Joshua Leeds - The Power of Sound: How to Be Healthy and Productive Using Music and Sound

Always for Ben and Rachel

THE POWER OF SOUND

Joshua Leeds points to the future for the entire music communitymusicians, producers, engineers, composers, and businesspeople. I applaud his generosity in sharing the psychoacoustic techniques he has developed and utilized to great effect. In combining music and science, Leeds has achieved a dramatic advance in the use of music and sound for empowerment and change.

JOE HARNELL, GRAMMY AWARDWINNING COMPOSER,
PIANIST, AND AUTHOR OF COUNTERPOINT:
THE JOURNEY OF A MUSIC MAN

ABOUT THE COVER IMAGE

British inventor John Stuart Reid studies patterns manifested by sound when applied to liquids or loose particles. In collaboration with American design engineer Erik Larson, Reid created an extraordinary instrument called the CymaScope, shown below, that makes sounds visible.

A beautiful CymaScope image, known as a CymaGlyph, is seen on the cover of this book. This near-perfect CymaGlyph is a pure 22.2 Hz tone. The nested pentagonal arrays, imbedded in the natural geometry of the tone, portray the golden mean ratio. ( for an interview with John Reid.)

This 2010 revised edition of The Power of Sound has two companion resources:

1. ThePowerOfSound.com is both an adjunct and continuation of the pages that compose this book. Look for this insignia:. In todays digital world, where information so quickly transpires, we will use this companion website to update resources, research, and significant events. the symbol will also be used to signify deeper online discussion of specific topics.

2. The CD at the back of the book contains exemplary selections of music psychoacoustically designed and produced by Joshua Leeds. Look for this insignia:.

ACKNOWLEDGMENTS

First and foremost, profound gratitude and respect to Dr. Alfred Tomatis (January 1, 1920December 25, 2001), the grandfather of modern psychoacoustics.

Heartfelt appreciation to Ron Minson, M.D., and Kate OBrien-Minson for the generous sharing of their Tomatis-based soundwork and valuable perspectives.

I gratefully acknowledge the contributions of many fine and dedicated Tomatis practitioners without whom the preparation of the Tomatis chapters contained within this book would not have been possible. Many thanks to Billie Thompson, Paul Madaule, Timothy Gilmore, and Pierre Sollier.

Special thanks to professional colleagues for invaluable peer review: H. Holmes Atwater, Dorinne S. Davis, Alexander Doman, Rachel Leah, Laurie Monroe, Suzanne Evans Morris, and Lori Riggs.

Without the expertise of the following individuals and organizations, the 2001 edition would have been sorely lacking. Hats off to: Mary Jo Burtka, M.A., and Kathleen L. Yaremchuk, M.D., of Self Help for Hard of Hearing People, Inc., for their contributions regarding Sonic Safety; The Medical and Sports Music Institute of America; author and composer Kay Gardner; Davis Center for Hearing, Speech & Learning; The Center for Biological Timing at the University of Virginia; The House Ear Institute; and the Noise Pollution Clearinghouse. A very special acknowledgment to Therese Schroeder-Sheker of The Chalice of Repose, Dr. Jeffrey Thompson of Brain/ Mind Research, Alex Doman of Advanced Brain Technologies, Robert J. Doman Jr. of The National Academy of Child Development, and Dr. Fred Schwartz of Transitions Music.

Loving thanks to honored mentors, teachers, family, and friends: Susan Alexjander, John Bishop, Barbara Borden, Hovey Burgess, Miriam Cutler, Janine Del Arte, Vickie Dodd, Ronna Dragon, Lyric Kaela Grace, Robert Gass, Steven Gold, Jonathan Goldman, Dick Grove, Dorothy Gundling, Joe Harnell, Louise L. Hay, JaLolo, Sanda Jasper, Dennis Lambert, Deborah Leeds, Sharon Leeds, Kenny Levine, Randall McClellan, Faizi Medeiros, Terry Patten, Evie Sands, Molly Scott, Morgan Cantrell Smith, Margaret Tucker, David Tcimpedes, C. Davey Utter, Andrew Weil, M.D., Anna Wise, and Boyd Willat.

To my friends at DESIGN/communications, whose graphic imprint graced the first edition book and website from cover to cover: Nick French (2001 cover), Bill Shore, Barbara Stenson, and Cyndie Wooley (illustration of middle ear in the 2001 edition).

Blessings on Kiki La Portaimage wizard, research associate, and patient friend. This project would not have been completed without your uplifting spirit and loving support.

Making revisions to an existing work can be a complex process. Thanks so much to the following colleagues (many of whom also contributed to the 2001 edition) for their input and consultation: Susan Alexjander, Zacciah Blackburn, Don Campbell, Donna Carey, Barbara Crowe, Mandara Cromwell, Dorinne Davis, Cheryl Delio, Ellen Franklin, Melinda Gardiner, Jonathan Goldman, Steven Halpern, Alan Howarth, Erik Larson, Joanne Loewy, Patrick Mooney, Carol Moore, Anne Parker, Sue Raimond, Layne Redmond, John Stuart Reid, Fred Schwartz, Molly Scott, Lisa Spector, Christine Stevens, Jeff Strong, Billie Thompson, Jeff Thompson, Christina Tourin, Jeff Volk, Teresa West, and SaraJane Williams. A special note of thanks to Joshua Goldman and Lyric Tucker-Leeds for research assistance.

No acknowledgments would be complete without expressions of warm gratitude to the Inner Traditions/Healing Arts Press team: Ehud Sperling and Deborah Kimbell, and editors of the 2001 edition Cannon Labrie and Laura Jorstad, with a very special hats off to Rowan Jacobsen. For the revised 2010 edition, Id like to salute Mindy Branstetter, Jon Graham, Jeanie Levitan, Patty Capetola, and art director Peri Ann Swan. Thank you all for your efforts in bringing this book to fruitiontwice!

Gratitude to Erik Larson and John Stuart Reid for the CymaScope image that graces the cover of this 2010 edition.

The research archives and efforts of Amrita Cottrell of HealingMusic.org were invaluable.

To Lisa Spector, hats off for your beautiful artistry and the invitation to think outside the box when it comes to intentional music and sound for all animals!

To Lisa Rafel, David Surrenda, and our founding SAMA cohorts, my tremendous appreciation for the creation of the Sound and Music Alliance. This organization supports a vibrant and healthy field for continued explorations into intentional music and sound.

To Shyla Nelsonan exemplar of the practice of sacred sound combined with sonic activism. Singing for the earthfrom the heavens! I thank you for what you model and bring forth.

And finally, to Sheila Smith Allenmy deepest appreciation for your rock-steady enthusiasm and support for intentional soundwork in all its manifestations. A more delightful and dedicated colleague would be difficult to find.

Thank you all for gracing the pages of this book with your generous wisdom, fertile imaginations, and loving heartspace.

CONTENTS

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12