A.-P.-P. Inter Centres Bulletin No. 13 (April 1978)

Bulletin of the International Association of Audio-Psycho-Phonology, No. 13, April 1978. The cover bears the title “A.-P.-P. Inter Centres Bulletin” (referred to in the text by the abbreviation B.I.C.) and the masthead “International Association of Audio-Psycho-Phonology.” The document is a liaison bulletin between the centres practising the method.

This issue is devoted for the most part to the programming of treatments under the Electronic Ear. A lengthy technical clarification reviews the adjustments introduced in recent years (use of the filtered maternal voice or of the long R.S.M. at the start of treatment, choice of filtered sounds, A.S.M. instead of A.S., a pre-linguistic period before approaching language) and presents “standard programmings” to be adapted according to each patient’s assessment; the conclusion, signed by Léna A. Tomatis, recalls the dynamic and evolving nature of any therapeutic journey and invites practitioners to pool their experience. The bulletin then announces the 5th International Congress (a group departing on 3 May 1978) as well as an effort to translate the documentation into English, accompanying a new A.P.P. bibliography.

There follow more personal and cultural sections: the “Letter from a Child” by a fourteen-year-old addressed to Professor Tomatis, a page of poetry, a reflection entitled “Why Mozart?” drawing on texts by Karl Barth on the composer’s universality, information on A.P.P. training, a French-English glossary, a “Letter from Spain” pointing to a work on the psycho-physiology of language, and the list of the association’s publications.

Historical context — In 1978, Alfred Tomatis’s audio-psycho-phonology method rests on an international network of centres coordinated by the A.I.A.P.P. This issue illustrates the doctrinal and practical consolidation of the method — codification of programming protocols, international openness around a congress and translated documentation — as well as the place held within it by the human dimension of the therapeutic relationship and the role granted to music, in particular that of Mozart.