Psycho-sonics and Psycho-acoustics

Dr Bernard Auriol



R.Ruiz, C.Legros, P.Plantin de Hugues, Analysing Cockpit and Laboratory Recordings to Determine Fatigue Levels in Pilots’ Voices.

Analysis of pilots’ voices was undertaken under controlled laboratory conditions, using aeronautical terminology, standard professional equipment and a standardized recording environment. The aim of the experiment was to determine the way the acoustic characteristics of the voice are modified after a phase of sleep. The results, which are presented in this paper, show very significant variations in the dispersion parameters, like jitters, associated with the fundamental frequency.

In an aircraft cockpit, the electro-acoustic and environmental conditions are not so good. Therefore, it’s essential to improve and adapt voice analysis methods to achieve reliable results. Cockpit Voice Recorder recordings have poor acoustic characteristics due to microphone quality and the signal to noise ratio, in addition to the non-predetermined vocabulary range.

This paper will outline the modifications made to the laboratory methodology and the comparative results obtained, to improve the analysis of CVR recordings.

Comparisons of the test recordings meant that it was feasible to determine, via voice analysis, the state of drowsiness of a pilot and, made possible the study of CVR recordings from accidents using new analytical techniques.

Alexander Gutschalk1*, Christophe Micheyl2, Andrew J. Oxenham2 , Neural Correlates of Auditory Perceptual Awareness under Informational Masking

1 Department of Neurology, Ruprecht-Karls-Universität Heidelberg, Heidelberg, Germany, 2 Department of Psychology, University of Minnesota, Minneapolis, Minnesota, United States of America

Our ability to detect target sounds in complex acoustic backgrounds is often limited not by the ear's resolution, but by the brain's information-processing capacity. The neural mechanisms and loci of this “informational masking” are unknown. We combined magnetoencephalography with simultaneous behavioral measures in humans to investigate neural correlates of informational masking and auditory perceptual awareness in the auditory cortex. Cortical responses were sorted according to whether or not target sounds were detected by the listener in a complex, randomly varying multi-tone background known to produce informational masking. Detected target sounds elicited a prominent, long-latency response (50–250 ms), whereas undetected targets did not. In contrast, both detected and undetected targets produced equally robust auditory middle-latency, steady-state responses, presumably from the primary auditory cortex. These findings indicate that neural correlates of auditory awareness in informational masking emerge between early and late stages of processing within the auditory cortex.

Jean-Claude Risset, The Key of Sounds (a book about sounds in their relationship to the human being), autorized translation by Roberta Prada, reviewed by the author.

Here is an ambitious work about sound. A rarity.

Sound has been ignored by our civilization. The printed word, television, photocopy: the visual obliterates sound. The image is king. Image designs, describes, fascinates. Instantaneous, synthetic, understood in a single glance. With sound, we must be ready to listen, to lend an ear. Sound has duration: to understand it you need time. Time, a luxury for man today, man in a hurry.

Sound is often diluted in the surroundings. Over numerous radios, in the supermarkets, the airports, a warm bath, a functional sound: music becomes Muzak. Or it becomes a by-product, waste. Pollution. Ephemeral of course, but invasive. Silence too is a luxury.

Recordings and electricity have changed our relationship to sound: happily, sometimes for the better. Verba volent, scripta manent, goes the old Latin proverb (words fly away, writings remain). Today it no longer applies. Today we have at our disposal the most diverse collection of recordings: sounds of nature, animals, music from other times, other civilizations. Sound is no longer the audible trace of vibrations from visible, physical, identifiable objects. Electric and electromagnetic devices, and more recently the computer, tailored by Max Mathews to calculate sounds, open up unprecedented possibilities.


to follow...


Pr Jean-Claude Risset, Dr Robert Gerard, Pr Christian Poirel, Pr Jean-Marie Pradier, Pr Pierre Josserand, Pr Edithe Lecourt, Pr Annie Moch, Pr Claude Legros, Pr Marc-Alain Descamps, Dr Jean-Paul Banquet, Dr Lonce Wyse, Dr Jean-Philippe Catonné,

wishes about the translation in English of "La Clef des Sons".

Psychoanalytic drive zones and yoga conception

Standing open mouth

Open mouthed

When we aim to high pitched sounds, we would tend to carry our lips ahead. And to carry our lips ahead would make us ready to catch high pitches, high orders harmonics, musical sounds or vocal timbre. It regards a listening which knows what it aims, even unconsciously.

But what about that music lover, subjugated by the diva or the first violin ? About that woman who hears the lover who makes a pass at her ? About the child who needs for proof only the statement of his father?


Quand nous visons les aigus, nous aurions tendances à porter nos lêvres en avant. Et de porter nos lêvres en avant nous rendrait plus aptes à capter les aigus,.les harmoniques d'ordre élevé, le timbre sonore musical ou vocal..Il s'agit là d'une écoute qui sait ce qu'elle vise, même en toute inconscience du sujet.

Mais qu'en est-il du mélomane subjugué par la diva ou le premier violon, de l'amoureuse qui entend la cour qu'on lui fait, de l'enfant qui n'a besoin pour preuve que le dire de son père ?

Tomatis for Musicians

Roberta Prada and Francis Keeping, Tomatis for Musicians, translated in English from the italian version published in "giornale della musica", November 2006.

Singers, instrumentalists, and conductors see dramatic results with Tomatis-based work. The course of listening is traditionally thirty days of two-hour sessions of specially prepared music in half- hour blocks. We remind musicians not to listen critically; the music sounds strange and muffled. In the second round we add active sessions, teaching posture, with listen and repeat drills of short hummed or spoken phrases... (click here to follow)

Searching sound


    ¤ In search of sound, Invited conference to the symposium « feeling the sound », Veyrins-Thuellin, France, 23-25 April 2004.

    Perception is often regarded as a purely passive phenomenon. We are provided with "sensors" which would receive without discrimination information coming from our environment. We would be like a robot provided with two microphones (ears), of two cameras (eyes), many temperature and pressure pick-ups (skin), kinetic sensors (labyrinths), chemical sensors (taste and sense of smell). One very easily realizes that this design is quite insufficient: to say that we collect certain data of our environment invites us at once to consider that this environment is informative only by its variations and that these variations depend on our movements.

    A la recherche du son, Colloque Vivre les Sons, Veyrins-Thuellin, 25 Avril 2004, On considère souvent la perception comme un phénomène purement passif. Nous sommes munis de « capteurs » qui recevraient sans discrimination les informations en provenance de notre environnement. Nous serions comme un robot muni de deux micros (les oreilles), de deux caméras (les yeux), de nombreux capteurs de pression et de température (la peau), de capteurs cinétiques (les labyrinthes), de capteurs chimiques (la goût et l’odorat). On se rend très facilement compte que cette conception est bien insuffisante : dire que nous captons certaines données de notre environnement nous invite aussitôt à considérer que cet environnement n’est informatif que par ses variations et que ces variations dépendent de nos mouvements.

Listening fitness

Here is a synthetic presentation of scientifically measurable effects resulting from sonic cures and musicotherapy.

Laissez vous donc tirer l’oreille !

Conférence donnée à "Latitudes Conferences", 19 Juillet 2005 au Centre Culturel du moulin de "La Toulzanie" (Cycle organisé par Pr Barbara Philips , PhD). Il s'agit d'une présentation synthétique des effets scientifiquement mesurables des cures soniques et de la musicothérapie.

In Voice

Audition begins very early, first during the pregnancy (second term). In the same way, voice structuration begins before birth ! Quality of voice will be better if the mother sings at this period.

En Voix – Invoice, Evolution de l’écoute et de la voix, Conférence du 10 Novembre 2001 (Forum sur la VOIX du CAPA, Université de Bordeaux 1, Sciences et Technologies, Talence) Comme l’audition débute très tôt, et déjà au cours de la vie utérine, la construction de la voix commence bien avant la naissance ! Elle sera favorisée dans sa qualité par les exercices vocaux de la mère et par le bain sonore général en lequel elle baigne : Mozart serait-il Boulez si sa mère avait eu à prendre le métro ?

How to choose a first name?

A lot of abuses, unfounded claims, even untrue assertions are at the root of repertories which make the fortune of their authors for lack of being in their honor. Do the etymological characteristics, the historical, artistic or religious incarnations, the phonemic data influence the personality ?

Comment choisir un prénom ? Nombre d'abus, de prétentions infondées, voire d'affirmations mensongères sont à la base de répertoires qui font la fortune de leurs auteurs à défaut d'être en leur honneur. Les caractéristiques étymologiques, les incarnations historiques, artistiques ou religieuses, les données phonémiques influent-elles sur la personnalité ?

How does music reach human beings ?

Perceptual Learning with the music of a culture provides the listener with a fund of implicit knowledge of the structural patterns of that music. Implicit knowledge of Western musical scale structure has accrued over years of experience, and that knowledge is applied automatically and undconsciously whenever the adult listens to music.

Comment la musique vient-elle aux hommes ? (1 Novembre 2001) L'apprentissage perceptuel de la musique d'une culture procure à l'auditeur un fonds de connaissance implicite des schémas structurels de cette musique. Dans le cadre occidental la connaissance implicite de l'échelle musicale s'accroit au cours du temps, et cette connaissance est appliquée automatiquement et inconsciemment chaque fois que l'adulte écoute un morceau de musique.

Sophie Guignard, Time and coherence, Psychical time structures, A theoretical approach of psychical time structures and the symbols of time in music and music therapy.

The presentation is based on a literature study of psychical time structures and how these are displayed in music and music therapy. It proposes a reflection upon the implications of time conditions for music therapy work. Time is a determining factor of the human condition. It is determining for social life, for ”being in” and relating to the world and for biological development through life. Social time structure is a given condition for (music) therapy. Psychological theories have described how time perception and memory develop. Time perception varies according to different pathological states. Knowing this, the music therapist will use different strategies to meet a patient. Jung introduced the notion of synchronicity in psychoanalysis stressing an emotional aspect of time with a metaphysical side. Time has two dimensions : a cyclical and a linear one. This structure can be revealed and used in music and in music therapy. Symbols in music and music therapy show patterns which can be related to psychical time organisation.

Cette présentation est basée sur une étude de la littérature concernant les structures psychiques du temps et comment elles sont présentes dans la musique et la musicothérapie. L'auteur propose une réflexion sur les implications des conditions de temps pour le musicothérapie. Le temps est un facteur déterminant de la condition humaine. Il est déterminant dans la vie sociale, pour "en être", avoir un lien au monde et pour le développement biologique tout au long de la vie. La structure sociale du temps est une donnée qui conditionne la (musico-)thérapie. Les théories psychologiques ont décrit comment la perception et la mémoire de temps se développent. La perception du temps change selon différents états pathologiques. Le sachant, le musicothérapeute emploiera différentes stratégies pour rencontrer son patient. Jung a proposé la notion du synchronicité en psychanalyse i,sistant sur un aspect émotionnel du temps, avec un aspect "métaphysique". Le temps a deux dimensions : cyclique et linéaire. Cette structure peut être indiquée et employée dans la musique et dans la musicothérapie.

Mozart so as to soothe the birth’s traumatism ? Kosice, Slovakia (AFP, Tuesday 16th August, 2005)

At the hospital of Kosice- Saca, in the eastern Slovakia, babies are listening to Mozart as soon as they come to life. These newborns are given stereo headphones on their very small head and they move their small hands at the rhythm of music.

Mozart pour apaiser le traumatisme de la naissance ? (AFP, mardi 16 Août 2005) ) Sur leur toute petite tête, les nouveaux-nés ont un casque stéréo et leurs petits mains bougent au rythme de la musique. A l'hôpital de Kosice-Saca, dans l'est de la Slovaquie, les nourrissons écoutent Mozart dès les premières heures de leur vie...

Alfred A. Tomatis, Roberta Prada, Pierre Sollier, and Francis Keeping, The Ear and the Voice

Alfred A. Tomatis was one of the earliest pioneers in the field now known as psychoacoustics, and his book L'Oreille et la Voix is considered a classic by many in that field. By adapting the French text with the kind permission of its original author and publisher, this present edition brings Tomatis's passionate reverence for the ear and voice, along with his brilliant insights into the nature of listening and singing to the English speaking world. Although Tomatis initially applied his theories to vocal performance, it soon became clear that the principles he had uncovered could also have a profoundly beneficial influence on actors, painters, writers, and those suffering from physical and psychological disabilities. This translation of Tomatis's discoveries has been adapted to make it accessible for a broad audience, and is divided into three Parts that can be fruitfully read separately or together. Part One introduces Tomatis's general concepts as they apply to the art of singi!
ng. Part Two is a basic introduction to the anatomy of the ear and how its functions relate to the brain and the rest of the body. It also explains how the vocal apparatus works and provides the reader with a metaphor-free vocabulary for discussing anatomy with doctors and other concerned professionals. Part Three gives practical advice on singing, posture, and matters pertaining primarily to musicians. In addition to works identified in the original French bibliography, a list of the latest English-language books on the subject has been appended. The Ear and the Voice is for everyone who wants to understand and experience the benefits available to all conscientious listeners.

"This is an evocative read for every musician. From the visionary science and wisdom of Tomatis, The Ear and The Voice provides us with a waterfall of provocative ideas and insights. Long awaited, long overdue, this book is essential for the creative understanding of speech, listening and music making." (Don Campbell, Musician, Lecturer, Author ofThe Mozart Effect)

"Finally available in English, this is a scientific book about singing which contains important neurological insights and is both practical and eminently readable." (Thomas Hemsley, International Concert and Opera Singer, Professor at the Guildhall School of Music, London)

Cette adaptation en anglais du meilleur des livres de Tomatis vient très à propos au moment où les rééducations soniques se développent beaucoup en Amérique du Nord et en Amérique centrale.

Audio-psycho-phonology and aestheticism, 1st National Conference of professional aesthetics, Madrid - 16-21 Oct. 78 (translated by Béatrice Bonzom-Gourc)

This compound term makes reference to the fact that the voice is not only a carrier of clear conceptual meaning, of unconscious implications (which emergence is particularly clear in the lapsus) but also of intrinsic meaning, of more veiled implications at the tone level, the singing of the language, the rhythm, the assonances, etc....Even at that level, it appears a relationship with the aesthetics : the voice is a more subtle reflection of the soul, using no special effects compared to the face features or the glance. Such person whom eye beauty dazzles and attracts can be repulsively ugly when he opens his mouth. Conversely, some voices capture and hold one’s attention, going so far as to forget some unattractive visual features.... Then, if we consider it, the aesthetician should take care of the voice of her customers as well as their skin!

Audio-psycho-phonologie et esthétique, Audiopsicofonologia, 1° congreso nacional de estetica profesional, Madrid - 18-21 Oct. 78. Ce terme complexe fait référence au fait que la voix est porteuse non seulement de sens conceptuel clair, d'implications inconscientes (dont l’émergence est particulièrement nette dans les lapsus) mais également de sens intrinsèque, d'implications plus voilées encore au niveau de l'intonation, le chant du langage, le rythme, les assonances, etc... Déjà à ce niveau, se découvre un rapport à l'esthétique : la voix est un miroir de l’âme plus subtil, plus difficilement truqué que les traits du visage au le regard. Telle personne dont la beauté visuelle éblouit et attire peut faire fuir dès qu'elle ouvre la bouche. Inversement certaines voix captent et retiennent, allant jusqu'à faire oublier quelques caractéristiques visuelles ingrates... Ainsi, si l'on y prend garde, l'esthéticienne devrait-elle se préoccuper de la voix de ses clientes tout autant que de leur peau!...



Psychosonique Yogathérapie Psychanalyse & Psychothérapie Dynamique des groupes Eléments Personnels

© Copyright Bernard AURIOL (email : )

December, 2, 2007