Empowering the Next Generation of Women in Audio

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Missed this Week’s Top Stories? Read Our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

November Feature Profile

https://soundgirls.org/adriana-viana-independent-brazilian-sound-engineer/

Adriana Viana: Engenheira de Som Brasileira Independente

The Blogs

Self-care: Develop a Routine That Works For You.

Sonic Memories

Interview with Erin Frisby of This Could Go Boom!

SoundGirls News

Shadow on City and Colour

Shadow Michelle Sabolchick Pettinato on Elvis Costello

 

Accepting Applications for SoundGirls Bloggers


We just got some new merch in. Long Sleeves, Onesies, Toddlers, Gig Bags, and Canvas Totes. Check it out Here

Internet Round-Up

Becky Pell – The End Of The Road: What Happens When We Come To The End Of Our Touring Days?

Interview: Margaret Luthar (Mastering Engineer)


SoundGirls Events

SoundGirls Alberta Chapter – Field Trip

Portland SoundGirls Chapter Social

Dec. 2 Vancouver SoundGirls Winter Social

Dec. 2 Bay Area SoundGirls Meeting

Live Sound Workshop presented by Sus. Media, Soundgirls and Female Frequency

SoundGirls Electricity and Stage Patch

Dec. 8 Colorado SoundGirls Social

Los Angeles SoundGirls Holiday Party

Los Angeles – Live Sound Workshop

Dec. 29 Alberta SoundGirls Winter Social

SoundGirls FOH Tuning Workshop – Los Angeles

SoundGirls Mentoring at AES@NAMM

SoundGirls NAMM Dinner

SoundGirls NAMM Sunday Breakfast


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

A More Inclusive Industry

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

Member Benefits

Self-care: Develop a Routine That Works For You.

 

Self-care is a trending phrase and life choice that many people choose to participate in, designed to create a healthy environment for one’s self to deal with various factors within their lives.

Personally, I think self-care is a healthy practice, but for people in our industry, it may look drastically different compared to others. Advice or health blogs suggest self-care steps such as sleep when you are tired, meditate daily, meal prep, exercise for an hour every day, eat right, and more.

All great ideas, but not always plausible for people in our industry. How can we practice self-care when working extremely long hours, living off buses, jumping from show to show, meeting recording deadlines, and more?  Here are some ideas that you can tailor into your daily self-care routine or develop one with.

Drink water – Start your day off with a large glass of water.  Easy to do wherever you are and a healthy first step to any day to get you started on the right foot.

Bring your favorite snack – Already know your day is going to be long with limited breaks. Grab a few of your favorite snacks, preventing yourself from getting hangry and something you can look forward to in your busy day.

Exercise – It doesn’t have to be an hour; it can be 10 minutes. Challenge your coworkers to a plank challenge. Develop a 15-minute routine you can do anywhere consisting of pushups, sit-ups, squats, and jumping jacks.

Wear one of your favorites – A favorite shirt, shoes, socks, or even your favorite necklace. Wear it. Frequently we wear black, and that’s ok, but no one says you can’t wear a cute pair of earrings with your black clothes. Wear something you enjoy and do it for you.

Journal – When your day is done, instead of streaming social media until you fall asleep, write about your day. Journal your thoughts and feelings, let our some of the bottled-up emotions out, leave it on paper, and then move forward.

Take a minute for yourself – It’s ok to take a minute for yourself even on an extremely hectic day. Step away, regain your thoughts, make an action plan, and move forward. In the long run, taking that moment can help you so much more than not. If you absolutely can’t do this, then find someone who can help you. Send them for your favorite drink or to grab a plate from catering for you. Take that moment to make the rest of the day better.

Speak positively to yourself – We tend to be hard on ourselves and even worse on tough days. Change your inner voice and speak positively to yourself. Work on developing a new perspective to notice positive things first, then address the negative things striving to make them positive.

Take a moment to permanently solve a problem– If you are continually running into an issue as you jump from show to show or recording session instead of spending 10 minutes temporarily fixing it only to do it again tomorrow. Take that hour to permanently fix it. This will save you frustration and annoyance each day and is self-care. Finding permeant solutions to daily issues make it easier and is a benefit to you every day. This frees up time and energy for anything else that may pop up or could actually allow for you to take that deserved break.

If you find you cannot fit in any or enough self-care steps every day, then make sure to set aside a day or two for yourself each month. Take yourself on a movie date, shut off all electronics for a day, read something for fun, cook for yourself. Find something you enjoy that provides satisfaction and do it. Taking care of yourself means you will be able to continue taking care of everything, and everyone else you encounter each day. Self-care will look and feel differently for everyone. Find 2-3 things for you, so you can handle our crazy industry a little bit better every day.

 

Los Angeles SoundGirls Holiday Party

It’s that time of year to take a few moments and simply enjoy our community.  Please join us for a relaxed afternoon of catching up and swapping stories, while enjoying delicious food and tasty beverages. There will definitely be a white elephant gift exchange.

Who

All SoundGirls members and friends are welcome

When

Sunday, December 15th @ 2:00pm – 4:30pm

Where

Catering

Self-pay.  Full menu and breakfast is served all day.

Gift Exchange

If you would like to participate, please bring a wrapped gift (valued under $20) to play the white elephant game.

RSVP Here

 

SoundGirls NAMM Sunday Breakfast

Join us on January 19th at 10:00 am for breakfast

Anaheim Hilton Hotel.  Room TBA

Register here

We are looking forward to meeting members from near and far.  Even if you are not attending NAMM you are welcome to join us.

SoundGirls NAMM Dinner

We would like to invite SoundGirls to join us for dinner on  Saturday, Jan. 18th for drinks and dinner!

The Fifth Rooftop Restaurant and Bar.

Grand Legacy At The Park
1650 S Harbor Blvd.
Anaheim, Ca 92802

Menu

7:00 pm to ?????

RSVP Here

Sonic Memories

At Boom Box Post, we try to take the time to meet with nearly everyone who asks: be it for an interview or a to give career advice to a young editor.  Among the most inspiring parts of interacting with those who are new to the profession are the questions they pose that cause us to look again at our job with fresh eyes (and ears!).  One of these questions which was posed to me by a recent audio school graduate was, “What should I do to prepare myself to be an editor?”

My answer is, “Start listening.”

Unlike visuals of which we take constant notice, sound is often an unnoticed undercurrent in our lives. Ask yourself: when you tell a story to a friend, do you describe what you saw or what you heard?  Most likely, you focus on the visuals.  Now think about how hearing a sound from your childhood can suddenly thrust you back to the emotions from that time in your life.   Sound can be an incredibly powerful storytelling device.  Think about what emotional state the story asks of the viewer. It is our job to connect our personal sonic memories to those emotions.

To give you an example, I’d like to share one of my favorite memories from childhood: going camping on an isolated lake in northern Wisconsin with my family. I’d like to tell the first part with visual descriptions and the second with sonic descriptions.  Think about which one you find yourself connecting to more.

THE VISUAL TAKE

When I was young, we often went camping at a lake in northern Wisconsin.  My father always said, “It’s not a vacation if I see anyone else.”  So we drove for hours to part of the north woods, parked in a remote lot, and then carried our gear and canoe along a path to a little piece of beach no wider than a child’s arm span and launched out into the lake.  From there, we paddled to our campsite which was accessible only by water.

Once we had settled in, we spent most of the days by ourselves.  My father wandered off amongst the trees to take photos of butterflies, mallards, or sometimes us.  My mother took care of the camp, cooking the meals and washing dishes, and my brother and I played in the forest.  Each evening, we shared a special moment together: a canoe ride at sunset.

THE SONIC TAKE

As the sun dipped lower in the sky and began to cast a shadow over the lake, the sound of the forest suddenly turned.  The lively birds and cicadas of the day ceased and a period of pure silence washed over us.  Our canoe scraped against the grit of the shore as we pushed it into the water, then only the sound of the tip of the bow cutting the water could be heard.  We paddled into the center of the lake to the steady beat of oars splashing into calm water, and then stopped and just sat, letting the silence envelope us.  After a while, we heard what we were waiting for:  a loon.  It skimmed across the water, letting loose its lonely cry, and we heard this solemn sound echoing off the banks and folding back on us like an origami bird.

SPINNING STORIES FROM SONIC MEMORIES

When sound enters the equation, don’t you feel not only a better understanding of the events of the story but also an emotional connection to it?  This is what I attempt to achieve in each project.  As sound editors, it is not just our job to look at the screen, and place the sound for the action we see (door open, door close, car ignition on, gear shift), but also to think about what emotional state the story asks of the viewer.  It is our job to connect our personal sonic memories to those emotions and use them to trigger the right feeling for the audience.  For example, whenever I’m faced with a scene that asks the audience to appreciate a lonely expanse of wilderness, I add in a loon.

THE LISTENING PROJECT

Now that you understand the importance of sound in storytelling and how to use it to make emotional connections for the viewer, there’s only one thing left:  start listening.  As you go about your daily life, start taking note of what you hear.  This will help you in your ability to draw on these sounds as you edit.  Think about this the next time you go for a hike, enjoy dinner downtown, attend a party with friends.

QUESTION: WHAT ARE YOUR FAVORITE SONIC MEMORIES FROM CHILDHOOD?  

Mine are: the loon from my story, the sound of a foghorn coming through my window on a hot summer night, and the perfect hollow pop that a tennis ball makes as it hits a racquet. 

Missed this Week’s Top Stories? Read Our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

November Feature Profile

https://soundgirls.org/adriana-viana-independent-brazilian-sound-engineer/

Adriana Viana: Engenheira de Som Brasileira Independente

The Blogs

Learn Sound Online—Free! (or really cheap) 

Vibration, Sound, and Resonance of the Human Body

La Vibración, el Sonido y la Resonancia del Cuerpo Humano

SoundGirls News

Shadow on City and Colour

Shadow Michelle Sabolchick Pettinato on Elvis Costello

 

Accepting Applications for SoundGirls Bloggers


We just got some new merch in. Long Sleeves, Onesies, Toddlers, Gig Bags, and Canvas Totes. Check it out Here

Internet Round-Up

 

Pioneer urges women audio engineers to ‘raise your hands’ at every opportunity

You’re Pretty Good at This for a Girl”


SoundGirls Events

Colorado SoundGirls Chapter Social

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

Portland SoundGirls Chapter Social

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles

SoundGirls Mentoring at AES@NAMM


SoundGirls Opportunities


SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

A More Inclusive Industry

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

Member Benefits

Interview with Erin Frisby of This Could Go Boom!

The members of OSYX and the team behind This Could Go Boom!, from left, Robzie Trulove, Maya Renfro, Erin Frisby, Ara Casey, and Selena Benally.

 

I recently spoke with Erin Frisby, one of the founders of Washington, DC-based grassroots non-profit This Could Go Boom! (TCGB!). Erin is a Soundgirls member, engineer, multi-instrumentalist, and member of DC-area bands The OSYX and FuzzQueen. TCGB! was founded a little over a year ago as a far-reaching community resource with a focus on helping women, non-binary, and femme artists, engineers, students, and music professionals find their voice. TCGB! Provides several resources that strengthen the DC music community and provide a framework for artists to gather and connect. Since its inception, the group has been busy curating improv jams and workshops, presenting monthly showcases, and has released and promoted the first full-length album on their roster.

This Could Go Boom! has garnered a strong following in the DC area, due in part to their commitment to staying flexible and adapt their goals and plans as the group grows. I was excited to catch up with Erin and hear about their mission moving forward and recap on their year. Her band, The OSYX, left for a tour on October 30. If they’re heading to your city, be sure to catch them.

What was the process of formulating the idea for This Could Go Boom? How did you turn that idea into an organization?

The idea for This Could Go Boom! happened organically. The band, The OSYX, was meeting regularly to write music and rehearse. Being a band made up of women, we were soon commiserating about discrimination, assault, and harassment that we had experienced individually in the course of collaborating with other musicians, booking shows, learning in music, and in venues. We also talked about the harder to pin down barriers that come from traditional socialization and deeply embedded systematic discrimination in all walks of life. We were also always marveling over the incredible talent in our region, the outstanding women and nonbinary people whose shows we attended, who we played with. We started to draw connections between the statistics on women in the music industry and the personal experiences of our bandmates and our community members. We were also reveling in the growing support for our musical project and began to consider a crowdfunder to put out a record. The more we talked, the more we realized that we weren’t going to feel fulfilled by just releasing one project and calling it a day. We decided to leverage our momentum to create something that would be bigger than our one band, something that would be community-driven would belong to everyone and would have a lasting impact. We arrived at the idea of a mission-driven record label that could work to redefine the industry from the inside.

You all recently changed your mission statement. In what ways does your new statement reflect your goals in the upcoming year?

Originally we conceptualized a record label that would provide resources for women and nonbinary songwriters, musicians, and recording engineers. Over our first year of existence, we expanded to include performance and networking opportunities, conversations, workshops, and community outreach experiences like our Safer Scenes workshop for venues. It became clear that the label was one branch of a more significant effort that was always going to be responding to community need in all areas of the music landscape from performance to leadership, music journalism, sound arts, and music consumption. We also wanted to be clear that we weren’t looking to represent one genre or limiting our reach to music that specifically addresses social issues. The name This Could Go Boom! came from an episode of Handmaid’s Tale, where several letters outlining the lived experience of imprisoned women become the catalyst for change. We realized that our strength was the ability to provide space, access, and opportunities for women and nonbinary musicians to spark change in their own ways and through their own stories.

What roles in your community do you think are lacking that you hope to fill? 

Representation is lacking in all aspects of the music industry for women and nonbinary people. A report from the Annenberg Inclusion Initiative shows that in 2017 82.7% of artists were men, of 2,767 songwriters credited, 87.7% were men, out of 899 people nominated for Grammys 90.7% were men, and only 2% of recording engineers are women. When intersectional identities are considered, representation becomes an even greater issue, with trans women, nonbinary people, Women of Colour, Indigenous women, queer women, women not fitting a narrow vision of beauty, older women and disabled women having the least access to opportunities in music. The danger of this is that only specific stories are being told and those stories become our ‘normal,’ they continue to carry forward as defining aspects of our culture. Consider how we use music to connect spiritually and socially, to define memories, to celebrate, to mourn, to accompany and influence film and consumerism. Music is far-reaching, and who gets to determine how we do those things and define those things is important. Representation for women and nonbinary people in the musical landscape can and does often take the form of tokenism, flat stereotypical representation that leaves many feeling othered and nonnormal. This is cultural isolation. Our hope is to listen to our community to develop networks, programs, and opportunities that directly challenge these numbers.

What have been some of the most rewarding aspects of starting TCGB? Most challenging?

Seeing and hearing how our efforts have inspired individuals is the most rewarding aspect of what we’re doing. Every time a youth lets us know that they feel inspired and empowered to make music, every time someone tells us that they feel inspired to pursue music that they may have put off before, every time we see connections being made between artists and community members and music fans all of the fatigue from endless volunteer hours falls away.

Like many grassroots charities, one of the challenges we face is learning as we go. We rely on our community members to let us know when we’re missing the mark and when we’re potentially causing harm. Like all other nonprofits, funding is a crucial issue. We’re currently totally community funded, and we rely on donations, no matter how big or small, to continue to offer programming.

In the process of working with people in your community, what have you found to be one of the most pressing needs to be met?

There is a great need for legitimate pathways to success in music for women and nonbinary folks. We’ve heard over and over again that recording engineers, in particular, are looking for mentorship. The ability to tap into revenue streams like fair performance compensation, festival representation, licensing and sync opportunities, and time to practice and play are things we hear about from our community a lot. Some members of our community are primary caregivers or single parents, many work day jobs, or have student debt, or are living paycheck to paycheck. Many experience mental illness or other health concerns. The luxury of making music can feel out of reach when people are faced with obstacles like these. Traditional routes for music education, touring and unpaid internships can be prohibitive. We’re exploring solutions like avenues into licensing and sync, childcare during rehearsal time, and alternative learning opportunities.

How have you all been received in your community? What kind of spaces (if any) are there for marginalized folks to gather and create?

Washington D.C., where we’re based, has the benefit of a diverse community and a long history of DIY music. All Ages spaces are very important to our work as are accessible spaces. Like many cities, we’re experiencing the major effects of gentrification. There isn’t a ton of affordable rehearsal space in our area, and we’ve witnessed venue discrimination against Black made music in particular. We’re working hard to unite scenes here and leverage resources for all genres of music.

Are there any satellite recording studios or other community resources/spaces that you all rely on?

We’re really fortunate to have partnerships with a ton of local businesses that have stepped forward. 7DrumCity, a local music school, venue, and rehearsal facility, stepped forward to support very early on. There’s also RockinRepair, Gold Pants Rental, local photographers and promoters like Roxplosion and Good Foot Media, recording studios such as Machine Room Studios and Ivakota. We’ve also enjoyed a lot of support from the Smithsonian this year during their Year of Music. We’ve participated in the Smithsonian Folkways Festival and gave a presentation at the Hirshhorn Museum. Local labels like Dischord and Verses have been wholly supportive with friendly advice, and 202Creates at The Mayor’s Office has also been a great supporter.

What workshops do you have coming up?

We’re relaunching our intro to improv music workshop at 7DrumCity at their monthly Potluck Jam on December 1st. This workshop is for people of all skill and experience levels including absolute beginners to come together to practice listening and contributing to music-making in a group. We’re also working on developing a recording engineering program comprised of sequential workshops, hands on experience, and mentorship for those interested in entering the profession. Our Safer Scenes workshop for venues facilitated by Shawna Potter from War On Women and hosted by Dangerously Delicious Pies DC was very successful and we hope to make that an annual occurrence.  Some other workshops that have been requested include pedalboard 101, vocal master classes, touring and booking, and DIY merch creation.

Your first album release happened this month! (Read a review here). Can you talk about what went into that on your end and what you learned in the process?

We learned so much! This is great because our idea was to experiment on our own band, The OSYX first. We self-produced our recording with Chris Stelloh engineering the record pro bono at our band house and a friend’s historical house nearby. Our greatest takeaway was the amount of time it takes to bring an album to fruition. The hours of planning, writing, recording, manufacturing, artwork, and merchandising, and promoting took up a good part of a year.

How do you plan to expand in the next year? Is there anything that you’re particularly excited about that you can talk about?

We’re really excited about expanding our board. From our inception, it’s been our goal to have a board that reflects our community, and we’re about to launch a campaign to accomplish that. At the moment the core of the board is the band, The OSYX. We’ve always considered the organization to belong to the community though and we’re looking forward to bringing more voices into our decision-making. We also launched a junior board/street team called The Boom Team that promoted and produced All Ages shows this summer. We’re looking forward to expanding that effort. We’ll also be announcing our next release soon, which is very exciting.

Get in touch with Erin and follow along with what This Could Go Boom has going on:

Everyone is encouraged to follow us at thiscouldgoboom.org @thiscouldgoboom

Facebook group This Could Go Boom! Listening Room.

We rely on community input and individual donations. We welcome comments and suggestions and personal stories, we have a form online for those interested in participating in a performance or putting music out on the label on our website, and we’re always happy to accept donations. We’re currently hoping for someone to step forward with an $80 a month recurring donation that will allow us to join a membership organization for independent labels that will help us to source opportunities for our community.

 

La Vibración, el Sonido y la Resonancia del Cuerpo Humano

 

Todas las culturas ancestrales del mundo tienen una estrecha relación con la naturaleza y lo divino, la conexión con nuestro interior nos arraiga con esa sabiduría ancestral, logrando alimentar nuestra vitalidad, ayudándonos a  re-conectar con nuestra conciencia y todo el universo.

La vibración, el sonido y la resonancia del cuerpo humano con Cuencos Tibetanos de la tradición Bön Po de Tíbet, es un claro ejemplo de ello a través de sus logros espirituales.

La meditación, la vibración y el sonido influye en la materia y en el proceso de curación de diversas maneras:

Armoniza la función celular mediante efectos energéticos; hace que los sistemas biológicos funcionen con más homeóstasis; calma la mente y con ello el cuerpo, tiene efectos emocionales que influyen en los neurotransmisores y los neuropéptidos, que a su vez ayudan a regular el sistema inmunológico.

“El vínculo emocional que crea la música es un medio de comunicación tan universal como el lenguaje.”

Por ejemplo: En el quinto mes de gestación, el sistema auditivo ya está prácticamente formado.

Aprendemos a escuchar antes de ver, oler y tocar por primera vez, cuando aún estamos en el vientre materno recibiendo los estímulos internos y externos a través de los sonidos que llegan hasta la placenta.

Al nacer, identificamos la voz de nuestra madre, uno de los primeros sonidos “sagrados” que nos puede proporcionar tranquilidad, serenidad y equilibrio a través de los susurros y/o cantos.

La voz y el canto también son música, una música totalmente personalizada y única.

La voz es nuestro instrumento personal natural, el más antiguo que existe y posiblemente el primero que el hombre utilizó. Difícilmente existen dos voces similares, quizás con la misma probabilidad de que dos personas tengan las mismas huellas dactilares o la misma tipología del iris.

Qué cosas tienen en común la música y lenguaje? 

Hay una relación directa de la música y el lenguaje.

Los resultados de recientes investigaciones, nos dicen que son las mismas estructuras cerebrales que se activan con la música y el lenguaje.

Darwin nos ayudo en el papel de la música aportando: “La música parece ser una parte intermedia anterior al lenguaje y al pensamiento”.

La música favorece en un nivel cognitivo.

Ayuda a la activación cerebral al momento de interpretar un instrumento focalizando en la atención.

La corteza cerebral contiene muchos mapas conocidos como “Tonotópicos” que hacen referencia a una gran diversidad de frecuencias auditivas.

wave elements to serve as a supporting backdrop for projects on mind reason thought mental powers and mystic consciousness

Cada mapa representa algo parecido a una frecuencia de radio antigua, con bajas frecuencias en un extremo y altas en el otro. Estos mapas se componen en la corteza como si fueran piezas de un rompecabezas en la parte superior de los lóbulos temporales del cerebro.

Al escuchar las melodías a diferentes frecuencias, las partes de los mapas “sintonizados” a dichas frecuencias se activan. Pero no solo al escuchar música se activan esas áreas; con solo prestar atención a lo que querían escuchar, las zonas relacionadas con estos mapas tonotópicos se iluminaban en el escáner de los voluntarios, así como otro montón de neuronas de la  parte del córtex donde la información musical es procesada.

Los resultados han sido publicados en el Jounal of Neuroscience.

Otro gran ejemplo

El corazón es un músculo fundamental que bombea sangre para que el cuerpo funcione y oxigene al cerebro, el resultado es una relación rítmica de la mente a través de las ondas cerebrales con la sincronía del latido del corazón del cuerpo humano.

Los Bön Po de Tíbet

Los cuencos tibetanos artesanales y tradicionales que implementa la escuela en meditaciones, sesiones particulares, seminarios y experiencias vivenciales como  es

Aprendiendo a Sentir, están hechos artesanalmente con una aleación precisa de siete metales: oro, plata, mercurio, cobre, hierro, estaño y plomo; cada metal guarda relación con un cuerpo celeste; y cada cuenco tibetano tiene un sonido particular.

El Masaje Vibracional (MV) de los cuencos tibetanos ayuda a la activación de los centros de la memoria, hipocampo, amígdala, corteza cerebral y de escucha más los centros auditivos y corteza frontal,  produciendo una fuerte activación emocional.

Esto puede variar dependiendo de la diferencia entre personas con o sin formación musical.

Resultados

Pacientes con no formación musical: Tienden más a la interpretación emocional.

Con formación en teoría musical:

Analizan, ya no surge la incitación emocional / experiencia más racional.

“El Arte de Sanar a través del Sonido”


Andrés Pérez Dorantes – Spiritual Name: Dashi Gautama Instructed in: Engineering in audio systems and professional lighting. Ing. Javier Posada M. (Acoustic and Electronic Audio – Mexico) Certification: CDMX 2014 Ing. Fernando Guzman SSL (Solid State Logic Sound – Vision) Certification: CDMX 2015 Artistic activity: Professional DJ, creative, and musical producer. Music grammar training Prof. Claudio Selleng – Traditional Massages Palma de Mallorca. Tibetan bowls of the Bön Po tradition of Tibet. “The Art of Healing through Sound” Jim Doney – Pythagorean Harp (Kanon) Resonance of the Resonance (M.F.A.) California Institude of the Arts. Henrik Jespersen – Zen Flute – Arhus Royal Academy of Music (Copenhagen – Denmark)

 

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