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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.
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