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Sound Techniques for Tuning your Health Sound Techniques for Health Tuning your Modern voice- and machine- aided sound therapies can restore the range of harmonious frequencies necessary for complete physical and emotional good health. ound therapy can most aptly be described as a cross between music therapy and biofeedback. It is related to music inasmuch as specific combinations of sounds are used; but not necessarily sounds that would be considered musical by even the most lenient critic. Biofeedback comes into play as low-frequency sounds are presented to elic- it specific biological and emotional respons Some similarities to light therapy are obvious since both use the concept of full-spec- trum oscillation. Light as a healing modality seeks to use full-spectrum light, while sound therapy employs the idea of full-spectrum sound. The process of sound therapy requires two distinct processes if maximum results are to be achieved. First, it is essential to determine the individualised patterns for each person, prior to any actual sounds being provided. Just as important are the sound formula sets that must be specifically constructed and presented to each individual. Both steps must be comprehensively performed to ensure that each person be given the most accurate and complete approach available. Sound therapy seeks to influence the systems within the body that produce, interpret and use frequency. It was probably performed intuitively as a response to human interac- tions even before the ability to make and interpret sound consciously was realised. Using computer analysis, the sounds of spontaneous moaning, groaning, yawning, screaming, sighing, laughing, and ‘filler’ sounds such as "mmm" and "ah" have been found to contain the stressed frequencies that are required to elicit improvement. The principles of sound therapy originate with the idea that the brain perceives and gen- erates impulse patterns that can be measured as brain-wave frequencies which, in turn, are delivered to the body by way of nerve pathways. The theory incorporates the assumption that these frequency impulses serve as directives that sustain structural integrity and emo- tional equilibrium. When these patterns are disrupted, the body seeks to reveal the imbal- ance by manifesting symptoms that are interpreted as disease and stress. Enquiries by modern as well as ancient researchers have attempted to develop a screen- ing procedure that would accurately delineate the frequency measurements of the body. BIOACOUSTICS AND THE TOMATIS METHOD One approach to sound therapy is BioAcoustics, which uses voice spectral analysis as a tool to identify and interpret the constant, complicated frequency interactions within the body. The technique has given insight into the possibility that the frequencies contained in the vocal patterns provide a holographic representation of the human body. (In the ani- mal kingdom, vocalisation patterns are being studied as a representation of the environ- ment. This is a separate branch of BioAcoustics.) A second approach, known as the Tomatis Method, identifies stressed frequencies by auditory screening. It is based on the principle that the voice contains only what the ear can hear. Each method is clearly distinct in approach and strategy but both evaluate the body for stressed frequencies. By introducing individualised sets of sound formulas, each approach seeks to establish continuity within the frequency systems of the body. Although different in approach, evaluation, instrumentation and fields of research inter- est, both BioAcoustics, using vocal assessment, and the Tomatis auditory method are compatible considering that both have the same goals in mind: structural and emotional integrity. Auditory assessment for the purposes of sound therapy was founded by Alfred A. by Sharry Edwards ©1997 Signature Sound Works, Inc. 1007 East State Street Athens, Ohio 45701, USA Telephone: +1 (614) 592 5115 Fax: +1 (614) 592 6116 E-mail: 10441 1.3257@compuserve.com APRIL - MAY 1997 NEXUS - 41 BIOLOGICAL PRINCIPLES AND PROCESSES by Sharry Edwards ©1997