At Heath Music Studio, the Listening Fitness sound stimulation program is available to interested students. It is not a requirement for music study, but rather additional or alternative method to help some students reach their musical and learning goals.
The Listening Fitness Training (LiFT) program is based on the work of Dr. Alfred Tomatis, a French ear, nose and throat specialist, who developed the first method of listening training using sound stimulation. Having identified the far-reaching influence of the auditory system, Tomatis created sound stimulation exercises that not only improve listening ability but affect many areas of expressive and receptive human functioning which are influenced by the ear.
The Listening Fitness Program for Music and Voice is designed for student and professional musicians, singers and actors who wish to improve their voice quality, voice projection, articulation, tuning, and general musicianship. It helps individuals fine-tune their skills by sensitizing the ear to a wider spectrum of overtones, and at the same time improves vestibular functioning. The program can help musicians and students with concentration and focus, ease in memorization, ease in reading, vocal resonance, and vitality. Music students with learning differences and disabilities have found the LiFT program beneficial and so-called "non-musicians" have found greater depth in music appreciation and music making.
A person’s suitability for a Listening Fitness Program begins with a listening evaluation when progress expectations and length of program required to reach goals are also evaluated. Next, a sound stimulation program is designed. This program consists of two phases: a "Receptive Phase" where sound processing is improved by listening to recordings of Mozart and Gregorian Chant that are modified by filtering. The second, "Expressive Phase" emphasizes control over breath, voice and communication by enhancing the way clients hear their own speaking or singing through the LiFT equipment’s filtering and gating process. During this phase one’s own voice is looped back into the ear with adjusted frequencies and overtones to stimulate the hearing/singing/speaking process. LiFT’s bone conduction component stimulates and improves resonance.
During the receptive phase, clients listen with headphones to filtered recordings of Gregorian Chant and Mozart. The LiFT equipment enhances overtones and frequencies in the recorded music, thereby challenging (literally exercising) the ear while building new listening skills. Children can play during this phase while adults are free to draw, paint, write, read, do puzzles or paperwork, relax, or sleep. No concentration is required during this part of the LiFT program.
During the expressive phase, children and adults listen to their own voices. Self-listening exercises such as chanting, singing, instrument playing, reciting, reading aloud or improvising songs, music, dramatic play and storytelling can be part of the daily training. This part of the program strengthens ear-body-voice control loop.
Throughout the program’s private or semi-private sessions, I provide close monitoring and guidance.
The Sound Program may be intensive or non-intensive:
Intensive: A sound program comprised of 40 to 60 hours to be completed as follows: 30 hours in 15 days - 2 hours/day, followed by a 4 week break and the remaining 10 to 30 hours to be done in 5 or 15 days.
Non-intensive: A sound program consisting of 40 to 60 hours of sound stimulation to be completed as follows: 40 to 60 hours in 40 to 60 days - 1 hour/day with no interruption.
All programs are monitored through follow-up questionnaires and telephone or personal interviews for a one-year period upon completion of the program. Exercises and short listening training "boosts" may also be recommended.
Learn more about sound stimulation and the LiFT program:
www.listeningfitness.com
www.listeningcentre.com
Recommended Books:
"When Listening Comes Alive: A Guide to Effective Learning" by Paul Madaul
"The Ear and the Voice" Alfred A. Tomatis (of particular interest to student and professional vocalists)
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