The Tomatis method has its origins in the treatment of the singing voice. As an otorhinolaryngologist, professor Tomatis worked in the field of phoniatry early in his career. His father was a singer and through him he had the opportunity to meet and treat famous singers. He discovered that the reason that some singers sang off key was because they had an acoustic “scotoma”, reflected in their acoustic curves. The loss of the frequency range in their audiometric tests was closely associated with the range of frequencies that they failed to produce. He therefore concluded, back in 1947, that “we sing with our ears”.

Tomatis has personally treated famous singers, such as Maria Callas and Beniamino Gigli, Frangiskos Voutsinos and Giorgos Pappas (the tenor). At our center, we have also treated famous singers. One of Tomatis’ important discoveries pertained to the “musical ear”. The musical ear is characterized by an ascending curve, between 500 Hz and 4000 Hz, forming a dome between 2000-4000 Hz and dropping slightly in the highest frequencies.

The “musical ear” is an ear that can tune to the entire sound spectrum. It has open selectivity, which is the ability to discriminate sounds of different frequencies, a precise auditory spatialization, and a right-sided auditory dominance. Programs for musicians and singers use high-pass filters that attenuate the low frequencies, which enables the singer to attune to the higher harmonics and control better the timbre of his voice, and the musician to control better the color of the sounds produced by his instrument. The Tomatis sound therapy program opens the selectivity, if it is closed, improves auditory spatialization and emphasizes right-ear dominance, which is especially important for the control of the singing voice (see L’ Oreille et la Voix, The Ear and the Voice).