RUDOLF WIENAND
Sound Therapist & Musician
I was born in 1979 in Austria to my south african dad and my austrian mum. I started playing the drums when I was twelve years old and never left music again. Before getting into music full time I did a blacksmith apprenticeship and studied experimental arts at the university of arts in Linz, Austria. On my way I played the drums in a psychedelic hardcore band, went to Kashmir for six months of vision quest, lived in Mallorca for a year and in Mexico city for twelve years. I started to do sound therapies using the didgeridoo in 2002.
In 2007 I started working with the tuning forks. In Mexico I worked as an independent sound therapist and I was the resident sound therapist in the neuro rehabilitation clinic SERE, under the supervision of Dr. Gregorio Paz, where I mainly focused on the treatment of neurological issues, particularly spasticity and breathing insufficiency. I also worked as a musical coach and in team building through music and sound in different universities in Mexico (ITAM, IPN) and for private companies. As a sound therapist I worked in Austria in the Lebenshilfe association for the disabled, again focusing on spasticity, but also treating people with paranoid schizophrenia, autism or bipolar disorders. In Spain I did a program with the ASPANDEM association, treating a select group of people with spasticity and other mental health issues.
As an independent sound therapist I worked mainly on physical, mental and emotional issues such as insomnia, anxiety, ADHD, chronic pain, addiction, depression, end-stage patients and grief. At present I collaborate as a sound therapist in the exclusive rehab clinics New Life Marbella and Inner Life recovery Estepona offering an individual tailored sleep restoration program.
I also offer private in-home treatments and sessions in my studio in San Pedro, Marbella, as well as in person and online courses on the therapeutic use of sound frequencies and tuning forks.
I create all the soundscapes that i use in my courses, classes and also in individual treatments from scratch. I mainly use synthesizers and digital sound creating tools to design each sound individually. For the composition i apply only pure harmonic intervals to ensure maximum harmony and compatibility with the nervous system. I don´t use chromatic scales, which require the hearing centers in the brain to do a minimal fine tuning in order to perceive them as harmonic, as they are not natural intervals, but mathematically forced into exact the same distance from one another. In contrary, the natural harmonic intervals are just what their name states, natural. The physics of sound shows a series of intervals emerging from a fundamental note or vibration, all in simple mathematical ratios and always in perfect harmony with the fundamental frequency from which they emerge. The hearing centers do not need to do any fine-tuning in order to perceive these intervals as harmonic, thus entering in a state of distension and relaxation.
I created exclusive tuning files that i use to adjust the tuning of my synthesizers to the natural occurring periodic phenomena of astronomic cycles, with an accuracy of 0.05 Hz, in order to obtain the best possible outcome of the sounds i create.
I also make use of different kinds of flutes and Didgeridoos or Kotamo Harps i build myself in order to obtain the best tuning accuracy and i may use sound recordings of nature, like bird and whale songs or rivers, the surf or the sound of a bee hive.
Sound and music, technically rooted in physics and mathematics, and creatively rooted in the human factor of compassion, in order to express natural occurring harmonies in relation with our human organism, searching for ever grater resonances and health enhancing effects, is my greatest passion.
Behind the scenes.
My therapeutic work with tuning forks as well as my musical compositions are based on audible potentials of natural occurring cyclical phenomena as calculated by the mathematician and musicologist Hans Cousto. The physical nature that governs sound and frequencies allow us to transpose the duration of non audible, constantly repeating cycles to our audible range of perception. The unifying bond is the physical law of the octave.
An example:
The rotation of the Earth
It takes us 24 hours to complete one rotation (measured respect to the Sun)
24 h is 1440 minutes, that is 86400 seconds for one rotation or repetition of this particular cyclical phenomena.
As sound is measured in repetitions per second, Hz, we divide 1:86400, that is 0.00001157 repetitions per second, or Hz.
Now we can transpose this non audible frequency of 0.00001157Hz through the friction-less intervals of octaves into our hearing range. In the 24th octave we get 194.18Hz.
This is an audible potential of the rotation of the Earth, a frequency in perfect harmonic relation to how the Earth spins around its own axis.
On the other hand we have a physical body that is the foundation for all of our human experience, be it physical, mental, emotional or spiritual. And this body of ours is conceived in accordance with the Earth´s, the moon´s and other planetary cyclical movements. Our inner circadian clock is tuned in with the cycles of day and night, our hormone leves rise and fall with the phases of the moon as well as with the passing of the seasons throughout the year.
Tuning in with these natural cycles means returning to our natural state of being. Using these sound frequencies on our body is like surfing on the waves of our very core nature.
Over the las forty years more and more studies have shown a correlation between these natural cycles, the corresponding sound frequencies and the inner rhythms and frequencies of the human organism. From resting potentials in nerve cells to brainwave activity, from the heartbeat to blood oxygenation, from digestion to sleep phases. We are a micro reflection of the macro-cosmic nature that surrounds us, and this solar system is a macro reflection of our microscopical, molecular and celular foundations.
