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Psychosomatic reactions to some types of musical art

Music at all times, since its inception, has been used as a means of influencing people’s minds. With its help, different goals were achieved. Knowledgeable people with a mind suited to the musical execution of their events.

For example, the Christian Church banned music in its churches, until the reign of Pope Gregory I , who allowed, and even wrote music for prayers. However, this music had to be not emotional, without accompaniment, and the male choir sang songs in unison. This style is called the Gregorian chant.

To this day, this singing adjusts to the divine way, causing sublime, angelic feelings among parishioners and priests in the walls of temples and monasteries. Gregory I was a man who knew what he wanted to achieve with music. And he was not alone in his attitude to music.Music as a harmonious systematized sound row is perceived by consciousness as information. The mind at first tries to understand the sound of the music, to extract maximum useful information from it. But the perceived logic of the sequence of sounds, usually does not give enough food for the mind to unprepared mind began to delve deeper into the inner space of music . And this is the “insidiousness” of music. Mind, not finding clues, removes censorship for incoming sound information, and music, as the poet said “…flows directly into the soul.”

We noticed that a person listens to different music at different times, depending on the mood. The more developed a person is, the greater the range of his musical interests. And, of course, the range of conscious reactions is also wider. While listening to a piece of music a person may notice their reactions, developing in the following directions:

• music as a psychological anchor;
• associations related to the title of the work;
• memories from the past, inspired by the tone of the music;
• free associations;
• the unconscious reaction;

There are experiments with plants, in particular home flowers, when their rapid growth was stimulated by the sound of classical music. Classic example with classical music and the same conclusions with classical recommendations: classical music is good for health. It’s like a text from an ad: “…you can measure weight, size, color, but how do you measure style?”In a situation with music this text just by the way. Living organisms, in particular living people, serve as measuring instruments of multidimensionality of influence. Society, due to the open-minded attitude to music allows you to conduct experiments, even on children.

In this regard, the author intends to present some results of such short experiments with the use of music by the composer Angelight .

In our opinion, the music of “new age” due to its unobtrusive, lack of text, polyphony and imaginative breadth (V. Kozlov) is a suitable material for “pure” experiment. Since we agree with K. Rogers, who, speaking about psychocorrectional methods, believed that “in the process of working with the client, the therapist should not impose his opinion on him, but should try to bring him to the right decision, which the client will take himself. As a result of this work, there is the “insight” that helps to restructure the assessment, “to restructure the Gestalt”, which allows a person to accept himself and others, to establish communication with the environment, to relieve tension”(V. Kozlov, V. Mikov, 2004).

The music of “new age” meets the requirements of the methods of humanistic psychotherapy precisely because it creates only a background, a field for creativity in the individual world of images of each person, in which the listener can “play” the ideal image of himself, simulating self-actualization. Plunging into his imaginative world, a person can get an experience of experiences and perception of himself, inaccessible in real life, outside of his inner world.

While playing music(particularly Angelight music) ) man “…is open to this experience, can perceive it without protective reactions, without fear that the awareness of feelings, feelings and thoughts will affect his self-esteem”(V. Kozlov).

Many examples of integration experiences while listening to music at live concerts and in recordings were received at the initiative of people who had these experiences.

A woman of 50 years, having visited once at the angelight concert , told about her experiences received by her for the first time in her life. All the time of music she was in the world of images, which had not happened to her before. One of the compositions inspired her with the image of the boundless steppe, which at first seemed to her cold and lifeless, but gradually acquired opposite qualities. All her life she was afraid to be alone in the steppe, because she had never been there, but she always dreamed of being in such a wide and open space. The image of the steppe so captured the woman that she forgot that she was in the concert hall. She felt the cool wind and heard it howl, she enjoyed the solitude and grandeur of the steppe, marveling at the disappearance of fear and the appearance of opposite feelings. After the concert, the woman said that now she will try to visit such a place in reality, although her experiences for herself were not far from real.

The image of the steppe was not reflected either in the title or in the special effects, but the music allowed the unfinished Gestalt to “emerge” in the mind and at the level of experiences to end. As if the fear not related to the patient’s personal history in this case did not need to be realized and the integration process initiated by the music occurred unexpectedly and vividly.

This example has a positive outcome, which can not be expected from fans of rock concerts especially “heavy” music. Quite often you can hear reports of accidents, caused by a disheveled rock music of young people who were returning after taking a loading dose of hard rock at the next concert. Undirected psychic energy, excited by rock music, broke into the material world, and young people sowed chaos around them. Muscle tension, which is clearly seen in such people as clenched fists, sudden movements and loud verbal reactions require a response. Most likely, the tension in their muscles does not occur in random places, but the existing muscle blocks become tougher due to increased tension in the corresponding “muscle complexes”. The weakening of muscle stiffness can cause “…strange bodily sensations: involuntary tremors, muscle convulsions, feelings of warmth and cold, itching, goosebumps, tickling, physical feelings of fear, as well as feelings such as fear, rage and pleasure” (Reich, 1969). Undoubtedly, such outbursts are useful for themselves holders of the muscle blocks. But the aggression, seeking to find a way out of the mental world of rock culture lovers, is directed outward, to the surrounding reality, which can be both animate, in the person of random people, passers-by on the street, and inanimate: cultural monuments, products of civilization(cars, shop Windows, etc.), even fences and garbage cans. This indicates a low selectivity of rock aggressors or lack thereof. That is, in the consciousness of a person in such a state, the boundaries are smoothed, the differences between objects in the outside world are lost and he is ready to destroy everything in his path.

Some music critics explain the behavior of young people at and after rock concerts powerful energy, which has rock music and that “charges” visitors to concert venues. But Bach’s organ music is not inferior, and sometimes surpasses in its power and charge.

This, however, does not make the reaction of fans of organ music uncontrollable and does not force to throw out aggression. On the contrary, the music of Bach immerses the listener in its inner space, displaying and reinforcing a sense of the greatness of the human spirit. The listeners in the organ halls still have somatic reactions in the form of tension.

Deep experiences, initiated by the power of organ music, also “break” into the body, requiring an energy splash through the bodily response. But often held with an effort of will, thanks to the hard muscles. After all, “…the musculature is able, straining, to prevent the flow of blood, in other words, to reduce to a minimum the movement of bodily fluid. …Rage and fear can also be inhibited by muscle tension.”(Reich, 1969).

A noticeable weakening of the body tension is due to harmonic and key changes in the musical composition, often having an integration character. This makes it possible to remove the relevance of some negative imprinted localizations in the consciousness of the listener. That gives the right to talk about the healing properties of organ music and in particular Bach music.

Healing properties, of course, has a meditative ( meditative (eng.) – pensive ) music. Meaning music for meditation in the classical form, in addition to dynamic meditation of Osho. Various meditative techniques are accompanied by music, usually slow, calm, without sharp and emotional changes.

This music promotes rapid relaxation. Muscle tension is removed without additional intervention, and the consciousness of a person who does not practice meditation and prefers not to dive into deep thoughts about the meaning, quickly leans into a state close to sleep. The music seems to not hurt the strings strained muscles, passing “through” the body from the inside and taking control, supported by the tensions of muscular armor.

Especially noticeable is the result of the rapid impact of meditative music in people whose body is experiencing “super-tension”, and the muscular corset resembles a bulletproof vest. During the listening session, there comes, so to speak, “super relaxation”, but because of the immersion in a half-asleep state, the body of such a person can not fully respond to the released energy and it is stored as a potential, which is expressed in a cheerful and elated mood and a sense of rest, even if the session lasted 15-20 minutes.

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