me paraît apaisante et me console.»

Dans le Confutatis du Requiem - sa seule oeuvre autobiographique -, j'entends Mozart parler pour lui-même, avec toute l'insistance et l'émotion dont il était capable, comme un enfant malade qui regarde, plein de confiance, sa mère - et alors l'angoisse disparaît.

Ici je ne peux le comparer qu'à Bach. Et la différence que j'observe est surtout une différence de génération, qui explique la très grande différence de style. Ce qu'on ne peut comparer, entre le début et la fin du XVIIIe siècle, c'est le contexte spirituel. Mais tous les deux, Bach et Mozart, incarnent idéalement ce contexte. Ils oeuvrent l'un comme l'autre au point extrême où aboutit la spiritualité de leur temps.

C'est pourquoi l'interprète ne doit surtout pas « mettre en relief » quoi que ce soit. La partition exprime tout. L'interprète qui s'efforce et accepte d'entendre sait ce qu'il reste à faire.

Chef italien et homme de théâtre. Il s'est maintes fois illustré dans la trilogie de Da Ponte Mozart est l'un des rares musiciens qui nous élèvent à un niveau où nous pouvons sentir la part de divinité qui est en nous.

Et en même temps il parle des gens aux gens, sans condamner ni juger. Voilà au moins l'une des raisons pour lesquelles les opéras de Mozart ne vieilliront jamais : ils nous disent qui nous sommes.

Chef britannique dont le cycle accueilli notamment au Châtelet de 1990 à 1993 a rendu à Mozart des couleurs oubliées On aperçoit d'abord une façade gracieuse. Elle est bien proportionnée, symétrique, formellement stable et solide. En somme, elle est de son temps. Puis on entre, et là, juste derrière la façade, on découvre une forêt vierge où plus rien n'est formel, où tout est vivant, où ce qui avait l'air conventionnel paraît tout à coup subversif. Chaque partition d'orchestre est 115

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Tomatis 2008 ainsi faite. Vous feuilletez : c'est le XVIIIe siècle qui défile. Vous lisez : c'est tout autre chose, voire carrément l'opposé, qui vous saute au visage.

Or cette chose, dans son expression ultime, il me semble que c'est le sentiment religieux. La musique la plus religieuse que je connaisse est là. Moins dans le Requiem ou la Messe en ut que dans certains mouvements lents de ses concertos pour piano, comme le « la majeur », ou dans le passage le plus intensément religieux de toute la musique écrite : le pardon de la Comtesse à la fin des « Noces de Figaro ». Ceux qui par habitude évoquent le divin Mozart ne croient pas si bien dire.

Quand la Comtesse chante «Più docile io sono, e dico di sì », à ce moment, et à chaque fois, Dieu descend sur la terre.

Chanteur devenu chef dans les années 1980. Sa vision trépidante, «vénitienne», de «Così fan tutte» a fait grand bruit Je ne crois pas que Mozart soit un plus grand maître de la symphonie que Haydn. Et, dans le domaine sacré, la musique de Bach ou la « Missa solemnis » de Beethoven atteignent à une dimension spirituelle que je ne retrouve pas dans les messes de Mozart. Il y a pourtant un domaine où personne ne l'égale, c'est le théâtre. Mozart est théâtre. En ce moment, je dirige « la Clemenza di Tito » où se trouve un petit duo entre Sesto et Annio d'une simplicité désarmante. On reste coi devant cette page. Le génie vous saute aux oreilles, mais par quels moyens, par quelle voie ? Mystère d'un art paradoxal.

Encore un exemple : « Don Giovanni ». Pas une croche, pas un soupir, pas une modulation qui ne soit au service exclusif du drame. Eh bien ! le musicien qui est parvenu à ce sommet de théâtre prétend que les paroles à l'opéra doivent être «esclaves de la musique», comme si son idéal était la musique pure. La fécondité de ce paradoxe est prodigieuse. Elle rapproche Mozart du seul compositeur dramaturge qui lui soit comparable : Monteverdi. Encore Monteverdi n'a-t-il pas à sa disposition l'orchestre extralucide de Mozart.

On peut chercher des raisons à cet accident historique. L'une d'elles me paraît évidente : l'art de choisir son livret. Ce que fait ensuite le compositeur s'appelle alchimie. Comment le plomb des mots, même précieux, solide, flexible et bien choisi, se change en or reste une énigme. Face à un tel mystère, je peux vous donner mon sentiment, en aucun cas une réponse.

Chef français que distinguent ses affinités avec Mozart aussi bien dans le domaine symphonique que dans l'accompagnement d'illustres solistes L'important n'est pas de savoir si Dieu existe ou non mais de se poser la question. Je ne sais plus qui a inventé cette formule, mais j'aurais envie de la paraphraser : « L'important n'est pas de savoir ce que Mozart a de génial mais de se poser la question. » Pianiste autrichien naturalisé américain en 1944, maître du style classique et créateur du «Pierrot lunaire» de Schönberg Les sonates de Mozart présentent une particularité : trop faciles pour les enfants, elles sont trop difficiles pour les artistes.

Pianiste hongroise, élève de Bartók, qui a placé Mozart au centre de sa vie Il n'est nul sentiment - humain ou cosmique -, nulle profondeur, nulle hauteur accessible aux mortels qui ne soit contenue dans la musique de Mozart.

Violoniste et chef d'orchestre, musicien prodige,né mozartien Paris [dans les années 1930] était l'endroit idéal pour jouer Mozart. Le sens du style, la présence du passé, en termes d'architecture et de langue, font de Mozart le compositeur qui appartient le plus clairement à la France, en dehors de son Autriche natale. [...] Mon père et moi quittions en voiture notre belle maison de Ville-d'Avray, une villa couverte de glycine, avec son jardin en pente donnant sur le parc de Saint-Cloud, où à cette époque mes deux soeurs et moi faisions de longues promenades à bicyclette, dans les chemins, entre les arbres. Pour les cinq membres de la famille, c'était une époque bénie.

J'avais avec Mozart un rapport d'enfant à enfant, d'innocence à innocence. Je le jouais en restant moi-même, sans ressentir le besoin d'être plus grand ni plus fort.

Pianiste et musicologue autrichien, l'un des premiers à avoir remis à l'honneur le pianoforte Pourquoi Mozart ? C'est le titre d'un livre du docteur Alfred Tomatis, et je ne vois à cette question aussi absurde qu'essentielle de meilleure réponse que la sienne : «Parce que Mozart est un magicien, un guérisseur, l'unique musicien que tous les peuples du monde accueillent spontanément, qu'ils soient européens, américains ou africains. Parce que Mozart nous met dans un état second où nous communions avec l'univers.» Peut-être est-ce cela que résumait mon maître Edwin Fischer lorsqu'il écrivait : «La musique de Mozart est amour. » Un amour comme Shakespeare, qui n'omet ni les assassins, ni les fainéants, ni les traîtres, ni les quidams, ni personne. Dès que Mozart fait chanter un être, ou une clarinette, ou un piano, ou n'importe quoi, on sait qu'il l'aime, à la façon de saint François d'Assise, c'est-à-dire qu'il le connaît parfaitement et ne le juge nullement. A mon sens, Mozart a mieux compris que Beethoven le monde parce qu'il n'a jamais 116

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Tomatis 2008 tenté de le mettre en orbite autour de lui. Je me répète, mais je ne trouve pas de terme plus juste : il l'a aimé.

Clarinettiste français dont le génie improvisateur a soufflé sur Mozart un air inconnu Pour un clarinettiste, Mozart, c'est le cadeau de deux chefs-d'oeuvre absolus : le concerto et le quintette. On n'avait rien fait de comparable avant, on ne fera rien de semblable après. D'em-blée cette révélation d'un instrument encore assez jeune est un accomplissement. Car sans cesse Mozart joue et déjoue les codes, les genres, de la forme orchestrale à l'opéra, avec une liberté inventive et une gamme expressive sans limites. Des ouvrages dont l'incroyable complexité donne une impression de totale facilité : tout son génie tient à cette magie.

Pianiste allemand devenu chef pour le seul plaisir de diriger Mozart Ce qu'il y a de vraiment singulier, c'est l'interaction : la correspondance qu'il établit entre les différents groupes de musiciens. Au contraire de Beethoven, que l'on joue en solitaire comme certaines pages de Schubert, ou de Haydn, toujours au service de quelqu'un, Mozart constamment réagit à quelque chose, un peu comme un metteur en scène - mais un metteur en scène actif sur les planches. Ce qu'il écrit est tellement fort que l'on ne peut rien en faire tout seul. Il faut être au moins deux pour vivre pleinement la totalité humaine.

Claveciniste et (forte)pianiste allemand, l'un des tenants les plus rigoureux et les plus libres du style «classique» Parmi les catégories oubliées de la musicologie, le sex-appeal peut faire figure, quant à Mozart, d'identifiant. Contrairement à Haydn, dont les réexpositions sont purement fonctionnelles, au prix éventuel d'une certaine sécheresse, Mozart, lui, lubrifie : il insuffle à des coupes formelles somme toute conventionnelles des moments de suspension palpables et poétiques.

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Couverture, Spécial Mozart, La semaine, Découvertes Musicothérapie - Sonates sur ordonnance Genone Paola 421 mots 22 décembre 2005 L´Express 88 2842 Français L’Express Copyright Groupe Express-Expansion All rights reserved L’Express – (date of publication and Author) Plusieurs études l'ont démontré: ses œuvres ont des effets stimulants sur le cerveau humain. De là à les prescrire comme un médicament...

Le Pr Alfred Tomatis, oto-rhino-laryngologiste et psycho-acousticien français, fut l'un des premiers à déclarer que les œuvres de Mozart possèdent des vertus thérapeutiques. En 1974, au Ier Congrès mondial de musicothérapie, à l'hôpital de la Pitié-Salpêtrière, il démontra les bienfaits que l'écoute systématique des concertos pour violon de Mozart avait produits sur ses patients souffrant d'insomnie, de dépression ou d'anxiété.

Dans son livre Ecouter l'univers. Du Big Bang à Mozart (R. Laffont), Tomatis explique que, plus que tout autre compositeur, Mozart a utilisé, dans ses notes et ses timbres, des fréquences particulièrement aiguës, qui ont des effets positifs sur le cerveau humain. Il remarque également que ses rythmes se rapprochent étonnamment de ceux du battement de cœur d'un fœtus dans le ventre de sa mère. Les études de Tomatis, décédé en 2001, ont été reprises par ses collaborateurs créateurs du Mozart Brain Lab, institut d'audio-psycho-phonologie situé à Saint-Trond (Belgique) - comme par des scientifiques du monde entier.

Depuis les années 1990, des neurologues américains ont recours à la musique de Mozart pour le traitement de patients dans le coma, et plusieurs hôpitaux français en prescrivent l'écoute aux femmes enceintes. Mais c'est surtout le best-seller L'Effet Mozart, de l'écrivain et musicien américain Don Campbell, ancien élève de Nadia Boulanger, qui a lancé une véritable mode surnommée «Mozart sur ordonnance». Au moment même où il sortait son livre, Campbell eut l'idée fulgurante de faire produire une série de CD, compilations d'œuvres du compositeur. «C'est ce que j'appelle transformer la recherche en une campagne de marketing», commente Frances Rauscher, professeur de psychologie à l'université de Californie, à Irvine.

«Les thérapies de Tomatis sont reconnues dans le monde entier et la musique de Mozart a sans doute des effets thérapeutiques et stimulants. Au cours de nos études, nous avons observé que 60 étudiants avaient obtenu des résultats de neuf points plus élevés lors d'un test de QI après avoir écouté, pendant dix minutes, la Sonate pour deux pianos en ré majeur K. 448, de Mozart. Mais c'est un mensonge que de raconter aux gens qu'une compilation de Mozart est un médicament qui rend plus intelligent ou qui peut guérir une maladie par miracle.»

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Social Affairs La vida, con música, suena mejor 1,277 mots 10 décembre 2005 Portafolio Espagnol © Copyright 2005 NoticiasFinancieras. All rights reserved.

Las melodías que escuchamos influyen tanto en el plano emocional como en el cerebral haciendo que se tenga un mayor bienestar.

Hace un año, cuando Daniel llegó a su taller de música, entraba al salón y no dejaba de golpearse contra las parades, tapándose los oídos y llorando. No dejaba que nadie se le acercara, pero poco a poco, con su guitarra y su música, María Mercedes Latiff, la profesora,fue haciendo contacto con él. "Cuando comenzaba a cantar, venía y se sentaba a milado y se iba calmando. yo le ponía las manos sobre la caja de la guitarra y se callaba", comenta esta sicopedagoga.

Ahora llega tranquilo, participa en la clase y "ya expresa alegría", agrega. La única explicación que ella encuentra para que esto suceda es que la música es sentimientos y él logra expresarlos a través de ella. No habla claro porque tiene un problema auditivo, pero con la música está encontrando un medio de contacto".

Esta es una parte de la terapia que recibe Daniel. Otra pequeña, con Síndrome de Dwon también asiste al taller. "Además de ser más alegre, ha mejorado muchas funciones del habla y motrices", dice esta mujer que en compañía de otros terapéutas (fonoaudíólogos, terapistas ocupacionales, sicólogos) buscan en la musicoterapia una alternativa para apoyar procesos de rehabilitación.

"La música toca tanto la parte emocional como la cerebral especialmente en los primeros cinco años de vida de un niño cuando está en formación. Con la música el niño desarrolla atención, coordinación, aprende a seguir instrucciones. Y en niños especiales ayuda al desarrollo muscular de la boca y desarrollo del lenguaje", dice María Mercedes que en la práctica ha comprobado los resultados de la teoría de la musicoterapia.

SINTONÍA La musicoterapia es el uso de la música para mejorar el funcionamiento físico, psicológico, intelectual o social de personas que tienen problemas de salud o educativos.

También se emplea con personas que no están enfermas o que no tienen algún problema para mejorar el bienestar personal, para desarrollar la creatividad, mejorar el aprendizaje y las relaciones interpersonales y para el manejo del estrés.

"Las música tiene varios estímulos mecánicos hasta sonidos integradores en procesos neurológicos. Hace que el sistema nervioso trabaje sobre ciertas frecuencias y permite que las neuronas trabajen de forma más ordenada", dice el médico endocrinólogo Miguel Suárez, que hace parte del equipo central de la maestría en musicoterapia de la Universidad Nacional. Según el profesional hay músicas que funcionan mejor que otras y todo depende de la condición cultural de la persona. "Un niño que siempre ha oído chirimías no se conecta fácilmente con Mozart. Cada quien tiene un gusto y una aceptación de determidas melodías que hay que explorar y de eso se encarga el terapeuta."

Lo importante es que esa persona se concecte con la música y pueda expresar sus estados de ánimo y sus sentimientos, y luego llevarlo a situaciones contrarias para vivir mejor.

El ritmo incide sobre aspectos fisíológicos; la melodía sobre los afectivos, y la armonía en el plano mental.

Botiquín musical para diferentes tipos de 'males' que sufre el espíritu Cuando escogemos qué oír, generalmente corresponde al estado de ánimo en el que nos encontramos y esa música puede tener dos efectos: calmarnos o ayudarnos a expresar lo que estamos sintiendo.

Con base en este principio, Christoph Rueger, que estudió ciencia de la música y piano, preparó el libro El botiquín musical, en el que ofrece una variedad de obras clásicas de acuerdo a la necesidad espiritual del 'enfermo', según dos sistemas. El primero, llamado 'principio ISO', utilizado en musicoterapia, que para mitigar cada dolencia utiliza una música similar a ella 119

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Tomatis 2008 y no opuesta. Y el segundo es un método de analogía partiendo de que la música se crea fundamentalmente a raíz del estado de ánimo de los compositores que se pueden ajustar al momento que se está viviendo.

Aunque la musicoterapia necesita de un terapista experimentado, ofrecemos algunas ideas del autor para ciertos estados de ánimo, que le pueden ayudar a observar sus reacciones ante la música. * Agresividad. Para sacarla o calmarla el autor sugiere música kinésica (música rítmica, de movimiento), y agresiva como Le sacre du printemps de Stravinsky, seguir con música motora de Bach y acabar relajándose con una melodía suave de César Franck. también La danza del caballero, de Prokofiev, y los movimientos finales de Claro de luna y Appassionata, de Beethoven. * Miedo. Francesca da Rimini, de Tchaikowsky y La espera de Schönberg. *Soledad. Sonata para piano No. 32 en do menor de Beethoven, y su Sinfonía No. 4. * Relajación. Concierto No. 5 de Brandenburgo de Bach, y de Mozart el Quinteto en mi bemol mayor para piano e instrumentos de viento KV 542; Quinteto para clarinete KV 581, y quintento para armónica, flauta, oboe, viola y cello KV 617. *Falta de concentración y memoria. Variaciones Goldberg de Bach y Variaciones sorbe la Heróica de Beethoven.

Las composiciones de Mozart estímulan las funciones cerebrales Las biografías de Wolfang Amadeus Mozart cuentan con frecuencia que en gran parte, su talento se debe a que su padre, violinista de profesión, tocaba el instrumento a la madre embarazada, así, interiorizó la música desde que estaba en el vientre.

"Por eso se dice que Mozart no invetaba la música sino que la sentía y la ponía en el papel. De ahí que tenga la armonía, no tanto musical sino del universo mismo", dice Diana Hurtado, estudiosa del Éfecto Mozart.

Así se le llama al estímulo que produce la música de este compositor en el cerebro humano. "Estudios han establecido que las uniones entre las neuronas mejoran y esto permite que fluyan más rápidamente aumentando el nivel de ejecución del cerebro. Cuando un bebé y un niño, que tienen su cerebro en formación, oyen esta música o una similar en su estructura, hace que esas conexiones se habiliten y se mejoren", dice.

El mismo Alfred Tomatis (ver recuadro) estudió la música de Moozart, de la cual dice "hay en todas sus frases, en sus ritmos y en sus secuencias una sensación de libertad y rectitud que nos permite respirar y pensar con facilidad. Nos transmite algo especial que pone en evidencia nuestro potencial creativo y nos hace sentir como si fuéramos los propios autores de lo que escuchamos..."

Al parecer, los ritmos, las melodías, la métrica, el tono, el timbre y las frecuencias de su música logran estimular el cerebro humano, especialmente en aquellas zonas relacionadas con el hemisferio derecho. Además el secreto del Eefecto Mozart radica en que los sonidos de sus melodías son simples y puros.

Por eso se recomienda su música a la hora de trabajar o descansar.

MÉTODO TOMATIS ESCUCHAR. El otorrinolaringólogo francés, Alfred Tomatis se dedicó a estudiar el oído y su relación con el cerebro.

Estableció que oír es un proceso pasivo, mientras que escuchar es un proceso activo que necesita atención por parte de la persona. También anota que los sonidos de alta frecuencia le dan energía al cerebro, mientras que los sonidos de baja frecuencia le quitan energía. Un cerebro con energía permite enfocar, concentrar, organizar, memorizar, aprender y trabajar durante largos períodos de tiempo casi sin esfuerzo. Cuando el cerebro está bien energetizado uno puede estudiar, investigar, crear, innovar, imaginar... Con estos principios desarrolló el Método Tomatis que "re-educa" la manera de escuchar con base en sonidos aplicados con audífonos sonidos espefícifamente 'filtrados' y desarrollados por Tomatis. Este método permite ayudar a niños con problemas de aprendizaje, dislexia, atención y autismos, así como a adultos con depresión. Y a personas sin problemas a mejorar su atención. © 2005 NoticiasFinancieras - © 2005 GDA - Portafolio - All rights reserved

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Feedback Letters to Mix 1,093 mots 1 décembre 2005 Mix 14 Volume 29; Number 12; ISSN Number 01649957 Anglais Copyright 2005 by Primedia Business Magazines & Media Inc. All rights reserved.

MARDIN MEMORIES Great interview with legendary genius Arif Mardin [“Mix Interview,” October 2005]! He and his brother helped shape much of the music I listened to while growing up in New York City. His special mention of Tom Dowd showed the respect for another genius I once had the pleasure of spending a brilliant afternoon with in Miami, listening to him tell of days and nights recording with the Mardin brothers. Al Irizarry GOLDEN EARS INTO THE GOLDEN YEARS As an audio engineer involved in the research and development of technology for deaf and hard-of-hearing people, I'm always delighted to see the pro sound and recording industry address the important topic of hearing loss. In the July [2005] issue of [“Insider Audio”], the author recounts a discussion with his audiologist about the value of equalizing sound to compensate for hearing loss. Unfortunately, the conclusions are both confusing and misleading. Perhaps the problem is that audiologists and audio engineers do not speak the same language.

The audiologist [Dr. Chris Halpin] is quoted as stating, “In sensory hearing loss from age or exposure to noise, the apparent loudness does not shift with thresholds. You just lose the quiet tones.” Naturally, the audiologist is thinking about pure tone audiometric testing. Audio engineers think about the full spectrum of musical sound. If the mixing engineer/producer has a hearing loss of 60 dB at 8 kHz in both ears, then his/her mix will probably reflect this. If left alone to do the mix, relying on listening to a monitor system that is more or less “flat,” it could very well turn out to be an overly “bright” mix. So, is there value in correcting a sound system to fit the listener/mixers' hearing capabilities? I think so.

I invite all readers past the age of 40 to equalize a good pair of headphones for a perceived flat response from 20 to 15k Hz. I use a ⅓-octave stereo EQ and an old mix reference test CD with ⅓-octave test tones. Doing one ear at time, start at 1 kHz, setting a comfortable level. Go through all the tones and adjust the corresponding EQ adjustment for approximate equal loudness relative to 1 kHz. Don't be surprised if you run out of adjusting room at the high frequencies!

Play a CD of which you are very familiar. Switching the EQ in and out is a very revealing experience! The subtle high-end sounds of triangles, cymbal brushes, tambourines, xylophones and other acoustic instruments emerge from the mix in proper balance.

There is so much that we do not know about sound and perception. There are “deaf” musicians such as Evelyn Glennie who seem to function quite well by “feeling” the music. There are also theories that suggest the neural pathways that carry highfrequency information in the ear-brain connection atrophy when they are no longer being used by those of us who have high-frequency hearing losses. Check out Dr. Alfred Tomatis ( www.tomatis.com ) and his research that shows the ear to be responsible for so much more than just hearing. For myself, I notice feeling energized after an “equalized listening session,” sort of like stepping out of a steamy shower into a cool, dry room.

As the population of audio pros ages and continues to work in this field, the subject of hearing loss and what can be done to [prevent it when possible and assist those who are affected by it] will become increasingly critical. I hope that Mix will continue to cover this subject, along with helpful bits for the younger generation on how they can protect what they have — while they still have it! Norman Lederman Oval Window Audio Nederland, Colo.

TIP FROM AN AVALON INSIDER I'd like to point out one inaccuracy in the “All Access” report on The Roots' San Francisco show in the August 2005 issue.

The Grand Ballroom, currently operated by Another Planet Entertainment, was not the historic Avalon Ballroom. The Grand is in the Regency Center, which was originally built as a Masonic Lodge facility. The room now called The Grand was from 121

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Tomatis 2008 the late '60s, a movie theater called The Regency. Its entrance was on Van Ness Avenue. The Avalon, whose entrance was around the corner on Sutter Street, was, after its days as the Family Dog's dance palace, also converted to cinema use and dubbed the Regency II during its 30 years or so as a movie theater. This is probably the source of the confusion.

The room now called The Grand was still in use as a meeting place by the Masonic Order in the '60s and, except for one Mothers of Invention/Lenny Bruce show produced by Bill Graham, was not used as a rock venue during the Fillmore/Avalon era. Lee Brenkman Avalon Ballroom sound guy, 1968-'69 CLASSIC TOTO Thanks for the article on Toto's “Africa” in the August 2005 “Classic Tracks.” It's awesome to read such an informative piece on such a great band. It's too bad that they don't get the press or the recognition they deserve, especially in this country.

Having been a fan since 1978 (at the ripe old age of 10), I just recently had a chance to see the band in concert for the first time a couple of months ago. They didn't disappoint after all these years of waiting to see them.

One minor glitch in your article is that the picture you showed of them wasn't the lineup of the band at the time of that record. Joseph Williams and Mike Porcaro weren't in the band then. I encourage anybody out there to check out the SACD 5.1 mix of Toto IV! Rob Mount SANS ESATA Jason Scott Alexander's “The Audio Pipeline” [October 2005] was a valuable survey of digital audio interconnects, but he omitted External Serial ATA, or eSATA, which essentially adds more robust cables and connectors to the SATA spec and allows cable lengths of up to 2 meters. eSATA would enable things like my hypothetical “invisible” desktop computer: Picture a Mac Mini, but with the hard drive located in the power supply brick on the floor. The remaining components could be packed into an enclosure slim enough to be attached to the back of a flat-screen monitor via Velcro ™ , completely out of sight. Rob Lewis Shared Media Licensing Inc. Send Feedback to Mix mixeditorial@primediabusiness.com www.primemediabusiness.com

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Mozart na przerwie ds 255 mots 23 novembre 2005 Gazeta Wyborcza Polonais © 2005, Gazeta Wyborcza, all rights reserved, for further information visit http://www.gazeta.pl Sonaty fortepianowe Mozarta można usłyszeć w jednej z podstawówek w Poznaniu. - Słuchanie ich pomaga w koncentracji tłumaczy dyrektor SP nr 38 Anna Sobczak O tym, że muzyka łagodzi obyczaje, wiadomo nie od dziś. Teraz mogą tego doświadczyć uczniowie. Kwadrans przed ósmą i na dużych przerwach od kilku dni tuż po dzwonku z głośników SP 38 rozbrzmiewa muzyka Mozarta. - Na korytarzach w czasie przerw panuje straszny gwar. Udowodniono, że odpowiednio dobrane utwory Mozarta mogą wyciszać i uspokajać mówi dyrektor Sobczak.

W połowie października w szkole pojawiła się płytoteka z dorobkiem kompozytora. Ufundowała ją mama jednego z uczniów Iwona Tomaszewska. - To zbiór 170 płyt ze wszystkimi znanymi kompozycjami Mozarta - opowiada. - Kiedyś zbierałam informacje o wpływie muzyki na rozwój niemowląt. Teraz, gdy moje dzieci podrosły, zainteresowały mnie opracowania o redukcji stresu muzyką Mozarta.

Badania nad wpływem muzyki Mozarta rozpoczęły się we Francji w latach 50. XX w. Dr Alfred Tomatis wykorzystał koncerty i symfonie skrzypcowe w pracy z dziećmi z zaburzeniami mowy komunikacji. Początkowo muzyka Mozarta wspomagała leczenie epilepsji, potem przyszedł czas na leczenie autyzmu, dysleksji i zaburzeń emocjonalnych.

Co o muzyce sądzą uczniowie?

Ola z klasy Vb: - Ja nie słucham na co dzień takiej muzyki. Wolę hip-hop. A to jest taka spokojna muzyka, ale na razie nas nie wyciszyła.

Filip z klasy Vb: - Ta muzyka jest podobna do tej, którą czasem słyszę u dziadka. Jednak na razie mi się ten Mozart spodobał.

Konrad z klasy IVc: - Nie podoba mi się taka muzyka. Moim zdaniem jest za bardzo spokojna.

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L Warum die Ohren auch zum Sprechen da sind 346 mots 14 novembre 2005 Rheinische Post Rheinische Post Düsseldorf-Meerbusch Allemand © Copyright 2005. Rheinisch-Bergische Druckerei- und Verlagsgesellschaft mbH. All rights reserved. For further information see http://www.rp-online.de (mgö) Dass die Ohren zum Hören da sind, dürfte hinreichend bekannt sind. Aber wer weiß schon, warum wir zwei Ohren haben? Darauf und auch auf die Frage, warum die Ohren auch zum Sprechen da sind, gab Jozef Vervoort in der Evangelischen Versöhnungskirche Strümp Antwort. Eingeladen zum Thema „Wie kann mein Kind besser (zu)hören?“ hatte den Leiter des Atlantis Zentrums aus Belgien die Selbsthilfegruppe „sprachlos ohne diagnose“ e.V. „Rund 40 betroffene Familien aus Nordrhein-Westfalen tauschen im Verein ihre Erfahrungen aus und sprechen über die Alltags-Problematik“, beschreibt Bettina Furchheim den Nutzen eines solchen Zusammenschlusses. Die Strümperin ist Vorsitzende des Vereins und darum bemüht, betroffenen Kindern und ihren Familien zu einer Diagnose mit entsprechender Behandlung zu verhelfen. Sie selbst hat mit der Horchtherapie bezüglich der Fehlhörigkeit des neunjährigen Sohnes bereits positive Erfahrungen gemacht. Jozef Vervoort wendet diese Methode seit rund 30 Jahren an. Damit erfüllt er ein Vermächtnis, das der Pariser Hals-Nasen-Ohren-Arzt Professor Dr. Alfred Tomatis hinterlassen hat. Er ist der Vorreiter dieser Therapie. Bei ihm hat Vervoort gelernt und später als Diplom-Tomatis-Therapeut das Zentrum für Audio-PsychoPhonologie in der Nähe von Lüttich gegründet.

Dass ihm die Zusammenhänge um das „Phänomen Hören“ in Fleisch und Blut übergegangen sind, war während seines Vortrags nicht zu übersehen. Er brachte das aus der therapeutischen Behandlung von rund 10 000 Kindern und Erwachsenen gesammelte Erfahrungsgut locker, fundiert und detailliert unters Publikum. So war zu erfahren, dass das Befinden von Körper, Psyche und Gehirn nicht zu trennen ist, dass das Ohr die Funktion eines Motors erfüllt, beim Hören und Sprechen die Hauptrolle spielt und nur durch diesen speziellen Horchtest Auskunft über die Art des Funktionierens zu bekommen ist.

Hier müsse bei Kindern, die kaum oder schlecht sprechen können, angesetzt werden. In der Regel seien die Ursachen für Fehlhörigkeit und Sprachblockade bei der Geburt angelegt. Ärzte stehen dieser ausgrenzenden Erscheinung oft ohne Diagnose gegenüber. Die Klangtherapie verspricht erhebliche Besserung der Einschränkungen, wird allerdings bisher von den deutschen Krankenkassen nicht anerkannt.

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L Tomatis-Therapie in Kellen VON ANJA SETTNIK 356 mots 21 octobre 2005 Rheinische Post Rheinische Post Kleve Allemand © Copyright 2005. Rheinisch-Bergische Druckerei- und Verlagsgesellschaft mbH. All rights reserved. For further information see http://www.rp-online.de kleve-kellen Kann sein, dass der aggressive Knirps einfach nicht richtig hört. Oder dass die träumerische Dreijährige nicht so richtig mitbekommt, was um sie herum geschieht. Nicht selten, weiß Wolfgang Tyssen, liegt es an schlechtem Hören, wenn Kinder sich nicht erwartungsgemäß entwickeln. Daran seien nicht unbedingt die Ohren selbst schuld - ein Großteil des Hörens geschieht im Hirn. Und ist mit dem gesamten Körper spürbar. Auch Hörgeschädigte erleben bekanntlich Geräusche oder Musik anhand der Schwingungen.

Anna-Maria und Wolfgang Tyssen führen ihr pädagogisches Hörtraining jetzt in neuen Räumen durch. Ihr Kellener Institut „Audivita“ (Hoher Weg 34) wird am Samstag, 29. Oktober, offiziell eröffnet. Interessierte sind zwischen 14.30 und 17 Uhr eingeladen, sich ein Bild von der „Tomatis-Therapie“ zu machen. „Schon im fünften Lebensmonat beginnt der Embryo, auf die Stimme seiner Mutter zu hören. Anders, als wir Väter uns das vielleicht wünschen, hören die Kleinen wirklich nur die Stimme der Mutter. Und sie erkennen auch, in welcher Stimmung sie sich befindet. Wenn die Mutter sich nicht wohl fühlt, zieht der Embryo sich zurück. Es können sich Horchdefizite entwickeln.“ Das Ohr werde so schon vor der Geburt zum Tor zur Welt.

Von dem Hals-Nasen-Ohren-Arzt und Wissenschaftler Prof. Alfred Tomatis, der die Wechselwirkung zwischen Hören, Psyche, Körper und Stimme erforscht hat, hat Wolfgang Tyssen während einer zweijährigen Ausbildung viel erfahren. Der Lehrer nahm sich in den Ferien Zeit dafür und wendet das Erlernte heute gemeinsam mit seiner Frau, Arzthelferin und Mutter von vier Kindern, an.

Die Therapie sei besonders geeignet für Kinder mit motorischen und sprachlichen Defiziten, Schulschwierigkeiten, Konzentrationsstörungen und Hyperaktivität. „Am Beginn des Hörtrainings steht der psychologische Hörtest, der anzeigt, ob eine Behandlung empfehlenswert ist. Wenn ja, hören die Kinder über Spezialkopfhörer nach einem individuellen Programm elektronisch veränderte Musik von Mozart. Während der Behandlungsabschnitte liest, summt oder singt das Kind in ein Mikrofon und hört seine eigene Stimme auf eine elektronisch korrigierte ,ideale Art und Weise'. Gespräche und Kontrolltests kommen hinzu.“ Auch die Erfahrung von Stille wird gelernt.

Test und Behandlung sind privat zu bezahlen. Informationen unter www.audivita.de

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Tomatis 2008 Monday Morning News Mozart can make you smarter, but that's not all music can do for you Donna Jacobs The Ottawa Citizen 1,292 mots 10 octobre 2005 Ottawa Citizen Final A2 Anglais Copyright Š 2005 Ottawa Citizen Albert Einstein once joined musicians in a chamber music trio. One of them said the renowned physicist played "with a very soft tone, perfectly correct, totally uninteresting. But what a fantastic face!"

Charles Darwin couldn't play a note, much less carry a tune. Settled in a sofa, though, he listened by the hour to his wife, who had studied piano with Frederic Chopin.

George Bernard Shaw taught himself piano. Ever the disciplined morning writer, he battled self-loathing after he played hooky to play the piano.

Over millenniums, the only way to have music was to make it. Today, the instrument most people play is the one-fingered button of their radio or CD player. Never has music been so available. Over morning coffee or through headphones during a pre-workday run or in the precious solitude of a commute, music is company.

"Who hears music," poet Robert Browning wrote, "feels their solitude peopled at once."

--Don Campbell, a world authority on music as medicine for mind, body and spirit, says Mozart is unsurpassed for warming up the brain for concentration, intuition and complex special reasoning needed for math, for chess and even for golf.

The 1990s Mozart craze started at the University of California in Irvine, where 10 minutes of Mozart's Sonata for Two Pianos in D Major boosted test-takers' spatial IQ scores. Follow up studies showed tests taken to Mozart music yielded scores four times higher than tests taken in silence, and five times higher than tests taken with other music or a story on tape.

That research was based on the life-long work of French physician Alfred Tomatis (1920-2001), who documented the brain's affinity to music.

Healing through music is ancient. Tomatis, though, is regarded as the father of modern music therapy. His methods, adapted to thousands of schools and hospitals, are used in more than 250 Tomatis Centres worldwide, including Toronto and Montreal. Centre staff tailor music to malady, from delayed language development in children to a short attention span, from reading and writing difficulties to stuttering. (Tomatis prescribed listening to Mozart two hours a day for several months to cure French actor Gerard Depardieu of his stutter.) The centres also use music to boost energy, confidence and mood.

In his best selling book The Mozart Effect -- Tapping the Power of Music to Heal the Body, Strengthen the Mind and Unlock the Creative Spirit, Mr. Campbell assesses the effects of various types of music. All things being relatively normal with a person's state of mind, diet, surroundings and posture, he makes these musical generalities.

- Gregorian chants work with natural breathing rhythms to create "a sense of relaxed spaciousness" that's great for study or meditation.

- Slower Baroque music (Bach, Handel, Vivaldi, Corelli) creates a sense of steadiness and solidity that stimulates the mind for study and other mental work.

- Classical music (Mozart and Haydn) carries sharpness and elegance that can boost "concentration, memory and spatial perception."

- Romantic music (Chopin, Tchaikovsky, Schubert, Schumann and Liszt) stirs emotions and thus provokes a response of 126

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Tomatis 2008 sympathy and love.

- Impressionist music (Debussy, Ravel, Faure) with its streaming, dreamy moods can, after 15 minutes of listening and then some stretching, trigger creativity and draw upon the subconscious.

- Jazz, Dixieland, the blues, soul, calypso, reggae and other expressive music of African origin can inspire and evoke deep joy or sorrow, wit and a communal sense.

- Salsa, rhumba and other Latin American music's zesty beat can increase heart rate and breathing. Samba "has the rare ability to soothe and awaken at the same time."

- Big band, top-40 hits and country and western music invites moderate movement, touches the emotions and boosts a sense of well-being.

- Rock music (the Rolling Stones, Michael Jackson, Elvis Presley) can stir feelings and energetic movement, free tension, hide pain and drown out other sounds. Conversely, it can create anxiety and physical pain in people unattuned to it.

- Ambient and New Age music (Seven Halpern or Brian Eno) stretches the sense of time and space and can put the mind into a state of restful alertness.

- Rap, heavy metal, hip hop, grunge and punk rock can goose the nervous system and prompt vigorous self-expression.

(Rap, says Mr. Campbell, goes beyond affinity to the alienated. Coarseness aside, its rhythmic, rhyming word patterns can reach people suffering from strokes and other neurological damage.)

- Religious music, including hymns, gospel music, spirituals and shamanic drumming, can "ground us in the moment," says Mr. Campbell, and produce profound tranquillity and spiritual awareness and can be "remarkably useful" to release emotional pain.

Thousands of scientific papers document music's beneficial effects on blood pressure, brain waves, pulse, pain perception, anxiety, intellect, insomnia, asthma, immune systems, epilepsy, headaches, heart disease, Parkinson's, Alzheimer's, schizophrenia, drug and alcohol addiction and even on breaking down laboratory cancer cells. Music can increase endorphin levels -- the body's opiates that reduce pain -- and give "a natural high."

Cataract and glaucoma patients, aged 51-88, were divided into two groups of 15 women and five men each. Group 1 listened to their choice of music through headphones before, during and after surgery. The other group had no music.

All the patients' heart rates and blood pressure shot up the morning of surgery. But within 10 minutes of listening to music, says Karen Allen, a research scientist at the University of Buffalo Medical School, heart rate and blood pressure dropped almost to the patients' normal readings -- and stayed there. Those patients, unsurprisingly, said they were less distressed over the surgery.

"If this were a drug intervention," says Allen, "people would be clamouring for it. Patients like it. It's cheap and effective and had no negative side effect. Hospitals could offer it and be heroes to their patients."

Dr. O.J. Sahler, professor of oncology at New York's University of Rochester Medical Center, says music is great medicine. "It needs no therapist and has no harmful side effect. It's a superb self-help remedy. You almost can't give yourself too much of it."

He studied patients aged five to 65 undergoing bone marrow transplants for leukemia, lymphoma and tumours. As they listened to music, the patients imagined a pleasant setting. They rated pain and nausea severe before the music and moderate afterwards. Their new marrow began to produce infection-fighting white blood cells two days, on average, earlier than the non-music group.

Clinical psychologist Charles Emery of Ohio State University, a music and exercise devotee, tested 33 men and women in a cardiac rehabilitation program. He wasn't testing their hearts.

They exercised to Vivaldi's The Four Seasons, chosen because another study had shown its benefits to patients with lung disease. He tested their verbal dexterity by giving patients one minute to list as many words as they could, starting with a given letter of the alphabet. They scored more than twice as high after listening to music during exercise than they did without music.

Mr. Emery suspects music -- not just classical, either -- primes the brain by forcing it to sort tones, timing and sequencing. A fine workout.

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Tomatis 2008 Donna Jacobs is an Ottawa writer; her e-mail address is mondaymorning@thecitizen.canwest.com Photo: Mozart, classical: 'Boosts concentration and memory'; Photo: Louis Armstrong, jazz: 'Inspires deep feeling of joy or sorrow.'; Photo: Elvis Presley, rock: 'Stirs feelings of energy, sheds tension.'; Photo: Benny Goodman, big band: 'Boosts sense of well-being.'; Photo: Chopin, romantic: 'Provokes a response of sympathy or love.'; Photo: Gene Simmons of Kiss, heavy metal: 'Can goose the nervous system.'

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Tomatis 2008 The Listening Ear Madaule, Paul 841 mots 1 octobre 2005 American Music Teacher 38 Volume 55; Issue 2; ISSN: 00030112 Anglais Copyright (c) 2005 Bell & Howell Information and Learning Company. All rights reserved.

Your work as music teachers and mine as a clinician may be different, but they dovetail in many ways. The children I help have issues with communication, social behavior, attention, language and learning skills-all being related to poor listening.

My work consists of using instrumental music and the singing voice as sound stimulation, to train and develop listening.

Teaching music goes well beyond initiating children to an art form. The influence of music on the brain and its value on the child's physical, emotional and cognitive development is now well documented. From my perspective, learning to play an instrument and to sing is a highly effective way to teach listening. What you and I have in common is our role in developing the listening ear.

My stance on the importance of listening stems from personal experience. As a youngster, I loved music, but I could not access it. I wanted to play guitar, but I couldn't distinguish the movements of my right from my left hand. I gave up guitar and tried singing in a group, still without success. I sang in tune but couldn't harmonize with the players, couldn't memorize the lyrics and I had no rhythm. This "musical disability" was part of a wider range of difficulties related to dyslexia. At 18, I finally met someone who could help me. Alfred Tomatis found that listening was at the root of my miseries and "prescribed" his listening training therapy...! later became a "Tomatis specialist."

Listening is the ability to tune in and out at will. This attuning is vital for controlling a musical instrument as well as our voices. The musicians and singers that I help often experience a "gap," "distance," "disconnection" or a "lack of dialogue" between themselves and their instrument or voice. This indicates a listening breakdown. My role as an "ear tuner" is to get listening to work so, in turn, your teaching becomes more effective. Again, our interventions dovetail.

We all know the ear has two functions: sound perception and balance. Balance is just the tip of the iceberg. The vestibular system of the inner ear influences our posture, our movements and the position of our body in space. The interplay between the "ear of the body" and the auditory ear is fundamental for playing an instrument; or for singers, mastering their "body instrument."

Like food and air, sound and all other sensory stimuli "feed" the brain with the energy it needs to operate. High-frequency sounds (harmonics or overtones) in music and voice are more energizing than low-freguency sounds. As a result, openness and clarity in the upper range of the auditory spectrum is necessary for maintaining a high level of attention and focus while learning, practicing and performing.

I could spend days explaining what champagne tastes like, but you won't know until you taste it yourself. The same is true for listening. An "Earobic" exercise featuring a short piece by Mozart gives a "taste" of listening and increases awareness of the role of the ear and body in listening to music, playing and singing. In the first half of the recording, the lower frequencies of the music are progressively filtered out to leave only the higher overtones. During the second half, the frequencies are reintroduced in the reverse order so the music ends as it started, in its full spectrum. Participants were invited to sit in the "listening posture"-straight but with no tension, head slightly tilted forward, knees lower than the pelvis and feet flat on the floor-and instructed to breathe slowly, deeply, with eyes closed.

Typical comments following this exercise included: "feeling taller," "lighter," "energized," "centered" and "peaceful inside."

The full spectrum music at the end is perceived as "more ample," with "more texture," "not as flat," "livelier" than the music in the beginning, "as if it had acquired a new dimension." This is the dimension of the musical listening ear.

Time was too short to explore the "ear-voice connection" and its application to singing. Participants were referred to the Earobics CDs: Series I and 2 and the guided exercises to enrich listening and voice as explained in Madaule's book, When Listening Comes Alive.

Madaule claims that learning to play an instrument and to sing is a highly effective way to teach listening. Here, he discusses the ear-voice connection and its effect on posture, vocal production, learning ability, and communication. Among other things, he opines that openness and clarity in the upper range of the auditory spectrum is necessary for maintaining a high level of attention and focus while learning, practicing and performing.

Copyright Music Teachers National Association Oct/Nov 2005 | Paul Madaule, a psychologist founded The Listening Centre 129

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Tomatis 2008 in Toronto. His book, When Listening Comes Alive, tells the story of his personal and professional experience with Dr. A. Tomatis and his listening training method.

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Tomatis 2008 Korte Berichten regio ED 393 mots 3 septembre 2005 Eindhovens Dagblad Stad ESTP3 Néerlandais Copyright 2005. Eindhovens Dagblad BV. All Rights Reserved EINDHOVEN Bruggetje Genneper Watermolen dicht Het bruggetje bij de Genneper Watermolen in Eindhoven krijgt de komende maand een flinke opknapbeurt. Vanaf maandag is het bruggetje afgesloten voor verkeer. Het werk omvat de vervanging van de stalen liggers en renovatie van de betonnen constructie. Ook worden de slijtlaag en het asfalt op het brugdek vervangen.

Tijdens de afsluiting wordt de fietsdoorsteek op de Antoon Coolenlaan opengesteld voor auto's, zodat het Milieu Educatie Centrum, het Heempark Frater Simon Deltour en de biologische boerderij voor autoverkeer bereikbaar blijven. De renovatie duurt tot eind september.

Subsidie voor muziekvereniging Muziekvereniging Wilhelmina Eindhoven heeft een subsidie ontvangen van 2100 euro van het Prins Bernhard Cultuurfonds.

Deze subsidie is verkregen als bijdrage voor het kopen van enkele nieuwe instrumenten voor het fanfare-orkest van de vereniging.

Informatie-avond De Volksuniversiteit in Eindhoven start het nieuwe jaar maandag met een informatieavond, van 19.00 tot 21.00 uur in het Pleincollege Van Maerlant aan de J. van Maerlantlaan. Tijdens deze avond worden inlichtingen gegeven over cursussen.

Tevens is er gelegenheid om in te schrijven.

Kunsttentoonstelling in de binnenstad Een zeventiental kunstenaars stelt morgenmiddag werk tentoon in de Hermanus Boexstraat in de binnenstad van Eindhoven. Het duurt van van 12.00 tot 17.00 uur.

Dahlia’s in Woensel Dahliavereniging Woensel houdt morgen van 10.00 tot 17.00 uur haar open dag aan de Saturnusweg. Meer dan honderd soorten dahlia’s zijn er te zien in de tuin.

Open lessen voor hypnotherapie De Nederlandse Vereniging voor Toegepaste Hypnose geeft morgen vanaf 14.00 uur op Willemstraat 17 in Eindhoven open lessen hypnotherapie. Aanmelden kan bij Jannette Tonneman op 073-5212858.

Wijkdag Genderdal Voor en door wijkbewoners wordt morgen van 12.00 tot 17.00 uur een wijkdag gehouden in de Gestelse wijk Genderdal.

Een rommelmarkt, dansoptredens en live muziek staan op het programma.

Lezing over muziektherapie Tomatis De Heremiet aan de Kleine Berg verzorgt dinsdag van 20.00 tot 22.00 uur een lezing over de muziektherapie van dr. Alfred Tomatis. Entreeprijs vijf euro.

Bijeenkomst in kader van chronische pijn In gebouw De Kroon op Kronehoefstraat 21-29 wordt dinsdag van 13.30 tot 15.30 uur een bijeenkomst gehouden voor 131

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Tomatis 2008 mensen met chronische pijn.

De Stichting Zelfhulp Netwerk houdt in hetzelfde gebouw dinsdag van 13.30 tot 15.30 uur een lotgenotenbijeenkomst voor schildklierpatiĂŤnten.

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Tomatis 2008

(ddp-Infokasten) Tomatis-Kur - Weiterführende Informationen.

280 mots 15 août 2005 ddp Themendienste Allemand (c) 2005 ddp-Wirtschaftsdienst www.ddp.de Hamburg/Wuppertal (ddp). Bekannte Schauspieler, Sportler und Opern-Sänger konnten durch die Tomatis-Kur nach eigenen Angaben ihr Stottern ablegen, das Gleichgewicht optimieren oder die Stimme erweitern. Was in anderen Ländern verbreiteter ist, steht in hier zu Lande in der Diskussion. Neben der Schulmedizin beobachten auch die Krankenkassen die Hörtherapie skeptisch. Sie berufen sich in ihrer Beurteilung auf diverse Stellungnahmen und beteiligen sich wegen fehlender wissenschaftlicher Grundlagen größtenteils nicht an den Kosten.

Insbesondere gesetzliche Kassen wie AOK und Barmer weisen auf klassische Alternativen für betroffene Kinder hin, die von Kinderärzten und speziell ausgebildeten Hals-Nasen-Ohren-Ärzten (PÄD-Audiologen) erbracht werden können. Die Privaten Krankenkassen bieten teilweise eine Einzelfallprüfung an oder rechnen die Behandlung zur anthroposophischen Medizin.

Sofern eine Indikation gegeben und belegt ist, erkennen einzelne Anbieter die Kosten in ihren naturheilkundlich ausgerichteten Tarifen an.

In Deutschland können sich Interessierte in 15 Instituten und Studios einer Tomatis-Hörkur unterziehen. Adressen und Informationsmaterialien sind unter www.tomatis.de oder www.iarctc.com nachzulesen sowie bei Joachim Kunze unter der Hamburger Telefonnummer 040/3574480 zu erfragen. Schulmedizinische Stellungnahmen und Meinungen halten die Deutsche Gesellschaft für Phoniatrie und Pädaudiologie ( www.dgpp.de ), die Arbeitsgemeinschaft Deutschsprachiger Audiologen und Neurootologen ( www.hno.org/adano ), die Gesellschaft für Neuropädiatrie ( www.neuropaediatrie.com ) oder die Deutsche Akademie für Hals-Nasen-Ohren-Heilkunde ( www.da-hno.org ) bereit.

Tiefere Einblicke in die Thematik gewähren folgende Bücher: Alfred Tomatis: «Der Klang des Lebens», Rowohlt, 2000, ISBN: 3499187914, 7,50 Euro Paul Madaule: «Die Kunst zu hören», Pendo, 2002, ISBN: 3858424919, 14,90 Euro Don Campbell: «Die Heilkraft der Musik», Droemer Knaur, 2001, ISBN: 3426290324, 14,90 Euro

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Guardian Features Pages G2: Arts: Out&About: Classical: 5,000 miles with Mozart Erlend Clouston 389 mots 27 juillet 2005 The Guardian 10 Anglais Š Copyright 2005. The Guardian. All rights reserved.

Keep-fit enthusiasts exercising in an Edinburgh gym found their early-morning routines enlivened last week by the presence of a television crew, a string quartet, PR men and a burly stockbroker in khaki shorts called Leven Brown. They had gathered to celebrate the unlikely union of sporting achievement and classical music in a record-breaking rowing attempt. Brown will shortly spend five months rowing the 5,000 miles between Cadiz and Trinidad. To help him complete what will be the longest-ever self-propelled solo Atlantic crossing, he is to have a carefully calibrated diet of Mozart piped into his lonely cabin. His preparations for his epic voyage also included three weeks of living rough in the Highlands, eating thistle roots.

As treadmills creaked and exercise bikes whirred, his head, wrists and ankles were wired with electrodes and he mounted a rowing machine. The Rose Street Quartet struck up Eine Kleine Nachtmusik. Brown heaved away. Lights twinkled on a computer. "Mozart's music is the Rosetta stone for higher brain function; it is excellent for your health and mood," explained Mike Hall, the sports consultant in charge of Brown's Mozartian schedule. This has included daily 45-minute exposure to parts of Violin Concerto No 5 and the Jupiter Symphony. "Cell vitality is going up again, which is good," reported the computer's operator. Brown, a remote descendant of Columbus, was impressed when he stepped, sweating, on to figurative dry land: "I do feel better than I did a while ago."

The idea that classical music is good for your health was first raised around the second world war by a French doctor called Alfred Tomatis. Subsequent emphasis on Mozart's subliminal potency may merely reflect scientists' ignorance of other composers, according to Paul Robertson, leader for 35 years of the Medici String Quartet. "There are lots of interesting theories, and more than a smidgin of truth in them," Robertson asserts. The effect of phrase length on the brain's alphawave activity comes into it. Assuming his loudspeakers remain waterproof, Brown will douse his alphawaves with a daily hour of Mozart. He will also pack his guitar as back-up: "If the worst happens, it could be used as a buoyancy aid."

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5,000 miles with Mozart 408 mots 27 juillet 2005 Guardian Unlimited Anglais Guardian Unlimited Š Guardian Newspapers Limited 2005. All rights reserved A man gearing up to spend five months rowing the 5,000 miles between Cadiz and Trinidad is preparing for it with a carefully calibrated diet of piped in Mozart.

Keep-fit enthusiasts exercising in an Edinburgh gym found their early-morning routines enlivened last week by the presence of a television crew, a string quartet, PR men and a burly stockbroker in khaki shorts called Leven Brown. They had gathered to celebrate the unlikely union of sporting achievement and classical music in a record-breaking rowing attempt. Brown will shortly spend five months rowing the 5,000 miles between Cadiz and Trinidad. To help him complete what will be the longest-ever self-propelled solo Atlantic crossing, he is to have a carefully calibrated diet of Mozart piped into his lonely cabin. His preparations for his epic voyage also included three weeks of living rough in the Highlands, eating thistle roots.

As treadmills creaked and exercise bikes whirred, his head, wrists and ankles were wired with electrodes and he mounted a rowing machine. The Rose Street Quartet struck up Eine Kleine Nachtmusik. Brown heaved away. Lights twinkled on a computer. "Mozart's music is the Rosetta stone for higher brain function; it is excellent for your health and mood," explained Mike Hall, the sports consultant in charge of Brown's Mozartian schedule. This has included daily 45-minute exposure to parts of Violin Concerto No 5 and the Jupiter Symphony. "Cell vitality is going up again, which is good," reported the computer's operator. Brown, a remote descendant of Columbus, was impressed when he stepped, sweating, on to figurative dry land: "I do feel better than I did a while ago."

The idea that classical music is good for your health was first raised around the second world war by a French doctor called Alfred Tomatis. Subsequent emphasis on Mozart's subliminal potency may merely reflect scientists' ignorance of other composers, according to Paul Robertson, leader for 35 years of the Medici String Quartet. "There are lots of interesting theories, and more than a smidgin of truth in them," Robertson asserts. The effect of phrase length on the brain's alphawave activity comes into it. Assuming his loudspeakers remain waterproof, Brown will douse his alphawaves with a daily hour of Mozart. He will also pack his guitar as back-up: "If the worst happens, it could be used as a buoyancy aid."

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Guardian Features Pages Classical: 5,000 miles with Mozart 384 mots 27 juillet 2005 The Guardian 10 Anglais Š Copyright 2005. The Guardian. All rights reserved.

Keep-fit enthusiasts exercising in an Edinburgh gym found their early-morning routines enlivened last week by the presence of a television crew, a string quartet, PR men and a burly stockbroker in khaki shorts called Leven Brown. They had gathered to celebrate the unlikely union of sporting achievement and classical music in a record-breaking rowing attempt. Brown will shortly spend five months rowing the 5,000 miles between Cadiz and Trinidad. To help him complete what will be the longest-ever self-propelled solo Atlantic crossing, he is to have a carefully calibrated diet of Mozart piped into his lonely cabin. His preparations for his epic voyage also included three weeks of living rough in the Highlands, eating thistle roots.

As treadmills creaked and exercise bikes whirred, his head, wrists and ankles were wired with electrodes and he mounted a rowing machine. The Rose Street Quartet struck up Eine Kleine Nachtmusik. Brown heaved away. Lights twinkled on a computer. "Mozart's music is the Rosetta stone for higher brain function; it is excellent for your health and mood," explained Mike Hall, the sports consultant in charge of Brown's Mozartian schedule. This has included daily 45-minute exposure to parts of Violin Concerto No 5 and the Jupiter Symphony. "Cell vitality is going up again, which is good," reported the computer's operator. Brown, a remote descendant of Columbus, was impressed when he stepped, sweating, on to figurative dry land: "I do feel better than I did a while ago."

The idea that classical music is good for your health was first raised around the second world war by a French doctor called Alfred Tomatis. Subsequent emphasis on Mozart's subliminal potency may merely reflect scientists' ignorance of other composers, according to Paul Robertson, leader for 35 years of the Medici String Quartet. "There are lots of interesting theories, and more than a smidgin of truth in them," Robertson asserts. The effect of phrase length on the brain's alphawave activity comes into it. Assuming his loudspeakers remain waterproof, Brown will douse his alphawaves with a daily hour of Mozart. He will also pack his guitar as back-up: "If the worst happens, it could be used as a buoyancy aid."

Erlend Clouston

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Cultura Es la música aliada en la educación Laura Luz Morales 978 mots 6 juin 2005 Palabra 6 2746 Espagnol © Derechos Reservados 2005 Consorcio Interamericano de Comunicación, S. A. de C. V. En tanto herramienta pedagógica, la música sirve para estimular capacidades motrices y cognitivas La música es una herramienta confiable y económica que pueden utilizar los profesores dentro del salón de clases para potenciar el desarrollo de la inteligencia de los estudiantes.

Esta nueva alternativa educativa es resultado de diversas investigaciones, en las que se ha comprobado que el oído es un órgano capaz de recibir ondas sonoras y convertirlas en estímulos sensoriales que viajan al cerebro. ¿Cómo explicarlo de manera más sencilla? Es fácil. La música produce, a través de las ondas cerebrales, cambios en el comportamiento de las personas, así como un desarrollo mayor de las habilidades físicas y mentales.

La venezolana Bárbara Hernández Galmuzzi, estudiosa de esta alternativa pedagógica, explica que desde la educación inicial se pueden utilizar piezas musicales para estimular las primeras capacidades motrices y cognitivas de los pequeños.

Complementando este concepto, el músico Héctor Alejandro Gil Müller agrega que los beneficios de la música se pueden obtener desde las primeras etapas del crecimiento, pues es una disciplina universal que no requiere de cierta capacitación para poder entenderla.

"Me refiero a la música porque el beneficio que tiene es que es el arte más espiritual y su entendimiento es el más fácil. Se requiere cierto bagaje cultural para poder entender una obra pictórica o se requiere tener cierta capacidad intelectual para entender una obra literaria, y la música no, simplemente la capacidad de escuchar", dice.

"El arte, y en especial la música, va a constituir una excelente estrategia. La educación integral, que es lo que ahorita se está buscando, debe incluir herramientas expresivas y emotivas que le permitan al ser un desarrollo congruente para poder convivir con la sociedad en la que vive".

El director del centro de enseñanza musical "Gil Müller" señala que muchos de los estudios actuales parten de la investigación del doctor Alfred Tomatis, quien estableció unas famosas leyes del oído.

"Una de ellas es que el oído está diseñado para energetizar al cerebro y al cuerpo, él propuso que en determinadas fábricas se pusieran los trabajadores a escuchar música y encontraron que había un aumento en la producción significativo, entonces de esas ideas muchos han continuado investigando este fenómeno".

Hernández Galmuzzi ahonda más en este concepto y explica que la música llega al cerebro, y dependiendo de la potencia sonora, ya sea de la música o de los sonidos del medio ambiente, se puede modificar el comportamiento.

"Si queremos activar a los alumnos con música, utilizamos música con una frecuencia sonora alta, con más de 80 pulsaciones por minuto, que genere en nuestro cerebro ondas Beta que vibren muy rápidamente, y por lo tanto nuestro comportamiento se va a traducir en mayor agilidad, es decir, nos encontramos en ese momento en el cual podemos procesar la información, escuchar, hablar, aprender, comunicarnos con las demás personas, estamos en un estado de alerta", dice.

Traduciendo al sentido práctico este concepto, Gil Müller señala que la música de Mozart, por ejemplo, es efectiva para lograr este efecto, pues sus composiciones se caracterizan por el incremento del ritmo en diferentes momentos, lo que provoca este estado vigilante.

Cuando la música produce ondas entre 60 y 80 pulsaciones, al mismo ritmo del corazón, el cerebro produce una ondas 137

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Tomatis 2008 llamadas Alfa, agrega la doctora, que mantienen al estudiante en una condición serena.

"A partir de este estado de calma somos capaces de procesar la información para aprender, y dado que la música se procesa específicamente en el lóbulo temporal, la música activa los procesos de memoria, de cálculo y de razonamiento, de ahí que la música que genera ondas Alfa en nuestro cerebro sea tan recomendada para potenciar los procesos cognitivos y por supuesto, potenciar la inteligencia".

La música barroca, agrega Gil Müller, puede lograr este cometido.

"Luego nos encontramos una música que genera vibraciones un poco más lentas", prosigue Hernández Galmuzzi, "ésta genera ondas Zeta, estas nos llevan a un estado de relajación y obviamente en esta relajación nosotros somos capaces de ser mucho más creativos y por lo tanto logramos resolver mejor los problemas.

"Por último, existe música para desarrollar las ondas Delta, que son las que vienen mucho más despacio, y éstas son aquellas que nos permiten conciliar el sueño, serenar nuestras pulsaciones, nuestro ritmo cardiaco y generar en nuestro cuerpo un estado de paz y cargar las energías para entonces enfrentarnos a un nuevo día".

El profesor de música apunta que todas estas investigaciones han llevado a una sola conclusión: la música sumerge al escucha en un estado reflexivo y sensible, que traducido al ambiente pedagógico, puede lograr que el alumno ponga más atención a las clases y aprenda mejor.

Sin embargo, también sugiere que la utilización de la música dentro del salón de clases sea una actividad vigilada para que no se tergiverse su función.

"Si no se modera y vigila, es muy fácil que los maestros conviertan la música dentro del salón de clase en un distractor para los alumnos, o simplemente caemos en condicionar y hacemos que el alumno relacione la palabra música con aburrimiento, por eso es necesario que el maestro que va a incluir música vaya moldeando al grupo y preparándolo para escucharla".

La doctora originaria de venezuela añade que no existen excusas para no utilizar la música dentro de las aulas, pues es un recurso real, accesible, económico, motivador y sobre todo efectivo.

Tips musicales Algunos ejercicios prácticos donde el maestro puede usar música - Utilizar la música de fondo en las clases para motivar el cerebro de los estudiantes.

- Motivar al alumno a que dibuje lo que le evoca una melodía.

- Dar a los niños una preparación auditiva a través del análisis melódico.

- Incitar a los pequeños a que conozcan los sonidos del medio ambiente y animarlos a que intenten imitarlos con sus propios recursos.

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Tomatis 2008 Alternatives: Music therapy 1,146 mots 1 juin 2005 Good Medicine Anglais Good Medicine Š 2005 ACP Publishing Pty Ltd. All rights reserved. www.ninemsn.com.au/goodmedicine Listen up. Kate Lovelace looks at how the tomatis method can balance your ears - and your life.

Did you know that ailments such lack of balance, poor concentration, stuttering and even depression - could actually be attributed to problems with your ears?

A simple therapy, known as the Tomatis Method, has proven to be an effective way to treat many ailments associated with the inner ear.

WHAT IS IT? The Tomatis Method was developed by Canadian ear, nose and throat specialist Dr Alfred Tomatis. It works on the principle that if our ears aren't in sync, meaning we hear better from one ear than we do from the other, we aren't performing to the best of our ability. This would show up in our ability to walk, talk and communicate - as all these functions are controlled by the inner ear.

"If two ears are not balanced it's like driving a car with square wheels," explains Francoise Nicoloff, a psychologist and founder of The Tomatis Method in Australia. "This results in immaturity in children or emotional troubles, such as lack of confidence, in adults."

Ear imbalances are often linked to a difficult birth or to the mother experiencing trauma during pregnancy, because at just four months' gestation, a foetus is able to hear, says Nicoloff.

Using a similar concept to Chinese medicine, the Tomatis Method sees the natural flow of energy (also known as chi) in the central nervous system as the key to optimum wellbeing. Its aim is to free blockages within this energy field to bring balance and harmony to both mind and body. The organ that funnels this energy to the brain and body is the ear. And the tool that is used to stimulate the ears and reprogram the way in which sounds are processed is music.

HOW DOES IT WORK A device called the electronic ear - a black box that plays cassettes, rather like an amplifier and linked to headphones devised by Dr Tomatis, relays music in such a way that it exercises the muscles in the ears. It retrains the ear by playing filtered music through the headphones, gradually reintroducing sound through its natural journey of development.

Mozart's music is used because it falls mostly in the high-frequency sound range and has a greater number of vibrations than other types of music. It also uses both medium-and low-range pitches at random, to give the ear a solid workout.

WHAT HAPPENS DURING A SESSION First, clients undergo a simple hearing test to assess their problem. This is done at the Tomatis Earobic Centre in Sydney.

"Give me your ears and I can tell you who you are," says Francoise Nicoloff. She can generally pinpoint an underlying trauma, including the age when the trauma occurred, simply by reading details from the graph.

Once assessed, clients are given a listening program that's tailor-made to suit their needs. Then they begin their ear workout, which involves sitting back for a couple of hours and listening to the music of Mozart. Nicoloff says clients can read or even have a snooze while listening to their music. Children get to sit in a playroom full of toys for their sessions.

Parents of a child who is undergoing this therapy can have a free Tomatis session while they're waiting. This is not only beneficial for the parent, but it also helps the parent to better understand what their child is experiencing.

WHO CAN THE THERAPY HELP? While the Tomatis Method is not a substitute for medical or psychiatric care, its use of music and sound has helped both adults and children overcome a variety of problems.

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Tomatis 2008 The listening program is helpful for children who have learning difficulties or who have hearing and speech problems. It is also beneficial for youngsters who are 'late walkers or late talkers'. It can help improve reading and attentiveness skills in children with Attention Deficit Disorder (ADD), Attention Deficit Hyperactivity Disorder (ADHD), autism and dyspraxia (problems with co-ordination and motor skills).

- Adults Listening to Mozart through the electronic ear has been clinically proven to reduce stress and depression, as well as increase concentration and mental clarity. Some claim it makes them feel calmer and more able to manage stressful situations. Others have noticed an improvement in their concentration, creativity and productivity, especially in the workplace. According to Tomatis, emotional blockages, often due to a past trauma, can prevent people from listening properly. The high-frequency music of Mozart, particularly when filtered through the electronic ear, has an energising effect that has been found to encourage confidence, renew motivation and even prompt a new life direction.

- Performers According to Tomatis, dull flat voices indicate poor hearing analysis.

Many actors, comedians, singers and dancers use the Tomatis Method to improve their vocal skills, memory, coordination and balance. It has been used by musicians like Sting, and actors, such as Juliette Binoche and Gerard Depardieu, whose quite extraordinary transformation through the Tomatis Method is detailed in his biography.

- Language-learners This program is perfect for people wishing to learn another language as it finetunes listening techniques. For example, English-speaking students learning Spanish listen to the teacher speaking into a microphone linked to the electronic ear.

Through it they are able to hear exactly how a Spanish person would hear, which is quite different to how an English person would perceive the same sounds.

WHERE AND HOW MUCH? To get the full benefit of the therapy, it's advisable to do the Tomatis Listening Program of 15 two-hour sessions, which you do from three to five times a week. After four to 12 weeks you'll be assessed and, if necessary, the course instructors can devise a maintenance program tailored to your needs. Sessions cost around $50 an hour; package deals are also available.

For information, call 1800 677 010 or visit www.tomatis.com.au .

WHAT'S YOUR EAR TYPE Left-ear dominance sounds take a longer route to the brain; right-ear dominance means incoming information is processed more quickly.

Those who are right-ear dominant tend to have: - better voice control and better rhythm and flow of sentences - more clarity when thinking and more control over their emotions - good ability to comprehend information quickly and clearly Those who are left-ear dominant are more likely to have: - speech impediments such as stuttering - lack of coordination and clumsiness - learning or emotional difficulties MAKE IT MOZART Add some classics to your music collection and you may find your concentration and creativity sharpens. According to Dr Tomatis, listening to Mozart is beneficial for all of us, even without the help of the electronic ear. Look out for The Mozart Effect series of CDs by Don Campbell. Priced at around $30, they're available from music shops.

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Health & Science ON THE JOB Sharon Lindsay 328 mots 5 mai 2005 The Sydney Morning Herald First 8 Anglais Š 2005 Copyright John Fairfax Holdings Limited. www.smh.com.au Not available for re-distribution.

Health Careers Rafaele Joudry Sound therapy educator Age 47 Qualifications Bachelor of Social Work, University of Saskatchewan, Canada.

Did genes, environment, destiny or accident get you here?

When I was 20 I met a man in Paris who said he could help with my mother, Patricia's, hearing problem. And he did, through his training with the originator of sound therapy, Dr Alfred Tomatis. Later, Patricia came across a group of Benedictine monks in Canada who were using the same therapy and with their help put together a listening program and book called Sound Therapy, Music to Recharge Your Brain.

What do you do?

Like an exercise program for the muscles of the middle ear, the music is filtered with alternating high and low tones via a tape player. It stimulates the auditory system and the brain, and is used for tinnitus, hearing loss, concentration, learning difficulties, epilepsy and sleep disorders. As director of Sound Therapy International, I train practitioners, write articles and give lectures to professional groups.

Toughest part of job?

The scepticism of the misinformed.

Most satisfying part.

Hearing the stories of transformation for some, or just a good night's sleep for others.

If you could, what would you change?

Recognition that this therapy can play an important role in medicine.

How do other people see you?

Non-conformist. My parents were the original hippies.

What are you proudest of?

Making this modality affordable and accessible to thousands.

What do you most regret?

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Tomatis 2008 Not having studied medicine.

Who inspires you?

My mum. She didn't wait for anyone, she just did it.

What do you do for fun?

Sail and garden my veggie patch.

In another lifetime, what would you be?

An environmental doctor who wakes us up to the proliferation of toxic chemicals destroying our health.

Motto Rejoice always, pray continuously and give thanks in all circumstances.

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Tomatis 2008 NEIGHBOR Workshop to explore music's healing power Laura Zahn Pohl Daily Herald Correspondent 668 mots 26 avril 2005 Chicago Daily Herald F3,F4 1 Anglais Copyright (c) 2005 Bell & Howell Information and Learning Company. All rights reserved.

The connection of music and voice sounds to various types of healing will be the topic of an upcoming seminar from 10 a.m. to 4 p.m. Saturday at the Theosophical Society of America, 1926 N. Main St., Wheaton.

Participants will learn more about "The Healing Power of Music and Voice" from Don Campbell, an author and musician.

This seminar is based on Campbell's book, "The Roar of Silence" in which he explains the power of humming and "toning."

"No matter what your musical background, this is an opportunity to explore the power of vibration from within and bring harmony to the world around you," said Ruthann Fowler, program coordinator for the society. "This will be an experiential seminar, where participants explore the power of vibration as a tool to calm and recharge themselves."

Also author of "The Mozart Effect," Campbell views music as a bridge to a creative, intelligent and healthy life.

In this book, Campbell spells out his position and gives evidence of the influence of particular sounds, tones and rhythms on mental performance and spiritual outlook, as well as in the treatment of disease. He combines stories of ordinary men and women with solid research by doctors, psychologists, and music therapists to show how music can be used to improve memory, learning, endurance and productivity, and can soothe nerves, unlock creative impulses and heal the body.

"He uses an example of a community of monks who play Mozart to their cows so they produce more milk," said Fowler.

As a young child in Texas, Campbell was fascinated by the sounds and vibrations coming from the family's piano. Raised in the United Methodist Church, he became involved in choir, the school band and piano lessons. His family's moves to France and Germany provided him with experiences that affected his understanding of music and led to his life's work. Campbell returned to the United States to study organ and education at the University of North Texas and choral conducting at the University of Cincinnati Conservatory of Music.

Later, as an organist in Haiti in the Episcopal cathedral, he discovered the traditional drumming and chanting that Haitians had brought to the island from Africa. Contrasted with the Western Classical tradition, Campbell began to witness the fundamental nature of music and sound in the human experience.

In Tokyo at St. Mary's International School, he taught children of the international business and diplomatic community. He found that music was the basis for communication among children from 40 different countries with nearly as many languages. Other teachers reported how much better young students were able to listen in language courses after a music class, which encouraged Campbell to pursue his interest in how mind, body and language are connected to music.

In 1982 after several other memorable experiences, he began to study the physiology of the brain and the psychological relationship between sound and mental function. This led to the first of Campbell's nine books, "Introduction to the Musical Brain," which was published in 1983.

Campbell gains inspiration from Christian, Western and Eastern forms of music; the music he heard and studied in three years of journeying around the world; and the influence of the work of Dr. Alfred Tomatis, a French researcher whose pioneering work focuses on the central role of the ear to overall mental and physical health and the critical distinction between hearing and listening.

Campbell's work has been translated into 13 languages and he's currently involved in a project at a hospital in Lafayette, Colo., where he has programmed the sound system with 9,000 musical selections to promote health and healing.

The cost of the seminar is $80 for guests, $65 for members of the society. For details or to register, call (630) 668-1571, ext.

320. Information is also available at www.theosophical.org .

For details about Campbell, visit www.mozarteffect.com .

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Tomatis 2008 NEIGHBOR Workshop to explore music's healing power Laura Zahn Pohl Daily Herald Correspondent 586 mots 23 avril 2005 Chicago Daily Herald DuPage 2 Anglais Copyright (c) 2005 Bell & Howell Information and Learning Company. All rights reserved.

The connection of music and voice sounds to various types of healing will be the topic of an upcoming seminar from 10 a.m. to 4 p.m. Saturday at the Theosophical Society of America, 1926 N. Main St., Wheaton.

Participants will learn more about "The Healing Power of Music and Voice" from Don Campbell, an author and musician.

This seminar is based on Campbell's book, "The Roar of Silence" in which he explains the power of humming and "toning."

"No matter what your musical background, this is an opportunity to explore the power of vibration from within and bring harmony to the world around you," said Ruthann Fowler, program coordinator for the society. "This will be an experiential seminar, where participants explore the power of vibration as a tool to calm and recharge themselves."

Also author of "The Mozart Effect," Campbell views music as a bridge to a creative, intelligent and healthy life.

In this book, Campbell spells out his position and gives evidence of the influence of particular sounds, tones and rhythms on mental performance and spiritual outlook, as well as in the treatment of disease. He combines stories of ordinary men and women with solid research by doctors, psychologists, and music therapists to show how music can be used to improve memory, learning, endurance and productivity, and can soothe nerves, unlock creative impulses and heal the body.

"He uses an example of a community of monks who play Mozart to their cows so they produce more milk," said Fowler.

As a young child in Texas, Campbell was fascinated by the sounds and vibrations coming from the family's piano. Raised in the United Methodist Church, he became involved in choir, the school band and piano lessons. His family's moves to France and Germany provided him with experiences that affected his understanding of music and led to his life's work. Campbell returned to the United States to study organ and education at the University of North Texas and choral conducting at the University of Cincinnati Conservatory of Music.

Later, as an organist in Haiti in the Episcopal cathedral, he discovered the traditional drumming and chanting that Haitians had brought to the island from Africa. Contrasted with the Western Classical tradition, Campbell began to witness the fundamental nature of music and sound in the human experience.

In Tokyo at St. Mary's International School, he taught children of the international business and diplomatic community. He found that music was the basis for communication among children from 40 different countries with nearly as many languages. Other teachers reported how much better young students were able to listen in language courses after a music class, which encouraged Campbell to pursue his interest in how mind, body and language are connected to music. In 1982 after several other memorable experiences, he began to study the physiology of the brain and the psychological relationship between sound and mental function. This led to the first of Campbell's nine books, "Introduction to the Musical Brain," which was published in 1983.

Campbell gains inspiration from Christian, Western and Eastern forms of music; the music he heard and studied in three years of journeying around the world; and the influence of the work of Dr. Alfred Tomatis, a French researcher whose pioneering work focuses on the central role of the ear to overall mental and physical health and the critical distinction between hearing and listening.

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Articles scientifiques & articles de la presse

Tomatis 2008

Blomplantor vissnade av Jimi Hendrix Jenny Leonardz 388 mots 13 mars 2005 Svenska Dagbladet 92 Suédois Copyright 2005 SvD. All Rights Reserved.

Musikens positiva - och negativa - effekter har varit föremål för flera undersökningar. Både människor och plantor påverkas, hävdar de som har genomfört försöken.

Mozarteffekten. Den franske läkaren Alfred Tomatis gjorde redan i mitten av 1900-talet undersökningar som han ansåg bevisar musikens helande kraft. Likaså att Mozarts rytmer och höga frekvenser ökar personers förmåga till slutledning och kommunikation. I början av 90-talet gjordes i Kalifornien försök som ansågs visa att förmågan att lösa intelligenstest ökar av musiklyssnande, och då särskilt av Mozart. Men det var främst med amerikanen Don Campbells bok Mozarteffekten (och hans varumärke med samma namn) som begreppet spreds. Därefter har Mozart påståtts kunna såväl bota sjukdomar, höja studieresultat som få kor att mjölka bättre. Musikblomning. Dorothy Retallack gjorde vid Colorado Woman"s College i USA, försök med musik och växter som hon publicerade 1973. Växter utsattes i ett rum för en konstant ton, i ett annat rum för en ton med regelbundna uppehåll och i ett tredje rum var det tyst. Av den konstanta tonen dog de efter 14 dagar. Bäst växte de i rummet med växelvis ton och tystnad. I nästa experiment hade hon två rum (och färska plantor) med rockmusik respektive "lugna favoriter" tre timmar om dagen. Plantorna med den lugna musiken växte så det knakade, medan rockplantorna blev gängliga och ynkliga. Av Jimi Hendrix och Led Zeppelin kroknade de helt. I ytterligare experiment ansåg hon sig även ha funnit bevis för att plantorna tyckte bättre om indisk sitarmusik än Bachs orgelmusik. Musikern Don Robertson gjorde senare om Retallacks experiment och spelade Schönberg respektive Palestrina tre timmar om dagen i en månad för sina växter och hävdar att de blomstrade av Palestrina, medan de tvärdog av Schönberg. Muzak. Företaget Muzak säljer bakgrundsmusik som började utvecklas på 30-talet i USA, främst i produktionshöjande syfte. För maximal effekt satte man ihop 15-minutersprogram följt av 15 minuters tystnad (som i blomexperimentet), treminuterslåtar med tydligt slut i en bestämd kombination av tempo, rytm, instrument och orkesterns storlek. Muzak har utvecklats under åren och används i dag främst för att öka konsumtionen. Musik i långsamt tempo sägs få oss att köpa mer. Vill man att folk ska tugga fortare på en snabbmatskrog fungerar ett högre tempo medan en ordentligt hög volym hetsar kunderna att inte undersöka varorna för noggrant.

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Articles scientifiques & articles de la presse

Tomatis 2008 COUNTRYLIV A sound concept Monica Jackson 276 mots 9 mars 2005 Weekly Times, The 1 - FIRST 100 Anglais Copyright 2005 News Ltd. All Rights Reserved Why Aren't I Learning? by Rafaele Joudry. Sound Therapy International, rrp $19.95 At a time when parents are becoming increasingly anxious about their children's learning progress comes this practical book

by Rafaele Joudry.

Joudry, a pre-school and family services worker, is a firm believer in the link between child development, environmental health and ear-brain function.

In 1989, she founded the Sound Therapy International, a company that sells audio products aimed at helping people improve their listening skills.

Joudry's work expands on the sound therapy research of pioneering French ear specialist Dr Alfred Tomatis.

Sound therapy uses, among other things, specially filtered classical music to stimulate the ear and enhance brain development.

It has been found effective in speeding and enhancing language skills for all children and frequently proved beneficial for those with special needs, such as Attention Deficit Hyperactivity Disorder.

Joudry begins the book with the premise that listening is the key to overcoming learning difficulties.

She says that when a child has problems reading, writing and learning it is because the child is not able to make sense of the sounds.

The book offers parents ways of identifying problems in their child's auditory development and warns this could result in poor listening which leads to poor concentration, bad behaviour, social isolation and delayed reading and writing skills.

Even if you have no intention of undertaking sound therapy, the book is interesting reading and has some important points to make about possible reasons for learning difficulties.

We have five copies to give away. See details at right.

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Articles scientifiques & articles de la presse

Tomatis 2008

Společnost Potížista posedlý prací a životem ROMAN JIREŠ 1,374 mots 14 février 2005 Mlada Fronta Dnes 06 Tchèque (c) 2005 Mladá Fronta DNES, Newton IT s.r.o. All rights reserved Galerie evropské elity - 22. díl 50 EVROPANŮ Francouzský herec Gérard Depardieu prorazil v Hollywoodu, ale na evropskou kulturu nezapomněl Další ze slavných lázeňských hostů v Karlových Varech? Kdepak, na to je francouzský herec Gérard Depardieu příliš pracovitý. Na místa, kde před sedmi lety pobýval jako filmový Honoré de Balzac, se tentokrát vrací v roli šéfkuchaře, který se proslavil svými specialitami. V Grandhotelu Pupp od ledna natáčí nový film Last Holiday (Poslední prázdniny), v němž se objeví po boku hollywoodské hvězdy Roberta Downeyho jr.

Je téměř nepochopitelné, že po rolích v mnoha desítkách filmů se pětapadesátiletý herec u natáčení ještě baví. Ale je to tak.

Tento muž, který nedokončil ani základní vzdělání, hraje ve snímcích divácky náročných i veskrze podprůměrných. Loni například v Kroměříži spolupracoval na uměleckém dokumentu pro Art Channel, v němž si zahrál hudebníka Salieriho. Ve stejné době se však v kinech prezentoval jako náčelník Mastnovlasých v epizodní roličce v nevydařené francouzské komedii RRRrrrr!!!, na které byl zajímavý snad jen její název.

Podobný krok vedle není v jeho případě dílem profesionální únavy ani touhy po velkých honorářích. Tenhle obrovský chlap s citlivou duší prostě neumí odmítnout skoro žádnou roli.

Hrát je lepší než dobře jíst Gérard Depardieu je jedním z mála evropských herců, kteří se prosadili i v Hollywoodu (Muž se železnou maskou, Můj táta hrdina, Zelená karta). Přesto stále zdůrazňuje velký potenciál evropské kultury. Z ní ostatně vzešly jeho slavné role, jako například v roce 1982 Danton.

Spolu sWojciechem Pszoniakem (Robespierre) v historickém filmu polského režiséra Andrzeje Wajdy tehdy Depardieu ztvárnil jednu z tragických postav Francouzské revoluce. Kvůli roli Dantona, nejpopulárnějšího z revolucionářů, který je protipólem fanatického Robespierra, přibral dvanáct kilo, pil, kouřil a spal dvě hodiny denně. „Wajda mi před natáčením řekl, že Danton musí být unavený, vysílený, už nemůže dál. Zavírá oči a usíná v přítomnosti lidí. A tak jsem za to vzal od základů,“ vyprávěl Depardieu, jak vznikal skvělý portrét člověka pohlceného systémem, který sám pomáhal tvořit.

Naopak drastickou odtučňovací kúru podstoupil mohutný herec o patnáct let později, aby mohl hrát třicetiletého muže ve čtyřdílném televizním filmu Hrabě Monte Christo. Tehdy se vzdal svých oblíbených krvavých steaků a přešel na ryby, drůbež a zeleninu. „Kvůli jídlu bych udělal snad všechno na světě, ale herectví bych své všežravosti neobětoval,“ prohlásil Depardieu, který zhubl neuvěřitelných šestatřicet kilogramů. „Chci hrát a děsím se toho, že mi producenti řeknou: Pro náš film jsi moc tlustý!“ Zahraje cokoli „Herectví u něho nevychází z myšlení, z pečlivého intelektuálního rozboru charakteru, vychází z pocitu,“ napsala před časem renomovaná filmová kritička Iva Hejlíčková.

Přesto Depardieu tíhne k velkým literárním postavám a námětům. A často podporuje filmy, které by bez jeho účasti ani nevznikly.

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Articles scientifiques & articles de la presse

Tomatis 2008 Vedle zmíněných velkých historických osobností (Danton, Kryštof Kolumbus, Honoré de Balzac, Eugene Rodin...), postav plných vnitřní rozpolcenosti a ideálů, si klidně zahrál po boku ztřeštěného Pierra Richarda v komediích Kopyto, Otec a otec či Uprchlíci.

Byl i geniálním inspektorem Vidocqem (Fantom Paříže), odporným ministrem kolaborantské vlády Beaufortem (Šťastnou cestu), nevěrným manželem Bernardem (Žena mého muže), rozpolceným mladým knězem Donissanem (Pod sluncem satanovým) i silákem, který jako dítě spadl do kotle se zázračným lektvarem ve filmové verzi komiksu Asterix a Obelix.

S málokterou rolí se však mohl Depardieu ztotožnit tak jako v roce 1999 při práci na dvoudílném francouzském koprodukčním filmu Balzac, který zachycuje slavného spisovatele v době jeho největšího tvůrčího rozmachu, při psaní Lidské komedie. Milovník života a náruživý literát, dnes bychom řekli workoholik, Honoré de Balzac v té době pil litry kávy, toužil po ženách, psal v chvatu jakoby štván svou prací a marně hledal mateřské city.

Nositel řádu Rytíř čestné legie Gérard Depardieu, který bývá označován jako „francouzský národní poklad“, si v roce 1984 vyzkoušel i režii (Tartuffe).

Jednou nohou v kriminále Gérard Depardieu se narodil tři dny po Štědrém večeru roku 1949 v ošklivém průmyslovém městě Chateauroux, které také sloužilo jako základna NATO. V zapadlé díře v centrální Francii vyrůstal jako třetí ze šesti dětí v rodině týrané otcem, negramotným dělníkem, který měl velké problémy s alkoholem. Malý Gérard od osmi let vyrůstal na ulici.

Ve dvanácti přestal chodit do školy a odešel z domova. Protloukal se všelijak. Učil se tiskařem, volný čas trávil v boxerské hale, obchodoval s americkými vojáky... Šmelina, prostituce, krádeže aut - tak vypadala životní škola budoucí chlouby Francie. „Byl jsem divoký kluk. Postrádal jsem někoho, kdo by mi vysvětlil nějaká pravidla,“ vzpomíná Depardieu, o němž se vypráví, že již ve třinácti letech žil se dvěma prostitutkami. Právě kvůli svému bouřlivému mládí nedostal zřejmě v roce 1990 prestižní cenu Americké filmové akademie Oscar. „Nevěděl jsem, co je láska. Nechápal jsem, že můžeme ženy, které máme rádi, také milovat,“ prohlásil po letech.

Osudová náhoda Při toulkách po Francii se šestnáctiletý Depardieu jednou na nádraží setkal se studentem herectví Marcelem Pilorgém. Na jeho radu se přihlásil do pařížského Theatre National Populaire, kde se ho ujal lektor Jean-Laurent Cochet. Ten pomohl rozvíjet jeho talent, zatímco terapeut Alfred Tomatis ho zbavil vady řeči. Záhy se dostal do avantgardní divadelní společnosti La Café de la Gare, kde se setkal s budoucími hvězdami francouzského filmu, herečkou Miou-Miou a Patrickem Dewaerem. „Nikdy jsem nezapomněl na toho blonďatého kluka, který se dlouho jen tak protloukal, až nakonec skončil jako docela zaneprázdněný herec,“ nechal se později slyšet Dewaer.

Trojice Miou-Miou, Dewaer a Depardieu dostala první velkou příležitost ve filmu Koule režiséra Bertranda Bliera. Příběh milostného vztahu dvou chuligánů a mladé servírky vzbudil vzhledem k neskrývaným homosexuálním milostným scénám patřičnou pozornost. Depardieu později v knize Ukradené dopisy naznačil homosexuální vztah s dnes již zesnulým kolegou Patrickem Dewaerem. „Na bisexualitě a homosexualitě nevidím nic špatného, možná proto se nebráním ani rolím gayů,“ napsal.

Ošklivý krasavec „Jako mladý muž jsem si připadal ošklivý. Nedovedl jsem si představit, že by se do mě mohla zamilovat nějaká žena,“ zpovídal se po letech. Život ho však z tohoto omylu vyvedl. „Je to chlap, se kterým bych se ráda ocitla v tmavém průjezdu,“ prohlásila americká herečka Sharon Stoneová.

Depardieuovou manželkou byla o osm let starší studentka herectví a psychologie Elizabeth Guignotová, s níž má syna Guillauma a dceru Julii. Rozvedli se poté, co se Depardieuovi a Senegalce Karine Sylly narodila dcera Roxana. Po rozchodu s Karine Sylly se Depardieu často ukazoval s pohlednou herečkou a modelkou Carole Bouguetovou. Ta se po osmileté známosti dozvěděla až z novin, že filmový vztah Gérarda Depardieu a Fanny Ardantové ve filmu Žena mého muže přerostl i do soukromí.

Syn Guillaum, který za svého otce zaskočil v roli mladého hraběte Monte Christa i v dramatu Všechna jitra světa, rodičům velkou radost nepůsobí. Po otci totiž kromě hereckého talentu zdědil i jeho výbušnost. Při nehodě na motorce v roce 1995 utrpěl komplikované zranění, kvůli kterému mu museli amputovat nohu. A nedávno byl odsouzen k devíti měsícům podmínečně za to, že v Trouville vystřelil na muže, který ho coby fanoušek bez zlého úmyslu oslovil. A nebylo to poprvé - již v minulosti byl Guillaum několikrát trestán za dopravní a drogové delikty.

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Tomatis 2008 Problematický milovník vína Herec, příležitostný spisovatel a zpěvák Gérard Depardieu je známým milovníkem vína. Obhospodařuje vlastní vinici a její produkty často označuje za léčebný prostředek. „Neznám pro člověka lepší medicínu než víno. Když ho konzumujete pravidelně, tak se vám nemoci vyhýbají. A když se nějaká objeví, stačí zvýšit dávku a je po problému,“ prozrazuje recept na zdraví. Až loni však poprvé v autobiografii Žiju veřejně přiznal, že má s alkoholem velké problémy a jeho vinou transplantovaná játra. Pod vlivem alkoholu ostatně způsobil i několik dopravních nehod.

Na venkově také nalézá klid a rovnováhu pro svou hektickou práci. „Nechci být vlkem samotářem, ale někdy je to nutné.

Chci zůstat sám sebou a nešílet jen filmem. Na světě je tolik krásných věcí.“ *** Úspěchy Gérarda Depardieu * francouzský César za hlavní roli v dramatu Poslední metro 1980 * nominace na francouzského Césara za hlavní roli v dramatu Plukovník Chabert - 1994 * ceny za herecký výkon na MFF v Benátkách ve filmu Policie 1985 * cena za herecký výkon na MFF v Cannes (Cyrano de Bergerac) - 1990 * nominace na Oscara (Cyrano de Bergerac) * Zlatý lev na MFF v Benátkách za přínos pro světový film - 1997 * držitel francouzského Národního řádu za zásluhy, řád Rytíř čestné legie GÉRARD DEPARDIEU (55): „Mám rád minulost a líbí se mi budoucnost ve směru Coca Coly,“ říká herec.

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Articles scientifiques & articles de la presse

Tomatis 2008

Take 2 CDs and call me in the morning: Mozart proves music is the best medicine Wataru Doi Special to The Daily Yomiuri 1,120 mots 5 fĂŠvrier 2005 Daily Yomiuri 13 Anglais (c) 2005 The Daily Yomiuri All Rights Reserved.

Using music to cure sick people is one of the oldest methods around. Throughout history, shamans used it for medical treatment, surrounding a patient with icons, beating drums, and praying for their recovery. Though the medicine men would not have known the scientific basis for it, the drum beats created theta brainwaves whose very low four hertz to eight hertz frequency put the patient into a state of deep relaxation and meditation.

Nowadays, people are exposed to stresses that cause various diseases. Some are difficult to treat whether doctors use the latest Western medical technologies or Oriental medicines' magic. But music therapy is one alternative way that is catching on to heal nasty diseases.

One place visited by those in search of music therapy is just a five-minute walk from JR Ichigaya Station in Shinjuku Ward, Tokyo, close to Sophia University.

"Since we opened in 1993, more than 5,000 people, including youngsters, elderly, kids, businessmen, housewives, all kinds of people, have come here," says Kuniko Murase, president of Tomatis Japan.

Murase treats patients using the Tomatis Method, developed by a French doctor Alfred Tomatis (1920-2001), who she says was the first person to research the effects of noise.

Tomatis discovered that harsh sounds caused stress and reduced concentration and thinking power. In 1970, Tomatis claimed to have demonstrated that Mozart's music stimulated the brain, relaxed the body and balanced the mind.

At the Ichigaya facility, patients are taken to a small room, where they are asked to don a specially designed headset.

Murase then picks music appropriate to the patient's symptoms. The patient listens to several pieces of music using the headset, which plays them music from three different directions.

"Usually, patients finish treatment in 45 hours. They come here three days a week for two months," Murase says, "Some children need three years, especially in the case of autism. But they get better."

The purpose of the Tomatis Method is to rebuild the function of the ear. Sick people have often suffered ear damage at some point in their life, with the damage subsequently leading to disease. For this reason, the method proposes that the first thing to do is to find out what the damage was and when it happened, and then refresh and relax the ears with music.

The method is designed to return the patient's ears to the condition they were in as a baby.

The Tomatis Method uses Mozart and Gregorian chants. In most cases, Mozart works best. In scientific tests, Mozart's music has been shown to be effective in the treatment not only of mental illness, but also of diseases like cancer.

Born in 1756, Mozart composed what many regard as the greatest music in human history--but who would have imagined his works were also great inventions in medical science?

"Mozart's sound has a good, balanced character. His music creates frequencies between 3,500 and 4,500 hertz," Haruhisa Wago, professor at Saitama Medical School Junior College and the Japanese pioneer of medical treatment using Mozart, explains. "Mozart repeats certain phrases and patterns, and has very effective reverberations. It's like the sound from a stream."

According to Wago, modern people lose the balance between the sympathetic and parasympathetic nervous systems: The sympathetic system works too much and the parasympathetic system not enough, which results in some sort of dysfunction or disease.

"About 10 minutes after patients start listening to Mozart, the music starts stimulating the parasympathetic nervous system. As a result, the balance of both nervous systems is reestablished," the professor says.

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Tomatis 2008 Various disorders occur when the sympathetic nervous system dominates the parasympathetic nervous system, including autonomic disorder, arterial sclerosis, insomnia, dementia, excessive sensitivity to cold, auditory disturbance, lower back pain, high blood pressure, cancer, or mental illness.

"Mozart works well for every disease. It's called the Mozart Effect," Wago says.

The Mozart Effect first attracted attention due to the work of Don Campbell, a user of the Tomatis Method, who wrote 15 books and produced numerous CDs on the effect.

"It's because Mozart's music is structured, follows a classical format, and is well organized. In contrast, Beethoven composed music based on human emotion. His music changes mood very often. Despite a life of illness and unhappiness, Mozart was unaffected by emotion when he worked, and composed light and clear music in a simple form. Beethoven was too complex. Chopin was emotional as well, " Campbell says during an interview. "Mozart relieves stress and pain. His music can be used for many treatments. Sometimes it can achieve miracles and my experience is a good example."

When Campbell was 47 years old, he had a blood clot in the right carotid artery of his brain. He considered undergoing an operation, but decided not to after his doctor said the operation was not guaranteed to be a success. Finally, he used Mozart to treat himself. Three weeks later, the clot had shrunk from four centimeters to three millimeters.

"The doctor said this was almost a miracle," Campbell says.

Wago says not all of Mozart's music is effective: "Out of more than 620 Mozart works, our research demonstrated that between 60 to 80 of them have a positive effect on the parasympathetic nervous system. In particular, his violin, oboe, and piano concertos, which all create high frequencies, are effective.

Unfortunately, using Mozart for therapy is not widely recognized in Japan. But the situation is changing. According to the Japanese Music Therapy Association, 943 people have been certified as music therapists since the association was formed in 2001, and the number of applications is increasing.

"Music therapy is well-known in the United States, but it's just beginning to catch on here. I lived in Japan for seven years as a music teacher and taught the importance of music. I want Japanese to understand and accept the power of music," Campbell says.

Wago certainly agrees: "I am now developing musical prescriptions. What music will work for what disease? If I can develop this, sick people will have a much wider choice of treatments. One of the other beauties of music therapy is that patients can do it in their own home."

Campbell says, "Back when Mozart was alive, music was for royal ceremonies or events. He was not aware that his music could help sick people. Mozart was a genius and composed based on his intuition."

Mozart was recognized as a great composer only after his death. More than two centuries on, he's gaining recognition as a great doctor, too.

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Tomatis 2008

SELHi in action / Greater fluency aided by higher frequencies Yoko Mizui Daily Yomiuri Staff Writer 1,269 mots 21 dĂŠcembre 2004 Daily Yomiuri 16 Anglais (c) 2004 The Daily Yomiuri All Rights Reserved.

This is the 14th installment in a series on the government-designated Super English Language High School (SELHi) pilot project.

In a language lab, about 40 first-year students listened carefully through headsets to a portion of Lewis Carroll's Alice's Adventures in Wonderland at Kanto International Senior High School in Shibuya Ward, Tokyo, late last month.

"Do you know what the story's about?" asked English teacher Kana Matsumura. Then she distributed printouts of the text with 20 blank spaces in it. Matsumura divided students into four groups and had them compete at filling in the blanks by listening to the tape again. The missing words included a lot of "R"s and "L"s.

Matsumura said that as it was a listening class adopting the Tomatis method, which emphasizes the high frequencies said to be most suitable to listening to English, grasping the meaning was not important.

"The aim of this class is letting the students hear English rhythm and pronunciation repeatedly. In doing so, students learn important words and phrases naturally," Matsumura said.

When the school was designated a SELHi in April 2003 by the Education, Science and Technology Ministry, only one of the school's four first-year English classes for students specializing in English-language studies used the Tomatis method. The method is being used by all five English classes for the first-year students this year, as the method proved to be effective at training students' ears to listen to English.

The Tomatis method was introduced to the school by Yoko Miyoshi, another English teacher at the school.

"When I first saw the data of the Tomatis method five or six years ago, I was surprised to learn that the Japanese language's frequencies are fairly low and the range is narrow, when compared with other languages. The research contended that 'we can't pronounce the sounds that we can't hear.' This theory answered a question I'd had for many years," Miyoshi said.

Miyoshi received Tomatis training under the guidance of Kuniko Murase, who first introduced the Tomatis method to Japan, and found that her English pronunciation changed remarkably after the first training session. Miyoshi was in charge of the SELHi class last year.

Kanto International Senior High School was the first school that started English course in Tokyo in 1982. Since then, the school has been putting weight on English education.

"When we first sent our students to Tennessee for language study during the summer vacation in 1979, I keenly felt the necessity of communicative English teaching," said Yasuhiro Takeda, vice principal of the school.

In addition to the Tomatis method, various English teaching styles have been adopted by the school's English course. Dual teaching by a native English teacher and a Japanese teacher is one of them. Dual teaching differs from team teaching in that the class is divided into two groups in different classrooms, with a Japanese teacher and a native English teacher teaching in their own respective ways, using the same textbook.

It is also common to divide a class in two and teach different things in English. For example, on the day I visited the school, the SELHi class of the second-year students was divided in two. In one classroom, a reading lesson using SRA (Science Research Associates) materials, a common practice in North American schools, was conducted by Canadian teacher James Harman.

In another classroom, American teacher David Schneer was teaching essay writing. In the class, students revised their own essays about their experience when they went to Lincoln Memorial University in Tennessee for two months during the summer vacation.

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Tomatis 2008 The students in this class used the Tomatis method for a year when they were first-year students. What do they think of the method?

"I've come to hear subtle sounds like the '-ed' of the past tense and 's' sounds that I couldn't hear before," said Yoshiya Haraguchi. A classmate, Hibiki Yamanaka, said: "It was fun. When I watch American films, I think I understand them better."

Schneer and Harman agreed that these students' pronunciation and fluency in speaking English had improved a lot.

"Our theme of SELHi is to improve the level of the four skills of English based on audio training. Although it is difficult to verify the improvement of hearing ability scientifically, I'm sure students' motivation has strengthened," the vice principal said. === Do you hear what I hear? Languages have different frequencies In mastering a foreign language, aural learning should come before visual learning, just as when children learn their mother tongue. Listening is the key to learning. This is what Kuniko Murase, president of Tomatis Japan Inc., learned from French ear, nose and throat specialist Alfred Tomatis (1920-2001) when she met him in Paris more than 10 years ago.

Tomatis discovered that listening problems are the root cause of many learning disabilities and he developed highly effective techniques to remedy them. In fact, Murase first met Tomatis as the troubled mother of a daughter who had become very upset about her inability to improve her French hearing ability. Murase's daughter entered Lycee FrancoJaponais de Tokyo when she was 3-1/2 years old, and was studying at a high school in France when Murase and Tomatis met.

Impressed by the Tomatis method, which improved her daughter's hearing ability and relieved the stress that had hindered her study and driven her nearly to the point of a nervous breakdown, Murase decided to introduce the method to Japan.

She established Tomatis Japan in Tokyo in 1993 after being trained and certified in Paris.

Tomatis listening therapy is used worldwide to help children with problems like dyslexia, learning disabilities and autism and also to help adults fight depression, develop better communication skills and learn foreign languages faster and more effectively.

Tomatis found that people who are right-ear dominant learn much more easily, as the right ear is connected to the left brain, where language is processed. Tomatis modified his Electronic Ear device--which resembles a language lab headset--so that he could train people to become right-ear dominant. He also modified the Electronic Ear to improve people's listening perception threshold curve (the range of frequencies one can hear).

He found that people can train their ears to get accustomed to foreign frequencies and learn foreign languages more easily.

For example, the French language mainly uses frequencies between 1,000 and 2,000 hertz. French ears are accustomed to those frequencies, while British people are accustomed to listen to frequencies between 2,000 and 12,000 hertz. The Japanese language's frequencies are even lower than those of French, according to Tomatis research.

According to Tomatis promotional literature, "The voice contains only what the ear hears" or, in other words, "When our ears cannot hear certain frequencies, our voice does not contain them either"--this is the basic theory of the Tomatis method in learning foreign languages.

Murase, who introduced the Tomatis method to Kanto International Senior High School, analyzed the one-year result of the 40 students who took a listening class that utilized the method.

"We measured the average results of the all students. We found their sensitivity of hearing over 2,000 hertz had improved.

We believe if their ear sensitivity goes up, it will appear in their voices," Murase said.

"I worried about the (possible) lack of motivation of the students, but they were very eager to try our method," she said.

153

Articles scientifiques & articles de la presse

Tomatis 2008

TER IL FUTURO TRA NOI 5 / PSICO-ACUSTICA E FONOTONIA SONO LE DISCIPLINE CHE CI PERMETTERANNO DI SCOPRIRE LE SONORITÀ NASCOSTE NEGLI ELEMENTI NATURALI E NEL NOSTRO CORPO Ascolteremo la MUSICA dell'acqua CAPPELLETTO SANDRO 1,117 mots 3 août 2004 La Stampa 21 Italien (c) 2004, La Stampa Sandro Cappelletto ROMA UN microfono grande poco più di una testa di spillo infilato tra i capelli della danzatrice. Lei balla e i capelli sfiorano, accarezzano, colpiscono, strusciano, ora pochi, ora tanti, asciutti, sudati, il microfono che rimanda amplificata al pubblico quella "musica" nata dal nostro corpo, prodotta e nascosta in noi. Corpi risonanti, uno spettacolo da poco eseguito a Dortmund e Dusseldorf, è l'ultima creazione di Michelangelo Lupone, compositore e scienziato del suono.

Con Laura Bianchini, anche lei compositrice, e il fisico Lorenzo Seno, ha fondato nel 1988 il Centro Ricerche Musicali. Il loro progetto è semplicemente ambizioso: governare la diffusione dei suoni, i più eclatanti come i più segreti, nello spazio e "comprimere" il rumore del mondo, ricreando, nella nostra epoca segnata dal massimo inquinamento acustico un equilibrio non aggressivo tra uomo e ambiente. "E ancora qualcos'altro", aggiunge Lupone.

"La tecnologia del suono riprodotto si sta muovendo all'ordine di due imperativi: sempre più piccolo, sempre più mobile. I file mp3 che si possono sentire dal telefonino sono l'esempio più evidente. La qualità sembra non interessare: invece, rimane il nostro orizzonte fisso". I quattro locali - già: il budget proprio enorme non è - del CRM sono al primo piano di un palazzo umbertino del quartiere Esquilino; i negozi affacciati sulla strada propongono un International Phone Center, un Pakistan Video-Shop, un China Clothing, un Veri Sapori d'Islam, un indigeno Intimo e Pigiami, ristoranti asiatici, africani, naturalmente cinesi. Si attraversa il cortile, si supera una sartoria indiana, si sale una rampa, ci si ritrova nella stanza, silenziosissima, isolata acusticamente, dei computer, dei progetti, dei monitor dove i suoni perdono il loro aspetto acustico ed estetico e diventano grafici, ondulazioni, frequenze, picchi in su e in basso, linee sottili, grumi densissimi: come un elettrocardiogramma da esaminare. "Mai provato ad ascoltare le nocche, i polsi, il braccio, le spalle, i piedi? Superfici da esplorare musicalmente: gli strumenti per farlo ormai ci sono". Gli studi sul paesaggio sonoro, schiusi dalle ricerche del canadese Murray Schafer (il suo The Tuning of the World è del 1977), diventati ormai patrimonio diffuso di una disciplina chiamata "ecologia della musica" che ha ricevuto anche riconoscimenti accademici (come il Cresson - Centro di ricerca sullo spazio sonoro - della facoltà di Architettura di Grenoble), scoprono così una nuova dimensione possibile: la sonorità del nostro corpo, che diventa una partitura da scrivere e leggere: "Una modalità per conoscersi, per ascoltarci e dunque per esprimerci artisticamente e comunicare. Stiamo varcando una soglia della percezione, irraggiungibile senza la tecnologia: ma la tecnologia non ha senso se è soltanto un fine, magari anzitutto commerciale. Oltre l'aspetto scientifico puro emerge sempre un'esigenza espressiva, in una rivincita del pensiero musicale". Psico-acustica e fonotonia sono le discipline che studiano, rispettivamente, la relazione tra ambiente sonoro e benessere/malessere delle persone che lo abitano, e la reazione muscolare alle sollecitazioni sonore che riceviamo, spesso subendole. Qui, le possibili applicazioni pratiche sono moltissime: "Con il centro ricerche Fiat - ricorda la Bianchini - abbiamo avviato negli anni scorsi uno studio sulla presenza del rumore nelle automobili, dalla marmitta alla portiera. Il rumore è un parametro importante - pensi alla funzione del clacson - che però può diventare stressante: il controllo della sua emissione e della sua diffusione nell'abitacolo è ormai anche un indicatore di qualità, reale, importante. La pubblicità lo ha capito per prima e infatti lo enfatizza molto". Dalle macchine al Colosseo: per festeggiarne il completato restauro, le banche finanziatrici del progetto hanno chiesto al CRM di "sonorizzare" il monumento. Loro, dalla cavea al secondo anello dell'Anfiteatro, hanno disposto su tre livelli duecentocinquanta "olofoni": possiamo definirli degli altoparlanti che, ciascuno per un raggio massimo di trenta metri, diffondono il suono senza alterarlo, senza che la qualità decada. All'interno si è immersi in una specie di kolossal musicale, ma appena oltrepassato il cerchio acustico disegnato dagli olofoni, non si sente più nulla. Siamo agli antipodi di un uso indiscriminato dell'amplificazione, qui ogni metro dell'enorme spazio è insieme sfruttato e governato. Per una riunione internazionale dei ministri dell'Agricoltura all'Arsenale di Venezia, il CRM ha disposto e nascosto gli olofoni anche a pelo dell'acqua, e la musica sembrava misteriosamente nascere dalla Laguna, rimbalzare sulla sua superficie: "Quando il suono si genera da luoghi che noi siamo abituati a ritenere muti, silenziosi, come appunto l'acqua, il dato oggettivo dell'ascolto si unisce ad una sensazione percettiva misteriosa, sorprendente e incantatoria. Oggi, possiamo pensare a dei parchi sonori immensi e docilissimi, e a un uso drammaturgico di queste installazioni sonore d'arte, a seconda della densità, della caratteristica dei suoni prescelti". È l'antica utopia del filosofo inglese Francis Bacon, quando immaginava dei "tubi sonori" capaci di trasportare la musica ovunque. Dal corpo umano allo spazio sonoro del mondo, attraverso lo studio delle vibrazioni dei materiali: la carta, le pelli, il metallo, il legno propongono dei "modi vibrazionali" diversi. "Le leggi della ''casistica avionicà', che studia le vibrazioni alla quali è sottoposta l'ala di un aereo, ci dicono che un'orchestra, e i diversi 154

Articles scientifiques & articles de la presse

Tomatis 2008 materiali e metalli che formano i suoi strumenti, produce un insieme di vibrazioni più complesso". Lupone solleva un irregolare, leggerissimo trapezio formato da una lama sottile di abete rosso del Trentino(lo stesso legno prediletto da Stradivari per i suoi violini). Al centro, nella poco profonda cavità di questo ogggetto che non supera un metro di diametro, è incollata una piccola ceramica ricoperta d'oro: "Un attuatore piezo-elettrico: è molto costosa, viene applicata anche nella tecnologia militare, per la capacità altissima di rilevazione. Ho battezzato questo nuovo strumento ''planofonò': un'opera che integra la musica ai modi vibrazionali della materia e alla sua forma plastica. Le faccio capire subito". Sparge sul legno delle foglioline secche di tè, poi, nella stessa stanza, viene diffuso un suono. Come spinte da un vento, le foglie si distribuiscono, si raggrumano in punti precisi del planofono, lì dove la risposta vibrazionale della materia è più intensa, formano delle lunghe strisce, in un arcipelago di isole dense e di spazi vuoti. Guardando le fotografie ingrandite dell'esperimento, facilmente si immaginano dei corpi, delle forme animali, vive. Alfred Tomatis era convinto che l'universo fosse stato concepito da un "suono primordiale". Un'onda di musica capace di "aggregare" isolate, sperdute foglioline di materia cosmica, di renderle fertili. "La musica - dicono Bianchini e Lupone - è una forma di comunicazione necessaria alle più profonde esigenze espressive dell'uomo: la tecnologia non deve mai trascurare questa verità".

155

Articles scientifiques & articles de la presse

Tomatis 2008

Melodious cures Aruna Chandaraju 1,250 mots 2 ao没t 2004 Hindustan Times Anglais (c) 2004 The Hindustan Times Ltd When 35-year-old Radhika Anand, an architect, found herself suffering from chronic migraines, irritability and decreasing concentration-power, she tried plenty of medicines and did just what the doctor ordered. All to no avail. Then, someone told her of music therapy. Going back to her childhood guru, from whom she'd learnt classical music for seven years, before leaving it all for the demands of career and home, she finally found her cure. In both the regular listening to and vocal practice of ragas that her guru identified as having therapeutic properties. Sounds incredible? Well, it is true. And no, it's not an isolated case.

Magical notes Once dismissed by many doctors as the hype of overenthusiastic music-lovers, music is finding increasing acceptance worldwide as a tool in therapy. Today, it is taught and researched at respected universities, while music therapists work in general and psychiatric hospitals, rehabilitative facilities, outpatient clinics, day-care treatment centres for the developmentally disabled, mental-health centres, drug and alcohol programmes, old-age homes, hospice programmes, juvenile-delinquent homes, schools, colleges and private practice. And every mother who sings lullabies to soothe her irritable or disturbed child into sleeping calmly is also a practitioner.

Seeing is believing Contributing to this widespread acceptance are increasing numbers of studies. Clinical trials have revealed a reduction in heart rate, blood pressure, breathing rate, insomnia, depression, and anxiety with music therapy.

Cardiologist Ramesh Rathi says its use in cardiac cases and sleep disorders can be traced to several studies which show that alpha waves (those that occur when the brain is in a restful state) occur during exposure to music.

Psychiatrists say a calming effect on the nervous system is probably why it's an effective tool in healing patients with neuroses or psychoses. Mumbai-based physician Sunit Dhar says these could be the reasons he has noticed that music is useful in reducing the intensity, duration and frequency of migraine headaches.

French physician Dr Alfred Tomatis' 50-year study (over one lakh patients) concluded that people with defective speech or inability to communicate clearly, improved their expression power when they listened to Mozart's music every day (for one hour) over a period of six-seven months. Researchers have found that music therapy, used along with antiemetic drugs (drugs that relieve nausea and vomiting) for patients receiving high-dose chemotherapy, can help ease the physical symptoms of nausea and vomiting. A number of clinical trials have that music therapy, used in combination with painrelieving drugs, decreases the overall intensity of the patient's experience of pain and even helps reduce use of painkillers.

Silent healer No one knows exactly how music benefits the body, but one theory posits that our muscles, including the heart muscle, learn to synchronise to the beat of the music. Another suggests that music and sound distract the mind from focusing on pain and anxiety. Ancient Indian thought of course, attributes this to the fact that music is divine in origin and hence endowed with great powers.

In India, the Apollo group has actually set up a Music Therapy department in their Chennai hospital. Dr Pratap C. Reddy, founder and head, says it is the use of one more opportunity to heal their patients better and faster. This department testifies to its utility in paediatric, gynaecological, cardiac, and neurology wards.

It is believed the passive form of music therapy reduces hyperactivity, and problematic behaviour in children, while the active kind enhances speech and reading fluency, concentration powers and improving classroom performances. The hospital claims premature babies gain weight faster; exposure to soothing music during labour makes it an easier experience and it's effective in helping cure neurological-disorder patients who can't or won't talk, but can sometimes hum, even dance to music.

However, no doctor or music therapist or even the researchers who are providing confirmatory studies, is claiming it can cure all ailments and diseases. All they are saying is that music aids healing, eases pain, hastens recovery and contributes to a visible reduction of intensity of symptoms in many illnesses. In the western approach, in fact, the use of the word 'cure' is carefully avoided, making it clear that music is a therapeutic 'tool'.

156

Articles scientifiques & articles de la presse

Tomatis 2008 Ancient powers However, in India the cure theory is quite strong and even resurrection powers are attributed to music.

There are such mentions in our Vedas (specially, Sama Veda) while the great musician-composer Thyagaraja is said to have resurrected a dead man with his rendering of the kriti (musical composition) Naa Jeeevadhara, and Jayadeva, his dead wife, with his Sanjeevani. Mutthuswamy Dikshitar is said to have cured his disciple's chronic, severe stomachache with his Navagraha kritis.

And anyway Indians always attributed therapeutic powers to music. Virtually every Indian classical musician regards music as a great stress-buster. Tabla maestro Zakir Husain once told me he felt music was "incredibly rejuvenating" while Karnatik-music giant M Balamuralikrishna is a proponent of music therapy. The legendary veena-player, the late Emani Shankari Sastry, used to say: "The powers of music to calm, soothe and resusticate are limitless: one only has to approach music with respect and faith." It has the same healing power that researchers are discovering about meditation, since music is also a meditation, say others. The Raga Research Centre in Chennai and Mysore's Ganapathi Sathchitananda are among many who believe music is great balm to the mind and body.

The concept has spawned a whole new breed of specialists - in USA, it is an allied health profession, and in India, a very small but steadily growing career choice.Virtually every self-respecting music company in India today sells music cassettes for relaxation and stress relief. This has provided some ammunition to the sceptics who say music therapy was more about a placebo effect, or anyway too minor to merit the widespread attention it is receiving. Yet, they are outnumbered by the believers: the teachers, therapists and those who have experienced the healing benefits of music for themselves. Different Notes It is a misconception that only classical and soothing or relaxing music can be used or that the patient should have an ear for it. Therapists choose the music, based on purely on client preferences, age, and the kind of ailment. Hindustani ragas: Darbari-Kanhara, Pooriya, and Khamaj and Pooriya were recommended by ancient healers for defusing mental tension, especially during hysteria episodes. Hypertension responds positively to ragas like Ahirbhairav and Todi. Malkauns: Low BP Mian ki Malhar and Darbari Kanada: Chronic asthma. Deepak: Acidity Gunakali and Jaunpuri: Constipation Bhairavi: Sinusitis Todi, Poorvi, Darbari-Kanhara, Jayjaywanti or Sohan: anxiety / headaches Khamaj, Bageshree and Kafi: insomnia Hindol and Marva: High fevers Carnatic ragas: Bahudari, Kapi, and Vasanthapriya are regarded as having curative properties. Punnagavarali and Sahana: control of anger and achieving inner peace. Western music: Led Zeppelin or the Beatles would be considered by western therapists in their work with adolescent drug addicts. Similarly, for a 70-year-old patient suffering from Alzheimer's, the music of the 1930s will ignite memories of youth and may thus trigger the growth of neural networks in the brain, helping to preserve and even improve memory. Musical story Aristotle, Plato, ancient Indian musical treatises, current Indian musicians all vouch for music's therapeutic properties. In USA, after the World Wars, community musicians went to Veterans hospitals to play for the the many patients suffering from emotional and physical trauma.

157

Articles scientifiques & articles de la presse

Tomatis 2008

Melodious cures Aruna Chandaraju 1,250 mots 1 ao没t 2004 Hindustan Times Anglais (c) 2004 The Hindustan Times Ltd When 35-year-old Radhika Anand, an architect, found herself suffering from chronic migraines, irritability and decreasing concentration-power, she tried plenty of medicines and did just what the doctor ordered. All to no avail. Then, someone told her of music therapy. Going back to her childhood guru, from whom she'd learnt classical music for seven years, before leaving it all for the demands of career and home, she finally found her cure. In both the regular listening to and vocal practice of ragas that her guru identified as having therapeutic properties. Sounds incredible? Well, it is true. And no, it's not an isolated case.

Magical notes Once dismissed by many doctors as the hype of overenthusiastic music-lovers, music is finding increasing acceptance worldwide as a tool in therapy. Today, it is taught and researched at respected universities, while music therapists work in general and psychiatric hospitals, rehabilitative facilities, outpatient clinics, day-care treatment centres for the developmentally disabled, mental-health centres, drug and alcohol programmes, old-age homes, hospice programmes, juvenile-delinquent homes, schools, colleges and private practice. And every mother who sings lullabies to soothe her irritable or disturbed child into sleeping calmly is also a practitioner.

Seeing is believing Contributing to this widespread acceptance are increasing numbers of studies. Clinical trials have revealed a reduction in heart rate, blood pressure, breathing rate, insomnia, depression, and anxiety with music therapy.

Cardiologist Ramesh Rathi says its use in cardiac cases and sleep disorders can be traced to several studies which show that alpha waves (those that occur when the brain is in a restful state) occur during exposure to music.

Psychiatrists say a calming effect on the nervous system is probably why it's an effective tool in healing patients with neuroses or psychoses. Mumbai-based physician Sunit Dhar says these could be the reasons he has noticed that music is useful in reducing the intensity, duration and frequency of migraine headaches.

French physician Dr Alfred Tomatis' 50-year study (over one lakh patients) concluded that people with defective speech or inability to communicate clearly, improved their expression power when they listened to Mozart's music every day (for one hour) over a period of six-seven months. Researchers have found that music therapy, used along with antiemetic drugs (drugs that relieve nausea and vomiting) for patients receiving high-dose chemotherapy, can help ease the physical symptoms of nausea and vomiting. A number of clinical trials have that music therapy, used in combination with painrelieving drugs, decreases the overall intensity of the patient's experience of pain and even helps reduce use of painkillers.

Silent healer No one knows exactly how music benefits the body, but one theory posits that our muscles, including the heart muscle, learn to synchronise to the beat of the music. Another suggests that music and sound distract the mind from focusing on pain and anxiety. Ancient Indian thought of course, attributes this to the fact that music is divine in origin and hence endowed with great powers.

In India, the Apollo group has actually set up a Music Therapy department in their Chennai hospital. Dr Pratap C. Reddy, founder and head, says it is the use of one more opportunity to heal their patients better and faster. This department testifies to its utility in paediatric, gynaecological, cardiac, and neurology wards.

It is believed the passive form of music therapy reduces hyperactivity, and problematic behaviour in children, while the active kind enhances speech and reading fluency, concentration powers and improving classroom performances. The hospital claims premature babies gain weight faster; exposure to soothing music during labour makes it an easier experience and it's effective in helping cure neurological-disorder patients who can't or won't talk, but can sometimes hum, even dance to music.

However, no doctor or music therapist or even the researchers who are providing confirmatory studies, is claiming it can cure all ailments and diseases. All they are saying is that music aids healing, eases pain, hastens recovery and contributes to a visible reduction of intensity of symptoms in many illnesses. In the western approach, in fact, the use of the word 'cure' is carefully avoided, making it clear that music is a therapeutic 'tool'.

158

Articles scientifiques & articles de la presse

Tomatis 2008 Ancient powers However, in India the cure theory is quite strong and even resurrection powers are attributed to music.

There are such mentions in our Vedas (specially, Sama Veda) while the great musician-composer Thyagaraja is said to have resurrected a dead man with his rendering of the kriti (musical composition) Naa Jeeevadhara, and Jayadeva, his dead wife, with his Sanjeevani. Mutthuswamy Dikshitar is said to have cured his disciple's chronic, severe stomachache with his Navagraha kritis.

And anyway Indians always attributed therapeutic powers to music. Virtually every Indian classical musician regards music as a great stress-buster. Tabla maestro Zakir Husain once told me he felt music was "incredibly rejuvenating" while Karnatik-music giant M Balamuralikrishna is a proponent of music therapy. The legendary veena-player, the late Emani Shankari Sastry, used to say: "The powers of music to calm, soothe and resusticate are limitless: one only has to approach music with respect and faith." It has the same healing power that researchers are discovering about meditation, since music is also a meditation, say others. The Raga Research Centre in Chennai and Mysore's Ganapathi Sathchitananda are among many who believe music is great balm to the mind and body.

The concept has spawned a whole new breed of specialists - in USA, it is an allied health profession, and in India, a very small but steadily growing career choice.Virtually every self-respecting music company in India today sells music cassettes for relaxation and stress relief. This has provided some ammunition to the sceptics who say music therapy was more about a placebo effect, or anyway too minor to merit the widespread attention it is receiving. Yet, they are outnumbered by the believers: the teachers, therapists and those who have experienced the healing benefits of music for themselves. Different Notes It is a misconception that only classical and soothing or relaxing music can be used or that the patient should have an ear for it. Therapists choose the music, based on purely on client preferences, age, and the kind of ailment. Hindustani ragas: Darbari-Kanhara, Pooriya, and Khamaj and Pooriya were recommended by ancient healers for defusing mental tension, especially during hysteria episodes. Hypertension responds positively to ragas like Ahirbhairav and Todi. Malkauns: Low BP Mian ki Malhar and Darbari Kanada: Chronic asthma. Deepak: Acidity Gunakali and Jaunpuri: Constipation Bhairavi: Sinusitis Todi, Poorvi, Darbari-Kanhara, Jayjaywanti or Sohan: anxiety / headaches Khamaj, Bageshree and Kafi: insomnia Hindol and Marva: High fevers Carnatic ragas: Bahudari, Kapi, and Vasanthapriya are regarded as having curative properties. Punnagavarali and Sahana: control of anger and achieving inner peace. Western music: Led Zeppelin or the Beatles would be considered by western therapists in their work with adolescent drug addicts. Similarly, for a 70-year-old patient suffering from Alzheimer's, the music of the 1930s will ignite memories of youth and may thus trigger the growth of neural networks in the brain, helping to preserve and even improve memory. Musical story Aristotle, Plato, ancient Indian musical treatises, current Indian musicians all vouch for music's therapeutic properties. In USA, after the World Wars, community musicians went to Veterans hospitals to play for the the many patients suffering from emotional and physical trauma.

159

Articles scientifiques & articles de la presse

Tomatis 2008

Melodious cures Aruna Chandaraju 1,250 mots 31 juillet 2004 Hindustan Times Anglais (c) 2004 The Hindustan Times Ltd When 35-year-old Radhika Anand, an architect, found herself suffering from chronic migraines, irritability and decreasing concentration-power, she tried plenty of medicines and did just what the doctor ordered. All to no avail. Then, someone told her of music therapy. Going back to her childhood guru, from whom she'd learnt classical music for seven years, before leaving it all for the demands of career and home, she finally found her cure. In both the regular listening to and vocal practice of ragas that her guru identified as having therapeutic properties. Sounds incredible? Well, it is true. And no, it's not an isolated case.

Magical notes Once dismissed by many doctors as the hype of overenthusiastic music-lovers, music is finding increasing acceptance worldwide as a tool in therapy. Today, it is taught and researched at respected universities, while music therapists work in general and psychiatric hospitals, rehabilitative facilities, outpatient clinics, day-care treatment centres for the developmentally disabled, mental-health centres, drug and alcohol programmes, old-age homes, hospice programmes, juvenile-delinquent homes, schools, colleges and private practice. And every mother who sings lullabies to soothe her irritable or disturbed child into sleeping calmly is also a practitioner.

Seeing is believing Contributing to this widespread acceptance are increasing numbers of studies. Clinical trials have revealed a reduction in heart rate, blood pressure, breathing rate, insomnia, depression, and anxiety with music therapy.

Cardiologist Ramesh Rathi says its use in cardiac cases and sleep disorders can be traced to several studies which show that alpha waves (those that occur when the brain is in a restful state) occur during exposure to music.

Psychiatrists say a calming effect on the nervous system is probably why it's an effective tool in healing patients with neuroses or psychoses. Mumbai-based physician Sunit Dhar says these could be the reasons he has noticed that music is useful in reducing the intensity, duration and frequency of migraine headaches.

French physician Dr Alfred Tomatis' 50-year study (over one lakh patients) concluded that people with defective speech or inability to communicate clearly, improved their expression power when they listened to Mozart's music every day (for one hour) over a period of six-seven months. Researchers have found that music therapy, used along with antiemetic drugs (drugs that relieve nausea and vomiting) for patients receiving high-dose chemotherapy, can help ease the physical symptoms of nausea and vomiting. A number of clinical trials have that music therapy, used in combination with painrelieving drugs, decreases the overall intensity of the patient's experience of pain and even helps reduce use of painkillers.

Silent healer No one knows exactly how music benefits the body, but one theory posits that our muscles, including the heart muscle, learn to synchronise to the beat of the music. Another suggests that music and sound distract the mind from focusing on pain and anxiety. Ancient Indian thought of course, attributes this to the fact that music is divine in origin and hence endowed with great powers.

In India, the Apollo group has actually set up a Music Therapy department in their Chennai hospital. Dr Pratap C. Reddy, founder and head, says it is the use of one more opportunity to heal their patients better and faster. This department testifies to its utility in paediatric, gynaecological, cardiac, and neurology wards.

It is believed the passive form of music therapy reduces hyperactivity, and problematic behaviour in children, while the active kind enhances speech and reading fluency, concentration powers and improving classroom performances. The hospital claims premature babies gain weight faster; exposure to soothing music during labour makes it an easier experience and it's effective in helping cure neurological-disorder patients who can't or won't talk, but can sometimes hum, even dance to music.

However, no doctor or music therapist or even the researchers who are providing confirmatory studies, is claiming it can cure all ailments and diseases. All they are saying is that music aids healing, eases pain, hastens recovery and contributes to a visible reduction of intensity of symptoms in many illnesses. In the western approach, in fact, the use of the word 'cure' is carefully avoided, making it clear that music is a therapeutic 'tool'.

160

Articles scientifiques & articles de la presse

Tomatis 2008 Ancient powers However, in India the cure theory is quite strong and even resurrection powers are attributed to music.

There are such mentions in our Vedas (specially, Sama Veda) while the great musician-composer Thyagaraja is said to have resurrected a dead man with his rendering of the kriti (musical composition) Naa Jeeevadhara, and Jayadeva, his dead wife, with his Sanjeevani. Mutthuswamy Dikshitar is said to have cured his disciple's chronic, severe stomachache with his Navagraha kritis.

And anyway Indians always attributed therapeutic powers to music. Virtually every Indian classical musician regards music as a great stress-buster. Tabla maestro Zakir Husain once told me he felt music was "incredibly rejuvenating" while Karnatik-music giant M Balamuralikrishna is a proponent of music therapy. The legendary veena-player, the late Emani Shankari Sastry, used to say: "The powers of music to calm, soothe and resusticate are limitless: one only has to approach music with respect and faith." It has the same healing power that researchers are discovering about meditation, since music is also a meditation, say others. The Raga Research Centre in Chennai and Mysore's Ganapathi Sathchitananda are among many who believe music is great balm to the mind and body.

The concept has spawned a whole new breed of specialists - in USA, it is an allied health profession, and in India, a very small but steadily growing career choice.Virtually every self-respecting music company in India today sells music cassettes for relaxation and stress relief. This has provided some ammunition to the sceptics who say music therapy was more about a placebo effect, or anyway too minor to merit the widespread attention it is receiving. Yet, they are outnumbered by the believers: the teachers, therapists and those who have experienced the healing benefits of music for themselves. Different Notes It is a misconception that only classical and soothing or relaxing music can be used or that the patient should have an ear for it. Therapists choose the music, based on purely on client preferences, age, and the kind of ailment. Hindustani ragas: Darbari-Kanhara, Pooriya, and Khamaj and Pooriya were recommended by ancient healers for defusing mental tension, especially during hysteria episodes. Hypertension responds positively to ragas like Ahirbhairav and Todi. Malkauns: Low BP Mian ki Malhar and Darbari Kanada: Chronic asthma. Deepak: Acidity Gunakali and Jaunpuri: Constipation Bhairavi: Sinusitis Todi, Poorvi, Darbari-Kanhara, Jayjaywanti or Sohan: anxiety / headaches Khamaj, Bageshree and Kafi: insomnia Hindol and Marva: High fevers Carnatic ragas: Bahudari, Kapi, and Vasanthapriya are regarded as having curative properties. Punnagavarali and Sahana: control of anger and achieving inner peace. Western music: Led Zeppelin or the Beatles would be considered by western therapists in their work with adolescent drug addicts. Similarly, for a 70-year-old patient suffering from Alzheimer's, the music of the 1930s will ignite memories of youth and may thus trigger the growth of neural networks in the brain, helping to preserve and even improve memory. Musical story Aristotle, Plato, ancient Indian musical treatises, current Indian musicians all vouch for music's therapeutic properties. In USA, after the World Wars, community musicians went to Veterans hospitals to play for the the many patients suffering from emotional and physical trauma.

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Melodious cures Aruna Chandaraju 1,250 mots 26 juillet 2004 Hindustan Times Anglais (c) 2004 The Hindustan Times Ltd When 35-year-old Radhika Anand, an architect, found herself suffering from chronic migraines, irritability and decreasing concentration-power, she tried plenty of medicines and did just what the doctor ordered. All to no avail. Then, someone told her of music therapy. Going back to her childhood guru, from whom she'd learnt classical music for seven years, before leaving it all for the demands of career and home, she finally found her cure. In both the regular listening to and vocal practice of ragas that her guru identified as having therapeutic properties. Sounds incredible? Well, it is true. And no, it's not an isolated case.

Magical notes Once dismissed by many doctors as the hype of overenthusiastic music-lovers, music is finding increasing acceptance worldwide as a tool in therapy. Today, it is taught and researched at respected universities, while music therapists work in general and psychiatric hospitals, rehabilitative facilities, outpatient clinics, day-care treatment centres for the developmentally disabled, mental-health centres, drug and alcohol programmes, old-age homes, hospice programmes, juvenile-delinquent homes, schools, colleges and private practice. And every mother who sings lullabies to soothe her irritable or disturbed child into sleeping calmly is also a practitioner.

Seeing is believing Contributing to this widespread acceptance are increasing numbers of studies. Clinical trials have revealed a reduction in heart rate, blood pressure, breathing rate, insomnia, depression, and anxiety with music therapy.

Cardiologist Ramesh Rathi says its use in cardiac cases and sleep disorders can be traced to several studies which show that alpha waves (those that occur when the brain is in a restful state) occur during exposure to music.

Psychiatrists say a calming effect on the nervous system is probably why it's an effective tool in healing patients with neuroses or psychoses. Mumbai-based physician Sunit Dhar says these could be the reasons he has noticed that music is useful in reducing the intensity, duration and frequency of migraine headaches.

French physician Dr Alfred Tomatis' 50-year study (over one lakh patients) concluded that people with defective speech or inability to communicate clearly, improved their expression power when they listened to Mozart's music every day (for one hour) over a period of six-seven months. Researchers have found that music therapy, used along with antiemetic drugs (drugs that relieve nausea and vomiting) for patients receiving high-dose chemotherapy, can help ease the physical symptoms of nausea and vomiting. A number of clinical trials have that music therapy, used in combination with painrelieving drugs, decreases the overall intensity of the patient's experience of pain and even helps reduce use of painkillers.

Silent healer No one knows exactly how music benefits the body, but one theory posits that our muscles, including the heart muscle, learn to synchronise to the beat of the music. Another suggests that music and sound distract the mind from focusing on pain and anxiety. Ancient Indian thought of course, attributes this to the fact that music is divine in origin and hence endowed with great powers.

In India, the Apollo group has actually set up a Music Therapy department in their Chennai hospital. Dr Pratap C. Reddy, founder and head, says it is the use of one more opportunity to heal their patients better and faster. This department testifies to its utility in paediatric, gynaecological, cardiac, and neurology wards.

It is believed the passive form of music therapy reduces hyperactivity, and problematic behaviour in children, while the active kind enhances speech and reading fluency, concentration powers and improving classroom performances. The hospital claims premature babies gain weight faster; exposure to soothing music during labour makes it an easier experience and it's effective in helping cure neurological-disorder patients who can't or won't talk, but can sometimes hum, even dance to music.

However, no doctor or music therapist or even the researchers who are providing confirmatory studies, is claiming it can cure all ailments and diseases. All they are saying is that music aids healing, eases pain, hastens recovery and contributes to a visible reduction of intensity of symptoms in many illnesses. In the western approach, in fact, the use of the word 'cure' is carefully avoided, making it clear that music is a therapeutic 'tool'.

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Tomatis 2008 Ancient powers However, in India the cure theory is quite strong and even resurrection powers are attributed to music.

There are such mentions in our Vedas (specially, Sama Veda) while the great musician-composer Thyagaraja is said to have resurrected a dead man with his rendering of the kriti (musical composition) Naa Jeeevadhara, and Jayadeva, his dead wife, with his Sanjeevani. Mutthuswamy Dikshitar is said to have cured his disciple's chronic, severe stomachache with his Navagraha kritis.

And anyway Indians always attributed therapeutic powers to music. Virtually every Indian classical musician regards music as a great stress-buster. Tabla maestro Zakir Husain once told me he felt music was "incredibly rejuvenating" while Karnatik-music giant M Balamuralikrishna is a proponent of music therapy. The legendary veena-player, the late Emani Shankari Sastry, used to say: "The powers of music to calm, soothe and resusticate are limitless: one only has to approach music with respect and faith." It has the same healing power that researchers are discovering about meditation, since music is also a meditation, say others. The Raga Research Centre in Chennai and Mysore's Ganapathi Sathchitananda are among many who believe music is great balm to the mind and body.

The concept has spawned a whole new breed of specialists - in USA, it is an allied health profession, and in India, a very small but steadily growing career choice.Virtually every self-respecting music company in India today sells music cassettes for relaxation and stress relief. This has provided some ammunition to the sceptics who say music therapy was more about a placebo effect, or anyway too minor to merit the widespread attention it is receiving. Yet, they are outnumbered by the believers: the teachers, therapists and those who have experienced the healing benefits of music for themselves. Different Notes It is a misconception that only classical and soothing or relaxing music can be used or that the patient should have an ear for it. Therapists choose the music, based on purely on client preferences, age, and the kind of ailment. Hindustani ragas: Darbari-Kanhara, Pooriya, and Khamaj and Pooriya were recommended by ancient healers for defusing mental tension, especially during hysteria episodes. Hypertension responds positively to ragas like Ahirbhairav and Todi. Malkauns: Low BP Mian ki Malhar and Darbari Kanada: Chronic asthma. Deepak: Acidity Gunakali and Jaunpuri: Constipation Bhairavi: Sinusitis Todi, Poorvi, Darbari-Kanhara, Jayjaywanti or Sohan: anxiety / headaches Khamaj, Bageshree and Kafi: insomnia Hindol and Marva: High fevers Carnatic ragas: Bahudari, Kapi, and Vasanthapriya are regarded as having curative properties. Punnagavarali and Sahana: control of anger and achieving inner peace. Western music: Led Zeppelin or the Beatles would be considered by western therapists in their work with adolescent drug addicts. Similarly, for a 70-year-old patient suffering from Alzheimer's, the music of the 1930s will ignite memories of youth and may thus trigger the growth of neural networks in the brain, helping to preserve and even improve memory. Musical story Aristotle, Plato, ancient Indian musical treatises, current Indian musicians all vouch for music's therapeutic properties. In USA, after the World Wars, community musicians went to Veterans hospitals to play for the the many patients suffering from emotional and physical trauma.

163

Articles scientifiques & articles de la presse

Tomatis 2008

L'oreille, maîtresse de la voix.

Par Anna Lietti.

478 mots 9 juin 2004 Le Temps Français (c) 2004 Le Temps Homepage Address: http://www.letemps.ch.

On ne peut émettre que les sons que l'on entend, c'est le principe de Tomatis.

Chaque bébé, à la naissance, est équipé pour entendre tous les sons du monde. Avec les années, l'oreille «devient nationale», comme dit le linguiste Claude Hagège. L'ex-bébé potentiellement polyglotte n'entend plus, et donc ne reproduit plus, que les sons de sa langue.

Dans les années 50, l'oto-rhino-laryngologiste français Alfred Tomatis (mort en 2001) a dessiné le spectre sonore de différents idiomes et fourni une explication au fait que les Slaves sont en général aussi doués pour les langues que les Français sont nuls: les langues slaves, explique Tomatis, mobilisent l'oreille sur un spectre de fréquences très large, allant de 125 à 8000 hertz, tandis que le français se limite à osciller entre 1000 et 2000 (l'anglais entre 2000 et 12 000). Les francophones qui veulent apprendre les langues ont donc, encore plus que les autres, besoin de «s'ouvrir l'oreille» préalablement, comme le leur suggère la méthode Tomatis.

«Intuitions géniales» Cinquante ans plus tard, force est de constater que cette approche n'a pas écrasé toutes les autres sur le marché de l'enseignement des langues. Pourquoi? «Tomatis a eu des intuitions géniales, mais sur le plan scientifique, il reste contesté», note Ulrike Kaunzner, de l'Université de Bologne. N'empêche, sa méthode est efficace: c'est ce que la linguiste affirme après avoir effectué un test comparatif dans le cadre du programme européen Audio-Lingua (devenu Socrates.) Résultat: 50% de progrès supplémentaires dans un même laps de temps par rapport à une méthode traditionnelle. Alors? Ulrike Kaunzner suggère que, préoccupé par des visées bien plus larges, notamment thérapeutiques, le fondateur des Centres de l'écoute ne s'est pas concentré sur le développement d'un «matériel didactique spécifique» adapté aux besoins du marché. Ainsi, dans un centre Tomatis, l'apprentissage d'une langue commence par 10 heures (30 il y a quelques années) d'«écoute passive» de musique classique «modifiée». Pour un cadre pressé, c'est un programme quasiment contre nature. Une version modernisée de «l'oreille électronique» de Tomatis, dite STP, existe aujourd'hui, mais elle n'est disponible pour le moment que dans les centres de Milan et Paris.

Speedlingua s'est-elle inspirée du maître de l'écoute? Seulement, affirme Jacky Munger, en ce qui concerne le principe de base: il faut d'abord entendre un son pour le produire. Comme son nom l'indique, le nouveau produit convient aux amateurs d'un tempo soutenu, qui contraste avec le rythme lent de la méthode Tomatis. Autre différence, selon Ulrike Kaunzner: l'approche du médecin français - contrairement à Speedlingua - table sur les effets de la «conduction osseuse», soit le passage des sons dans les os.

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Tomatis 2008 Features Speaking the language ANGELA NEY-GOLDENBERG AND DEBBY KLIEGER 746 mots 4 juin 2004 The Jerusalem Post Metro-Israel 12 Anglais Copyright (c) 2004 Bell & Howell Information and Learning Company. All rights reserved.

IS there really an "ear" for language?

We all want to learn and be fluent in Hebrew. Why then, is it so difficult for some of us, yet seemingly effortless for others?

Many of our Russian-speaking olim carry on a conversation in enviable Hebrew after only several months of ulpan. Yet many Anglos and old time yekkim struggle just to pick up the basics. A popular myth is that children pick up a new language out of thin air. What about those who don't?

ONE theory was posited in the '50s by Dr. Alfred Tomatis, a French ENT doctor and specialist in the field of listening related to the process of foreign language acquisition. According to Dr. Tomatis, speech production is founded upon accurate speech perception. He said that in his opinion, "the voice can produce only those sounds that the ear can perceive."

Known as the "Tomatis Effect," this has implications for foreign language learning.

Language learners may be confronted with sounds that they do not perceive correctly. It was Dr. Tomatis' belief that normally in early childhood, the human ear is capable of perceiving sounds present in any language. The ear gradually tunes out the speech sounds uncharacteristic of the native language and tunes into the familiar sounds of the native tongue. Our ears become closed to the unfamiliar sounds. Because we are unable to perceive them correctly we can't produce them properly. Even worse, we don't easily remember them.

Dr. Tomatis established what he called "ethnograms" of several major languages, showing auditory preference for the particular frequencies of each language.

Languages differ not only in frequency range but also in syllable length. For example, an average American English syllable takes longer to pronounce than an average French syllable. The shorter French syllable length requires the ear to respond more quickly.

In other words, one language may be more or less "sound" compatible with another language. The Russian language, for example, is compatible with many other languages since it contains a broad sound frequency range, so that the ears of Russian language speakers are open, or tuned to many frequencies. This auditory flexibility enables them to acquire foreign languages, including Hebrew, relatively easily.

ANOTHER important aspect of Tomatis theory of language acquisition is the distinction he makes between hearing and listening.

While hearing is a passive process in which sounds are merely received, listening is active and involves volition. Given this basic difference, motivation, or "the desire to listen" becomes a key element in the language acquisition process.

Tomatis' theory of language acquisition assumes that there is a close link between speech perception and speech production; that the desire to listen is crucial to all language acquisition and that the ear can be re-educated to perceive and analyze sounds that it may have eliminated through an auditory selection process.

TOMATIS believed that the right ear is best suited for the analysis of speech sounds. This belief is reflected in his program of sound perception training, which is accomplished by means of the Electronic Ear. The Electronic Ear is a device designed and patented by Tomatis in 1963. It consists of filters, amplifiers and a sophisticated gating mechanism that work together so that users can perceive and accurately reproduce the sounds of a given language.

The sound material used is specially recorded and may be either language or music.

It is transmitted through specially designed Tomatis headsets, which differ from ordinary earphones in that each is equipped with a transmitter that sits on the skull, allowing the user to perceive the sounds through bone as well as air 165

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Tomatis 2008 conduction.

At the Israel Tomatis Listening Center in Kfar Saba (09-766- 8191) people wishing to learn or improve a foreign language are first given a diagnostic test known as the Tomatis Listening Test. This test gives a graphic display of an individual's auditory profile. The profile is the basis for a personal auditory training program which is designed to enhance sound perception.

The process tunes the ear to the sounds, the speed and the rhythm of the language to be learned and claims to significantly shorten the time it takes to learn a new language.

Why do some people speak a foreign language fluently, while others struggle? To Your Health 2 photos; Caption: Angela Ney-Goldenberg and Debbie Klieger with a special headset. Learning language skills at the Tomatis Center.

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LETTERE Torture, il generale Myers deve dimettersi Memoria in note e gambe velate 660 mots 12 mai 2004 La Stampa Italien (c) 2004, La Stampa LETTERE Torture, il generale Myers deve dimettersi Memoria in note e gambe velate L'ONORE PERDUTO DEL SOLDATO AMERICANO La capacità che gli Stati Uniti hanno sempre mostrato di saper rimontare i propri errori con l'arma della verità, non solo fa sperare ma dà la certezza che anche in questa ignominiosa vicenda di Abu Ghraib, che ha calpestato la dignità umana, sarà fatta giustizia. Bene ha fatto quindi il presidente Bush a prometterla per le vergognose torture inflitte agli iracheni. Come è comprensibile, per le ovvie implicazioni politiche e il risvolto strumentale che ne consegue, il rifiuto del ministro della Difesa Rumsfeld a dimettersi. Ciò che è inaccettabile, almeno nella nostra parte del mondo, è l'atteggiamento dei militari che in dispregio a una lunga e mai smentita tradizione di onore non hanno ancora mostrato di percorrere quella strada che, nelle presenti, drammatiche e avvilenti circostanze è l'unica percorribile. Sono loro, i capi militari in primis, che devono dimettersi senza aspettare burocraticamente l'esito delle indagini, sicuramente severe, in corso. È il generale Myers, corrispondente del nostro Capo di Stato Maggiore della Difesa nella struttura di comando americana, che senza indugi, di fronte a fatti tanto abominevoli e che stravolgono i valori sui quali si fondano le nostre - di noi occidentali - Forze armate, deve trarne le non più procrastinabili conclusioni e assumere su di sè, quale massimo responsabile militare, le ovvie conseguenze. Si dimetta, generale Myers e torni alla tradizione dei Mac Arthur e dei Patton che, con tutti i loro errori e debolezze, ci hanno però fatto amare il ""soldato americano"" per lo spirito di libertà, l'innata generosità e l'umanità spontanea che lo caratterizzavano. Non appaia inutile ricordarlo e pretenderlo alla vigilia del sessantesimo anniversario della liberazione americana dell'Europa! generale Gianalfonso d'Avossa SE LE DONNE RISCOPRISSERO LA GONNA Mi permetterò, tra tanti argomenti seri ed angoscianti (guerre, terrorismo, caro vita, disoccupazione, ecc.) trattare brevemente di una tematica apparentemente fatua, tessendo un elogio di un indumento oramai abbandonato e che una volta marcava la differenza tra i due sessi: la gonna, sostituita a livello planetario, in Occidente come in Cina, da jeans strettissimi che più stretti non si può. Le conseguenze per lo smaliziato occhio maschile sono state disastrose, omologando nell'anonimato belle e brutte. E non meno inquietanti sono risultati gli esiti sotto il profilo medico estetico, avendo dato luogo a celluliti, accumuli di adipe e vulvo vaginiti ribelli a qualsiasi terapia. Il tutto aggravato dal consequenziale abbandono delle calze tradizionali, soppiantate dal collant, una delle invenzioni più nefaste della storia... Se solo le gentili signore e signorine intuissero lo stupefacente effetto afrodisiaco di una minigonna o di un reggicalze, ben più potente di qualsiasi compressa di Viagra, forse, ritornerebbero sulle loro decisioni, con benefici effetti per tutti. Achille della Ragione medico ed esteta, Napoli GLI EFFETTI DI MOZART La Stampa del 25 aprile ha pubblicato sotto il titolo ""Uno studio americano"", un'informazione sull'influenza della musica di Mozart sull'apprendimento e la memoria, rivelato da uno studio dell'Università del Wisconsin. Mi permetto di ricordare che più di vent'anni fa Alfred Tomatis dottore O.R.L. di origine italiana ha pubblicato un libro dal titolo ""Pourquoi Mozart?"", rivelando i risultati ottenuti con la terapia Mozartiana presso bambini e adolescenti. Gli studi di Tomatis evidenziano l'influenza della musica mozartiana sull'evoluzione dell'intelligenza umana (e non dei topi!) fin dai primi anni di esistenza e sullo sviluppo delle facoltà intellettuali. Il prof. Rauscher conosce certamente gli studi del dott. Tomatis attraverso le pubblicazioni delle riviste medicali. Silvio Masera, Neully-sur-Seine ROMANZO DI SICILIANO IL TITOLO CORRETTO Per uno spiacevole errore, nell'articolo di Alain Elkann ""Siciliano: io scrivo per capire"", il titolo del romanzo di Enzo Siciliano, Raphael e Mafai, è stato pubblicato in modo scorretto. Ce ne scusiamo con l'interessato e con i lettori.

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Tomatis 2008 Prenatal Training Through Music 531 mots 5 mai 2004 Korea Times Anglais (c) 2004 hk internet Co. for the Korea Times The local music market might be going through a slump, but sales of CDs for music lovers still in the womb are remaining steady.

Since the late 1990s, the local music market has set forth a steady supply of albums designed for prenatal training. It all started with the release of a series of CDs titled ''The Mozart Effect,'' a collection of classical music inspired by Don Campbell's 1997 bestseller of the same title. Based on the notion that exposing children to the melodies of the maestro can enhance verbal skills, spatial intelligence, creativity, and memory, the four-CD set sold over 700,000 copies in South Korea.

The term ''Mozart Effect'' dates back to the late 1950s when Alfred Tomatis of France began research into Mozart's music.

Campbell defines it as ''an inclusive term signifying the transformational powers of music in health, education, and wellbeing.''

After the success of ''The Mozart Effect,'' other musical compilations followed. EMI put out ''Prenatal Training Through New Age,'' a collection of soothing new age music, which became a much-sought genre for those interested in prenatal training.

Moms big on jazz turned to albums like Sagwanamu's ''Jazz, Food for the Brain,'' a compilation of standard jazz and a more modern fusion that includes the works of Chet Baker, Buddy Rich and other big names.

For ''Music and Mothering _ Prenatal Training through Korean Music,'' MBC Radio producer Nam Woo-seon took his 2002 documentary and put it onto a double album so that parents-to-be can take pregnancy one step at a time with calm and soothing ''kukak'' (Korean traditional music) pieces.

The popularity of such CDs is based on studies like Campbell's that showed that babies who listened to music during and after the prenatal stages had greater attentiveness and concentration later on. Music was found to help build the neural pathways that allow language, memory and spatial development to take place. Children in the womb can hear and respond to outside stimuli six to 12 weeks into pregnancy.

Stimulating linguistic rhymes, dances, movement and play in the early years are essential to the foundation of emotions, mind and body together, researchers say. Music can also help spatial and cognitive sensory development, abstract thinking and visualization.

It is also thought that listening to music can have a positive effect on learning later on in life. A popular study conducted and published in Nature magazine in 1993 by Rauscher, Shaw and Ky showed students who listened to Mozart prior to testing scored higher marks in intelligence tests, a fact that is no doubt of great interest to mothers-to-be and those with toddlers already.

However, prenatal training is best when the mother is in the most comfortable state possible. Also some people are hyperresponsive to sound, and music can be distracting. If the mother is not an avid listener of classical music, she should not force the music upon her child for this results in stress. The stress the mother feels is likely to be passed onto the infant in the womb and as a result the music will have a negative effect.

Autismo: Conferência sobre terapia de sucesso reune especialistas em Lisboa 407 mots 27 mars 2004 Agência Lusa - Serviço Nacional Portugais Copyright(c) Agência Lusa http://www.lusa.pt.

Lisboa, 27 Mar (Lusa) - Especialistas apresentam hoje em Lisboa um modelo terapêutico que tem sido aplicado a autistas em diversos países com uma taxa de sucesso ao nível de progressos motores, emocionais e comunicativos a rondar os 90 por cento.

Trata-se de um modelo terapêutico francês - método Tomatis - de reeducação do ouvido que já é aplicado em 160 centros 168

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Tomatis 2008 distribuídos pelo mundo, com uma taxa de sucesso na ordem dos 90 por cento, mas que ainda não existe em Portugal, disse à Agência Lusa Ada Leon de Faria, representante deste método no país e uma das organizadoras da conferência que hoje se realiza.

O objectivo desta conferência, que decorre no Hotel Radisson e conta com a participação de 20 pessoas, incluindo dois conferencistas estrangeiros, "é difundir o método Tomatis, que ainda não é usado em Portugal", disse, acrescentando que "a ideia é trazer o modelo para o país".

Esta terapêutica "serve para abrir o ouvido para escutar outros sons que algumas pessoas não ouvem antes", ou seja, reeducar o ouvido a escutar correctamente para melhorar a comunicação, já que a "audição influencia a voz e a comunicação" e "existe uma relação entre o ouvido e a compreensão".

O método Tomatis baseia-se em mais de 50 anos de investigação e experiência do médico francês Alfred Tomatis e utilizase em diversos casos, desde os mais complexos como o autismo, ou a dislexia, até outros mais simples como problemas de estudo, ou sotaque de estrangeiros, explicou.

O método Tomatis tem-se revelado uma ajuda para o autismo, um problema de causa ainda desconhecida, mas que o médico francês classificou de "a forma mais profunda de +cortar+ o processo de escutar".

Em crianças autistas que foram sujeitas a esta terapia observaram-se resultados positivos a nível emocional, afectuoso, social, de comunicação e atenção, psicomotor e biológico.

Além do autismo, os campos de aplicação são vários e incluem problemas de aprendizagem, o controlo da voz falada e cantada, o desenvolvimento pessoal no pensamento, reflexão, criatividade e procura de calma intelectual e física, a procura da harmonia durante a gravidez, o combate ao stress e a melhoria da dinamização e da comunicação.

A conferência de hoje pretende dar a conhecer este método e proporcionar a possibilidade de instituições, hospitais ou centros de terapia da fala portugueses introduzirem no futuro o modelo.

AL. Lusa/Fim

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Tomatis 2008 Autismo:Conferência apresenta terapia com 90 por cento de sucesso 686 mots 26 mars 2004 Agência Lusa - Serviço Nacional Portugais Copyright(c) Agência Lusa http://www.lusa.pt.

Lisboa, 26 Mar (Lusa) - Especialistas estão a estudar a introdução em Portugal de um modelo terapêutico que aplicado a autistas em diversos países proporcionou melhorias a nível motor, emocional e comunicativo em 90 por cento dos casos.

Trata-se de um modelo terapêutico francês - método Tomatis - de reeducação do ouvido ainda não disponível em Portugal, mas que já é aplicado em 160 centros distribuídos pelo mundo com uma taxa de sucesso na ordem dos 90 por cento, disse à Agência Lusa Ada Leon de Faria, representante em Portugal do Método e uma das organizadoras da conferência que se realiza sábado.

O objectivo desta conferência, que conta com a participação de 20 pessoas, incluindo dois conferencistas estrangeiros, "é difundir o método Tomatis, que ainda não é usado em Portugal", disse, acrescentando que "a ideia é trazer o modelo para o país".

Esta terapêutica "serve para abrir o ouvido para escutar outros sons que algumas pessoas não ouvem antes", no pressuposto de que a audição influencia a voz e a comunicação e que "existe uma relação entre o ouvido e a compreensão".

O método Tomatis baseia-se em mais de 50 anos de investigação e experiência do médico francês Alfred Tomatis e utilizase em diversos casos, desde os mais complexos como o autismo, ou a dislexia, até outros mais simples como problemas de estudo, ou sotaque de estrangeiros, explicou.

O mentor deste modelo dedicou a sua vida a estudar a função do ouvido na percepção, comunicação e problemas associados a um impedimento na habilidade de escutar, disse a responsável, sublinhando a diferença entre escutar (acto voluntário que requer desejo) e ouvir (percepção passiva dos sons).

A terapia tem várias etapas que reproduzem as várias transformações da escuta desde o período fetal ao período adulto, ou seja, desde a escuta intra-uterina à escuta aérea do recém-nascido, da criança e do adulto.

Numa primeira fase filtra-se progressivamente a música para que se ouça tal como a ouve um feto dentro do ventre materno. No caso de crianças e alguns adultos, é nesta altura que se incorpora a voz materna, através da gravação de contos também com sons filtrados.

Numa segunda fase, o paciente escuta a voz da mãe e música filtrados como ouviria no ventre a partir do 5º mês de gestação até ao nascimento.

A terceira fase é o "parto sónico", em que se juntam progressivamente frequências cada vez mais baixas até escutar todas as hierarquias de sons.

As fases de "pré linguagem" e "linguagem", consideradas as "fases activas" do programa, consistem em o paciente repetir o que escuta (música, palavras, frases) ou ler frente a um microfone, enquanto se escuta a si mesmo com auscultadores.

O método Tomatis tem-se revelado uma ajuda para o autismo, um problema de causa ainda desconhecida, mas que o médico francês classificou como "a forma mais profunda de +cortar+ o processo de escutar".

Em crianças autistas que foram sujeitas a esta terapia observou-se que se tornaram emocionalmente mais expressivas (riso e choro mais frequente), mais afectuosas - primeiro com a mãe e posteriormente com outras pessoas do seu relacionamento - melhoraram o contacto visual e com o meio ambiente, amadureceram a linguagem, aumentando a vocalização e o vocabulário e melhoraram a sociabilidade, bem como os períodos de atenção e concentração.

Verificou-se ainda que estas crianças diminuíram os movimentos corporais repetitivos e os comportamentos autodestrutivos, regularam as suas funções psicomotoras e melhoraram os ritmos biológicos tais como o sono, a fome, a respiração e o coração.

Mas além do autismo, os campos de aplicação são vários e incluem problemas de aprendizagem, o controlo da voz falada e cantada, o desenvolvimento pessoal no pensamento, reflexão, criatividade e procura de calma intelectual e física, a procura da harmonia durante a gravidez, o combate ao stress e a melhoria da dinamização e da comunicação.

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Tomatis 2008 A conferência de sábado pretende dar a conhecer este método e proporcionar a possibilidade de instituições, hospitais ou centros de terapia da fala portugueses introduzirem no futuro o modelo.

AL. Lusa/Fim

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2.

97 mots 3 novembre 2003 Der Standard Allemand (c) 2003, Der Standard. http://www.derstandard.at/ 2.AUTOR 3.AUTOR 4.AUTOR 5.AUTOR SONDERSTATUSNEIN Zeig mir deine Zunge, und ich sage dir, wer du bist: Robbie Williams beim lustigen Zähneblecken und Kleingeldverdienen.

23.45, Pro 7 2.AUTOR 3.AUTOR 4.AUTOR 5.AUTOR SONDERSTATUSNEIN 9.30 THEMA Radiokolleg: Hörtest, Hörtraining, Hörkur Der HNO-Arzt Alfred Tomatis und die Bedeutung des Zusammenspiels von Stimme und Gehör: ein Bericht über die Therapie von Hör-und Stimmbildungsschwierigkeiten.

Bis 9.45, Mo-Do, Ö1 14.45 MAGAZIN Ganz Ich Schmerzfreie Behandlungsmethoden beim Zahnarzt animieren zum Wiederkommen.

Bis 15.00, Ö1.

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Baby needs Mozart.

By Tan Shzr Ee. 1,440 mots 22 septembre 2003 Straits Times Anglais (c) 2003 Singapore Press Holdings Limited Children could boost their IQ listening to Mozart, according to Don Campbell. For all the controversy he has sparked over the Mozart Effect, the softspoken guru is no glib orator IT MAKES you do your sums faster.

It alleviates Attention Deficit Disorder and strengthens family ties.

And if you were pregnant, and beamed a stream of it at your belly, as Chinese pianist Lang Lang's mother did 21 years ago, you just might produce a child prodigy.

For 10 years, the music and neurology world have argued over the theory that IQ, health and, simply, goodness in the world at large, could be boosted by listening to an 18th-century composer's music.

They called it The Mozart Effect. But is it the discovery of the decade or pure hogwash?

Last week, the man at the centre of this controversy, Don Campbell, was in town to conduct workshops on this subject.

The sessions, organised by an alternative health group, the Integrated Being Centre, were held at the Excelsior Hotel.

Campbell is founder of The Mozart Effect enterprise, comprising books, CDs and workshops on his trademarked personal listening method. He says he does not know the turnover of the business.

'Mozart's music is extremely clear and organised. It is helpful in stimulating the brain and yet relaxing it at the same time,' the soft-spoken American says.

'Music is not just about passive listening, but also about movement, focus and concentration. I find out how these links can be harnessed to improve one's general well-being.'

TWO BOOKS, ONE EFFECT AT 57 and gently balding, Campbell, a Texan native, relates how he meandered into the world of music neurology.

He started life wanting to be a performer and spent his tertiary years studying music with celebrated French composer Nadia Boulanger.

But in the 1970s, he was sidetracked by a job opportunity and ventured to Japan to work as a music teacher in an international school.

It was there that he observed children reacting to music and using it to express emotion, intelligence and movement. He also came to develop a personal theory on listening disorders.

'These are different from hearing disorders. The ear has to learn to focus, just as an eye must focus on a page to read,' he says.

'Some people are hypersensitive to sound. They hear everything, but have difficulty concentrating on one thing. This leads to all sorts of repercussions outside music itself.'

In the 1980s, he returned to the West and encountered the French ear, nose and throat specialist Alfred Tomatis.

The late doctor, who had already been researching musical therapy and had coined the term 'Mozart Effect', inspired 173

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Tomatis 2008 Campbell to further refine his theories.

Then, in 1993, a breakthrough study conducted by American physicist Gordon Shaw and cellist Frances Rauscher showed that college students' spatial-temporal reasoning jumped eight to nine IQ points after listening to 10 minutes of Mozart's Sonata For Two Pianos (K448). Campbell struck gold.

Collecting anecdotes and slivers of scientific evidence and moulding them around this critical finding, he published his first book and CD package in 1997, titled The Mozart Effect.

His second book, The Mozart Effect For Children (2000), prescribes different pieces of classical music for different stages of a child's growth.

They have since sold a few hundred thousand copies around the world. As author of the book, he has also become a sought-after music education expert for international conferences and workshops.

FACE THE MUSIC SUCCESS, however, has led to parties challenging Campbell's work.

Chief of these are studies undermining apparently faulty research underpinning the premise of his Mozart Effect.

Few independent experiments, for example, have repeated the breathtaking results of Shaw and Rauscher of 1993.

In 1999, Harvard graduate student Chris Chabis re-analysed the 1993 results. He discovered that while listening to Mozart made a 'very small enhancement in learning a specific task, such as visualising the result of folding and cutting paper, even that is not statistically significant'.

'The improvement is smaller than the average variation of a single person's IQ test performance,' Chabis said.

Campbell himself is open-minded about his detractors.

'Disagreements are always there - that is the role of science,' he says.

He reiterates that his approach is 'holistic'.

The Mozart Effect is applicable to not just Mozart or the classical oeuvre, but also all types of music.

The music of Baroque composer J.S. Bach, for instance, is played by some surgeons in operating theatres as a concentration aid.

As for loud rock, it has been known to energise a person, while even lowly regarded muzak has the ability to soothe.

'There is an occasion for every genre, although in general I would say that loud, constant music is more detrimental to health than soft music,' says Campbell.

There are uglier accusations, however: that he has done no more than appropriate the work of others for his commercial exploitation. After all, The Mozart Effect trademark itself, a phrase coined by Tomatis, was copyrighted for specific use on Campbell's books, CDs and education programmes.

He explains: 'I did this to control the quality of music on the CDs. I wanted to prevent any company from issuing inappropriate music on the Mozart Effect name that might work in counter to what it represented.'

MORE TO MOZART SO, IS Campbell an opportunist or a maverick?

For a self-styled guru, he is surprisingly quiet in demeanour. His handshake is soft; he is not the characteristically glib orator one usually encounters at inspirational talks. He is single and without family, but sponsors orphans in India and Haiti.

In an ironic turn of industry events, one might also find the so-called exploiter himself being exploited.

Campbell's work is thought of as inconsequential by the international music therapy and medical communities in leading British and American universities. But this is not widely advertised as such.

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Tomatis 2008 This is because the public stir he has sparked off with his work may actually be useful to these very communities concerned.

New York-based music therapist Julia Cheng says: 'He has pushed the Rauscher findings too far, and they mislead the public into going out straightaway to buy a Mozart CD, thinking they can suddenly improve their IQ. 'In our own field, we focus on clinical work with the individual, who will respond very differently to different kinds of music.'

But Miss Cheng also admits: 'I'm sure all of us have a copy of his book somewhere, whether we read it or not. It's definitely generated a huge amount of interest in music and music therapy.'

Indeed, The Mozart Effect has grown beyond Campbell, or Rauscher, Shaw and Tomatis for that matter.

Music therapy is only one aspect of this; its repercussions on the sales of Mozart albums around the world must surely have rejuvenated the classical record industry at large.

Since Rauscher and Shaw's 1993 discovery, and Campbell's appropriation of its results, countless CDs - from Baby Needs Mozart, to Mozart For Your Mind, Mozart For Mothers-To-Be and The Mozart Effect: Heal Your Body - have found their way into record stores.

Campbell himself has no problems with others spinning off from his work here, as long as they do not steal The Mozart Effect name. He sees his role as 'part of a bigger picture of the music world'.

'I'm just happy to show that music can be a valuable addition to people's lives, in whatever way,' he says.

Send your comments to stlife@sph.com.sg DON CAMPBELL ON: ROCK AND HEAVY METAL ... 'can energise a person. But in general, I would say that loud, constant music is more detrimental to health than soft music' RAP ... 'can help you concentrate. When you speak in rhyme and rhythm, it helps you to focus your thoughts better' MUZAK ... 'is like wallpaper. When you walk into a room, you do not want to see reds and blues splashing all over. It's unstabling to your sense of peace. As background music that is inconspicuous and soothing, muzak has its uses' SUPERMARKET MUSIC ... 'is something I'm not too sure of. I don't think people can be persuaded that easily. The appropriate music simply helps them to think better' PLANTS ... 'may or may not respond to music. But in a British study conducted in a greenhouse some years ago, I read that they seemed to have better growth rates when in environments playing Bach and Indian music, as opposed to acid rock or country & western'.

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Tomatis 2008 MAIN MUSICAL AUTISM THERAPY ; TOMATIS METHOD A FORM OF EXERCISE FOR THE EAR SUSAN SWARTZ THE PRESS DEMOCRAT 894 mots 27 juillet 2003 Press Democrat CITY A7 Anglais Copyright (c) 2003 Bell & Howell Information and Learning Company. All rights reserved.

My husband and I cried for eight months nonstop," said Stephanie Freeman of Santa Rosa, after learning their first-born, Rex, had a form of autism.

There were more tears to come when Rex's little sister, Francesca, was also diagnosed.

But Stephanie and Sam Freeman believe they have reason to hope, due in part to a relatively new kind of listening and sound therapy called the Tomatis method.

The Freemans may end up thanking none other than Wolfgang Amadeus Mozart if 4-year-old Rex continues to improve with his Tomatis classes. They've already decided to begin the same therapy with Francesca, who is almost 3.

The Tomatis center in Santa Rosa, one of nine in the country, is run by Dr. Deborah Swain who was chief of speech pathology at the University of California Davis for nine years and gives seminars throughout the state on auditory processing disorders.

The Tomatis method is a special listening program using classical music developed by a French doctor, Alfred Tomatis and used in Europe for 50 years to treat various hearing disorders.

Tomatis theorized that autistic children have under-developed listening abilities which prohibit them from selectively sorting out different sounds and vibrations. They can hear but they can't listen. Overwhelmed, confused and distracted by a cacophony of sounds, they retreat from communication of any kind.

Tomatis came up with a way to train the ear to hear sounds in a broader frequency range while filtering out other sounds.

Some compare it to exercising the ear. Classical music was chosen for its universal popularity and Mozart pieces specifically for their many high pitched tones.

The Tomatis method is one of several different sound training programs for children with speech and language problems.

Two hours a day for three weeks Rex Freeman joins other kids in a play room at the Swain Center in east Santa Rosa and plugs into headphones playing filtered Mozart music and Gregorian chants. The chants are "calming and compatible with our breathing cycle and heart beat," said Swain.

While listening to music children are free to play, even sleep, and are monitored by speech and language pathologists.

They take a three-week break and then do more weekly series, up to 160 hours, listening to music which gradually filters out the low pitches and establishes right ear dominance.

"The right ear goes fastest to the left side of the brain which is dominant for speech and language," said Swain.

The success of the Tomatis method is, so far, only anecdotal, said Swain. "It works but we're not sure why. It's like asking how does psychotherapy work."

She said autistic children often act as if they are deaf. An inability to process sounds, she believes, "creates behaviors associated with attention deficit and other learning disabilities."

Learning to listen not only helps communication, she said, but increases eye contact, focus, concentration, coordination and balance.

Few insurance companies cover the method, which costs around $4,300. Parents tend to hear about it more by word of mouth than by recommendation from their physician.

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Tomatis 2008 Swain has parents look at Tomatis as a supplement, a tool that "enhances the progress of traditional therapies." Rex Freeman also has regular speech therapy, attends a special education preschool and both children have home teachers who work on behavior modification.

Swain cautions that Tomatis "doesn't work for all autistic children. It's not a magic bullet." More should become known as Swain begins a qualitative study with UC Davis to scientifically document the effects of Tomatis on autistic children.

Swain works with clients who are autistic and also those diagnosed with auditory processing disorders. In more than four years she's seen close to 300 children in her two centers, in Santa Rosa and Walnut Creek. This year she opened a third in Orange County.

Dr. Katherine Ross, a Santa Rosa developmental behavior pediatrician, said speech therapy is often recommended for autistic children. As for the Tomatis method, she said, "It's not yet been proven but I've seen children become more verbal and more social."

What Stephanie Freeman knows is that before the Tomatis sessions her son was non-verbal and since has tested out with speech levels equivalent to a normal 18 month old.

"Before he wouldn't even babble," she said. "He would point and make a noise." She makes a grunting sound to demonstrate.

"Now he says `daddy' and `cookie.' He counts. He tries to name colors."

Rex Freeman's actual diagnosis is sensory motor integration dysfunction which is a common symptom of autism but is not considered full-blown classic autism. His sister Francesca has high functioning autism.

Rex also used to be ultra-sensitive to touch. "He would have a fit for two hours if you tried to hug him or even brush his hair." his mother said. "Now I can hug him and run my fingers through his hair. He's learned to ride a tricycle."

PHOTO: 2 by JOHN BURGESS / The Press Democrat; Caption: 1. Rex Freeman, 4, listens to Mozart during a Tomatis session at the Swain Center in Santa Rosa. 2. Francesca Freeman and her brother are taking part in a sound therapy program / A7 (teaser A1)

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003 English class flexes the ear muscles 543 mots 19 juillet 2003 The Japan Times Anglais Š Copyright 2003 The Japan Times. All rights reserved.

By ERIKO ARITA Staff writer Many people in Japan blame the education system for their inability to communicate well in English, even though they have studied the language for years in school. But Kanto International Senior High School in Shibuya Ward, Tokyo, is trying to correct this problem. It believes people can drastically improve their English by training their ear muscles. The school introduced a teaching system in April called the Tomatis method, which was developed by French Dr. Alfred Tomatis (1920-2001), who concluded that every language has a unique frequency span. For example, most Japanese words are in a frequency band of around 125 to 1,500 hertz, while American English is in a frequency band of between 500 and 3,700 hertz and British English is in a frequency band of between 2,000 and 12,000 hertz, according to Tomatis Japan Inc. The method, which has been used by Tomatis Japan to provide language education for 10 years, aims to train the ear to get used to different features of various languages through headphones connected to a device known as an ``electronic ear.''

The device enhances sounds in a particular frequency band. ``The movement of Japanese people's middle ear muscle, which reacts to high-frequency sounds and contracts, is slow compared with that of the British, for example,'' said Kuniko Murase, a representative of the company, in explaining why Japanese have difficulty distinguishing consonant sounds. Most of the consonant sounds of English belong to a frequency band of more than 2,000 hertz, she said. By repeatedly listening to the language through the electronic ear, which emphasizes sounds in a high-frequency band, people can train their ear muscle to contract faster, Murase said. The electronic ear can also reproduce a language's rhythm, she added. For example, when students listen to English spoken by a Japanese person through the machine, its rhythm is modified to sound like that of a native English speaker. Thanks to this method, Yoko Miyoshi, who teaches English at the high school, said students have become accustomed to the rhythm of English. They are also used to consonant sounds and can recognize them accurately. ``I am surprised'' by the enhanced listening ability of students, Miyoshi said. ``Their eagerness to speak the language is also growing.'' The school is among those designated as a Super English Language High School (SELHi) by the education ministry. It is the only high school in Japan that has adopted the Tomatis method. SELHi-designated schools are assigned to develop effective English-teaching methods and curricula within three years, free from the ministry-set regular courses. After more than 20 sessions using the method between April and early July, in which students listened to and pronounced English words, many became able to differentiate the pronunciation of ``r'' and ``l'' and also to recognize the sound of ``th,'' Miyoshi said. For example, students can now distinguish the pronunciation of ``latitude'' and ``strength,'' she said. Yuta Minami, a sophomore at the school, said he finds the method interesting. ``I can listen (to English) better than before,'' he said. Miyoshi said she will weigh the effectiveness of using the method over the next three years.

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Tomatis 2008 IDENTITÀ POLITICA Per la presentazione del libro...

423 mots 24 juin 2003 Corriere della Sera 55 Italien (c) CORRIERE DELLA SERA IDENTITÀ POLITICA Per la presentazione del libro «Un'anima per l'Europa» a cura di Furio Cerrutti ed Enno Rudolph, dibattito con Laura Balbo, Alberto Martinelli e Vittorio Emanuele Parsi. Interviene l'autore. Casa della Cultura, via Borgogna 3, Mi, ore 18 CHITARRONE Per il ciclo «Suoni Storici» lezione e concerto sul tema «Il Chitarrone nel primo Seicento italiano». Conduce Gian Mario Benzing.

Palazzo Marino, Sala Alessi, ore 21, ingr. libero fino ad esaurimento posti I DIBATTITI DI RIFO! «Road Map. Strada verso la pace o nuovo apartheid?». Intervengono Ali Rashid. Rifo! Centrodibattiti, MazdaPalace, ore 21 GINGO E BARABAS Si inaugura, al Circolo della Stampa, la mostra di un giovane artista ungherese e di Gianfranco Scappatura, conosciuto con lo pseudonimo di Gingo. Circolo della Stampa, corso Venezia 16, Mi, ore 18, fino al 30/6, info tel. 02.76.02.26.71 BIBLOS ON LINE Il Cosv e il Centro di documentazione Solidea presentano il primo archivio bibliografico on-line dedicato ai temi dello sviluppo, del sottosviluppo e della cooperazione internazionale e ai rapporti tra Nord e Sud del mondo. Libreria Fnac, via Torino, Mi, ore 18 IDROPARK Gare di tiro con l'arco, orientamento, arrampicata, canoa, mountain bike, percorso avventura, auto fuoristrada.

Idroparkfila 2003, Idroscalo, Mi, dalle ore 9, tel. 02.75.60.135 LIBRI D'ARTISTA Per la presentazione del libro «Il libro d'artista» (Sylvestre Bonnard) a cura di Giorgio Maffei, conversazioni sul tema «Fare e disfare il libro d'artista». Feltrinelli Librerie, via Manzoni 12, Mi, ore 18 APRITI «IED» Per la fine dell'anno accademico dell'lstituto Europeo di Design, tavola rotonda dal titolo «Chi la fa l'aspetti» sulla comunicazione e sulle droghe. Alle 18.30 mostra sui progetti di tesi degli studenti. Istituto Europeo di Design, via Sciesa 4, Mi, ore 11 CIVICO PLANETARIO Conferenza dal titolo «Agosto 2003: il pianeta rosso non è mai stato così vicino...» con Cesare Guaita.

Civico Planetario, corso Venezia 57, Mi, ore 21, 3/1.50 euro VEGETARIANI Presentazione di «Il libro di cucina amico degli animali». Assoc. Vita Universale, viale Stefanini 2, Mi, ore 19.20 IMPRESA IN ROSA Convegno sul tema: «Lavoro autonomo e impresa al femminile: la prima fotografia della realtà economica lombarda». Unioncamere Lombardia, via Oldofredi 23, Mi, ore 9.30-13 ASCOLTO «Ascolto: una virtù di oggi per le persone, per le imprese»: incontro con Walter Passerini, autore con Alfred Tomatis di «Management dell'Ascolto» (Angeli). Intermezzi del Mediolanum Clarinet Choir Conservatorio (via Conservatorio 12, Mi, ore 18).

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Tomatis 2008 Profile: Tomatis therapy for some autistic children 788 mots 5 mai 2003 NBC News: Today Anglais (c) Copyright 2003, National Broadcasting Company, Inc. All Rights Reserved.

KATIE COURIC, co-host: More than a million and a half Americans are diagnosed as having some form of autism, a complex and often baffling developmental disability that affects the way a person communicates and interacts socially. While there are a variety of therapies available to date, there is no cure. But today, the story of one little girl and her journey with the help of Mozart.

Ms. SHARON RUBEN: She's beautiful. She looked perfect. I was elated.

COURIC: And to her parents, Sharon and Dave, Ashley was perfect, the second daughter they'd always wanted.

Ms. RUBEN: I wanted another child so Casey could have a playmate. They were 14 months apart, and I thought Casey would be a great role model for Ashley.

Miss CASEY RUBEN: Ashley! Ashley, take my hand.

Ms. RUBEN: OK. go real slow.

COURIC: But Ashley had a different idea. At 16 months, she preferred to be left alone.

Ms. RUBEN: She would tune us out when you called her name. She would just kind of be in her own world. I couldn't imagine that something would be wrong with my child.

COURIC: But there was something wrong with Ashley. After a hearing and speech evaluation, it was determined that while her hearing was fine, her speaking ability at 19 months was the equivalent of a six-month-old.

Ms. RUBEN: My heart just sunk.

COURIC: Dr. Chuck Conlon, a neurodevelopmental pediatrician at Children's Hospital in Bethesda, Maryland, examined Ashley.

Dr. CHUCK CONLON: We really looked at the hallmark of her social interaction abilities and her communicative abilities. It was diagnosed as autism spectrum disorder.

Ms. RUBEN: Autism? Ashley's not autistic.

COURIC: While devastated, Sharon was also determined to find help for her little girl.

Mr. DAVE RUBEN: (Singing) "Happy birthday to you"...

COURIC: Around her second birthday, she started speech and occupational therapy but despite a 20-hour-a-week program for almost a year, Ashley made little progress. So Sharon decided to try a special listening program developed by French doctor, Alfred Tomatis, who theorized that autistic children have underdeveloped inner ears that can be retrained through intensive sound therapy.

Ms. LESLIE NEALE (Spectrum Center Recreational Therapist): The Tomatis is really helping your ear to listen better and to perceive sound better. And in doing that, to help start language emerge.

COURIC: At the Spectrum Center in Bethesda, Maryland, Ashley was exposed to music of Mozart after it had been filtered to bring out the high frequencies.

Ms. NEALE: Mozart carries higher frequencies in the music, and the instrumentation carries along very consistently with the human voice.

COURIC: Ashley also listened to her mother's voice after it had been modulated.

Ms. NEALE: And with the mother's voice tape, we simulated for the children what it sounded like to them when they were 180

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Tomatis 2008 in the womb.

COURIC: It's in the womb that hearing develops. The fetus picks up only high frequency levels of the mother's voice and other sounds. The Tomatis therapy is designed to replicate those sounds heard in utero in order to reawaken the ear's natural ability to listen and ultimately stimulate the brain's desire to communicate.

Ms. NEALE: For some kids, really opening another door to them and an entirely new world.

COURIC: For Ashley, the result was nothing short of miraculous.

Ms. RUBEN: The second day I really remember. We got into the car, and we were driving home, and all of a sudden she said, `I want cookie.' And she'd never said anything spontaneous like that before. And Dave and I looked at each other like, `What did she just say?'

COURIC: After more than a year of Tomatis listening therapy combined with interactive games, Ashley is now part of the crowd.

ASHLEY: Give me a high five.

Ms. NEALE: You're doing super.

Ms. RUBEN: She learned to talk. She learned to pretend play.

ASHLEY: Ladies and gentlemen!

Ms. RUBEN: She learned to hug. She learned to love us.

Mr. RUBEN: Oh, big hug!

Ms. RUBEN: And Tomatis was just that switch.

COURIC: But autism experts caution against false hope. They stress that the Tomatis method is not a cure, it's not science, and it's not meant for every autistic child.

Dr. CONLON: I don't think that I could make this a treatment recommendation from the standpoint of `definitively do this' until there was more evidence to suggest there's good clinical science to say this works.

COURIC: But for Sharon and her husband Dave, this is all the proof they need.

ASHLEY: I love you, daddy.

Mr. RUBEN: Can I have a hug?

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Tomatis 2008 The food of life?

1,370 mots 28 avril 2003 Irish Times 15 Anglais (c) 2003 We all knew music was good for us, but did we know Mozart was best? Arminta Wallace meets a man who advocates the composer's medical, motivational and educational merits Music is good for us. Few people would quibble with that statement - unless, perhaps, they came across it while being force-fed The Corrs, Strauss waltzes or Julio Iglesias's greatest hits in a supermarket queue. But according to the US educationalist and composer Don Campbell, one kind of music is better for us than any other: Mozart's.

Got a migraine? Try Piano Concerto No 12 In A Major. Stressed? Take nine minutes of the andante from the String Quartet In E Flat, K 428. Need a boost? The allegro from the Third Violin Concerto will "charge your brain". OK, it's not quite that simple. But Campbell, author of The Mozart Effect, is messianic in his conviction that music, particularly Mozart's, can produce positive and, more to the point, measurable results in all sorts of situations. These range from the fairly straightforward use of music to make you feel better to the rather more specialised use of particular pieces to improve memory and awareness; from the therapeutic application of music to help those with mental and physical disabilities to the auditory stimulation of newborns and young children for linguistic, emotional and physical development.

On a brief visit to Dublin recently, Campbell gave a bravura three-hour seminar on music as a teaching aid. It encompassed everything from rap spelling games through rhythmic French lessons to the way a simple metronome can be a "miracle tool" to help children with reading difficulties. Given his audience - a group of Montessori teachers - most of the ideas were aimed at the classroom, but Campbell isn't a man to restrain himself. He slipped in references to music's power to heal ("healing is not about cure, it's about balance - and so is music") and to music as a study aid for teenagers ("I'm not taking kids and saying: 'Well, here's a symphony; you should like this, it's going to make you smart.' I'll say: 'Listen to this music for seven minutes before you study. Try it. Are you willing to try something that will make your study easier? It's up to you.'").

There's even a series of masterclasses he has been running for classical concert-goers. "We don't teach children to listen," he says after the seminar. "We teach reading and writing and even speaking - but not listening. Listening is not hearing."

Adults need to learn to listen, too, he says. "The symphonies in America are in terrible shape, because they have never provided audiences with any psychological tools for listening. They give you the history of the composer and the facts and figures about the piece and all that stuff. But they don't give audiences room to breathe. Music is about mind and body and spirit, not just about sitting there." Campbell studied piano from the age of 13 with the legendary teacher Nadia Boulanger in Paris - and it was she, he insists, who informed his attitude to music. She also inspired his first book, in the form of a biography. But it was when, at the age of 45, doctors discovered a potentially fatal blood clot in his brain that Campbell realised music could be a lifesaver. "I nearly died," he says. "They were going to remove this part of my skull" - he indicates the front half of his head - "and I would have lost my eye. I said to myself, if I come through this I'm going to write both the antidote and the research."

He describes his illness, and his subsequent self-cure through a combination of vibration and visualisation, in The Mozart Effect. He also answers the question: why Mozart? Why not Beethoven, or Bach, or The Beatles? According to Campbell, it was a French doctor called Alfred Tomatis who, in the 1950s, pioneered research into the effects of Mozart's music, claiming it calmed listeners, improved spatial perception and allowed people to express themselves more clearly, regardless of musical taste or previous exposure to the composer's works. Tomatis went so far as to say that the formal perfection and high-frequency sounds of Mozart's violin concertos made them the healthiest music ever written. "Mozart doesn't grab the passions like Chopin or weave a tapestry of ornament like Bach," says Campbell. "Beethoven sweeps you up in emotion, takes you here, takes you there, then lets you go. There's almost none of that in Mozart. Mozart is not about the individual.

His music is about the architecture, not the person in there." In the book he puts it more poetically: "It is the transparency, the arches, the rhythms within the open space that so profoundly stir the human spirit."

In the mid-1990s, a University of California study showed that 36 undergraduates from the psychology department scored eight to nine points higher on spatial IQ tests after listening to 10 minutes of a Mozart sonata for two pianos. It concluded that complex music facilitates complex neural activity - and the accessibility and surface simplicity of Mozart's music may help "warm up" the brain. When the study hit the headlines across the US, some music shops sold out of Mozart recordings.

Music, as Campbell points out, affects the body as directly as it does the brain. It changes heartbeat, pulse rate and blood pressure; it reduces muscle tension and improves co-ordination; it can increase endorphin levels and even boost the immune system.

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Tomatis 2008 And what all music does, it seems, Mozart does better. In his series of Mozart Effect CDs, Campbell has assembled selections of Mozart's music for the home and car. But he stresses the importance of what he calls a healthy, balanced musical diet. A quick bop around the room to your favourite R&B album can provide a "sonic vitamin boost", while listening to jazz, which specialises in bringing a theme to the brink of chaos, then creating an ordered resolution, is good for raising creativity levels. "Music can change your mind in an instant," says Campbell. "If you're stressed out, it can help you relax. If you're sleepy, it can give you a burst of energy. Instantly." Playing the slow movements of Mozart concertos all day long, then, isn't what it's about. In his new book, The Mozart Effect For Children, Campbell suggests music-based exercises and activities for children up to about 10 years old - including those still in the womb. Like its predecessor, it is bursting with facts, figures, ideas and enthusiasm, and there is no doubting Campbell's sincerity.

He has arrived in Dublin fresh - or, rather, extremely jet-lagged - from a visit to the Yamaha Music Foundation in Tokyo, which is about to take his books on board as study aids. "Not bad," he says with a slightly bleary grin. "They have 650,000 music students a week." Another city, another seminar. Does he ever get sick of music? He looks stunned, then throws back his head and laughs. "I had one night free in Frankfurt this week," he says. "I'd just gotten off the plane from Singapore - a 14-hour flight - and I had come from Japan before that. And what did I do? I went to see Die Frau Ohne Schatten at the Frankfurt Opera." The atonal three-acter by Richard Strauss is not, to put it mildly, easy going. "Music is an incredible bridge for mind and body. I never get tired of it. How could you ever get tired of the St Matthew Passion? The jazz musician Charlie Parker put it perfectly. He said: 'Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn.' " The Mozart Effect and The Mozart Effect For Children are published by Hodder Mobius (ÂŁ6.99 and ÂŁ7.99 in UK). Mozart Effect CDs are available from record shops or from Cosmic Sounds (01-2986551). Don Campbell's website is at www.mozarteffect.com.

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La terapia musical gana peso en el tratamiento de las enfermedades.

Por ÀNGELS GALLARDO BARCELONA. 699 mots 21 mars 2003 El Periódico Mediterráneo Espagnol El código fuente, los diseños gráficos, toda la información y contenidos de "El Periódico Mediterráneo" están protegidos por derechos de propiedad intelectual e industrial propiedad de Zeta Digital, S.L. o, en su caso, de terceras personas y no pueden ser utilizados sin autorización escrita de ZETA DIGITAL, S.L. El usuario única y exclusivamente puede utilizar el material que aparezca en este portal para su uso personal y privado, siempre que respete todos los derechos de propiedad intelectual.

76 el Periódico Mediterráneo 76 Viernes, 21 de marzo del 2003 La música se ha convertido en un instrumento curativo para un creciente número de enfermedades o trastornos cerebrales que son poco accesibles a terapias más convencionales. Las sonatas de Mozart - un reconocido equilibrante neurofisiológico-forman parte del tratamiento de niños con parálisis cerebral o autismo; las canciones tradicionales se emplean para estimular la memoria en enfermos de Alzheimer y el canto gregoriano ya suena con normalidad en las consultas de psiquiatras, neonatólogos, cardiólogos o educadores carcelarios.

El recurso de la música como elemento terapéutico no entra en los estudios de ninguna carrera universitaria en España, aunque sí se desarrolla en cursos de posgrado. No obstante, la influencia del resto de Europa y EEUU, donde sí se imparte, y la experiencia de una multitud de centros que aplican la composición sinfónica para tratar trastornos neurológicos, alteraciones del desarrollo o incluso anorexia e hiperactividad, han consolidado la capacidad curativa de la música.

"El sonido musical llega a rincones del cerebro que no alcanza el lenguaje, toca emociones inabordables de otra forma afirma el doctor Antoni Bulbena, psiquiatra del Hospital del Mar (Barcelona) y concertista de guitarra-. Un estudio publicado por la revista Nature demostró que la sonata 448 de Mozart modifica la respuesta de un enfermo en coma y puede normalizar una crisis epiléptica. Lo llaman el efecto Mozart".

La psicóloga Melissa Mercadal estudió musicoterapia en EEUU y ahora la aplica a personas con demencia o trastornos de la alimentación. En sus sesiones no utiliza música compuesta para la terapia, sino las canciones que han sido un punto de referencia en la vida del enfermo. "Lo aprendido en la primera época de la vida es lo último que se olvida y eso incluye a la música - explica Mercadal-. Las canciones fundamentales para una persona siempre le tocan emociones muy fuertes, que se almacenan en el cerebro".

Con los afectados por demencias, Mercadal se propone que no olviden su vocabulario íntimo. Canciones como Allá en el Rancho Grandeo Mi bella Lola son el recurso con el que les refresca el nombre de las prendas de vestir o el de los oficios.

"Sabemos, por estudios, que la música tiene efectos fisiológicos y cognitivos - explica-. Yo trato de comprobarlo con los enfermos. Todo mi trabajo forma parte de investigaciones aplicadas".

En los centros Tomatis de Barcelona, creados por el médico francés Alfred Tomatis hace 40 años, la música es el vehículo con que se busca recuperar retrasos sensoriales y neurofisiológicos en los niños. También aquí, la extensa y vitalista composición de Mozart es la que, aseguran, da mejores resultados.

"La música de Mozart es capaz de restablecer en el ser humano la armonía perdida - explican-. Es un tipo de composición que se acompasa con los ritmos fisiológicos y neurovegetativos de un niño pequeño".

El doctor José Antonio Muñoz, neuropediatra del Hospital del Mar, admite la validez de la musica como estímulo y ayuda, pero niega que tenga capacidad curativa. Sí la considera muy eficaz para niños con síndrome de Down, y, especialmente, al tratar a autistas inteligentes, afectados por el síndrome de Savant. "Esos niños (un 10% de los autistas) tienen alterado el hemisferio cerebral izquierdo, y la música les permite desarrollar el derecho, que se ocupa de la creatividad y la intuición", 184

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Tomatis 2008 explica.

Escuchando un concierto, y sin haber estudiado nada de música, un autista inteligente de 5 años puede reproducir la composición sin saltarse una nota. "La música les organiza el área cerebral que les permite relacionarse socialmente añade-. Esos niños te pueden decir, casi sin pensar, cuántos segundos tiene la vida de un hombre de 85 años, o en que día de la semana caerá el 4 de marzo del 2070. La música y la pintura son su contacto con el exterior".

EL EFECTO DE LA MÚSICA EN LA SALUD Especialistas aplican la composición sinfónica para tratar demencia, autismo o anorexia Los expertos dicen que la música llega a áreas que para el lenguaje son inalcanzables SOCIEDAD La mortalidad infantil por cáncer se ha reducido un 40% en la última década.

Cáncer infantil y además.

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Tomatis 2008

La teràpia musical - guanya pes en la medicina.

Per ÀNGELS GALLARDO BARCELONA. 725 mots 17 mars 2003 El Periódico de Catalunya (Catalan Language) 30 Catalan El codi font, els dissenys gràfics, tota la informació i continguts de "El Periódico de Catalunya" estan protegides per drets de propietat intel·lectual i industrial propietat de ZETA DIGITAL, S.L. o, en el seu cas, de terceres persones, i no poden ser utilitzades sense autorització escrita de ZETA DIGITAL, S.L. L'usuari única i exclusivament pot utilitzar el material que apareixi en aquest portal per a ús personal i privat, sempre que respecti tots els drets de propietat intel·lectual.

Psiquiatres i neuròlegs apliquen la composició simfònica per tractar demència, autisme o anorèxia Els especialistes asseguren que el so musical arriba a àrees del cervell inabastables al llenguatge La música s'ha convertit en un instrument curatiu per a un creixent nombre de malalties o trastorns cerebrals greus que són poc accessibles a teràpies més convencionals. Les sonates de Mozart - un reconegut equilibrant neurofisiològic-formen part del tractament de nens amb paràlisi cerebral o autisme; les cançons tradicionals es fan servir per estimular la memòria en malalts d'Alzheimer i el cant gregorià ja sona amb normalitat a les consultes de psiquiatres, neonatòlegs, cardiòlegs o educadors carceraris.

El recurs de la música com a element terapèutic no entra en els estudis de cap carrera universitària a Espanya, encara que sí que es desenvolupa en cursos de postgrau. No obstant, la influència de la resta d'Europa i els EUA, on sí que s'imparteix, i l'experiència d'una multitud de centres que apliquen la composició simfònica per tractar trastorns neurològics, alteracions del desenvolupament o fins i tot anorèxia i hiperactivitat, han consolidat la capacitat curativa de la música a Catalunya.

"El so musical arriba a racons del cervell on no incideix el llenguatge, toca emocions inabordables d'una altra manera afirma el doctor Antoni Bulbena, psiquiatre de l'Hospital del Mar i concertista de guitarra clàssica-. Un estudi publicat per la revista Nature va demostrar que la sonata 448 de Mozart modifica la resposta d'un malalt en coma i pot normalitzar una crisi epilèptica. L'anomenen l'efecte Mozart".

CANÇONS PERSONALS La psicòloga Melissa Mercadal va estudiar musicoteràpia als EUA i ara l'aplica a persones amb demència o trastorns de l'alimentació a l'Hospital de Vilanova i la Geltrú i a centres terapèutics de Barcelona. A les seves sessions no s'hi fa servir música composta per a la teràpia, sinó les cançons que han estat un punt de referència important en la vida del malalt.

"El que s'aprèn en la primera època de la vida és l'últim que s'oblida i això inclou la música - explica Mercadal-. Les cançons fonamentals per a una persona sempre li toquen emocions molt fortes, que es guarden emmagatzemades al cervell.

Recuperant-les, és possible desbloquejar les emocions que subjauen en les malalties".

Amb els pacients afectats per demències, Mercadal es proposa que no oblidin el seu vocabulari íntim. Cançons com Allá en el Rancho Grande, Mi bella Lola o Les nenes maques són el recurs amb què els refresca el nom de les peces de vestir o el dels oficis: "Sabem, per estudis científics, que la música té efectes fisiològics i cognitius. Jo intento comprovar-ho amb els malalts. Tota la meva feina forma part d'investigacions aplicades".

Als centres Tomatis de Barcelona, creats pel metge francès Alfred Tomatis fa 40 anys, la música és el vehicle amb què es busca recuperar endarreriments sensorials i neurofisiològics en els nens. També aquí, l'extensa i vitalista composició de Mozart és la que, asseguren, dóna millors resultats. "La música de Mozart és capaç de restablir en l'ésser humà l'harmonia perduda - expliquen-. És una composició que es compassa amb els ritmes fisiològics i neurovegetatius d'un nen".

CONTACTE D'AUTISTES El doctor José Antonio Muñoz, neuropediatre de l'Hospital del Mar, admet la validesa que té la musica com a estí-mul i ajuda, però nega que tingui capacitat curativa. Sí que la considera molt eficaç per a nens amb síndrome de Down, i, molt especialment, al tractar autistes intel.ligents, afectats per la síndrome de Savant. "Aquests nens (un 10% dels autistes) tenen alterat l'hemisferi cerebral esquerre, i la música els permet desenvolupar el dret, que s'ocupa de la creativitat i la intuïció", diu.

Escoltant un concert, i sense haver estudiat gens de música, un autista intel.ligent de 5 anys pot reproduir la composició 186

Articles scientifiques & articles de la presse

Tomatis 2008 sense saltar-se cap nota. "La música els organitza l'àrea cerebral que els permet relacionar-se socialment - afegeix-. Aquests nens et poden dir, quasi sense pensar, quants segons té la vida d'un home de 85 anys, o quin dia de la setmana serà el 4 de març del 2070. La música i la pintura són el seu contacte amb l'exterior".

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Tomatis 2008

La terapia musical gana peso como tratamiento médico.

Por ANGELES GALLARDO BARCELONA. 672 mots 17 mars 2003 El Periódico Córdoba Espagnol El código fuente, los diseños gráficos, toda la información y contenidos de "El Periódico Córdoba" están protegidos por derechos de propiedad intelectual e industrial propiedad de Zeta Digital, S.L. o, en su caso, de terceras personas y no pueden ser utilizados sin autorización escrita de ZETA DIGITAL, S.L. El usuario única y exclusivamente puede utilizar el material que aparezca en este portal para su uso personal y privado, siempre que respete todos los derechos de propiedad intelectual.

48 Lunes, 17 de marzo del 2003 48 SOCIEDAD La música se ha convertido en un instrumento curativo para un creciente número de enfermedades o trastornos cerebrales graves que son poco accesibles a terapias más convencionales. Las sonatas de Mozart - un reconocido equilibrante neurofisiológico-forman parte del tratamiento de niños con parálisis cerebral o autismo; las canciones tradicionales se emplean para estimular la memoria en enfermos de Alzheimer y el canto gregoriano ya suena con normalidad en las consultas de psiquiatras, neonatólogos, cardiólogos o educadores carcelarios.

El recurso de la música como elemento terapéutico no entra en los estudios de ninguna carrera universitaria en España, aunque sí se desarrolla en cursos de posgrado. No obstante, la influencia del resto de Europa y EEUU, donde sí se imparte, y la experiencia de una multitud de centros que aplican la composición sinfónica para tratar trastornos neurológicos, alteraciones del desarrollo o incluso anorexia e hiperactividad, han consolidado la capacidad curativa de la música.

"El sonido musical llega a rincones del cerebro que no alcanza el lenguaje, toca emociones inabordables de otra forma afirma el doctor Antonio Bulbena, psiquiatra del Hospital del Mar y concertista de guitarra clásica-. Un estudio publicado por la revista Nature demostró que la sonata 448 de Mozart modifica la respuesta de un enfermo en coma y puede normalizar una crisis epiléptica. Lo llaman "el efecto Mozart".

CANCIONES PERSONALES La psicóloga Melissa Mercadal estudió musicoterapia en EEUU y ahora la aplica a personas con demencia o trastornos de la alimentación en el Hospital de Vilanova i la Geltrú y en centros terapéuticos de Barcelona. En sus sesiones no utiliza música compuesta para la terapia, sino las canciones que han sido un punto de referencia importante en la vida del enfermo.

"Lo aprendido en la primera época de la vida es lo último que se olvida y eso incluye a la música - explica Mercadal-. Las canciones fundamentales para una persona siempre le tocan emociones muy fuertes, que se guardan almacenadas en el cerebro. Recuperándolas, es posible desbloquear las emociones que subyacen a las enfermedades".

Con los afectados por demencias, Mercadal se propone que no olviden su vocabulario íntimo. Canciones como Allá en el Rancho Grande, Mi bella Lola o Les nenes maques son el recurso con el que les refresca el nombre de las prendas de vestir o el de los oficios. "Sabemos, por estudios científicos, que la música tiene efectos fisiológicos y cognitivos - explica-. Yo trato de comprobarlo con los enfermos. Todo mi trabajo forma parte de investigaciones aplicadas".

En los centros Tomatis de Barcelona, creados por el médico francés Alfred Tomatis hace 40 años, la música es el vehículo con que se busca recuperar retrasos sensoriales y neurofisiológicos en los niños. También aquí, la extensa y vitalista composición de Mozart es la que, aseguran, da mejores resultados.

"La música de Mozart es capaz de restablecer en el ser humano la armonía perdida - explican-. Es un tipo de composición que se acompasa con los ritmos fisiológicos y neurovegetativos de un niño pequeño".

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Tomatis 2008 CONTACTO DE AUTISTAS El doctor José Antonio Muñoz, neuropediatra del Hospital del Mar, admite la validez de la música como estímulo y ayuda, pero niega que tenga capacidad curativa. Sí la considera muy eficaz para niños con síndrome de Down, y, muy especialmente, al tratar a autistas inteligentes, afectados por el síndrome de Savant.

"Esos niños (un 10% de los autistas) tienen alterado el hemisferio cerebral izquierdo, y la música les permite desarrollar el derecho, que se ocupa de la creatividad y la intuición", explica.

"Esos niños te pueden decir, casi sin pensar, cuántos segundos tiene la vida de un hombre de 85 años, o en que día de la semana caerá el 4 de marzo del 2070. La música y la pintura son su contacto con el exterior".

ESTUDIO CIENTIFICO Especialistas aplican la composición sinfónica para tratar demencia, autismo o anorexia Aseguran que la música llega a áreas del cerebro a las que no llega el lenguaje.

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Tomatis 2008

La terapia musical - gana peso en la medicina.

Por ÀNGELS GALLARDO BARCELONA. 698 mots 17 mars 2003 El Periódico de Catalunya 30 Espagnol El código fuente, los diseños gráficos, toda la información y contenidos de "El Periódico de Catalunya" están protegidos por derechos de propiedad intelectual e industrial propiedad de Zeta Digital, S.L. o, en su caso, de terceras personas y no pueden ser utilizados sin autorización escrita de ZETA DIGITAL, S.L. El usuario única y exclusivamente puede utilizar el material que aparezca en este portal para su uso personal y privado, siempre que respete todos los derechos de propiedad intelectual.

Psiquiatras y neurólogos aplican la composición sinfónica para tratar demencia, autismo o anorexia Los especialistas aseguran que el sonido musical llega a áreas del cerebro inalcanzables al lenguaje La música se ha convertido en un instrumento curativo para un creciente número de enfermedades o trastornos cerebrales graves que son poco accesibles a terapias más convencionales. Las sonatas de Mozart - un reconocido equilibrante neurofisiológico-forman parte del tratamiento de niños con parálisis cerebral o autismo; las canciones tradicionales se emplean para estimular la memoria en enfermos de Alzheimer y el canto gregoriano ya suena con normalidad en las consultas de psiquiatras, neonatólogos, cardiólogos o educadores carcelarios.

El recurso de la música como elemento terapéutico no entra en los estudios de ninguna carrera universitaria en España, aunque sí se desarrolla en cursos de posgrado. No obstante, la influencia del resto de Europa y EEUU, donde sí se imparte, y la experiencia de una multitud de centros que aplican la composición sinfónica para tratar trastornos neurológicos, alteraciones del desarrollo o incluso anorexia e hiperactividad, han consolidado la capacidad curativa de la música en Catalunya.

"El sonido musical llega a rincones del cerebro que no alcanza el lenguaje, toca emociones inabordables de otra forma afirma el doctor Antoni Bulbena, psiquiatra del Hospital del Mar y concertista de guitarra clásica-. Un estudio publicado por la revista Nature demostró que la sonata 448 de Mozart modifica la respuesta de un enfermo en coma y puede normalizar una crisis epiléptica. Lo llaman el efecto Mozart".

CANCIONES PERSONALES La psicóloga Melissa Mercadal estudió musicoterapia en EEUU y ahora la aplica a personas con demencia o trastornos de la alimentación en el Hospital de Vilanova i la Geltrú y en centros terapéuticos de Barcelona. En sus sesiones no utiliza música compuesta para la terapia, sino las canciones que han sido un punto de referencia importante en la vida del enfermo.

"Lo aprendido en la primera época de la vida es lo último que se olvida y eso incluye a la música - explica Mercadal-. Las canciones fundamentales para una persona siempre le tocan emociones muy fuertes, que se guardan almacenadas en el cerebro. Recuperándolas, es posible desbloquear las emociones que subyacen a las enfermedades".

Con los afectados por demencias, Mercadal se propone que no olviden su vocabulario íntimo. Canciones como Allá en el Rancho Grande, Mi bella Lola o Les nenes maques son el recurso con el que les refresca el nombre de las prendas de vestir o el de los oficios: "Sabemos, por estudios científicos, que la música tiene efectos fisiológicos y cognitivos. Yo trato de comprobarlo con los enfermos. Todo mi trabajo forma parte de investigaciones aplicadas".

En los centros Tomatis de Barcelona, creados por el médico francés Alfred Tomatis hace 40 años, la música es el vehículo con el que se busca recuperar retrasos sensoriales y neurofisiológicos en los niños. También aquí, la extensa y vitalista composición de Mozart es la que, aseguran, da mejores resultados. "La música de Mozart es capaz de restablecer en el ser humano la armonía perdida - explican-. Es una composición que se acompasa con los ritmos fisiológicos y neurovegetativos de un niño".

CONTACTO DE AUTISTAS El doctor José Antonio Muñoz, neuropediatra del Hospital del Mar, admite la validez de la musica como estímulo y ayuda, pero niega que tenga capacidad curativa. Sí la considera muy eficaz para niños con síndrome de Down, y, muy especialmente, al tratar a autistas inteligentes, afectados por el síndrome de Savant. "Esos niños (un 10% de 190

Articles scientifiques & articles de la presse

Tomatis 2008 los autistas) tienen alterado el hemisferio cerebral izquierdo, y la música les permite desarrollar el derecho, que se ocupa de la creatividad y la intuición", dice.

Escuchando un concierto, y sin haber estudiado nada de música, un autista inteligente de 5 años puede reproducir la composición sin saltarse una nota. "La música les organiza el área cerebral que les permite relacionarse socialmente añade-. Esos niños te pueden decir, casi sin pensar, cuántos segundos tiene la vida de un hombre de 85 años, o en que día de la semana caerá el 4 de marzo del 2070. La música y la pintura son su contacto con el exterior".

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Articles scientifiques & articles de la presse

Tomatis 2008

UNLOCKING THE WORLD OF AUTISM.

By CLARE GARNER. 1,095 mots 10 mars 2003 The Express 32, Anglais (c) 2003 Express Newspapers ex10p032 - 1st.pdf To an autistic child, the world is a bewildering place, with no apparent order or meaning. Genes play a part but other factors, such as food sensitivities, vaccinations, and a difficult birth, can also have a role. CLARE GARNER looks at alternative ways of helping children with the condition TOMATIS LISTENING THERAPY ALEX SMITH is a Tomatis Listening therapist who runs the Listening Centre in Lewes, East Sussex CLASSIC symptoms of autism include avoidance of eye contact, an indifference to people, speech difficulties, short attention span and obsessive patterns of behaviour.

Tomatis Listening Therapy was devised and developed by French ear, nose and throat specialist Professor Alfred Tomatis between the Fifties and Eighties.

He made the distinction between hearing, which is simply registering sound, and listening, an active process requiring the desire to communicate. Traumatic events may cause the listening capacity to shut down - sometimes before birth.

Tomatis's auditory stimulation programme can be used with children as young as 18 months and simulates the main phases of a child's listening and communication development.

Sounds such as music or voices are filtered by a device known as an electronic ear and delivered through headsets. Autistic children tend to be sensitive around the head, so there's a period of negotiation at the outset.

In the early phases, the children hear a recording of their mother's voice. The lower sound frequencies are removed so it's similar to the tones they would have heard in the womb.

On hearing this, some children go into the foetal position and put their thumb in their mouth; others become angry. Later on, we use classical music in the same way.

An autistic child cannot ignore the pulsating sound of the filtered music. It draws them out of their internal world. It's wonderful to see them coming out of their little air bubble.

After a few sessions, autistic children may become more emotionally expressive, laughing and crying, often for the first time. They can become more affectionate towards their mother and make more eye contact. Children who have never spoken may start to vocalise. They do fewer repetitive body movements and, in time, begin to interact with other children.

The programme consists of 150 to 200 hours spread over six to 12 months. It starts with two hours a day for the first two weeks. The rate of improvement varies from child to child but we see progress in 80 per cent of children and the effects are permanent.

An assessment at the Listening Centre costs ÂŁ55. A four-week course costs ÂŁ1,250.

There's a free clinic in Glasgow and a mobile unit for groups of six or more anywhere in the UK. Call 01273 474 877 or visit www. listeningcentre. co. uk OPTIMUM NUTRITION PATRICK HOLFORD is founder of the Institute for Optimum Nutrition in Putney, West London, and author of Optimum Nutrition For The Mind INthe last decade, there has been a dramatic increase in late-onset autism, in which the condition is diagnosed in the second year of life.

This strongly suggests something new has triggered the epidemic. Possible culprits are diet, vaccinations and gut problems, which are also increasing in children.

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Tomatis 2008 Key steps in naturally treating autism involve balancing blood sugar levels, excluding food additives from the diet, correcting possible nutritional deficiencies and ensuring that children get plenty of essential fatty acids.

There's growing evidence that doing these things can make a big difference. Research has shown that vitamins B6 and C and magnesium supplements can improve symptoms in autistic children. Vitamin A, vital for building healthy cells in the gut and brain, is important, too.

Good sources are breast milk, meats such as kidney and liver, fish and cod liver oil.

Many parents with autistic children say their child had repeated or prolonged courses of antibiotics in their first year.

Antibiotics kill good as well as bad bacteria and can weaken the gut, so restoring gut health is very important. Probiotic supplements and the amino acid L-glutamine can help.

Wheat and dairy foods and the proteins they contain - gluten and casein - have been strongly linked with autism. There are anecdotal reports of dramatic improvements from parents who cut these foods from their children's diets.

You should withdraw the foods gradually, waiting three weeks after the removal of casein before cutting out gluten (wheat, oats, barley and rye). Keeping a food diary will help identify other problematic foods, such as citrus fruits, chocolate, artificial colourings, eggs, tomatoes and avocados. It's important to carry out these dietary changes under the guidance of a nutritionist.

Patrick does not see patients but for a local nutritionist visit www. patrickholford. com Optimum Nutrition For The Mind is published by Piatkus at ÂŁ16.99.

CRANIOSACRAL THERAPY JOHN WILKS is a craniosacral therapist at the Middlemarsh Clinic in Dorchester, Dorset, and chairman of the Craniosacral Therapy Association AUTISM can be traced back to a difficult birth.

In a healthy person, the cerebro-spinal fluid, which bathes the brain and spinal cord, has a gentle tide-like ebb and flow.

If labour is very quick or there are interventions in the birth, such as suction, the base of the scull and bones around the ears may be compressed. This compression interrupts the flow of the cerebro-spinal fluid. A bad fall or an operation could have the same effect.

Craniosacral therapists place their hands on the back, the base of the skull and the base of the spine to feel the movement of the fluid. If any congestion is detected it is released using very gentle pressure. Autistic children are likely to have an interrupted flow, indicating disturbance in their central nervous system.

Initially we take a lot of detail about a child's history, birth, any medication and possible sensitivities to environmental toxins and food.

The treatment then gives the body a very gentle nudge so it can find its own balance.

An autistic child will need quite a few sessions, weekly at first and then at two or three-monthly intervals. There can be substantial improvements and we have stories of severely autistic children entering mainstream school within a year of starting craniosacral therapy.

John charges ÂŁ18 for a session with a child or baby, ÂŁ28 for an adult. He can be contacted on 01963 440542. For a local craniosacral therapist, call 07000 784735. The Fountain Clinic (020 7704 6900) in Islington, North London, specialises in working with children and babies.

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Oft dauert es nur eine Stunde, den Kiefer zu entspannen.

469 mots 14 février 2003 Frankfurter Rundschau Allemand (c) Copyright Frankfurter Rundschau 2003 www.fr-aktuell.de R3 4-24H Sechs Frauen eröffnen in Dietzenbach das "Centrum für ganzheitliche Gesundheit und persönliche Entwicklung" DIETZENBACH. Eine Praxis, in der Kinder und Erwachsene wohltuende Therapien erleben - diesen lang gehegten Wunsch hat sich Karin Müller jetzt mit dem "Centrum für ganzheitliche Gesundheit und persönliche Entwicklung" erfüllt - zusammen mit fünf weiteren Frauen. Seit dem 1. Januar bieten die sechs in der Nähe des Kreishauses Horchtherapie, Meditation, Kinesiologie, Gesichtsmassage und andere Behandlungen an, die seelisches Gleichgewicht, Lernfähigkeit und Ausstrahlungskraft verbessern sollen. Am Sonntag, 16. Februar, stellen sie sich beim Tag der offenen Tür vor.

Kinder mit Lernschwierigkeiten, Menschen mit chronischen Schmerzen, Alltagsgestresste oder auch Leute, die nach einem Unfall Angst beim Autofahren haben, sind bei den Kinesiologinnen Sylvia Gellert und Andrea Weiss-Voigt richtig.

Kinesiologen befassen sich mit den inneren und äußeren Bewegungen des Menschen, den Zusammenhängen zwischen Muskeln, Organen, Emotionen und Denkstrukturen und wollen Einfluss auf alle diese Facetten vom Menschen nehmen.

Eine Spezialität der zwei Frauen ist die Edu-Kinestetik: Bewegungsübungen für Kinder und Erwachsene mit Lernschwierigkeiten, die die Gehirnhälften trainieren.

"Sie hören, als wären sie im Bauch einer japanischen Mutter." Monika Warner beschreibt, wie Menschen mit der Horchtherapie Fremdsprachen lernen können - indem sie nämlich zunächst die Sprachmelodie verinnerlichen.

Hilfsinstrument dabei ist das elektronische Ohr, das der Arzt Alfred Tomatis entwickelte, das auch bei Kindern mit Aufmerksamkeitsdefizitsyndrom, Sängern, geräuschempfindlichen und ängstlichen Leuten zum Einsatz kommt. Bei der Stimmanalyse, für die zwei Minuten lang die Stimme aufgenommen wird, kann man laut Warner mit Hilfe eines Computerprogramms Stoffwechselstörungen erkennen.

Für das reine Wohlbefinden und strahlende Augen - dafür will Ingrid Habitz mit Facial Balancing sorgen. Bei diesem "sanften Lifting, das unter die Haut geht" massiert sie Gesicht, Hals, Dekolleté. Meditation für Gruppen und einzelne Personen bietet Claire Elsesser an. Müller beschäftigt die Frage "Was macht einen Menschen glücklich?" Seit 1991 macht sie Seminare zum Thema "Lebensvisionen entdecken". Sie glaubt, "für jedes körperliche Problem gibt es eine psychische Komponente". Sie arbeitet auch mit Zahnärzten zusammen, die Menschen behandeln, die im Schlaf mit den Zähnen knirschen. "Oft schon in einer Stunde" könne sie diese Verkrampfungen des Kiefers korrigieren", sagt sie. ran TAG DER OFFENEN TÜR Das "Centrum für ganzheitliche Gesundheit und persönliche Entwicklung" in Dietzenbach, Carl-Ulrich-Straße 6, lädt für Sonntag, 16. Februar, 11 bis 17 Uhr, zum Tag der offenen Tür ein. Die sechs Frauen stellen ihre Arbeit vor, für Entspannung sorgt eine Chi-Maschine. Sie sind telefonisch zu erreichen: Karin Müller (Mediale Kinesiologie, Seminare, Coaching) 06074 / 3 57 38; Monika Warner (Horchtherapie, Stimmanalyse) 0 60 74 / 2 98 43; Sylvia Gellert (Begleitende Kinesiologie) 06074/ 48 17 58; Andrea Weiss-Voigt (Begleitende Kinesiologie) 0 60 74 / 40 71 98; Ingrid Habitz (Facial Balancing, begleitende Kinesiologie) 0 61 03 / 60 46 16; Claire Elsesser (Pädagogin, Meditation) 0 61 03 / 31 28 10. ran.

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Tomatis 2008 ARTS &LIFESTYLE Helping children tune in; Music stimulates mental growth, experts assert Cara Nissman 886 mots 17 novembre 2002 Boston Herald All Editions 043 Anglais Š 2002 Boston Herald Library. Provided by ProQuest Information and Learning. All rights reserved.

When her three children smack spoons against plastic cups in the kitchen or shake maracas in the living room, Sharon Kulik doesn't silence them.

"They're incorporating music into play and I enjoy chiming in," said Kulik, Medford mother of Bryce, 5, Seychelle, 4, and Quinlan, 1. "If they're playing dress-up and they're close to musical instruments, they make up a huge parade instead of a one-on-one tea party."

Don Campbell, author of "The Mozart Effect for Children" (Quill, $13.95), thinks parents should sing and play instruments with their children to encourage their brain development.

"What we do to stimulate the brain through music lasts a lifetime," he said. "Parents can increase verbal, emotional and kinesthetic (movement) intelligence with music. My work is to show how music actually is a form of nutrition for the brain."

Dr. Alfred Tomatis began studying the effects of Wolfgang Amadeus Mozart's ordered music on children with developmental and learning disorders in France in the late 1960s, said Campbell. He found many children's speech and listening skills, emotional health and mental alertness improved after the youngsters listened to certain pieces.

"But the Mozart effect does not only reflect Mozart's music," said Campbell. "It's the importance of auditory stimulation and the importance of having an auditory environment for families in the home."

Indeed, early childhood music educator Ruth Schechter encourages parents to expose their kids to diverse melodies.

"If they don't hear exotic rhythms - African, Arabic and Bulgarian - with irregular meters, they're not going to have an intuitive sense of it. The range of sounds they hear will make them more responsive and more open in the future," said Schechter, who teaches in Jamaica Plain, Brookline and the South End. "One of the real gifts of doing music with kids early is they just absorb it."

Starting early also teaches kids tolerance of people's differences, said Kulik.

"If you're aware of all types of music," she said, "you end up with a better understanding and appreciation for the different ways people express themselves."

By playing music before bedtime, parents can help kids relax into routines.

"You can make mundane things easier by making a song about something your child doesn't want to do," said Laura Sabini, director of Music Together of Cambridge and Brookline. "You can sing about taking a bath or washing your face or brushing your teeth. It makes it more fun for them."

Campbell said music also can motivate kids.

"Several studies have shown that playing Mozart seems to raise the IQ significantly if played 10 minutes before the task," he said. "You can stimulate the lazy student."

Kids can improve their motor skills and coordination by playing instruments and grooving to beats, said Kindermusik teacher Donna Cantera-Davis, owner of DCD Music Studio in Arlington.

"If children don't have the opportunity to explore ways of moving the body, they'll be really limited in how they control their hands to form letters to write," she said. "It's going to hold them back in terms of their ability to do intellectual things."

But parents shouldn't limit their children to CDs and music videos.

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Tomatis 2008 "Parents must sing and play and dance with their children," said Schechter. "Anything a parent does directly with their child is enormously better than any video or CD. It's face-to-face contact. And a parent's voice is a child's absolute favorite - it's heard for four months before they're born, in utero."

So what if you sound like an albatross with strep?

"It doesn't matter what your voice sounds like," said Cantera- Davis. "I sing to my son every night before he goes to sleep and it's the same lullaby I sang when I was pregnant with him. It's a comfort thing. A CD or `Sesame Street' doesn't allow for the same interpersonal relationship as mother and child singing together."

Yet Campbell warned against overwhelming a child with sounds.

"If a child is born into a home with a couple of siblings, computers, a TV, boom box and in their room there's a large air conditioner, this baby's going to be in auditory overload," he said. "In this day and age, a quiet environment as well as great stimulation are important."

Parents who can create a balance will compose a special connection with their kids.

"Parents are always looking for something to do with their kids," said Suzanne Bremer, a Somerville mom of a 2 1/2-yearold son. "We can't take the kid to see Martin Scorsese, but we can have Mozart playing in the house. It's part of our life we can share with our kid."

Not sure what to sing with your child? You can start with Don Campbell's "The Mozart Effect - Music for Children" and "The Mozart Effect - Music for Babies." The recordings are available through The Children's Group, 800-757-8372 or www.childrensgroup.com.

Caption: THEY'VE GOT RHYTHM: Music teacher Laura Sabini plays the drum with music students at Stella Bella Toys in Cambridge. Staff photo by Michael Fein

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Tomatis 2008 LOCAL El Cajon workshops teach importance of music in education Natasha Lee Natasha Lee is a news assistant in the East County office.

419 mots 9 ao没t 2002 The San Diego Union-Tribune 2 B-2 Anglais 漏 2002 San Diego Union Tribune Publishing Company. Provided by ProQuest Information and Learning. All Rights Reserved.

Don Campbell, author of "The Mozart Effect," will conduct two teacher workshops Wednesday at Hillsdale Middle School in El Cajon.

The free workshops will focus on how music and sound can be fundamental to a child's learning, stress-reduction and health.

Session I is 9 a.m to noon for teachers in grades 4 through 8. Session II is 12:30 to 3:30 p.m. for kindergarten through thirdgrade teachers. The workshops are open to teachers and parents throughout San Diego County.

Campbell's musical views derive from studies conducted by Dr. Alfred Tomatis, a Parisian physician and educator. Tomatis showed how listening to high frequencies in orchestral music, particularly Mozart, affected the brain in a way that improved speech and comprehension disorders in adults and children.

Mozart's simplistic and concise compositions are what make his music so conducive for learning, Campbell said.

"He's (Mozart) not as emotional as the romantics, intricate as the Baroques, and he doesn't make you want to dance," he said.

Campbell will also address improving brain development, building an emotional language, and the importance of hearing and sound in creativity and learning.

"Sound and music stimulates movement in the body and organizes time perception, like how you speak," he said in a phone interview from his home in Boulder, Colo.

Campbell said listening to music does not instantly improve a student's learning capabilities or solve learning disabilities.

"It's not `Play Mozart and you get smart,' " he said.

Rather the goal is to give parents and teachers the tools to use music to improve auditory, sensory and motor skills.

With many school arts programs and resources fading because of district budget cuts, teachers have been forced to include the subject in already full curriculums.

Alice Rodriguez, director of curriculum and instruction for the Cajon Valley School District, is hoping these workshops will give teachers new techniques to use in their classrooms.

"Teachers have a lot to teach already, so if we can teach them how to integrate within, then we can help," she said.

The workshops are sponsored by the East County Performing Arts Center's Plug Into the Arts program. They will be held in the middle school's multipurpose room at 1301 Brabham St. For more information, contact Lisa Saneda, arts education coordinator at (619) 441-5556.

1 PIC; Caption: Don Campbell

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Tomatis 2008 Foetus and the first lessons.

872 mots 1 ao没t 2002 The Hindu Anglais (c) 2002 Katsuri & Sons Ltd "Ojas for the Expectant Mother", a recently released CD, contains mantras from the Vedas, which will have a nourishing and stimulating impact on the unborn child.

THE OJAS Foundation, Chennai, has recently released a CD, "Ojas for the Expectant Mother". Ojas means life energy. The CD, which is priced at Rs. 255, contains specific mantras culled from the Vedas, which will have an impact on the unborn child.

There is a large body of research that is making waves in the world of learning. This research pertains to the effect of structured sound on the unborn child. It has been shown that the foetus will respond to sound from the 24th week of pregnancy. While sounds are greatly altered as they pass from the outside world to the ear of the foetus, there is more than sufficient stimulation to be heard in the womb. There are documented changes in the heart rate and breathing pattern of the foetus in response to sound stimulation.

There is also research to suggest that structured, specific sounds heard by the foetus in the womb, provide a strong foundation for later learning and behaviour. An article in the Los Angeles Times reported neurobiological research to the effect that "undeniably, there is a biology of music".

Giselle Whitwell, a practising prenatal music therapist says, "We now know the foetus is having first language lessons in the womb. The inflections of the mother tongue are conveyed not only through speech but also, most importantly, through song. The singing voice has a richer frequency range than speech. Babies born of deaf mothers miss these important first lessons in language development. French pioneer Dr. Alfred Tomatis mentions being intrigued by the fact that songbirds hatched by silent foster mothers can't sing. What the baby learns while in the uterus are the intonational patterns of sound and the frequencies of a language in his/her particular culture."

In India, Vedic chanting provides a culturally appropriate sound for both the mother and the child. The inherent resonance and rhythms in the chanting will stimulate the child and provide a strong basis for later learning patterns.

Pregnancy can also be a time of great emotional upheavals. We know that the growing child in the womb is affected by chemicals released in the mother's brain in response to her emotions. Setting aside a short period of time each day when the mother is in a calm and relaxed state, will provide an environment where the unborn child is bathed in love. In the daily rush, parents usually fail to set aside time for this. Therefore, bonding between the mother and the child is often overlooked and neglected. Listening to Vedic chanting affords an opportunity to be in harmony with the new life growing inside the womb. For a couple, this is the first step in early parenting.

It is not necessary that the person listening to the Vedic chanting understand the meaning of the mantras. The perennial sound vibrations, which exist in this universe, connect every cell. Sounds can be understood and can be related to at three levels: 1. Shabda Anusandhaanam (perceiving the vibration of the sound): When we hear certain sounds, we relate only to the sound vibration that leaves an impact on our system.

2. Artha Anusandhaanam (perceiving the meaning of sound): The mind will make an effort to comprehend the meaning of the sound and then relates to the sound.

3. Bhaava Anusandhaanam (perceiving the emotions/feelings of the sound): Every sound, whether it has a specific meaning or not, contains a bhaava or emotion in it. A sensitive person can hear and feel the intention of the sound.

To paraphrase Giselle Whitwell, Vedic chanting can be considered a pre-linguistic language that is nourishing and stimulating to the whole human being, affecting body, emotions and intellect.

A good human being is one who has achieved an ideal amalgamation of the body, mind and soul. By listening to Vedic chanting in the prenatal period, we can help create a child who is well integrated in his/her physical, emotional, intellectual and spiritual self.

Vedas for health 198

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Tomatis 2008 THE OJAS Foundation, Chennai, is a global Vedic health movement. It promotes the Vedic path to healthy living. Mining the essence of the Vedas, this movement advocates the use of chanting, guided meditation, stress reduction, diet modification and exercise to deal with health challenges of day-to-day living.

The founder of Ojas Foundation, Sri Tatwamasi Dixit is a Vedic scholar. He has long felt an urge to delve into the veiled secrets in the Vedas relating to health. He has done fundamental research in various mantras and has extracted specific mantras for specific health situations. He has converted this research into tenets that can be applied to preserving and promoting health.

The co-founder of Ojas Foundation, Dr. Gita Arjun, an obstetrician and gynaecologist practising in Chennai, was drawn to the concept of utilising Vedic knowledge to access the wellspring of healing energies dormant in all of us.

Further information can be obtained from the Foundation at 22/2, Judge Jambulingam Road, Chennai 600004. Phone: 8472655, 8471841. E-mail:ojas@vsnl.net, website:www.ojasfoundation.com.

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CULTURE - Gérard Depardieu ou le chant du monstre.

Par MARIE-AUDE ROUX. 1,249 mots 13 juillet 2002 Le Monde 28 Français (c) Le Monde, 2002.

Avec « Hary Janos », opéra hongrois de Zoltan Kodaly, le comédien a choisi de se donner, encore avec passion, à l'art lyrique TOUT s'est déroulé très vite. Gérard Depardieu était sur des tournages au Portugal, puis au Canada. Ou bien l'inverse. Peutêtre les deux en même temps. Et puis, un lundi matin de juin, à 10 heures tapantes, rendez-vous au Lutétia. Qui attendre ?

Le titanesque Edmond Dantès surgissant de l'écume un crucifix à la main après une apnée digne du Grand Bleu ? Ou Cyrano le disgracié mourant sous le balcon de Roxane dans les amoureuses modulations d'une sérénade désespérée ? Depuis Les Valseuses, en 1974, il y en a tellement eu des Gérard Depardieu, qu'on ne sait pas, qu'on ne sait plus. Déjà la voix a retenti du dehors qu'accompagne l'arrivée d'un grand corps flottant dans un complet-veston, casque de moto à la main. Gérard Depardieu est grand et mince. Il a perdu 25 kilos. Dire qu'il est devenu diaphane, non, mais c'est impressionnant cette grande carcasse évidée, dont l'énergie qui gonflait volumes et trop-pleins s'est concentrée dans les creux et déliés. « Bon sang, Jean-Paul, je t'ai appelé pour te dire que je serai en retard. Tu aurais pu brancher ton portable », lance-t-il à son ami et metteur en scène Jean-Paul Scarpitta. Enfin, il s'assoit: à Isabelle Huppert, qui passe par là, il glisse une tendresse, une caresse. C'est fou comme ce salon au luxe impersonnel s'est soudain mis à crépiter comme au coin d'un bon feu. « Pourquoi je fais ce spectacle du Hary Janos de Kodaly à Montpellier ? Pour rendre ce que l'on m'a donné. Moi, j'ai appris à vivre avec ce métier. C'est la lecture et les mots des autres qui m'ont sauvé et permis de mettre en ordre mon hyperémotivité. Et qu'y a-t-il de plus proche de l'hyperémotivité que la musique ? » Sur sa vie d'enfant qui ne savait pas parler, Gérard Depardieu est toujours intarissable. Comme un miraculé qui célébrerait en permanence sa guérison, l'homme est un ex-voto vivant, un Boudu sauvé des mots. « J'ai d'abord appris à moduler les sons avec M. Souami puis chez Alfred Tomatis. Puis j'ai eu la chance de commencer avec Claude Régy et Jean-Laurent Cochet, des antithèses qui finalement se rejoignaient. Cochet dans une maîtrise de la langue classique, de la ponctuation et de la versification, Régy dans un dénuement proche du noir, du blanc, du gris, jusqu'au bégaiement. » Côté bégaiement, Gérard Depardieu en connaît un rayon, mais se dit totalement infirme question musique, lui qui ne l'a pas étudiée. Ne l'a-t-on pas vu pourtant débarquant en 1986 au Zénith sur une certaine « île aux mimosas » où l'attendait Barbara dans Lily Passion ? S'il aime toujours autant la chanson, il apprécie aujourd'hui l'art lyrique, va au concert, à l'opéra. « Ma fille Julie m'initie à la musique, et puis Carole, qui m'emmène à l'Opéra. » Jean-Paul Scarpitta dit que Gérard est tombé fou quand il a entendu chanter la soprano américaine Susan Graham. Qu'il a les dimensions d'un grand artiste lyrique. C'est vrai, la voix est reconnaissable entre toutes. Comment évoquer sans émotion ce moment de Trop belle pour toi, de Bertrand Blier, où l'acteur entendant La Jeune Fille et la Mort, de Schubert, se lève soudain de la table familiale. « Bertrand avait mis la musique. Puis on l'a coupée pour la prise. Je n'ai eu qu'à dire les mots dans le fil des notes, presque sans y penser. Il ne faut pas trop chercher. Je préfère laisser les choses s'échapper plutôt que de les contrôler. Il faut être un peu fou et laisser parler en soi le monstre. » dimension mystique Gérard Depardieu aime bien les monstres - Rodin, Picasso, Giono, Debussy... « Il y a dans le monstre, un côté tranchant presque chirurgical, mais il y a aussi la réparation. On oublie toujours la réparation. Les oeuvres qui sont des réparations. » Peut-être est-ce justement pour se réparer que Gérard Depardieu dit aujourd'hui avoir besoin d'aller plus souvent vers des oeuvres musicales. « Je trouve dans la musique une dimension mystique, que je cherche aussi dans la vie d'une manière générale. J'aime, par exemple, lire saint Augustin dans certains endroits, temple, mosquée, église, basilique. Au Portugal, j'ai voulu le faire dans une immense église, mais saint Augustin ne passait pas. » Coup d'oeil malicieux, avant de se souvenir avec bonheur de cet OEdipus Rex de Stravinsky donné au Théâtre antique d'Epidaure en septembre 2001, où il avait trouvé le centre exact de la résonance, quelque chose qui touchait au cosmique.

Pour Hary Janos, l'acteur a demandé à Jean-Paul Scarpitta de lui faire parvenir la musique au Portugal. Plus d'un mois et demi qu'il écoute, qu'il s'imprègne du texte français écrit par Florian Zeller. Personne n'en revient de ce que Gérard soit, après tant d'années de métier, « toujours dans la violence intérieure, la ferveur, et l'amour incroyable de son art ». De ce qu'avec lui les répétitions n'aient jamais rien de formel, car, s'il suggère beaucoup, l'acteur, plus encore, sait écouter. « 200

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Tomatis 2008 L'histoire de ce Hary Janos, baladin du monde occidental, c'est la Hongrie qui cherche son identité. On est dans l'essence même du populaire, de ce qu'on ne sait pas, mais qui fait partie de nos mémoires. » Etonnant chez cet être si passionné, l'absence qui parfois passe au fond du regard bleu presque gris. Comme une ouverture sur l'inconnu. Lui qui dit ignorer la déperdition, avoir de la mort une vision apaisante - presque schubertienne. « La mort, je l'ai approchée deux fois. C'est un immense soulagement, une grande chaleur, une grande paix. Tous les gens que j'ai vus dans leurs derniers instants, que ce soit mon père, ma mère, Truffaut, Carmet, Marguerite Duras, Barbara, m'ont donné à ressentir ce soulagement, cette chose très positive. Peut-être parce que je suis extrêmement amoureux de la vie. » Depardieu parle encore des musiciens, dit qu'ils ont la chance de sortir des sons qui ne sont pas des mots, qu'avec eux il se sent devenir instrument. Quand on lui rétorque qu'il a toujours été un instrument, il répond qu'il n'a pas eu le choix, qu'il y a toujours eu en lui cette étrangeté de la jubilation et que, derrière, il y a peut-être aussi la folie douce, le curé d'Ars, l'abbé Donissan de Bernanos ! « Il faut lâcher les monstres. Laisser chanter les monstres. » hary janos, de Zoltan Kodaly, avec Gérard Depardieu, Nora Gubisch, Vladimir Petrov, Denia Mazzola-Gavazzeni, Jean-Paul Scarpitta mise en scène , Orchestre national de Montpellier, Friedemann Layer direction . festival de Radio-France et montpellier, les 15 et 16 juillet à 20 heures à l'Opéra Berlioz 34 . Tél.: 04-67-02-02-01. De 8 à 34. contactfestival-rfmontpellier.com BIOGRAPHIE MUSICALE 1 948 Naissance à Châteauroux.

1996-1997 « L'Histoire du Soldat de Stravinsky ».

2001 « Oedipus Rex » de Stravinsky. « Le Carnaval des Animaux » de Saint-Saëns, texte de Marie Darrieussecq au Festival de Montpellier.

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Tomatis 2008 Cross-cultural communication: A program addressing the effect of migration on South African education Christo Potgieter; Esther Bredenkamp 3,448 mots 1 juillet 2002 Childhood Education 200-205 Volume 78, Issue 4; ISSN: 0009-4056 Anglais Copyright (c) 2002 ProQuest Information and Learning. All rights reserved. Copyright Association for Childhood Education International Summer 2002 This program creatively addresses the outcomes of migration in South Africa, and has successfully benefited the communities where it has been implemented.

The 2001 Annual Theme issue of Childhood Education focused on migration and education. Guest Editor Navaz Bhavnagri located too many excellent articles to include in one issue. Therefore, we have been publishing additional theme-related articles in subsequent issues. This is the last of the series.

Migration has always been part of the South African experience. For the purpose of this article, the authors give a general background of migration in South Africa and examine its effect on education today. The focus will be on a cross-cultural communication skills development program funded by Saambou Bank (a South African commercial bank). This program creatively addresses the outcomes of migration in South Africa, and has successfully benefited the communities where it has been implemented.

HISTORY OF MIGRATION IN SOUTH AFRICA People began migrating to South Africa when it was colonized by various groups from Europe, including missionaries, who played an important role in education. In 1841, government aid was extended to mission schools; as a result, the education of non-white people became exclusively the domain of churches and other religious institutions.

The discovery of the South African mineral wealth (e.g., gold and diamonds) in the late 19th century sped up the migration process. The shantytowns that grew out of the mine operations and trade eventually became the major cities of South Africa, many of which became overcrowded. People migrated from neighboring African countries, as well as other countries, to Egoli (Johannesburg), the place of gold, in order to carve out a living.

As old ways of farming gave way to sophisticated mechanized methods, much of the agricultural workforce moved to South Africa's cities looking for employment in the gold mines and related industries. The industrialization, diversification, and social integration of the economy also drew people to the cities. Many men left their families behind to work in the mines, leading to a weakening of the family structure, and the fragmentation and depopulation of rural areas.

The control of education was divided between white and non-white education from as early as 1909. The political ideology of apartheid (established in 1948)greatly affected the migration of people in South Africa. The Group Areas Act (1950), SA resulted in the forced removal of black people from predominantly white urban areas. The removed populations were relocated in areas called "townships," the most well-known being Soweto. These forced removals separated people according to race and culture.

The dismantling of the Group Areas Act in the late 1980s resulted in another great migration of people to urban areas.

Informal, "squatter" settlements sprung up overnight. These informal settlements had no infrastructure such as schools or roads, nor even basic amenities such as electricity and sewage systems. The number of these informal settlements increased after the transition to majority rule and democracy in South Africa in 1994; at that time, migration from townships to traditionally white city suburbs, and to schools, accelerated.

THE EFFECT OF MIGRATION ON EDUCATION Given the various reasons for migration, great inequities, conflict, and strife exist among different groups in South African society. As noted earlier, South Africa has not been a completely free and democratic society. There have rarely, if ever, been institutional governmental mechanisms to encourage communication among different ethnic groups, for example.

Thus, many students from different groups in South Africa have never mixed with each other. Some may have had no reason or opportunity even to be in close proximity with students from other immigrant groups.

Reports of conflict in schools were common; mistrust and misconceptions were prevalent among learners from different races, causing political strife and racial stereotyping. This was the basic challenge facing the authors when they first began 202

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Tomatis 2008 seeking creative solutions in 1994.

Communication within a multilingual society is another major challenge. South Africa has 11 official languages, and even more ethnic groupings. Although mother tongue education is provided until grade 3, the preferred language of education in urban areas seems to be English. Many parents opt to teach their children English from a very young age, as it is believed that it will give them greater social mobility and open up more possibilities to succeed, both locally and globally. The problems created by this situation have to be squarely faced both by teachers and, ultimately, parents. Only by reclaiming and honoring our cultural roots and mother tongue can we preserve our personal and collective self-respect and identity. It is therefore critical that carefully designed therapeutic interventions be undertaken to bring various language and ethnic groups into harmony.

An Example of Internal Migration in a School Setting A school in Laudium, Pretoria, offers a glimpse into the effects of internal migration on a school environment. During the apartheid years, Laudium was primarily an Indian and Asian community. In 1993, migration from other areas accelerated.

Today, pupils come from nine other areas, as far as 57 km (about 35 miles) away from the school. Currently, Laudium Secondary has a total of 1,168 learners representing the following languages: Afrikaans, English, Hindi, Gujrati, Tamil, Telegu, Arabic, IsiNdebele, SiSwati, IsiXhosa, IsiZulu, SeSotho, SePedi, SeTswana, TshiVenda, and XiTsonga. If one bears in mind that 16 different languages are represented in one school, one can begin to get an idea of the challenges that using English as the exclusive medium of tuition must pose to educators.

THE CROSS-CULTURAL COMMUNICATION PROGRAM Former South African president Nelson Mandela started the process of making businesses more aware of their social responsibility towards young people, especially those from marginalized communities. In response, the South African business sector started supporting various projects in schools, including communication programs.

The authors first initiated their Cross-Cultural Communication Program in 1995 at various colleges and universities that had significant numbers of migratory students. The program, after various reviews and refinements, is now in its fifth cycle.

Theoretical Model of the Proram The theoretical underpinnings of this program are based on the works of two groups of scholars. The first group of scholars, who work on African issues (Kidd & Coletta, 1980; Mda, 1993; Mlama, 1991), find that communication skills are critical to increasing participation at all social levels, achieving self-reliance, and promoting equity. The second group of scholars, who work in the field of drama, focus their research specifically on the integration of body, voice, and movement (Alexander, 1923; Barlow, 1990; Bartenieff, 1981; Lessac, 1997; Madaule, 1993; Warner, 1991). The educational approach of "body-voice-movement integration" used in the Cross-Cultural Communication Program combines these two theoretical frameworks.

Application of Theoretical Approach to Practice: The Talking Drum Activity Alfred Tomatis (Madaule, 1993) states that understanding and building on the connections between the ear, the brain, and the voice is invaluable for developing listening skills. The Tomatis method uses chants and music as external stimuli to energize the human auditory system. The authors decided to use the music of Mozart, Vivaldi, and Halpern compositions; Gregorian chants; and indigenous music from all cultures to stimulate listening, focusing, relaxation, and visualization. This served as a prelude to an activity called "Talking Drums."

Lessac (1997) developed a method for training the voice, in which imagination is expressed in words and sounds. He emphasizes how learning is affected by the physical sensations associated with the production of vocal sounds and the mental ability to recall those sounds. During the Talking Drums activity, speech patterns are explored and linked to the rhythms of multilingual learners' names. These speech patterns then are translated into the warm sounds of African drums.

This interpersonal, nonverbal communication is effective because language barriers disappear and the varying degrees of English language proficiency among the learners loses significance.

Orff (Warner, 1991) suggests the integration of sound and movement, using the voice as instrument, both melodic and non-melodic. In the Talking Drums exploration, a verbal sentence is constructed in different languages and used as a basic rhythm pattern. From this rhythm pattern, six or seven different rhythms are created and added, using words from the sentence. Through this "drum talk," the 40 participants came to know each other in 45 minutes. The majority of them had never touched a drum before.

According to Laban and Bartenieff (Bartenieff, 1981), one can develop a relationship with the immediate environment by exploring one's kinesphere (personal space). In the Talking Drums exploration, one half of the group plays the drums and 203

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Tomatis 2008 the other half of the group responds by interpreting the rhythm through movement. Thus, different cultures discover one common rhythm and become cognizant of the rhythms unique to each cultural group. It is always a magical moment when students from different cultural groups, who have known each other for only a relatively short time, learn to operate cooperatively.

Although this method of sound-voice-movement integration was designed specifically for the South African internal immigrant population, the authors believe that it can be adapted for other immigrant groups who experience language barriers, have no earlier contact with each other, and hold stereotyped and hostile views toward each other. Other percussion instruments, representative of the particular cultures, can be used to promote communication between different cultural groups of immigrants within the same school.

Program Operation Preparation for the program started four months before implementation. At meetings with officials from the Department of Education, eight schools from historically white, black, colored, and Indian/ Asian areas were identified. Then the principals and four educators from each school met with the program developers to discuss details about the program and set intervention dates. Because the program is considered an extracurricular activity, it takes place after school hours. The program consists of two parts, which run simultaneously: Program for Learners. Forty learners at the 10thgrade level (ages 15 to 22) from four schools are gathered as one working group per intervention. Eight interventions are conducted over a period of six months. During these interventions, the participants are put through interactive explorations and processes in an open creative space without desks, papers, pens, or lectures. The open space creates equality for all participants, regardless of their backgrounds. The main goals of these interventions are to break down cross-cultural barriers and to build trust between groups that once were separated. The program develops and builds social skills in a cooperative learning environment.

This program stresses learning to communicate with a person first as a human being before attempting to communicate with him as a person from a different cultural group. The immigrant learner benefits from this point of view because the initial contact focuses on aspects of shared humanity, rather than on differences among cultures or individuals. This allows every learner to feel safe and accepted within a multicultural group. Throughout the program, participants acknowledge and celebrate cultural similarities as well as differences.

The program explores awareness of the self through movement. Amplified energetic music sets the scene for moving within the safety of a circle, focusing on the self while building trust between participants and facilitators. Movement to music facilitates the exploration of human movement, at all levels. This releases tension and results in a lot of laughter.

Sound-voice-movement integration guarantees involvement of the emotions, which are linked to all the interactive activities in the program. Drums and rhythms, as part of sound-voice-movement integration, put the stamp of Africa on this program. Throughout the program, participants are invited to predict, plan, recount, and report on the explorations they have experienced. They have to negotiate and mediate, and defend and justify a point. At the end of the intervention, they must reflect on the learning experience. At this final stage they are able to share the conviction that it is people, and not cultures, who communicate.

Another exploration, called "Our Dream House," illustrates some of the cognitive and affective processes addressed in the program. Two participants from different cultures sit down together and discuss their dream home. They verbally plan this house and convey what it will look like on a large piece of paper. Ample time is provided for discussing, negotiating, and planning. It is always wonderful at this stage of the process to observe the mutual respect, friendliness, and cooperation that are established between the participants.

The facilitators provide each pair with one thick, brightly colored felt-tip pen. The challenge starts when the students have to draw the house together-both holding the same pen-with no one student allowed to lead. This process elicits on-thespot negotiations, compromise, tolerance, cooperation, and clear communication as the pairs strive to complete their house drawings. Adjustments of bodies and movement into each other's personal space happen spontaneously as they direct the pen on paper. This process inevitably causes a lot of frustration, yet also some laughter. When the house is completed, the participants reflect on and review the process. In the next stage of the exploration, the pair proudly defends the merits of their dream home against other homes. This results in a wonderfully creative and chaotic process.

The rewards of using this exploration cannot be overemphasized, especially for immigrant students learning to function educationally and socially. In the authors' observations over the past several years, the participants blossomed as they laughed together and defended what they cooperatively owned.

In the words of a female Tswana learner, who was describing her male Afrikaans partner during this exploration: "We can and we are able to understand one another. My partner was very funny. I have never laughed the way I am laughing today.

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Tomatis 2008 I will always be his friend."

Program for Educators. The second part of the CrossCultural Communication Program is a training element for educators from participating schools. The educators are all from different areas and come from diverse social and cultural backgrounds. This training includes an introduction to the same processes used with the learners. The review helps the educators when observing the learners during interventions. Interactive training sessions, interspersed with interventions for learners, culminate in a cross-cultural social event that celebrates traditional dress and culinary tastes.

Throughout the training cycle of the program, the educators continually explore the process of interpersonal communication (see Appendix). On completion of their training, educators report that they use the newly acquired skills daily in enhancing their presentation skills and managing their classrooms. They also link the method of sound-voicemovement integration to the outcomes-based education model of the South African Education Department. These skills are then directly incorporated into such curriculum areas as life orientation, communication and languages, human and social sciences, and arts and culture.

Once the intervention and training cycle is complete, the facilitators take ownership and responsibility of the program and use the concept to get more learners involved, as well as the greater communities. Follow-up interventions for learners, as well as training for facilitators, are currently being developed and tested.

Program Challenges The feedback from learners and educators involved in the program is remarkable. However, challenges remain.

Transportation for learners and educators from different areas is time-intensive and costly. Infrastructure (such as public transportation) is underdeveloped in South Africa. Implementation of follow-up projects, which would support and sustain the initial input, is still delayed due to limited funds. Although there are other programs operating in schools funded by the South African business sector, they concentrate more on health, poverty, entrepreneurship, social issues, and mathematics and science education. This crosscultural program designed for secondary school learners in South Africa is the only program focusing on communication.

LESSONS LEARNED BY MIGRANT LEARNERS In conclusion, the authors offer comments from learners who participated in the program. Their comments bear testimony to how cross-cultural groups received this program and how it benefited their lives.

Regarding cross-cultural understanding in migrant groups, one 15-year-old female learner, from a traditionally Indian school, commented as follows: "Understanding comes from being more socially interactive with other cultures and learning about them; therefore, I must say that I understand them a lot better now than before. We learned to accept people for who they are and not from which cultural background they come. It gave me a better understanding of myself, my surroundings, and the people around me."

Another girl her age, this one hailing from a traditionally white school, observed that removing communication barriers allowed her to converse freely with people from other cultures: "The skin color wasn't important anymore... I would like to know more about their culture. I have realized that they are the same as us and it is only the cultural package that is different."

The political history of South Africa-with its stereotyping and labeling-is addressed in this comment by a 16-year-old girl: "As a young person I was taught to hate other cultures because of apartheid, but now this program has helped me a lot.

Thank you for letting me see things differently and learn other things of life, like when you are angry how you can control yourself."

Another learner, a white male from an Afrikaans school, found his stereotypes were challenged in another way: "I have realized that other people don't bite. I will not be mean and cruel to other people anymore, and I won't bite back."

The experience of overcoming fears in an unfamiliar social environment led a 17-year-old migrant female to comment: "I was so afraid of people from other cultures before the program. After the program I am able to talk to them and share my feelings. If you laugh with other people you find that you can understand them."

An immigrant learner from an integrated school, age 17, made the following remark: "I felt safe and accepted. I wish we could do this every day. This program was not only educational but it [also] boosted my self-esteem and confidence. How to love one another regardless of skin color and accepting each other were the most focused aspects in the program. I was also very surprised that people who are so different can cooperate so well."

In the final analysis, this program helps lead young people who live in a diverse society, and are faced with migratory 205

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Tomatis 2008 challenges, to a more able, joyous, and self-- directing adulthood.

Christo Potgieter and Esther Bredenkamp are Communication in Diversity Consultants, Pretoria, South Africa.

References: Alexander, F. M. (1923). Constructive conscious control of the individual. Long Beach, CA: Centerline Press.

Barlow, W. (1990). The Alexander principle: How to use your body without stress. London: Vista.

Bartenieff, 1. (1981). Body movement: Coping with the environment. New York: Gordon & Breach Science Publishers.

Gardner, H. (1993). How children think and how schools should teach. Fontana Press.

Freire, P. (1973). Education for critical consciousness. New York: Continuum.

Kidd, R., & Coletta, N. J. (Eds.). (1980). Tradition for development: Indigenous structures and folk media in non-formal education. Berlin: German Foundation for International Development.

Lessac, A. (1997). The use and training of the human voice: A practical approach to speech and voice dynamics. New York: DBS Publications.

Madaule, P. (1993). When listening comes: A guide to effective learning and communication. Ontario, Canada: Moulin.

Mda, Z. (1993). When people play people: Development communication through theatre. Johannesburg, South Africa: Witwatersrand University Press.

Mlama, P. M. (1991). Culture and development: The popular theatre approach in Africa. Sweden: Motala Frafiska.

Pederson, P. B., & Hernandez, D. (1997). Decisional dialogues in a cultural context: Structured exercises. New York: Sage. Seelye, H. N. (1996). Experiential activities for intercultural learning. Maine: Intercultural Press.

Smith, C. A. (1993). The peaceful classroom: 162 easy ways to teach preschoolers compassion and cooperation. Beltsville, MD: Gryphon House.

Warner, B. (1991). Orff schulwerk: Applications for the classroom. Englewood Cliffs, NJ: Prentice Hall.

Suggested Readings on the History of Education in South Africa Allais, C., & McKay, V. (Eds.). (1995). A sociology of educating. Johannesburg, South Africa: Lexicon Publishers. Christie, P. (1991). The right to learn: The struggle for education in South Africa. Pretoria, South Africa: The Sacked Trust.

Hartshorne, K. (1992). Crisis and challlenge: Black educa tion 1910-1990. Cape Town, South Africa: Oxford University Press.

Kallaway, P., Kruss, G., Fataar, A., & Donn, G. (Eds.). (1997). Education after apartheid. South African education in transition. Cape Town, South Africa: University of Cape Town Press. Nasson, B., & Samuel, J. (1990). Education: From poverty to liberty. Cape Town, South Africa: David ft Philip.

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Institut für Audio-Psycho-Phonologie nach A. Tomatis (D) - Kanton Zug. 129 mots 11 avril 2002 D & B SHAB Allemand SHAB Information serialised by Dun & Bradstreet (Schweiz) AG. Homepage Address: http://www.dbswiss.ch HR SHAB Nr. 69 vom 11.04.2002, Kanton ZG (D) 05.04.2002 (3482) Institut für Audio-Psycho-Phonologie nach A. Tomatis (D) 6300 Zug Stiftung SHAB Nr. 199 vom 12.10.2000, Seite 6992 Führung eines Institutes im Kanton Zug, welches die Audio-Psycho-Phonologie von Dr. Alfred Tomatis a ZG Mutationen Institut für Audio-Psycho-Phonologie nach A. Tomatis, Sitz: Zug, Führung eines Institutes im Kanton Zug, welches die AudioPsycho-Phonologie von Dr. Alfred Tomatis anwendet, Stiftung (SHAB Nr. 199 vom 12.10.2000, S. 6992).

Eingetragene Personen Neu: Amt für berufliche Vorsorge und Stiftungsaufsicht, in Zug, Aufsichtsbehörde.

Gelöscht: (Regierungsrat des Kantons Zug, in Zug, Aufsichtsbehörde).

Tagebuch Nr. 3482 vom 05.04.2002 00422312.

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REGIA DI DANIELE ABBADO Kafka si fa lirico per Colla. "IL PROCESSO" Di CAPPELLETTO SANDRO. 541 mots 28 mars 2002 La Stampa Italien (c) 2002, La Stampa REGIA DI DANIELE ABBADO Kafka si fa lirico per Colla "IL PROCESSO" Sandro Cappelletto REGGIO EMILIA Un giovane compositore di certissimo talento consegna un lavoro di teatro musicale invece ancora incerto, che alterna momenti di spessore a soluzioni più ovvie, meno mature. Alberto Colla, trentenne piemontese di Alessandria, vince il concorso per una nuova opera lirica bandito in occasione del centenario di Verdi; la giuria premia il suo ""Processo"", un soggetto tratto dall'omonimo romanzo di Kafka e andato in scena grazie ad una coproduzione fra il Teatro Valli di Reggio e la Scala di Milano. Il peso di uno dei titoli più significativi del 900 letterario condiziona la libertà creativa di Colla, costringendolo a un percorso narrativo molto rispettoso delle scansioni del romanzo; il libretto, redatto dallo stesso compositore, non si preoccupa troppo di ricercare un originale percorso drammaturgico a vantaggio di una letterale fedeltà alla pagina di Kafka. L'antico conflitto tra musica e parola fa sentire ancora una volta il suo peso e, nell'esito complessivo, la parola sembra qui avere il sopravvento. Colla è un musicista wagneriano del terzo millennio. Una straordinaria - vista l'età - consapevolezza degli stili musicali passati-presenti, un senso della continuità tematica della scrittura, incontrano una sensibilità spiccatissima verso la dimensione del suono come valore simbolico, quasi una religione con le sue discipline e significati. Nell'insistere su questo aspetto, che produce esiti strumntali molto raffinati, si avverte un'eco delle riflessioni di Alfred Tomatis, il grande medico del suono francese recentemente scomparso, studioso del riverbero interiore prodotto dalla musica, alle sue conseguenze sul nostro sistema percettivo. La musica come linguaggio primario. Questa scelta si ritaglia bene su Josef K., il ""procuratore di banca"" protagonista del ""Processo"", anonima e passiva vittima di una colpa imprecisata, di un'accusa che mai gli è stata precisamente rivolta, ma che lo condiziona fino al punto di offrirsi con mitezza ai suoi carnefici. Il male di vivere trova in Kafka un radiologo implacabile. Ma, per durare, uno spettacolo teatrale deve alternare diversi registri espressivi. E nelle due ore senza intervallo dell'opera c'è spazio anche per l'ironia: sarà che quando suona una tromba il pensiero si connette facilmente ad Emnio Morricone, ma nella scena in cui Josef compare davanti al ""giudice istruttore"" sembra proprio di assistere a un duello western. La linea del canto - duro problema dei contemporanei - propone invece più convenzionali recitativi e declamati, ampi ariosi, sempre nella preoccupazione della comprensibilità della parola. Da creativa, la musica si fa illustrativa. La regia di Daniele Abbado, aiutato dai costumi di Nanà Cecchi, dalle scene di Giovanni Carluccio, dalle luci di Guido Levi, propone uno spettacolo coeso, ombroso e intenso, giocato sulla soglia che divide e collega realtà, sogno, incubo. Enrique Mazzola dirige con equilibrio l'orchestra della Fondazione Arturo Toscanini; efficace la prova del coro, diretto da Martino Faggiani. Non mancano le voci convincenti, nel generale affiatamento del cast. Con George Mosley (Josef) da ricordare Paolo Rumetz, Annie Vavrile, Dona Dimitru, Ezio Di Cesare, Lorenzo Mozzi, Gregory Bonfatti, Nicola Ulivieri, Enrico Iori, Costanza Gallo.

Teatro gremito e festante. Un pò di coraggio verso la contemporaneità non fa poi così male.

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Tomatis 2008 The Mozart Effect for Children: Awakening Your Child's Mind, Health, and Creativity with Music. (Diverse Topics).

McBride, Jerry 1,406 mots 1 mars 2002 Notes 608 ISSN: 0027-4380; Volume 58; Issue 3 Anglais Copyright 2002 Gale Group Inc. All rights reserved.

The Mozart Effect[R] for Children: Awakening Your Child's Mind, Health, and Creativity with Music. By Don Campbell. New York: William Morrow; Harper Collins, 2000. [xiv, 263 p. ISBN: 0-380-97782-6. $25.]

Over the last eight years there has been great interest in the so-called "Mozart effect." The popular press has promulgated the idea that gains in human intelligence can be made by simply listening to the music of Wolfgang Amadeus Mozart. The attractiveness and popularity of this idea has supported the work of Don Campbell since the early 1980s, and he now holds the trademark for the term "Mozart Effect." Campbell first encountered the special properties of Mozart's music from the ear, nose, and throat specialist and researcher Alfred Tomatis. As early as the late 1950s Tomatis's controversial research and theories about human hearing were developed and later used to treat a wide variety of ailments, from impaired hearing in musicians to autism. He also discovered that the music of Mozart was generally more effective in treating his patients than other kinds of music (Alfred A. Tomatis, The Conscious Ear: My Life of Transformation through Listening, trans. Stephen Lushington and Billie M. Thompson [Barrytown , N.Y.: Station Hill Press, 1991], 159-60).

In research into the organizational principles of the human brain in the 1980s, Gordon Shaw and Xiaodan Leng mapped computer-generated, spatial-temporal sequences of memory patterns from Shaw's theoretical model of brain organization onto music and noticed that different memory patterns resembled different styles of music (Gordon L. Shaw, Keeping Mozart in iWind [San Diego: Academic Press, 2000], xiv). From this they postulated that "music training for young children (when their brains are developing the most) would enhance their ability to do spatial-temporal reasoning, which is important in doing math and science." Shaw also read of another experiment demonstrating "that 4-month-old infants have a remarkable preference for hearing Mozart sonatas as they were written as compared to 'unnatural' versions" (C. L. Krumhansl and P. W. Jusczyk, "Infants' Perception of Phrase Structure in Music," Psychological Science I [1990]: 70-73. as cited in Shaw, p. 31).

This led to the 1993 "Mozart effect" study by Shaw and Frances Rauscher (F. H. Rauscher, C. L. Shaw, and K. N. Ky, "Music and Spatial Task Performance," Nature no. 365 [1993]: 611). In an experiment, a group of college students listened to the first movement of the Sonata for Two Pianos in D major, K. 448, chosen for its symmetry and organization. The students were then given one of three items from the Stanford-Binet IQ test measuring spatialtemporal reasoning: paper folding and cutting, pattern analysis, and matrices. Only the paper folding and cutting test showed a statistically significant improvement for those who listened to the Mozart sonata compared to the control subjects who did not. Further experiments included one by Rauscher in which the sonata was played to rats in utero and two months after birth. The rats who listened to Mozart navigated a maze significantly better than the controls (F. H. Rauscher, K. D Robinson, and J. J. Jens, "Improved Maze Learning through Early Music Exposure in Rats," Neurological Research 20 [1998]: 427- 32). Other researchers attempted to replicate the original study with mixed and inconclusive results.

The reaction to the study in the popular media was rapid and led to the mistaken conclusion that listening to the music of Mozart could be used by educators to induce an increase in general intelligence in children. All of this interest in the "Mozart effect" was based on an experiment--not consistently replicated--that showed increases in scores on the paper folding and cutting portion of the IQ test performed by college students (not children) using only one piece by Mozart.

Steven M. Demorest and Steven J. Morrison summarize the "Mozart effect" studies and provide an excellent discussion of what conclusions, if any, can be drawn from the research in "Does Music Make You Smarter?" (Music Educators' Journal 87 [September 2000]: 33- 39,58).

Campbell's prior book, The Mozart Effect[TM]: Tapping the Power of Music to Heal the Body, Strengthen the Mind, and Unlock the Creative Spirit (New York: Avon Books, 1997) was a best-seller. In it the author cites numerous studies and anecdotes to support the healing properties of music and describes a number of exercises and techniques to promote good health. In The Mozart Effect[R] for children his intention "is not to create superprodigies by showing you how to stuff your child's head full of information using musical techniques. [It] is simply to give as many children as possible the incomparable gift of music--and, in doing so, to help them reach their emotional, intellectual, and spiritual potential" (p. 5). The book is an amalgamation of ideas from Campbell's reading in a wide range of sources on child development, brain research, psychology, music education, and early childhood education. This is combined with his experience in leading workshops for those interested in the relationship between music, the mind, physical health and well-being, and overall improvement in the quality of life.

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Tomatis 2008 Following the introductory chapter citing the research to support Campbell's belief in the "Mozart effect" ("Twinkle Twinkle Little Neuron: Music and Your Child's Brain"), the next eight chapters each cover roughly a two-year period of child development starting at conception and ending at age ten. The chapters begin with information on the child's mental and physical development for the period, followed by information from research studies and suggested musical activities for the parent and child appropriate to the specified age, interspersed with real-life anecdotes. The chapters conclude with a handful of suggestions of pieces by Mozart to stimulate the child's development. It is not clear why certain pieces are appropriate for a specific age. For example, the Rondo from Line kleine Nachtmusik is given for ages four to six with this explanation: "This rondo is one of the most charming melodies ever written and easily brings a child's mind to attention.

Use this music to alert your child's mind that desk t ime is approaching, and that it can be joyous and happy" (p. 166).

Surely this music could be played for children of various ages and for all kinds of purposes. Campbell has also produced a number of compact discs of Mozart's music that are to be used for different purposes with children and all marketed under the Mozart Effect title. Aside from the suggestions to use specific pieces of Mozart with children, there is little in this book about the "Mozart Effect" itself. It appears to be used more as a clever marketing device to advance sales.

Campbell is clearly a successful clinician, consultant, and educator, with many useful ideas for using music to improve people's lives. He is quite aware that twenty-first-century American parents have lost touch with traditions that have guided parents for millenia. The oral tradition of simple children's songs, folk songs, and lullabies is quickly being lost, replaced by commercially produced popular and rock music as more and more people rely on recorded music rather than singing or playing music for themselves and others. He believes that these traditional songs and classical music are vital to the total development of children to become happy and healthy adults (p. 134). This is the real message and value of the book. Parents who follow the suggestions to introduce their children to music in a loving and nurturing environment will reap many personal benefits for themselves and their children. Public libraries should have this book to satisfy the demand that is sure to come from parents. Even though some of the research findings Campbell presents may he misleading, there is nothing in the book that is harmful. In fact, if all new parents followed the activities in this book for the first ten years of their child's life, there would be a blossoming of musical literacy and appreciation throughout our society. On the other hand, it would be better for academic libraries to avoid this book in favor of studies that provide more critical insight into the research on the role of music in child development.

COPYRIGHT 2002 Music Library Association, Inc.

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Tomatis 2008 One for my baby.

By JOHN KELLY. 1,197 mots 16 fĂŠvrier 2002 Irish Times 53 Anglais (c) 2002 It's time we saved our children from the racket that passes for music - and save pop in the process. So get yourself some Mozart, Eno, and Toots & the Maytals and rock the cradle Young people are killing music. More dangerous than the squarest parent, more lethal than the most moral majority, this tyrannical target audience is bringing pop music to an undignified end. Once the music that carried teenagers through the maelstrom and elevated grown-ups out of adulthood, pop has almost popped its last. As it shamelessly feeds what's left of itself to the Teletubby constituency, the rest of us are condemned either to moan about it forever or to try to make a change.

I suggest action. It's high time we saved our children, saved ourselves and saved pop in the process. And I have a plan too.

First, stop referring to it as pop and call it what it is: children's entertainment. All of the smiley production-line groups are only, let's face it, human versions of the Tweenies. No more and no less. Their appeal is their bright colours, their endless movement and their bouncy, bouncy beats. That's why the kids love them, and that's why their fan base still needs to be winded. I'm not suggesting Leonard Cohen in the creche, but I question why the rest of us must be constantly bombarded with sounds designed for the under-12s. There is, of course, plenty of other music out there, but the conspiracy of the bland means we rarely hear it. Not only do our children never hear anything else, but we grown-ups don't get to, either.

And I certainly don't see why we are expected to assist in the conspiracy. I'll say it again. It's time to save our children, save ourselves and save pop.

And pop music really does need saving. It's in a ridiculous state at present, given that S Club 7 and U2 are technically in the same business. How daft is it that they are somehow in competition with each other? How absurd is it that everyone finds themselves in the same playpen? U2 can survive it with style, of course, but for a younger band, or an older, less fashionable hand, it's not quite so easy. They must vigorously compete with the human Tweenies for attention, for resources, for record-company support, for airtime. In most cases they don't stand a chance. We can speculate that even a band such as The Beatles wouldn't get arrested these days. The last thing children's entertainment needs, after all, is John Lennon: spiky, challenging, smart, musical, funny, dangerous, odd, poetic and driven. Of course not, it needs Barney. So let's stop calling children's entertainment pop and find a separate place to put it. Let Dustin deal with it in children's programmes and let the grown-ups get on with their musical lives. Maybe then we might begin again to hear somebody sing with their heart and soul on mainstream pop radio.

The second part of my plan involves more than just a name change. It involves action. We must take our children back. We must stop entrusting their feelings to a racket that stinks of nothingness. We must act like adults. And if our children insist on still listening to it, then treat it like smoking. Say cranky things like, "You can smoke all you like, but not under my roof", or, "It's for your own good". Don't get me wrong. I'm not one of those 1950s parents who banned Elvis Presley. My sevenmonth-old daughter is into Daft Punk and Toots & the Maytals, so please don't confuse me with a stick-in-the-mud. She can watch Tweenies all she likes and listen to music all she likes, but I'll do my best to make sure she knows the difference between the real Tweenies and the versions that pass for pop groups.

I know getting our children back won't be easy. In many cases it may be far too late unless you really want to get heavy. A severe parent might consider grounding the kids for pop-music transgressions - maybe a week for 'N Sync, two weeks for Hear'Say and three weeks for S Club 7. And a word of warning. Be very careful with personal stereos, because they could be listening to anything in their bedrooms and you'd never know it. A friend of mine caught his five-year-old with the Six single before it had even been released. He still doesn't know where she got it. And she's been grounded since. So we must get to our children before the industry does. And you must start early. It was a French physician called Alfred Tomatis who first recognised that children's listening abilities begin in utero - and you can't start much earlier than that, unless you count the all-important twinkle-in-the-eye Marvin Gaye album. Tomatis also discovered that playing Mozart to babies improved their motor skills, speech and the whole of the left side of the brain. His studies ultimately led to enlightened efforts such as the Beethoven Babies Bill, as it is popularly known in Florida, which legislated that classical music be an everyday part of childcare centres and state-funded education facilities. Try Mozart if you will. My preference - and my secret weapon in this battle - is the music of a little-known genius called Raymond Scott. Born Harry Warnow in Brooklyn, New York, in 1908, Scott was one of the most influential and innovative musicians of the 20th century. He started out as a jazzman; his later music was used for Bugs Bunny and Daffy Duck cartoons; he invented countless electronic instruments, such as the Clavivox, an early synthesiser; he developed advanced recording techniques; and, most importantly in this context, he 211

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Tomatis 2008 made music for babies.

Recorded at the start of the 1960s, the three volumes of Soothing Sounds For Baby are extraordinary. My daughter is on the second, which is for six-to 12-month-olds. Originally released on three LPs, Soothing Sounds For Baby was devised with the Gesell Institute of Child Development, as an "aural toy" to be heard during "feeding, teething, play, sleep and fretful periods". It was also intended to be "pleasantly stimulating". So far, all is going well. The little one seems content with these pioneering electronic sounds - and hasn't so much as mentioned Louis Walsh.

So get yourself some Mozart, Raymond Scott, Brian Eno, Toots & the Maytals, Daft Punk and U2 and give your baby a break. You'll thank me for it one day, because when baby gets older, he or she will be able to distinguish Teletubbies from Backstreet Boys and you will have a very happy house, filled with the sound of real children's entertainment and real music.

And it will happen if we make the effort. Children aren't stupid. And neither are we.

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Dödsfall utland Alfred Tomatis.

Av Jenny Leonardz.

254 mots 23 janvier 2002 Svenska Dagbladet 26 Suédois Copyright 2002 SvD. All Rights Reserved. http://www.svd.se Den franska öron-, näs-och halsläkaren Alfred Tomatis, mannen bakom den så kallade Tomatiseffekten, blev 82 år gammal.

Alfred Tomatis fann redan på 40-talet en stark koppling mellan hur vi lyssnar och hur vi talar. Han insåg att den som genom träning ändrar sitt lyssnande också ändrar sitt beteende och sin medvetenhet. Hans teorier är inte alltid förenliga med det som lärs ut inom medicinen, men har ofta nått positiva resultat vid exempelvis hörselnedsättning, skriv-, tal-och lässvårigheter, depression och koncentrationssvårigheter. Alfred Tomatis identifierade den optimala hörselkurvan och fann att de låga ljuden tröttar hjärnan, medan höga ljud tycks öka hjärnaktiviteten. Han fann också att hörselkurvan kan påverkas genom ljudstimulering. För den som då hör låga toner för bra blir fläkt-och maskinljud, skrapande stolar och annat buller oerhört arbetsamt. Den som hör de höga tonerna dåligt missar nyanser och blir lätt stressade.

Avvikelser från den optimala kurvan syns inte på ett vanligt hörseltest då varken extremt höga toner eller svagare ljud än motsvarande en viskning prövas. Många barn har fått hjälp av träningsprogram för hörandet och lyssnandet utvecklade från Tomatis teorier. Han arbetade också mycket med musiker, sångare och skådespelare utifrån sina upptäckter av kopplingen mellan lyssnande/hörsel och koncentration/ röstbehandling. Bland annat har sångerskan Maria Callas och skådespelaren Gérard Depardieu behandlats av Alfred Tomatis. Vartefter hans rön vunnit acceptans har så kallade Tomatis-center vuxit upp i många länder. I Sverige finns en rad behandlare som arbetar med hela eller delar av hans metod.

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Soothe away anxiety.

By CLARE GARNER. 1,310 mots 17 dĂŠcembre 2001 The Express Anglais (c) Copyright Express Newspapers 2001 ex17p036 - 1st.pdf Every week we look at alternative ways to treat common medical problems. Anxiety, which affects your body as well as your mind, can cause symptoms including loss of appetite, disturbed sleep and digestive problems. CLARE GARNER looks at calming measures that can help TOMATIS LISTENING THERAPY Patrick de la Roque is a clinical psychologist who applies Tomatis Listening Therapy at the Listening Centre, in Lewes, East Sussex.

Anxiety can be caused by a traumatic event in your childhood or a more immediate stress. Whatever the cause, it disturbs your harmony, on both an emotional and physiological level. It leads to loss of sleep and appetite, poor memory and concentration and low energy levels. Emotionally, we become over-reactive, unmotivated and depressed.

Between the Fifties and Eighties Dr Alfred Tomatis, a French retired Ear, Nose and Throat specialist, researched the role of the ear and concluded that it was much more than simply an organ for hearing sound.

Its primary function, he said, is to provide sensory stimulation to the brain. If we are stressed we "close the ear" to certain frequencies, thereby becoming cut off from the world.

Dr Tomatis made a distinction between hearing, which is simply registering sound, and listening, which requires the desire to communicate. Anxiety blocks your ability to listen.

We have tiny muscles in our ear which are involved in listening, but not hearing. The Listening Therapy involves stimulating these muscles, using an electronic device devised by Dr Tomatis. The device filters out certain frequencies in order to reeducate the ear.

The treatment starts with a listening test to see if you can locate sounds properly. I measure whether you have any distortions in your hearing in the low, medium or high frequencies, which helps me identify any emotional or physical blockages.

Then I will devise a programme, which is tailored to your particular blockages but always has the same structure.

You start by coming for two hours a day, six days a week for two weeks. Each time you will put on headphones.

Mozart or Gregorian chants will be played.

But it will be slightly distorted because the frequencies will be filtered to open your ears properly.

While you are "listening" you can relax, sleep or draw, sitting or lying down. After the initial two weeks, you come back for two more weeks of sessions - one after three to five weeks, and another after five to seven weeks.

Retraining your ears releases stress and anxiety in a very deep way. Any related physical symptoms are alleviated within two weeks of the course. Life will be stressful again but, having gone through this clearing therapy, you will be better able to cope.

A one-off assessment at the Listening Centre costs #55. A four-week course costs #1,100.

It is the only centre in the country, but it does have a mobile unit for groups of six or more anywhere in the UK. Call 01273 474877 or visit www. listeningcentre. co. uk 214

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Tomatis 2008 FLOWER ESSENCES Angela Priddle is a Flower Essence consultant at the International Flower Essence Repertoire in Hampshire.

Flower essences, pioneered by Dr Edward Bach in the Thirties, are a safe and natural therapy for anxiety.

They are liquid infusions that capture the healing power of flowers which work in a subtle way, helping to balance the emotional factors which cause anxiety.

In turn, the physical reactions which result from emotional anxiety, such as heart palpitations, high blood pressure and perspiration are relieved.

The remedies can be used both for emergency and short-term stressful situations, as well as treating longer term anxiety.

They are usually taken from a dropper bottle under the tongue, but also come in creams, oils and sprays. You can buy them off the shelf in chemists and health-food shops and, using the manufacturer's guide, safely self-diagnose and treat basic problems.

One of the best-known flower essence ranges is called Australian Bush, which in part draws on the ancient knowledge of the indigenous Australian Aborigines. In particular, the Bush Calm and Clear products help you wind down.

Other remedies to alleviate anxiety are Soul Support from the Alaskan Flower Essence Project, First Aid from Findhorn Flower Essences, and Balancer from Pacific Essences. Terra from Flower Essences of the Netherlands and Relaxation from Fox Mountain promote calmness, while Heart Wings from Dancing Light Orchid Essences soothe tensions of the heart.

All the above remedies are made from a combination of flower essences to treat general anxiety. If you want to treat specific anxieties you could try Purple Flag Flower from Living Essences of Australia, which treats mental stress and tense reactions to situations; Red Chestnut from the Bach range, which stops you worrying for others and anticipating misfortune; and Aspen from Bach, which deals with vague, haunting apprehension and premonitions.

Rabbitbrush from the FES range helps if you feel overwhelmed and unable to cope with demanding situations, while Scotch Broom from FES, is good for when you are overcome with pessimism and despair, especially regarding world events.

Angela Priddle and her colleague Gail Shaw give free, brief, over-the-phone advice or longer paid consultations (#35 for one hour or #17.50 for half an hour). They can be contacted on 01428 741572. The essences mentioned above are available from the Nutri Centre (020 7436 0422) and Revital Health (0800 252 875).

THAI YOGA MASSAGES Rachel Clare is a Thai massage practitioner and yoga teacher working at Panakeia health clinic in central London Thai yoga massage has been dubbed the "lazy man's yoga", because it puts you into yoga positions with little effort on your part. The benefits are similar to those of yoga but, if anything, greater because the muscles and tissues stretch more readily when you are passive.

I use a combination of stretching and applied pressure to work on the energy lines of the body, which are similar to the meridians worked on in acupuncture and shiatsu. You wear warm, loose clothing and lie on a futon, first on your back and then on your front. For part of the massage you will be sitting up, which means you can't completely zonk out. I apply pressure with my hands, feet and elbows to help release any blockages.

The massage balances the energy flow of the body, which is particularly beneficial for anyone suffering anxiety, stress or tension. It will also relieve anxiety-related symptoms such as high blood pressure, insomnia, headaches, digestive problems and painful joints.

It's particularly good in winter because it can help improve circulation too.

The stretches and manipulations have an effect on your central nervous system. For example, by assisting a forward bending movement of the spine, I am helping the nerves to be soothed and calmed. A gentle backward bending movement will create more space in the chest and lungs, giving you more energy and deeper breathing.

A particularly good posture for anyone suffering anxiety is to sit cross-legged on the floor and lean forward with your arms outstretched and your head lowered. At the same time, I use the heel of my hand to work on the muscles running down either side of the spine. The combination of pressure and stretching is very calming.

The overall effect of the massage is deeply relaxing.

The benefits of regular treatments are cumulative, particularly if you also practise yoga. You will become more in touch 215

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Tomatis 2008 with your body rather than living solely in your head, which we tend to do in our daily lives.

Rachel Clare charges #70 for 90 minutes. She can be contacted on 020 7730 9977.

For a Thai yoga masseur in your area, make enquiries at your local complementary health centre or contact the British Federation of Massage Practitioners on 01772 881063.

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Tomatis 2008

Aural medicine.

By Paul Lloyd.

930 mots 11 ao没t 2001 Adelaide Advertiser Anglais (c) 2001 Advertiser Newspapers Limited Two visiting Indian violinists are exponents of the medical miracle of musical therapy MUSIC soothes the savage beast. But there's a growing body of opinion that it can soothe a lot more than just feelings. Two Indian musicians playing in Adelaide today are showing the way - in research and performance - to music as therapy.

Not that it's just an Indian phenomenon. To cite the famous, Bill Clinton, when US president, chose to listen to country music instead of having a general anaesthetic while undergoing surgery for a torn tendon. In France, Gerard Depardieu, before he became a noted actor, had a stammer and problems with hearing, memory and concentration. The prescription from therapist Dr Alfred Tomatis, of the Tomatis Centre in Paris, was two hours of listening to Mozart a day. It worked, within months.

American psychologist Dr John Ortiz, author of The Tao of Music, uses music to revive the sex life of patients. Ravel's Bolero (an all-time favourite for lovers who can maintain passion for a quarter of an hour), Rimsky-Korsakov's Scheherezade and the sax playing of John Coltrane are among his prescriptions.

But so much of this is just mood manipulation, for which music is well known. Academic Don Campbell says in his book The Mozart Effect "music connects to multiple levels of the brain simultaneously". This suggests there can be even more to music than its historic functions of facilitating play, and grooming and transmitting culture. This understanding is bringing music therapy out of the special schools, psychological hospitals and old people's homes and into the realms of wider medicine.

Research and experience seem to be especially advanced in India, home of today's visiting duo, violinists R. Ganesh and R. Kumaresh. There is a story doing the rounds of how one English man enthused at a concert of theirs because, much to the surprise of the man's doctors, their music had dramatically hastened his recovery from heart-bypass surgery. The musicians - in an interview from Chennai with The Advertiser - would not talk about something that was just too anecdotal, when this is a subject they want to see treated scientifically. Similarly, it is hard to pin down the claim that legendary master Thyagaraja once brought a dead person back to life with his playing on the raga Bilahari.

The scientists are at work in such places as the Raga Research Centre in India's Chennai, where they claim classical Indian music has been found to work on a host of physical conditions, including insomnia, high and low blood pressure, schizophrenia and epilepsy. The brothers Ganesh and Kumaresh work in therapy sessions and research with Ganapathjy Satchidananda Swamy of Karnataka. The Sri Aurobindo Society is active in this field in Chennai, cultural centre of South Indian (Carnatic) music.

In Australia, Christian Heim, a percussionist lecturer in Newcastle University's faculty of music, has just completed a medical degree and was granted a Churchill Fellowship to study music therapy abroad. He points out that the most therapeutic effects are to be found in music that "sustains one particular emotion for a long time". Baroque music fits this bill, but none as well as Indian classical music.

While the Sri Aurobindo Society is working along the lines that sound vibrations affect mental and emotional states which in turn produce physiological changes, others in India single out the effect of music on the pituitary gland, whose secretions affect the nervous system and the flow of blood.

Whatever the process, the effects are what R. Ganesh and R. Kumaresh humbly hope can be found in their music, that and the "enlightenment of the soul". These two brothers who have been playing together for 27 years - the "R" in their name is an initial standing for the name of their father and childhood guru, T.S. Rajagopalan - are now in the first division of India's classical music league. Given Kumaresh's passion for cricket, it might be a more appropriate metaphor to say they are in India's musical First XI. As violinists, both have huge respect for such Western musicians as Stephane Grapelli. But their real heroes are the Carnatic greats, Lalgudi Jayaraman, N. Rajam, L. Shankar and M.S. Gopalakrishnan (a recent visitor to Adelaide).

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Tomatis 2008 Ganesh (born April 3, 1965) describes himself as "the sober and calm one" on stage, while younger brother Kumaresh (born January 21, 1967) is "exuberant and vivacious". But they have, according to their recordings, an uncanny ability to play as a team. This has the effect of doubling the feeling that Indian classical music can provide. And that could be one of the reasons why organisers, who usually put visiting Indian musicians in small suburban venues, have taken a punt on filling the Elder Hall for Ganesh and Kumaresh.

The musicians are upbeat about their Australian tour. Even in the face of globalised McMusic, they see a strong future for Indian classical music and its export. "People are slowly realising that there is more to life than just materialism," says Kumaresh. "They need something for their soul and what better than soulful music?" Whether the listener has any familiarity or not with Indian classical music, Kumaresh believes it "definitely has a therapeutic effect". Even if one nods off to sleep during a long Indian concert - which is quite permissible - there is always some kind of therapy at work, at one level or another.

Violin duo Ganesh and Kumaresh are at Elder Hall, Adelaide University, from 7pm today. Tickets from BASS.

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Musik har läkande effekt.

490 mots 16 juin 2001 Dagens Industri Suédois © 2001, Dagens Industri Vi kan själva påverka vår kropp och sinnesstämning genom att sjunga eller spela olika sorters musik. Ett stort antal forskningsstudier har visat att musik leder till ökat välmående och halten av stresshormoner minskar.

Vi svenskar har starka traditioner med bordssånger till middagen, så även nu till midsommar. Bordsvisorna höjer stämningen och körsång är så populärt att det är den näst största folkrörelsen. Sång och musik har även genomgripande effekter i våra liv. För tidigt födda barn som får lyssna till harpmusik blir lugnade och sover bättre. Äldre, dementa patienter blir rörligare och vitalare när de får höra musik och sång som de känner igen från förr.

Musik är egentligen en urgammal form av läkning. I Grekland utvecklande Pythogoras 550 före Kristus ett koncept för en harmonisk, matematisk indelning av musik som användes för läkning. Men med tiden föll detta i glömska. I slutet av 1900talet har den franske öronläkaren Alfred Tomatis gjort banbrytande insatser med musikbehandling av barn och vuxna som har problem med exempelvis inlärning, kommunikation, uttal, oro och stress. Amerikanen Don Campbell har under 30 år forskat på musikens effekter på hälsan och inlärning och presenterat detta i de storsäljande böckerna om "Mozarteffekten".

Motion på mikronivå Sång och musik är en sorts motion på mikronivå i kroppen. Det leder i sin tur till en ändrad hormonproduktion. Studier gjorda på människor som regelbundet träffas för att spela trummor visar på ett stärkt immunförsvar och att den klassiska stressresponsen motverkas. Annan forskning har visat att frisättningen av nervsignalsubstansen serotonin ökade desto mer harmonisk musik som försökspersonerna lyssnade på. Serotonin har en lugnande och behaglig inverkan. Bristol Cancer Help Center i England använder framgångsrikt musikterapi som komplement till andra behandlingar.

En svenska som länge intresserat sig för musiken och tonernas helande kraft är kroppspsykoterapeuten Eva Grönwall vid Ord & Ton i Västerås. I sin praktik använder hon sig av musikavslappning på en vattenbädd. Eva Grönwall kom i kontakt med denna musikbänk via USA när hon sökte efter sätt att lindra patienternas smärta på en smärtmottagning. Behandlingarna visade sig vara avslappnande, smärtlindrande och höjde det allmänna välbefinnandet. De som tidigare bara upplevt kroppen som smärtande kunde nu börja njuta av sin kropp och metoden har visat sig vara mycket effektiv mot utbrändhet.

Musikbänken består av en vattenmadrass som vilar på två bashögtalare. Vid huvud och fotändan finns högtalare för diskant och mellanregister. När musiken spelas går ljudvibrationerna via madrassen in i kroppen och ger en djup, inre massage.

Eftersom man både känner och hör musiken blir det samtidigt en kroppslig och själslig upplevelse. Musikbänken finns på flera platser i Sverige, bland annat på Selma Lagerlöf Spa i Värmland.

Referenser: Gotell E et al., J Psychiatr Ment Health Nurs 7:119, 2000. Evers S, Suhr B, Eur Arch Psychiatry Clin Neurosci 250:144, 2000. Bittman BB et al. Altern Ther Health Med 7:38, 2001. Burns SJ, et al. Altern Ther Health Med 7:48, 2001.

SUSANNA EHDIN.

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Tomatis 2008 The art of sound.

By Bronwyn McNulty.

1,451 mots 20 mai 2001 Sunday Telegraph Anglais (c) 2001 Nationwide News Proprietary Ltd There's growing evidence to show that your ears may be the path to a healthy, happy life. Makes you think there's more to your audio likes and dislikes than you first heard. Bronwyn McNulty heeds the facts. When Don Campbell visits his 94-yearold mother, more often than not, she doesn't know who he is. She has dementia. But within 30 seconds of him sitting at the piano and singing a tune, Don says, "she's tapping her feet, and the other old people are moving. `That's my boy,' she says, `you make music'." This is just one of the many examples Campbell uses to illustrate what he calls "the Mozart Effect". Or, more plainly, the healing power of music. "It's amazing what rhythm and melody can do," says Campbell, who is a classical musician, former psychology teacher and author. A recent report in the UK's Journal of the Royal Society of Medicine cites a study in which Mozart's Piano Sonata K448 was played to 29 epilepsy sufferers.

Professor John Jenkins says 23 of those patients showed a huge drop in epileptic activity. mozart as medication In his book, The Mozart Effect, Campbell reports that in monasteries in Brittany monks found that cows serenaded with Mozart give more milk; that maternity clinics with music therapy have fewer caesareans and shorter labours; and playing music during surgery under local anaesthetic results in fewer complications. In fact, Campbell says music can do everything from improve memory and learning, to boost productivity, soothe nerves, strengthen endurance, and offer pain relief from simple abrasions, allergies, anxiety, diabetes and cancer. "After several centuries in eclipse, the medicinal use of music has made a comeback in the West," he says. "Music instantly changes tension in the body, and we measure responses in brainwaves, breath, heartbeat and blood pressure." So why Mozart? Why not Bach, Handel, Tchaikovsky or even your favourite radio station? Campbell credits the research of his mentor French physician Alfred Tomatis with establishing the power of Mozart. "Tomatis has found again and again that, regardless of a listener's tastes, Mozart calms listeners, improves spacial perception, and allows them to express themselves more clearly. "Perhaps the key to his greatness is that it all sounds so pure and simple. Mozart doesn't weave a dazzling tapestry like that great mathematical genius, Bach. He doesn't raise tidal waves of emotions, like Beethoven. His work doesn't have the stark plainness of a Gregorian chant, a Tibetan prayer, or a Shaker hymn... His wit, charm and simplicity allow us to locate a deeper wisdom in ourselves." But you don't have to listen exclusively to Mozart if you want to self-medicate. As Campbell says: "We all have our favourite music and are charmed by its effects. Playing music at home, in the office or at school helps create a dynamic balance between the logical left and more intuitive right hemisphere [of the brain]. "If the office is very noisy, music can help to calm the whole atmosphere," Campbell adds. "But sometimes music is a distraction. It's important to have quiet time as well as stimulation. "Sound and music are like vitamins. High frequencies, when they are arranged in a clear, musical order, give the brain a sense of clarity and focus. Creatively, using music in the afternoon for 10 minutes of stimulation helps to reorganise the brain." sounds like a cure Cath Zeltner is a consultant with the Joudry Sound Therapy Method. Like The Mozart Effect, the Joudry Method is based on the Tomatis premis that high-frequency sounds (3000 to 8000 hertz or more) affect cognitive functions, such as thinking, spatial perception and memory. With the Joudry method, patients listen to classical music for three hours a day for three months through headphones that play the music more loudly in the right ear. "The Joudry Method is mainly used to treat tinnitus, hearing loss, and learning disabilities like ADD [Attention Deficit Disorder], autism and dyslexia," Zeltner says. "We find there are some wonderful side benefits, like more energy, greatly reduced stress levels, better sleep and often the need for less sleep. So we say it's absolutely beneficial for anyone with ears. "We use classical music because it stimulates the brain, and we have also added high pitches - or high frequencies - to the music." Zeltner says high-frequency sounds, like birds chirping, frogs croaking, water running and wind whistling through trees, are the natural diet of the brain.

"Anything electrical or mechanical, like a computer or air conditioner, creates a low-frequency sound. So unless you have a job where you are out in the bush all day, you are not hearing these sounds. Our therapy is a bit like supplementing the diet of the ear with natural sounds." Yet, Zeltner adds, a wildlife tape isn't the same thing because the sounds don't come through as high frequency as they are. Campbell says your heartbeat is highly attuned to sound and music. "Your heart rate responds to musical variables, such as frequency, tempo and volume," he says. "The faster the music, the faster the heart will beat; the slower the music, the slower the heart beats, all within a moderate range. As with breathing rates, a lower heartbeat creates less physical tension, calms the mind, and helps the body heal." Perhaps that's why DJ Jonathan Wall, who plays at Sydney's Home nightclub, says he needs to hear something mellow on his way home at night. "At work I mostly play music that's between 120 beats per minute (bpm) and 135bpm," Wall says. "That is a fairly comfortable dancing range. But when I finish, I'm usually wide awake, so I play something laidback to help slow me down, so I can go to sleep quickly." mood-setting music The following tendencies are general and can be modified by the listener's condition, diet, environment and posture. # gregorian chant Excellent for quiet study and meditation and can reduce stress. # slower baroque music (Bach, Handel, Vivaldi, Corelli) Imparts a sense of stability, order and safety. # classical (Haydn and Mozart) Improves your concentration, memory and spatial perception. # romantic (Schubert, Schumann, Tchaikovsky, Chopin and Liszt) Enhances feelings of sympathy, compassion and love. # impressionist (Debussy, Faure and Ravel) Unlocks your creative impulse. # jazz, blues, dixieland, soul, calypso, reggae Uplifts and inspires, releases deep joy or sadness. # salsa, 220

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Tomatis 2008 rhumba, maranga, macarena Sets your heart racing, increases respiration and gets the body moving. Samba has the rare ability to soothe and awaken at the same time. # big band, pop, top 40 and country and western Engages the emotions and creates a sense of wellbeing. # rock (Elvis, Rolling Stones) Stirs the passions, stimulates active movement, releases tension, masks pain. # ambient, attitudinal or new age Elongates your sense of space and time, and can induce a state of relaxed alertness. # heavy metal, punk, rap, hip hop and grunge Excites the nervous system, dynamic behaviour and self-expression. # religious and sacred music Offers a sense of deep peace and spiritual awareness. how sound-stressed are you (really)? 1 Your working environment is... a) Very noisy. b) Quiet, except for the constant hum of computers and air-conditioning. c) Peaceful with very little noise. 2 When you get home from work you are likely to... a) Watch television for a few hours. b) Listen to a favourite CD while cooking and then eat dinner. c) Savour the peace and quiet. 3 Your favourite kind of music is best summed up as... a) Loud and lively - rock classics. b) Lyrical and melodious - think country and western. c) Classical Mozart and company. 4 Of the following, you mostly enjoy... a) Parties, live music and dancing. b) Movies, the theatre and going out for dinner. c) Reading a good book. 5 When you're stuck in traffic, you would most likely... a) Tune into talk-back radio. b) Scream at the passing pedestrians. c) Space out to some ambient acid jazz or compose your own rock opera. mostly As You'd benefit from some music therapy - and we're not talking heavy metal. Try squeezing 10 to 15 minutes of sedate classical music into your hectic daily schedule for some reprieve from your state of stress. mostly Bs Your balanced lifestyle means that while you occasionally suffer from stress, you know it's important to unwind. By supplementing your down-time with high-frequency music (or anything with a violin) you could learn to relax more readily. mostly Cs You already live a pretty stress-free life and enjoy the right music for your wellbeing. Well done.

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Metropolitan Mozart May Not Make You Smarter, But Meet The Man He's Made Richer Kelly Burke 1,654 mots 16 mai 2001 Sydney Morning Herald 14 Anglais Copyright of John Fairfax Group Pty Ltd Music therapy is all very well but The Mozart Effect has become a full-blown industry, writes.

Even in the heady incense-infused atmosphere of Sydney's recent Mind Body Spirit Festival, the compliance of Don Campbell's lunchtime audience is a curious phenomenon to behold.

Contrary to appearances, however, the waving arms, humming and clapping are not the latest developments in seated tai chi. Nor is Campbell, a portly, bespectacled, middle-aged American with dandruff, even vaguely charismatic or mesmeric. ``What are we doing here? We're massaging our brains,'' he informs his participation audience above the soft, soothing strains of Wolfgang Amadeus Mozart. Why Mozart? Because it is Mozart's music that organises time and space. Because it is Mozart's music that promises to ``forge the bridge to a healthier mind-space relationship''. Because it is Mozart's music that is ``nutrition for the brain''. Because it is Mozart himself who is ``the child prodigy within us all''.

What we are witnessing is The Mozart Effect in action.

That classical music somehow relaxes our brains, reorganising and clarifying thought processes and thereby promoting a firmer intellect, is a supposition that has acquired the veneer of accepted wisdom over the past decade. After all, we've known for at least 2,000 years that music has the ability to alter the emotions and promote feelings of wellbeing. And, in turn, music therapy has evolved into a recognised medical and psychological healing tool, treating autism, cerebral palsy and a host of other physical and cognitive disabilities over the past half-century. It was one of the pioneers in this field, Dr Alfred Tomatis, who coined the term ``the Mozart effect'' in the 1950s. But it is Campbell, author/psychologist/therapist/music educator, who added the upper case, slapped on the trademark and watched as The Mozart Effect(c) took on a life of its own in the talk shows and talkback radio programs across middle-class America. Along the way, the mass media distilled the theory to a single simple tenet: that listening to Mozart makes you smarter. And it wasn't long before this scientifically unproven claim entered the realms of public health and education policy. In Florida's State-run early childhood centres and creches, the music of Bach, Vivaldi and Mozart is piped into the aural environments of its pint-sized charges. In Texas, Tennessee and Georgia, mothers exit the delivery ward with a newborn tucked under one arm and a free classical CD under the other. And in Campbell's home State of Colorado, a privately run organisation disseminates thousands of his own Mozart compilation recordings to young families each year, along with an advisory service instructing parents on how the music should be administered to offspring.

Campbell's 1997 book The Mozart Effect a pop psychology concoction of self-evident philo-sophy and down-home truisms, reconstituted scientific research and anecdotal evidence, tied together with a golden thread of mystic experience (in the first chapter Campbell cures himself of a life-threatening blood clot to the brain) has become a bestseller in its field and is translated into 14 languages. His recently released sequel, The Mozart Effect for Children, shows all the signs of similar commercial success. The accompanying CDs (including five for children, two for babies and one for the foetus in utero) have shifted more than 2 million units. After all, who among us would deny our child's intellectual potential, when all it takes is a 15-minute daily dose of the sublime Amadeus?

The Mozart Effect has turned Campbell into a small-time celebrity, a regular figure on the international speakers' circuit holding forth on diverse subjects, from toddler taming to New-Age health. His participation in the publicity circus has earned him the titles P.T. Barnum and snake-oil salesman from his critics and sceptics.

Yet Campbell says he has never claimed that listening to Mozart will raise your IQ. ``All I'm promoting is a healthier and more harmonious way to live, and that the music of Mozart in particular can help move your mind and body toward its own natural resources.''

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Tomatis 2008 And why Mozart in particular? ``The tidiness of his form ... Mozart is not overemotional; he doesn't surprise you. Mozart's just kinda clean,'' he says. ``But The Mozart Effect is ultimately about taking advantage of the positive qualities of all music.''

Campbell may never have asserted outright that Mozart makes you smarter, but he comes within a fraction of it. His recordings boast titles such as Strengthen the Mind: Music for Intelligence and Learning, Tune Up Your Mind and Focus and Clarity: Music for Projects and Study. And the marketing spiel accompanying these recordings states that they have been especially tailored ``to charge the brain to achieve the kind of effect documented in the famed University of California Irvine study which found that measurable IQ increases after listening to certain Mozart pieces''.

This research, conducted in 1993, has been the linchpin on which Campbell's business has flourished. In reality, this ``famed'' research is somewhat more modest. Its published results, a three-column report that appeared in the October 1993 edition of Nature, detailed an experiment in which the spatial-temporal reasoning component in the IQs of 36 University of California students showed an eight- to nine-point improvement among those who were exposed to 10 minutes of a recording of Mozart's Sonata for Two Pianos in D major immediately before taking the test. The increase in IQ apparently lasted for little more than 10 minutes the time it took to sit for the test.

Given the small sample group and the casual conditions surrounding the experiment, the international scientific community appeared little more than casually dismissive of these findings.

It wasn't until the media grabbed the Mozart-Makes-You-Smarter angle that debate began heating up. At least three institutions the University of Auckland, Harvard Medical School and, most recently, the Appalachian State University in Boone, North Carolina have attempted to repeat the experiment's findings. All have failed, each concluding there was no visible increase in IQ displayed by subjects previously exposed to Mozart's music. In 1999, Dr Kenneth Steele, associate professor of psychology and head of the North Carolina research into Mozart and IQ, concluded that the only probable ``Mozart effect'' was on the hip-pockets of the parents buying the CDs. Campbell shrugs off such suggestions. ``[Steele] hasn't read my book,'' he says. ``There is much evidence to show those later experiments were not conducted thoroughly, and there are sour grapes involved here, too.''

Yet even the original University of California researchers, Gordon Shaw and Frances Rauscher, have since distanced themselves from the hype of their initial research. Shaw claims that his work has been misrepresented and both researchers continue to reiterate the fact that the measured IQ increases in their experiment applied only to temporalspatial reasoning; their results never suggested a general enhancement of intelligence.

Rauscher told CNN.com in August 1999 that she believed the whole thing had got out of hand: ``I'm horrified ... and very surprised ... over what has happened,'' she said. ``It's a very giant leap to think that if music has a short-term effect on college students, it will produce smarter children.''

Both researchers have signalled to Campbell that they are not impressed with his use of their research to promote his Mozart industry. ``OK, so they don't like that I wrote the book ... nobody says the research is not flawed or that it at least has a long way to go,'' he says, adding that one must bear in mind that benefits of Mozart are both corporeal and cerebral.

He goes on to quote more recent findings, published by Professor John Jenkins in the April edition of the Journal of the Royal Society of Medicine, which concluded that listening to Mozart could reduce the frequency of seizures among epileptics. Jenkins does suggest this, but what Campbell omits to mention is that the New-Age meanderings of Yanni also seemed to produce the same effect. Jenkins's ultimate conclusion? ``That any health benefits of listening to music are not specific to Mozart's compositions.''

Campbell's most strident critics, however, appear to be music lovers crying desecration, degradation and the wholesale cheapening of some of the most glorious music ever written.

Writing in the New York-based journal First Things, Michael Linton, the head of music theory and composition at Middle Tennessee State University, summed it up: ``The terrifying thunder of Don Giovanni, the bliss of The Magic Flute, the harmonic intricacies of his symphonies, and the transcendence of the final works ... all of this is lost in the rabble of Campbell's travelling snake-oil show-barker's sales pitch.''

Mozart's greatest music is not about becoming more intelligent or acquiring power, says Linton. ``It's about becoming a human being and living, as he signed his scores, in nomine Domini. That is what the Mozart effect is supposed to be.''

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Tomatis 2008 No music not even Mozart's is a hallowed sacred museum, Campbell argues. ``Music is there to be used, so why not use the best quality music available.''

He dismisses the concerns of Linton as he dismisses all criticism of his work. ``He hasn't read my books, he's never met me, he doesn't have a dialogue with me ... my greatest critics are never willing to dialogue,' he says. ``What I'm being is inclusive ... really ... I'm like a missionary. I'm out there working in schools, raising money for orchestras.

I'm out there trying to get music out to a higher place. And that is The Mozart Effect.''

Is that with or without the trademark?

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FEELING A TOUCH OF EASTERLY LETHARGY BEACHCOMBER 526 mots 23 avril 2001 The Express 001 Anglais Copyright (C) 2001 The Express; Source: World Reporter (TM) FEELING A touch of Easterly lethargy as I planned today's column, I turned towards my in-tray in search of inspiration.

There, sticking out from a fresh batch of letters from Lady Clamydia Featherlight-Plume, was a box of CDs sent to me for review. Their title intrigued me: Music For The Mozart Effect, so I delved deeper.

The CDs, as I had guessed, were based on research by the French physician Dr Alfred Tomatis, who had shown that music can have an effect on a child's capacity to learn. He showed that by playing the right background music, you can even overcome learning disabilities. Later researchers investigated the relationship between different skills and different pieces of music. Most recently, researchers at the University of California claimed that people who listen to 10 minutes of Mozart before doing a certain type of intelligence test will perform significantly better than those who don't hear the Mozart.

Well, I thought, I'm in search of creative inspiration, so let's try CD number three of the set: "Unlock the Creative Spirit". It was, of course, encased in the usual tightly-fitting cellophane wrap which seemed to have no point of entry. After scratching at it for some time with my elegantly manicured fingers, I threw it to the table. By now, I felt more in need of Volume 5: Relax And Unwind. I set about it with a small, sharp knife and got the wrapping off at the cost of a slightly nicked thumb.

Putting Relax And Unwind to one side for a moment, I picked up Volume 2: Heal The Body and, with extreme caution, opened it and put the disc into my CD player. "Mozart's music," the sleeve note told me "actually speaks to the body The selections on this recording can soothe and calm you without making you sleepy Mozart can actually modify your breathing, heartbeat, skin temperature and muscle tension."

Apparently Mozart cannot actually cure you of using the word "actually" too much, but one cannot have everything, I suppose. So I settled down to listen to the music, prepared to be cured, rested and relaxed.

I almost jumped out of my seat as the first track began. "I know that," I thought. "It's the andante from the C Major Piano Concerto K.467. And very beautiful it is too, but where has the first movement gone? How can I listen to the second movement without hearing the first?" I scrabbled frantically through all the sleeve notes in search of the missing movement. The romance from the D Minor concerto K.466 was on the same disc - and goodness me, there it was again on the first disc of Volume 4: Focus And Clarity. But no more of K.467.

Sadly, I put all five volumes aside and reached for an old recording of Alfred Brendel playing K.467 - all three movements, in the right order.

Now I feel strengthened in mind and body, relaxed, unwound, inspired and ready to be creative. Perhaps this Mozart Effect works after all. *** BRS DOCUMENT BOUNDARY ***

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Health - Listen up - how music can make you feel great.

1,099 mots 31 mars 2001 Mirror 30 Anglais (c) 2001 Mirror Group Ltd Headaches, fatigue, bad sex - whatever your problem, music can help. Michele Kirsch reports on the scientific evidence that reveals the power of What do Gerard Depardieu, Bill Clinton and some chickens have in common? Come on, it's easy! Oh, OK, we'll tell you: they have all discovered the great healing powers of music. Depardieu, before he was famous, had an auditory disorder that caused sounds to seem much louder than they actually were. He also had a stammer plus memory and concentration problems. He went to a Tomatis Centre, in Paris - the founder of these centres, Dr Alfred Tomatis, a pioneer of music therapy - and was prescribed two hours of Mozart a day. Within a few months, his stammer was gone and his memory, concentration and energy levels were much improved.

Then there's Clinton, who, it is said, chose to listen to country and western music instead of having a general anaesthetic when undergoing surgery for a torn tendon (well, it takes all sorts).

And, finally, the chickens. In 1998 a National Farmers Union survey found that chickens that listen to chart and `easy listening' music were calmer and healthier, and laid more eggs. Their favourite stations included Radio One and Radio Two. So what's all this got to do with you? Music therapy may sound like something they'd do at the Priory, or at a `find your inner voice' workshop in a community hall, but there is mounting scientific evidence that music can make you feel better physically and psychologically. Studies show that music can slow down and equalise brainwaves (the slower the brainwaves, the more relaxed we feel), enhance alertness, lower blood pressure, reduce muscle tension, increase endorphins, boost immune function, improve coordination, regulate stress hormones, boost productivity and strengthen endurance.

Don Campbell, a lecturer on the connection between music and healing and author of The Mozart Effect ( #10, Hodder & Stoughton, available from 5 April) says, `Music connects to multiple levels of the brain simultaneously. It has been proven that the rhythm of the music affects body rhythms, that the harmonies work on our emotions and the melodies affect our perceptions of time and space. If there are lyrics, the words manipulate and stir our memory.'

Of course, we know this on a gut level. Sometimes we want the music to mirror our feelings (miserable? See Morrissey). Or to transport us to a happier, sunnier place (see salsa). But there's more to it than mood manipulation. Music has the power to make your brain work better in a number of ways, depending on what you listen to.

Boost your intelligence Guess what, it's not Who Let the Dogs Out but Mozart that'll get your brain working more efficiently. Studies from the Centre for the Neurobiology of Learning and Memory in California found that university students who were played ten minutes of Mozart scored 8 to 9 points higher on spatial IQ tests than a control group. Researcher Gordon Shaw explains: `We suspect that complex music facilitates certain complex neuronal patterns involved in high brain activities such as maths and chess. By contrast, simple and repetitive music can have the opposite effect.' Which is not to say that watching Top of the Pops has the same neural effect as a lobotomy, but if you're studying for an exam, you may prefer to have some classical music playing in the background.

Improve your endurance On the other hand, if you're flagging at the gym, a catchy pop tune can boost your endurance. Sports psychologists at Brunel University in London found that people who listen to music while running or cycling can extend their workout times by 13%. They found that the best time to put on the music is when you begin to tire. But if you're wearing a personal stereo, Campbell says you should keep the volume low. `During aerobic exercise, your body pumps blood and oxygen into your arms and legs, leaving the delicate linings of your inner ears unprotected,' he explains.

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Tomatis 2008 Got a sore head after all that Eye of the Tiger blasting out at the gym? Turn the dial to Classic FM. A Polish study of 408 headache sufferers found that those who listened to classical music regularly required fewer painkillers than people who didn't tune in. For a sinus headache, Campbell suggests using the power of your own voice. It's called toning. `For sinus problems, humming and making "ah" sounds can help clear congested nasal passages. If your nose is too stuffy to hum, make a "ngggg" sound at the back of the throat.'

Fight fatigue Campbell himself has used toning techniques to combat fatigue. `For a bit of sonic caffeine, just go like this: "Eeeeeeeeeeeee." I always get a seat on the train when I do it.' Hmm. Does he beat the fatigue by making the sound - or by getting the seat?

Enhance sexual confidence Dr John Ortiz, a Pennsylvania-based psychologist and author of The Tao of Music ( #12.99, Newleaf), uses pop and jazz to help painfully shy patients who have gone off sex get in the mood for lurve. Ortiz encourages reluctant lovers to turn the lights down and recreate the heady atmosphere of a nightclub - which we associate with pulling - in their home, playing music by Marvin Gaye, Al Green and Johnny Mathis to get in the mood.

Have a great orgasm Once you're actually doing it - what Ortiz calls `achieving rhythmic synchronicity within an ambience of soothing sensuality' - he suggests Ravel's Bolero, Rimsky-Korsakov's Scheherazade Suite and a whole bunch of stuff by John Coltrane. But no Barry White. Too obvious, we guess.

Don Campbell will be giving lectures on musical healing on Wednesday 4 and Thursday 5 April, from 7pm to 10pm, at the Steiner Theatre, 35 Park Road, London NW1 ( #30 each) and a workshop on Sunday 8 April, from 10am to 5pm, at the Exhibition Hall, Commonwealth Institute, Kensington High Street, London W8 ( #59). There's a discount of 10% if you book for two sessions, and 15% for three. Call 020-8332 6566 or e-mail ohare@mcmail.com Musical prescriptions - what to listen to for... ...quiet study and meditation: Gregorian chant ...improving concentration, memory and spatial perception: Haydn and Mozart ...beating the blues: jazz, the blues, soul, calypso and reggae ...energy: salsa, rumba, and other forms of South American music ...`exciting' the nervous system: heavy metal, punk, rap, hip-hop and grunge.

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Mozart provides food for thought - cl@ssMATE - CLASSMATE.

By MARALYN PARKER. 592 mots 28 fĂŠvrier 2001 Daily Telegraph 50 Anglais (c) 2001 Nationwide News Proprietary Ltd One thing about baby-boomers is we love our music. Whatever it is, it feels better if it is accompanied by music.

Anyone born prior to 1961 (which, of course, covers many teachers in NSW) will know what I mean. The baby-boomer way to seek solace from the worries of the world is to put on a favourite CD, sit back and soak in the music.

What most of us probably don't know is some types of music can help us think better.

Research from the US is confirming this. In fact, it is becoming such an accepted theory that there is even a term for it - the Mozart Effect.

The Music Intelligence Neural Development (MIND) Institute in California found that college students who listened to a selection of a Mozart sonata before testing scored higher in spatial-temporal intelligence than those who did not listen to the music.

Another study of people copy-editing a manuscript showed they increased their accuracy by just over 20 per cent when light classical music was played.

Research into the effect of music on the brain actually began in 1957 with work done by a French ear, nose and threat specialist, Alfred Tomatis. He often worked with professional musicians and factory workers who had to deal with a lot of noise daily.

Tomati emphasised the difference between hearing and listening. Hearing is just receiving sound but listening is "active and motivated".

He worked out methods to help people listen better by using classical music and this, in turn, helped people think better.

There are now 200 Tomatis Centres throughout the world that teach his methods.

But it is not just any old music that works.

Researchers have found that Mozart, in particular, is good for thinking and there are various theories as to why.

One is that Mozart wrote most of his music while he was young, so it is musically clear and uncluttered. He also avoided low-frequency type sounds. (Tomatis said these types of sounds make muscles contract.)

And forget heavy-metal music. While there has been little research as to its effect on people's intelligence, mice subjected to 10 hours of heavy-metal music took 30 minutes to go through a maze that took only 90 seconds for mice which had listened to light classical music for the equivalent time.

The project, which was reported in the BBC Music Magazine in June 1998, was terminated when the hard-rock mice killed each other.

Recently, with the publication of his book called The Mozart Effect, Don Campbell, a protege of Tomatis, has become the guru of the effect classical music can have on the brain. He says 30 minutes of classics equals 10mg of valium. Campbell backs up the claim by citing studies being carried out at Baltimore's St Agnes hospital.

Meanwhile, there are skeptics who have replicated some of the Mozart experiments and declared there is little difference in performance of those who listened to Mozart and those who listened to modern classical music or nothing at all.

This inspired Californian academic Gordon Shaw to declare that there are no bad side-effects from listening to Mozart.

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Tomatis 2008 If your intelligence is not enhanced the worst you have done is listen to some good music.

Definitely worth the risk then, don't you think? * Do you have a story about a school, person, program or team that is special? E-mail parkerma@matp.newsltd.com.au.

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Tomatis 2008 Soundscape an homage to art of listening.

By Slamet A. Sjukur 1,041 mots 4 fĂŠvrier 2001 Jakarta Post 10 Anglais (c) 2001 The Jakarta Post JAKARTA (JP): The landscape of the Netherlands is of course different from Bali. But could you recognize Rio de Janeiro by just its smell, if your eyes and ears did not function?

Nowadays we depend too much on our eyes, and much less on the importance of our hearing which is in fact the avantgarde of our body.

Alfred Tomatis, a French otorhinolaryngologist who specialized in the treatment of auditory and language troubles, discovered that hearing is the first awareness of being.

It is also the last means for someone on the edge of life to have contact with the world that she or he is going to leave.

It is for this reason that in many religions a priest whispers words of guidance in the ears of the dying.

Like breathing, hearing is continuously active of its own accord throughout our life. It is really our confidant on this earth.

But civilization follows the way of the spoilt child; the sight which easily sees the surface. And, so, we lose sight of what is beyond.

Murray Schafer, a Canadian composer and former professor of communications studies at Simon Fraser University, was so concerned about the problem that he put all of his efforts into integrating listening skills in the national curriculum. He created the World Soundscape Project and immediately made a field study with the Vancouver Soundscape. Soundscape is for the ears as landscape is for the eyes. And the interest in soundscape has grown ever since, together with concern about ecology.

There are soundscapes of Brasilia, Amsterdam and Tel Aviv etc. And now in Jakarta, the Goethe Institut in cooperation with the Netherlands Program Service NPS radio station, Erasmus Huis and Music Information and Education Center Cantus Studio, are preparing Soundscape Jabotabek 2001.

The first week of the performance which started on Jan. 22 was an initiation for the 39 young Indonesian participants. Piet Hein v.d. Poel, an expert from the NPS led the workshop which consisted of discussion about perception, acoustical aspects and noise. They experienced the soundwalk, that is walking silently while focusing on mentally listening to the environment.

Introducing the recorded examples, such as Voices of the Rain Forest from New Guinea, Hong Kong in Between (by Iolini and Ma), Soundmap of Hudson etc. He explained to the participants how to write a proposal.

Out of the 18 proposals, nine were selected to make nine sound-portraits of the neighboring regions of Jakarta, Bogor, Tangerang and Bekasi (Jabotabek or the Greater Jakarta). Seven were written by one participant each, and the other two were prepared by two persons each. These 11 people are not older than thirty. As active participants they received instructions on equipment to be used in making a soundscape.

It is interesting to note that they are from different backgrounds, four music students, one music teacher, one dance student, one hockey player, one student of graphic arts, two students of management and one of social and political science.

Music is no longer intended only for specialists. We can put the question in another way: who is musicians? Is it not a question of the capacity to appreciate the most intricately subtle phenomenon?

In his Treatise of Musical Objects which is considered as the bible of electro-acoustic music, Pierre Schaeffer, the pioneer of musique concrete, quoted what Hoffmann wrote at the dawn of romanticism: ...sound dwells in all things, but sounds, those melodies which speak the higher tongue, of the realm of the spirit, inhabit only the bosom of man...

Schaeffer (not to be confused with SchaFER) further stated that if music is a unique bridge between nature and culture, we should trust in our hearing, which is an 'inner sight'.

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Tomatis 2008 It is true that we neglect the important role of our ears nowadays, but you might not agree with the homocentric definition of music. Musicality of sound does not depend on our appreciation, instead it is us who must try our best to find the hidden musicality of things. Pythagoras found 25 centuries ago geometry in the humming of strings, music in the spacing of the spheres. And Kepler discovered harmonice mundi (harmonious chord of the universe) in his madness as an astrologer.

Soundscape Jabotabek 2001 is music.

It is different from music with instruments which we are familiar with. It is a project of music composition based on environmental sounds.

After a week of initiation, the 11 participants which are selected to make nine sound-portraits of Jabotabek, will make recordings of any sounds which appeals to them. Three weeks of recording is limited to any of the three proposals at the same time, since there are only three digital tape recorders available.

It will take nine weeks in all to prepare the sound material. Then follows one month developing the raw materials in the Cantus studio. The studio will supply one computer and NPS will reinforce it with two protools (a hard disc editing system).

Soundscape Jabotabek 2001 is the third project in a collaboration between the Goethe Institute in Munich, Germany and NPS. The first was Soundscape Brasilia in 1994 which needed three years preparation. The Soundscape Amsterdam in the following year was the second. Each project has produced one CD which has been distributed internationally as will Soundscape Jabotabek 2001. This third project has been in preparation for two years and the budget of NFL 70,000 is shared by NPS (50 percent), Goethe Institut (30 percent) and Erasmus Huis (20 percent).

The final result of the nine sound-portraits of Jabotabek will be presented at Erasmus Huis, Jakarta on April 27 this year.

And the following day it will be presented in Surabaya by Suara Surabaya FM. Is it a coincidence that we are initiating soundscape now when the country is led by a president who trusts more his ears than his eyes?

Hillel Schwartz said in the Soundscape Before 2000 Festival that the ear is the true avant-garde of our body. The ear bravely, persistently and foolishly exposes itself and its cilia to fatigue, danger, discomfort and destruction.

The writer is chairman of the Indonesian Composers Association Copyright 2001 The Jakarta Post.

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Tomatis 2008 The Children's Group Goes GLOBAL. CATHERINE CELLA 852 mots 2 dĂŠcembre 2000 Billboard 100 ISSN: 0006-2510; Volume 112; Issue 49 Anglais Copyright 2000 Gale Group Inc. All rights reserved. COPYRIGHT 2000 BPI Communications, Inc. Beethoven, Vivaldi, Mozart and Tchaikovsky are names known throughout the world, and The Children's Group is working to have its product heard 'round the world, too.

"Going international is important for our mission, which is to instill a lifelong love of classical music in children," notes president Michelle Henderson. "Certainly, with classical music being international in its appeal and with there being children all over the world, our products are perfectly poised for the international market."

Since 1994, The Children's Group has enjoyed a licensing agreement with BMG Australia for "Classical Kids." This ninevolume audio series pairs a child-centered story with a composer and his music in such titles as "Beethoven Lives Upstairs," "Hallelujah Handel" and "Song Of The Unicorn." BMG even brought "Classical Kids" producer Susan Hammond for a twoweek promotional tour Down Under.

By the end of this year, The Children's Group expects to expand its international licensing. "We are currently negotiating with a major multinational, multimedia company that has forays into television with affiliates in all the major countries," Henderson reports.

She anticipates great interest in both "Classical Kids" and the eight-volume "Mozart Effect" series. "Don Campbell's books have been translated into 20 languages," notes Henderson. "Obviously, there is a hunger for this type of information across all countries, languages and cultures."

Briefly, the "Mozart Effect" uses music to enhance children's intellectual, emotional and creative development. Campbell writes in his new book, "The Mozart Effect For Children" (Harper Collins, August 2000), "Mozart is an ideal transition from a world of noise to an orderly and organized thinking system."

Why Mozart? Henderson explains, "His music is not overly emotional in the way Beethoven's is. It's simpler and structured.

Because of its mathematical base, Mozart's music is processed in a different center in the brain from more highly charged, emotional melodies."

Henderson believes the "Mozart Effect" audios can do well internationally not only because children learn at steady rates of development but also because the discovery originated in France. In the 1940s and beyond, Campbell's mentor, Dr. Alfred Tomatis, conducted research showing the connection between Mozart's music and learning skills. Now nearly a hundred Tomatis Listening Centers around the world treat children for everything from autism to learning disorders.

Beyond international licensing, The Children's Group is beginning to market foreign-language adaptations. "Two of our 'Classical Kids' recordings--'Beethoven Lives Upstairs' and 'Vivaldi's Ring Of Mystery'--have been translated and produced in French," says Henderson. "We have a Spanish script for the latter, but I have not yet found the right production and licensing partner. We're working with as many people as we possibly can who 'get' the concept."

There are Spanish hardcover books for both "Beethoven" and "Tchaikovsky Discovers America." Published by Miami-based Santillana USA, they are primarily for the American Latino market with some availability in Spain and Mexico.

"The French recordings are obviously a big part of the market in French-speaking Canada," notes Henderson. "But we also do some small exports to France.

"And we've been very successful in the international market with the 'Mozart Effect,'" she continues. "Packaging for each of the recordings has been translated into Spanish, French and Korean." The latter came about through Campbell's publisher, who has licensing rights to the series in Korea. "Even in a market where there are lots of competitors in the field, all claiming to boost babies' brains through music," says Henderson, "the original 'Mozart Effect' book has had a very successful sales record."

While The Children's Group offers accompanying educational materials, its thrust is definitely commercial. As Henderson notes, "All our products have educational benefits, but we market to the classical-music and mass markets first. You can 232

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Tomatis 2008 always go from the mass to the specialty market, but it's almost impossible to start in the specialty and go mass."

Henderson projects company growth to manage this effort. "Our staff has grown by 50% in the last 18 months," she says, "and I expect, over the next 18 months, we will add another three positions--one to oversee all our international activities, one for Web site development and one to expand our strategic marketing."

Another of The Children's Group's products poised to go international is "Love Chords," a recording of Baroque music based on the ideas of Dr. Thomas Verny. Henderson says the pre- and perinatal psychologist's book "The Secret Life Of The Unborn Child" has been translated into more than 20 languages. And there is interest in adapting the recording and accompanying exercises into Japanese, Spanish and Greek.

"The reason our recordings are so successful," concludes Henderson, "is that people--both children and adults--have an emotional response to the music and the stories. We're not looking for an intellectual response--you don't need to know when Beethoven was born or died. It's about the emotional response. And emotion, like music, can convey across all languages. It is universal."

FULL TEXT

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En defensa de la música en la secundaria.

586 mots 13 novembre 2000 El País Espagnol (c) Copyright DIARIO EL PAIS, S.L. http://www.elpais.es.

El debate sobre la reforma de las humanidades ha hecho renacer la preocupación sobre el papel de la música en la educación secundaria. Desde los tiempos de la Ley Villar Palasí nadie se había atrevido a cuestionar la importancia de la música dentro de un plan coherente de educación general. La Constitución determina que "la educación tendrá por objeto el pleno desarrollo de la personalidad humana". Las leyes orgánicas de 1985 y 1990 que desarrollan este derecho lo confirman y añaden que la actividad educativa tendrá como fines, entre otros, "la adquisición de hábitos intelectuales y técnicas de trabajo, así como de conocimientos científicos, técnicos, humanísticos, históricos y estéticos".

Estas disposiciones son algo más que una enumeración formal y decorativa: expresan la voluntad política. Otras instituciones como el Defensor del Pueblo o Unicef han recalcado que, para ser eficiente, la educación tiene que ser integral y debe incluir necesariamente la música. La pedagogía actual confirma, desde perspectivas rigurosamente científicas, la necesidad de diseñar modelos educativos multidimensionales (Howard Gardner) que contribuyan al desarrollo paralelo de todas las potencias del ser humano.

La educación limitada al intelecto se ha demostrado estéril, mientras que la educación que aborda al mismo tiempo las dimensiones afectivas, procedimentales e interpersonales arroja resultados cualitativamente superiores.

En este contexto se sitúa la enseñanza musical, que es la única disciplina que cubre simultáneamente todas las dimensiones del ser humano. "La educación musical, no la instrucción, despierta y desarrolla", afirma Edgar Willems, "las facultades humanas". La universalización de la educación musical en Hungría hace unas décadas dio pie a un experimento que mostró estadísticamente cómo los alumnos mejoran su puntuación media en todas las materias cuando dedican más tiempo a la música. Se comprobó que la música desarrolla la atención, la concentración, la memoria, la tolerancia, el autocontrol, la sensibilidad; que favorece al aprendizaje de la lengua, de las matemáticas, de la historia, de los valores estéticos y sociales; que contribuye al desarrollo intelectual, afectivo, interpersonal, psicomotor, físico, neurológico, etcétera.

Otras investigaciones recientes han seguido los pasos del modelo húngaro llegando a las mismas conclusiones sobre los espectaculares efectos educativos de la música: Alfred Tomatis en París, Martin F. Gardiner en Rhode Island, Frances H. Rauscher en California, Josef Scheidegger y Maria Spychiger en Suiza, Hans-Günther Bastian en Alemania, John Sloboda en el Reino Unido y Don Campbell en Colorado. Está demostrado que la música es más que una simple materia: la música es el instrumento de aprendizaje y el vehículo transmisión del saber por excelencia. Es el recurso didáctico más universal de los pueblos. La lengua, la historia, las matemáticas, el trabajo, el juego, se han aprendido siempre cantando y, como dijo María Zambrano, "es la música la que enseña sin palabras el justo modo de escuchar". La música debe reforzar su presencia en las enseñanzas de régimen general para compensar nuestro vergonzoso analfabetismo musical, ya histórico, para garantizar la eficacia y calidad del sistema educativo en su conjunto y para orientarnos hacia un futuro mejor. Así lo ha entendido la Comisión de las Humanidades, que "insta a las administraciones educativas para que fomenten la formación musical, la creación de grupos corales e instrumentales, las audiciones y los conciertos, el conocimiento directo de las obras de arte y el aprendizaje de la danza". Por todo ello, y en aras del pleno desarrollo de las capacidades básicas del ser humano, rechazamos de plano cualquier propuesta que pretenda reducir la presencia de la música en la educación secundaria.

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Tomatis Institut für Audio-Psycho-Phonologie (D) - Kanton Zug. 111 mots 12 octobre 2000 D & B SHAB Allemand SHAB Information serialised by Dun & Bradstreet (Schweiz) AG. Homepage Address: http://www.dbswiss.ch HR SHAB Nr. 199 vom 12.10.2000, Kanton ZG (D) 06.10.2000 (8177) Tomatis Institut für Audio-Psycho-Phonologie (D) 6300 Zug Stiftung SHAB Nr. 77 vom 23.04.1998, Seite 2740 Führung eines Institutes im Kanton Zug, welches die Audio-Psycho-Phonologie von Dr. Alfred Tomatis a 06.10.2000 (8177) Tomatis Institut für Audio-Psycho-Phonologie, Sitz: Zug, Führung eines Institutes im Kanton Zug, welches die Audio-PsychoPhonologie von Dr. Alfred Tomatis anwendet, Stiftung (SHAB Nr. 77 vom 23.04.1998, S. 2740).

Urkundenänderung: 26.09.2000.

Name Neu: Institut für Audio-Psycho-Phonologie nach A. Tomatis.

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Leserbriefe Arme Finnen, Ungarn und Türken; Das „Ü” macht die Deutschen mürrisch / SZ vom 26./27. August 741 mots 6 octobre 2000 Süddeutsche Zeitung 14 Allemand Copyright 2000 Süddeutsche Zeitung Man sollte Professor David Myers vom Hope College in Michigan dafür dankbar sein, dass er endlich eine Erklärung für die Säuerlichkeit des deutschen Volkscharakters, für diese Miesepeterigkeit in deutschen Landen gefunden hat. Denn erst eine wissenschaftlich fundierte Analyse der teutonischen Humorlosigkeit versetzt uns in die Lage, geeignete Gegenmaßnahmen zu ergreifen und aus dem deutschen Volk ein Volk von Lachsäcken zu machen.

Also, die Umlaute sind schuld, diese durch Punkte verunstalteten zwitterhaften Buchstaben, die weder als Konsonanten gelten noch als richtige Vokale. Es liegt auf der Hand, wie der deutsche Gemütszustand nachhaltig verbessert werden kann.

Man schafft die Umlaute ab und schreibt nur noch ae für ä oder oe für ö. Die für englische/amerikanische Leser ungewöhnliche Orthografie wäre damit entschärft; doch – hoppla – an der Aussprache würde sich nichts ändern. Zumindest würde der Mürrischkeitsgrad des deutschen Alphabets auf das Niveau der französischen Sprache sinken. Dort gibt es ohne Umlaute im Alphabet jede Menge ö´s und ü´s in der Aussprache (zum Beispiel les cheveux du garçon = die Haare des Jungen, Aussprache ungefähr: lee schvö dü garsson) Und was ist mit den Finnen (Mika Häkkinen) und den Ungarn (György)? Wenn man Professor Myers Studie konsequent zu Ende denkt, dann müssten Türken allerdings noch mürrischer sein als Deutsche. Denn die kurze Frage „Haben Sie gestern gelacht ?” würde auf türkisch lauten: „dün güldünüz mü?” (Aussprache wie gelesen).

Man kann Professor Myers nur dankbar sein; vielleicht wird er eines Tages auch Forschungsarbeiten über den psychischen Zustand von th – Sprechern (leichter Zischlaut der englischen Sprache) veröffentlichen. Allerdings müsste er sich dann auch mit der arabischen Sprache auseinandersetzen, die in ihrer klassischen Form drei th-Laute (stimmhaft, stimmlos, dumpf) kennt.

Man sieht, dass sich hier ein ganz neuer Forschungszweig eröffnet, der sich mit Aussprache und Gemütszustand des Sprechenden auseinander setzt. Neue bahnbrechende wissenschaftliche Erkenntnisse sind zu erwarten. Wie gesagt, man sollte Professor Myers dankbar sein.

Jürgen Bieber, Berlin David Myers hat einen wahren Punkt getroffen, als er das Sprachverhalten der Deutschen für deren Gesichts-mies-Gram verantwortlich macht. Nur: Das „Ü” ist das nicht. Ü ist nichts weiter als ein Oberton auf dem Weg des Klang-BewegungKontinuums von i nach u: i – ü – u. Und dazwischen gibt es noch weitere Obertöne. So könnte es eher sein, dass das Klangverhalten in der Sprache „der Deutschen” diese mürrisch gestimmt hält. Deutsch ist eine Sprache, die nicht von sich aus melodiös wirkt. Und die deutsche Denk- und Sprach-Elite gibt sich lieber tonarm und flach, um objektiv und emotionsunabhängig zu wirken. In einigen Dialekten kommt die deutsche Sprache sehr wohl fröhlich und damit auch klangvoll und emotional daher.

Nach den neueren Forschungen in Frankreich durch Alfred Tomatis (Paris) und durch die Arbeiten von Francois Louche (Lyon) zeigt sich in jeder Sprache ein spezifisches Obertonmuster: im Klang der Stimme, im Sprechen einer Sprache. Jedem Vokal ist ein eigener Oberton zugeordnet, und die Konsonanten schwingen und klingen in ihrer jeweiligen Art im ganzen Körper über die Knochen-Leitungen. Der innere Klang und die Fähigkeit, innen mitzuhören, gibt der Stimme ihre Basis und den möglichen Entfaltungsraum-Raum. Und die gute Stimmung in der Sprache.

Das gesamte Oberton-Frequenz-Spektrum in der Stimme der Mutter, welches in ihren Knochen schwingt und uns im Mutterleib zum Mithören, Mitbewegen wachsen lässt, bestimmt unser Hören und die Stimm- und Sprachentwicklung.

Unsere Elterngeneration hat in Deutschland einen unsäglichen Macht-Missbrauch erlebt. Eine meiner älteren Gesangsschülerinnen sagte, sie habe damals in Berlin erlebt, wie ein ganzes Volk zu singen aufhörte. Mit der AngstStimmungs-Mache der Nazis habe das vorher in Küchen und Hinterhöfen übliche Singen aufgehört.

Mehr oder weniger bewusst lassen wir uns alle vom Klang um uns herum und besonders vom Stimmklang eines Menschen beeinflussen. Die Stimme eines Depressiven ist zum Beispiel obertonarm. Ganz wenig bewusst ist das Erleben des eigenen 236

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Tomatis 2008 Stimmklangs im Körper und die damit verbundenen Mikrobewegungen. Wer weiß schon, dass die Obertöne bei jedem Menschen erklingen. Dazu muss man dem Kontinuum des Klangs der Sprache nachspüren können.

Wir haben uns aber angewöhnt, die Stimme wie ein Faxgerät zu gebrauchen. Eine Information wird hinübergeschossen, und das Gegenüber muss zurückballern. Eine spannungsgeladene Art des Sprechens unter viel Druck. Und die hält den Körper und die Gestik hölzern und natürlich die Mundwinkel nach unten. Ich finde es schön, das „Personare” der deutschen Sprache durch die Bewusstheit im Klang musikalisch und gut gestimmt – obertonreich – zu gestalten.

Claudia Matussek, München

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Tomatis 2008 BOOKS Author of 'The Mozart Effect' leads readers to great music DAVID STEINBERG Of the Journal 713 mots 1 octobre 2000 Albuquerque Journal F8 Anglais (Copyright 2000) Wolfgang Amadeus Mozart is the poster child for Don Campbell's successful theory that music can make kids smarter. But Campbell's not drawing the line at Mozart or other classical composers.

"Great music speaks to our human spirit," he said in a phone interview.

Definite "great," please.

"There is quality folk, popular, dance music. It deals with quality and it's not only the performance itself but the right context, the right moment for music," Campbell said.

"If you put music on just in the background it can end up being wallpaper. The same piece of music in a concert hall or in your car driving home from work will have a different emotional and physical effect."

How, when and what people listen to are critical.

He gave two medical examples. Music before surgery can sharply decrease the need for an anesthetic and reduce stress.

Music in the recovery room helps regulate the body's systems.

But loud pop music, he said, doesn't help organize your mind as some classical music might. Campbell isn't sold on just anybody's classical music either. He's probably not big on Arnold Schoenberg or Luciano Berio.

He's focused on compositions written between 1715 and 1820, the Classical Period, and Mozart and Haydn in particular.

But what's so special about Mozart? I asked.

"The man was a child prodigy," Campbell replied.

"His father (Leopold) played music to him before he was born and he too was a great musician. (The son) Mozart's music is very clean, well organized, not overly emotional, not overly physical. He doesn't overdo anything. A good amount of his music on albums creates a clear context for work, rest or study."

A few years back Campbell wrote a bestseller called "The Mozart Effect," in which he argued that not only can music soothe the mind but it also can heal the body.

Now in this sequel, the Boulder, Colo., resident extends that argument. He claims that music is the ideal tool to improve your children's language, movement and emotional skills.

His book presents suggestions for parents and teachers to stir the imagination of children with music, sounds and songs.

Campbell also offers some exercises and activities to use on kids ranging in age from prenatal to 10.

It also tells of a study that babies whose mothers took part in a pilot program of prenatal exposure to music developed more rapid visual tracking, eye-hand coordination and other positive behaviors.

Campbell has been researching a link between music and human behavior for years. In fact, his research is based on the work of Dr. Alfred Tomatis, a Frenchman. Tomatis, Campbell writes, had several breakthroughs. The third breakthrough, in the 1960s, recognized "the highly efficient effects of Mozart's music in particular" which occurred when Tomatis combined what he had learned about the physical effects of sound with his study of embryology.

Campbell himself grew up in Paris (France, not Texas), studying piano and conducting. He became a journalist. At present, he gives about 50 workshops a year on the Mozart Effect. Some schools have applied his research. He mentioned the innercity Guggenheim School in Chicago and the University Lab School in Houston.

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Tomatis 2008 I told Campbell about Arroyo Del Oso Elementary in Albuquerque piping in classical music in the school's classrooms and hallways.

That's the general idea, he said. The school's principal told me about it when I visited for a story about live classical music in the public schools.

"Our goal," Campbell said of his business, "is very much to define the Mozart Effect for the transformational uses of music to improve health, communication and well being."

I'm off to listen to "Rock Me, Amadeus." No, no, wrong tune. I mean Mozart's Piano Concerto No. 24.

You can learn more about Campbell's business (he sells tapes, CDs by mail, too) by accessing two Web sites www.mozarteffect.com and www.springhillmedia.com.

Or call toll-free (800) 427-7680.

"The Mozart Effect for Children, Awakening Your Child's Mind, Health and Creativity with Music" by Don Campbell William Morrow, $25, 273 pp.

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Tomatis 2008 THE MOZART EFFECT FOR CHILDREN: Awakening Your Child's Mind, Health, and Creativity with Music.(Review) (book review) 337 mots 11 septembre 2000 Publishers Weekly 83 ISSN: 0000-0019; Volume 247; Issue 37 Anglais Copyright 2000 Information Access Company. All rights reserved. COPYRIGHT 2000 Cahners Publishing Company Don Campbell. Morrow, $25 (272p) ISBN 0-380-97782-6 Based in part on research that shows how quality music can improve everything from health to intelligence, emotions and creativity, "the Mozart Effect," a term coined by French physician Alfred Tomatis, may sound like intellectual snake oil. But for educator and musician Campbell (The Mozart Effect), it's become a personal mission: he has turned the theory into a cottage industry complete with a full line of tapes and CDs. In the process, he has helped spawn books in favor of the concept (e.g., Keeping Mozart in Mind by Gordon L. Shaw, one of the original UC researchers, and Good Music, Brighter Children by Sharlene Habermeyer) and against it (The Myth of the First Three Years by John T. Breuer). While the science behind Campbell's latest book is less than rigorous--it gives equal weight to anecdotal evidence from parents and educators and studies by researchers-and his Mozart--centric view can be a bit much (what about Bach, Miles Davis or Hildegard of Bingen?), there is still a lot to commend, The book's o rganization by the stages of a child's life from before birth through age 10 is extremely helpful, and Campbell's exuberance about music is contagious. He offers parents invaluable advice on limiting TV viewing and on checking their children's hearing, as well as what to expect as the brain develops. There are rhythm games for parents and children to play together, and suggestions for children's songs run along the bottom of the pages. A Mozart musical menu concludes each chapter. This hook may not make every reader's offspring a super-baby, hut if it helps them appreciate the music around them, it's hard to find fault with that. Agent, Eileen Cope, Barbara Lowenstein Literary Agency. Author tour; 25-city national radio campaign. (Sept. 11) FULL TEXT

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Al Chelsea and Westminster Hospital di Londra musicoterapia per donne incinte Ascolta Mozart,...

Di M - C - B. 710 mots 24 août 2000 La Stampa Italien (c) 2000, La Stampa Al Chelsea and Westminster Hospital di Londra musicoterapia per donne incinte Ascolta Mozart, partorirai un genio Consigliati i concerti per pianoforte e l'ouverture del Figaro LONDRA. Il monitor cardiaco attaccato al pancione di una donna incinta è un metronomo ben strano, ma al violinista ingaggiato dal Chelsea and Westminster Hospital non serve altro per improvvisarci su un allegro vivace. Musica per archi e cuoricino, il cui galoppo riverbera in mezzo al roco crepitìo dell'apparecchio nella stanzetta delle ostetriche. L'ospedale londinese dove ha partorito Cherie Blair non ha soltanto una Risurrezione di Veronese nella cappella e una mostra d'arte contemporanea installata nei suoi altissimi spazi, ma tutte le settimane mette in cartellone opere e concerti, sicchè pazienti e parenti possono imbattersi a sorpresa in un'esecuzione in costume del ""Ratto dal serraglio"" di Mozart o in un coro di 70 elementi sul palcoscenico sospeso fra gli ascensori al centro dell'androne. Talora il Medici Quartet va in visita nelle camere, a suonare per i malati. Dal reparto maternità c'è chi esce con i neonati in braccio a passeggiare lungo la balconata per ascoltare Puccini in inglese. Il servizio sanitario nazionale britannico rantola, ma il Chelsea and Westminster Hospital mantiene alta la sua reputazione ed è un'oasi pressochè unica per le arti come terapia grazie a un fondo privato di beneficenza di cui sono patroni registi come Jonathan Miller e Richard Attenborough e attori come Maggie Smith. Il trattamento sperimentale della musica classica come fonte di salute e gioia comincia a essere considerato sul serio anche dalle case discografiche, specie per i suoi effetti apparentemente prodigiosi sull'intelligenza di feti, infanti e bambini in età prescolare. Le ultime ricerche corroborano la teoria secondo cui l'architettura della musica di Mozart replica le strutture innate dell'attività spazio-temporale della corteccia cerebrale e migliora le capacità di ragionamento astratto e matematico dei giovani cervelli. Ecco allora che il mercato si adegua con antologie che mirano a massaggiare il quoziente intellettivo delle nuove generazioni. La Naxos, per esempio, ha appena pubblicato un CD doppio che si intitola ""Ascolta, impara e cresci con Mozart"": il primo disco è per ""muoversi, divertirsi e giocare""; il secondo, ""per la contemplazione e il riposo"".

Il direttore del marketing, Barry Holden, che ha curato una selezione raffinata dai concerti per pianoforte e orchestra all'ouverture de ""Le nozze di Figaro"", sottolinea il ruolo delle ""frequenze sonore più alte nello sviluppo del cervello"", e anche la ""velocità e ritmo con cui sgorgano le idee musicali di Mozart, la logica e la chiarezza delle sue melodie, il modo diretto con cui agisce sulle nostre emozioni. Bach è matematicamente molto più complicato, ma suppongo che avrei anche potuto usare molto Haydn"". Holden ricorda che il medico francese Alfred Tomatis ""ha scoperto che le connessioni nervose tra l'orecchio e il cervello sono il triplo di quelle esistenti tra l'occhio e il cervello"" e che il suo impiego delle alte frequenze nei concerti per violino e orchestra di Mozart serve ad alleviare i disturbi linguistici e l'autismo nei bambini. ""Tra i suoi contemporanei fu Mozart che scrisse di più per il violino, il flauto e altri strumenti dal registro acuto"". Non ha invece esitazioni su Bach un'altra casa discografica, la Delos, che ha incluso il compositore in una serie che comprende: ""Baby ha bisogno di Mozart"", ""Baby ha bisogno di più Mozart"", e via dicendo di Beethoven, del barocco, e persino del buon vecchio Brahms, i cui affettuosi Lieder sono arrangiati come sonate in cui la linea del canto è affidata a un flauto o un clarinetto. Beethoven non sembrerebbe una scelta ovvia per quei genitori che intendessero stimolare i figli senza eccitarli a spaccare la casa, ma a quanto pare la sinfonia ""Pastorale"" e le Bagatelle opus 119 sono ""adatte alle orecchie più giovani e delicate"". Lasciando perdere per un momento l'ambizione di creare dei geni, la Delos ha persino prodotto anche un CD super-energetico ""adatto ai bambini più turbolenti"", ma prima di lasciarli danzare al ritmo dell'Ouverture del ""Guglielmo Tell"" di Rossini i genitori farebbero meglio a togliere di mezzo i soprammobili. /.

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Tomatis 2008

Tempo Tune In And Chill Out Daniela Basile 344 mots 20 ao没t 2000 Sun Herald 8 Anglais Copyright of John Fairfax Group Pty Ltd Under pressure? Feeling worn out? Music might be what you have been looking for DANIELA BASILE reports. `DOUBLE your energy and eradicate stress in 90 days'' is the claim Patricia and Rafaele Joudry make on behalf of sound therapy in the newly revised edition of their book, Sound Therapy: Music To Recharge Your Brain (Gary Allen, $24.95).

It's a claim that at once invokes interest and some scepticism.

Rafaele Joudry, Patricia's daughter, admitted that she does not have strict scientific evidence to back up her assertion, although she said there is certainly scientific evidence to support the work of Parisian doctor Alfred Tomatis, whose sound therapy method she has adopted.

The treatment involves listening to music that has been specially recorded using a technique that filters out the low frequencies. ``I think Dr Tomatis's most important discovery is that high-frequency sounds stimulate the brain,'' Ms Joudry said. ``Unfortunately, we are all exposed to too much low-frequency sound. ``We rarely hear high-frequency sounds, which are found a lot in nature, like bird songs and running water. ``The type of sound we hear feeds the brain either with stress messages or with gentle stimulation that helps the brain to work better. ``What Dr Tomatis says about stress is that it is caused by not having enough brain energy. ``It's a feeling of tiredness and not being able to perform the brain functions that we need to,'' she said. Low-frequency noise is a major cause of brain drain, and therefore stress, according to Ms Joudry. ``The brain is like a battery, which is either being charged or discharged by sounds. And low-frequency noise is discharging, draining that battery. ``If we plug into sound therapy it's just like a battery charger, we can charge up with high-frequency sound,'' she said.

Other conditions sound therapy can help include tinnitus, hearing loss and sound sensitivity, ADD, dyslexia, travel sickness and jet lag.

Phone Sound Therapy Australia on 02 9665 1777.

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Tomatis 2008 Music to the ears.

By PETER MAYER. 802 mots 16 juillet 2000 Sunday Herald Sun Anglais (c) 2000 Herald and Weekly Times Limited Sound therapy can benefit a wide range of problems, says PETER MAYER The high-frequencies of the music of Mozart and Bach are helping sufferers of tinnitus (ringing in the ears) to find the sounds of silence.

Rafaele Joudry, author (with her mother, Patricia) of Sound Therapy, Music to Recharge your Brain, believes sound therapy can also help other hearing problems, hypertension, insomnia, fatigue, speech defects, epilepsy, autism, dyslexia, travel sickness and jet-lag.

The therapy (called audio-psycho-phonology) is based on the research of Parisian ear, nose and throat specialist Dr Alfred Tomatis into the effects of sound on the human brain. Dr Tomatis has set up 200 clinics around the world to put his theories into practice.

The Joudrys have adapted the Tomatis principles to cassettes, so sufferers can take in the music through headphones while they go about their daily business.

The Joudrys say the volume is not important, only the amount of time spent listening to the tapes - full of the higherfrequency sounds which, according to Dr Tomatis, recharge the brain.

Up to 200 hours of listening may be required before any benefits are noticed.

Part of the Joudrys' book was originally published by Patricia Joudry in 1984 as Sound Therapy for the Walk Man. The latest book is a revised and enlarged version of that book, with more explanation of the way the therapy works - and the increasing number of hearing and other problems it claims the therapy has been shown to help.

Rafaele Joudry says her mother wrote the original book after being cured by the Tomatis method of "Cocktail party syndrome" - unable to have a conversation if there is background noise.

At the start, they had no idea the effects of Sound Therapy would be so widespread.

They did not know the therapy could help with tinnitus and Meniere's disease, autism and epilepsy until people wrote and told them of improvements after listening to the tapes.

She said Mozart was chosen because his music had a joyous impact and his concertos a good variety of sounds.

Noise, according to Patricia Joudry, is unwanted sound and the curse of our day.

She says noise is not merely an unpleasant sensation or a danger to the structure of the ear, but the most important factor in the lack of equilibrium, "the great poison that intoxicates the nerve centres at the base of the brain".

This noise can be diffused by the gentle sounds of the filtered music.

Rafaele Joudry says the high frequency sounds not only protect the hearing, but in many cases, where there has not been significant damage to the nerves themselves, have restored hearing already lost.

Dr Tomatis believes the ear is made not only for hearing, but is intended to benefit the the whole body by the stimulation of sound. He sees the brain as a battery, constantly recharging by the stimulus received through the ears. High frequencies provide the greatest mental stimulus. But many people have tuned out these frequencies.

The Joudry tapes, using filtered music as specified by Dr Tomatis, are designed to "`re-educate" the inner ear.

Rafaele Joudry says she works with a number of professionals for whom the therapy is relevant, including speech therapists and behavior therapists.

"With a child's brain, it helps get the sounds in the right order and helps children make an emotional connection," she said.

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Tomatis 2008 Costs of the Joudry system (book and cassettes) range from $100 - for a set for children - up to $500. Sound Therapy, Music to Recharge your Brain (Published by Sound Therapy Australia, $27.45) available through bookstores or mail order.

Rafaele Joudry says the essential value of the cassette system is the freedom of movement it gives, and thus the saving in time.

She says people have reported that the therapy improved their tennis, dancing and singing.

For her, the therapy brings improved energy, reduced stress and better sleep. Fact file Dr Alfred Tomatis has been researching the effects of sound on health and well-being for more than 30 years.

The Tomatis theory is: The brain is a battery, charged by sound distributed via the inner ear to the brain's cortex.

Because we perceive most noise to be a nuisance (much of it is), we train our ears to switch off - particularly from the high frequency sounds, which are those that do most to recharge the brain.

The ear has to be re-educated to welcome these sounds - at manageable, pleasant volumes. The retraining must be done on a regular basis (three hours a day, four days a week is recommended). Tomatis disciples report success in treating hearing loss, emotional disturbance, hypertension, insomnia, speech defects, epilepsy, hyperactivity, dsylexia and autism.

Inquiries: Sound Therapy Australia, (02) 9665 1777.

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Tomatis 2008 NATIONAL LISTENING TECHNIQUE AIMS TO HELP WOMEN DROP WELFARE SOUND THERAPY AIDS THEM IN DEFEATING DISABILITY Stuart Eskenazi The Seattle Times 1,015 mots 16 avril 2000 Times-Picayune ORLEANS A30 Anglais Š 2000 The Times Picayune. Provided by ProQuest Information and Learning. All rights reserved.

Listening to the music of Mozart through headphones, 25-year-old Julie Lucas sits upright in her chair and reads a verse into a microphone.

"Old Mother Hubbard went to the cupboard to give her poor dog a bone," she says.

Lucas recites the nursery rhyme evenly, enunciating each word and inflecting where appropriate. Six weeks ago, she barely could sit still long enough to finish her thought, let alone focus long enough to read a sentence.

Lucas is one of 21 women with acute learning disabilities who recently graduated from a six-week "listening and learning" training course designed to help them get off welfare, find a job and retain it.

The innovative sound-therapy technique, devised 40 years ago by French ear surgeon Dr. Alfred Tomatis, has been tried primarily on children suffering from attention-deficit disorder, dyslexia and other conditions that hinder learning. But Tomatis-based training largely has been the province of those who could afford it.

This is the first time the training has been administered at taxpayer expense to women striving to move from welfare to work. *** Power of sound *** The sounds -- a mix of classical music and Gregorian chant piped through headphones -- have coaxed the 21 women to read, write and speak with dynamism they never dreamed possible. In some, the music also has helped transform explosive personalities into confident spirits ready to tackle the job market.

"I have never seen results like this in all my 30 years as a trainer," says Sue Culver, co-director of With Grace Training Foundation, a nonprofit work-skills education program. It joined with the Open Ear Center on Bainbridge Island, Wash., to train the women under a contract with the state Department of Social and Health Services.

Inside a classroom at First Baptist Church in Renton, Wash., Culver watches 51-year-old Ruthie Coleman of Beacon Hill, Wash., read from the children's book, "Are You My Mother?"

Coleman stumbles over a couple of words, but her progress overwhelms Culver.

Six weeks ago, Coleman could barely write, and her pronunciation was so garbled that Culver could hardly understand her.

"It's amazing; it's a miracle," says Culver, who begins to cry. "Don't mind me. This is what I do all day long." *** 'Ear aerobics' *** Pat Moffitt Cook, the Open Ear Center director, manipulates the sounds into a controlled chaos where loudness levels spike and ebb and the noises ping and pong between the right and left ear. She purposely distorts the music with static, making it sound as if the headphones have an annoying short in the wiring.

Moffitt Cook calls the stimulation "ear aerobics," an auditory workout that can wear out listeners. But the exercise teaches how to focus on and process what is heard.

A leading cause of learning disabilities is an inability to process sounds accurately, Cook says. And the ability to listen is the basis of the ability to learn, she says.

In the next two weeks, each of the 21 women will pursue her individual plan toward getting a stable job. In some cases, that may mean enrolling in a literacy or GED course.

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Tomatis 2008 Washington's WorkFirst welfare reform, adopted in 1997, set a five- year lifetime limit for receiving benefits, aimed at pressuring welfare recipients to find work and stay in the job force. These women were identified by DSHS as needing special help before they could secure jobs.

The six-week course, along with the two-week follow-up, costs the state $5,175 per woman, more than what is usually spent on work- training programs, says Sylvia Young, contracts manager for the DSHS regional office in Seattle.

Janet McCully, With Grace co-director, helped persuade DSHS to try the "listening and learning" approach by sharing her own experience. McCully, who has trouble remembering what she sees and reads, went through Cook's training last year.

"It changed my life," she says.

During the first two weeks of training, the welfare recipients listened to customized music through headphones. The women were then taught job-finding and workplace skills. During the past two weeks, the women have been on the headphones again, listening to the music and hearing their own voices as they read aloud into a microphone.

In social-services vernacular, the women are "harder-to-serve clients." In general, they have sporadic work histories, little formal education and suffered trauma in their lives.

The state will assess the results of the training on the current graduating class before deciding whether to try the program again, Young says.

Mary Lindell can offer an earful, which is saying a lot. Six weeks ago, her wispy voice was barely audible. She was so spooked by people that she pleaded with Cook not to make her speak in front of her classmates. Early on, she instigated an argument with McCully that almost led to her banishment.

But now Lindell says she is emerging from her shell and feels good about her chances to secure her dream job: data entry at Microsoft. Her longtime friend and classmate, Lisa Ewing, gives a compelling testimonial.

"She would say just one word, if she could get away with it, to answer a question," Ewing says. "She smiles more now. She starts more conversations. She doesn't hide her face as much with her hands or her hair."

Ewing, who like Lindell is 27 and lives in Shoreline, Wash., says the class also has helped her hear better, speak more clearly and remember what she hears.

Julie Lucas, who lives in Rainier Beach, Wash., says the training has made her more calm and aware. "I know I am smarter than I thought I was before," she says.

Lucas hopes to find work as a receptionist, a job that will require her to speak clearly and slowly and to be organized and patient.

"Today," she says, "I feel I can do it."

And that's music to her ears.

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Tomatis 2008 LOCAL NEWS Do you hear what I hear? Better jobs Learning to listen pays off for those with disabilities Stuart Eskenazi Seattle Times staff reporter 1,212 mots 7 avril 2000 The Seattle Times Night Final B1 Anglais Š 2000 Seattle Times. Provided by ProQuest Information and Learning. All rights reserved.

Listening to the music of Mozart through headphones, 25-year-old Julie Lucas sits upright in her chair and reads a verse out loud into a microphone.

"Old Mother Hubbard went to the cupboard to give her poor dog a bone," she says.

Lucas recites the nursery rhyme evenly, enunciating each word and inflecting where appropriate. Six weeks ago, she barely could sit still long enough to finish her thought, let alone focus long enough to read a sentence.

Lucas is one of 21 women with acute learning disabilities who will graduate today from a six-week "listening and learning" training course designed to help them get off welfare, find a job and retain it.

The innovative sound-therapy technique, devised 40 years ago by French ear surgeon Dr. Alfred Tomatis, has been tried primarily on children suffering from attention-deficit disorder, dyslexia and other conditions that hinder learning. But Tomatis-based training has largely been the province of those who could afford it.

This is the first time the training has been administered at taxpayer expense to women striving to move from welfare to work.

The sounds - a mix of classical music and Gregorian chant piped through headphones - have mesmerized the 21 women, coaxing them to read, write and speak with dynamism they never dreamed possible. In some, the music has also helped transform explosive personalities into confident spirits ready to tackle the job market.

"I have never seen results like this in all my 30 years as a trainer," says Sue Culver, co-director of With Grace Training Foundation, a nonprofit work-skills education program. It joined with the Open Ear Center on Bainbridge Island to train the women under a contract with the state Department of Social and Health Services (DSHS).

Inside a classroom at First Baptist Church in Renton, Culver watches 51-year-old Ruthie Coleman of Beacon Hill read from the children's book, "Are You My Mother?"

Coleman stumbles over a couple of words, but her progress overwhelms Culver.

Six weeks ago, Coleman could barely write her name and her pronunciation was so garbled Culver could hardly understand her.

"It's amazing; it's a miracle," says Culver, who begins to cry. "Don't mind me. This is what I do all day long."

Pat Moffitt Cook, the Open Ear Center director, manipulates the sounds into a controlled chaos where loudness levels spike and ebb and the noises ping and pong between the right and left ear. She purposely distorts the music with static, making it sound as if the headphones have an annoying short in the wiring.

Moffitt Cook calls the stimulation "ear aerobics," an auditory workout that can wear out listeners. But the exercise teaches how to focus on and process what is heard.

A leading cause of learning disabilities is an inability to process sounds accurately, Cook says. And the ability to listen is the basis of the ability to learn, she says.

In the next two weeks, each of the 21 women will pursue her individual plan toward getting a stable job. In some cases, that may mean enrolling in a literacy or GED course.

Washington's WorkFirst welfare reform, adopted in 1997, set a five- year lifetime limit for receiving benefits, aimed at 247

Articles scientifiques & articles de la presse

Tomatis 2008 pressuring welfare recipients to find work and stay in the job force. These women were identified by the DSHS as needing special help before they could secure jobs.

The six-week course, along with the two-week follow-up, costs the state $5,175 per woman, more than what is usually spent on work- training programs, says Sylvia Young, contracts manager for the DSHS regional office in Seattle.

Janet McCully, With Grace co-director, helped persuade DSHS to try the "listening and learning" approach by sharing her own experience. McCully, who has trouble remembering what she sees and reads, went through Cook's training last year.

"It changed my life," she says.

During the first two weeks of training, the welfare recipients listened to customized music through headphones. The women were then taught job-finding and workplace skills. During the last two weeks, the women have been on the headphones again, listening to the music and hearing their own voices as they read aloud into a microphone.

In social-services vernacular, the women are "harder-to-serve clients." In general, they have sporadic work histories, little formal education and suffered trauma in their lives.

The state will assess the results of the training on the current graduating class before deciding whether to try the program again, Young says.

Mary Lindell can offer an earful, which is saying a lot. Six weeks ago, her wispy voice was barely audible. She was so spooked by people that she pleaded with Cook not to make her speak in front of her classmates. Early on, she instigated an argument with McCully that almost led to her banishment.

But now Lindell says she is emerging from her shell and feels good about her chances to secure her dream job: data entry at Microsoft. Her longtime friend and classmate, Lisa Ewing, gives a compelling testimonial.

"She would say just one word, if she could get away with it, to answer a question," Ewing says. "She smiles more now. She starts more conversations. She doesn't hide her face as much with her hands or her hair."

Ewing, who like Lindell is 27 and lives in Shoreline, says the class also has helped her hear better, speak more clearly and remember what she hears.

She also has more fun reading bedtime stories to her toddler daughter, Shalien.

"I can hear myself put more tone in my voice," she says. "I feel more a part of the story when I am reading to her. She looks up at me and watches my face when I read, which she didn't really do much before."

Julie Lucas says she notices she is bonding more with her 17- month-old daughter, Gia. Instead of ignoring Gia when she cries, Lucas says she now sits down with her and tries to understand what is bothering her.

At the beginning of the program, Lucas talked so swiftly, she was difficult to decipher. McCully had asked her to write a sentence on a piece of paper affixed to the wall. Lucas' script was tiny. When McCully asked her to try again, Lucas went ballistic. She scribbled all over the paper and ripped it off the wall.

Lucas, who lives in Rainier Beach, says the training has made her more calm and aware. "I know I am smarter than I thought I was before," she says.

Lucas plans to find work as a receptionist - a job that will require her to speak clearly and slowly and to be organized and patient.

"Today," she says, "I feel I can do it."

And that's music to her ears.

PHOTO; Caption: Jimi Lott / The Seattle Times:; Caption: With Grace Training Foundation student Lisa Ewing practices her reading at the First Baptist Church of Renton. The unique learning program incorporates sounds and music to enhance students' ability to process information.

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Tomatis 2008 LIVING 'THE MOZART EFFECT' CLASSICAL MUSIC IS PACKAGED AS A CURE FOR WHAT AILS YOU Willa J. Conrad 1999 Newhouse News Service 1,293 mots 27 octobre 1999 Times-Picayune ORLEANS E1 Anglais Š 1999 The Times Picayune. Provided by ProQuest Information and Learning. All rights reserved.

When Mozart was less than 4, a family friend reported the boy insisted his most mundane tasks be accompanied by music.

"For example," the Salzburg court trumpeter Johann Andreas Schachtner wrote, "if we, he and I, were carrying his toys from one room to another, the one of us who went empty-handed always had to sing or fiddle a march as we went."

While the anecdote illustrates Mozart's early genius and the physical way he experienced music, nowadays the scenario seems reversed. Everywhere we go, there is Mozart and his music, waiting to accompany us in our daily chores.

To soothe road rage, there's a CD called "Mozart for the Morning Commute," part of the Philips label's "Set Your Life to Music" series. For those who feel foggy-headed, Deutsche Grammophon has "Tune Your Brain With Mozart," billed as "music to build a better mousetrap."

Classical music, once extolled as the flower of Western culture, is now being increasingly sold as a form of nonpharmaceutical pain reliever, mood enhancer, baby calmer, brain stimulator, relaxation aid, stress reliever and your best coffee break pal.

Mozart may have started it - a 1993 study dubbed the "Mozart Effect" showed that college students temporarily improved in certain types of mathematical reasoning after listening to his music, and there followed a movement to package his music as an elixir for the brain. But he is by no means alone in his newfound status as master clinician.

According to the liner notes of several current CDs, Debussy can stoke our creativity, Brahms and Beethoven make great reading companions, and Byrd, Palestrina and Faure are perfect meditation partners. Bach can put a bride at ease on her wedding day, put us to bed at night, or heal our aching hearts.

Exactly when did classical composers become psychologists and behavioral scientists, theologians and counselors?

"You've got to hook the people somehow," says Klaus Heymann, chairman of H&H International Ltd., who oversaw the Naxos label's new "Classical Music for Reflection and Meditation" series. "We're aiming at the average music lover who would not normally buy liturgical or sacred music, to see whether we can get him to sit down and listen to what is actually there."

Record labels have been repackaging old recordings in new collections for a second go-around practically since the industry's inception - and they've often been the biggest sellers in the catalog.

"I've been doing it since 1953 when I did a composers' greatest hit series for Columbia Records that sold 10 million copies," says Peter Munvies, mastermind behind the Philips series, which boasts titles like "Chopin and Champagne" and "Rachmaninoff for Romance" and last year chalked up more than $3 million in U.S. sales. In an industry that cheers if it gets $500,000 revenue over a disc's entire lifetime, that's no small change.

"There's nothing new about compilations. What's new is there's a big market for it now, more than ever," Munvies says.

We have the Three Tenors and their multimillion-selling collaborative discs to thank for that. But that bigger market is also full of more educated, savvy buyers, many without training or interest in classical music for purely aesthetic reasons. And so classical record labels, just emerging from the toughest downturn in their history, are finding that simply repackaging previous hits is no longer enough.

"The makeup of the audience has changed," Munvies says. "In 1953, we had a population from Europe that came over after the war who loved chamber and classical works. We had no problem selling core repertoire. The challenge today is not where the converted are - it's finding the unconverted."

In this quest, CD labels have found an unlikely ally: science. Where once the argument for classical music was couched entirely in terms of aesthetics, decades of research have now linked classical music to specific physiological responses, 249

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Tomatis 2008 everything from slower heart rates and primed immune systems to calming brain seizures or stimulating reasoning processes.

"I call it music as a window into higher brain function," says Dr. Gordon Shaw, a physicist at the University of California at Irvine, who co-authored the paper describing the lab experiment with college students. In that study, students were tested first, then asked to listen to several minutes of Mozart's Sonata for Two Pianos in D Major (K. 448). When they were retested, it was found that, for a short time, there was measurable improvement in their spatial temporal reasoning, or the ability to see patterns forming in space and time.

"We picked Mozart because he was composing at age 4," Shaw says. "We figured if anyone was tapping into the internal neural arrangement of the brain, it was this genius."

Thus was born the "Mozart Effect," a media-applied tag with which Shaw is very uncomfortable, especially when it is applied to marketing discs to stimulate young children's mental growth.

"There is no research with very young children, no listening studies to support this," Shaw says. "You'll see tons of CDs saying this will make your kids smarter, and there's no basis for it."

In fact, the 1993 experiment was an afterthought. Shaw and co- researcher Frances Rauscher had been mapping the impact of keyboard instruction on the reasoning processes of 3-year-olds. They were so encouraged by the results that they decided to see if the simpler, more passive activity of listening could be proven to have any discernible impact.

Shaw says he did not anticipate the test results would become a new marketing angle for the industry.

"You sort of have to have a sense of humor about all this," says Shaw, who has never endorsed a CD series and has tried, in his book "Keeping Mozart in Mind," to calm some of the fervor his experiment has inspired. "It's exciting because there's something definitely there. But now it's almost at a political level. I'm not saying music shouldn't be good for music's sake.

But you have to do clinical studies. Choosing Mozart was just a hunch. There's no proof other kinds of music won't do some of these things, too."

Nonsense, says author and musician Don Campbell, whose CD series named after his book, "The Mozart Effect," has been hovering in the top 15 best-selling classical recordings list for nearly a year. With more than 400,000 units sold in two years, Campbell's double series - one for adults, one for children - currently outranks all the others that make reference to Shaw's research.

"I've been doing this for 30 years," says Campbell, a trained pianist and organist who once studied composition with the famed Parisian pedagogue Nadia Boulanger, through whom he met the French physician Alfred Tomatis, the founder of modern music therapy. "Nobody owns this; Tomatis did research (with children) using Mozart back in the early '80s.

(Shaw's) new book is really fascinating, but it only talks about one tiny piece."

So, should Mozart be required listening for your baby?

Physicist Shaw maintains there's no real basis for it; he is just now beginning the experiments that might show the impact of playing Mozart for 3-year-olds.

On the other hand, he's not above a little unsupported experimentation himself.

"I've always listened to classical music," Shaw says, "but I must say, I listen to more Mozart than I used to. At 67, I'm fighting decay. It can't hurt."

Caption: STAFF ILLUSTRATION BY KENNETH HARRISON

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Tomatis 2008

Exploring alternatives This week: Listening therapy 864 mots 20 octobre 1999 The Express Anglais Copyright (C) 1999 The Express Listening therapy is a term used to cover two main types of sound therapy: Auditory Integration Training (AIT) and the Tomatis method. Both techniques were devised by French ear, nose and throat specialists.

Forty years ago, Dr Alfred Tomatis introduced his complex theory that the ears perform many functions, including controlling balance, relaying sensory information to the brain and analysing the sounds that help us understand language.

He also claimed that high-frequency sounds such as violin concertos energise the brain, whereas low-frequency sounds such as rock music drain energy away.

A well-charged brain enables us to focus, concentrate, organise, memorise, learn and work almost effortlessly. Low levels of brain energy can lead to problems such as depression and hyper-activity. Tomatis also believed that "listening" (i.e. absorbing information) is more important than hearing. Many children with learning difficulties have excellent hearing but have trouble listening. He claimed his method of using music which was electronically filtered to remove all the low frequencies could energise and organise the brain so we listen and function more effectively. Dr Guy Berard, a colleague of Tomatis, introduced AIT 10 years later because he felt the Tomatis programme was too lengthy. He claimed he could achieve better results in a shorter period of time with his own computerised delivery system.

Tomatis and Berard noticed a close relationship between how a person hears and their behaviour, learning abilities, sociability, emotional health and general well-being.

As yet no one has accurately explained how this complex relationship works. Both doctors also discovered that patients with learning disabilities such as Down's syndrome or autism often seemed to have hyper-acute hearing and were easily distressed by certain sounds.

They speculated that one of the reasons autistic children retreat within themselves is because the world is too noisy.

To date there is plenty of clinical evidence showing that autistic children benefit from the Tomatis method, but as yet no scientifically controlled study has been published. Australian and American research has found AIT to have significant benefits for people with autism but, again, more good research is needed.

What happens?

Tomatis Method practitioners conduct an extensive initial assessment of hearing, hearing loss and listening ability. Hearing is also assessed during and after treatment. Each two-hour session involves listening to four 30 minutes tapes of classical music, gradually filtered electronically over several days. In AIT there is an initial test for hyperacute hearing and further tests during and after treatment. AIT also involves listening to electronically filtered music, ranging from reggae to country and western. The National Light and Sound Therapy Centre in London uses AIT in conjunction with gentle light therapy and a sound modulation system.

What it can do for you Listening therapy is mainly used to help people with learning problems such as autism, attention deficit disorder, hyperactivity and dyslexia. It is also used to treat depression, stress, speech and voice problems, brain injury, cerebral palsy or simply to help learn a foreign language. Additionally, Tomatis is used to treat epilepsy, deafness, tinnitus, vertigo, and motor development delay.

Practicals A course of Tomatis treatment usually involves two-hour treatments in three separate phases: first is one treatment daily for 15 days over a 21-day period, followed by a three to four-week break then eight days treatment, and possibly a third after five to six weeks. An initial consultation costs GBP60. The first 15 days treatment costs GBP700. The price reduces as treatment continues.

Contact the Listening Centre, 26 Eccleston Square, London SW1V 1NS (0171-821 9862) or 3 Wallands Crescent, Lewes, East Sussex BN7 2QT (01273 474877).

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Tomatis 2008 A course of AIT/AIT Plus involves 10 hours treatment in two daily 30-minute sessions over a two-week period; it can take up to three months to feel the full benefits. The course costs GBP1,250.

For details contact the National Light and Sound Therapy Centre, 90 Queen Elizabeth's Walk, London N16 5UQ (0181-880 1269).

Gillian Duke from Ashford in Kent took her autistic son James, age nine, for a course of AIT Plus in July, 1997.

James is not severely autistic; he makes eye contact and relates to me in an affectionate way but he attends a special school for children with disabilities. I'd read about AIT and one of James's teachers visited the National Light and Sound Therapy Centre and thought he would be a good candidate. We attended the ten-day course. James gradually got used to it and made significant improvements in certain areas. Straight after the course he came out of nappies, which was something we and the school had been encouraging him to do for ages and suddenly it just clicked with him. He had been prone to frequent aggressive outbursts but he became much calmer. He also now plays with his big brother Jonathon, who's 11, and that's one thing I thought I'd never see. Major changes often seem to happen only in the children who are most severely disabled but for many people, AIT can bring about small but significant improvements to everyday life.

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Tomatis 2008 Spotlight Classical music being prescribed as cure-all drug Willa J. Conrad STAR-LEDGER STAFF 1,948 mots 17 octobre 1999 The Star-Ledger Newark, NJ FINAL 001 Anglais (c) 1999 The Star-Ledger. All rights reserved.

When Mozart was less than 4, a family friend reported the boy insisted his most mundane tasks be accompanied by music.

"For example," the Salzburg court trumpeter Johann Andreas Schachtner wrote, "if we, he and I, were carrying his toys from one room to another, the one of us who went empty-handed always had to sing or fiddle a march as we went."

While the anecdote illustrates Mozart s early genius and the physical way he experienced music, nowadays the scenario seems reversed. Everywhere we go, there is Mozart and his music, waiting to accompany us in our daily chores.

To soothe road rage, there s a CD called "Mozart for the Morning Commute," and another "Mozart for Morning Coffee," both part of the Philips label s "Set Your Life to Music" series. For those who feel foggy-headed, Deutsche Grammophon has "Tune Your Brain with Mozart," billed as "music to build a better mousetrap." Classical music, once extolled as the flower of Western culture, is now being increasingly sold as a form of non-pharmaceutical pain relief, mood enhancer, baby calmer, brain stimulator, relaxation aid, stress reliever and your best coffee break pal.

Mozart may have started it A 1993 study dubbed the "Mozart Effect" showed that college students temporarily improved certain types of mathematical reasoning after listening to his music, and there followed a movement to package his music as an elixir for the brain. But he is by no means alone in his newfound status as master clinician. According to the liner notes of several current CDs, Debussy can stoke our creativity, Bach can put a bride at ease on her wedding day, Brahms and Beethoven make great reading companions, and Byrd, Palestrina and Faure are perfect meditation partners. Bach can also put us to bed at night, accompany us at brunch, or heal our aching hearts. Exactly when did classical composers become psychologist and behavioral scientists, theologians and counselors?

Old music in a new package "You ve got to hook the people somehow," says Klaus Heymann, chairman of H&H International Ltd., who oversaw the Naxos label s new Classical Music for Reflection and Meditation series. "We re aiming at the average music lover who would not normally buy liturgical or sacred music, to see whether we can get him to sit down and listen to what is actually there."

Record labels have been repackaging old recordings in new collections for a second go-around practically since the industry s inception and they ve often been the biggest sellers in the catalog. "I ve been doing it since 1953 when I did a composers greatest hit series for Columbia Records that sold 10 million copies," says Peter Munvies, mastermind behind the Philip s series, which boasts titles like "Chopin and Champagne" and "Rachmaninoff for Romance" and last year chalked up more than $3 million in U.S. sales. In an industry that cheers if it gets $500,000 revenue over a disc s entire lifetime, that s no small change. "There s nothing new about compilations. What s new is there s a big market for it now, more than ever," Munvies says. We have the Three Tenors and their multi-million-selling collaborative discs to thank for that. But that bigger market is also full of more educated, savvy buyers, many without training or interest in classical music for purely aesthetic reasons. And so, classical record labels, just emerging from the toughest downturn in their history, are finding that simply repackaging previous hits is no longer enough. "The makeup of the audience has changed," Munvies says. "In 1953, we had a population from Europe that came over after the war who loved chamber and classical works. We had no problem selling core repertoire. The challenge today is not where the converted are it s finding the unconverted."

Better health through Haydn?

In this quest, CD labels have found an unlikely ally: science. Where once the argument for classical music was couched entirely in terms of aesthetics, decades of research have now linked classical music to specific physiological responses, everything from slower heart rates and primed immune systems to calming brain seizures or stimulating reasoning processes. "I call it music as a window into higher brain function," says Dr. Gordon Shaw, a physicist at the University of California at Irvine, who co-authored the paper describing the lab experiment with college students. In that study, students were tested first, then asked to listen to several minutes of Mozart s Sonata for Two Pianos in D-Major (K. 448). When they were re-tested, it was found that, for a short time, there was measurable improvement in their spatial temporal reasoning, 253

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Tomatis 2008 or the ability to see patterns forming in space and time. "We picked Mozart because he was composing at age 4," Shaw says. "We figured if anyone was tapping into the internal neural arrangement of the brain, it was this genius." Thus was born the "Mozart Effect," a media-applied tag with which Shaw is very uncomfortable, especially when it is applied to marketing discs to stimulate young children s mental growth. "There is no research with very young children, no listening studies to support this," Shaw says. "You ll see tons of CDs saying this will make your kids smarter, and there s no basis for it."

In fact, the 1993 experiment was an afterthought. Shaw and co-researcher Frances Rauscher had been mapping the impact of keyboard instruction on the reasoning processes of 3-year-olds. They were so encouraged by the results that they decided to see if the simpler, more passive activity of listening could be proven to have any discernible impact. Shaw says he did not anticipate the test results would become a new marketing angle for the industry. "You sort of have to have a sense of humor about all this," says Shaw, who has never endorsed a CD series and has tried, in his book "Keeping Mozart in Mind," to calm some of the fervor his experiment has inspired. "It s exciting because there s something definitely there. But now it s almost at a political level. I m not saying music shouldn t be good for music s sake. But you have to do clinical studies. Choosing Mozart was just a hunch. There s no proof other kinds of music won t do some of these things, too."

Designing the discs Nonsense, says author and musician Don Campbell, whose CD series named after his book, "The Mozart Effect," has been hovering in the top 15 best-selling classical recordings list for nearly a year. With more than 400,000 units sold in two years, Campbell s double series one for adults, one for children currently outranks all the others that make reference to Shaw s research. "I ve been doing this for 30 years," says Campbell, a trained pianist and organist who once studied composition with the famed Parisian pedagogue, Nadia Boulanger, through whom he met the French physician Alfred Tomatis, the founder of modern music therapy. "Nobody owns this; Tomatis did research (with children) using Mozart back in the early 80s. (Shaw s) new book is really fascinating, but it only talks about one tiny piece." "I m a music socialist; I think music came forth from the folk arts as an expression of the emotional needs of society," says Campbell. If no one can argue with the passion behind such arguments, it s the varying ways science is integrated into these projects that seems suspect. One of the Philips discs, for instances, claims that, since the original Mozart study used a 10-minute listening period, 70 minutes of Mozart is seven times better. "Fasten your seatbelts, you I.Q. may be in for a rocket ride upstairs," it says. There is no experiment to substantiate this. And, since there is no one proven way to package an hour of music to obtain specific physiological results, series designers have devised their own methods. Musicologist Elizabeth Miles, for instance, who has designed eight discs for Deutsche Grammophon s "Tune Your Brain with ..." series, issued as companions to her book, "Tune Your Brain: Using Music to Manage Your Mind, Body and Mood," tries to mix scientific studies with common sense. "I started by sorting slow from fast. Then there is harmonic structure stepwise melodies that don t make big leaps are more relaxing. In general, consonant major keys are most relaxing, minor keys can be relaxing but not necessarily what I call healing music." Pieces that move at 60 beats per minute, Miles says, are more likely to stimulate alpha waves, those conducive to calm, clear reasoning processes and concentration, while fast, rhythmic, syncopated music stimulates beta waves for fast, reactive thinking and multi-tasking. Listening to one instrument playing as opposed to an entire orchestra can be more calming, since the mind has less information to process. It s what plays, not the player But, Miles admits, this is theory, not proven science. "Most classical pieces are built to cover a range of moods and body states. My theory is that what makes classical music difficult for contemporary listeners is they don t want to be moved around so much," she says.

That s why movements are extracted from larger works. Similarly, Campbell sorts his selections by tempo, mood and texture, but the former music critic says choosing a particular recorded interpretation is important. "Music has many factors happening simultaneously; I m having to use my background as a serious classical musician in sorting this out."

Heymann says he and his programmer rely on instinct and experience when sequencing Naxos Relaxation series: "I don t meditate myself, but I certainly relax to classical music," he says. Meanwhile, Munvies says he has read much of the available research, but "I use my own intuition. Nobody can guarantee an outcome." The larger record labels have voluminous archives with major artists to draw from, and so one might find, for instance, a movement of a Mozart piano concerto played by Alfred Brendel or Mitsuko Uchida, or Pierre Boulez conducting the Cleveland Orchestra in a movement of Debussy s "Nocturnes." But the performers, listed in tiny letters, are clearly secondary to the concept. That last point is perhaps the stickiest: Downplaying the individuality of performance removes the need to evaluate in terms of taste, style and technique the usual subjective measures by which classical music is judged. It also raises the question: Is this merely a temporary marketing technique, or does it signal a real change of philosophy about how classical music is perceived? "We re looking at an aesthetic invitation, not a clinical one," says Campbell. "It has to be artistic, well played, to invite the listener in."

Mozart as required listening for your baby?

The Web site for one of Campbell s record labels, Children s Group, lists his Mozart for Babies disc as "recommended listening for ages three months to three years." Physicist Shaw maintains there s no real basis for it; he is just now beginning the experiments that might show the impact of playing Mozart for 3-year-olds. On the other hand, he s not above a little unsupported experimentation himself. "I ve always listened to classical music," Shaw says, "but I must say, I listen to more Mozart than I used to. At 67, I m fighting decay. It can t hurt."

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Tomatis 2008 Music not only soothes ... it strengthens and stimulates and relieves stress. (That s according to the producers of classical CDs tied to self-improvement.)

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The Mozart Effect: Much More Than One Study 314 mots 7 septembre 1999 15:56 Business Wire Anglais (c) 1999 Business Wire BOULDER, Colo.--(BUSINESS WIRE)--Sept. 7, 1999--The Mozart Effect(R) encompasses much more than one, single academic study -- one of which is now under considerable scientific and public scrutiny according to Don Campbell, internationally known musician, educator and author of the 1997 book, "The Mozart Effect."

"The Mozart Effect, as defined in my work, is the use of music to enhance quality of life in a variety of ways, including health, wellness, education, creativity and emotional expression," said Campbell. "The ear's key role in the development of movement, balance, language and pre-verbal communication between parents and children is well established in literally hundreds of studies. Research designed to prove or disprove music's short-term effect on intelligence continues to bring valuable public attention to music's broader role in our lives. But it does not reveal the integrating neurological responses that music elicits."

Campbell's work has been highly influenced by his mentor, the French researcher Alfred Tomatis, M.D., specialist in the development of the ear prenatally and in speech and communication disorders. "Tomatis' remarkable work with Mozart's music, beginning in 1957, is the core of my exploration of the Mozart Effect. His visionary insights into the effects of Mozart's music in clinical settings are only now being recognized as essential to this field of research," said Campbell.

With 30 years committed to exploring and communicating music's uniquely accessible power to improve people's lives, Campbell credits the work being done by music educators, music therapists, and performing musicians who help their communities harness the power of music, one of humanity's oldest and most practical developmental tools.

Note to Editors: A list of related research is available upon request.

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Tomatis 2008 Lifestyles Taste of Waterloo will please your palate Donna Shea Record staff 507 mots 4 septembre 1999 Kitchener-Waterloo Record Final A15 Anglais Copyright (c) 1999 Kitchener-Waterloo Record.

Among those participating are: Angie's Kitchen, Atlas Wine Merchants, Blackshop Restaurant, Brick Brewing, Britannia Fine Cuisine, Charcoal Steakhouse, Country Kettle Classics, Crabby Joe's, Crystal's Tea Room, Ennio's Pasta House, Kennedy Catering, King Street Trio, M & M Meat Shops, Parmalat Canada, Sproll's Bakery, The Tea Cupboard, The Waterlot, Whale and Ale, William's Coffee Pub, Wok Wagon Catering and KWS volunteers.

The event takes place at Kitchener City Hall. Admission is $2 per person (children under 12, free). Food items range in price from 50 cents to $3.50 per sample.

Minor sports registration Mark these dates on the calendar: the City of Waterloo will hold registration for fall and winter minor sports at Conestoga Mall in Waterloo on Thursday, Sept. 9, from 5:30 p.m. to 9 p.m., and Saturday, Sept. 11, from 9:30 a.m. to 1 p.m. Eighteen minor sport organizations will be represented. Call 885-1338 for more information.

The Listening Centre Listen up -- The Listening Centre wants to spread the word about its programs and how they may benefit your life. Located in Toronto, this private clinic has an outreach program in Stratford.

Based on methods developed by Alfred Tomatis, an ear, nose and throat physician, the approach is based on "sound stimulation." The clinic claims it has helped people with learning disabilities, attention deficit disorder, dyslexia, autism, Down's Syndrome, fatique or stress.

The cost is determined during an assessment (typical fees are $90 for an evaluation and $925 for the program.) Assessment week begins Sept. 20 in Stratford. An information session will be held in Stratford on Wednesday, Sept. 15, 7 p.m. at Griffith Auditorium, 643 West Gore St. For more information, call Janette Lyoness at 1-519-271-6515. The Web site address is: www.listeningcentre.com Call for quilts Calling all quilters in Ontario -- the Waterloo County and Area Quilt Festival has put out a call for entries for its year 2000 juried show. Submissions will be accepted from individuals, guilds and groups.

Organizers are planning big things for the millennium year -- they're trying to arrange a quilt exchange with South Africa.

For more information, call the Joseph Schneider Haus, 742-7752, the K-W Art Gallery at 579-5860 or Marion at 884-2453.

International Literacy Day Celebrate International Literacy Day with The Literacy Group of Waterloo Region organization on Wednesday, Sept. 8, from 4 to 7 p.m.

Displays and information about literacy will be available at the Kitchener office, 133 Frederick St. E., and the Cambridge office, 291 Westminster Ave. Call 743-6090 or 650-3783 for more information, or to become a volunteer with the organization.

Planning a community event, talk, program or fund-raiser? Fax information to Donna Shea at 894-3829 or mail items to her in care of The Record, 225 Fairway Rd. S., P.O. Box 938, Kitchener, Ont., N2G 4E5. Two weeks advance notice is appreciated.

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Rhythms to beat those blues 1,139 mots 25 ao没t 1999 The Express Anglais Copyright (C) 1999 The Express Rhythmic sound was a form of communication before humans learned to speak. Music is also a powerful way to express emotions and it can be a valuable therapy. Dr Wendy Magee, head of music therapy at London's Royal Hospital for NeuroDisability in Putney, London, says we have an innate biological response to music.

"From early on, we process music and language in similar ways," she says. "Even a child in the womb can discriminate auditory stimuli through pitch, volume, frequency and intonation. Mothers throughout the world use a universal sing song language babies respond to."

Dr Magee works with adults who have suffered brain injury. She says that even when brain pathways that process language are damaged, music can still find undamaged pathways to travel along.

As a result, even those who have lost an ability to talk can respond to music, and even sing. This may also happen with congenital problems: there are anecdotal reports of children with genetic problems such as the rare Fragile X Syndrome who find normal speech almost impossible but can manage verses of songs.

It has been suggested that music can help cure emotional trauma because it is received by the "limbic" system in the brain, the seat of our emotions. Certain rhythms also have a calming effect. The soothing effect of lullabies are a simple example, as is the boost of energy which can be stimulated by frenetic dance music.

Some therapists suggest certain types of music - ancient mystical chants and even elemental sounds such as the wind and sea - have vibrations that in some way heal the body's own disharmony.

Strictly, music therapy is practised by Association of Professional Music Therapists members, skilled musicians with postgraduate qualifications in music therapy. But some alternative therapists also use singing or chanting for pain relief, depression and personal transformation.

The theory is that all sound is vibration and sound you produce has the greatest impact. Chanting often involves sounds of high frequency, which, according to French doctor and sound researcher Dr Alfred Tomatis, has a stimulating effect on the brain and the central nervous system.

A vast body of highly respected research has proved many benefits of music therapy. Dr Ralph Spintge, Germany-based executive director of the International Society For Music In Medicine, uses music instead of, or to complement, anaesthesia. His research has shown music of a certain rhythm can reduce heart rate, blood pressure and respiration and help patients recover more quickly.

Music is also used to calm sick and premature infants in some neonatal intensive care units.

What happens?

The people with whom therapists work range from children who have suffered sexual abuse to people with Alzheimer's disease, so the approach has to be flexible. Common to all treatment is a relationship of trust.

Therapy can take place in groups or on a one-to-one basis. Sessions may involve voice work, singing, using percussion and other instruments or listening to selected pieces of music. A typical session lasts about an hour but some children may only be able to participate for 30 minutes at a time. The treatment period also varies according to individual need. For some, treatment may be an eight-week rehabilitation programme, for others it may last years.

What it can do for you Music therapy can benefit people with physical, mental, emotional and psychological problems and handicaps.

It appears to be most beneficial for people who are unable or choose not to speak, even though they may be highly 258

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Tomatis 2008 articulate. It is used for pain relief, relaxation, children with autism and learning difficulties, emotional disturbance, language delay, and severe depression and schizophrenia. Pregnant women and premature infants can also benefit. Music therapy also forms a crucial part of the rehabilitation programme for patients with Alzheimer's, Parkinson's disease, multiple sclerosis, stroke or accidental brain injury at centres such as the Royal Hospital for Neuro- Disability.

Practicals Members of the Association of Professional Music Therapists (APMT) work mostly within the NHS. It is possible to have music therapy privately, fees start from GBP25 per hour. To find your local APMT area co-ordinator, contact the APMT administrator, Mrs Diana Asbridge, 26 Hamlyn Road, Glastonbury, Somerset BA6 8HT enclosing a SAE. For details of voice and sound healing workshops contact Susan Lever, Harmony, 1a Railway Cottages, Pinchinthorpe, Nr Guisburgh TS14 8HH (01287 636350). A one-day workshop costs GBP20-GBP40, depending on the area.

Dr Wendy Magee, of the Royal Hospital for Neuro-Disability in Putney, London, describes a patient who benefited from music therapy.

A woman patient in her mid-30s developed brain damage after a car accident. She could not walk, use the right side of her body, speak or understand language. Her mood was very low. She had weekly therapy in conjunction with speech and language therapy at the hospital. After six months she could mouth words and began to be alert for longer periods.

In music therapy sessions, she started to sing the last word in each line of the song: Can't Help Loving That Man. Within eight months, she could choose songs which reflected her mood and she was also able to sing words she was still unable to say. Her confidence grew and her mood improved.

At the end of treatment she could sing familiar songs to express how she felt and also sing out short functional phrases, such as "I'd like a cup of tea", and tell us the names of her children, which was really important to her.

Sara Heaton, 55, from Liverpool, found voice workshops brought about physical and psychological healing I always liked music, though I have no musical ability. In spring 1998, I went on a writing course "alternative" holiday in Greece but, one day, I heard a group of people sounding out vowels in harmony and it made the most magical sounds. I dropped the writing, took up singing and immediately felt as if I had discovered my birthright.

Ten days later, I started having blissful, long-forgotten memories from my childhood, such as my nurse crooning to me when I was 18 months old. I also experienced physical healing. A brain haemorrhage at 18 left me with limited movement on my left side, especially in my left hand. One day in a workshop, I had a buzzing sensation in my left arm and, after 30 years of spasticity, I could co-ordinate the movement of my fingers.

I came home from the holiday and signed up to do voice-freeing workshops with Susan Lever. Discovering the power of my own voice was amazing, like falling in love. I am now more confident, assertive and relaxed.

My movement and co-ordination has improved and I feel much more balanced in every respect.

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Geschäft mit Musik für Babys - Songs mit Einschlafgarantie.

Von Arnu, Titus.

761 mots 5 juillet 1999 Der Spiegel 125 Allemand (c) 1999 Der Spiegel Die Zielgruppen der Musikindustrie werden immer jünger jetzt gibt es CDs für neu-und ungeborene Hörer.

Die lieben Kleinen waren unersättlich. Immer wieder mußte der Papa die Spieluhren seiner Kinder aufziehen. Die klangsüchtigen Babys brachten ihren Erzeuger auf eine Geschäftsidee, die sich bezahlt machte: Achim Perleberg, 50, erweiterte seinen Grußkarten-Verlag um eine Sparte für Babymusik. Inzwischen verkauft er weltweit Titel wie "Country für Babys" oder "Beatles für Babys".

Die zentrale Botschaft der meisten Popsongs "Baby, I love you" erreicht endlich die richtigen Adressaten. Wie es scheint, haben Kinderkrankenhäuser, Krabbelgruppen und Kleinstkinder nur auf den letzten Schrei zum ersten Schrei gewartet.

"Moderne Musik für Babys, die auch den Eltern gefiel, gab es lange nicht", sagt Perleberg. Und die Konkurrenz verhält sich wie viele Kleinkinder: Sie schläft nicht und ahmt alles nach. Und sie wartet nicht erst bis zur Geburt ihrer Adressaten.

Eine Pränatal-Platte aus der Reihe "Babies Music" im Vertrieb der Firma Eurotools liefert den nötigen Gebär-Groove; das Stück "Brightness" mit aufstachelnden Flügelhorn-Fanfaren und einem regelmäßig gesummten "hmm, hmm, hmm" soll die Bindung zwischen Mutter und Kind stärken.

Perlebergs neuestes Produkt auf dem Gebiet des Postnatal-Pops ist die CD "Nach der Geburt", angeblich besonders geeignet "für Babys erste Stunden und Tage". Das "Happy Baby Orchester" präsentiert auf dem Album Stücke wie "Hushabye Baby" oder "Go to Sleep" im speziellen "Womb-Sound", einem verwegenen Mix aus Herztönen, Spieluhr-Klängen und Streichmusik.

Der Rhythmus zu den Kinderliedern kommt aus dem Bauch. Den Beat zu "Au Clair de la Lune" oder Schuberts "Wiegenlied" liefert das Pulsieren der Plazenta, ein Geräusch, das werdende Eltern vom Bauchabhören während der Schwangerschaft kennen.

Fred Schwartz, Anästhesist am Piedmont-Hospital in Atlanta und Erfinder der kuriosen Schwangerschaftsschlager, preist seine Komposition als akustisches Beruhigungsmittel an: "Womb-Sounds helfen dem Baby, die Trennung vom Mutterleib zu überwinden." Der Gebärmutter-Remix mit dem Herzton-Beat ist gar mit einer "Einschlaf-Garantie" versehen. Aus der Perspektive des Neugeborenen wirkt die Baby-Beschallung vielleicht weniger hitverdächtig: Kaum auf der Welt, gibt's schon was auf die Ohren.

Christin Graba etwa, eine Hebamme aus dem bayerischen Starnberg, hält nicht viel von gezieltem Musikeinsatz vor, während und direkt nach der Niederkunft. "Die Geburt ist ein so großer Schock für die Kinder, daß sie nicht noch zusätzliche Reize brauchen", sagt die erfahrene Geburtshelferin. Musik lenke die Kleinen eher davon ab, natürliche Töne wahrzunehmen und zu verarbeiten. "Absolut überflüssig" findet Christin Graba spezielle CDs für die Beschallung von Embryos im Bauch.

Ist es also unsinnig, die Fruchtblase in eine Disco zu verwandeln? Im Mutterleib hören Ungeborene ab dem sechsten Schwangerschaftsmonat, wenn ihr Gehör ausgebildet ist, genügend Geräusche, die ihnen permanent einen Rhythmus vorgeben: Atmung, Herzschlag und Verdauung der Mutter.

Nach Erkenntnissen des Akustikforschers Alfred Tomatis prägt der Sound der Körpergeräusche die Klangmuster des Kindes entscheidend. Ähnliches berichtet der Hamburger Musiktherapeut und Professor Hans-Helmut Decker-Voigt in seinem anschaulichen, im Kreuzlinger Ariston-Verlag erschienenen Buch "Mit Musik ins Leben".

Das wachsende wissenschaftliche Verständnis der Bedeutung von Tönen für die frühkindliche Entwicklung hat freilich mit der industriellen Vermarktung von "Baby-Musik" wenig zu tun. Die CD "Elvis für Babys" etwa kombiniert Baby-Brabbeln mit Spieluhr-Klängen und süßlich gesummten Melodien des Kinder-Kings, einschließlich "That's Alright, Mama".

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Tomatis 2008 Ob Musik die Neugeborenen eher entspannt oder zusätzlich streßt, ist umstritten. Bei einer Untersuchung mit 32 Babys stellten Wissenschaftler der Harvard University fest, daß die Kleinen auf harmonische Klänge positiv reagieren und sich beruhigen. Babys regen sich nach den Erkenntnissen der Harvard-Psychologen am besten bei ausgewählten Naturinstrumenten und weichen Klängen ab. Schmuserocker wie Chris de Burgh müßten also ganz oben in den BabyHitparaden stehen.

Heilsam auf die Kinderpsyche wirke Baby-Musik besonders nach medizinischen Eingriffen, sagt Ludwig Blinzler, Anästhesist in Nürnberg: "Erste Eindrücke bei der Anwendung derartiger CDs bei Neugeborenen nach kleinen operativen Eingriffen waren durchaus positiv."

Gottlob Prüm, Facharzt für psychotherapeutische Medizin in Siegsdorf im Chiemgau, will bei einem Test mit 50 Säuglingen herausgefunden haben: "Mit Musik schlafen Kinder zwar nicht schneller ein, aber entspannter." Er spielte den zwei bis drei Monate alten Babys beim Einschlafen eine CD für Neugeborene aus der Reihe "Babies Music" vor und maß dabei den Puls sowie den Sauerstoffgehalt im Blut. Unter dem Einfluß von "Babies Music" habe "die Sauerstoff-Sättigung des Blutes aufgrund muskulärer Entspannung zugenommen", behauptet Prüm. Zudem hätten die Kleinen beim Einschlummern mit Musik "deutlich ausgeglichener" gewirkt als ohne.

Erfahrene Eltern wollen allerdings wissen: Ein Staubsauger oder der Sound eines Kinderwagens, der über Kopfsteinpflaster rattert, wirkt genauso zuverlässig. TITUS ARNU. (c) 1999 Der Spiegel.

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Tomatis 2008 SPECIAL SECTION / LIFESTYLE TO BUILD BRAIN POWER, STUDENTS LISTEN MOSTLY TO MOZART

By RICH COPLEY, Special from the Lexington Herald-Leader 1,215 mots 13 avril 1999 The Record All Editions.=.2 Star B. 2 Star P. 1 Star Early e03 Anglais Š 1999 North Jersey Media Group Inc. Provided by ProQuest Information and Learning. All rights reserved.

Five-year-old Destiny Blair would rather watch violinist Vanessa-Mae perform on television than pop star Vanessa Williams.

Her mother, Nickolette Scott, isn't sure what shaped Destiny's musical preferences, whether it was the music she heard in ballet classes or the viola she heard her mother practice at home. She just knows that her daughter likes classical music.

Obviously, Destiny is broadening her cultural horizons at a young age. But recent studies have suggested she also might be building her brain power.

What the new studies say is that some classical music enhances concentration and facilitates higher-brain functions such as spatial reasoning.

The tests, conducted in the early 1990s at the University of California, showed that 36 undergraduates scored higher on spatial IQ tests after listening to Mozart's "Sonata for Two Pianos in D Major." Those effects, dubbed "the Mozart Effect," lasted 10 to 15 minutes.

How seriously have the Mozart Effect and other studies showing beneficial effects of classical music been taken? {BUL} At hospitals in Georgia and Colorado, newborns are given a classical music CD or tape through programs endorsed by state leaders. {BUL} Hudson Valley Community College in New York has established a Mozart Effect Study Area where students can cram for exams while listening to Mozart and other composers of the Classical Era (mid-18th to mid-19th century). Students who studied for finals in the room said they had never done so well. {BUL} An elementary school in suburban Denver played Mozart while students took the Iowa Test of Basic Skills and reported that test scores rose 4 to 8 percentage points. {BUL} At Arlington Elementary School in Lexington, Ky., music teacher Andrea Frasure is making tapes of Mozart for other teachers to play during certain periods of the day.

"Teachers have expressed an interest in music and its effects on learning," said Frasure, who's trying to use the study results in work with students from age 4 to fifth grade.

The results of the California studies didn't surprise Frasure or Philip Shepherd, coordinator for fine arts in the Fayette County (Ky.) Public Schools. Through the years, both have noticed that students who excel in music generally excel in other areas as well.

Other teachers, along with Frasure, are exploring ways to apply Mozart Effect research in school, from playing music in the background to studying it in-depth.

"I hear that the students are more ready to learn," Shepherd says. "It affects the mood of the students and their desire to learn."

It is still unclear how Mozart Effect findings should be applied. Is simply listening to the music enough, as some research with infants seems to suggest, or do you need to be an active listener, attempting to decode the complexities of the music?

Frasure guesses that passive listening could have an effect, but active listening is where mind-expanding benefits are derived.

"The thing that I take from the Mozart Effect is the idea that music requires you to use parallel processing: simultaneously taking in things such as pitch and harmony," she said. "I ask the students to do a lot of listening, and we use a lot of 262

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Tomatis 2008 Mozart."

Why Mozart?

The general consensus is that the composer's complex, changing melodies, combined with the general emotional neutrality of his music, enable connections to be made in the brain that improve test scores.

French physician Alfred Tomatis, who has done research contributing to the Mozart Effect's claims, has looked into the question of why Mozart has such a marked effect. He keeps coming up with the same answer.

"He has found that regardless of a listener's tastes or previous exposure to the composer, the music of Mozart invariably calmed listeners, improved spatial perception, and allowed them to express themselves more clearly _ communicating with both heart and mind," Don Campbell writes in "The Mozart Effect," a sort of bible on the theory.

Campbell asserts: "Clearly the rhythms, melodies, and high frequencies of Mozart's music stimulate and charge the creative and motivational regions of the brain. But perhaps the key to his greatness is that it all sounds so pure and simple. His wit, charm, and simplicity allow us to locate a deeper wisdom in ourselves."

But others say the jury is still out.

"What if you were to repeat the same experiment with a musical sample that was equally complex, but less well-loved _ like Stockhausen or Sun Ra," ethnomusicologist Elizabeth Miles writes in her book, "Tune Your Brain."

"Until we know the answers to these questions, we can't give Mozart the corner on the cognitive market. Complex music is found in cultures around the world, and it's possible that many different musical styles can stimulate the neural firing that elevates the spatial-temporal or other components of the IQ." Both Miles' and Campbell's books detail beneficial effects of other composers and musical genres.

Certainly, the majority of students today are not Destiny Blairs, who go home and listen to classical music for pleasure.

"I don't really like it," said Shannon Spivey, 11, a sixth-grader at Beaumont Middle School in Lexington, Ky. "It's too slow. It's not what my friends listen to."

But Spivey is doing something that has more solid evidence behind it than the listening tests: performing. She's learning to play the cello.

For quite a while, studies have shown that students who learn to make music have derived such benefits as being more responsible and posting better test scores.

For many parents, the benefits of hearing and playing music have long been obvious.

"There could be something to the Mozart Effect," said John Davis of Lexington, who has two sons, Zach, 7, and Jeremy, 3.

"Music opens them up to a whole new dimension of expression. But I would have thought that anyway."

Music labels have jumped on the Mozart Effect bandwagon with discs such as "Mozart for Your Mind" from Phillips and "Mozart Makes You Smarter" from Sony Classical, which includes the catchy slogan "Hum Your Way to an A." But some take issue with tying the music to test scores. Responding specifically to the Georgia program of sending classical music home with babies, musician and music commentator Miles Hoffman wrote in The Washington Post: "The governor's program isn't about music or musicians. It's about math. Classical music, in the context of such a program, is not valued for itself, for its beauties or brilliance, or for the extraordinary achievements of the human mind it represents. It is valued for how it can be used to hike test scores."

In addition to worrying that classical music will start to be considered a tool, such as multiplication tables or a compass, Hoffman said he worries that the studies might be used to reinforce the image of classical music as elitist, "and that's just not the case."

Regardless of test results, Hoffman and others involved with the arts say there's nothing wrong with exposing more people to classical music.

PHOTO - Mozart's complex melodies are found to boost student test scores.

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Tomatis 2008 Musik - ej blot til lyst.

Af Niels Vigild.

2,462 mots 8 janvier 1999 Politiken Danois (c) Polinfo 1999 Musik påvirker os langt mere, end vi måske tror, skriver skuespilleren Niels Vigild. Musik helbreder.

Politiken og medierne har den seneste tid beskæftiget sig en del med brugen af musik på hospitalers opvågningsstuer.

Patienter, der har været i narkose i forbindelse med en operation, vågner normalt op til hospitalets mange forskellige lyde, distraherende og forstyrrende lyde, angstfremkaldende lyde. I dette tilfælde kan man anvende musik.

Musikken kan tilsløre de reale lyde og give patienten en bedre og mere positiv opvågningsoplevelse efter en ofte skræmmende operation. Det er et glimrende initiativ, men det er kun en meget lille del af isbjergets top, der her stikker næsen frem. Jeg har lige oversat Don Campbells bog Mozarteffekten til dansk. Campbell gennemgår i bogen udviklingen inden for den omfattende forskning i musikkens påvirkning af mennesket. Han fortæller om, hvordan man i udlandet i mange år har forsket i lydes og musikkens betydning og effekter i forbindelse med dels vores dagligdag, dels mere specifikke sygdomstilfælde, og psykiske og kropslige forstyrrelser.

Videnskabsmænd og - kvinder, forskere og terapeuter, psykologer og psykiatere har over hele verden i årevis beskæftiget sig med emnet, og der foreligger mange spændende resultater fra seriøse og videnskabelige undersøgelser. Brugen af musik til helbredelse går helt tilbage til Pythagoras, Biblens David og abbedissen Hildegard af Bingen. Men i kølvandet på renæssancen og oplysningstiden opstod en ny analytisk tilgang til lægevidenskaben, og det var kun få læger og musikere, der ville indrømme brugen af lyd til at forstærke sundheden eller til at behandle en speciel tilstand, men efter adskillige århundreder i ubemærkethed har den medicinske brug af musik fået en renæssance i den vestlige verden.

En af foregangsmændene inden for forskningen er den franske læge Alfred Tomatis, der det seneste halve århundrede har viet sit liv til forståelsen af øret og de mange forskellige dimensioner, der ligger i begrebet at lytte. Der findes over det meste af verden Tomatis-centre, hvor man tester patienter, der har nedsatte lytteevner og stemme-og hørevanskeligheder.

Tomatis var en af de første, der forstod psykologien i det at lytte som adskilt fra det at høre. Han præciserede forståelsen af det højre øres dominans vedrørende kontrol over tale og musikalitet, og han udviklede teknikker til at forbedre dets funktioner. Han er krediteret for den opdagelse, at stemmen kun kan reproducere, hvad øret kan høre. En teori med dybtgående, praktiske anvendelsesmuligheder inden for sprogudviklingen. En teori, der er blevet accepteret af Det Franske Akademi og kaldt Tomatis-effekten. Han skabte en ny model af ørets vækst og udvikling ved at undersøge, hvordan det vestibulære system, eller evnen til at afbalancere og regulere de indre muskelbevægelser, arbejder.

Men hans vigtigste indsats har nok været at opdage, at fostret hører lyde i livmoderen. Han opdagede, at øret begynder at udvikle sig så tidligt som i graviditetens tiende uge og kan fungere, når fosteret er fire og en halv måned gammelt.

Allerede på fosterstadiet begynder lyd at påvirke os og vores udvikling, og lyd og musik fortsætter med at indvirke på os resten af livet. Påvirkes vi tidligt lydmæssigt negativt, på fosterstadiet og i den tidlige barndom, kan det udvikle sig til forskellige adfærdsmæssige og mentale forstyrrelser, bl.a. udviklingsproblemer som autisme og tale-og sprogforstyrrelser. I en undersøgelse af 52 for tidligt fødte børn og nyfødte med en lav fødselsvægt på Tallahassee Memorial Regional Medical Center i Florida rapporterede en forsker, at når man spillede 60-minutters bånd med vokalmusik, bl.a. vuggesange og børnesange, reduceredes hospitalsopholdet med gennemsnitligt fem dage. Det gennemsnitlige vægttab hos babyerne var også 50 procent. lavere for gruppen af babyer, der lyttede til musik, receptforbruget var mindre og stressniveauet lavere.

Tomatis udviklede forskellige behandlingsformer med udgangspunkt i brug af musik, først og fremmest klassisk musik, og han opdagede at Mozarts musik, i særdeleshed violinkoncerterne, havde den største helbredende effekt på den menneskelige krop.

På University of California udførte man i begyndelsen af 90erne forsøg, hvor man undersøgte Mozart-musikkens effekter på universitetsstuderende. Det viste sig, at i forskellige test scorede de studerende, der lyttede til Mozart-musik, højere end de andre forsøgspersoner. Ligeledes har test med børnehavebørn og skolebørn vist, at hvis man spillede Mozart-musik som baggrundsmusik, skete der en mærkbar forbedring af elevernes opmærksomhed og præstationer.

Musikken kan styrke intellektet og forstærke indlæringsevnen, og den er yderst vigtig for den neurologiske udvikling i barndomsårene, for udviklingen af vores tænkeevner, der skal holde hele livet. Veluddannede musikterapeuter opnår 264

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Tomatis 2008 utrolig gode resultater ved at anvende musik i forbindelse med adfærdsmæssige problemer og psykiske forstyrrelser lige fra aggressiv og antisocial adfærd til behandling af angstneuroser, autisme og opmærksomhedsforstyrrelser hos børn og unge.

Psykologer, psykiatere og læger er også begyndt at opdage musikkens associerende og i visse tilfælde helbredende effekter.

I forbindelse med f.eks. smertebehandling er der opnået bemærkelsesværdige resultater med musikbehandling før, under og efter operationer. Forskning har påvist, at behovet for bedøvelse i forbindelse med operationer og undersøgelser falder drastisk, hvis man gennem musikbehandling har lært at slappe af og slippe af med det meste af sin angst, og ligeledes reduceredes den postoperative forvirring. Over hele verden forskes der i musikkens helbredende effekter og forebyggende kraft. I Frankrig har musikeren Fabien Maman og Hélène Grimal, der er overordnet forsker ved det internationale center for biologisk forskning i Paris, foretaget en undersøgelse af lydens effekter på kræftceller. De opdagede, at bestemte toner, med bestemte svingningsfrekvenser, anslået med bestemte intervaller, påvirkede kræftcellerne og fik dem til at bryde sammen og opløse sig. Men de sunde celler forblev intakte.

Deres resultater åbner for nye perspektiver. Undersøgelsen viser, at toner og lyd kan frembringe stærke effekter på celler og væv og endda påvirke malign vækst. Den er et interessant vidnesbyrd om, at toner og musik kan være i stand til at borteliminere kræftceller og opløse en tumor.

Toner, lyde og musik er en del af vores dagligdag. Vi tager vores hørelse for givet. Men der findes mange trusler mod den rigtige måde at opfange lyden på, især fra støj i vores omgivelser. Biler, køleskabe, tv-apparater, computere og fjernbetjenere udsender lyde, som vores hjerner og kroppe konstant skal kunne klare. Vi bombarderes hver dag med et forfærdende stort antal lydvibrerende informationer, ligeledes med andre alt for høje lyde på arbejdspladser, fra støjende maskiner, plæneklippere, barbermaskiner, og når vi lytter til for høj musik. Derfor kan det være på sin plads at restituere sig og sin hørelse ved at lytte til beroligende, opladende, stimulerende musik. De fleste af os lytter til musik uden at være fuldstændig klar over dens virkning. Nogle gange er den stimulerende, andre gange overstimulerende - endda påtrængende. Hvordan vi end reagerer, fremkalder musikken mentale og fysiske effekter. For at komme til en forståelse af hvordan man anvender musik, må vi grundigt undersøge, hvad den rent faktisk gør. Når vi først har den viden, kan vi ligegyldigt hvordan vores musikalske niveau er - lære at skifte mellem vores lydkanaler lige så ubesværet, som vi skifter mellem vores tv-kanaler, for at frembringe den specielle effekt, vi ønsker.

Musik og lyde påvirker hjernesvingningerne. Den almindelige bevidsthed består af betabølger, der svinger fra 14 til 20 hertz. Betabølger fremkommer, når vi fokuserer på daglige aktiviteter i den ydre verden, såvel som når vi oplever stærke negative følelser. Øget opmærksomhed og ro kendetegnes ved alfabølger, hvis cyklus ligger fra 8 til 13 hertz. Perioder med maksimum kreativitet, meditation og søvn kendetegnes ved tetabølger, fra 4 til 7 hertz, og dyb søvn, dyb meditation og bevidstløshed producerer deltabølger, der rækker fra 0,5 til 3 hertz. Jo langsommere hjernesvingningerne er, jo mere afslappede, tilfredse og fredfyldte føler vi os. Musik med en puls på omkring 60 slag i minuttet, bl.a. barokmusik og new age-musik, kan få bevidstheden til at skifte fra beta-til alfaområdet og forstærke opmærksomheden og vores generelle velvære.

Det er vigtigt at bringe kroppen i en helhedstilstand, der er i harmoni og balance. Man kan definere helheden med musikalske udtryk. Vi må gå ud over den nuværende opfattelse af kroppen som en velsmurt maskine, der er tilpasset menneskeskabte specifikationer, og i stedet tænke på den som et orkester, der modtager og frembringer en symfoni af lyde, kemikalier, elektriske opladninger, farver og billeder. Når vi har det godt, spiller instrumenterne i vores orkester flydende og rent. Når vi er syge eller skrantende, er et eller flere instrumenter klangløse eller skarpe, ustemte og har en dårlig intonation. Noget i vores krop kan være i harmoni og noget forstemt, eller hver enkelt gruppe i ensemblet kan spille sin stemme godt - bortset fra at helheden ikke er synkron. Man kan forestille sig, at alle kroppens instrumenter spiller så højt, de kan - det er den værste af alle mulige lyde. Men den modsatte yderlighed - absolut stilhed - antyder en krop uden liv.

At bringe kroppen i balance kræver, at man observerer orkestret i sin helhed og vurderer det omhyggeligt - dets nuværende tilstand og tidligere erfaring, dets iboende styrke, dets potentiale med hensyn til fremskridt. Man må lære kroppen, sindet og hjertet at opdage og at spille deres egen musik - ikke partituret, der er dikteret af sociale normer.

Det er vigtigt at påpege, at behandling med musik ikke altid er synonymt med helbredelse. Skønt at lindre en sygdom eller at fjerne smerter må være det højeste mål, må det umiddelbare mål være at lære at integrere vores bevidste og ubevidste liv en vedvarende proces og en slutning i sig selv. Den moderne medicin betragter alle menneskekroppe som sammenlignelige maskiner, der kan ordnes ved hjælp af den mest ajourførte betjeningsvejledning. En bedre metafor ville være en gruppe af yderst sensitive musikinstrumenter, hver enkelt med sine egne unikke artistiske egenskaber og foretrukne metode med hensyn til stemning. I den nye sind/krop-medicin insisterer terapeuter typisk på betydningsfuldheden af det intuitive, det spontane og det spirituelle, såvel som det adfærdsmæssige og det kliniske.

Skønt man klinisk har påvist, at alternative sind/krop-discipliner kan tilbyde patienter en betydelig kontrol over stress, for højt blodtryk, forstyrrelser i fordøjelsen og andre forhold med meget mindre medicinering, betragter mange læger stadig sådanne metoder som dumme og ubrugelige, når de er bedst, og farlige, når de er værst. En sådan skepsis med hensyn til 265

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Tomatis 2008 lyd og musik kan let udvikle sig til fundamentalisme. Nøjagtig som vi ikke behøver yderligere bevis for, at forureningen dræber os, for at forandre vores vaner omkring energiforbruget, burde vi ikke vente på det definitive svar på spørgsmålet om, hvorfor lyd og svingninger fungerer, før vi vender os mod musikalske og andre lovende alternative terapier for at lade dem behandle vores eskalerende personlige og familiemæssige lidelser. Der findes mange effektive etablerede behandlingsformer, hvor man ikke helt forstår, hvad det er for mekanismer, der sættes i gang, men at tilbageholde den slags medicin eller terapiform, når man står over for lidelsen, ville være umenneskeligt.

Musikken kan tilsløre ubehagelige lyde og følelser, bl.a. i tandlægens konsultationsværelse, hvor lyde kastes tilbage i kæben og andre knogler og skaber et enormt kaos. Sagte barokmusik kan skjule eller endda neutralisere de gennemtrængende lyde fra tandlægens bor. Og her vender vi tilbage til musik på hospitalers opvågningsstuer, hvor musikken ligeledes har en tilslørende funktion. Operationspatienter vågner ofte efter en bedøvelse op til mange forskellige hospitalslyde, f.eks. lyde fra hjerte-lungemaskiner, bippen og summen fra hjerte-og respiratormonitorer, lyde, der er ukendte og skræmmende. Musik, der ikke er bevidsthedsudvidende, men har en rytme og puls, der er beroligende og skaber tryghed, kan dels overdøve og dæmpe de angstfremkaldende lyde og samtidig afhjælpe patienternes forvirring og uro over at vågne op et fremmed sted. På hospitaler og hospicer er der ligeledes forsket i musikkens effekter i forbindelse med døende mennesker. Beroligende musik kan her ligeledes tilsløre hospitalslydene og dæmpe angsten hos både den døende og de pårørende. Den kan skabe en fredfyldt atmosfære, så livets sidste øjeblikke ikke forstyrres af ubehagelig lydforurening.

I det hele taget påvirker musikken mange af vores legemlige funktioner, f.eks. åndedrættet, hjerteslaget, blodtrykket, muskelspændinger, kropstemperatur, regulering af stressrelaterede hormoner, forstærkelse af immuneffekten, og mere psykiske områder som rum-og tidsopfattelse, og følelser af tryghed og velvære.

Musik i hjemmet, på arbejdspladsen eller i skolen kan hjælpe med til at skabe en dynamisk balance mellem den mere logiske venstre og den mere intuitive højre hjernehalvdel - et samspil, der regnes for at være basis for kreativitet.

Hvis man bevidst vil anvende musik i bestemte situationer, er det vigtigt at sætte sig ind i, hvilken musik der påvirker hvad.

Forkert anvendelse af musikken kan frembringe den modsatte effekt end den ønskede.

F.eks. fremmer gregoriansk sang den naturlige vejrtrækning og skaber en følelse af rummelighed og er derfor velegnet til stille studier og meditation, og den kan formindske stress. Barokmusik kan bibringe os en følelse af stabilitet, orden, forudsigelighed og tryghed.

Mozart-musik forbedrer med sin renhed, elegance og klarhed vores koncentration, hukommelse og den rumlige opfattelse.

Hvis man dagdrømmer eller befinder sig i en følelsesbetonet og ukoncentreret sindstilstand, kan lidt Mozart-musik i baggrunden i ti til femten minutter hjælpe med til at afbalancere vores bevidste opmærksomhed og forbedre det mentale overblik. Hvis man på den anden side er meget analytisk og finder det svært at improvisere, kan romantisk musik, jazz og new age-musik frembringe den modsatte effekt og få ens opmærksomhed til at skifte fra den venstre til den højre hjernehalvdel og løse os op.

Stemningsskabende og suggererende musik eller new age-musik uden en dominerende rytme udvider vores fornemmelse for rum og tid og kan fremkalde en tilstand af afslappet årvågenhed. Sidstnævnte, stemningsskabende musik er nok det mest indlysende terapeutiske redskab i forbindelse med afslapning og nedsættelse af stress. Den hjælper kroppen med at få adgang til og derefter fjerne dybt indkapslet materiale. Men det kræver speciel omsorg at nærme sig det ubevidste. For meget afslapning kan faktisk forstærke smerten ved nogle fysiske forhold, da den frigør symptomerne for hurtigt - og derved griber ind i kroppens naturlige helbredelsesproces. Og med hensyn til dybtliggende psykologiske vanskeligheder kan musikfremkaldt afslapning kun skabe en overfladisk lindring. Hvis lytteren ikke er øvet eller ikke bliver guidet, kan suggestiv musik tjene som katalysator og fremkalde frygtelige og skræmmende billeder af tidligere ubehagelige oplevelser og traumer, der måske er blevet undertrykt i årevis.

Det kræver tid at sætte sig grundigt ind i musikstilarternes forskellige anvendelsesmuligheder, men vil man anvende musikken terapeutisk, kan det kun stærkt anbefales, at man gør det. Når det nye århundrede begynder, vil videre forskning skabe et fastere grundlag for brugen af musik som et terapeutisk redskab. Nye biomedicinske modeller vil blive konstrueret og modificere og erstatte dem, der har styret sundhedsplejen indtil nu. Denne viden vil også kunne påvirke musikudførelsen, kompositioner og de lyttendes smag og medvirke til menneskenes udvikling og opfostre et verdenssamfund, der er mere lydhør over for livets sunde og fredelige rytmer.

Kilde og citater: Don Campbell: Mozart-effekten. (c) Polinfo 1999.

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Tomatis 2008 YOUR HEALTH MOZART AND THE MIND THE MUSIC AIDS OUR THINKING -- BUT NO ONE KNOWS EXACTLY HOW RICH COPLEY Knight Ridder 892 mots 15 dÊcembre 1998 Buffalo News CITY C3 Anglais Š 1998 Buffalo News. Provided by ProQuest Information and Learning. All rights reserved.

Five-year-old Destiny Blair would rather watch violinist Vanessa- Mae perform on TV than pop star Vanessa Williams.

Her mother, Nickolette Scott, isn't sure what shaped Destiny's musical preferences, whether it was the music she heard in ballet classes or the viola she heard her mother practice at home. She just knows that her daughter likes classical music.

Obviously, Destiny is broadening her cultural horizons at a pretty young age. But recent studies have suggested she also might be building her brain power.

Most of us have heard about studies in which one plant gets a steady dose of classical music while the other gets heavy metal. The classical plant thrives; the other one dies.

What the new studies say is that some classical music enhances concentration and facilitates higher-brain functions such as spatial reasoning.

The tests, conducted in the early 1990s at the University of California, showed that 36 undergraduates scored higher on spatial IQ tests after listening to Mozart's Sonata for Two Pianos in D Major. Those effects, dubbed "the Mozart Effect," lasted 10 to 15 minutes.

Music labels have jumped on the Mozart Effect bandwagon with discs such as "Mozart for Your Mind" from Phillips and "Mozart Makes You Smarter" from SONY Classical, which includes the catchy slogan "Hum Your Way to an A?" How seriously has the Mozart Effect been taken?

In Georgia and Colorado, through programs endorsed by state leaders, newborns get a classical music CD or tape in their hospital goody bags.

Hudson Valley Community College in New York has established a Mozart Effect Study Area, where students can cram for exams while listening to Mozart and other composers of the Classical Era (mid- 18th to mid-19th century). Students who studied for finals in the room said they had never done so well.

An elementary school in suburban Denver played Mozart while students took the Iowa Test of Basic Skills and reported that test scores rose 4 to 8 percentage points.

It is still unclear how Mozart Effect findings should be applied. Is simply listening to the music enough, as some research with infants seems to suggest, or do you need to be an active listener, attempting to decode the complexities of the music?

And why Mozart?

The general consensus is that the composer's complex, changing melodies, combined with the general emotional neutrality of his music, enable connections to be made in the brain that improve test scores.

French physician Alfred Tomatis, who has done research contributing to the Mozart Effect's claims, has investigated why Mozart has such a marked effect. He keeps coming up with the same answer.

"He has found that regardless of a listener's tastes or previous exposure to the composer, the music of Mozart invariably calmed listeners, improved spatial perception and allowed them to express themselves more clearly -- communicating with both heart and mind," Don Campbell writes in "The Mozart Effect."

Campbell asserts: "Clearly the rhythms, melodies and high frequencies of Mozart's music stimulate and charge the creative and motivational regions of the brain. But perhaps the key to his greatness is that it all sounds so pure and simple. His wit, 267

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Tomatis 2008 charm and simplicity allow us to locate a deeper wisdom in ourselves."

Others say the jury is still out.

"What if you were to repeat the same experiment with a musical sample that was equally complex, but less well-loved -like Stockhausen or Sun Ra?" ethnomusicologist Elizabeth Miles writes in her book "Tune Your Brain." "Until we know the answers to these questions, we can't give Mozart the corner on the cognitive market. Complex music is found in cultures around the world, and it's possible that many different musical styles can stimulate the neural firing that elevates the spatial-temporal or other components of the IQ." Both Ms. Miles and Campbell's books detail beneficial effects of other composers and musical genres.

Certainly, most students today are not Destiny Blairs, who go home and listen to classical music for pleasure.

"I don't really like it," said Shannon Spivey, 11, a sixth-grader in Lexington. "It's too slow. It's not what my friends listen to."

But Shannon is doing something that has more solid evidence behind it than the listening tests: performing. She's learning to play the cello.

For quite a while, studies have shown that students who learn to make music have derived such benefits as being more responsible and posting better test scores.

But some take issue with tying the music to test scores.

Musician and music commentator Miles Hoffman worries that classical music will start to be considered a tool, like multiplication tables or a compass. He also said he worries that the studies might be used to reinforce the image of classical music as elitist, "and that's just not the case."

Regardless of test results, Hoffman and others involved with the arts say there's nothing wrong with exposing more people to classical music.

Caption: Knight Ridder/Tribune News By enjoying classical music, experts say, 5-year-old Destiny Blair is also building her brain power. Mozart's complex works are described as especially conducive to perception and reasoning.

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Tomatis 2008

Day Mozart's music enhances academic ability, studies show RICH COPLEY KNIGHT RIDDER NEWSPAPERS 1,144 mots 11 dĂŠcembre 1998 The News & Observer Raleigh, NC Final E4 Anglais Copyright (c) 1998 Bell & Howell Information and Learning Company. All rights reserved.

LEXINGTON, Ky. -- Five-year-old Destiny Blair would rather watch violinist Vanessa-Mae perform on TV than pop star Vanessa Williams.

Her mother, Nickolette Scott, isn't sure what shaped Destiny's musical preferences, whether it was the music she heard in ballet classes or the viola she heard her mother practice at home. She just knows that her daughter likes classical music.

Obviously, Destiny is broadening her cultural horizons at a pretty young age. But recent studies have suggested she also might be building her brain power.

Now, most of us have heard about studies where one plant gets a steady dose of classical music while the other gets heavy metal. The classical plant thrives; the other one dies.

What the new studies say is that some classical music enhances concentration and facilitates higher-brain functions such as spatial reasoning.

The tests, conducted in the early 1990s at the University of California, showed that 36 undergraduates scored higher on spatial IQ tests after listening to Mozart's Sonata for Two Pianos in D Major. Those effects, dubbed "the Mozart Effect," lasted 10 to 15 minutes.

How seriously have the Mozart Effect and other studies showing beneficial effects of classical music been taken?

In Georgia and Colorado, through programs endorsed by state leaders, newborns get a classical music CD or tape in their hospital goody bags.

Hudson Valley Community College in New York has established a Mozart Effect Study Area, where students can cram for exams while listening to Mozart and other composers of the Classical Era (mid- 18th to mid-19th century). Students who studied for finals in the room said they had never done so well.

An elementary school in Denver played Mozart while students took the Iowa Test of Basic Skills and reported that test scores rose 4 to 8 percentage points.

At Arlington Elementary School in Lexington, Ky., music teacher Andrea Frasure is making tapes of Mozart for other teachers to play during certain periods of the day.

"Teachers have expressed an interest in music and its effects on learning," said Frasure, who's trying to use the study results in work with students from age 4 to fifth grade.

The results of the California studies didn't surprise Frasure or Philip Shepherd, coordinator for fine arts in Fayette County (Ky.) Public Schools. Through the years, both have noticed that students who excel in music generally excel in other areas as well.

Other teachers, along with Frasure, are exploring ways to apply Mozart Effect research in school, from playing music in the background to studying it in-depth.

"I hear that the students are more ready to learn," Shepherd says. "It affects the mood of the students and their desire to learn."

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Tomatis 2008 It is still unclear how Mozart Effect findings should be applied. Is simply listening to the music enough, as some research with infants seems to suggest, or do you need to be an active listener, attempting to decode the complexities of the music?

Frasure guesses passive listening could have an effect, but active listening is where mind-expanding benefits are derived.

"The thing that I take from the Mozart Effect is the idea that music requires you to use parallel processing: simultaneously taking in things such as pitch and harmony," she said. "I ask the students to do a lot of listening, and we use a lot of Mozart."

Why Mozart?

The general consensus is that the composer's complex, changing melodies, combined with the general emotional neutrality of his music, enable connections to be made in the brain that improve test scores.

French physician Alfred Tomatis, who has done research contributing to the Mozart Effect's claims, has looked into the question of why Mozart has such a marked effect. He keeps coming up with the same answer.

"He has found that regardless of a listener's tastes or previous exposure to the composer, the music of Mozart invariably calmed listeners, improved spatial perception and allowed them to express themselves more clearly - communicating with both heart and mind," Don Campbell writes in "The Mozart Effect," a sort of bible of the theory.

Campbell asserts: "Clearly the rhythms, melodies and high frequencies of Mozart's music stimulate and charge the creative and motivational regions of the brain. But perhaps the key to his greatness is that it all sounds so pure and simple. His wit, charm and simplicity allow us to locate a deeper wisdom in ourselves."

Others say the jury is still out.

"What if you were to repeat the same experiment with a musical sample that was equally complex, but less well-loved like Stockhausen or Sun Ra," ethnomusicologist Elizabeth Miles writes in her book, "Tune Your Brain." "Until we know the answers to these questions, we can't give Mozart the corner on the cognitive market. Complex music is found in cultures around the world, and it's possible that many different musical styles can stimulate the neural firing that elevates the spatial-temporal or other components of the IQ." Both Miles and Campbell's books detail beneficial effects of other composers and musical genres.

Certainly, the majority of students today are not Destiny Blairs, who go home and listen to classical music for pleasure.

"I don't really like it," said Shannon Spivey, 11, a sixth-grader at Beaumont Middle School in Lexington, Ky. "It's too slow.

It's not what my friends listen to."

But Spivey is doing something that has more solid evidence behind it than the listening tests: performing. She's learning to play the cello.

For quite a while, studies have shown that students who learn to make music have derived such benefits as being more responsible and posting better test scores.

For many parents, the benefits of hearing and playing music have long been obvious.

"There could be something to the Mozart Effect," said John Davis of Lexington, who has two sons, Zach, 7, and Jeremy, 3.

"Music opens them up to a whole new dimension of expression. But I would have thought that anyway."

But some take issue with tying the music to test scores. Responding specifically to the Georgia program of sending classical music home with babies, musician and music commentator Miles Hoffman wrote in The Washington Post: "The governor's program isn't about music or musicians. It's about math. Classical music, in the context of such a program, is not valued for itself, for its beauties or brilliance, or for the extraordinary achievements of the human mind it represents. It is valued for how it can be used to hike test scores." photo; Caption: Destiny Blair, 5, gets help from her mother, Nickolette Scott, at the 'instrument petting zoo' before the Lexington Philharmonic's performance.; Credit: KNIGHT RIDDER NEWSPAPERS

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Der Seele Gewalt.

601 mots 18 novembre 1998 Süddeutsche Zeitung 19 Allemand (c) 1998 Süddeutsche Zeitung Bernd Weikls Ratgeber vom Singen und von anderen Dingen Singen macht glücklich. Es ergreift den Körper, läßt den Atem vom Scheitel bis in die Fußspitzen dringen, weckt Lebensgeister. Die Stimme ist das Spiegelbild der Seele, sie erteilt geübten Ohren genauen Aufschluß über den psychischen und physischen Zustand eines Menschen. Und sie kann, umgekehrt, zum Instrument der Heilung werden. Bernd Weikl erzählt davon in seinem neuesten, fünften Buch Vom Singen und von anderen Dingen, einem 'Ratgeber' für Laien und junge Sängerkollegen, mit praktischen Übungen (samt CD-ROM) und vielen Hinweisen für die Planung einer Sängerkarriere ('Dinge, die mir damals niemand gesagt hat').

Die Arbeit mit psychosomatisch Kranken gab den Anstoß zu dem Buch. Im Rahmen einer musiktherapeutischen Versuchsreihe in der Münchner Universitätsklinik erlebte Bernd Weikl, welch starke kathartische Wirkungen durch Singen ausgelöst werden konnten, wie verblüffend schnell und nachhaltig sich das Befinden von Patienten durch Gesangsübungen verbesserte. Die Menschen spürten sich neu im Erleben ihres Atems und ihrer Stimme; die sensibilisierte Eigenwahrnehmung öffnete Barrieren, die den Weg nach draußen blockierten, beflügelte Kommunikation und Miteinander.

Deshalb das anspruchsvolle Credo: Singen dient der Erziehung des Menschengeschlechts. Ein Jammer, daß es an den Schulen so vernachlässigt wird.

Singen und differenziertes Hören bedingen einander: Der französische Hals-Nasen-Ohren-Arzt Alfred Tomatis (Lehrer u. a. von Maria Callas und Gerard Depardieu) fand heraus, wie individuell und je nach muttersprachlicher Prägung unterschiedlich sich das menschliche Hörprofil schon im Mutterleib ausbildet. 'Lücken' im Frequenzspektrum entsprechen solchen in der stimmlichen Artikulation und sind durch die jeweilige Lebensgeschichte bedingt: Man kann nur singen oder sprechen, was zuvor gehört wurde. Weikl zitiert Tomatis' Forschung und die anderer Mediziner, bezieht Thesen der Hirnforschung über die Aufgabenverteilung von Denken und Fühlen mit ein, über Ratio und Intuition in den Hirnregionen, warnt vor einseitiger Dominanz durch den Verstand. Wenn man ihn, beispielsweise als Kurwenal im Münchner 'Tristan', auf der Bühne sieht, wird klar, warum er dieses Buch geschrieben hat: Das Herz geht ihm über vor lauter sinnlicher Mitteilungslust. 'Mehr als die Schönheit selbst bezaubert die liebliche Stimme', zitiert Weikl da Johann Gottfried Herders Distichon, 'jene zieret den Leib, sie ist der Seele Gewalt'.

Die eigene Erfahrung als international gefragter Bariton gibt Weikl weiter, wenn er junge Sängerkollegen unterrichtet (von Wien und Hamburg bis Kasachstan, wo er einen Sängerwettbewerb begründete) - und jetzt sein Lesepublikum. Singen beginnt bei der aufrechten, offenen Körperhaltung, phylogenetisch entstand die Fähigkeit zum Gesang (die der Sprache vorausging), als unsere Vorfahren sich auf zwei Beine stellten. Erst da rutschte der Kehlkopf in eine Lage, die die Bildung eines weiten Resonanzraums eröffnete. Den so offen wie möglich zu halten, ist das Ziel vieler Übungen: Man stelle sich vor, man würde gähnen, man möge auch beim geschlossenen i ein offenes a denken, spüre hinauf, zur Schädeldecke, und hinab, in den Bauch und zu den Füßen.

Genau und für jedermann verständlich beschreibt Weikl die körperlichen Empfindungen und gedanklichen Bilder, die helfen sollen, den Klang im Körper von der Stütze des Zwerchfells her zu plazieren, nicht im empfindlichen Hals. Er zeigt, wie der Körper für einen Gesang, der die Stimmbänder schont, gymnastisch und atemtechnisch vorbereitet werden muß. Und was fürs Singen gilt, nützt auch dem Sprechen: Eine wohlklingende Stimme erzeugt nicht nur im Sprecher, sondern, durch unwillkürliche Mimesis, auch im Hörer Wohlbefinden. Nicht immer ist der Weg dorthin so steinig wie der des stotternden Demosthenes, der mit Kieseln im Mund gegen die Wogen anschrie. BETTINA EHRHARDT BERND WEIKL: Vom Singen und von anderen Dingen. Ein Ratgeber für alle, die beruflich oder privat mit einer klangvollen Stimme erfolgreich sein wollen. Verlag Kremayr und Scheriau, Wien 1998. 189 Seiten, 47 Mark. (c) 1998 Süddeutsche Zeitung.

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Lebensmembran für die Anfänge und die letzten Dinge".

Von Martina Wohlthat.

1,432 mots 22 septembre 1998 Basler Zeitung Allemand (c) 1998 Basler Zeitung Homepage Address: http://www.baz.ch Baumwolle her! Der Kerl sprengtmir die Ohren", heisst es in einemvon Goethes Singspielen. Schopenhauer schleuderte vernichtende Sätzegegen die Peitschenknaller auf öffentlichen Wegen. In der Anti-Lärm-Bewegung der Jahrhundertwende wurdedas Teppichklopfen zum akustischen Stein des Anstosses. Der Philosoph Theodor Lessing gründete vor demErsten Weltkrieg einen Antilärmverein, was durchaus nachzufühlen ist, da sein Bett in München "in einer Brandung von Geräuschen" zwischen zwei Variété-Theatern gestanden haben soll.

Zuvörderst sind es die geistig Schaffenden, die zügellose Geräusche als Störung ihrer Gedankenwelt empfinden. Attacken gegen die Überflutung und Wertminderung des Hörsinns bilden ein Ostinato in der Zivilisationskritik. Seit der Industrialisierung hat das Ohr lernen müssen, mit ungewohnten Polyphonien umzugehen. Maschinen und Apparate muten ihm seither unerhörte Frequenzen zu. Die Mehrheit der Hörenden akzeptiert die akustische Glocke als Randerscheinung des Fortschritts und verdrängt nach Kräften, was bereits 1903 in einer Berliner Zeitschrift zu lesen ist: "Ein tosendes und schwirrendes Ganzes, ein stetiges Brausen stört nicht mehr, wenigstens nicht uns, die wir der Ruhe längst entwöhnt sind."

Hier spricht der aufgeweckte Grossstädter. Ruhebedürfnis, das stille Glück im Winkel sind seine Sache nicht, sondern Offenheit für durcheinanderwirbelnde akustische Eindrücke. Ob diese als anregend oder als beeinträchtigend bewertet werden, ist bald nur noch eine Frage der Interpretation,des Verstehens, der Zugehörigkeit und der Abstumpfung. Der akustische Darwinismus und die Degeneration des von der Evolution favorisierten Hörsinns gehen Hand in Hand. Der Anschluss vom Walkman ans Hörgerät ist nahtlos garantiert. Rund dreissig Prozent der Jugendlichen in der Schweiz haben laut Erhebung des Bundesamtes für Gesundheit einen messbaren Hörschaden.

Am anderen Ende der Skala gewinnt die Stille in Büchern, Musik und meditativen Praktiken an Wertschätzung. Aber Stille ist kaum noch zu haben und ausserdem für viele nur schwer auszuhalten. Die Sinne suchen unentwegt nach Beschäftigung.

Das Ohr soll möglichst nicht zur Ruhe kommen. Für Johann Peter Hebel liegt der Ursprung menschlichen Lärmens denn auch im Horror vacui: "Unwillkürlich klimpern wir eher mit den Fingern, rauschen mit einem Papierchen (...), sprechen ein paar laute Worte, tun einen einem lauten Seufzer ähnlichen Atemzug, singen oder pfeifen, wecken irgendeinen Schall in der Luft und fühlen ein dunkles Wohlbehagen dabei."

Der menschliche Embryo will beim Durcheilen evolutionärer Entwicklungsstadien vor allem eins: möglichst rasch hören.

Schon nach viereinhalb Monaten ist das Hörorgan, das Labyrinth mit der Cochlea, fertig ausgebildet. Das Gehör ist der Sinn des Anfangs und, wenn man den Sterbeforschern glaubt, auch derjenige, der als letzter erlischt.

Die Energie Der akustische Kanal leistet beides gesteigerte Aufmerksamkeit nach aussen und introvertiertes Lauschen nach innen.

"Was wir hören, hören wir nicht nur heraus, sondern immer auch hinein" (Hermann Bausinger). Keiner der Sinne begleitet uns so lückenlos durchs Leben wie das Gehör. Alfred Tomatis, der französische Hörforscher, hat gezeigt: Hören energetisiert unser Gehirn. Geräusche, Musik, gesprochene Sprache erreichen das Gehirn nicht als Schallsignale, sondern müssen im Ohr in körpereigene Signale umgewandelt werden. Die Hörbahn scheint nicht unveränderlich fest programmiert.

Der Neurologe Oliver Sacks berichtet, dass bei Gehörlosen Bereiche des Gehirns, die herkömmlicherweise auditive Aufgaben übernehmen, neu zugewiesen werden und der Verarbeitung visueller Eindrücke dienen können. Für die Formbarkeit des Nervensystems durch Sinneserfahrung sprechen übrigens auch Forschungsergebnisse, denen zufolge geübte Musiker beim Musikhören bis zu 25 Prozent mehr von ihrer Hirnrinde aktivieren als Nichtmusiker.

Das Auge schätzt, das Ohr misst mathematisch genau. Es ist das Sinnesorgan der grossen Reichweite, schneller und weniger leicht zu täuschen als die übrigen. Wichtig muss der Natur unser Gehör gewesen sein, denn das "Felsenbein", das Labyrinth und Cochlea umschliesst, ist einer der härtesten Knochen, eine Art natürlicher Elfenbeinturm. Und im Innenohr gibt es dreimal so viele Nervenzellen und Nervenendungen wie in den Geschlechtsorganen. Im Ohr also hat die Evolution unsere dichteste Wahrnehmungsfülle und damit auch unsere grösste Lustfähigkeit angesiedelt. Die Klangorgie als Betäubungs-und Suchtmittel für den Hausgebrauch erscheint unter solchen Vorzeichen in einem besonderen Licht.

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Tomatis 2008 Der Elfenbeinturm Dieser Zusammenhang ist in der Geschichte des Hörens nicht unbemerkt geblieben. Die Odyssee erzählt von den Sirenen, Vogelfrauen, die die Seefahrer durch ihren wunderbaren Gesang anlockten und töteten. Odysseus, der Intellektuelle, entging ihnen, indem er seinen Gefährten die Ohren verstopfte und sich an den Mast binden liess. Orpheus, der Musiker, beschützte die Argonauten vor dem Sirenengesang, indem er ihn kurzerhand selbst übertönte. Bei den Griechen waren Epos und Lyrik zum Hören bestimmt. Durch den blinden Erzähler Homer ist überliefert, dass die Menschen der Antike die Signale von Fledermäusen hören konnten. Gut möglich, dass wir seither gehörmässig abbauen.

Die Ägypter bezeichneten das "hörende Herz" als ihre persönliche Mitte, wo alle Sinneseindrücke verarbeitet und durch emotionale Entscheidungen beantwortet wurden. Das Herz galt als das Organ, durch das die Gottheit gehört wurde. Als UrErlebnis des Hörens beschreibt die Bibel Moses' Gotteserfahrung am Berg Sinai. Zu hören ist Gottes Stimme, genauer die zehn Gebote. Das jüdische Bilderverbot wie die christliche Religion erheben Stimme und Ohr zu den wesentlichen Mitteln der Zwiesprache zwischen Mensch und Gott.

Die Hörlust Das Gehör als Lebensmembran des Anfangs und der letzten Dinge: "Im Anfang war das Wort, und das Wort war bei Gott und Gott war das Wort", heisst es am Beginn des Johannesevangeliums.

Die Architektur unterstützt die "Vita contemplativa" durch den akustischen Raum romanischer und gotischer Kirchen, wo Liturgie vor allem zum auditiven Erlebnis wird. Kirchenlehrer wie Bernhard von Clairvaux betonen die spirituelle Empfänglichkeit der Ohren: "Denn der Glaube geht gewiss aus dem Gehör, nicht aus dem Sehen hervor (...) wie auch in der Hoffnung machte er die Augen schwach und die Ohren stark." Doch darf nicht verschwiegen werden, dass das Christentum auch einiges zur Verteufelung der Gehörkultur beitrug. Aus asketischen Gründen, denn die "sündhafte Lust der Ohren", wie der für seine Beredsamkeit berüchtigte Schriftsteller Lactantius den Genuss schön klingender Prosa nannte, widersprach dem klösterlichen Ideal schweigender Kontemplation.

Die Ohrfeige In der mittelalterlichen Pädagogik legt Walther von der Vogelweide Wert auf ein diszipliniertes Gehör: "Hütet eure Ohren, oder ihr seid Toren. Lasst ihr böse Worte herein, so entehrt das euer Herz." Eine andere Redensart des Gehorsams, "Wer nicht hören will, muss fühlen", findet in Werkstätten und Schulstuben drastische Anwendung. Das Ohr als Pforte der Erinnerung und Aufnahmeorgan für das Gedächtnis bedurfte einer heute fragwürdig erscheinenden Unterstützung. Zu den Merkhilfen gehören sensorische Gedächtnisstützen wie das Ziehen der Ohren, der Backenschlag, die Ohrfeige. Noch heute soll sich manch einer unbequeme Lehren sprichwörtlich "hinter die Ohren schreiben".

Von den Ohren sagt Konradvon Megenberg in seinem "Buch der Natur", der ersten Naturgeschichtein deutscher Sprache: "Daz ôr andem menschen ist ain venster, hin und her gekrümpt inwendig, und heizent es die maister ain tür oder ain porten der sel."

Das Einflüsterungsorgan Die Ohren als Türen der Seele sind beim Minnegesang von zentraler Wichtigkeit. Der Liebe auf den ersten Blick, so der Mediävist Horst Wenzel, entsprach zur Zeit der Minnesänger "die Liebe auf den ersten Ton". Und Isabel Allende vermutet in ihrem Buch "Aphrodite. Eine Feier der Sinne", dass das ins Ohr gehauchte Wort noch immer das bei Frauen wirksamste Aphrodisiakum sei.

Bei den auditiven Redensarten sind die Metaphern aus der Tierbeobachtung in der Mehrzahl. Wer die Ohren steif hält oder hängen lässt, trägt emotionalen Zuständen bildkräftig Rechnung. Wir werden aufgefordert, die Ohren zu spitzen, wozu wir im Gegensatz zu anderen Tieren nicht mehrin der Lage sind. Auf den allegorischen Darstellungen des Gehörsinns findet sich als Wappentier zumeist der Hirsch als Begleiter des Orpheus und Abbild der Seele.

Die volkstümliche Gleichsetzung von taub und tumb, "deaf" und doof, beruhte auf einem folgenreichen Kommunikationsproblem zwischen Hörenden und Nichthörenden, bevor um 1750 im Frankreich der Aufklärung die ersten Gehörlosenschulen eröffnet wurden und die Gebärdensprache weltweit Verbreitung fand. Mehr als zweitausend Jahre Rumoren und Rhetorik haben zur Skepsis gegen die "Hörigkeit" geführt. Die Poetik der Moderne begehrt auf gegen den "Automatismus des Hörens" (Jürgen Wertheimer), artikuliert im Schweigen und Verschweigen den Versuch, auf anderen Ebenen zu begreifen, was das Gegenüber meint. Friedrich Nietzsche glossiert den "Hörsaal" als Ort der Beschallung und Beherrschung.

Im "Zarathustra" findet sich die erste Karikatur des zum blossen Empfänger mutierten Menschen mit einer riesigen 273

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Tomatis 2008 Antennenschüssel als Ohr: "Und wahrhaft, das ungeheure Ohr sass auf einem kleinen, dünnen Stiele der Stiel aber war ein Mensch (...); auch dass ein gedunsenes Seelchen am Stiele baumelte."

Die Lebensmembran ist zum Einflüsterungsorgan für arme Seelen degeneriert. Dass das Ohr im Konkurrenzkampf um unser letztes Bisschen Aufmerksamkeit bald schon von unzähligen Offerten für das Auge überholt werden würde, konnte Friedrich Nietzsche freilich nicht ahnen.

Martina Wohlthat Literatur: Thomas Vogel (Hrsg.): "Über das Hören. Einem Phänomen auf der Spur". Mit Beiträgen von Hermann Bausinger, Gert Ueding, Joachim Ernst Berendt u.a. Attempto-Verlag, Tübingen.Fr. 46..

Bisher erschienen: Der Geschmack (28.4.), Der Geruch (30./31.5.), Der Tastsinn (25.8.). (c) 1998 Basler Zeitung.

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Tomatis 2008 Spotlight THE MOZART EFFECT DOES MUSIC MAKE YOU SMARTER, CALMER, HEALTHIER? Marc Shulgold 1,813 mots 16 ao没t 1998 Rocky Mountain News FINAL 10D Anglais 漏 1998 Denver Publishing Company, Rocky Mountain News. Provided by ProQuest Information and Learning. All rights reserved.

It's no secret that music has special powers. Long ago, playwright William Congreve told us that its charms could soothe a savage breast. We've also discovered that it can enrage a savage beast - or Beastie Boys fan, as witnessed by the mosh pit antics at the rap group's recent Denver concert.

But can music do more than raise or lower blood pressure? Can it raise test scores in school? Can it lower the chance of illness, perhaps even cure some afflictions?

Mozart may not make you smarter (despite recent hoopla to the contrary), but enough serious studies suggest that everyone - particularly children - can improve their well-being by listening to the right music at the right time.

A leading authority in this burgeoning field is Don Campbell. The Boulder-based, internationally respected educator has become an in-demand authority on music's power to heal the body and massage the brain - a phenomenon known as "The Mozart Effect." The term was popularized by Campbell's much-debated book of the same name (Avon: $24).

"It's well-known that our auditory system can change the way we feel," he said during a visit in his Boulder living room.

"We've known for centuries that music can be a bridge for transformation."

This is no New-Age guru speaking. A modest scholar / musician, Campbell tends to shy away from grandiose pronouncements and spacy dogma, as will be evident on Monday at the Boulder Theater, when he speaks prior to a Sinfonia of Colorado-sponsored screening of Amadeus (Information: 786-7030).

Sniffing with disdain at the rash of thrown-together recordings bearing such titles as Baby Needs Mozart and Better Thinking Through Mozart, Campbell calmly defended his position that great music heard in proper sequence can bring specific benefits.

"There are thousands of studies showing that certain music played for a patient before surgery will result in a lower demand for anesthetic. The (ancient) Greeks knew all about the healing power of music. Healing means balance, wholeness. And the arts are a wonderful way to keep our lives in balance." The last 60 pages of his book chronicle dozens of music-based treatments and cures for everything from abrasions to writer's block.

Such controversial claims have received far less publicity than new findings that point to greater intelligence through classical music.

Campbell is well aware of studies that showed students' IQ-test scores improving significantly when they listened to Mozart's D-major Sonata for two pianos just before taking the exam. Thus the catchy claim that Mozart makes you smarter.

"I don't say that will necessarily happen," he stressed. "But if you listen to organized, clear music 10 minutes before doing a particular process, you will be more relaxed, and think more clearly."

Those higher-IQ experiments generated extensive publicity, though less-reported was the fact that those cranial improvements were short-lived, lasting only 10 or 15 minutes.

Print and broadcast media have passed along numerous, sometimes suspect, findings - such as a teen-ager's experiment showing that mice negotiate a maze faster when under the spell of Mozart, but become disoriented and occasionally murderous listening to heavy metal.

Amid all the serious and not-so-serious coverage of good and not-so-good scientific studies can be heard a voice of reason.

Norman Weinberger is a researcher based at the University of California at Irvine and editor of MuSICA Research Notes, a newsletter that keeps a sober watch on reports on the positive effects of music. Weinberger is a stickler for accuracy.

"There's no doubt there are substantial benefits from music overall, particularly from playing it," he said from his UCI office.

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Tomatis 2008 "But taking single findings and drawing conclusions can have a clouding effect. I do believe that (Campbell's) book is inaccurate and misleading. There is simply no credible scientific evidence for some of the things he's said.

"Campbell sites a study (by a French musician and teacher named Fabien Maman) which says that music kills cancer cells and doesn't harm healthy ones. Such claims do tremendous damage - they confuse people and poison the well." In response, Campbell defended Maman, while noting that he has encouraged the Frenchman to do further work on the subject.

Despite his objections, Weinberger agrees that there is a "Mozart Effect." In fact, it was his colleagues at UCI, Gordon Shaw and Frances Rauscher, who published the original studies of the Mozart-intelligence connection in 1993. "And it's not just Mozart," Weinberger pointed out. Other composers can improve our well-being. So can other forms of therapy.

"We know that recovery time in a hospital is faster (with music). We know music is good at lowering blood pressure. But so is rubbing someone's back. Dr. Shaw has shown that if you put the brain in a certain state, you could get facilitation with spacial reasoning."

That's a fancy way of saying that music, like a good massage, can wipe away stress and distraction and help strengthen the thought process. Just why listening to a recording has that effect remains a mystery. In fact, some attempts to duplicate the headline-making results of Shaw and Rauscher failed. "We need time to think about this, and make further studies," Weinberger said.

Such calm, rational discourse has never been a fixture in the mass media marketplace. Witness the flood of recordings cashing in on the UCI findings (see sidebar). To counter these collections of classical excerpts described as "IQ Enhancers" and "Beta Wave Music," Campbell trademarked that catchy name, "The Mozart Effect," and released six carefully constructed CDs designed to inspire and improve the lives of adults and children. "I look at key signatures, tempos, etc.," he said of the new children's collections. "But I always keep in mind that music for children must be user-friendly for adults."

His current project, Mozart for Newborns, is a classical-music cassette that will be given to new parents in this state as part of a privately funded "Warm Welcome" package from Colorado Bright Beginnings, an organization of volunteers who make thousands of home visits each year.

According to Bright Beginnings chair Susan Pfeiffer, one side of the tape will contain soothing Mozartean tunes (singable by the parent), while the other contains music mixed with a mother's heartbeat, to soothe the newborn into slumber. The idea of distributing a Mozart tape came from two prominent board members, Gov. Roy Romer and his wife, Bea. "The governor had heard about `The Mozart Effect'," Pfeiffer said. "Bea gave me a Don Campbell tape, and we invited (Campbell) to make a presentation." The board was won over. Pfeiffer expressed the hope that the tape, available in September (Information: 1-877-927-6935), will serve as the foundation of a child's lifelong relationship with great music.

A similar project had already been proposed by the Governor of Georgia, Zell Miller, who requested $100,000 in state appropriations to provide classical music for Georgia newborns. In Florida, the legislature debated the "Beethoven Babies Bill," requiring that classical music be played for children from birth to 5 years in state-funded schools and day-care facilities.

The latter is being supported by the Canadian-based Children's Group, which is also involved in producing Colorado Bright Beginnings' Mozart for Newborns, as well as Campbell's Mozart Effect CDs. According to Children's Group managing director Michelle Henderson, "This is not just about classical music. It's about giving something back to the community. We want to help make Colorado a great place for kids."

Henderson understands that some may object to such well-meaning intrusions. "We heard about the tremendous backlash in Georgia, that people didn't want to use state money for this. That's why only private money is being used (in Colorado)."

Long before Campbell's headline-making work, the Children's Group had promoted great music for young people through such entertaining introductions to classical composers as Beethoven Lives Upstairs. Now, the company is immersed in "The Mozart Effect."

The Children's Group is not alone. At Delos International in southern California, pianist Carol Rosenberger and record producer Amelia Haygood have collaborated on Such Stuff as Dreams, a follow-up to their brisk-selling lullaby collection from 1989, Perchance to Dream. "We heard from mothers who played (Perchance) during the final stages of pregnancy in the labor room," Haygood reported. "And they later found that their babies had already developed favorites."

This news comes as no surprise to Campbell, who has long admired the findings of a French doctor named Alfred Tomatis, credited as the godfather of "The Mozart Effect," and the man who discovered that fetuses can hear external sounds. How 276

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Tomatis 2008 much is consciously understood and remembered in the womb is yet to be discerned. But then, it's all part of what Campbell describes as the "mystery of music."

Clearly, this research is in its infancy, and disagreements among researchers will no doubt continue. Yet, no one is disputing that music-listening is a worthwhile activity.

Even a detached observer such as Norman Weinberger rejoices in the efforts of Campbell. "He's filling a vacuum," Weinberger noted. "He's trying to do something with all those (scientific) findings. But, in may ways, things have gone past him. We're in an exponential growth phase. At this point, it's irresponsible to mislead the public.

"It's important to understand that there are no magic bullets here. Yet, if parents reinforce music with their children as much as they reinforce speech, there will be clear benefits."

Weinberger noted that the new awareness of music's positive impact on young minds has caused some consternation.

"There are those in the music field who object to the fact that there is music in the schools only because of its extra-musical benefits. But why not? Why shouldn't the schools and parents know about the wonderful effects of music?"

It appears that baby may really need Mozart. As Haygood of Delos Records puts it, "In this world where chaos and noise abound, music calms children with its focus, form and resolution."

No argument there from Campbell. "One of my real goals is to keep music in the schools. If we start early, we can take care of ourselves - we can orchestrate our lives."

Marc Shulgold writes about classical music and dance for the News. Related color illustration p.1D Color Photo (5); Caption: CD cover / TUNE YOUR BRAIN WITH MOZART. CAPTION: CD cover / BETTER THINKING THROUGH MOZART. CAPTION: CD cover / BABY NEEDS MOZART. CAPTION: Author Don Campbell at home. FILE: ARCHIVE (SUAREZ SHOOT DATE 1998: 8/7/98) CAPTION: Book Cover / THE MOZART EFFECT. CAPTION: Mozart illustration.

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Tomatis 2008 Entertainment Entertainment Notes The Spectator and wire services 418 mots 12 ao没t 1998 The Hamilton Spectator Final F4 Anglais Copyright (c) 1998 The Hamilton Spectator.

It is all Fraser's fault.

He cut a hunk out of the story to make it fit and two pieces, Piano Sonata K. 448 and Piano Concerto K.488 got swapped and came out as Piano Concerto 448. This is driving Sam The Record Man mad as people are showing up to buy it and feeling very insecure when faced with the muddle.

Both work the same as therapy and Fraser wants to share with you something else he had to delete from the story.

It is about Paris, France, ear specialist Dr. Alfred Tomatis.

"Mozart is a very good mother," he wrote about his work with children and music. "Throughout 50 years" and more than 100,000 patients "I have voluntarily chosen one composer and one only. I continue to test new forms of music and willingly use forms of chanting, folk music, classical, but the powers of Mozart, especially the violin concertos, create the greatest healing effect on the human body."

So just grab a violin concerto -- K. Any will do -- and all will be well.

CAULDRON COULDN'T PUT DISNEY INTO THE BLACK Buena Vista Home Video is proclaiming the glories of The Black Cauldron as "Walt Disney's 25th animated masterpiece."

The truth of the matter is that this 1985 release was something of a disaster, both commercially and artistically.

It was the only Disney animated film to receive a PG rating and it arrived at a time when Disney management was floundering in its attempt to rejuvenate a company whose fortunes had been declining steadily since the death of Walt Disney two decades previously. Even the fabled animation division was in trouble, and desperate studio bosses saw The Black Cauldron -- a film years in the making -- as the company's essential salvation.

Instead, the movie proved to be a disappointment -- its quality animation constantly undermined by a confused and boring narrative line and violence which some critics of the day considered gratuitous.

ONE GIANT STEP FOR MUPPET-KIND Vanessa Williams and Mandy Patinkin are among the human performers joining forces with Big Bird, Oscar The Grouch, Bert and Ernie in Elmo In Grouchland, the new feature film from the Jim Henson group and the Children's Television Workshop. The Columbia movie is currently shooting in North Carolina for release next spring. The Henson group has a second film in the works -- Muppets From Space which is set to start filming in September in Australia.

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Tomatis 2008 Local News Mozart on my mind: Listening for only 10 minutes to Mozart's Piano Concerto K448 significantly increased the spatial scores of college students in IQ tests Hugh Fraser The Spectator 2,358 mots 8 ao没t 1998 The Hamilton Spectator Final A4 Anglais Copyright (c) 1998 The Hamilton Spectator.

Brott had arranged a screen above the musicians, as they sat on the stage at Hamilton Place.

On it, he told the assembled mass of wriggling youngsters, he would show a short piece of film. As we watched, the camera climbed a flight of stairs and then turned right into a lighted room glimpsed through a half-open door.

"Now, I'm going to play different pieces of music to that film," Brott explained. "And I want you to notice how the music changes the way you see the film."

The first piece was Mozart's variations on Twinkle Twinkle Little Star.

The camera romped up the stairs, with some youngsters visualizing a happy, story-telling, good-night scene full of teddy bears and cosy cuddles, others the deliciously mischievous scurrying of hide-and-go-seek.

Then, the trombones blared the dire chords of the Dragnet theme. The camera's climb was no frolic this time. It seemed slow and fearful. The film seemed darker, the whole of Hamilton Place shot through with impending menace. Danger lurked everywhere. When the camera turned into the room, there was an audible gasp of apprehension from 2,000 tiny mouths.

The tot next to me had inserted a thumb into his mouth to deal with the emergency. He removed it with an audible pop and hissed, "the music changed the film!" his eyes wide with delighted discovery.

I grinned back. We were, after all, having tons of fun and learning lots of stuff, so it wasn't the time to tell him he was wrong. But he was.

The music didn't change a single frame of the film. The only thing that changed was inside our brains, and that change spread through every pore of our bodies.

The high, sweet dance of the Mozart released a wash of endorphins, our body's own painkillers, that surged through us and made us feel all warm and fuzzy.

But the bass, brass brayings of the Dragnet theme had the brain sending the pituitary gland off to the adrenaline larder. Our muscles tensed, our vagus nerves, the direct link between our ears and stomachs, released a twitter of butterflies and we leaned forward on the edge of our seats to see if we'd have to fight or just run away.

The music was changing our minds, the very composition of our bodies, the way we saw and felt.

It's called the Mozart Effect, or at least it has been since Don Campbell wrote his best-selling book of the same name last year. But only the name is new.

Since ages past, music has heightened our every mood -- pipes and drums marched us off to war; minstrels played soothing music to help the wealthy digest their meals; lovers listened to "food of love" selections, and resulting babies were lullabied to sleep with softer songs.

Of course, in this scientific age, knowing something intuitively isn't enough. We have to experiment, quantify, do doubleblind studies, verify, codify, extrapolate, interpret, publish and then find methods of utilizing the "brand new" knowledge thus revealed.

Campbell explains this research in his book. Although he calls it The Mozart Effect, Mozart is not the only composer whose music affects us this way. Twinkle Twinkle Little Star and the Dragnet theme are equally effective. But researchers have found Mozart's music the most beneficial of any humankind has yet made. Next most effective is Gregorian chant, then 279

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Tomatis 2008 Vivaldi, and then on through folk songs, chant, jazz, and so on, the latter choices' effectiveness largely dependent on personal tastes.

Campbell claims it was "a healing breeze of sound" -- first his own humming then musical vibrations of more abstract kinds - that gently washed a life-threatening blood clot from his brain.

He documents such anecdotes in his book, and adds hard evidence gained from scientific studies of The Mozart Effect. The conclusion? We are what we listen to.

In fact, listening for only 10 minutes to Mozart's Piano Concerto K448 significantly increased the spatial scores of college students in IQ tests, according to Frances Rauscher and Gordon Shaw, researchers at the Centre for the Neurobiology of Learning and Memory at the University of California at Irvine.

Rauscher and Shaw have been largely responsible for bringing the power of Mozart's music to public attention.

Among other things, they have learned that: - Preschoolers who studied piano scored 34 per cent better in spatial and temporal reasoning, compared to preschoolers who spent the same amount of time learning to use computers.

- 66 per cent of applicants to medical school who were music majors were admitted, compared to 44 per cent of biochemistry majors.

- The very best engineers and technical designers in computer innovation in Silicon Valley are almost without exception practising musicians (the emphasis is mine).

And at Michigan State University, researchers found that listening to music for only 15 minutes can increase the levels of interlukin-1 in the blood to 14 per cent from 12.5 per cent. (Interlukins are a family of proteins associated with blood production, lymphocyte stimulation and cellular protection against AIDS, cancer and other immune deficiency diseases.)

Shaw says: "Mozart's music may warm up the brain.

"We suspect that complex music facilitates certain complex neuronal patterns involved in high-brain activities like math and chess. By contrast, simple and repetitive music could have the opposite effect."

The beneficial effects may even extend to the womb. Toronto's Dr. Thomas Verny, professor of Prenatal and Perinatal Psychology and Health at St. Mary's University in Minneapolis, has done a lot of work on the effects of music on the unborn child.

He cites the experience of Boris Brott, whose mother was a cellist with the Montreal Symphony. The cello is positioned for playing right where it would do the fetus most good. Brott was always puzzled how he could play some music by ear, while other pieces were a struggle. He discovered the easy ones were the ones his mother played while he was sopping up life like a sponge in the womb.

Brott's brother Denis became perhaps Canada's greatest cellist.

And the Brotts are not alone.

"Yehudi Menuhin and Artur Rubinstein for sure that I know about, said their musical careers started in the womb," says Verny.

One of the results of Verny's research since his book, The Secret Life Of The Unborn, was published in 1981, has been the discovery of how much more "developed" a fetus is in all its stages, biologically, mentally and emotionally than earlier thought.

"For a long time people thought of a newborn as a tabula rasa -- a blank sheet. Nothing could be further from the truth," he says. "Even twins, in the womb, will differ in their taste in music."

He cites a colleague in England who watched a pair of twins on ultrasound as music was played to them in utero.

"One made the characteristic round, broad swimming motions that denote pleasure, while the other went to the furthest recesses of the womb," presumably to sulk.

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Tomatis 2008 The slow movements of composers in the classical and Baroque tradition induce relaxation, attentive listening and increased interest in learning in both the unborn and newborn child, Verny says.

This finding grew from Lee Salk's discovery that a group of newborns who listened to recordings of their mother's heartbeats in the nursery left hospital earlier and in a better state of health than those who didn't. (Salk is the brother of Jonas Salk, who discovered the polio vaccine.)

That the mother's heartbeat has this effect is no mystery to students of art from the Renaissance period onward, Verny says. Eighty per cent of the pictures of mother and child have the baby's head cradled at the left breast, closest to the heart.

This is where the child is happiest and frets least.

The classical and Baroque slow movements correspond most closely to a human heart beat and "this is the music very young children really love," says Verny. "Which isn't to say they don't like other music."

Mozart and Vivaldi are fetus favourites, while rock music, Verny tells us, drives fetuses to distraction; they "kick violently" when it is played to their mothers.

And here we get our first caveat auscultator -- listener beware.

A two-year study on 72 mice by a 16-year-old for a school project, cited in Campbell's book, tells an enlightening tale. The mice were split up into three groups of 24 and led through a maze. The three groups made it through in about 10 minutes.

Then one group was played the music of heavy metal rock group Anthrax, one group was left in silence and the third soaked in the music of Mozart.

The music-less group went through in a little better than 10 minutes. The Mozart team zipped through in one and a half minutes. The poor Anthraxed beasts took a disoriented 30 minutes to stagger through and, at the end, began to slaughter each other until only one Mighty Mouse was left alive.

The slaughter wasn't allowed to happen in year two of the experiment, but a lesson had been learned.

The same lesson, in reverse, had been learned by the Bolshevik revolutionary Vladimir Lenin years before.

"I cannot listen to music too often," he said after taking in a Beethoven sonata. "It makes me want to say kind, stupid things and pat the heads of people" -- which would never do for someone who had miles to go and thousands still to slaughter before he slept.

Some modern-day legislators have also taken notice of the Mozart Effect, with more beneficial goals in mind.

First up was Florida State Senator William Turner with Bill 660, called the Beethoven Babies Bill by clever newsmen. It requires that state-funded child care and educational programs for children from birth to age five include classical music in the daily program.

Next was Governor Zell Miller of Georgia, whose January budget contained a proposal to offer classical recordings to the parents of all newborns in his state.

Colorado then began its Bright Beginnings Warm Welcome program. This is a private, nonprofit agency established by Governor Roy Romer, Senator Tom Norton and former Proctor and Gamble chairman Brad Butler that, starting in September, will have volunteers give the parents of newborns gifts of classical cassettes.

Although no Canadian legislators have taken up the challenge, The Children's Group in Pickering, Ont., may yet change the world more permanently than Lenin did.

The Children's Group, the leading producer of classical music for children, produces The Mozart Effect music and is a partner in the Bright Beginnings program. The group first came to prominence with Susan Hammond's CDs -- Mr. Bach Comes To Call, Beethoven Lives Upstairs, Mozart's Magic Fantasy among others -- which revolutionized music for children and became instant bestsellers Hy Farick, co-owner of The Children's Group and his wife, Judy, became friends with author Campbell. When Campbell brought out a selection of music for adults to complement The Mozart Effect book, The Children's Group general manager Michelle Henderson phoned Campbell and suggested music for children be recorded, too.

"He dropped everything and between May 9 and Sept. 16 last year we put out three volumes of music," says Henderson.

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Tomatis 2008 Then came four radio programs. Played all over public radio in the United States, they resulted in The Children's Group's phones ringing off the hook with parents wanting to buy the programs.

None of these programs have been heard in Canada, however.

Neither CBC nor CHUM could find just the right time slot, Henderson reports. And there has been no comparable interest in Canada's schools or governments in The Mozart Effect.

"We were very excited about the recent mailing by the Ontario government about the health of mother and child and we wrote the ministry of health but haven't heard back," says Henderson.

This fall, The Children's Group will bring out a CD called Love Chords with Verny. It will be 40 minutes of slow movements of Mozart, Haydn, Vivaldi and so on, which Verny has chosen to be played in meditative bonding sessions between a mother and her unborn child.

"This music is my first choice, but if the mother likes jazz or Celtic music," or whatever, Verny says that's fine, too.

Thousands of times in Verny's experience, a tune played over and over to the child in utero will later calm it instantly as a newborn.

"Let's throw away the Valium and the Prozac," he chuckles. And there are no toxic side effects with Mozart.

FINE TUNING - The Mozart Effect, Music For Children, Volume 1, is called Tune Up Your Mind.

It has moderately fast to moderately slow selections, including the Rondo from Eine Kleine Nachtmusik and Twinkle Twinkle Little Star variations.

- Volume II is called Relax, Daydream And Draw. It has slower, more restful music, including movements from symphonies No. 6, No. 10 and No. 18.

- Volume III, Mozart In Motion, is faster and ideal when a romp is in order. It features such selections as the Champagne Aria from Don Giovanni, Papageno's Song from The Magic Flute and Minuettes and Divertimenti galore.

- All three should be available at your local recording store. If they aren't, The Children's Group address is 1400 Bayly Street, Suite 7, Pickering, Ont., L1W 3R2. Tel. (905) 831-1995. E-mail: childgroup@osha.igs.net.

- Love Chords with Dr. Thomas Verny will be released in October this year.

- Dr. Alfred Tomatis of Paris, France, is a pioneer on the effects of Mozart's music. There is a Tomatis Method therapeutic facility in Toronto, called The Listening Centre, at 599 Markham St., Toronto M6G 2L7. (416) 588-4136.

Colour Photo: Student reading while listening to Mozart.

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Tomatis 2008 The Arts: Music A song a day may keep the doctor away SONIC VITAMINS / Music is more than mere entertainment, says Don Campbell, author of The Mozart Effect. It makes for a healthy lifestyle.

ALEXANDRA GILL The Globe and Mail 1,128 mots 23 juin 1998 The Globe and Mail Metro C1 Anglais All material copyright Thomson Canada Limited or its licensors. All rights reserved.

Toronto -- DON CAMPBELL, a Texan-born music educator now based in Boulder, Colo., has written eight self-help books on the therapeutic benefits of music. So you'd think that 15 years of research on the art of focused listening would help him tune out the twang of ukulele strumming piped into a crowded cafe.

"I cannot give an excellent interview with all this distraction," the flustered author apologized. Grabbing the interviewer's tape recorder during a recent visit to Toronto, he carefully positioned it directly under his trimly shaved goatee, attempting to centre himself amidst the jangle of noise ringing off the atrium walls in CBC's Front Street headquarters. But as soon as the music got loud, Campbell, a classical keyboard player trained at the Fontainebleau Conservatory in France, would grimace in pain.

Luckily, Campbell has also studied with Haitian shamans and New Age prayer therapists. Despite the noise, he managed to channel some source of inner strength and carried on talking for the next half hour about his latest book, The Mozart Effect, published by Avon Books in the United States and distributed locally by the Hearst Book Group of Canada. The book explains how to incorporate music into a healthy lifestyle rather than shrug it off as mere entertainment.

"We've done it with our foods. We know about exercise. We make those choices," he said, delicately sipping a decaffeinated iced coffee sweetened with a sugar substitute. "But what we put in our ears may be as important, in the long run, as how we feed our body."

Classical music packs the most sonic vitamins, Campbell said, because it's the most highly organized. But be careful. You can overdose. He recommends that you listen to the masters for 20 minutes an hour, tops, for four or five times a day. And the best composer to listen to, Campbell insists, is Mozart.

"He isn't too emotional, blissful or heroic like Beethoven. He's not as intellectually intricate as Bach and the baroque. He's not smooth and polyphonic like Palestrina. He's not dynamic and visual like Strauss and the Romantics. He's not emotional.

He's not spacious like New Age or Gregorian chant. And he doesn't want to make us sit up and boogie."

Sort of like the ultimate classical elevator music? "No, he snapped, with a wallop of wide-eyed indignation. "Not at all.

Mozart allows many things to happen."

Even miracles. Four years ago, the 47-year-old Campbell was diagnosed with Horner's syndrome, an inflammation of the fifth cranial nerve. An MRI (magnetic resonance imagery) scan revealed the cause to be a blood clot in the right carotid artery, just below the right hemisphere of the brain. Rather than having immediate surgery, which would have required the removal of a third of his skull, Campbell applied his own brand of therapy.

First, he called up some friends who were leaders in the field of holistic health and prayer. Within hours, Campbell's name was coursing through pious chant circuits across the country.

Next, he began to hum a deep, barely audible buzz. The aim was to release endorphins and slow down his breathing, pulse and metabolism, as if to massage his brain from the inside out. He repeated the process 19 times a day.

Then, with the help of a mind-body researcher who specializes in imagery and healing, he tapped into a peaceful vision of a lace curtain fluttering in an open window. He concentrated on the image for two hours. "I felt this breeze," he writes in the book. "This breath, this spirit, these wings of angels simply entering the right side of my body."

Three weeks later, he was back in the MRI tube. To the astonishment of the doctor, his blood clot had practically disappeared. Such a shrinkage usually takes about five months.

Campbell's book relates 50 anecdotal stories about how music and sound therapies have reportedly cured cancer, arthritis, 283

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Tomatis 2008 writer's block, paranoia and various other ailments.

Many, however, are highly inconclusive. Consider, for example, the music teacher in Sante Fe, N.M. She claimed that an allergy, which had swelled her eye closed for more than a month, may have been cured by listening to a tape of a clay-flute performance. But then again, it could have been the delayed effect of a prescription.

This type of talk clearly agitates Campbell. "Half of them are quite statistically documented, and the other half are anecdotal," he retorted sharply. "I would not be telling the truth if I did not say the anecdotes are as important as the research. . . . These miracle stories are essential in the history of music."

Campbell isn't suggesting that we replace conventional medicine with music, but that they need to be used in combination.

Nor does he claim to be a music therapist. In fact, neither the president nor the administrative director of the Canadian Association for Music Therapy have heard of him.

"All I'm doing is pointing the way," he said. "I have to honour what we can do to heal ourselves. If we can't do it through the arts, we're going to become a drug-addicted society."

The book is a collection of diverse academic research by doctors, psychologists and music therapists, enlivened by personal stories. It includes various examples of more established practices, such as the Suzuki method, that are used to improve children's development, rehabilitate stroke victims, ease the pain of arthritis and help Alzheimers patients retain their memory longer.

Many of Campbell's theories are based on the work of Alfred Tomatis. He was the French physician who discovered that Mozart's violin concertos were the most stimulating for children with communication disabilities and attention-deficit disorders -- long before researchers at the University of California discovered in 1990 that listening to 10 minutes of Mozart could improve undergraduate scores on spatial IQ tests.

The book includes exercises such as turning down the bass volume on your stereo while bringing up the treble. Listening to the boosted high frequencies for a few minutes each day is said to increase attentiveness. Perhaps, but the same can be claimed for scraping your fingernails on a blackboard.

Still, Campbell and his ilk may be on to something. Indeed, if their ideas catch on, it's not far-fetched to imagine a future in which office and factory workers take a Mozart break or two with (or without) their coffee.

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Tomatis 2008

UN ORECCHIO INTERIORE CHE PARLA CON LA MANO. Di BELPOLITI MARCO. 1,178 mots 18 juin 1998 La Stampa Italien (c) 1998, La Stampa IN principio era il suono; all'inizio di tutto c'e' la vibrazione sonora; la materia stessa, la sua tessitura, e' ipso facto suono.

L'ardita ma affascinante tesi e' sostenuta da Alfred Tomatis in Ascoltare l'universo. Tomatis e' un medico francese studioso del suono, che ha elaborato negli ultimi cinquant'anni una teoria sonora e un metodo che ha strette interrelazioni con la psicologia, la linguistica e la filosofia; una teoria fisica che, alla pari della celebre dottrina antroposofica di Rudolf Steiner, ridisegna completamente non solo la nostra "forma" del senso dell'udito, ma anche l'immagine stessa dell'universo, proponendo nel contempo una antropologia del suono che parte dalla geometria e dall'anatomia del nostro organo sensorio. Di libro in libro - uno dei piu' celebri e' L'orecchio e la vita, che ha per tema l'ascolto prenatale - Tomatis ci propone una nuova grammatica dell'orecchio fondata sull'evoluzione dell'"orecchio interiore".

Questo fa venire in mente una popolazione italiana "silenziosa" che parla una lingua che solo da poco tempo possiede una sua particolare grammatica; questa popolazione, che per quanto antica e' invisibile ai piu', ha avuto un proprio dizionario nel 1991, quando un giovane studioso, Orazio Romero, ha pubblicato da Zanichelli il Dizionario dei Segni che contiene 1400 immagini della lingua visiva. La popolazione misteriosa e' quella dei sordomuti e ammonta a qualche migliaio di persone perfettamente uguali al resto degli abitanti della Penisola italiana, ma con una sostanziale differenza: parla usando quattro dimensioni. Come ha spiegato William Stokoe, un medievalista chiamato negli Anni Cinquanta a insegnare nell'unico college per sordi del mondo, il Gaullaudet College, e trasformatosi in linguista, il parlato ha una sola dimensione, l'estensione nel tempo; la scrittura due; i modelli, tre; la lingua dei Segni, quattro: le tre dimensioni spaziali accessibili al corpo del segnante, piu' la dimensione temporale. La maggior parte degli udenti, ci ricorda un utile libro a cura di Amir Zuccala', Cultura del gesto e cultura della parola. Viaggio antropologico nel mondo dei sordi, pensa che i sordi parlino usando un linguaggio gestuale che riproduce con le mani le lettere dell'alfabeto, l'"alfabeto manuale", che molti hanno imparato ad usare da ragazzi per comunicare senza essere capiti da estranei. In realta', la Lingua Italiana dei Segni (Lis) e' qualcosa di molto piu' complesso e tra questa e la lingua italiana esistono almeno due linguaggi intermedi di comunicazione: l'Italiano Segnato, una lingua in cui le regole e l'ordine sono quelli della grammatica italiana, ma il lessico appartiene alla Lis; e il Pidgin, o misto, che mescola l'italiano segnato e la lingua italiana dei segni, con passaggi continui dalle strutture ed elementi della lingua verbale a quella dei segni; e tutto questo, si badi, senza mai aprir bocca. Nei suoi pionieristici studi Stokoe aveva compreso che la Lingua dei Segni e', rispetto alle lingue vocali, una lingua "cinematica", con regole grammaticali completamente diverse, per questo si era impegnato nel difficile compito di notarne i segni - proprio come si fa con una musica sconosciuta - e di trovare la sua sintassi. Seguendo le indicazioni storiche, antropologiche e linguistiche contenute nel libro curato da Amir Zuccala', e' veramente emozionante metter mano alla Grammatica dei Segni, allestita da Romero un sordo postlinguistico (cioe' diventato tale in eta' infantile), il quale ha studiato in scuole e istituti per sordi prima di approdare con una borsa di studio alla Gaullaudet University di Washington D.C. L'idea di una grammatica della lingua spaziale nasce, spiega Romero, dalla combinazione di cinque differenti parametri: configurazione, luogo, movimento, orientamento del palmo della mano e persino, a volte, dell'espressione facciale. Tutti noi siamo convinti che esistano molte forme d'intelligenza e non una sola, ma quando siamo messi di fronte a una di queste, che si organizza seguendo modalita' e tecniche sue proprie, siamo presi da strani pregiudizi. La maggior parte dei ragazzi sordi frequenta oggi le nostre scuole in virtu' di una legge del 1977 (la legge 517) che ha svuotato gli istituti speciali e affiancato a ogni sordo (l'eufemismo non udente e' poco gradito ai sordi i quali non amano essere definiti attraverso una privazione) un "insegnante di appoggio", determinando cosi' il trionfo della cultura che i sordi definiscono "oralista", fondata sulla parola (lettura labiale e tentativo di riprodurre i suoni con la bocca); questa legge progressista, che voleva por fine alle discriminazioni, di fatto ha tolto ai sordi la possibilita' di servirsi normalmente della loro straordinaria lingua spaziale (a questo punto la stessa parola "lingua" e' inadatta a definire questa struttura comunicativa, perche' fa riferimento all'organo della fonazione che nella Lis e' sostituito dalla mano). Il primo parametro della Lis, quello della configurazione, riguarda proprio la forma che assume la mano nell'eseguire il segno; la prima tavola della Grammatica rende conto di questi movimenti; in tutto sono 18 possibilita' semplici, piu' le loro combinazioni. Il Luo go indica invece lo spazio in cui viene eseguito il segno quello antistante al segnante, dalla testa al fianco e da un braccio all'altro. La cosa che colpisce consultando il libro, fatto tutto di disegni e brevi didascalie, e' che la Lis sembra una lingua iconica, in cui il segno e' strettamente connesso a un'immagine; per dire Italia, il segno pare riprodurre la forma sinuosa dello stivale; Torino si dice con una mano che ostenta indice e mignolo, come nel segno delle corna, e viene agitata vicino al capo: lo stemma del Toro; sesso, comporta un gesto di sfregamento del palmo sinistro, rivolto verso l'alto, sul palmo destro, fermo, rivolto verso il basso. Ma non bisogna farsi trarre in inganno, perche' la lingua dei Segni possiede anche capacita' astratte, a differenza della lingua parlata, o scritta, che "puo' richiamare stati 285

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Tomatis 2008 d'animo, ma non li puo' ritrarre", ha scritto Oliver Sacks, il neuropsichiatra che ha il dono di rendere semplici argomenti complicati. Come ogni lingua "straniera" la Lis e' per un udente una lingua complicata, ma affascinante; ad esempio, il modo in cui si indica il tempo presente, passato e futuro: si considera una immaginaria (ma non tanto) "linea del tempo" che e' collocata all'altezza delle spalle del segnante: davanti e' futuro, all'altezza del collo e' presente e sulla spalla e' il passato. Nel suo libro Vedere voci (Adelphi, 1990), Sacks sostiene la rilevanza neurologica della Lis, richiamando l'attenzione sul fatto che noi siamo, per educazione e formazione, totalmente sgrammaticati spazialmente: siamo cioe' fisiologicamente incapaci di immaginare una simile forma dello spazio, esattamente come non riusciamo a immaginare di avere una coda o vedere nell'infrarosso. Sulla scorta di studi neurologici, Sacks suggerisce l'idea che l'uso della Lingua dei Segni, per una sua forma spaziale, attiva emisferi cerebrali che altrimenti sono come morti, inerti, proprio come accade quando nella propria esistenza non si e' educati ad ascoltare la musica, a disegnare o a scolpire. Speriamo che i futuri riformatori della scuola ne tengano davvero conto. Marco Belpoliti. (c) 1998, La Stampa.

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Tomatis 2008 Health &Fitness DR. CHILL / AN INTERVIEW WITH ANDREW WEIL, GURU OF TRANQUILITY Susan Ferraro Daily News Staff Writer 708 mots 8 juin 1998 New York Daily News 31 Anglais Š 1998 Daily News, New York. Provided by ProQuest Information and Learning. All rights reserved.

Darting nervous glances at busy New Yorkers milling around the hotel restaurant, the mild-mannered but wildly popular natural-health guru Dr. Andrew Weil in town to promote a new meditation tape, accept a $1 million grant and lecture on botanical medicine at Columbia University approaches a headwaiter.

"Do you think we could find a table, a quiet table?" Weil asks plaintively, dismay thinning out his rich, meditative voice.

Best known for the book "8 Weeks to Optimal Healing Power," Weil may be the most visible of the natural-health healers.

His publications occupy best-seller lists for years at a time. His Web site, www.drweil.com, is free, updated daily and receives 1.5 million hits a week.

Weil's latest word on natural healing is "Sound Body, Sound Mind: Music for Healing with Andrew Weil, M.D." (Upaya.

Double CDs and tapes, $26 and $19), which has sold 65,000 copies in four months.

It pitches the attainment of inner calm and healing through "psychoacoustics," or how sound affects the nervous system.

Just why the Harvard-trained head of the University of Arizona's integrative medicine program succeeds so well is not clear.

The health strategies he promotes are complementary that's why he calls his approach "integrative," not "alternative."

Weil says, "People are fed up {with the state of health care}, and the longing has reached some kind of critical mass in the culture it's not a fad, not a fringe element. People really want and respond to good information that is both accurate and empowers them."

More traditional doctors aren't so sure. Dr. Ali Sedarat, board- certified in internal medicine, nutrition, gastroenterology and laser surgery at Hackensack (N.J.) University Medical Center, says Weil's success is a matter of being "in the right place at the right time."

Fans probably agree with them both. Debbie Clark, a waitress who lives in Chelsea and logs onto Weil's Web site almost nightly, interrupts his morning meeting over water (not coffee) to say she finds the Web site "invaluable."

Yes, it is," agrees Weil, maintaining he is a shy man.

"You don't put aside Western medicine totally I feel you are very fair," Clark says.

"Exactly. We present all sides," says Weil.

That personal, professional balance may be the key. "He's so down- to-earth, not preaching magic but recommending small shifts in everyday life walk every day, eat broccoli once a week," says Susan Piver, 37, executive producer of the new tape.

Weil will consider almost anything said to heal, no matter how offbeat. He finds the charge that he relies too much on "anecdotal," personal evidence instead of formal clinical studies irksome. "Call them `uncontrolled clinical observations,' " Weil says. "Science begins by observing, then leads to controlled collections of data."

Alternating with two almost equally soporific colleagues, Weil's soothing voice flows through "Sound Body." At the start, "This music will make you feel good secure and happy," he says. "Then it will guide you to where healing can occur. . . . Just by itself, such deep relaxation is healing."

The speakers introduce vibrations and music designed to affect brainwave patterns and encourage optimum healing, based in part on the 1919 work of Dr. Alfred Tomatis. On the tape, classical themes have been "reorchestrated and thinned down." In fact, says Weil, "I found I fell asleep in the middle of it, and then I was brought back at the end."

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Tomatis 2008 To achieve the best sounds: Soundproof your living space, get a white-noise machine to mask outside noises and tune into audio tapes when you go outside.

Go to quiet places parks, gardens, chapels, museums, reading rooms.

Find meditation and natural healers.

General tips for city living Walk. Take the stairs instead of the escalator or elevator.

Cut sensory overload with relaxation, audio tapes, yoga.

Seek supportive relationships.

Bring flowers into your living space (working space, too, if possible).

From "8 Weeks to Optimal Healing Power" Caption: SUSAN WATTS NEW YORK DAILY NEWS HELAYNE SEIDMAN DR. ANDREW WEIL: Calm down with healing sounds and walks in quiet places.

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EVERYDAY MAGAZINE MUSIC STRENGTHENS THE MIND, SAYS NOTED AUTHOR

By Renee Stovsky Of The Post-Dispatch 1,072 mots 3 juin 1998 St. Louis Post-Dispatch EDITION: FIVE STAR LIFT PAGE: E1 Anglais Copyright 1998, St. Louis Post-Dispatch. All Rights Reserved.

Within weeks of running the slogan, "Turn E flats into straight A's," as part of its advertising campaign last summer, the St. Louis Symphony Community Music School registered a 20 percent rise in enrollment for the fall semester, according to Sheila Ryerse, the school's director.

The public's increased interest in music classes - particularly those aimed at young children, like kindermusik, Orff or Suzuki programs - comes as no surprise to music educators. Recent scientific studies about the relationship between music and brain development have struck a chord with anxious parents determined to give their kids a leg up on life.

"It's the hottest topic in musical circles these days," says Ryerse. "We've always known innately how good music can be for children's development. Now there is real evidence to prove it."

Among other things, studies have shown that: - Preschoolers who were given piano lessons significantly increased their ability to perform the types of reasoning required for excellence in science and math.

- Kindergartners had improved listening skills, including the ability to follow oral instruction and to understand the spoken word, after a program of experience with music.

- High school students with experience in musical performance scored 51 points higher on the verbal part of the SAT and 39 points higher on the math section than the national average.

- Music instruction enhanced creativity, improved self-esteem, developed social skills and increased psychomotor development in students of all ages.

And if studies like these are the hottest topic in current musical circles, then Don Campbell, author of the recent best-selling "The Mozart Effect" (Avon Books, $24), may be the most popular lecturer around. Campbell, 51, founder of the Institute of Music, Health and Education in Boulder, Colo., has devoted much of his life to the study of how exposure to everything from Gregorian chants to New Age music can not only strengthen minds but also heal bodies.

Though there has been a flurry of scientific research - and media hype - in the last decade about the benefits of exposure to music, its importance has been recognized by certain cultures since ancient times, Campbell says. In fact, Plato once said that music "is a more potent instrument than any other for education."

Campbell credits many researchers for bringing the magic of music front and center: - Dr. Alfred Tomatis of Paris believed that the right ear orchestrates the body's nervous system; by re-educating patients to listen through various musical tapes, he helped everyone from actors like Gerard Depardieu to autistic children overcome communication problems.

- Dr. Oliver Sacks of Albert Einstein College of Medicine in New York, of "Awakenings" fame, believed music helps gain access to memory retrieval, and used it successfully to treat patients with a variety of neurological disorders.

- Bulgarian psychologist Georgi Lozanov used a background of slow Baroque music to help students improve memory and accelerate learning.

- Howard Gardner of Harvard's Graduate School of Education, in his book "Frames of Mind," popularized the notion of 289

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Tomatis 2008 multiple intelligences - including musical intelligence - to educators worldwide.

And though each of these people has studied the music/mind/body connection in his own way, most have found that Mozart's music has the most transformative powers.

"Mozart is not particularly emotional, heroic, triumphant or relaxing. He's just pure and simple, a perfect balance. His sonata-allegro form - where music gives the themes, the themes are developed and then they are reviewed (recapitulation) - also happens to be the way we learn best," says Campbell.

"Mozart is like a power bar for our ears, not too high in calories or fat, not too delicious, not a full-time diet, but the best brain food to help us balance and focus ourselves."

That's not to say there isn't merit in other musical forms as well, Campbell adds. Strauss waltzes and Sousa marches are great stimulation to activate the body. Gregorian chants soothe and relax the mind. And would you rather participate in an aerobics class with Haydn or "Flashdance" playing in the background?

"Everyone needs to find their own music. There are times when we need the complex mental stimulation of Bach and times when we just need a simple hymn to allow pain to be released from the body," says Campbell. "But in general, classics have the greatest nutritional value for us because of their aesthetic expression and structural, organizational brilliance."

Campbell himself is a classically trained musician. As a teen, he studied piano theory and composition in Paris with famed teacher Nadia Boulanger. His undergraduate degree, from North Texas University, was in organ music and education. His doctoral program, at Cincinnati Conservatory, was in cross-cultural music. He taught and studied in Japan for several years before returning to the States to concentrate on the connection between music and physical and emotional well-being.

Now, he consults with various corporations, orchestras and health care professionals on how to implement music therapy and mind/body development.

"My intent is not to lose or degrade the arts, but to find more uses for them in the community," he says.

Many of those uses are in the field of child development, from introducing preschool children, who learn best through movement, to various rhythm strategies and "Mozart in Motion" tapes, to helping elementary school students, who have a facility for rote memory, to learn simple facts through songs and musical games.

Campbell also advocates the use of music therapy in medicine to help patients suffering with everything from back pain to epilepsy and cancer. He stresses that music is not alternative medicine, but rather a bridge between the mind and body that can release endorphins and help with both rehabilitation and reduction of pain.

"We are only just beginning to understand how music can make us both concentrate better and feel better," he says. "The `Mozart effect' is really about how we can use the universal components of music to keep ourselves in tune." *** Don Campbell What: The author of "The Mozart Effect" will be the featured speaker at the St. Louis Symphony Orchestra's Classics in the Loop concerts When: 6:30 p.m. Friday and Saturday (concerts start at 7:30) Where: E. Desmond Lee Concert Hall, Symphony Community Music School, 560 Trinity Avenue, University City Phone: 534-1700 PHOTO | Color Photo Headshot - Don Campbell

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Handelsregister Eintrag - 23.04.1998 - Tomatis Institut für Audio-Psycho-Phonologie (D) - Kanton Zug. 122 mots 23 avril 1998 D & B SHAB Allemand SHAB Information serialised by Dun & Bradstreet (Schweiz) AG. Homepage Address: http://www.dbswiss.ch HR SHAB Nr. 77 vom 23.04.1998, Kanton ZG (D) 17.04.1998 (2784) Tomatis Institut für Audio-Psycho-Phonologie (D) 6300 Zug Stiftung SHAB Nr. 54 vom 19.03.1998, Seite 1 Führung eines Institutes im Kanton Zug, welches die Audio-Psycho-Phonologie von Dr. Alfred Tomatis a 17.04.1998 (2784) Tomatis Institut für Audio-Psycho-Phonologie, Sitz: Zug, Führung eines Institutes im Kanton Zug, welches die Audio-PsychoPhonologie von Dr. Alfred Tomatis anwendet, Stiftung (SHAB Nr. 54 vom 19.03.1998, S. 1'918).

Eingetragene Personen Neu: Regierungsrat des Kantons Zug, in Zug, Aufsichtsbehörde.

SHAB Information serialised by Dun & Bradstreet (Schweiz) AG.

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Tomatis 2008 Options for Health. The Mozart Effect.

By Elizabeth Acostta-Micaller.

1,269 mots 26 mars 1998 BusinessWorld 29 Anglais (c) 1998 Business World Publishing Corporation.

The different sounds around us affect us in various ways. Some of us get very stressed by the loud sounds of rock or heavy metal music, or relaxed by the environmental sounds of nature, classical or New Age music. We have experienced this one way or another and now science have shown that music really does have healing effects. There is a vast array of documents and experiments that build a strong case that many kinds of music may at times be better than drugs. Some interesting examples are as follows:* Dr. Raymond Bahr, director of the Coronary Unit of the St. Agnes Hospital in Baltimore stated that half an hour of classical music in the critical care units produces the same effect as ten milligrams of Valium.* The Journal of American Medical Association or JAMA reported that "music stimulation increases endorphin release and decreases the need for medication." This was reported by one of their researchers following a study made in 1996 on expectant mothers.* Another study made in 1993 by the Michigan State University found out that listening to 15 minutes of music released people's interlukin-1 levels more than 10%. It is interesting to note that interlukins are proteins that give cellular protection against AIDS and cancer.* Psychologist Georgi Lozanov of the Bulgarian Academy of Sciences and the Sofia Medical Institutes improved the learning ability of students by having them listen to string instruments. He stated that his subjects learned complex tasks in a fraction of the time it normally took; he says that a semester's training was reduced to a few hours.* A group of scientist at the University of Washington found that the accuracy of 90 copy editors increased by 21.3% when they listened to light classical music.* An earlier study done in 1980 in Norway by educator Olav Skille used a "musical bath" for children with severe physical and mental disabilities and their muscle tension was reduced. Patients who had severe spastic conditions increased the range of movement in their spines, arms, hips and legs.

Why does music have this healing effect?

To have a clear understanding of the healing effects of music, we must see the relationship of sound on physical matter.

Swiss engineer and doctor, Hans Jenny, author of the book Cymatics, tells us how sound and vibration interact with matter.

He shows how different geometric figures can be formed by sound and how you can alter these shapes by simply changing the tone and pitch of the sound made. He made oscillating figures in both liquids and gasses. He also created vibrations in crystals with electrical impulses and transmitted these vibrations to a medium such as a plate or a string. You can make concentric circles with the sound "om" and change this by simply altering the tone of the sound made. Now, if various sounds create vibrations in different surfaces, then just imagine how all these sounds around us, affect the atoms and molecules of the cells in our body. We absorb all kinds of sound patterns, some are even not audible to us. All sounds affect us and they alter our breath, blood pressure, skin temperature, muscle tension and other internal rhythms. This explains why we are relaxed to a specific type of sound and are energized in another type.

In another experiment, it was concluded that we continue to hear even if we are unconscious and that hearing is one of the last senses to go when we are near death. That is why a lot of people still talk to patients even if they are in a coma because it has been said that "we never stop hearing." Our conscious participation is not needed. In fact, good medical doctors know that they must not discuss the case of patients on the operating table even if the patient is under anesthesia because auditory fibers are not affected by the anesthetics and the patient retains what is discussed around him and this can affect the speed of his recovery. The power of sound and music in particular should not be underestimated.

Why Mozart's music does wonders to the body.

The recent studies of various scientists show that there is one composer that rises above the rest, in the power of his music to heal the human body. This is the music of Mozart. In the book The Mozart Effect, author Don Campbell tells us of the various experiments by scientists to improve different situations by using the Mozart classics. He claimed that among the various kinds of music used in experiments, Mozart gave the best results. It was able to increase the milk produced of cows, it speeded up the learning skills of foreigners in a new country, it calmed pedestrian traffic, it made the yeast make better sake in Japan, and it improve the IQ tests of participants in a research study at the University of California.

Why the music of this child prodigy seems to get better results maybe because it has unique properties eliciting universal responses that is totally different from other composers. He does not raise tidal waves of emotions like Beethoven, nor does his music weave a dazzling tapestry like that of Bach, nor does it soothe the body like folk music, or rattle our senses like heavy metal music. It has been said that Mozart's music is at once deeply mysterious and accessible. The wit and charm 292

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Tomatis 2008 and also the simplicity allows us to identify with him easily and locate a deeper wisdom in our souls. One particular French physician, Alfred Tomatis, has studied the healing and creative powers of music for 50 years and his conclusion is that regardless of the listeners tastes and previous experiences, it always calmed listeners, improves spatial perception and allows them to express themselves more clearly. He said that this type of music gave the best results, in the long term, anywhere in the world.

The other music If Mozart seems to be the best healer for the majority according to scientists, it does not discount the fact that other sounds do have healing effects too. In fact, it is said that:* Gregorian chants are best to create a sense of relaxed spaciousness and are excellent for quiet study and meditation. They help reduce stress.* The music of Schubert, Schuman, Tchaikovsky, Chopin and Liszt, classified as romantic music, are best used to enhance sympathy, compassion and love.* Jazz, blues, soul and reggae are music and dance forms that can uplift and inspire. They release deep joy or sorrow, wit and irony and affirm our common humanity.* Rock music can stir emotions, stimulate active movement, mask pain and reduce the other effects of other loud and unpleasant sounds in the environment. It can also create tension, stress and pain in the body when we are not in the mood to be energetically entertained.* Religious and sacred music are spiritual-based sounds that can help us ground ourselves and can lead us to feelings of peace and tranquillity. It can also help us transcend pain.

Play music all the time We can definitely improve ourselves and our environment by playing the right kind of music. It is a very inexpensive form of healing that everyone can use and maximize. In fact, we now have a lot of Mozart tapes ready for continuous play in the office and the house. It is good to experiment and see the good effects of this simple remedy in these trying times.

(C) Business World Publishing Corporation 1998.

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Handelsregister Eintrag - 19.03.1998 - Tomatis Institut für Audio-Psycho-Phonologie (D) - Kanton Zug. 159 mots 19 mars 1998 D & B SHAB Allemand SHAB Information serialised by Dun & Bradstreet (Schweiz) AG. Homepage Address: http://www.dbswiss.ch HR SHAB Nr. 54 vom 19.03.1998, Kanton ZG (D) 13.03.1998 (1907) Tomatis Institut für Audio-Psycho-Phonologie (D) 6300 Zug, Klosterstrasse 2a, 6300 Zug Stiftung Neueintrag 13.03.1998 (1907) Tomatis Institut für Audio-Psycho-Phonologie, Sitz: Zug, Domizil: Klosterstrasse 2a, 6300 Zug, Stiftung (Neueintragung).

Statutendatum: 06.03.1998.

Zweck: Führung eines Institutes im Kanton Zug, welches die Audio-Psycho-Phonologie von Dr. Alfred Tomatis anwendet, und Kindern und Erwachsenen mit Horch-, Sprach-, Stimm-und/oder Lernschwierigkeiten offensteht; kann andere Institutionen mit der gleichen oder einer ähnlichen Zielsetzung unterstützen.

Organisation: Stiftungsrat von einem oder mehreren (immer ungerade Anzahl) Mitgliedern.

Eingetragene Personen: Eichenberger, Verena, Heimat: Landiswil, in Hauptikon, Präsidentin mit Einzelunterschrift; Annen, Patricia, Heimat: Schwyz, in Ennetmoos, Mitglied mit Einzelunterschrift; Schwendener, Lotte genannt Lotti, Heimat: Buchs SG, Sevelen, in Schwarzhäusern, Mitglied ohne Zeichnungsberechtigung.

SHAB Information serialised by Dun & Bradstreet (Schweiz) AG.

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Tomatis 2008 BAYLIFE The Mozart Effect Classical music, and Mozart in particular, could be a key in stimulatingthe mind to higher levels of reason, relaxation and creativity.

KURT LOFT of The Tampa Tribune 1,052 mots 20 fĂŠvrier 1998 The Tampa Tribune FINAL 1 Anglais Copyright (c) 1998 Bell & Howell Information and Learning Company. All rights reserved.

TAMPA - Wolfgang Amadeus Mozart as therapist?

More than two centuries after his demise, the great composer's symphonies, concertos, overtures and chamber works are being repackaged and sold for their therapeutic qualities - sound elixirs said to stimulate the brain and soothe the soul.

That's the premise of Don Campbell's new book, "The Mozart Effect," and a series of recordings designed to enhance people's lives through the power of harmony, melody and rhythm.

"It's a perfect system for wellness," Campbell says by telephone from Boulder, Colo., where he heads the Institute for Music, Health and Education. "I think Mozart is a map to get you there."

"The Mozart Effect" (Avon Books, 332 pages, $24) examines how music can be beneficial - physically, emotionally and spiritually. Drawing on medicine, Eastern philosophy and research on learning and creativity, Campbell describes how exposure to sounds - beginning in utero - can have a lifelong effect on health and behavior. Music used the right way can strengthen how we think, create and relieve stress, he says.

Beth and Paul Hult of Tampa are playing "The Mozart Effect" recordings for their 3-month-old daughter, Maggie, who seems to know what she heard before she was born. Paul rigged up an audio belt for his wife so she could play compact discs during the late stages of pregnancy. Small speakers pressed against Beth's stomach allowed her to move around the house while her baby listened.

"She definitely recognizes things we play for her," Beth says. "And I really sense she recognizes the Mozart. She'll stop and listen. It's really cute the way her eyes widen."

Campbell, a music educator and classically trained musician, says such a technique can influence the intellectual and creative development of children, and the music of Mozart in particular has a calming effect that improves spatial perception and expression. He argues that the relaxed mood from listening to music stimulates creative thinking, improves concentration and motivation, and helps coordination and body movement.

Mozart, he says, speaks to the body.

"With Mozart, I think it's the high frequencies, the pacing and the emotional uncomplexity," he says. "His music stays in melodic shapes.

"Beethoven changes energy quite often, and Bach is extremely complex and ornamented. Mozart isn't. I selected him for this project for his simplicity and his efficient use of sound."

The therapeutic power of music was the passion of Alfred Tomatis, a French physician and ear specialist who devoted his life to the dimensions of listening. Tomatis called Mozart's music "liberating, curative and healing," a sort of sonic vitamin C. In the 1950s and 1960s, Tomatis studied the effects of music on babies in the womb. In his book "The Conscious Ear," he described how the fetus is capable of hearing a fairly broad range, because "the universe of sound in which the embryo is submerged is remarkably rich." Tomatis believed that after birth, a child retains a memory of those sounds.

His theories were expanded recently by researchers at the University of California's Center for the Neurobiology of Learning and Memory in Irvine. They found that students who listened to Mozart improved performance on IQ tests taken immediately afterward. A companion study said young children who took regular music lessons boosted their IQs in abstract reasoning more than 40 percent in one year.

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Tomatis 2008 The researchers underscored a powerful relationship between music and spatial reasoning. But there's much more, says Al Bumanis, a spokesman for the American Music Therapy Association in Silver Spring, Md., an organization of 5,000 trained music therapists.

"Music is a powerful tool in treating illness and disease," he says. "But it's not just Mozart. That's why music therapists need to know as much Mozart as they do the Beatles or music from Thailand."

If music appreciation were better understood in the schools, it might be viewed as a necessity instead of a luxury, says Richard Cormier, music director of the Tampa Bay Chamber Orchestra.

"There's nothing I find that says "The Mozart Effect' isn't legitimate," he says. "Can you imagine what would happen if we all started to believe it? Well, the eruption in music education would be remarkable."

The Hults aren't waiting until Maggie goes to school. Her music education already is moving to the next level with more recordings from "The Mozart Effect."

"I don't want Maggie spending her life in front of the television, and somehow she's got to learn to think on her own," Beth says. "Parents have to find new ways to stimulate {a child's} sense of reason, and I think music and books will do that."

(Chart) Here are the companion compact discs for Don Campbell's book "The

Mozart Effect":

Volume 1 - "Strengthening the Mind: Music for Intelligence and Learning." This is a primer for ear and brain, its music chosen so that tempos, key signatures and textures evolve as the music progresses. It includes segments from the Violin Concertos Nos. 3 and 4, "A Little Night Music," Symphony No. 14 and a church organ sonata.

Volume 2 - "Heal the Body: Music for Rest and Relaxation." Intended for relaxing during a stressful day, daydreaming or falling asleep, the selections are from the Piano Concerto No. 21, String Quartet No. 16, Concerto for Flute and Harp, Clarinet Quintet and "Posthorn" Serenade.

Volume 3 - "Unlock the Creative Spirit: Music for Creativity and Imagination." Designed to stimulate images and impressions, this program contains sections from Symphonies Nos. 4 and 24, Piano Sonata in B flat, the German Dances and Variations from "Ah, Vous Dirai-je, Maman."

A three-recording series of "Music for Children" includes the segments "Tune up Your Mind," "Relax, Daydream and Draw" and "Mozart and Motion." The music was specifically selected to stimulate young listeners.

Kurt Loft covers classical music and can be reached at (813) 259-7570.

PHOTO (C) DRAWING (C) CHART; Caption: (C) Paul and Beth Hult settle in with their 3-month-old daughter, Maggie, as they listen to "The Mozart Effect" CD. BRUCE HOSKING/Tribune photo; (C) (Drawing) (Musical notes)

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Healed by music.

By Nicholas Roe. 640 mots 7 fĂŠvrier 1998 The Times Anglais Copyright Times Newspapers Ltd, 1998 Unusual sounds helped change a boy who doctors said would always be a baby. Nicholas Roe reports Doctors told Sally and Alex Smith that their brain-damaged son, Luke, would always have the mentality of a three-monthold. But the couple would not accept it. Fifteen years later, Luke bustles around their Sussex house, greeting visitors with a smile, able to read andcommunicate.

The journey between these two different states has led to the introduction into Britain of a therapy that the Smiths believe played a significant part in Luke's dramatic improvement. Called the Tomatis Method, it involves listening to oddly filtered music tapes - usually Mozart or Gregorian chant. It is supposed to have a healing effect on the ear and brain.

The Smiths met while running Scottish Opera. He is 59, calm and quiet; she is 49, forceful and energetic. Their first son died aged 17 months. The tragedy of Luke was that he was desperately wanted, but was injured before or during birth. He was blue when the cord was finally cut. The Smiths were told that he would never walk or talk but they refused to give up hope.

They saw a television programme about the Institute for Human Potential in Philadelphia and flew out for advice. Luke was four and couldn't eat, swallow, dress himself, talk or walk. The institute set up a home-based regime of manipulating Luke's uncoordinated limbs on the hour, eight hours a day, seven days a week for two years. The family made frequent return visits to America.

The couple mortgaged their house four times. Sally appealed for help, and opera friends raised #35,000 for treatment. Luke made progress but there was still a long way to go. Then the Smiths heard of Professor Alfred Tomatis, an ear, nose and throat consultant in Paris. They flew to meet him. His approach centres on the theory that different sound frequencies affect separate pathways in the brain. Using filtered music delivered through headphones, Tomatis claimed to be able to stimulate the inner ear and the brain.

There were 250 Tomatis centres but none in Britain, so over the next three years Sally took Luke to Paris for treatment. "By the time we went to Tomatis, Luke was nine," says Sally. "He had developed autistic tendencies, there was no eye contact, he never hugged anyone, he had no speech, he had a head tic. We had got him walking but there was no co-ordination."

After Tomatis: "There was a change in the first week. There is a grand staircase leading from the centre. Luke took the rail, let go of my hand and walked down. It sounds so little but it was amazing. And after 15 days he threw his arms around my neck and said, 'Mum.' He had never done that before. It was wonderful."

Luke continued to improve and meanwhile the Smiths were fielding half a dozen calls a week from other parents seeking advice - so they decided to open a treatment centre in Britain.

Spurred by the inheritance of a house in East Sussex, were they could both live and work, they took the plunge three years ago. Since then they have opened other centres in London and Edinburgh.

There has been no formal study into Tomatis but it is said to help in cases of dyslexia, depression, neurological disorders, Down's syndrome, vertigo, tinnitus and hyperactivity.

Sally says: "Luke has now entered life and he enjoys it." As I leave, she tells her son that there is going to be a story about him in the paper and he smiles a polite thank you.

Alfred A Tomatis Foundation, 3 Wallands Crescent, Lewes, East Sussex BN7 2QT (01273-474877) (c) Times Newspapers Ltd, 1998.

Not Available for Re-dissemination.

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Tomatis 2008 The riddle of the Mozart Effect. (music therapy for illness care and prevention)(includes related information) Don Campbell 2,924 mots 11 janvier 1998 Natural Health 114 Vol. 27, No. 1, ISSN: 1067-9588 Anglais Copyright 1998 Gale Group Inc. All rights reserved.

The Chinese are producing musical albums with some curious titles. Obesity and Constipation are two. Insomnia is another.

There's Liver, Heart, and Lungs, and also an orchestral piece that I've nicknamed The Kidney Bladder Suite." Most of the albums use traditional Chinese instruments and are flawlessly performed. The Chinese "take" these musical compositions like they'd take an herbal medicine, to help them get over the problems described in the album titles, or strengthen the organs named in those titles. [sections] On a recent visit to Japan, I came across more compilations of classical and romantic music with prescriptive suggestions. For headaches and migraines, the Japanese suggested Mendelssohn's "Spring Song," Dvorak's "Humoresque," or even a dose of George Gershwin's "An American in Paris." And at hospitals throughout India, traditional Indian music is used medicinally.

In Madras, the Raga Research Center has assembled an interdisciplinary team of doctors who experiment with different ragas for use in music therapy. They have found two particular ragas beneficial in treating hypertension and mental illness. [sections] This is nothing new, really The roots of shamanic and indigenous music reach back to the dawn of civilization, when the sound of the drum, rattle, and other primitive instruments would bring communities together, launch crop plantings and harvests, and march tribes into battle. People believed that music and sound magically allowed the powers above and below to come together.

Humans, we have to assume, have known since they first sang or played their first musical instrument (a bone flute between 43,000 and 82,000 years ago) that music evokes powerful forces. Evidence even suggests that dance and song preceded speech, which means that music is humanity's original language. Researchers, in fact, have found that two-thirds of the inner ear's cilia -- the thousands of tiny hairs that lie on a flat plane like piano keys -- resonate only at the higher "musical" frequencies (3,000 to 20,000 hertz). This would seem to tell us that at one time human beings communicated primarily through song or tone.

Modern scientists agree that many different kinds of music can be therapeutic. Some people respond well to reggae or jazz. Others are uplifted -- indeed healed-after listening to Gregorian chant, or heavy metal. But researchers lately have learned that the work of one composer in particular -- Wolfgang Amadeus Mozart -- mysteriously rises above all other forms of music in its power to heal the human body. This special ability of Mozart's music to heal is called the Mozart Effect.

Scientists are not only beginning to understand that some forms of music are more healing than others, with Mozart's at the top, but they're also starting to understand why.

Stammering Depardieu Alfred Tomatis, M.D., a celebrated French physician, has spent five decades studying the healing and creative powers of sound and music, the Mozart Effect in particular. Many of his patients call him Dr. Mozart. Tomatis has tested more than 100,000 clients in his listening Centers throughout the world for listening disabilities and vocal and auditory handicaps, as well as learning disorders.

One of his better-known patients was Gerard Depardieu, the French actor. Many movie-goers have heard Depardieu speak with a mellifluous voice, but in the mid- 1960s, he was a tongue-tied young man still struggling to become an actor. Coming from a background of family difficulties, educational failures, and personal sorrows, Depardieu could not express himself.

He could hardly speak. And the more he tried, the worse his stammering became.

A drama teacher directed him to the Tomatis Center in Paris, where he met with Tomatis himself. Tomatis diagnosed the cause of Depardieu's voice and memory problems as deeper emotional problems underlying his physiological difficulties and told him that he could help him. Depardieu asked what the treatment would involve -- surgery, medication, or speech therapy. Tomatis responded, "For the next several weeks, I want you to come here every day for two hours and listen to Mozart."

"Mozart?" Depardieu asked, puzzled.

"Mozart," Tomatis repeated.

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Tomatis 2008 The next day Depardieu returned to the Tomatis Center to don headphones and listen to Mozart. After only a few sessions, he began to experience positive changes in his daily routine. His appetite improved, he slept better, and he found himself with more energy. And soon he was speaking more clearly. After several months, Depardieu returned to acting school with new poise and confidence, and went on to become one of the consummate actors of his generation.

"Before Tomatis," Depardieu says, looking back, "I could not complete any of my sentences. He helped give continuity to my thoughts, and he gave me the power to synthesize and understand what I was thinking."

Tomatis found again and again that regardless of a listener's tastes or previous exposure to the composer, the music of Mozart invariably calmed listeners, improved spatial perception, and allowed them to express themselves more clearly. He found that Mozart indisputably achieved the best results, long-term, whether in Tokyo, Cape Town, or Amazonia.

One-and-a-half pound Krissy In recent years, the music of Mozart, who lived from 1756 to 1791, has become part of many doctors' pharmacopoeia as they've seen patients rebound under its influence. Krissy, for example, weighed just over one-and-a-half pounds when she was born prematurely in a Chicago hospital with a life-threatening condition. Doctors put her on total life support. Other than an occasional pat on the head, the only positive stimulation she received was from constant infusions of Mozart that her mother begged nurses to pipe into the neonatal unit. Doctors did not think Krissy would five; her mother, however, believes that the Mozart saved her daughter's fife.

Krissy could not sit up at age one and did not walk until she was two. Her motor skills were poor, and she was anxious and introverted. Despite all this, at age three she tested far ahead of her years in abstract reasoning. One evening, her parents took Krissy to a chamber music concert. For days afterward, she played with an empty tube from a paper towel roll, which she placed under her chin like an instrument, and she bowed" with a chopstick. Her mother enrolled Krissy in Suzuki violin lessons, and the four-year-old could immediately reproduce from memory pieces seemingly several levels beyond her physical ability. With the support of her parents, teachers, and fellow students, Krissy stopped wringing her hands in fear and began to socialize.

In the past several years, many stories like Krissy's have emerged. While we all know intuitively that music can alter our mood, the enhancing effects of music on creativity, learning, and health have become known to researchers around the world. (See sidebar "Musical Notes" on page 111.) And Mozart's music, in particular, is getting a strong thumbs-up from scientists: * In monasteries in Brittany, monks play music to the animals in their care and have found that cows serenaded with Mozart give more milk. * In Washington State, Department of Immigration and Naturalization officials play Mozart and baroque music during English classes for new arrivals from Cambodia, Laos, and other Asian countries and report that it speeds up their learning. * The city of Edmonton, Alberta, Canada, pipes Mozart string quartets into the city squares to calm pedestrian traffic.

Officials found, in addition to other benefits, drug dealings have lessened. * In northern Japan, Ohara Brewery finds that when Mozart is played near yeast, that yeast makes the best sake. The density of yeast used for brewing the traditional rice wine -- a measure of quality-increases by a factor of ten when the yeast "listen" to Mozart.

The power of Mozart's music came to public attention largely through innovative research at the University of California in the mid- 1990s. At the Center for the Neurobiology of Learning and Memory in Irvine, a research team began to look at the effects of Mozart on college students and children. Frances H. Rauscher, Ph.D., and her colleagues conducted a study in which thirty-six undergraduates from the psychology department scored eight to nine points higher on the spatial IQ test (part of the Stanford-Binet intelligence scale) after listening to ten minutes of Mozart's "Sonata for Two Pianos in D Major" (K.448).

Mozart's music "may `warm up' the brain," suggested Gordon Shaw, a theoretical physicist and one of the Irvine researchers. He suspects that complex music facilitates certain complex neuronal patterns involved in high brain activities like math and chess. By contrast, simple and repetitive music could have the opposite effect. The day after the Irvine findings were announced, music stores in one major city sold out of Mozart recordings.

In a follow-up study, the scientists explored the neurophysiological bases of this enhancement. Spatial intelligence was further tested by projecting sixteen abstract figures similar to folded pieces of paper on an overhead screen for one minute each. The exercises tested whether seventy-nine students could tell how the items would look when they were unfolded.

Over a five-day period, one group listened to the original Mozart sonata, another to silence, and a third to mixed sounds, 299

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Tomatis 2008 including the music of Philip Glass, an audio-taped story, and a dance piece.

The researchers reported that all three groups improved their scores from day one to day two, but the Mozart group's pattern recognition soared 62 percent compared to 14 percent for the silence group and 11 percent for the mixed-sound group. The Mozart group continued to achieve the highest scores on subsequent days. Proposing a mechanism for this effect, the scientists suggested that listening to Mozart helps "organize" the firing patterns of neurons in the cerebral cortex, especially strengthening creative right-brain processes associated with spatial-temporal reasoning. Listening to music, they concluded, acts as "an exercise" for facilitating operations associated with higher brain function. In plain English, it can improve your concentration and enhance your ability to make intuitive leaps.

Following the Irvine studies, a number of public schools introduced Mozart pieces as background music and reported improvements in their pupils' attention and performance.

Why does music heal?

To understand why music in general can heal -- and why Mozart is particularly therapeutic for many people -- one must understand sound and its effect on physical matter. In Cymatics, Hans Jenny, a Swiss engineer and doctor, describes the science of how sound and vibration interact with matter. Jenny shows that intricate geometric figures can be formed by sound. For instance, Jenny has created vibrations in crystals with electrical impulses and transmitted the vibrations to a medium such as a plate or a string. He has also produced oscillating figures in liquids and gases.

The forms and shapes that can be created by sound are infinite and can be varied simply by changing the pitch, the harmonics of the tone, and the material that is vibrating. When chords are added, the result can be either beauty or chaos.

A low Om sound, for example, produces a few concentric circles with a dot at their center, a high EEE many circles with wobbly edges. These forms change instantaneously when a different note or tone is sounded.

Imagine what effects sounds have on delicate cells, tissues, and organs. Vibrating sounds form patterns and create energy fields of resonance and movement in the surrounding space. We absorb these energies, and they subtly alter our breath, pulse, blood pressure, muscle tension, skin temperature, and other internal rhythms. Jenny's discoveries help us to understand how, like a potter shaping clay at her wheel, sound shapes and sculpts us both inside and out.

It's been partly through the work of Linda Rodgers that scientists and physicians have become aware that the vibrations transmitted by music can positively affect a patient, or negatively affect the patient if it's the wrong music for that patient.

A clinical social worker and classically trained musician from Katonah, New York, Rodgers became interested in the effects of music on surgical patients in the wake of a traumatic tonsillectomy she underwent as a child. She had become highly sensitive to the anxiety that can erupt in the face of surgery and the need to somehow defuse it.

In 1982, Rodgers went to work at Mount Sinai Hospital in New York and obtained permission to watch open heart surgery.

There she began to investigate patients' ability to hear under anesthesia. She soon uncovered a wealth of research indicating that they do continue to hear, even when rendered unconscious. One of the classic experiments involved an anesthetized cat whose EEG channels all dramatically responded to the barking of a dog. "The auditory pathway, unlike all other sensory systems, has an extra relay," Rodgers explains. "Auditory fibers are not affected by anesthetics, so they continue to transmit sound. Simply stated: We never stop hearing!" And our conscious participation is not needed.

Rodgers has successfully implemented music protocols in operating rooms. To protect against patients inadvertantly hearing harmful noise or tasteless (and possibly injurious) remarks-such as "This old bag won't make it" -- during surgery, Rodgers recommends that audiotapes selected by each patient be played before, during, and after surgery on cassette players with earphones. Rodgers says that as patients learn to invoke music's powers, "It is reasonable to expect a more rapid recovery from surgery, with fewer complications, reduced number of days in the hospital, and a more positive response to coping with future medical problems."

Why Mozart?

Why not call the transformative powers of music the Bach Effect, the Beethoven Effect, or the Beatles Effect? Does Mozart's music have unique properties, eliciting universal responses that only now are yielding to measurement?

Mozart doesn't weave a dazzling tapestry like that of the great mathematical genius Bach. He doesn't raise tidal waves of emotions like the epically tortured Beethoven. He doesn't soothe the body like a good folk musician or slam it into motion like a rock star. However, he is at once deeply mysterious and accessible. His wit, charm, and simplicity allow us to locate a deeper wisdom in ourselves. Tomatis asserts in Pourquoi Mozart? (Why Mozart?) that Mozart's "music has a liberating, healing power which exceeds by far what we observe in his predecessors, ... his contemporaries, or his successors."

To many listeners, Mozart's music seems to impart balance. If it indeed imparts energetic balance -- and we do know that 300

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Tomatis 2008 it, like all sound, changes the energy of our bodies in specific ways -- then Mozart's music is doing what many systems of healing strive to do. Whether through acupuncture, herbal medicines, dietary planning, or assorted other measures, many systems of healthcare seek to help the patient find energetic balance. Mozart's music may be energy-balancing extraordinaire. It's not too fast, or too slow. Somehow it's "just right."

The rhythms of music, we know, affect the rhythms of the autonomic nervous system, which regulates a vast biological landscape within our bodies. We can understand, therefore, how important the simplicity and clarity of Mozart's music may be to our emotional and physical bodies.

I liken the effects of different music to the effects of different foods, which also have the power to alter energy patterns and change our physiology, for both good and bad. A hot Mexican meal, or a sweet dessert, each will affect us -temperamentally and physically -- much differently than a spinach salad. With foods, a steady diet of the most delicious and sensuous is not necessarily the best for us. Sometimes it's the simple tastes that serve us best on a regular basis. We may crave the taste of a steak dinner or a hot fudge sundae, but brown rice primavera might be the most nutritionally beneficial.

So it may be with music. We are likely fed well by a variety of music, but some forms are more likely to bring order and stability to our emotions. Tomatis is convinced that Mozart's music is exceptional at bringing harmony to body and mind.

Gerard Depardieu, whose speech difficulties were healed by listening to Mozart, actually listened to Mozart that had been "filtered." It had certain frequencies taken out and others amplified according to Depardieu's specific needs. Some people do not hear certain frequencies as well as they should and they end up with "deficiencies" in these frequencies. By "feeding" the patient these frequencies, the deficiencies are corrected. Tomatis uses Mozart because it filters better than any other kind of music. You could liken the filtered frequencies to "sonic vitamins," or "sound nutrients." They were the specific frequencies, or vibrational nutrition, that Depardieu required. Tomatis has found that Mozart, better than any other kind of music, is a nutritionally balanced musical meal and it is easier to filter out needed frequencies from his compositions than from other composers.'

Wolfgang Amadeus Mozart, the child prodigy who wrote operas, symphonies, piano concertos, piano sonatas, and music for organ, clarinet, and other instruments by the time he was twelve years old -- and who would seem to have known he was going to die young (in his mid-thirties) -- may have left the world a library of the most delicious healing sound yet discovered.

DON CAMPBELL is a trained classical musician, composer, and author of ground-breaking books an music and healing. photograph illustration

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Tomatis 2008 LIFESTYLE Mozart's violin concertos among best music therapy Rick Ansorge; The Gazette 441 mots 21 octobre 1997 The Gazette LIF2 Anglais (Copyright 1997) What is music therapy?

It's a form of healing that relies on the human voice, instruments and recordings. During group and one-on-one sessions with patients, therapists try to achieve specific therapeutic effects.

What are some of those effects?

Studies show that music therapy boosts the immune system, allows women in labor to forgo anesthesia, lessens the need for post-operative painkillers, and helps stroke and Parkinson's-disease patients re-learn how to walk normally.

What else can be treated with music therapy?

In the new book "The Mozart Effect," Boulder author Don Campbell lists 50 conditions that he says respond to music therapy. They range from acute pain, antisocial behavior and AIDS to schizophrenia, stroke and substance abuse.

How old is music therapy?

Since ancient times, healers have noted music's ability to induce relaxation, improve mood and speed recovery from illness. Since the 1870s, music has been used in American hospitals to calm and distract patients. A 1914 article in the Journal of the American Medical Association reported that phonograph music seemed to benefit anesthetized patients during surgery. Modern music therapy came into its own during World War II, when it was used to treat soldiers suffering battle fatigue.

How are music therapists trained?

Music therapy is offered as a four-year bachelor's-degree program at 67 colleges and universities, some of which also offer master's level programs. Undergraduates study music, music education and psychology. Graduates must complete a sixmonth clinical internship before they can be certified by the Maryland-based National Association for Music Therapy.

How many music therapists are there in the United States?

About 5,000 therapists - including 76 in Colorado - have been certified nationwide by the National Association for Music Therapy. Another 2,000 uncertified therapists are believed to be in practice.

Where do music therapists work?

Typical work settings include hospitals, rehabilitation centers, special schools, correctional facilities, nursing homes, drugand alcohol-treatment centers and hospices. Music therapists earn an average annual salary of about $35,000.

Does insurance cover music therapy?

In most cases, no, although under certain conditions it is reimbursable by Medicare.

What kind of music has the most healing power?

According to French physician and music-therapy pioneer Alfred Tomatis, it's any music by Mozart, especially his violin concertos. Other therapists have seen therapeutic benefits from Gregorian chanting, new-age music, jazz, Latin music, rock and rap.

- Source: Journal of the American Medical Association; National Association for Music Therapy; Don Campbell's "The Mozart Effect."

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Tomatis 2008 A Musical Medicine Helps Heal Sufferers 1,366 mots 16 ao没t 1997 Canberra Times Anglais Copyright The Federal Capital Press of Australia Pty Limited. All rights reserved.

ELISABETH came in through the glass doors, struggling with a large harp. She found a place for it in the middle of the room, surrounded by the Parkinson's group that meets each Friday in the Banksia Room at the Botanic Gardens.

She began to play a tune which she had improvised from a film score while helpers and Parkinson's sufferers were free to listen or to draw.

Elisabeth Pillgrab is a Canberra-based musician who is using her talents and enthusiasm to inspire Parkinson's sufferers to help them relax.

With song, clapping sticks, chaccaritas and a Chinese gong as well as the harp, she encourages everyone to join a session of rhythm, sound and movement.

In bold black, Sheila and Norman drew Elisabeth playing the harp; Bob executed a neat row of broken lines; Albert and Mary embarked on patterns. Phil who'd initially been withdrawn and depressed because he was "frozen", tapped in time to the music.

Later came a change in tempo from the soothing to the lively. The tune was Clementine. "Sing with me!" she pleaded. "I don't know all the words; you'll have to help me."

There were few reluctant singers or hummers. Several members of the group who would normally speak in short halting phrases seemed to be singing fluently.

Elisabeth then handed out the different instruments so that she could be accompanied on the harp; Jean beat the Chinese gong at intervals with dramatic effect.

The final phase of the concert was a sort of conga line around the room. Whoever was in the mood or wasn't frozen into immobility, which is what happens with Parkinson's, could get up with the support of a helper or carer and join the line, clapping and swaying to the beat of African percussion from Guem and Zaka.

Tiring? Yes! Inspiring too. After a gentle start, most people lost their inhibitions, and responded to Elisabeth by joining in.

Elisabeth is a keen practitioner of music therapy. She uses music to help people with ailments or disabilities find comfort and enjoyment through listening, singing and movement in a program which is designed to meet their particular needs.

She has a Doctor of Philosophy in music pedagogy and a Masters in music and history which was obtained in Vienna. She worked through two-thirds of a music therapy course in Austria, her homeland, as well as completing a two year postgraduate diploma at Ku-Ring-Gai College in Sydney.

Her schedule keeps Elisabeth busy. She works intermittently as a German language coach with Opera Australia in Sydney and at Campbell High (in conjunction with the Canberra School of Music) where she also teaches Coloured Strings, an aural music program for children.

At the moment her work as a music therapist is confined to a child with Retts Syndrome, which is similar to autism, and to the Parkinson's group which Nancy Tingey runs, using painting and drawing as a form of release for sufferers.

Music therapy may benefit many. They include the physically or mentally handicapped, those who suffer from Alzheimer's, arthritis, Parkinson's, those who are stroke victims and children who have learning difficulties or have been abused.

A Diploma of Music Therapy includes units of physiology, anatomy, psychology, music history, theory and performance.

Therapists have to be competent players of a musical instrument, ideally the piano, guitar and recorder.

The Diploma of Music Therapy that Elisabeth studied in Austria involved close interaction with the medical profession, more so than happens in Australia. She enjoyed this aspect of her course because it satisfied her thwarted ambition to be a doctor. "My parents felt I was gifted in music and should follow that," she explained.

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Tomatis 2008 ELISABETH'S two areas of interest merge in music therapy which makes it seem an ideal compromise but she pointed out that she could not work full time as a music therapist because it is physically and emotionally draining.

After a therapy session, comes the self-questioning. "How did it go today? What did they get out of it? What should I change?"

For the Parkinson's group, Elisabeth's short-term goals are to use music as a stimulator to free people's movements and to help them forget their tremors for a while.

Music with a definite beat can encourage people to walk or to improvise steps as they move in a line around the room.

Unfortunate as the analogy may be, armies have long depended on military marches set to rousing tunes to keep their soldiers going, despite sore feet and low morale, Elisabeth observed.

She makes a point of adding, "Everybody is welcome, whatever he or she contributes. We are not aiming for top class music and the session is not competitive." Another short-term goal with the Parkinson's group is to use singing to help those with a speech impairment. Singing can bring words out more easily and is also a social activity. It draws in the carers, including Con, who slaughs and blushes when asked to repeat his version of a song.

For the carers whose spouses have Parkinson's, the weekly session lets them catch up with each other and share information.

One of Elisabeth's long-term goals is to build up a repertoire for the Parkinson's group of their favourite songs. She has promised to learn the words if she doesn't know them.

Working with a group is challenging. It is easier to cater for one person's needs and preferences than for those of a group of ten or twelve. Therapists who use the Gregorian chant which used to be sung widely by Benedictine monks in Europe, hope to soothe and calm listeners.

For those who don't fall under its spell, it can be a source of tedium and irritation. If an approach isn't working with a person in a one to one session, it is easier to change tack than with a group.

On the other hand, the benefits of working with a group like the Parkinson's can be the development of a sense of camaraderie and companionship and the atmosphere can become buoyant. Within these parameters, Elisabeth is flexible with her choice of music.

A browse through a book of case studies of music therapists working with children from different coun tries gives further insights to the field. The reader gets a rundown on each child's history and problems, on the therapist's approach and how successful it is.

Many cultures have used music as part of their rituals to drive out disease and evil spirits. For the Greeks, disease meant disharmony in a person's being. They played the lyre for its calming and harmonious effect.

Plato and Aristotle linked music with the health of the whole person and suggested the careful use of music to develop healthy and ethical citizens.

In the 1950s Dr Alfred Tomatis, with an MD from the Faculte de Paris, was conducting experiments in auditory neurophysiology in Paris. He explained that high frequency sounds, as in the Gregorian chant, are "charging" sounds that give people energy.

Dr Paul Nordoff, a composer, and Dr Clive Robbins, a special educator, worked together to develop Nordoff-Robbins Music Therapy.

After Nordoff's death in 1977, Clive Robbins and his wife, Dr Carol Robbins, travelled extensively, including to Australia, giving lectures and workshops.

Developments continue. RichardMonkhouse and Robin Wood from England designed and built the Soundbeam. It emits a high frequency sound wave that produces sound according to theuser's movements and proximity.

Any movement in and out of the sound wave path produces an effect. It is used for children and adults whose hand and finger movement is severely limited. Elisabeth would like a Soundbeam but she needs to save because it costs $3000. That is just one of many ideas she has.

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Tomatis 2008 "With the Parkinson's group we can make use of the sun and bring in colour with the music, perhaps with scarves . . . I am a forward thinker . . . with background and knowledge and new technology, (work with) music therapy can only get better."

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Tomatis 2008 The Arts: Column MAGAZINES THE LISTENING CURE Reviewed by Christopher Harris

By Nicholas Regush 252 mots 5 mai 1997 The Globe and Mail Metro C3 Anglais All material copyright Thomson Canada Limited or its licensors. All rights reserved.

Equinox, May 1997 AT any given time in a certain three-storey Victorian house in Toronto, a number of children and adults can be found -- in the words of science writer Nicholas Regush -- "tuning their bodies to the world." The building houses the Listening Centre, a clinic for auditory training and sound stimulation that is based on the ideas of Alfred Tomatis, who is a French ear, nose and throat specialist. In the 1950s, Tomatis developed the unorthodox view that the human ear plays a far more active role in the way our minds and bodies work than is commonly thought. He drew a sharp distinction, for instance, between hearing and listening, noting that it is possible to hear any number of sounds without actually listening to them. He put forward the idea that someone might be able to hear perfectly well, but that a variety of psychological stresses could lead to problems in listening. And weak listening skills, he believed, could affect not only the mind but the entire body. Regush takes us through the Listening Centre, introducing us to several patients whose lives appear to have been sharply improved by intensive ear-training programs. Along the way, we learn such intriguing Tomatis theories as this: that high-frequency sounds rich in harmonics -- like the sound of a violin -- can energize the brain, while low-frequency sounds, such as the beat of a drum, can sap it.

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Tomatis 2008 Talking clever.

34 mots 24 avril 1997 Scottish Daily Record 7 Anglais (c) 1997 Scottish Daily Record & Sunday Mail Ltd Speech specialist Professor Alfred Tomatis, the man who cured the stutter of French film star Gerard Depardieu, has opened a clinic in Edinburgh. (c) Scottish Daily Record & Sunday Mail Ltd, 1997.

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Tomatis 2008

A pitch battle for language learners.

By Sue Leonard and David Sawyer 700 mots 20 avril 1997 Scotland on Sunday 3 Anglais (c) 1997 IT IS a familiar dinner party theme, particularly after the annual holiday abroad. Why are the British so bad at foreign languages?

Now it may have been explained. It is nothing do with laziness, ignorance or lack of savoir faire - it is because we can't hear them properly.

According to Professor Alfred Tomatis, a French ear, nose and throat specialist, it is a difference in sound frequencies that lies at the heart of the problem.

His theory, derived from his work treating people with listening and hearing disorders, will now raise fundamental questions about the way foreign languages are taught.

This week the first Tomatis centre in Scotland opens in Edinburgh which will offer foreign language tuition with the help of an 'electronic ear' which is more routinely used to help people with conditions like dyslexia, autism and learning difficulties.

Sound is heard at certain frequencies and the human ear can theoretically capture a large range from 16 to 16,000 hertz, the unit used to measure frequency, and is able to discern an infinite number of rhythms. But Tomatis, who is famous for developing the voices of singer Maria Callas and curing the stammer of actor Gerard Depardieu, says that as time passes our ears settle into a habit and remain efficient only in the frequencies and rhythms of our mother tongue.

Each language has historically matured using certain ranges of sound frequencies. The French, for example, use frequencies from 125 to 400 and from 1,000 to 2,000Hz while English speakers use frequencies which range from 2,000 to 12,000Hz hence the difficulty each country's people have in understanding and learning the other's language. The Dutch and Russians, meanwhile, are able to pick up all kinds of languages easily because their native tongue covers the whole frequency band from 125Hz upwards.

Alex Smith, director of two Tomatis centres in England which primarily treats people with hearing and listening disorders, said the frequency of French is way below English, which is a high-frequency language. "In most languages we are completely out of tune. It is not that the brain is not working. If your ear does not hear the intonation and all the subtleties of the language you can't speak it."

Through specially adapted earphones linked up to a box of electronics the ear will be forced to hear what it does not hear naturally. The device opens up the ear to the frequency of the chosen language by filtering out some of the low frequency sounds and accentuating higher frequency sounds on learning tapes, Smith said. As the ear becomes attuned to the language, students are given unfiltered tapes which they are then able to understand more easily. "It makes it easier to listen to what is being said and to speak the language." Smith believes many language teachers are unaware of the importance of being on the right wavelength. "Ninety nine per cent of people do not realise this, including a lot of language teachers," he said. "Language teaching is big business but until you can open up the ear to the frequency you are wasting your time and the students'."

Traditionalist language teachers disagree.

Ian Press, a phonologist and professor of Russian at St Andrews University, believes other reasons lie behind our difficulty with learning languages. "As far as the British education system is concerned I would feel that our problem with learning foreign languages is that we study French in the written setting and actually speaking the language comes as quite a shock. I think we resist learning languages because we think we don't need to. We don't have the need to learn foreign languages as English is spoken throughout the world and we don't have the exposure to foreign languages."

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Tomatis 2008 Berlitz, one of the best-known UK language schools, said it would not be changing its teaching methods. David Gillespie, director of the Edinburgh centre, said: "From our point of view it is commitment, taking the lessons seriously, motivation, doing the homework and interacting with the native speaker that seems to work."

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Tomatis 2008

Borders players bound for Africa.

351 mots 18 avril 1997 The Scotsman 17 Anglais (c) 1997 MARY MILLER JUDY Steel's Rowan Tree Company, since 1987 a major contributor to artistic life in the Borders, is to visit South Africa's National Arts Festival this July. The company, with its distinctive style of theatre - a mix of storytelling in the local tongue, music and song - has long commandeered village halls and local small theatres with a series of highly successful projects performed by its core company - John Nichol, Hilary Bell, Lucy Cowan and Steel herself.

Nichol's The Travels of Mungo Park leads a programme of three mixed media pieces. Violinist and multi-instrumentalist Lucy Cowan is adapting the production's music and song for the trip to Grahamstown, while the group works on two new shows, The Rivers run with Song, a musical illustration of the soft green landscapes of Tweed, Ettrick and Yarrow, and Fish Tales, which centres on writing by John Buchan. Both, on their return, will feature as part of the Fringe's programme at the Famous Grouse House.

South Africa's National Arts Festival began in 1974, with programmes encompassing drama, dance, opera, music, cabaret and film. Its Fringe events, as in Edinburgh, encourage the up-and-coming, a winter school presents lectures and discussion, and a festival of student drama concentrates on the avant-garde, with plays in all Africa's languages.

An ear for progress FOR the past 45 years, the French physician, Professor Alfred Tomatis has been exploring the process by which we listen and develop language. He works extensively with an "electronic ear" which filters sounds according to its patients' specific needs, often using Mozart and Gregorian chant, which, together with speech, can both relax and stimulate the listener.

His work has the endorsement of a host of famous names - - Maria Callas and Beniamino Gigli, Sting and Gerard Depardieu (who reportedly shed a speech impediment as the result of Tomatis's treatment) have all benefited. Musicians - singers particularly - are encouraged to open their ears to a full range of frequencies fed through the electronic ear which retrains the ears to function without distortion.

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Tomatis 2008 Health And Science THE SOUNDS WE HEAR TOO RARELY Chet Raymo 807 mots 6 mai 1996 The Boston Globe Third 28 Anglais Š 1996 New York Times Company. Provided by ProQuest Information and Learning. All Rights Reserved.

Maybe it's because I don't hear as keenly as I used to that I've been paying more attention to my auditory sense.

My walks back and forth to college get longer as I linger to listen to the honking of Canada geese, the raspy territorial calls of red-winged blackbirds, the trombone love song of the meadowlark, the tunk-tunk of downy woodpeckers.

To the insects warming up for summer.

And to the frogs. An expanse of water erupting with sound, a thousand thumping throats raised in clamorous chorus -thawing mud made audible.

I wonder too about the sounds I don't hear.

Those painted turtles sunning themselves on logs: I read somewhere that turtles are deaf and mute, but it's hard to imagine that their gurgling internal organs don't make some sound.

The water striders on the stream: Do their oaring strokes make a sound too faint to hear?

The mallards paddling across the pond: Would an underwater microphone record the push-push of their webbed feet, like the sounds we heard in those old submarine movies as the sub waited silently on the bottom and the destroyer thrummed terrifyingly overhead?

The natural world is full of sounds we do not hear because of the limitations of human hearing, or because they occur in places we do not go.

Audio recordist Jim Metzner has collected 33 extraordinary natural sounds that most of us are unlikely to hear in the ordinary course of our lives, recorded by himself and others, on an audio CD called "Pulse of the Planet." The CD is accompanied by a handsome text, published by the Nature Company.

Metzner works electronic magic to make these unfamiliar sounds accessible to our ears.

The buzz and clack of ants, termites and leafhoppers are amplified to the human scale.

The high-pitched echo-location signals of bats, normally beyond the range of our hearing, are lowered in frequency so that we hear bats as they swarm -- a lovely liquid sound.

The songs of thrushes are stretched out to one-quarter speed, revealing unexpected complexity.

The voices of elephants have a low-frequency component that is below the range of human hearing. These deep-throated calls carry for great distances, like the low-frequency conversations of whales that carry for miles through the sea. Metzner speeds up an elephant call -- letting us eavesdrop on a love song that rolls across the veldt like the rumble of a distant storm.

He takes us under the Arctic ice to listen in on the otherworldly commerce of bearded seals, and into the Amazon rain forest canopy to hear the strange marimba-like music of the oropendola bird.

And then, there are the sounds of the cosmos.

Strictly speaking, there is no such thing as cosmic sound. Mechanical vibrations cannot travel in the vacuum of space. Stars blow up without a whisper. Galaxies turn on hushed axes. The Big Bang happens in utter silence; it might better be called the Big Flash.

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Tomatis 2008 But electromagnetic waves do propagate through vacuum, and Metzner turns these cosmic radiations into sound, letting us listen to the greater universe.

We hear the insect-like chorus of Jupiter, recorded by the Voyager spacecraft, presumably caused by the solar wind interacting with electrons in the giant planet's magnetosphere. We hear the mysterious sputterings of Jupiter's moon Miranda. We hear the rhythmic drumming of a pulsar. And, yes, even the flash of the universe's beginning is made audible, a dull and lifeless static from which all creation springs.

In the introduction to his CD and book, Metzner makes reference to an observation of audiologist Alfred Tomatis that the symbol of the question mark is derived from the shape of a human ear. This is a hint, says Metzner, that in the face of the many challenges we face as individuals and as a species -- the ominous decisions and awesome opportunities -- we need to stop making such an ungodly racket and perk up our ears.

A few weeks ago, just at dawn on a rainy morning, I stood on a plank walkway in a wetlands in New York state. The creak of the wooden planks, the raindrops pittering onto the surface of the water, the purling currents among the pilings, the rustle of loosestrife, the music of birds and the beating of wings combined into a symphony such as I have seldom heard before. I knew that nature was telling me something -- about itself, about my own life - - that I should hear.

I stood for a long time, eyes closed -- and listened.

RAYMO ;04/29 NIGRO ;05/06,09:27 RAYMO06 Science Musings Chet Raymo is a professor of physics at Stonehill College and the author of several books on science.

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MUSIK ALS THERAPIE FÜRS OHR. Von Elisabeth Roth.

458 mots 6 février 1996 Der Standard Allemand (c) 1996, Der Standard. http://www.derstandard.at/ Tomatis Methode verordnet Patienten mit Hörstörungen vor allem Mozart Gerard Depardieu nennt ihn seinen Doktor Mozart; Sänger wie der englische Bariton Benjamin Luxon verdanken ihm die Heilung karrieregefährdender Hörschäden; autistischen Kindern hilft er, wenigstens den Hauch eines Kontaktes mit der Umwelt zu knüpfen: Auf der ganzen Welt findet die Methode des italo-französischen HNO-Arztes Alfred Tomatis Anwendung.

Seine Thesen:*Die Stimme eines Menschen enthält nur die Frequenzen, die das Ohr hört.*Ermöglicht man dem Ohr, nicht mehr oder nicht gut wahrgenommene Frequenzen wieder korrekt zu hören, so treten diese augenblicklich und unbewußt wieder in der Stimme in Erscheinung.*Die über eine bestimmte Zeitdauer wiederholte akustische Stimulation führt zur endgültigen Veränderung des Gehörs und in der Folge der Stimme. Diese akustische Stimulation, das Horch-Training, ist von der französischen Akademie der Wissenschaften abgesegnet und wird weltweit in 200 Tomatis-Instituten durchgeführt.

Im wesentlichen besteht diese Gymnastik fürs Ohr darin, daß dem Kunden nach einem entsprechenden Test, der zeigt, welche Frequenzen er nicht oder ungenügend hört, drei Wochen lang zwei Stunden täglich Musik vorgespielt wird.

Vorzugsweise Mozart und gregorianische Choräle. Daß beim Hören der Zauberflöte aus der heimischen Stereoanlage nicht dieselben Effekte erzielt werden, liegt darin, daß die Musik beim Horch-Training gefiltert ans Ohr des Klienten dringt.

Gedämpft werden dabei jene Frequenzen, die er ohnedies gut hört. Nötig ist dazu das von Tomatis eigens entwickelte "elektronische Ohr". "Die gefilterten Klänge wirken wie eine Schallmassage auf die geschädigten Hörbereiche und aktivieren sie", so Dr.Werner Pelinka, Gründer des jüngst eröffneten Wiener Instituts. Das Spektrum der Beschwerden, die durch die Tomatis-Methode geheilt oder zumindest gelindert werden können, geht weit über berufsbedingte Hörschädigungen hinaus. So soll das Horch-Training auch bei Schlafstörungen und psychosomatischen Erkrankungen und bei Kindern vor allem bei Konzentrationsschwäche, Legasthenie und Sprachfehlern helfen. Was phantastisch klingt, hat einen einfachen Grund: Das Ohr ist nicht nur zum Hören da. Wie der Musikpädagoge Pelinka erklärt, werden die akustischen Wellen im Inneren des Ohres in elektrische Impulse umgewandelt, die wiederum Energie ans Gehirn weitergeben. Unterbleibt diese Art der Energieversorgung des Gehirns, weil die Schallwellen aus organischen oder auch aus psychischen Gründen ("nichts hören wollen") nicht bis zum Innenohr vordringen, so können die verschiedensten Leistungsstörungen die Folge sein. Das Hören hoher Frequenzen, wie sie besonders in der Musik von Mozart vorkommen, steuert dem Energiemanko zwar entgegen, zum Störungsabbau braucht's aber gezielte Schallstimulation. Im Idealfall schließt sich an das Horch-Training ein speziell auf die Leistungsschwäche abge stimmtes Lernprogramm. Dazu will Werner Pelinka, der sich von Tomatis ausbilden ließ und mit ihm in ständigem Kontakt steht, in absehbarer Zeit intensiv mit Psychologen, Logopäden und Kinderärzten zusammenarbeiten.Inst. f. Horch-und Sprachpädagogik, Richard-Wagner-Platz 5/8, 1160 Wien. Tel.: 4955771 4-0,0.

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Tomatis 2008 EXTRA HEALTH BRIEFS SANDRA BROWN KELLY 629 mots 10 octobre 1995 Roanoke Times & World News METRO 3 Anglais (Copyright 1995) Sensory integration is topic of program Annabel Stehli knows firsthand about life with a child who has learning disabilities. By the time her autistic daughter, Georgiana, was 11, the child had spent most of her life in mental hospitals.

That was in the late 1970s, and Stehli was desperate for a solution. She found it in something called auditory integration training, which involves music that is filtered through a machine invented by a French doctor and played into earphones.

No one knows why the therapy works, but who cares?, says Stehli, a Connecticut resident who has spread the word about auditory integration. After the therapy, her daughter finished high school, college and got her doctorate.

Auditory integrated training was developed by French physicians Alfred Tomatis and Guy Berard, whose work appeared to help many people with hypersensitive hearing or other hearing difficulties.

Stehli, who says auditory integration does not work for everyone, documented her foray into the alternative therapy in "The Sound of a Miracle." The book first appeared in Reader's Digest in December 1990 and was released by Doubleday in 1991.

CBS is working on a script for a television movie about Stehli, who just completed editing a second book, "Dancing In the Rain." It is a collection of stories about exceptional progress by parents of children with special needs.

On Oct. 21, Stehli will join several other professionals as a speaker at an "Integrating the Senses Symposium" at the LewisGale Foundation Auditorium at Lewis-Gale Hospital in Salem. The event is scheduled from noon to 5 p.m. and costs $25 for professionals and $15 for parents and students. Reservations should be made by Oct. 19 by calling Innovative Therapies, PC, at 776-1805.

Aditi Silverstein, a speech and language pathologist who is director of Innovative Therapies, will be on the program, as will Dr. Richard Harrell, an audiologist and Radford University assistant professor, and Diane Korsch, a pediatric occupational therapist.

The program will include a panel of parents of children with learning disabilities who will discuss the role of sensory integration in the management of learning disabilities, autism, dyslexia, and attention deficit disorder, among other conditions.

Record copies School is under way this year, and youngsters who needed birth certificates to enroll in kindergarten or the first grade already have them. But anyone who needs a copy of his or her birth certificate or a copy of a record of death, marriage, divorce or adoption can get it from the Virginia Department of Health's Office of Vital Records.

To get a record, write the office at James Madison Building, P.O. Box 1000, Richmond, Va. 23208-1000. A request should include sufficient details so that the certificate can be found. Birth certificate requests should include the person's name at birth, date of birth, race, sex, place of birth, mother's maiden name and father's name. A request for a death certificate needs to include the name, date of death, city or county where death occurred, and spouse's name if married.

The turnaround time for getting certificates from 1978 on is about five working days. Records prior to 1978 are not on computer and getting a certificate can take three to four weeks.

The fee for a birth certificate is $8 and it should be sent as a check or money order made out to the Virginia State Health Department. By using a service called Vital Check, a certificate can be obtained in a shorter time, but payment is $25.50 and needs to be by credit card.

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Tomatis 2008 Be prepared to stay on hold if you phone to speak to a customer service representative. The number is (804) 786-6228.

- 981-3393, or sandrakinfi.net.

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TECHNOLOGY - SAYING IT AS IT SOUNDS. 585 mots 24 fĂŠvrier 1995 Financial Times 17 Anglais (c) 1995 The Financial Times Limited. All rights reserved Speaking a new language means learning to hear it, writes Emiko Terazono.

Is it the teaching methods, the non-verbal culture of the Japanese, or the grammar? Japanese people go through six years of English education and tend to be proficient writers of the language, but many have trouble speaking it.

Japanese people have greatest difficulty pronouncing words that contain Ls and Rs. Since the R sound does not exist in Japanese, many find it hard to differentiate words like 'lice' and 'rice' or 'rally' and 'Larry'.

While students are usually taught to curl their tongues when pronouncing Rs, some researchers claim that pronunciation problems stem from the way that speakers hear various sound frequencies rather than the skill of emulating mouth and tongue movements.

Reiko Yamada, researcher at the Advanced Telecommunications Research Institute, a centre funded by the Ministry of Posts and Telecommunications and leading electronics and telecommunications companies, says what makes L and R sound different is a sound component that moves between 1,200Hz and 3,200Hz. Within the 0.1 second time span of the vocalisation of an R sound, this component moves up from 1,200Hz to 2,500Hz, and in an L, moves down from 3,200 Hz to 2,500Hz. While native English speakers recognise Ls and Rs by catching the movement of this component, Japanese people do not have that ability, and tend to distinguish sounds by the initial frequency level of the sound component when it is vocalised, rather than the frequency changes.

Yamada says that although a Japanese child brought up in the US or UK would have no problems in recognising the sounds, an adult needs to be subjected to sound training to differentiate sound components, such as L and R. During an experiment, after repeated hearing exercises of words such as 'lag' and 'rag' and 'light' and 'right', the 150 participants were able to get the pronunciation right 90% of the time. Based on the research, the institute last year started to sell computer software for hearing training.

Another theory is that the Japanese language uses a completely different sound frequency band from English. According to Tomatis Japan, a language school, most Japanese words contain components between 125Hz and 1,500Hz while sound components of most English words fit into a band between 2,000Hz and 12,000Hz. Kuniko Murase, head of the school, explains that people cannot pronounce what they are not used to hearing.

Murase believes the problem is compounded by what she sees as a tendency to avoid speaking a foreign language unless confident that pronunciation is correct. 'Once they think their pronunciation is wrong, they simply refuse to talk due to the fear of being ridiculed,' she says.

Based on a training method created by Alfred Tomatis, a French ear, nose and throat specialist who has set up training centres worldwide, the school's training tries to widen the sound frequency band that a student can hear.

Tomatis believes that while the human ear can pick up sounds in a band between 16Hz and 16,000Hz, everyone becomes used to the frequency band of his or her native tongue.

Students start by listening to electronic sounds, or languages filtered into raw frequency sounds. The school asserts that since the development of ability to catch different sounds starts in the mother's womb students listen to various hissing noises, which are sound frequencies supposedly heard by the foetus. (c) The Financial Times Limited 1995.

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Tomatis 2008 The Arts Signs of the sacred in an age of disenchantment SOUL FOOD / Attendance in mainstream Christian churches seems in irrevocable decline. But Canadians remain hungry for spiritual sustenance and are finding it increasingly in music, books and art. Record companies and card manufacturers can only say, Gloria in excelsis deo ROBERT EVERETT-GREEN 1,571 mots 24 dĂŠcembre 1994 The Globe and Mail C1; (ILLUS) Anglais All material copyright Thomson Canada Limited or its licensors. All rights reserved.

MICHAEL Higgins knew that the spirit was working strangely when he opened the cab door, and heard a sound redolent of incense, old wool, and the damp that creeps along the walls of old stone buildings. It was the cabbie's tape player, pumping out a track from an album of Gregorian chant.

"Ten years ago you would have assumed the driver was a frustrated medievalist who couldn't get a job," says Higgins, who chairs the department of religious studies at the University of Waterloo, northwest of Toronto. But he knows that what he heard in the cab that day was more probably the sound of fad than of frustration. After decades of quiet existence on the fringes of audio culture, recordings of Gregorian chant are bursting onto the pop charts, with sales for one sacred bullet, an EMI disc of monks from Catalonia, topping five million units. A market tuned in recent years to the incomprehensible stutterings of Meccano-limbed rappers has suddenly embraced the equally incomprehensible Latin chant of the Roman church.

At the same time, it has become hard to stroll through a card shop or craft fair without seeing images of angels, on posters or hanging ornaments or small table-top structures that resemble altars. Long-dead painters have had a greeting-card renaissance, their medieval, baroque and late 19th-century angel scenes fusing into a gold-winged, rosy-cheeked aviary of fantastic beings. PBS recently produced a documentary entitled In Search of Angels, narrated by the suitably named Debra Winger, and Hollywood has given us a number of films involving spirits and the afterlife. Books on angels and other sacred message-bearers are moving to the front windows of many bookstores, and there are workshops in several cities devoted to finding one's inner angel (see accompanying story).

Why the surge of interest in monks, cherubim, and voices that come gentle from that good night? Why do so many people in this random-access, secularized society want to cozy up to the sights and sounds of old-time religion?

The answer plainly has nothing to do with interest in organized religion itself. Practical allegiance to any active faith in this country is caught in a relentless and well-documented slide. Figures from the last three census-takings, for instance, show that the number of people claiming to belong to no religion nearly doubled between 1971 and 1981, and did the same again between 1981 and 1991. Two weeks ago, a report to the United Church of Canada predicted a drastic eclipse for the church, should it continue on its present course.

But Reginald Bibby, the sociologist at the University of Lethbridge (Alberta) who wrote the report, finds no decline in the numbers of people eager for spiritual nourishment. When in doubt, he says, we Canadians tend to drop out of traditional institutions, hold back from joining any new ones (unlike our American cousins), and look for signs of the sacred wherever they may appear.

"Canadians have no problem whatever in embracing a wide range of supernatural beliefs," he says. Young people in particular are open to visits, real or notional, from angels and other extraterrestrials - "the belief levels are incredibly high."

Teen Trends, a report Bibby produced in 1992, found that 60 per cent of the teens surveyed said they had spiritual needs, which less than 20 per cent were attempting to fill through institutional means.

In this context, all those Gregorian discs begin to look like so many tokens of longing for a lost world, in which faiths were secure and truths apparent. Like Franz Kafka, who wrote of his efforts to grasp the fringes of a prayer shawl that modernity was whisking away from him, people today seem to be reaching for the shreds and remnants of religious observance.

"When the central myths of a belief structure begin to fray," says Michael Higgins, an ardent Catholic, "people turn to the trinkets and the pseudo-icons that remind them of the old belief structure." Angels may be in particular favour, he says, because of their traditional role as mediators between the divine and the human. But the divine, as a personality, has dropped out. There is no boom in pictures of Jesus, or in books about the Holy Ghost.

The star personalities of the new vogue for the spiritual are people like Hildegard of Bingen, a 12th-century abbess and mystic. Hildegard's writings, music, and personal example are bringing to her the kind of popular canonization bestowed in 317

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Tomatis 2008 the past few years on the Mexican painter Frida Kahlo. A new EMI recording of Hildegard's music, tarted up with pop decor

by New Age musician Richard Souther, sold 7,000 copies in Canada during its first 11 days on the market.

The chanting monks are also stars, of a peculiarly mild and anonymous sort. Thomas Verny, a Toronto psychiatrist, suggests that the idea of monastic life appeals to many people as a non-competitive form of male society, at a time when conventional social traits of maleness have come under harsh critical scrutiny. Think of Hugh Grant in a cassock - or of Forrest Gump, not as a fisher of shrimps, but of souls. The Gregorian phenomenon and the colossal success of Gump, the movie (and the books), are in this sense both symptoms of a yearning for a more harmonious society, with simple virtues and a simple way of life.

But the movies, the books and the greeting-cards lack one thing that the music does seem to provide: measurable therapeutic stimulus. The effect of certain types of music on brain function has of late become a headline item, particularly since a team of researchers announced that doses of Mozart's music improved test results among college students (this finding was promptly exploited through a Sony compact disc called Mozart Makes You Smarter). Other studies have detected alpha waves in the brain patterns of subjects when listening to baroque music, waves which indicate, in Verny's words, "that the subjects are aware, that they are paying attention, but that they are in a relaxed, trancelike state."

Paul Madaule, director of Toronto's Listening Centre, uses Gregorian chant to correct perceptual and attention disorders among his clients, on the basis of research conducted 40 years ago by French physician Alfred Tomatis. Chant, says Madaule, sets up a resonance in the bones of the participant which tends to harmonize the body and focus the mind. This effect, he believes, was a subconscious rudder for the development of chant itself, and is entirely separate from any textual or symbolic significance. It is especially indifferent to religious orientation. "The less religious education people have, the more effective it is," says Madaule. As in the case of Forrest Gump, what they don't know actually ends up helping them.

The notion that music might purge or correct the spirit is not exactly a new idea. Plato held that the classical modes of music had to be rigorously guarded, so as not to corrupt the population, and similar sentiments were held by Christian theologians well into the 18th century. Only in the 19th century did it become fashionable to claim, as the critic and theorist Eduard Hanslick did in 1854, that music as an art should be "set free from any psychological subsidiaries relating to its origin and its effect." It's no accident that this view became current at around the same time that technological revolutions began to weaken the grip of organized religion on the Western mind.

Now, some of us have had enough of the shocks that come with revolutions, and a whole industry of ambient and New Age music has sprung up to trade on the idea of music as something to calm the mind and body. For those in the New Age (the title also of a recent Hollywood film about urbanized seekers), modern life needs grounding in ancient truths and mysteries.

The notes for one recent album, a mix of old music and soft- core backups by the Empire Brass, capture the sentiment: "The music itself hints and harkens back to something much older, a glimpse of high old wizards at the dawn of time."

The monks who maintain Pope Gregory's tradition have stumbled unawares into this milieu, like the East Indian classical musicians whose ragas came into a similar vogue 25 years ago. They are valued, as Ravi Shankar was, because their music is ancient, unchanging, and because it feels good. As one record industry type told me: "It just washes you over with comforting sounds. I don't know what they're saying, I just know that it's very soothing."

Is that a response to a spiritual experience? For some people, it may be the only one available, or desirable. Since there is no longer any orthodoxy in these things - ironically, defence of orthodoxy was one of Gregory's main goals in codifying Catholic chant - the religious import of the music is a strictly optional feature. It's just one more item on the menu.

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ANY OTHER BUSINESS - HOMAGE TO THE HEARD INSTINCT - TIM MELVILLE-ROSS. 927 mots 4 septembre 1994 The Independent - London 5 Anglais (c) 1994 Independent Newspapers (UK) Limited . All rights reserved. This material may not be published, distributed or exploited in any way. _F By ANTONIA FEUCHTWANGER. TIM MELVILLE-ROSS is keen to be seen as an entrepreneur. Previously chief executive of the Nationwide Building Society, he took over last month as director-general of the Institute of Directors, the 48,000-member lobby group for small and medium-sized businesses.

Progressing from company secretary to chief executive of Britain's second largest building society over 13 years might seem bureaucratic rather than entrepreneurial. And Nationwide certainly saw some rather unentrepreneurial hiccups during Melville-Ross's decade on the board. There was the largest-ever bad debt provision made by a society, in 1992, followed by a decision to relocate to Swindon only six months after the society had moved into a plush new London HQ. Melville-Ross has been cultivating his risk-taking image with casual references in interviews to his #3,000 stake in an Essex garage and second-hand car dealer, the Village Garage at Pebmarsh. But this hardly makes him a gambler for high stakes.

"It's perfectly viable but it's a marginal business, there's no doubt about it," he says.

Rather more of his money may be at stake, however, in Tomatis Centre UK, a business due to be launched in November by his stepsister, Sally Smith, and her husband, Alex.

About 300 Tomatis centres exist worldwide, applying the techniques of Alfred Tomatis, a Paris professor of ear, nose and throat surgery, to the treatment of children with behavioural and learning problems, musicians with hearing disorders, sufferers from stress-related ailments and even students of foreign languages.

The principle behind his "listening cure" is that communication or learning disorders originate from impaired or underdeveloped listening skills. Treatment involves listening to a tape of music, speech or the subject's own voice which has been electronically doctored.

Mrs Smith is a glamorous, forceful former controller of planning at Scottish Opera, who made her singing debut at Glyndebourne about 30 years ago, at the age of 17. She met Alex at Scottish Opera, where "I was Madame Artistic and he was Mr Financial" - or to be exact, a chartered accountant who later specialised in employee share ownership.

The Smiths have tried a range of treatments for their son Luke, 12, who was brain-damaged at birth and suffers from genetic disorders, and are convinced that the Tomatis method works. For the past three years, they have been travelling to France, where there are 90 centres specialising in the technique.

It did not take long before the idea of setting up a British centre occurred to them. But it was only when Mrs Smith inherited a large Victorian house in Lewes, Sussex, with the potential to house four treatment rooms that it became possible - subject to final consent from the planners "who seem to think it's a bit New Age".

It is not alternative, Mr Smith says, just an alternative to existing conventional treatments. He and his wife are putting equity of #15,000 into the business. How much Melville-Ross will provide is yet to be finalised, but the other investments, such as that from a London and Hong Kong-based businessman who suffers from tinnitus (ringing in the ears), have been in chunks of #15,000. The Royal Bank of Scotland is providing a working capital facility of around #35,000, secured on the house.

This may sound a risky investment for a controversial therapy that is not available on the NHS. But conventional medicine has little to offer children in this condition.

So Tomatis Centre UK, which plans to charge #195 including VAT per week of treatment, has a waiting list of 80. The Japanese-made equipment costs #53,000 and there is a licence fee of #1,850. The worst case turnover forecast is for 319

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Tomatis 2008 #181,000, excluding VAT, in the first year. The best case, of #332,000 ex VAT, gives a surplus of #60,000 in year two.

The Smiths, who have trained in the technique, provide accommodation for a Paris-trained psychologist and eventually plan to take a combined salary of #45,000. Otherwise it is mostly sunk cost.

The main risk is on the demand side. It is not clear whether health insurance companies will pay for the treatment.

Challenged as to whether the method really delivers, Mr Smith says: "It works, all right. Tomatis treated Maria Callas and helped teach Gerard Depardieu to speak English. When Depardieu talked about the technique on TV, the Paris centre got about a thousand new clients."

Why hasn't anyone set up a Tomatis centre here already? Mr Smith laughs. "I recall the German poet Heinrich Heine who was asked where he wanted to be at the end of the world and said: `England. Because everything happens in England usually 50 years after it has happened everywhere else.' " Melville-Ross, who has worked hard on the plans, says he is not sure how far the Smiths would want to expand the business. Doing business with family can be difficult. But it is exactly what many of the experts on the "equity gap" in finance for small businesses prescribe. Venture capitalists are too expensive for small deals, bank finance is easily withdrawn, and business angels are rare.

As Melville-Ross says: "Why should it just be the ethnic communities who back family enterprise with cash, accommodation and a helping hand?"

If his own experiment works, the Institute of Directors' voice on the issue will be the more cogent for it.

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EVERYDAY MAGAZINE HOLLYWOOD'S HOT EVENTS IN DOG DAYS

By Bart Mills Entertainment News Service 1,032 mots 19 ao没t 1994 St. Louis Post-Dispatch EDITION: FIVE STAR PAGE: 01F Anglais Copyright 1994, St. Louis Post-Dispatch. All Rights Reserved.

AUGUST, traditionally, has been known to be the dog days of summer. But in the entertainment industry, August has had some newsworthy moments, highlights of which include: August 1939: "The Wizard of Oz" opens - and loses money.

"Over the Rainbow" was No. 4 on the hit parade, Judy Garland was on stage (with Mickey Rooney) at the New York premiere, there were lines around the block, but somehow not enough people came. As Aljean Harmetz relates in "The Making of `The Wizard of Oz,' " the film cost $2.8 million and lost over $1 million in its initial cinema release.

It took television to turn the film into a classic. In 1956, when TV started running "The Wizard of Oz," feature films were just beginning to hit the networks. The film quickly captivated the world and has been seen more often than even "Gone With the Wind," which beat "The Wizard" for the Best Picture of 1939.

Judy Garland grew up, so there never was a "Wizard of Oz" sequel, even though L. Frank Baum wrote many more "Oz" books. Margaret Mitchell never wrote a sequel to "Gone With the Wind," but CBS will air "Scarlett" in November.

August 1969: When Sharon Tate and others are murdered by the Manson "family," Roman Polanski turns sleuth.

In London when he was informed by phone of the horrific ritual slaughter of his wife and friends in their house in Benedict Canyon, Polanski walked tight, aimless circles and banged his hands and head on the wall. When he flew to Los Angeles, he spent his first three nights heavily sedated in a suite at Paramount Studios that had been Julie Andrews' dressing room.

After the police eliminated him as a suspect, Polanski relates in his memoir, "Roman," they enlisted his help in checking out friends who might somehow have been involved. A pair of horn-rimmed glasses had been found at the scene of the crime.

One day, when Polanski was having his daily karate workout with star-to-be Bruce Lee, Lee mentioned casually that he'd lost his glasses. Aha! Polanski took it upon himself to drive Lee to an optician to buy him some new glasses. "As I hoped and suspected, his prescription bore no resemblance" to the lenses found at the murder scene, he wrote.

Also under unwitting suspicion was John Phillips of the Mamas and the Papas. Phillips' alibi wasn't ironclad, and he knew that Polanski had had a one-night-stand with his wife, Michelle. Polanski sneaked into Phillips' garage late one night and tested Phillips' Jaguar with a bloodstain-detecting device the police had given him. No stains. A machete in the trunk of the Jag was not the weapon the police sought.

Eventually a jailhouse stool pigeon, motivated by the $25,000 reward Polanski had posted, fingered a follower of Charles Manson. The crime was solved, but Polanski never got over the blame-the-victim coverage the crime initially received.

"What hurt me most . . . was (the media's) complete lack of remorse for slandering Sharon's memory and spreading such a pack of lies about us all," he said.

Oliver Stone's "Natural Born Killers," hitting theaters this month, explores the crazed media response to a fictional murder spree. Polanski, meanwhile, has just finished directing "Death and the Maiden" in Paris, with Sigourney Weaver and Ben Kingsley.

August 1974: Jack Nicholson discovers that his "sister" was actually his mother at the same time. "Chinatown," in which he starred and which had a similar family confusion at the center of its plot, opens.

Time magazine unearthed the truth of Nicholson's birth but forbore from publishing it immediately, Patrick McGilligan writes in his biography, "Jack's Life." The stunned Nicholson confirmed the revelation with his Aunt Lorraine but kept the 321

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Tomatis 2008 secret until Parade magazine let it out three years later.

Ironically, the 1974 revelation came just when Roman Polanski's film "Chinatown" was being released. In "Chinatown," Nicholson plays a detective who has an affair with a woman (Faye Dunaway) whose father (John Huston) is revealed also to be the father of her own daughter. The facts come out in a memorable interrogation scene in which Nicholson yells, "I said I want the truth!"

Following his most recent movie "Wolf," Nicholson will be seen in November in "Crossing Guard," opposite his longtime former lover Anjelica Huston.

August 1989: Gerard Depardieu astonishes everyone on the set of "Cyrano" with his mastery of classical French verse. His success goes back to speech therapy that consisted largely of listening to Mozart.

Rehearsing "Cyrano," Depardieu had delivered amateurish readings of the ever-popular drama's verse. Flop sweat streamed from the film's director and backers, Paul Chutkow writes in his biography, "Depardieu." Did the proletarian film actor have the vocal equipment to scale this theatrical peak?

As it turned out, he did. When he played his first scene in the film, in a Budapest concert hall in front of hundreds of extras, his voice, no longer hesitant, commanded the house. When the film opened, he received many French awards and an Oscar nomination.

Depardieu attributes his vocal abilities to a strange therapy he underwent two decades ago as a student. A lifelong stutterer, he was also unable to memorize lines. So his acting teacher sent him to Dr. Alfred Tomatis, whose method of curing speech difficulties is based on the theory that the ear is the key to physical and mental health.

Tomatis tested the hulking young actor and produced a "hearing curve" that showed "psychological damage" to his right ear, the cause of his speech difficulties. So Depardieu was given a course of 60 hours of listening to Mozart, plus additional hours of Gregorian chants. In the end, Depardieu not only found his voice, he also discovered that he had a prodigious memory and that he now needed only three or four hours of sleep a night. "We were lucky with Gerard," says Dr. Tomatis modestly.

PHOTO | Photo - For Jack Nicholson, the plot of "Chinatown," (1974) mirrored a secret revealed in his real life.

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Tomatis 2008 SCENE GETTING THEIR LIVES IN SYNC 613 mots 29 juillet 1994 The Seattle Times FINAL G2 Anglais Š 1994 Seattle Times. Provided by ProQuest Information and Learning. All rights reserved.

Some of the 200 people who've tried auditory integration training at the Auditory Health Center say they don't know what happened after the music stopped.

They're just very sure it was something good.

-- Before AIT, Emma Bezy's life had a certain out-of-sync quality.

Certain everyday sounds - like people eating popcorn, slurping through a straw or jingling coins - used to "physically invade my body," the Seattle psychologist says.

"I had this permanent hunch in my shoulder" from ducking grating noises that seemed normal to everyone else.

As a child Bezy "could hear little noises no one else could hear. I could hear cats fighting in the distance, maybe, or conversations in other parts of the house, through the ducts. But certain frequencies just set me on edge. The sound of a helicopter felt like the blades were slicing down into my body. I used to think, `No wonder Vietnam was so horrible for the soldiers.' " Bezy has her own theory about why AIT worked for her.

"The headphones help the ears adapt to the new sounds, that's how I look at it. It's an organic procedure that all of us do to one extent or another. I just didn't do it naturally. My ears had to be taught."

-- Anne Croco of Seattle, whose father founded the QFC grocery chain, was first treated in 1986 in France by Alfred Tomatis, who developed AIT. Croco had never read or spelled well, and her daughter Claire Bigbie, now a junior at Bush School, was having trouble in school.

Croco was having what she calls "these little tense moments." She figured she and Claire were reacting to the stress of living in a foreign country and recovering from Croco's recent divorce.

Croco maintains AIT helped "to smooth out the edges" of her hectic life.

Now Croco uses AIT "like a tuneup" to deal with stress, and Stimpson comes to her home to work with her neighbors and friends.

"People are skeptical about this because it's not a prescribed drug," Croco says. "But people don't understand the ears very well."

-- Dawn Kelly of Auburn says AIT "opened doors" in her daughter Marcia's brain, helping the 11-year-old overcome problems connected with a difficult birth.

Noise was painful to Marcia. She was clingy and fearful, even around the children in the neighborhood, and wasn't making progress in school.

At a parade, Marcia would clap her hands over her ears when the marching bands went by. She'd cry at the first sound of Fourth of July fireworks.

A pediatrician at Children's Hospital suggested AIT for Marcia about a year ago. "It won't hurt," he said, "and it may help."

Since AIT training, Kelly says, Marcia has learned to read and speak more clearly, and she's no longer a behavior problem in class. "She's not so clutchy toward me, and she doesn't put her hands to her ears when she hears a loud noise."

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Tomatis 2008 AIT wasn't an instant miracle, Kelly says. It worked gradually, like opening doors to reveal, one at a time, solutions to her problems.

Now Marcia's teachers suspect she has dyslexia. They'd never considered that until she was able to read and show the symptoms.

"I went (for training) with no expectations," Kelly says. "Parents of children with disabilities shouldn't have high expectations. Ever. I'm just grateful for what changes there are for her. It's enough for me that she can read a book. That she can communicate. And that she can play without being fearful."

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Tomatis 2008 SCENE THOUSANDS OF PEOPLE WITH A HITCH IN THEIR HEARING SAY AUDITORY INTEGRATION TRAINING IS MUSIC TO THEIR EARS SALLY MACDONALD 1,078 mots 29 juillet 1994 The Seattle Times FINAL G1 Anglais Š 1994 Seattle Times. Provided by ProQuest Information and Learning. All rights reserved.

PUBLISHED CORRECTION DATE: 08/03/94 - THE AUDITORY HEALTH CENTER OFFERS AUDITORY INTEGRATION TRAINING FOR PEOPLE WITH SOME PROBLEMS RELATED TO HEARING. THE NAME OF THE CENTER WAS INCORRECT IN THIS ARTICLE. It sounds a little like acoustic snake oil. Just slip on these earphones, lean back and listen to a little Mozart and all sorts of troubles fade away.

These people tried it, and: -- A mother says her little girl no longer screams in pain on the Fourth of July because the fireworks sound as though they're going off in her head.

-- A woman says she can go to the movies again without being driven crazy by the sound of people eating popcorn.

-- A mother says her little boy who couldn't read - but who could throw monumental tantrums - does better in school now.

-- An elderly man says he can put his pants on without having to lean against the wall.

-- And a socialite says her energy improved and so did her French.

These people all claim to have a hitch in their hearing (ears that hear too much if not too well) or a glitch in their wiring (brains that don't process sounds as they should) that responds to an exercise for the ears called auditory integration training.

They say this deceptively simple musical workout for the minuscule muscles of the inner ear banished their pain, depression, anger, jangled nerves, poor balance, language difficulties, even fatigue.

Thousands who've tried AIT say this is the best thing since hearing aids, Dick and Jane and Prozac.

Too good to be true?

However, critics - including two University of Washington speech and hearing experts - say it sounds too good to be true and probably is.

Auditory integration training has been around for years. It was developed by two French otolaryngologists (ear, nose and throat specialists), Alfred Tomatis and Guy Berard, and patients have been flocking to their clinics for four decades.

But Americans are just beginning to take notice. Since AIT was introduced in this country about four years ago - by a mother who wrote about her daughter's "recovery" from autism after auditory integration training - 100 clinics have sprung up and 10,000 people with a host of troubles have tried it.

Cynthia Stimpson, who was trained and certified by Berard and opened the Auditory Hearing Center in Lake City two years ago, is one of only a few practitioners in the Seattle area.

Stimpson says many people who seem perfectly normal on the outside can benefit from AIT's inner-ear calisthenics including people who don't read or spell well, people who have poor balance (because balance is determined in the inner ear), even people who "just don't seem to function efficiently."

There are also people, Stimpson believes, who can't tune out extraneous noise as they go through the day - the teacher's voice is no more penetrating than the electric buzz of the clock on the wall; the sound of a boyfriend crunching popcorn is just as acute as the sweet somethings Nick Nolte whispers to Julia Roberts.

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Tomatis 2008 Garbled messages As a result of all that competing noise, the ears send only garbled messages to the brain, which has to straighten them out as best it can.

That can cause a whole host of problems, from slight disorganization to relentless befuddlement, AIT adherents say. It can create stress, anger and, in extreme cases, a shutdown in communications. It also can play havoc with language skills.

Stimpson, who has a background in counseling and social work, charges about $1,000 for the 10-day training program.

She starts with an audiogram to measure what's heard and what's not. If there is a problem and AIT is recommended, the client is plugged into earphones twice a day to listen to a half-hour program, personalized to emphasize notes of various pitch and intensity that may be causing the problem.

Proponents say the sounds activate and exercise the hearing mechanism - those tiny bones, fluids and hair cells that ship sounds to the brain for processing.

Stimpson theorizes the tones she uses to tweak the inner ear may "stimulate something in the brain that's dumping either a chemical or an image that's causing an emotion."

Many scientists are skeptical about whether anything at all happens during AIT. In a polite debate that appeared in recent issues of the journal of theAmerican Speech, Language and Hearing Association, some experts admit AIT appears to offer help to as many as 10 million Americans who suffer from a range of hearing, learning and developmental problems, including autism.

"I wish I could say that it (AIT) is science and art. . .but it may be witchcraft," said one enthusiastic expert from New York.

Another suggested a comparison with Mom's chicken soup, saying AIT probably won't cure anything, but it doesn't seem to hurt.

Still others suggest AIT's success may be due to a placebo effect - if the patient thinks AIT works, it does.

More study needed The journal's consensus is that AIT needs a great deal more study.

Bob Carpenter, an associate professor, and Sue Sanborn, a lecturer with the UW Speech and Hearing Sciences Department, say some of the studies that are trickling out have not been scientifically rigorous and consist mostly of anecdotal reports from parents who believe their children were changed by the training.

"To be fair, it should be reported that some of those parents are saying their children were changed for the worse," Sanborn says.

Carpenter and Sanborn are most concerned that people are setting up shop as AIT experts and claiming to measure hearing more precisely than specialists with highly technical equipment can do. They point out that AIT training takes only a few hours and no audiology background.

"You have to look at this from a common-sense point of view," Carpenter says. "On the surface, does it seem reasonable there's a simple, easy, quick treatment for a whole array of divergent, complex problems?

"To me, that's like looking for a free lunch."

PHOTO; Caption: TERESA TAMURA / SEATTLE TIMES: DEVELOPED IN FRANCE MORE THAN 30 YEARS AGO, AUDITORY INTEGRATION TRAINING HELPED EMMA BEZY, A SEATTLE PSYCHOLOGIST, OVERCOME HER HYPERSENSITIVITY TO CERTAIN EVERYDAY SOUNDS - SUCH AS JINGLING COINS OR PEOPLE EATING POPCORN.

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Tomatis 2008 Depardieu biography recounts actor's rise from hardship Marilyn Anders. Associated Press 1,016 mots 20 mai 1994 The Las Vegas Review-Journal 9c Anglais (Copyright 1994) Photo. Gerard Depardieu starred with Andie MacDowell and gain American popularity in "Green Card."

"Gerard cooperated fully, but he did not have the right of approval and he did not earn a cent. ... He never interfered and only read the manuscript once it was completed."

Paul Chutkow author PARIS_ Born to an illiterate drunk and a discontented woman who tried to abort him with a knitting needle, Gerard Depardieu overcame neglect, poverty and a humiliating speech impediment to become one of France's greatest film stars.

A bearlike man with boundless energy, Depardieu emerges in a new biography as a survivor, an endearingly complex man who grabbed misfortune and crafted it into genius.

"Depardieu" is a collaborative biography by Paul Chutkow.

"Gerard cooperated fully, but he did not have the right of approval and he did not earn a cent," Chutkow said in a telephone interview. "I had carte blanche. He never interfered and only read the manuscript once it was completed."

The two spent hundreds of hours together at Depardieu's home outside Paris and on location in exotic spots across the globe.

Chutkow, a former correspondent for The Associated Press who spent 12 years in Paris, interviewed dozens of family members, close friends, film directors, fellow actors _ even Dr. Alfred Tomatis, who diagnosed a severe hearing problem and helped Depardieu regain language skills after they broke down.

Chutkow presents Depardieu as multifaceted man: a gifted actor with 90 films to his credit since 1971; a 250-pound gastronome who selects his own free-range chickens live on the farm; a wine lover who produces his own vintage.

The book's publication here in French in early March was a major event, despite a lukewarm reception from some critics.

"This is not a biography for movie-lovers," wrote Jerome Garcin in the weekly Evenement du Jeudi. "It does not satisfy our curiosity about Depardieu's formulative relationships with people like (Marguerite) Duras, (Maurice) Pialat, Bertrand (Blier), (Claude) Berri. ... The author merely wanted to hold up a mirror in front of Depardieu, an actor he admires and who doesn't much like himself, so he can see himself, head high, halfway through his fabulous life."

American readers may be surprised to learn that the star who symbolizes French cinema was weaned on American culture in Chateauroux, a backwater town in central France that was still reeling from Nazi occupation, rationing and economic depression when Depardieu was born there in 1949.

In 1951, Chateauroux became home to a NATO base that later swelled to accommodate 12,000 GIs and their families.

Depardieu chewed Juicy Fruit gum, beebopped to the rhythms of Elvis Presley and Chubby Checker, snacked on burgers and milkshakes, and adopted James Dean and Marlon Brando as heroes.

He also brushed with delinquency _ trafficking in ration cards and befriending young prostitutes working the base. Things at home were grim. Gerard's father, Dede, was a heavy-drinking ironworker who was often unemployed. Lilette, his mother, dreamed about traveling to exotic places and blamed Gerard, her third child, for clipping her wings. They were not 327

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Tomatis 2008 evil people, just ignorant, Chutkow writes.

"Their family communication was generally a chaotic rumble of grunts, aborted thoughts, stifled feelings and yelling," Chutkow writes.

Once the angry shouting subsided, the tension remained. The house, Depardieu later said, was ruled by "the law of silence."

He retreated into a protective shell and ended up tongue-tied by the age of 6 _ just about the time Lilette confessed she never wanted him in the first place. One day, in a fit of rage, she told him she had tried to end the pregnancy with a knitting needle.

"That was the defining shock of his childhood," Chutkow said. "But he recovers from everything and turns it into emotional resources for his craft. That's his brilliance."

Depardieu told Chutkow he had nightmares for years about knitting needles, concluding that, "If I can survive those knitting needles, I can survive anything."

Depardieu was happy that the book rectified misconceptions about his childhood.

"I was really a solitary child ... but I never said I was unhappy," he was quoted as saying in the weekly Evenement du Jeudi.

"Just the opposite, I was very lucky to be born into a poor, illiterate and medievallike family because there were no taboos. I was born free, free to invent who I wanted to be."

"Depardieu" devotes 34 pages to the actor's dispute with Time magazine in 1991 over his alleged confession that he went along on a gang rape at age 9.

Chutkow obtained a transcript of the original French interview and compared it to the English translation upon which the Time article was based.

His conclusion: Depardieu's quotes were taken out of context, edited and spliced together to make the actor appear to confess to rape.

"The magazine added phrases that he didn't say," Chutkow said. "When you listen to the tape, it's quite clear that he's dismissing earlier press reports as exaggerated. He says, 'Yes, I've been painted as someone who is an alcoholic. But do I have the head of an alcoholic? Yes, someone wrote I once took a gun to school to show off to my friends, but I didn't carry a gun.' He's not admitting to anything but the fact that he knows this stuff has been written about him."

Chutkow said the incident, which may have cost the actor an Academy Award for his starring role in "Cyrano de Bergerac," deeply wounded him and tarnished his reputation in the United States. Despite resounding support from the French film industry, Depardieu was disconsolate for weeks.

But he recovered to triumph in "Tous les Matins du Monde" ("All the Mornings of the World"). He also appeared in "Christopher Columbus: 1492," his second English-language success after "Green Card." The movie received lukewarm to unfavorable reviews As Chutkow puts it, Depardieu bounced back "the way a vine that has been pruned will grow back even fuller."

Learning to use the sound that heals: your own voice is a simple yet powerful tool for healing body and spirit. (includes related information) Joy Gardner-Gordon 1,078 mots 1 mai 1994 Natural Health 46 Vol. 24, No. 3, ISSN: 1067-9588 Anglais COPYRIGHT 1994 East West Partners THE FRENCH physician Alfred Tomatis first became aware of the importance of the voice to physical health when he was called to a Benedictine monastery in France in 1967. The monks at the monastery ordinarily observed silence, except for chanting, which they did for some six to eight hours a day. The Benedictines are well-known for working hard and sleeping little, and they eat a simple, mostly vegetarian diet. When Tomatis visited the monastery, it had just been taken over by a young abbot who was convinced that chanting served no useful purpose, and he stopped the practice. Within a short time, 328

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Tomatis 2008 seventy out of ninety monks complained of feeling fatigued.

Doctors were called in, and they tried to rectify the situation by prescribing more sleep and adding meat to the monks' diets. Their fatigue only worsened.

When Tomatis arrived, he promptly suggested that the monks resume their usual chanting schedule. Within five months, almost all the monks had regained their health and vigor and had resumed their usual demanding work schedule. According to Tomatis, many Catholic monasteries have closed in recent times, but the ones that practice the traditional Gregorian chant remain open.

The human voice costs nothing, and it's always in our possession. Yet it is one of the most powerful and reliable tools for healing the human body and spirit. To benefit most from its healing effects, you may simply make a single, long, sustained sound, also known as toning.

Toning has been practiced for eons by the Tibetans, Mongolians, Buddhists, and Hindus. In one form or another, it is practiced in virtually every cultural tradition. Most people have heard of the practice of toning "Om" (or "Aum"), a sound that Hindus and Buddhists believe is the manifestation of a person's spiritual self. They have found that chanting this simple sound creates inner harmony. Regardless of one's religious people who chant "Om" repeatedly report feeling more peaceful and energetic.

When you tone, you use the vibratory power of the voice by making sustained sounds, without the use of melody, beat, or rhythm. One can make these sounds by using a vowel, a consonant, or a combination of the two. It is not necessary to use words. When we make these sounds, they cause vibrations, which in turn create overtones that reverberate throughout the body and affect it in profound ways.

In order to appreciate why the monks experienced such a profound recovery after they resumed chanting--and why your mental and physical health can benefit from toning--we must consider the many physiological effects created by the sounds of our voice. When we make a sustained toning sound, it produces a vibration throughout the body. The energy from that vibration activates different physiological systems.

Tomatis explained that sound waves are transmitted through the bones in the skull to the brain cells. One cranial nerve that is affected by sound waves, the vagus nerve, emanates from the lower part of the brain and passes through the larynx-the voice box--and then extends widely throughout the body. It winds its way through an the internal organs, including the entire intestinal tract, back muscles, the lungs, and heart. It supplies the motor and sensory fibers that control the release of gastric and pancreatic secretions, as well as inhibitory fibers of the heart. The sustained vibration that toning sets off throughout the body has a dramatic energetic impact on the body.

You do not need to have a good singing voice to benefit from toning. My son, Kalon, is a good example of this. Since he could never carry a tune as a child, singing was never fun for him. Later in his life, when he was having trouble in college and feeling overwhelmed with pressure from final exams and a stormy relationship that had just ended, I invited him to tone with me. Much to my surprise, he tried it. This was the first time he experienced the power of his voice, and he was amazed by how good it felt.

After that session--which did wonders to improve his energy and his attitude--he found himself toning in the shower and around his apartment. It was a terrific way for him to release tension and to prevent or eliminate the headaches and shoulder and back pains that ordinarily accompanied his final exams. Like many other people I have seen, he experienced a deep sense of peace and relaxation from toning. I feel that this comes both from the physiological effects provided by toning and also from the discovery by people like Kalon that you do not need to be a gifted singer to tap into the great power of the voice.

How to Tone There are many different ways you can tone. You can vary the intensity of the tone, the particular vowel sound you make, the pitch, and so on. Some people have fun with it, by making the sounds of animals, for example.

To get started, try this simple yet effective toning exercise. Begin by inhaling through your nose. Breathe deep into your lower abdomen, feeling your breath fill your lower and then your upper abdomen. Before your abdomen is fully expanded, feel your breath continue up into your lungs and notice your shoulders rise slightly. Release your breath through your mouth while making one long sustained vowel or combined vowel and consonant sound.

Try different tones and use ones that feel resonant (that send a slight vibration that you can feel throughout your body, down to your toes). The sound you make should continue as long as you exhale. Do not exhale longer than is comfortable.

When you run out of breath, inhale again through your nose and exhale through your mouth, making another sustained 329

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Tomatis 2008 sound.

You may tone in this manner for as little as one minute nad still benefit. Of course, you may tone longer if you like. Practice toning several times a day.

Adapted from The Healing Voice: Traditional & Contemporary Toning, Chanting & Singing, by joy Gardner-Gordon, Copyright [c] 1993 by Joy Gardner-Gordon. Reprinted with permission from Crossing Press. Some of the original material for this article was taken from Music Physician for Times to Come, An Anthology, by Don Campbell (Quest Books, 1991).

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Tomatis 2008 LIFE ACTOR'S GENIUS COMES FROM MISFORTUNE, BIOGRAPHY SAYS MARILYN AUGUST The Associated Press 915 mots 12 avril 1994 Greensboro News & Record ALL D2 Anglais (Copyright 1994) Gerard Depardieu's biography recounts the actor's rise from hardship.

------*-----Born to an illiterate drunk and a discontented woman who tried to abort him with a knitting needle, Gerard Depardieu overcame neglect, poverty and a humiliating speech impediment to become one of France's greatest film stars.

A bearlike man with boundless energy, Depardieu emerges in a new biography as a survivor, an endearingly complex man who grabbed misfortune and crafted it into genius.

"Depardieu" is a collaborative biography by Paul Chutkow.

"Gerard cooperated fully, but he did not have the right of approval and he did not earn a cent," Chutkow said in a telephone interview. "I had carte blanche. He never interfered and only read the manuscript once it was completed."

The two spent hundreds of hours together at Depardieu's home outside Paris and on location in exotic spots across the globe.

Chutkow, a former correspondent for The Associated Press who spent 12 years in Paris, interviewed dozens of family members, close friends, film directors, fellow actors - even Dr. Alfred Tomatis, who diagnosed a severe hearing problem and helped Depardieu regain language skills after they broke down.

Chutkow presents Depardieu as a multifaceted man: a gifted actor with 90 films to his credit since 1971; a 250-pound gastronome who selects his own free-range chickens live on the farm; a wine lover who produces his own vintage.

The book's publication here in French in early March was a major event, despite a lukewarm reception from some critics.

"This is not a biography for movie-lovers," wrote Jerome Garcin in the weekly Evenement du Jeudi.

"It does not satisfy our curiosity about Depardieu's formulative relationships with people like (Marguerite) Duras, (Maurice) Pialat, Bertrand (Blier), (Claude) Berri. ... The author merely wanted to hold up a mirror in front of Depardieu, an actor he admires and who doesn't much like himself, so he can see himself, head high, halfway through his fabulous life."

American readers may be surprised to learn that the star who symbolizes French cinema was weaned on American culture in Chateauroux, a backwater town in central France that was still reeling from Nazi occupation, rationing and economic depression when Depardieu was born there in 1949.

In 1951, Chateauroux became home to a NATO base that later swelled to accommodate 12,000 GIs and their families.

Depardieu chewed Juicy Fruit gum, beebopped to the rhythms of Elvis Presley and Chubby Checker, snacked on burgers and milkshakes, and adopted James Dean and Marlon Brando as heroes.

He also brushed with delinquency - trafficking in ration cards and befriending young prostitutes working the base.

Things at home were grim. Gerard's father, Dede, was a heavy-drinking ironworker who was often unemployed. Lilette, his mother, dreamed about traveling to exotic places and blamed Gerard, her third child, for clipping her wings.

He retreated into a protective shell and ended up tongue-tied by the age of 6 - just about the time Lilette confessed she never wanted him in the first place. One day, in a fit of rage, she told him she had tried to end the pregnancy with a knitting needle.

"That was the defining shock of his childhood," Chutkow said. "But he recovers from everything and turns it into emotional 331

Articles scientifiques & articles de la presse

Tomatis 2008 resources for his craft. That's his brilliance."

Depardieu told Chutkow he had nightmares for years about knitting needles, concluding that, "If I can survive those knitting needles, I can survive anything."

"Depardieu" devotes 34 pages to the actor's dispute with Time magazine in 1991 over his alleged confession that he went along on a gang rape at age 9.

Chutkow obtained a transcript of the original French interview and compared it to the English translation upon which the Time article was based.

His conclusion: Depardieu's quotes were taken out of context, edited and spliced together to make the actor appear to confess to rape.

"The magazine added phrases that he didn't say," Chutkow said. "When you listen to the tape, it's quite clear that he's dismissing earlier press reports as exaggerated. He says, 'Yes, I've been painted as someone who is an alcoholic. But do I have the head of an alcoholic? Yes, someone wrote I once took a gun to school to show off to my friends, but I didn't carry a gun.' He's not admitting to anything but the fact that he knows this stuff has been written about him."

Chutkow said the incident, which may have cost the actor an Academy Award for his starring role in "Cyrano de Bergerac," deeply wounded him and tarnished his reputation in the United States. Despite resounding support from the French film industry, Depardieu was disconsolate for weeks.

But he recovered to triumph in "Tous les Matins du Monde" ("All the Mornings of the World"). He also appeared in "Christopher Columbus: 1492," his second English-language success after "Green Card." The movie received lukewarm to unfavorable reviews ------ WANT TO READ? "Depardieu" is published by Knopf, with a suggested retail price of $24.

PHOTO: Touchstone Pictures Portrait of a survivor Gerard Depardieu, who survived a difficult childhood to become one of France's top actors, starred with Andie MacDowell in ``Green Card,'' his first English-language film. PHOTO: Touchstone Pictures ``My Father The Hero,'' starring Gerard Depardieu and Katherine Heigl, is the actor's most recent Hollywood release.

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Tomatis 2008 ENTERTAINMENT Out of Misfortune // Depardieu Biography Recounts Actor's Rise Marilyn August Associated Press Writer 903 mots 8 avril 1994 Tulsa World FINAL HOME EDITION E1 Anglais Š 1994 World Publishing Company. Provided by ProQuest Information and Learning. All rights reserved.

PARIS (AP) _ Born to an illiterate drunk and a discontented woman who tried to abort him with a knitting needle, Gerard Depardieu overcame neglect, poverty and a humiliating speech impediment to become one of France's greatest film stars.

A bearlike man with boundless energy, Depardieu emerges in a new biography as a survivor, an endearingly complex man who grabbed misfortune and crafted it into genius. "Depardieu" is a collaborative biography by Paul Chutkow.

"Gerard cooperated fully, but he did not have the right of approval and he did not earn a cent," Chutkow said in a telephone interview. "I had carte blanche. He never interfered and only read the manuscript once it was completed."

The two spent hundreds of hours together at Depardieu's home outside Paris and on location in exotic spots across the globe.

Chutkow, a former correspondent for The Associated Press who spent 12 years in Paris, interviewed dozens of family members, close friends, film directors, fellow actors _ even Dr. Alfred Tomatis, who diagnosed a severe hearing problem and helped Depardieu regain language skills after they broke down.

Chutkow presents Depardieu as multifaceted man: a gifted actor with 90 films to his credit since 1971; a 250-pound gastronome who selects his own free-range chickens live on the farm; a wine lover who produces his own vintage.

The book's publication here in French in early March was a major event, despite a lukewarm reception from some critics.

"This is not a biography for movie-lovers," wrote Jerome Garcin in the weekly Evenement du Jeudi.

"It does not satisfy our curiosity about Depardieu's formulative relationships with people like (Marguerite) Duras, (Maurice) Pialat, Bertrand (Blier), (Claude) Berri. ... The author merely wanted to hold up a mirror in front of Depardieu, an actor he admires and who doesn't much like himself, so he can see himself, head high, halfway through his fabulous life."

American readers may be surprised to learn that the star who symbolizes French cinema was weaned on American culture in Chateauroux, a backwater town in central France that was still reeling from Nazi occupation, rationing and economic depression when Depardieu was born there in 1949.

In 1951, Chateauroux became home to a NATO base that later swelled to accommodate 12,000 GIs and their families.

Depardieu chewed Juicy Fruit gum, beebopped to the rhythms of Elvis Presley and Chubby Checker, snacked on burgers and milkshakes, and adopted James Dean and Marlon Brando as heroes.

He also brushed with delinquency _ trafficking in ration cards and befriending young prostitutes working the base.

Things at home were grim. Gerard's father, Dede, was a heavy-drinking ironworker who was often unemployed. Lilette, his mother, dreamed about traveling to exotic places and blamed Gerard, her third child, for clipping her wings.

They were not evil people, just ignorant, Chutkow writes. "Their family communication was generally a chaotic rumble of grunts, aborted thoughts, stifled feelings and yelling," Chutkow writes.

Once the angry shouting subsided, the tension remained. The house, Depardieu later said, was ruled by "the law of silence."

He retreated into a protective shell and ended up tongue-tied by the age of 6 _ just about the time Lilette confessed she never wanted him in the first place. One day, in a fit of rage, she told him she had tried to end the pregnancy with a knitting needle.

"That was the defining shock of his childhood," Chutkow said. "But he recovers from everything and turns it into emotional 333

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Tomatis 2008 resources for his craft. That's his brilliance."

Depardieu told Chutkow he had nightmares for years about knitting needles, concluding that, "If I can survive those knitting needles, I can survive anything." Depardieu was happy that the book rectified misconceptions about his childhood.

"I was really a solitary child ... but I never said I was unhappy," he was quoted as saying in the weekly Evenement du Jeudi.

"Just the opposite, I was very lucky to be born into a poor, illiterate and medievallike family because there were no taboos. I was born free, free to invent who I wanted to be."

"Depardieu" devotes 34 pages to the actor's dispute with Time magazine in 1991 over his alleged confession that he went along on a gang rape at age 9.

Chutkow obtained a transcript of the original French interview and compared it to the English translation upon which the Time article was based.

His conclusion: Depardieu's quotes were taken out of context, edited and spliced together to make the actor appear to confess to rape.

"The magazine added phrases that he didn't say," Chutkow said. "When you listen to the tape, it's quite clear that he's dismissing earlier press reports as exaggerated. He says, `Yes, I've been painted as someone who is an alcoholic. But do I have the head of an alcoholic? Yes, someone wrote I once took a gun to school to show off to my friends, but I didn't carry a gun.' He's not admitting to anything but the fact that he knows this stuff has been written about him." Chutkow said the incident, which may have cost the actor As Chutkow puts it, Depardieu bounced back "the way a vine that has been pruned will grow back even fuller."

COLOR PHOTO; Caption: Gerard Depardieu

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Tomatis 2008 Entertainment Against all odds: Gerard Depardieu overcame turmoil to become leading French actor

By Marilyn August ASSOCIATED PRESS 781 mots 4 avril 1994 Kitchener-Waterloo Record Final C8 Anglais Copyright (c) 1994 Kitchener-Waterloo Record.

PARIS -- He overcame neglect, poverty and a speech impediment to become one of France's greatest film stars.

A bearlike man with boundless energy, Depardieu emerges in a new biography as a survivor, an endearingly complex man who grabbed misfortune and crafted it into genius.

Depardieu (Random House) is a collaborative biography by Paul Chutkow.

"Gerard co-operated fully but didn't have the right of approval and he didn't earn a cent," says Chutkow. "I had carte blanche. He never interfered and only read the manuscript once it was completed."

The two spent hundreds of hours together at Depardieu's home outside Paris and on location in exotic spots around the globe.

Chutkow, a former correspondent for The Associated Press who spent 12 years in Paris, interviewed dozens of family members, close friends, film directors, fellow actors -- even Dr. Alfred Tomatis, who diagnosed a severe hearing problem and helped Depardieu regain language skills after they broke down.

Chutkow presents Depardieu as multifaceted man: a gifted actor with 90 films to his credit since 1971; a 250-pound gastronome who selects his own free-range chickens live on the farm; a wine lover who produces his own vintage.

The book's publication in French in early March was a major event, despite a lukewarm reception from some critics.

"This is not a biography for movie-lovers," wrote Jerome Garcin in the weekly Evenement du Jeudi.

"It does not satisfy our curiosity about Depardieu's formulative relationships . . . the author merely wanted to hold up a mirror in front of Depardieu, an actor he admires and who doesn't much like himself, so he can see himself, head high, halfway through his fabulous life."

The star who symbolizes French cinema was weaned on American culture in Chateauroux, a backwater town in central France that was still reeling from Nazi occupation, rationing and economic depression when Depardieu was born there in 1949.

In 1951, Chateauroux became home to a NATO base that later swelled to accommodate 12,000 GIs and their families.

Depardieu chewed Juicy Fruit gum, beebopped to the rhythms of Elvis Presley and Chubby Checker, snacked on burgers and milkshakes, and adopted James Dean and Marlon Brando as heroes.

He also brushed with delinquency -- trafficking in ration cards and befriending young prostitutes working the base.

The biography devotes 34 pages to the actor's dispute with Time magazine in 1991 over his alleged confession that he went along on a gang rape at age nine.

Chutkow obtained a transcript of the original French interview and compared it with the English translation on which the Time article was based.

His conclusion -- Depardieu's quotes were taken out of context, edited and spliced together to make the actor appear to confess to rape.

Chutkow said the incident, which may have cost the actor an Academy Award for his starring role in Cyrano de Bergerac, deeply wounded him and tarnished his reputation in the United States. Despite support from the French film industry, 335

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Tomatis 2008 Depardieu was disconsolate for weeks.

But he recovered to triumph in Tous les Matins du Monde (All the Mornings of the World). He also appeared in Christopher Columbus: 1492, his second English-language movie after Green Card.

As Chutkow puts it, Depardieu bounced back "the way a vine that has been pruned will grow back even fuller."

Gerard's father, Dede, was a heavy-drinking ironworker who was often unemployed. Lilette, his mother, dreamed about travelling to exotic places and blamed Gerard, her third child, for clipping her wings.

They were not evil people, just ignorant, Chutkow writes.

"Their family communication was generally a chaotic rumble of grunts, aborted thoughts, stifled feelings and yelling."

Once the shouting subsided, the tension remained. The house, Depardieu later said, was ruled by "the law of silence."

He retreated into a protective shell and ended up tongue-tied by age six -- just about the time Lilette confessed she never wanted him in the first place. In a rage one day, she told him she had tried to end the pregnancy with a knitting needle.

"That was the defining shock of his childhood," Chutkow said. "But he recovers from everything and turns it into emotional resources for his craft. That's his brilliance."

Depardieu told Chutkow he had nightmares for years about knitting needles. "If I can survive those knitting needles," he said, "I can survive anything."

Gerard Depardieu, shown here in the film Christopher Columbus: 1492, emerges in a new biography as a survivor and an endearingly complex man who grabbed misfortune and crafted it into genius.

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Tomatis 2008 BOOK REVIEW ENTERTAINMENT The life and (good) times of Depardieu DAVID ELLIOTT ELLIOTT is movie critic of The San Diego Union-Tribune.

1,115 mots 27 mars 1994 The San Diego Union-Tribune 1,2 E-10 Anglais Š 1994 San Diego Union Tribune Publishing Company. Provided by ProQuest Information and Learning. All Rights Reserved.

DEPARDIEU Paul Chutkow (Knopf, 368 pages, $24) At the age of 3, Gerard Depardieu shoved a pea into his grandmother's ear. His family reeled.

But Granny's prompt amusement dissolved anxiety into laughter, thus establishing in micro the pattern of seismic shock overlaid by charm, wit and irresistible elan that would loom so large in Gerard's life and career.

Paul Chutkow's biography of the French film star favors the life over the career, wisely, while tracing the organic fabric between them. Welcomed by the actor's bear-hug acceptance and blitzing energy, this American journalist has written a beautifully crafted, intimate and perceptive portrait that will rank as definitive until Depardieu has made an additional 75 or 100 films (give him a few years, and then: "Depardieu Deux").

The man we come to know in the book, already previewed in wildly various roles that have been like escaped residents of a multipersonality complex, is a compulsively exciting figure. The Rabelaisian lover of wine, women and words is remembered by his main acting teacher for, above all else, "his tenderness," while his wife, Elisabeth -- who gave up much of her acting career to bear children, devotedly bolster his dreams and endure his brief infidelities -- was drawn to him for something more: "He was brute authenticity."

First hailed and jeered as a barrel-chested ruffian of genius and a symbol of '60s rebellion (though himself a nonpolitical actor when the '68 storm walloped De Gaulle's France), Depardieu has evolved into the great churning belly of French cinema. And he is just 45.

Before dying in 1984, Francois Truffaut, who had helped lift Depardieu above his rogue-rebel image with "The Last Metro," asked his friend to hold the sprawling family together and become the "central switchboard" of Gallic filming. Powered by the work drive that has made him the most productive and acclaimed European actor of our time, Depardieu hardly needed the invitation -- for Truffaut, Bertrand Blier, Francis Veber and other auteurs, he already had become the prime mover and shaker of a rather familial film industry.

Depardieu was one of six kids in a provincial family disparaged as lumps and pests by the local bourgeoisie. His father was a metalworker who spoke in grunts, if at all, and preferred crafting metal by the light of the moon. Mother was an emotionally clouded, often exhausted woman, hardly more verbal, who once admitted to Gerard that she had tried to abort him with a needle.

Built like a boy locomotive, with fire in his boiler, Depardieu was a prankster and borderline delinquent who loved to mix with the Yanks from a nearby NATO base, where he fueled a taste for burgers and beer, James Dean and Marlon Brando.

But by adolescence he had choked into virtual silence, due to the angry stresses of family life, and his memory and bright mind were wretchedly hampered.

In 1965, Depardieu went to Paris on the invitation of a friend. He stumbled into acting studies, which unleashed a phenomenal expressiveness with the body; (his tongue remained tied). The brilliant drama coach Jean-Laurent Cochet led him to the radically innovative Dr. Alfred Tomatis, who bombarded Depardieu with daily doses of Mozart (curiously anticipating a later Depardieu vehicle, "Get Out Your Handkerchiefs") and a regimen of speech and memory drills that set free the young actor's huge hunger for knowledge and verbosity.

Before long, he was working with such pillars of Paris as Margeurite Duras and Jeanne Moreau. He was devouring and reciting literature, doing cabaret and theater, even recording an album of his wife's songs.

In 1974 Depardieu shocked and thrilled France, then America, in Blier's "Going Places," and despite some stumbles, such as 337

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Tomatis 2008 "1900," he would continue the climb upward that led him to an Oscar nomination and vast acclaim as that most verbally dexterous of French heroes, Cyrano de Bergerac.

A glutton for work as for food (Chutkow delves into the kitchen and rural gourmet havens with him), Depardieu has a remarkable ability to immerse himself not just in a role and film but in the entire community of production. He pulls the whole company into an intimate creative dance that colleagues usually find exhilarating.

"I am lucky," he says. "I am blessed with a joyous nature, and that joy flows right into what I do as an actor. What is the best school for an actor? Life!" But there is a shadow to this Zola Zorba. Moody glooms can descend between productions, and hangovers often have followed epic bouts of indulgence.

In 1991, the rooster king of French film was hit by a blast of scandal. With great care and persuasive logic, Chutkow examines the charge in a Time story by Richard Corliss that Depardieu had admitted being a rapist (at age 9!) and even boasted of it. The media mauling put Depardieu into a titanic, boozing funk and perhaps killed his Oscar chances as Cyrano, while enraging his family and friends.

This book makes a strong case that Time was glib and loose to the point of libel, and that Depardieu was never, in fact, a rapist. Corliss and others are made to squirm and hedge under Chutkow's questioning, though "Depardieu" will be read by a far smaller audience than the one that consumed, via Entertainment Tonight and other spigots, the overhyped scandal.

Chutkow is good at treating in general terms Depardieu's approach to acting, and gets us into the game, as Depardieu rouses cohorts to a level of shared power most had not previously imagined. He is weaker in talking about performance nuances, and this frequent Parisian correspondent for The New York Times is too ritualistic in quoting that paper's critics, as if they were fountainheads.

What makes "Depardieu" valid beyond good reporting, writing, photos and a filmography are its thoughtful candor and unfawning empathy. We get close to the fabulous Gaul with episodes such as Depardieu and director Maurice Pialat having to halt filming for three weeks while they recover from feasts of frogs' legs. And it is moving (and so un-Hollywood) to find that Depardieu not only runs his own winery (what good Frenchman with money wouldn't?) but also created a foundation to preserve the films of Satyajit Ray. Repeatedly, as in most of his movies, we feel the power streaming from a natural poet and magician who happens to act. "I never interpret a role," Depardieu says, simplifying, but with poetic aptness, "I just allow myself to dream."

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Tomatis 2008 SHOW Demonizing Depardieu // How a Faulty Quotation Injured a Great Movie Career Lloyd Sachs 979 mots 20 mars 1994 Chicago Sun-Times LATE SPORTS FINAL 12; nc Anglais Š 1994 Chicago Sun Times. Provided by ProQuest Information and Learning. All rights reserved.

Depardieu A Biography. By Paul Chutkow. Knopf. $24.

In one of the most resounding shots ever heard 'round the media world, a 1991 Time magazine article on Gerard Depardieu hung the French movie star with words that were allegedly his own of having committed rape as a small boy - and of viewing such transgressions as an "absolutely normal" part of his childhood in the small town of Chateauroux.

Published soon after Depardieu was nominated for a best actor Oscar for "Cyrano de Bergerac," the article lit a fire under women's groups, who called for a boycott of his films. Having made a successful first step to capture the commercial American audience with the Hollywood romantic comedy, "Green Card," his career on this side of the ocean seemed dead in the water.

The scandal eventually was supplanted by ones involving other celebrities, and the hulkish actor was able to make the current American comedy, "My Father the Hero." With the recent opening of the historical French film, "Germinal," starring Depardieu as a rebellious miner, his following in the States is stronger than ever - stronger than any European actor in ages.

But not until the publication of Paul Chutkow's unabashedly admiring biography, Depardieu, has the cloud lifted from his reputation. With the fervor of an investigative reporter, Chutkow dismantles Richard Corliss' injurious Time article, based on an English transcript of an interview with Depardieu by a British writer.

We see how the admission quoted 'round the world was patched together from separate utterances, how unrecorded words were added and the crucial meaning of "assiste" was translated as "participate" rather than "witness." Talks with Corliss and other Time spokespersons capture the magazine's arrogant refusal to second-guess itself publicly.

Could it be that Depardieu was targeted because he seemed too intriguing to be true? More than any other living star, he embodies a world of contrasts. He is, figuratively and almost literally, larger than life: a massively built, supergregarious, tirelessly demanding man who is also sensitive, intuitive, generous and sexy - in spite of a nose that can't decide where it's pointing.

Celebrated for his "brute authenticity" by his exceptionally tolerant wife, Elisabeth, he's masculine and feminine, communicative and remote, impulsive and thoughtful. When not acting, he is happiest on location scouring shops for the perfect chicken and wine (he owns his own winery) and frustrated if cast and crew don't stick around to let him cook for them and gab.

Chutkow stops short of depicting him as a saint. Depardieu had an extramarital affair that produced a child, is an excessive drinker and likes to say things that create controversy. But he comes across as a truly extraordinary individual who overcame severe odds and a debilitating stutter to become an extraordinary artist.

Born to a poor, illiterate, distant father and increasingly discontented mother, Depardieu grew up near a huge American military base in the receding shadow of the German occupation. Fraternizing with soldiers, who stoked his interest in American popular culture - and sold him cigarettes for the black market - he was a rebel whose only cause was to live life to the rowdiest.

He first became interested in acting in Paris, three hours north of his hometown, where he had notions of supporting himself as a sparring partner in a gym. After visiting a friend's drama school, where he played his first scene impressively, he altered his aims.

Before becoming an actor, he had to alter his speech. In a stroke of good fortune, he was directed to Dr. Alfred Tomatis, a renowned speech therapist with controversial methods who quickly decided the actor's problems weren't physical but psychological.

In withdrawing from his embattled parents, he had, in effect, turned off areas of his hearing. Only in restoring them could 339

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Tomatis 2008 he properly speak. Following sessions listening to specially filtered recordings of Mozart on earphones, Depardieu not only started speaking well, but also discovered a deep capacity for reading, remembering and pitch-perfect vocalizing.

"I saw each word with its own visual image," he says. "And when I read Racine and Moliere, I heard the words as music."

And: "Acting calmed me down. Because someone was finally giving me the words I never had."

Depardieu made his first splash in America as one of the carousing rough boys in Bertrand Blier's violent comedy, "Going Places." He reversed the image as an unsatisfactory lover in Blier's "Get Out Your Handkerchiefs." A string of art-house hits and misses, epically scaled and thin fluff, followed before "Green Card" gave him English-language visitation rights in the United States.

Depardieu isn't the place to turn for a balanced assessment on the 45-year-old actor's amazing outpouring of 70-plus films.

Most are treated as great successes. Those who do not believe "The Return of Martin Guerre," "Jean de Florette" and "Cyrano de Bergerac" are masterpieces - and do believe that Maurice Pialat's "Police" and Francois Truffaut's "The Woman Next Door" are among his standout efforts - will be left out in the cold.

Chutkow, a free-lancer who has written on French cinema for the New York Times, also is overly fond of eating metaphors.

Depardieu "was not living life; he was consuming it with ravenous abandon." In one three-page stretch, there are three references to the actor's "monstrous appetites."

But as actor bios go, Depardieu is thoughtful, well-written and affecting. And in resting the defense against its subject's alleged crimes, it corrects a crass injustice.

Lloyd Sachs is entertainment critic of the Sun-Times.

Paul Chutkow's Depardieu portrays the French actor as a man of enormous appetites. Andie MacDowell and Gerard Depardieu in "Green Card," an American triumph. See also related story.

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Tomatis 2008

EDITORIAL - A DOSE OF MOZART A DAY KEEPS THE DOCTOR AWAY. 318 mots 14 octobre 1993 The Independent - London 19 Anglais (c) 1993 Independent Newspapers (UK) Limited . All rights reserved. This material may not be published, distributed or exploited in any way.

FEW lovers of classical music will be surprised to learn that listening for 10 minutes to a Mozart piano sonata has been found to enhance performance in a subsequent intelligence test. The experiment, reported in Nature, was sadly limited.

The comparison was solely between Mozart, 10 minutes of relaxation exercises, and silence.

How much more intriguing it would have been had the tests been taken after listening variously to, say, Mozart, Wagner, Debussy, Barry Manilow, Dolly Parton and the Rolling Stones. The authors admit this, suggesting primly that "other compositions and musical styles should also be examined", and predicting that "music lacking complexity or which is repetitive may interfere with, rather than enhance, abstract reasoning".

In all probability, however, Mozart would - however comprehensive the sample - still prove the most performanceenhancing composer. That is certainly the conclusion of a remarkable French ear, nose and throat specialist, Alfred Tomatis, who found himself increasingly consulted by singers suffering from both physiological and psychological problems.

After extensive analysis of all manner of instrumental and vocal recordings, he found that Mozart's instrumental music was more effective than any other in helping patients overcome certain actual hearing difficulties as well as problems of concentration, lassitude and depression.

These healing qualities came, he concluded, partly from Mozart's instrumentation, with its extensive use of strings, and partly from the sheer energy with which he infused his music. Their effect was to recharge the brain, especially if the upper register was enhanced.

A series of clinics in France testify to the effectiveness of his treatment, and a recent book, Pourquoi Mozart?, to his love of the Austrian genius.

The moral is clear: next time you face a challenge or feel depressed, take a large dose of Mozart. Whether the aim is to relax or be stimulated, you can only gain from the experience.

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Tomatis 2008 EXTRA CLEARING UP THE STATIC DOES HEARING EQUAL BEHAVIOR? A NEW THERAPY SAYS YES. SO DO MANY PARENTS. THE CATCH: NOBODY KNOWS WHY IT WORKS JOE KENNEDY STAFF WRITER 1,589 mots 20 avril 1993 Roanoke Times & World News METRO 1 Anglais (Copyright 1993) The stories they tell are encouraging. Their loved ones have gotten better.

They certainly haven't been cured. But they have gotten better, in some cases dramatically.

They're more organized. They pay attention for longer times. They ask questions and focus on other people. A minority even has gotten off the medication for hyperactivity, or tested its way out of special education classes.

Their disabilities - including autistic behaviors, attention deficit disorder, hyperactivity, pervasive developmental delay and others - seem to have lessened, because of Auditory Integration Training, a treatment that is sweeping the country.

"When you're a parent of a child with special needs, you're constantly looking for ways to help the child be more successful," says one Roanoke Valley woman whose son has ADD and learning disabilities. "You win a few, you lose a few."

She and others in the valley say they think their children have benefited from AIT. Scientific proof is lacking, but the evidence, they say, is plain.

Auditory training was developed over the past 40 years by two French physicians, Alfred Tomatis and Guy Berard, whose work appeared to help many people with hypersensitive hearing or other hearing difficulties. Such problems can be major components of learning disabilities, dyslexia, attention deficit disorder, pervasive developmental delay and autism, among other conditions.

Auditory trainers use an electronic device that randomly selects, then filters and modulates, or distorts, the sounds in recorded music as the person listens through headphones. The training takes place in two 30-minute sessions per day for 10 days - one in the morning and one in the afternoon.

Audiograms, or hearing tests, are given to record hearing characteristics before, during and after the treatment to see what, if any, changes in hearing occur.

Aditi Silverstein, a speech and language pathologist who is director of Innovative Therapies Inc., in Roanoke, Lynchburg and Blacksburg, calls AIT "a sensory-based approach" to auditory processing. She and three staff members have been trained in the work, one by Berard, and two by Silverstein.

Unlike other speech and hearing therapies, AIT "goes right to the heart of the difficulty," Silverstein says.

Why it works remains a scientific mystery. There are several theories, many of which hold that whatever is happening, it's happening in the brain, and not just the middle or inner ear, Silverstein says.

Even knowing for whom AIT is likely to work still can be difficult to determine. Some people show great changes, some show little and some show none. Researchers are looking for answers.

Auditory training received a nationwide boost in 1990 with the publication of "The Sound of a Miracle," by Annabel Stehli.

In the book, she described a vast improvement in her daughter Georgianna's autism after she received auditory training in France.

Georgianna Stehli Thomas eventually graduated from college, married and moved to Oregon, where she works for an auditory training researcher. Her story provided hope to parents searching for ways to help their children.

Georgianna's triumph was extraordinary. For others, the victories are smaller, but equally welcome.

Christopher Woods, 10, used to hate the sound of parrots shrieking when he went to the pet store. Power saws made him 342

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Tomatis 2008 hysterical.

After undergoing auditory training at Innovative Therapies, he was able to shrug off the noise of parrots and tolerate, albeit nervously, the sound of workmen's saws.

Even better, says his mother, Maureen Woods of Roanoke, he is less aggressive in school.

"He is a mellower child," she says. "He has always been very active, very distractible, and we now realize that much of the distraction was probably from sounds that we were thinking weren't too distracting for him, but they were.

"He's not perfect . . . but he certainly has had a positive response to AIT." The mother of a boy with attention deficit disorder believes her son is more organized, more responsible and better able to follow through on things.

"Children with ADD have a hard time focusing on the teacher because other things in the classroom, and down the hall, and outside, tend to gain their attention," she says.

"The training seemed to help him . . . to hear better, so he didn't concentrate on the other sounds, but on the sound of his teacher's voice." `Hearing equals way one behaves The lack of scientific evidence bothers skeptics, but believers are unfazed.

"We believe it is a very important treatment for those people who suffer from hearing distortions," says Peter Stehli, husband of Annabel Stehli, stepfather of Georgianna and president of the Georgianna Organization in Westport, Conn.

Founded in January 1992, the organization is working to establish standards for auditory trainers, to encourage scientific research and to make it widely available - in short, "to make it a legitimately recognized discipline."

It also is promoting Berard's book, "Hearing Equals Behavior," which soon will be published in this country.

"We and Dr. Berard believe that hearing really equals the way you behave," Stehli says. For example, autistic children withdraw from everything outside themselves "because they hear more than they should and that affects the way they behave."

Auditory training helps reduce their sensitivity by re-educating the ear. That's one theory, at least. Others abound. Stehli says what people agree on is "that this simple treatment, which is not invasive and doesn't take very long, really does change the way people behave."

Innovative Therapies has treated more than 100 people since it began offering auditory training in May 1992, Silverstein says.

The 10-day treatments cost $1,200, including three audiograms and counseling and after-care - working with parents and teachers and other therapists to help the patients, who have included some adults, make the most of the changes.

A few insurance companies have paid much of the bill, some a portion. But many families have borne the expense themselves.

The mother of a 9-year-old boy with learning disabilities who took the training last year said her insurer covered 80 percent of the cost. But she gladly would have paid the full amount herself, she says. When she realized that help might be available for her son, "money became irrelevant."

Before proceeding, she discussed the treatments with her son's pediatrician, neurologist, speech therapists and teachers. "I got good reactions from everybody," she says.

Her son seems to hear better now, and has more confidence. Like many who have been trained, he had a relapse a few months later, when he acted hyperactive for a couple of weeks. But his behavior is stable again.

"We were at the point where it couldn't hurt to try it," she says. "If he didn't improve, at least I would have tried." `Something is happening' Silverstein has traveled to Richmond and Charlottesville to treat people and speak about AIT. She and Dr. Roger Ruth, director of communicative disorders at the University of Virginia Medical Center, and Christine Blincoe, an audiologist with 343

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Tomatis 2008 the Kluge Children's Rehabilitation Center at UVa, have conducted a small study of AIT. They tested the hearing of patients before, during and after they took auditory training.

"We saw 11 patients, and . . . for three of those patients, it made a dramatic change in their hearing," Blincoe says.

The others showed no great changes, but their overall behavior during the testing seemed calmer.

The study group was too small to allow for conclusions, Blincoe says, "but something is happening for these kids and adults.

"We intend to look further and do a lot more physiological testing to see if there are actually changes with the ear mechanism itself."

Recordings used in the training are carefully selected, Silverstein says. Her office in Roanoke includes compact discs of Fleetwood Mac, Neil Diamond, Stevie Wonder and Carly Simon, among others.

Through the headphones, the sounds can be irritating. Some patients reject the headset at first, perhaps because for once, they're encountering sounds they can't block out, Silverstein says. Most learn to accept the headphones, she says.

One Roanoke Valley woman who has an autistic son in his late teens learned of AIT from a friend whose grandson was going through it for his attention deficit disorder.

The woman read about the training and called Silverstein for the names of people whose relatives had taken it. Later, she called them for their impressions.

"When we first heard of it, I got the literature and showed it to my husband, and he said, `Oh, God, another con,' " she says.

"I just said, `Read the literature.' And he read it and didn't say anything that evening. The next morning . . . he said, `Call them up. Go ahead and make the arrangements.' " Their son took the training. His mother reports he has better eye contact, improved ability to understand and answer "why" questions and more spontaneity in conversation.

"You can't hold a good conversation with him," she says, "but . . . he comes up with more by himself."

Her advice to other parents of children with special needs?

"I would tell them to look into it, but don't expect a cure. It might help and it might not."

Her son was helped, but he wasn't cured.

"He still has autism," she says.

PHOTO: Lonnie Timmons III. Speech and language pathologist Mary Beth Coffey gives Auditory Integration Training to John David Shumate at Innovative Therapies. color. Graphic.

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Tomatis 2008 LIVING Luxon defies his loss to sing `Falstaff' Richard Dyer, Globe Staff 1,799 mots 11 fÊvrier 1993 The Boston Globe City Edition 69 Anglais Š 1993 New York Times Company. Provided by ProQuest Information and Learning. All Rights Reserved.

Benjamin Luxon looks you level in the eye and asks you the question no singer wants answered. "Do you think I should stop singing?"

Luxon is a most remarkable man, and he does want the answer. It is a question the 55-year-old baritone has been asking himself every day for the past three years, since the moment he was struck by a mysterious affliction that has left him totally deaf in one ear and with only partial hearing in the other.

For the past three years Luxon has been battling for his career -- not, he is quick to remind you, for his life.

And he seems to be winning. Seiji Ozawa is fully aware of Luxon's problems, but felt his old friend was still the best choice for the title role in Verdi's "Falstaff" here with the Boston Symphony and again later in Vienna and Tokyo. Luxon ran into some problems on opening night but they were not of his making; he performed the role triumphantly in Tuesday evening's performance.

What Benjamin Luxon is doing out there on the Symphony Hall stage this week is a great human achievement. Beethoven composed after his deafness; Furtwaengler kept on conducting, despite increasing deafness; the hearing problems of elderly pianists have been evident in their scale of dynamics. But there has probably never been a singer who has triumphed over the obstacles Luxon has faced in performing a role as vocally and musically demanding as Falstaff -- the only parallel, perhaps, is the way ballerina Alicia Alonso was able to keep on dancing Giselle long after she became legally blind.

Ozawa believes Luxon is by destiny and right the Falstaff of our generation, the way Mariano Stabile, Tito Gobbi and Sir Geraint Evans were before him. Tuesday evening Luxon went a substantial distance toward proving him right, but that considerable achievement was put into a whole different perspective by the simple, staggering fact that he is able to perform the role at all.

The other morning, Luxon agreed to talk about his problems because he places such a high value on honesty. The conversation was emotional and intense; Luxon came through as a man of immense courage and dignity, and all his troubles have not extinguished the twinkle in his eye.

Three years ago Luxon was at the peak of an important career that began in 1963. He had escaped the thin air at the heights of superstardom, but he was by any reckoning a top-rank international singer and musician who had won the loyalty of the public and the universal esteem of his professional colleagues. It was Herbert von Karajan who first recommended Luxon to Seiji Ozawa; they have since worked together regularly for 17 years. Luxon has made many memorable appearances in Boston and at Tanglewood, most notably, perhaps, in Britten's "War Requiem," Berg's "Wozzeck" and, above all, the title role in Tchaikovsky's "Eugen Onegin."

Many of these great performances came after the first signal of Luxon's problems, 15 years ago, when he was struck by tinnitus, a ringing in the ears; there was also a disturbing difference of a semi-tone between the pitches he heard in his two ears. Doctors diagnosed this as Meniere's syndrome. Luxon was understandably concerned, but the condition was stable, so he learned to live with it; ultimately it wore off, and he was, he thought, back to normal.

Three years ago, Luxon rode into London on the train from his farm in Kent; he was on his way to a rehearsal for a production of Mozart's "The Magic Flute" in which he was singing Papageno. "When the rehearsal began," Luxon recalls, "I thought, `That piano is way out of tune.' " Within a few minutes the pitch of the piano began fluctuating "all over the place," Luxon says, "like a recording that is moving through different speeds. It came totally out of the blue."

Luxon says he got through the "Magic Flute" performances by a kind of "internal radar that fixed on pitches out of the rubbish I was hearing. Most of the time I was pretty well right, although I did sing sharp sometimes."

For six months, Luxon kept on singing; the quality of his voice was fine. Then when he was warming up in a concert hall before a performance of Schubert's song cycle "Die Schoene Muellerin" he was unable to hear what pitches the piano was playing. "I was obliged to make an announcement to the audience that I was having a problem. Once I had started to sing, I 345

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Tomatis 2008 could tell from the looks on their faces that I was badly out of tune; I just didn't know where to sing. I told them, `I'm sorry. I can't submit you, or me, to this.' The next day I was totally deaf in my left ear, and my right ear was so bad I couldn't sing for seven months. I couldn't recognize `Baa baa black sheep' and music sounded like tin cans rattling at the bottom of a deep pit. I couldn't even tell whether a voice was a man's or a woman's."

Luxon believes he was fortunate to find a physician who could diagnose his condition properly; he suffers from a disease that has been identified so recently it doesn't even have a name yet. "It is a disease of the immune system in which the lymph cells, instead of defending you, turn on you and attack you instead; it is a form of sclerosis." The result of this diagnosis was a "vicious" cycle of steroids and chemotherapy. "It kills your body," Luxon says. "But it probably stopped me from going totally deaf; I'm only half gone."

This was a particularly frustrating period for Luxon, because he was unable to sing although there was nothing wrong with his voice. "You can only sing what you can hear, and my hearing hasn't been stable. From the medical point of view, I am a success story, because I haven't gone deaf. I would be fine if I had an office job, but as a musician, my case is a little different."

Luxon does have a supportive family; his wife, Sheila Amit, is also a singer, and they have three children, now 26, 24 and 21, and two grandchildren. The family jokes about Luxon's problems, casting him in the role of the uncle in a children's story who never got anything right because he heard it wrong. "We've managed to have some fun about it. This is something to take seriously, it's desperate, but you can't lose your sense of humor."

Luxon credits Dr. Alfred Tomatis, a Parisian neurologist and oncologist, with stabilizing his hearing and giving him a new technique for singing. This was after Tomatis had given Luxon a terrifying diagnosis that sounds like something out of "The Tales of Hoffmann"; Tomatis believes that Luxon was destroying his own hearing by continuing to sing. Luxon, always a natural and easy singer, found himself terrified by things he had never had to think about before.

Tomatis is the originator of a technique of treatment of hearing problems through exposure to high-frequency sounds that he derives from Mozart's string music. As a part of his research, Tomatis taught himself to sing in his mid-50s, and Luxon says he sounds better than some professional baritones he could name.

And Luxon has learned a whole new system of singing that Tomatis developed from the resonant chanting of Asian monks.

"It gets the whole body humming," Luxon says, and offers a demonstration. His mouth is scarcely open, but a sourceless sound fills the room; it is the room itself that seems to be pulsing, although in fact Luxon's body is vibrating like a tuning fork. "The ideal for all singing is to sing by the sensation, by how it feels; no singer hears himself accurately. But the ear is so strong, when you have it, that it overrides the sensations. Now, with this new technique, it is much easier for me to identify and re-create the sensations of singing."

Once his hearing of pitches had stabilized, Luxon was able to use a sophisticated hearing aid, which he wears in his right ear. This, and his new singing technique, have enabled him to resume his career, although Luxon speaks cautiously about "a period of adjustment; this is a very strange time for me. I cannot issue any guarantees -- but what singer ever could? My problems are common knowledge back in England; I am not desperately keen to protect my ego and keep my secret. It is more valuable to be honest."

Once his problems became known, Luxon continued to work, but he has found that "there is not a great degree of loyalty in this profession; Seiji has been quite an exception."

Ozawa firmly believes that Luxon should be the world's Falstaff for the next 10-20 years, and he has overridden any objections to hiring him. The music director was furious on opening night when someone failed to turn on the amplification for the guitar that gives Falstaff an important cue. This threw Luxon off, but the resulting brief shambles was not the baritone's fault; Ozawa feels the organization let Luxon down. "When Ben can hear," Ozawa says, "there are no problems; he is a complete musician, singer and actor with a wonderful concept of Falstaff. I know this is a dangerous game Ben and I are playing, but we have to do it because he has such real courage."

"Should I go on?" Luxon asks himself, and others. "I honestly don't know. Some people tell me, `Don't stop, go on, see what you can find out by going on.' But I do want to quit before people have memories of me that are tarnished. I don't want to go on simply because I don't have the courage to stop. We'll see what the new technique and hearing aid do to level me out. I am psychologically prepared to call it a day by the end of the year if I haven't leveled out; I don't want to sing if whether or not I can sing in tune is touch-and-go. But having said all of this, I still enjoy it. I love to sing, and I love singing Falstaff. But if I can't do it anymore, that's not the end of the world."

PHOTO; CAPTION:Benjamin Luxon is Falstaff with the BSO. GLOBE STAFF PHOTO / JOHN TLUMACKI

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Tomatis 2008 Lifestyles Mozart is medicine for autistic child CP 472 mots 11 dĂŠcembre 1991 Kitchener-Waterloo Record Final D6 Anglais Copyright (c) 1991 Kitchener-Waterloo Record.

REGINA -- "It's so off the wall," said Radley of the treatment, which relies heavily on playing the music of Mozart to children and adult clients through an "electronic ear" that looks much like a stereo head set.

The program, offered at the Centre for the Advancement of Listening and Language in Regina, has produced spectacular results for her son, she said.

"If you could have seen Ryan a year ago, you wouldn't have believed it," Radley said.

The child's speech, which was once gibberish, has improved dramatically, she said. Ryan is also a lot happier, takes more interest in his environment and is calmer.

Autism is a little-understood brain disorder. The autistic brain does not process information from the senses into clear, understandable pictures. Most treatment programs use behaviour-modification techniques to channel the child's behaviour.

"It's really sad that this isn't available in Alberta," said Radley.

The Radley family live in Regina hotels when Ryan gets treatment at the Regina centre, one of three in Canada.

The program is based on one developed 40 years ago by Dr. Alfred Tomatis, a ear, nose and throat specialist in France.

It is used on children and on some adults to deal with a variety of problems, involving listening, speech and learning disabilities.

It distinguishes between the involuntary act of hearing and the second act of listening, which, it claims, can be developed by providing stimulation to muscles in the ear area and to the nervous system.

Improvements in listening lead to improvements in speaking, said Bob Roy, a clinical psychologist who is co-director of the Regina centre, "Mozart is our No. 1 medicine," Roy said.

Mozart's music, which contains a lot of high frequency notes, is an almost perfect vehicle for giving the ear the exercise it needs, Roy said.

Modifications are made in the sound by the electronic ear to better exercise the human ear. A second phase of the treatment involves the client speaking into a microphone and hearing the results filtered once again through the electronic ear.

A typical program runs about 125 hours spread over a year. Total cost, which is not covered by medicare, can be $3,500 to $4,500.

Clinic officials said they treat about 40 to 50 clients per year, with many from out of province and sometimes from the U.S. The Tomatis method might have some benefits but must be properly understood, said Barry Maber, president of the College of Physicians and Surgeons of Saskatchewan.

Maber, an ear, nose and throat specialist, said the Tomatis method is not an appropriate treatment for people who have physically related hearing disabilities.

"It sounds a bit bizarre," Maber said, but the Tomatis program may have benefits for some people.

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Tomatis 2008

Arts and Leisure Desk; 2 FILM; Gerard Depardieu Stokes The Creative Fires With Passion

By PAUL CHUTKOW; Paul Chutkow is a California-based journalist specializing in cultural news.

2,537 mots 4 mars 1990 The New York Times Late Edition - Final Anglais Copyright 1990 The New York Times Company. All Rights Reserved.

BOUGIVAL, France -- All afternoon Gerard Depardieu has been talking about his rage for acting, for getting deeply embroiled with auteur directors and their creative torments, for rollicking from film to film, from stage to stage, with an almost reckless abandon and outlaw joy. Now, suddenly, he thrusts up his hand: All afternoon Gerard Depardieu has been talking about his rage for acting, for getting deeply embroiled with auteur directors and their creative torments, for rollicking from film to film, from stage to stage, with an almost reckless abandon and outlaw joy. Now, suddenly, he thrusts up his hand: ''Wait! Come!''

Mr. Depardieu storms through his house and into his study. It is a a swirl of energy and clutter. A Cesar, France's equivalent of an Oscar, sits on a side table begging for polish; his desk is a chaos of papers and books. From the chaos he picks up what looks to be a schoolboy's notebook, carefully bound and protected with a cover of red. The notebook arrived just yesterday; it is a draft script written by the celebrated French director Bertrand Blier, Mr. Depardieu's creative alter ego. In a rush, the actor is poring through Mr. Blier's prose, his fingers flying through the pages, searching for just the right passages, just the right inspiration. ''Voila! Listen to this! Listen to this!'' Mr. Depardieu spreads open a page and, with a thick forefinger, fixes his point of departure. In the light of the desk lamp, his huge, expressive face seems to set into an almost spellbound concentration, and when he starts reading aloud, his face takes on a glowing incandescence: ''The eyes of a father, they are made to cry. . .''

This is it, the moment Mr. Depardieu craves: the start of another impassioned creative voyage. Money? Fame? Another Cesar? These may drive other actors, but Mr. Depardieu waves them away with a Gallic ''Bof.'' What he seeks are fresh connections, artist to artist, poet to poet. All afternoon he has tried to explain it, but it is only now, seeing him use the words of the text to fuel his own creative fires, that you begin to understand Mr. Depardieu's insatiable drive. ''I take the words of others. And when an author opens his papers to you and lets you read, it is a privileged moment. I give him air, breath,'' Mr. Depardieu explained earlier this afternoon. ''What drives me is human beings, connections. If you can find the energy of the other, together you can sing.''

Over the last two decades, Mr. Depardieu and his powerful acting have come to dominate movie screens in France and much of Europe. The Times of London recently wrote that with the possible exception of Robert De Niro, Mr. Depardieu is ''the greatest screen actor in the world.'' In France he is frequently compared with Mr. De Niro, Jack Nicholson, Dustin Hoffman, Marlon Brando, Marcello Mastroianni and the legendary French actor Jean Gabin. Over the years he has done some 60 films, often making three or four a year, and while some critics say he should slow down and choose his roles more carefully, French film magazines report no slackening of his box-office appeal.

In America, Mr. Depardieu is best known for such films as Mr. Blier's early classic, ''Going Places,'' Francois Truffaut's ''Last Metro,'' Claude Berri's ''Jean de Florette,'' and also ''Danton'' and ''The Return of Martin Guerre.'' At the moment, Mr. Depardieu is enjoying double billing in movie houses in the United States: playing the sculptor Auguste Rodin in ''Camille Claudel,'' opposite Isabelle Adjani, an Oscar nominee, and starring in Mr. Blier's latest twist on the eternal love triangle, ''Too Beautiful for You,'' which opened in New York on Friday. (When it opened the New York Film Festival last year, Vincent Canby of The Times described the film as an ''exceptionally rich romantic comedy.'') In an unusual honor for a French actor, one Manhattan theater recently featured a Depardieu retrospective, right beside a Brando retrospective.

But now Mr. Depardieu's American adventure really begins. This month in Manhattan he starts shooting ''Greencard,'' his first major English-language film. ''Greencard'' is the story of a somewhat lost Frenchman who makes his way to New York and enters into an arranged marriage with an American woman, with the sole intent of securing a green card - in effect, 348

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Tomatis 2008 working papers. The film, a Franco-Australian production, is being directed by Australia's Peter Weir, renowned in France for ''The Year of Living Dangerously,'' ''Witness'' and ''Mosquito Coast.'' His latest film, ''Dead Poets Society,'' a nominee for an Academy Award as best picture of 1989, is now a surprise smash success in Paris.

On the eve of his departure for New York, Mr. Depardieu agreed to sit still for an interview, here at his home in the village of Bougival, just west of Paris.

Mr. Depardieu, it turns out, never quite sits still. In fact, meeting him for the first time is a disorienting experience. His house, at the top of a hill, at the end of a lane, is a faithful reflection of the man: big, warm, rambling, full of moods and shadows, a labyrinth of crannies and unexpected passageways, many looking inward to a sunlit interior garden hidden from the street. Like so many French country houses, there is something soothing about its ancient wood and its rich kitchen smells, soothing until the staircase starts rumbling and Monsieur Depardieu himself comes thundering down, sweeping everything up into his volcanic energy.

As part of his preparation for ''Greencard,'' Mr. Depardieu has shed some 40 pounds, so today he does not look as giant as he often does on screen. He dresses somberly, in a gray suit and a black knit shirt, open at the neck. As always, his head is framed by two great curtains of dark blond hair, draping down to his shoulders; his big clown face looks as though it were constructed by Picasso during an outlandish Cubist fit. The Depardieu jaw struts forth like a clenched fist waved in the air; his right eye sits markedly lower than the left, and his great stretch of nose, so perfect for playing Cyrano de Bergerac, veers down his face in an extravagant sweep to the right.

Everything about Mr. Depardieu moves in a frenzied rush. Conversations swirl out in bold, nonconcentric circles, which he miraculously does get closed. The word ''actor'' elicits from him streams of reflections, from Humphrey Bogart and Gary Cooper to Robin Williams and Tom Cruise, from Jean Gabin and Bernard Blier to Yves Montand and Patrick Dewaere. ''Director'' summons forth stories and opinions on Keaton, Lubitsch, Chaplin, Fritz Lang, Erich von Stroheim, Truffaut, Fellini and a fistful of modern directors in France. Actresses? Out pour stories about Isabelle Adjani, Catherine Deneuve, MiouMiou, Isabelle Huppert, Fanny Ardant. Mr. Depardieu talks the way he acts: break the rules, strip away the facades, reveal the essence. ''Acting is perhaps the adolescence I never had'' Mr. Depardieu said. ''As a child, I never knew how to talk. I had to study the theater in order to learn the language.''

Gerard Depardieu, now 41 years old, grew up in Chateauroux, a rough backwater in rural central France. He was one of six children in a very poor family. Lilette and Dede Depardieu were stolid and withdrawn parents, and Mr. Depardieu said they were clearly unable to comprehend their unusual son. His parents never imposed on him any restraints, and by the age of 10 he was already roaming the streets, frequenting many of the bars and hangouts favored by the 7,000 U.S. Air Force men who were then stationed in the area of Chateauroux. Already he was searching for precisely what he did not find at home: the chance to express himself and connect emotionally. ''My parents left me open to everything, I never had any restrictions, and in that sense I was fortunate,'' Mr. Depardieu said. ''But they could never say, 'Je t'aime'; and I rarely saw them touch each other.''

As the interview stretched on into the night, over wine and cheese, Mr. Depardieu filled in the colors of his unusual childhood in the 1950's: jeans and leather jackets, the Air Force PX, banana splits at the snack bar, a black American girl named Ronnie and an American Indian pal named Red Cloud. It was around the U.S. base that he discovered movies and an inspiring rebel hero: James Dean. This was his education, a sliver of America in the heart of France. ''I soaked up everything,'' Mr. Depardieu remembers. ''It was like being on an aircraft carrier on an uncharted sea.''

He took in so much, so young, that in his early teens he mysteriously lost his ability to speak for almost two years. Finally he connected with Prof. Alfred Tomatis, a French speech therapist known for his work with stutterers, stage actors and opera singers. The doctor discovered that young Depardieu had an ear that was literally too sensitive; it took in too much sound.

With therapy and rehabilitation, Mr. Depardieu said he came away with an ear so finely tuned it almost literally imprints speech and text directly into his memory.

But he still had no direction. In his long hair and jeans, he drifted along, passing for a beatnik or a petty thug. He discovered he had a talent for playing the chameleon, and he started making up stories about his life and background, just to see people's reaction. One day he was picked up hitchhiking, and the driver asked him what he did. ''I said, 'I'm a student of the theater.' POFF! His face lit up. It was a total lie, of course, but it was then I first realized how the theater could make people dream.''

Everything started clicking into place. He came to Paris, enrolled in the acting school of the Theatre Nationale Populaire; 349

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Tomatis 2008 and at the age of 16 he made another connection: he met a fellow theater student named Elisabeth Guignot, who understood and enjoyed his turbulent, unconventional ways. Four years later, when he was 20, he and Elisabeth were married. Today they have a son, Guillaume, and a daughter, Julie, and now Elisabeth Depardieu has resumed her own acting career on the Paris stage.

As in Hollywood, the world of French film is known more for divorce and dangerous liaisons than it is for marital stability. So how does Mr. Depardieu explain the steadfastness of their marriage? Part of it, he said, was how well Elisabeth understands him. ''She goes very, very fast,'' he explained. ''Gifted people get bored if it goes too slow.''

The other major defining connection in Mr. Depardieu's life was with Bertrand Blier, a Parisian from a completely different background. The son of the French character actor Bernard Blier, Bertrand was raised in the sophisticated Parisian society of actors, directors and artists like Pierre Brasseur, Jean Gabin, Michel Simon and Yves Montand. Young Blier tried his hand at writing scripts, but none worked; he then wrote a picaresque novel about a merry band of three reckless kids drifting down the road, Jack Kerouac-style. And Depardieu style. The novel, titled ''Les Valseuses,'' was an instant success. Mr. Blier turned it into a screenplay, and Gerard Depardieu starred in the film. ''Les Valseuses,'' shown in America as ''Going Places,'' became a cult film in France, and the two men have been close ever since. They have merged their talents in such films as ''Get Out Your Handkerchiefs,'' ''Buffet Froid,'' ''Menage'' and now ''Too Beautiful for You.'' The new Blier script from which Mr. Depardieu read is titled ''Merci, La Vie,'' and it interweaves two difficult time periods and two difficult themes: Nazism and AIDS. Across eight hours of conversation, the actor always circled back to this special relationship, similar to that between Italy's Marcello Mastroianni and Federico Fellini. Writing directly for Mr. Depardieu seems to anchor and liberate the introverted Mr. Blier's writing talent; Mr. Blier's scripts seem to tap directly into the extroverted Mr. Depardieu's innermost resources. ''I feel myself completely feminine in this craft,'' Mr. Depardieu said. ''I don't believe in the Stallone image of the big-boy hero. And much of the public doesn't either. The biggest success goes to actors like Cruise and Hoffman, who show their faults and their weaknesses rather than projecting an image of invulnerability. ''Acting, in itself, I know how to do,'' Mr. Depardieu said. ''It's not my goal. My biggest joy, what drives me, is working with an 'auteur,' an author, a creative director. There are not many actors who can do it. I can.''

Mr. Depardieu has also gone out of his way to protect and promote other creative work. He has quietly lent a shoulder to the legendary Bengali director Satyajit Ray. He helped produce Mr. Ray's recent film, ''Ganashatru,'' and he intends to set up a foundation to protect Mr. Ray's work. On this very afternoon, Mr. Depardieu concluded an agreement to distribute in France the bold new film version of ''Henry V,'' directed by and starring Kenneth Branagh. Besides starring in a film version of ''Cyrano de Bergerac,'' Mr. Depardieu intends to do a stage version of ''Othello,'' and as preparation for himself and the public, he will take ''Henry V'' to French universities.

Mr. Depardieu is understandably uneasy about working across the Atlantic in America. But he sees in Peter Weir the kind of European-style auteur director with whom he can connect. Already Mr. Depardieu is deeply embroiled with the director in polishing the script for ''Greencard,'' and he has returned to Professor Tomatis for help with his English. As he himself admits, his English is very far from perfect; but Mr. Depardieu enjoys the risk. He feels it will help him arrive on the set feeling just as ill at ease as so many French people who arrive in New York.

At this stage, Mr. Depardieu feels no pull toward Hollywood. Like many European actors and directors, he feels the best American films are now coming from independent and unconventional film makers working outside and often against the big studio tradition. In his view, European films, with their more limited means and their tightly knit families of actors, offer far greater freedom to explore what's fresh and provocative.

And in terms of the human connections Mr. Depardieu craves, what Hollywood director or producer would ever send him a script with this kind of brotherly inscription, from Mr. Blier: ''Personal copy for Mr. Gerard Depardieu, eminent artist, faithful companion on the road of life, indispensable surprise of my daily life.''

Photos: Gerard Depardieu at his home in a village just outside Paris (Jean-Erick Pasquier/Rapho) (pg. 13); Mr. Depardieu as the sculptor Auguste Rodin in Bruno Nuytten's ''Camille Claudel,'' one of the actor's current films (Jean-Erick Pasquier/Rapho) (pg. 20)

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Tomatis 2008

LIFE Ear damage repaired with sound

by Frank Jones Toronto Star 800 mots 31 mai 1988 The Toronto Star FIN E1 Anglais Copyright (c) 1988 The Toronto Star I find it difficult to explain what happens at The Listening Centre, a muted suite of offices in an old bank archive building off Yonge St., where children sit at tables or play on the floor, read or draw, all of them wearing earphones.

It's what they're listening to that is so odd. At the start they hear thin and disjointed Mozart, made almost unrecognizable by filters. As the weeks go on they hear whispy, bizarre fragments of sound that finally come together to form, unbelievably, their own mothers' voices reading stories.

And this strange routine, psychologist Dr. Tim Gilmor assures me, is giving new hope to children who have been labelled autistic, learning-disabled, hyperactive, minimal brain damaged, you name it.

It sounds like a tall story. And yet children are coming to Toronto for the treatment from the U.S., Central America, and as far away as South Africa. Five Canadian school boards have adopted the treatment, called the Tomatis Method, and it is used regularly by the Toronto Montessori Schools.

The story begins in Paris where an ear specialist, Dr. Alfred Tomatis, was intrigued by the fact that song birds hatched by silent foster mothers can't sing. Tomatis discovered that the human fetus hears its mother's voice at 4 1/2 months and, incredibly, the higher frequency tones of her voice actually nourish the unborn child. From there it was only a step to wondering if, for the damaged or emotionally deprived child, it was not possible to return to that period of nourishment and actually repair the damage - with sound.

Vital muscles In fact, Gilmor told me, a high percentage of children labelled learning-impaired have had ear infections in infancy. What seems to happen, he said, is that at a crucial period of development the muscles of the middle-ear are immobilized by the infection. The muscles are vital - they allow us to "focus" on sound and eliminate extraneous noise.

That, said his colleague, Paul Madaule, who trained with Tomatis, explains why such children cannot concentrate, are irritable, and have language problems.

In the first, passive, treatment phase, said Madaule, the child listens for about 40 hours over a three-week period to that peculiar music. The music pulsates, stimulating the muscles. "It's like fitness training for the ear," said Gilmor.

Then, after a six-week interval, the active phase begins when children spend hours recording and playing back their own voices, talking or singing, the playback frequency adjusted to the ideal level. A humorous side effect of the treatment, said Gilmor, is "we can teach anyone to sing in tune." Musicians and singers use the centre's sophisticated audio equipment to improve their sounds.

Now you have to admit it all sounds very unlikely. How can listening to sound for a total of 90 hours (at a cost of $3,000) teach children with learning problems to concentrate, and improve their behavior? Yet Gilmor says 85 per cent of parents report improved attention span, and 70 to 80 per cent judge the technique has helped their child very much or quite a bit.

Satisfied parent One of those satisfied parents would be Sandy Warren, of Nashville, Tenn. She and her husband, Charlie, who is editor of a magazine called Home Life, adopted a 4-month-old girl. Jan was premature and had spent her life up to that point in hospital.

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Tomatis 2008 Jan, Sandy told me when I called her recently, is sight- and hearing-impaired. But that's not the real problem. During those early months when she got little attention, Jan learned to cut herself off from the world. She did not respond emotionally, suffered pain without complaint, and her temper tantrums had reached the point this past summer, when she was 3, that the Warrens thought permanent medication was the only answer.

They talked to friends in Atlanta whose child had been helped at the Listening Centre, and this past July Sandy came to Toronto with Jan. At first she resisted the earphones, and someone had to be with her all the time.

At home Jan slept confined in a nursery bed. She would never allow anyone to rock her. "The first couple of nights in Toronto it was midnight before I could get her to sleep," said Sandy. "The third night I put her in my lap and rocked her.

After a while she crawled off me into the bed, kicked her little foot and went straight to sleep."

From being cold and unaffectionate, Jan has become a little girl who gets into her mother's lap every chance she gets, and her concentration at the special learning pre-school she attends has improved markedly.

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Tomatis 2008 Features Radio RADIO continues for Fineberg Ray Conlogue 642 mots 2 juin 1979 The Globe and Mail P42 Anglais All material copyright Thomson Canada Limited or its licensors. All rights reserved.

Larry Fineberg is a credible playwright who's having a spate of bad writing. With Life on Mars at the Free Theatre last winter it looked like an incident, but with his three-part CBC radio drama Dixie Diamond Detectives (first episode is this Tuesday at 8 p.m. on AM), it's definitely a spate.

The shows are about legal secretary Carrie Lord (Fiona Reid) and nurse Deborah Cunningham (Shirley Douglas) who are forced out of their secure jobs to solve a series of intriguing and unusual crimes, says Fineberg.

Episode one doesn't live up to his self-opinion. A diamond is stolen from a tediously arrogant rich woman. Carrie and Deborah are linked together in the quest for it by a ludicrously forced business over a garbage bag.

Carrie's tediously snobbish lawyer boss tries to discourage her involvement. A dying doorman sputters out incriminating last words. The killer says things like: He hadda go, like you gotta go. Knowing Fineberg, one might suspect a spoof; but the evidence is that he's seriously trying to write a thriller. Contrived, contrived.

Powers of the chant Tim Wilson is a freelancer who is fascinated with the phenomenon of sound in itself, and his documentaries are carefully orchestrated stereo experiences. His program called Chant in the Celebration series (CBC-AM, Sunday, 9 p.m.) is a look at the physical and mental phenomena that come from Gregorian and Buddhist chanting. Dr. Alfred Tomatis, a French doctor and hearing psychologist, maintains that chanting at certain frequencies actually re-charges the body's energy.

While it's initiated by the vocal chords, it's really the bones (of the body) that sing, and the stones of the church vibrate too. To this he attributes the ability of monks to carry out arduous physical labor on four hours sleep a day, and talks of the lethargy that overtook a Benedictine monastery that gave up chant in the interests of modernization (they went back to it on his advice).

Whether you accept Tomatis' case or not, you can enjoy chant recorded for the program at St. Benoit du Lac in Quebec and at the opening of a Buddhist monastery in Woodstock, New York.

The program opens with a mantric chant blended with the crying of an infant, and closes with a superimposition of Gregorian chant over a prolonged om - both beautifully crafted and in no way gimmicky. Other speakers include a Benedictine chanter and flutist Paul Horn, explaining why the urge to chant came over him inside the Great Pyramid.

Talent competition Budget casualty Robert Sunter, head of CBC Radio Music, is disappointed that budget restraints have caused the corporation to make the annual Talent Competition at biannual rather than an annual affair. He says all possible administrative cuts have been made, indirect programming cuts such as the talent competition are now being made, and only as a last resort will direct programming budgets be cut.

Those like myself who have worked in CBC radio know, of course, that this is glaring nonsense. If it's a choice between cutting program budgets or forcing executives to fly economy fare, guess who gets slammed.

But too bad about the talent competition. Future Arthur Ozolins and Ingemar Korjus will just have to go elsewhere.

Stratford covered and Finkleman goes The June 4 opening of the Stratford Festival will be covered on Mostly Music by host Howard Dyck, Arts National by Karin Wells and Stereo Morning has engaged novelist Robertson Davies to report on the Festival season.

Danny Finkleman, who hired a supermarket checkout girl and engaged a Vatican gossip columnist on his bizarre program, is closing it down on June 30, after five popular years. He'll be back in some other form, perhaps TV, but nobody knows yet.

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Articles scientifiques & articles de la presse