Improvement of musical listening

For Tomatis, having good musical listening means having an ear that matches as closely as possible the functional criteria of the musical ear such as he defined them very precisely.

Thus, in order for an ear to be qualified as musical, it must:

  • favour the analysis of high-pitched frequencies situated between 2000 and 5000 Hz, while continuously and progressively attenuating the frequencies below 2000 Hz and above 5000 Hz. This attenuation must take place both in air conduction and in bone conduction.
  • present a maximum opening of auditory selectivity. Auditory selectivity is the ability to differentiate the pitch of sounds in relation to each other, but also the direction of variation in pitch.
  • have very precise auditory spatialisation. Spatialisation is the ability to localise a sound in space, both in air conduction and in bone conduction.
  • Finally, the right ear must be the leading ear, that is to say it must have a very subtle but absolutely essential temporal advance over the left ear in terms of the treatment of the sound information. Indeed, from his first work with singers and musicians, Tomatis clearly proved the existence of a superiority of the right ear in terms of analysis and instrumental control of musical sounds (which moreover includes a person’s own voice). This preponderance of the right ear was subsequently confirmed many times over.

Depending on the existing frequential zones of deregulation / deregulations being evaluated thanks to a listening test and in relation to the criteria defining musical listening previously mentioned, the educative procedure will concern:

  • Improvement of musical sensitivity, that is to say the desire to listen to music or to play an instrument
  • Improvement of accuracy and precision, in analysis as in instrumental performance
  • Improvement in the appreciation of the beauty of the musical work or interpretative quality on an instrumental level.