level one provider reference - amazon s3 · level one provider reference description ... the blue...

© 2004-2018 Advanced Brain Technologies All Rights Reserved. advancedbrain.com 1

LEVEL ONE

Provider Reference

Description The most widely used series in The Listening Program® LEVEL ONE is flexible; offering a foundational to experienced level program for improving brain function and mental abilities at any age. To accommodate individual listener preferences, LEVEL ONE is available in two options: music only, or blended with beautiful sounds of nature. While many prefer to enjoy and focus on the engaging music, others, especially children, will benefit from the added novelty of listening to music and nature sounds together. Featuring an extensive library of High Definition music recordings performed by the award-winning Arcangelos Chamber Ensemble, LEVEL ONE is offered in Spatial Surround® sound providing a wide variety of listening with a rich tapestry of sound featuring compositions by Mozart, Haydn, Vivaldi, and Danzi. LEVEL ONE is arranged in four progressive frequency zones, stimulating different brain areas and their related functions during your personalized listening schedule. The training emphasis is well balanced across the zones making LEVEL ONE adaptable for people of all ages, supporting social & emotional function, auditory processing, communication, executive function, creative expression, motor coordination, stress response, self-awareness, musicality, and more. LEVEL ONE is available online and on iPod and comes with music only and music blended with nature sounds. High Definition Recordings The Listening Program LEVEL ONE incorporates 24-bit 192 kHz High Definition (HD) recordings, featuring the latest advancements in ABT’s neuroacoustic modifications. High Definition recording was only possible starting in the early 2000’s. These recordings provide a more natural listening experience, very close to live. They contain low levels of distortion, more accurate representation of the sound waves, providing a rich, fulfilling listening experience with greater clarity than our earlier 16-bit recordings. What you hear is clearer high frequencies, authentic timbre in low frequencies, greater definition of individual notes, and spatial details unlike you have ever heard! This provides more new opportunities for developing TLP than ever thought possible. High Definition recording is a relatively recent innovation. The Listening Program is the first and only method of listening training to incorporate recordings of this quality. LEVEL ONE was the first TLP series that was entirely recorded in HD. Recording in HD captures significantly more musical information and provides a more natural listening experience than can be achieved with prior 16-bit 44.1 kHz and 24-bit 44.1 kHz recordings. HD allows us to record the harmonic structure of music up to 96,000 Hz (or 96 kHz). Harmonics give music its sound color or “timbre”, and allow us to perceive the difference between a cello and violin or flute from a bassoon. The Journal of Neurophysiology, Volume 83, Number 6, June 2000, published a research study conducted by the Department of KANSEI Brain Science, ATR Human Information Processing Research Laboratories in Kyoto, Japan. The study revealed that the high frequencies present in High Definition music significantly affect the brain activity of listeners. The results demonstrated an increase in regional cerebral blood flow, an increase in alpha-EEG in the occipital region, and a psychological evaluation showed that listeners found music that contained higher frequencies to be more pleasant than the same music lacking that information.


This study seems to highlight that one reason we prefer to listen to live as opposed to recorded music may be the presence of higher frequency sounds. High Definition recording captures these high frequencies and brings the listening experiences very close to that of a live performance. The combination of HD recordings coupled with ABT’s Spatial Surround recording and production process takes TLP to an unmatched level of quality, enjoyment, and effectiveness. Coupled with Dolby Headphone technology, which provides a surround sound experience in stereo headphones, these programs contain spatial details unrivaled to this point. LEVEL ONE contains High Definition recordings of Vivaldi Concertos, Mozart Symphonies, Haydn Quartets, and others with strings and woodwinds. The compositions by these great masters and the performances by the Arcangelos Chamber Ensemble are energetic, vivid and joyous. LEVEL ONE Zones LEVEL ONE includes 10 albums from the four frequency zones, each designed to stimulate and balance the perception of sound frequency bands within the audible range of human hearing. The four zones are:

• Blue Zone (Full Spectrum)

• Green Zone (Sensory Integration)

• Orange Zone (Speech and Language)

• Red Zone (High Spectrum) Each zone is designed to emphasize a specific zone or band of sound frequencies. The discovery of the frequency zones is attributable to Dr. Alfred Tomatis, with each zone corresponding to different areas of human function. These zones were discovered based on clinical observations of what functions seemed to receive the greatest influence from stimulation of the various sound frequency bands. Based on our own clinical experiences, the members of the TLP development team have drawn similar conclusions to those of Dr. Tomatis. Admittedly, the explanations provided herein are very general, many variables no doubt exist, and there is crossover of functions between zones. Nevertheless, the zones are helpful in providing a framework for our explanation of the development of The Listening Program and for providers to determine client listening plans. Here are the zone and a few of their related functions.


The Blue zone works on the macro providing stimulation to help the general organization and balance of all three zones. This is followed with micro stimulation, or fine tuning, of each zone, each one building on the previous one in sequence– Green, Orange and Red. The listener will progress through each album on a listening schedule. Each album contains four 15-minute modules that total up to one hour. The listener will be repeating the modules to achieve 2 ½ hours of listening before they proceed to the next album. Each album builds on the previous one. The listener repeats this pattern until all albums have been listened to for a complete listening schedule of 25 hours of listening over the course of 10 to 20 weeks, depending on the individual schedule suggested by the provider. The listening sequence is:

• Blue (Full Spectrum-FS) Albums 1 & 2

• Green (Sensory Integration-SI) Albums 3 & 4

• Orange (Speech and Language-SL) Albums 5 & 6

• Red (High Spectrum-HS) Albums 7-10 Psychoacoustic (Neuroacoustic) Modifications Countless neuroacoustic modifications are used in the production of LEVEL ONE. When applied to our HD music recordings, these processes enhance and highlight the natural attributes inherent within the musical structure. The purpose is to provide listening training for the ear and brain to bring the auditory system into balance. Psychoacoustics Psychoacoustics refers to the scientific study of sound perception. Psychoacoustic modifications (also referred to as neuroacoustic) are incorporated into ABT recordings and production processes to make the music more effective for the purpose of music listening therapy. Our psychoacoustic modifications consist in part, of how musical scores are selected, prepared, and recorded. Our techniques include selecting key, changing orchestration, tempo, octave, performance, editing, varying meter, and simplification of lines. Other modifications are achieved using the latest digital signal processing software and hardware after the music is recorded. All the HD music recorded for The Listening Program® was recorded in Toronto, Canada. The recording studio used provided a unique situation where were able to record each Arcangelos Chamber Ensemble player in their own recording booth. This allowed us to separately capture each instrument on its own recording track. Not only does this provide unlimited options for our neuroacoustic modifications, but our recording of a single instrument–rather than several instruments blended together on a single microphone–allowed us to isolate more distinct information. This lets our audio engineers develop unlimited numbers of psychoacoustic processes that are affective and pleasing to the ear. LEVEL ONE incorporates numerous different neuroacoustic modifications including many forms of filtration and audio bursting, blending, spatial dynamics, audio morphing, and many more. Full Spectrum Music Sound waves are produced by air pressure oscillations (or fluctuations) above and below atmospheric pressure. The intensity of sound is related to the amplitude of these oscillations. Frequency is a term we often used when discussing sound, but what do we mean by that? The unit of measurement for frequency is a Hertz (Hz). One oscillation (or wave) per second is 1 Hertz, 20 waves per second equals 20 Hertz, and so on. Thus, a kilohertz (kHz) equals 1,000 Hz, or 1 kHz. The frequency range (tones) of the human auditory system is 20 Hz to 20 kHz with optimal sensitivity in the 1 kHz to 5 kHz range, which happens to be the range of most human voices. So when we tell you that each Level One Kit album contains the full spectrum of music present in our recordings within the frequency ranges of 20 Hz-20,000 Hz (20 kHz), you know that you will be exercising the full range of your ability to process sound. While our High Definition recordings can capture sounds up to 96 kHz, most audio players can only reproduce sound to approximately 20 kHz as that is believed to be the highest frequency perceived by humans. Sounds


above 20 kHz are ultrasonic–above our hearing perception. Sounds below 20 Hz are considered infrasonic–below our hearing perception. When you go to the symphony and listen to an orchestra, you are experiencing a full spectrum of sound. Think of full spectrum as the experience of live, natural sound with nothing taken away. Over a life span, our ability to perceive the full spectrum of sound gradually diminishes, and the erosion usually starts with the higher frequencies. This brings imbalance and creates distortions in how we process auditory information, which leads to a variety of difficulties. The Listening Program can help stimulate our perception of higher frequencies, and may maintain or even restore this delicate balance. TLP cannot restore actual hearing loss, but it can stimulate our brains to perceive the full range of frequencies and to better discriminate sound. Full spectrum sound can provide comfort to a listener adjusting to the experience of the psychoacoustic modifications processes contained on TLP albums. When blended with the unfamiliar sounds created with these processes, full spectrum sound helps a listener stay grounded, with their mind connected with their body, and their body aware of gravity, keeping them in a safe and familiar place. It also provides a valuable sound contrast to allow the psychoacoustic modifications to have greater effect. Filtration Filtration is used on all albums in LEVEL ONE except for the Blue zone. Filtration is a process in which audio filters screen out or remove selected frequencies from full spectrum sound. It is helpful to think of filtration as removing something to become consciously aware of what remains–so attention is drawn to it. Filtration directs attention to the remaining frequencies and allows the listener to perceive and discriminate sounds he or she otherwise may miss or not be aware of, like highlighting a passage of text in a book. But rather than highlighting text, filters allow us to fine-tune the frequency stimulation of the Green, Orange and Red zones. Three types of filters allow us to emphasize specific frequency bands in LEVEL ONE. These are called low-pass, band-pass, and high-pass. Low-pass filters are used for the Green zone, band-pass for Orange, and high-pass for Red. ----------------------------------------------------------------------------------------------------------------------------- ----------------------- Blue - Natural unfiltered sound, so that the full spectrum of frequencies is perceived. Low-pass filter (Green) - Blocks the higher frequency sounds above the filter so only the remaining lower frequencies are perceived. Band-pass filter (Orange) - Combines a low-pass and high-pass filter so that only the passing band of frequencies between the two is perceived. High-pass filter (Red) - Blocks the lower frequencies below the filter so only the remaining higher frequencies are perceived. --------------------------------------------------------------------------------------- ------------------------------------------------------------- All the filters used on these albums have what is called a frequency roll-off. This keeps some of the frequencies present near the filter in order to maintain a more natural sound. If the frequencies were removed without this roll-off, the resulting sound would be rather sharp and unpleasant. The experience of filtered music can take a little getting used to; that is one reason LEVEL ONE includes albums with Full Spectrum music in the Blue zone. The filtration in the Green Zone will bring the listener’s awareness to lower frequency sounds such as the bass and cello, creating more body awareness. The filtration in Orange is quite enjoyable and rather natural as it emphasizes the frequencies of spoken language. Red can take a bit more getting use to as the lower frequencies are removed, bringing the listener’s attention–to more of the harmonics of the violins and flutes. LEVEL ONE provides a frequency filtration progression that systematically stimulates and trains the auditory tonotopic map. The tonotopic map is an area in the auditory system in which neighboring cells are most sensitive to acoustic frequencies adjacent to their own preferred threshold frequencies. We believe by gradually stimulating the auditory neurons (brain cells) with their characteristic frequencies that they will establish or maintain their “best frequency.” Once these neurons receive sufficient stimulation, they should accurately respond to their best frequencies, which results in the listener’s ability to process sound without distortion. Distortion is when sound is not


perceived as it should despite normal hearing. If the sound is not perceived (missed or over-inhibited), meaning that the brain did not process the auditory signals we would term that hypoauditory. When sounds are perceived as uncomfortable or painful (under-inhibited) that would be described as hyperauditory. A person can have hypo and hyper auditory perception simultaneously at different frequencies and intensity levels. One function of The Listening Program is to balance this perception to normal, so that sound is perceived accurately and without stress, which results in an expanded sense of well-being. Audio Bursting Audio bursting is a process in which the volume intensity of certain sounds are carefully increased in contrast to the sounds that are not audio bursted. Audio bursting reflects both the passive/relaxed and active/alert phase for hearing and listening. By switching back and forth between these passive and active states, the varied sonic events increase the listener’s awareness of the event changes. This sets the middle ear into action and helps to attenuate loud sounds to protect the inner ear and to amplify or attune to soft sounds for improved sound discrimination and vocal control. Audio bursting sends bursts of electrochemical messages that stimulate auditory neurons with their characteristic frequencies to help organize the auditory tonotopic map. Since the instruments in our music were each recorded on their own separate channel, we have the option to burst specific instruments. Individual instrument audio bursting takes place in LEVEL ONE. This provides the opportunity to be more specific in the audio bursting of each piece of music and within each treatment category, and results in more effective auditory stimulation. The type of audio bursting is more intensive than when all instruments are audio bursted such as the TLP CLASSIC and KIDS albums. The audio bursting within each zone is unique:

• In Blue, the audio bursting is accomplished by using contrasting low frequency bursts (lower range instruments such as bass, cello, and viola), and higher frequency bursts (higher range instruments including violins, flute, and clarinet). This is done specifically to provide training of the middle ear.

• Green has low frequency audio bursts emphasizing the lower range instruments. With the very low frequencies provided by the viola and especially the cello the audio bursting is very effective.

• In Orange, audio bursts are contained within the passing band of the mid to high range frequencies. With extensive use of woodwind instruments the audio bursting in the passing band of frequencies is completely unique from other TLP Speech and Language albums.

• High Spectrum has high frequency audio bursts in Red. The high-pass filtration level of the audio bursted track is set 500 Hz above the level of the constantly filtered track. When you refer to the LEVEL ONE technical specifications in this document you will note the filtration levels are considerably lower than in the CLASSIC series. Interestingly even though the high-pass filters are set at lower levels, the LEVEL ONE albums can be a bit more demanding due to the HD recordings and audio busting of individual instruments.

The audio bursting in all four zones is variable with different timing patterns for training auditory temporal processing. Much of it is what we call musical audio bursting, somewhat in the rhythm of the music. There is a variation of this that incorporates very rapid audio bursts around 250ms, compared to the typical audio bursts in the range of 1s to 5s. When this is done the non-audio bursted track is turned off to help the listener better discriminate this vary rapid bursting. This rapid bursting is important to improving the processing speed of the auditory feedback loop. That is combined with the more classic audio bursting found in earlier TLP albums, with variations. The timing, frequency, and variability of the audio bursting create sufficient pauses that allow for a periodic rest. This improves attention by creating auditory anticipation.


Spatial Surround® Spatial Surround is a proprietary music recording and production process invented by TLP creators Alex Doman and Richard Lawrence. Spatial Surround presents multi-channel sound providing music in five completely independent channels. Generally, just one instrument is placed in each channel allowing clear discrimination of each instrumental voice. Strings and woodwinds have never sounded so rich and natural as they do when recorded in High Definition using the Spatial Surround process. The listener perceives they are in the middle of the Arcangelos Chamber Ensemble. Music surrounds them in a very natural, engaging way from a 360-degree sound field. This is quite different than the experience of stereo with sound only coming from the left and right! Not unlike the listening experience of an orchestra conductor, Spatial Surround allows the listener to hear the instruments more clearly, with a greater opportunity to identify the essential elements of the music; frequency, volume and timing, in addition to spatial location. Foundational and advanced auditory processing skills can be discretely trained through this proprietary technology for The Listening Program® only available on certain TLP programs bearing the Spatial Surround® logo.

Spatial Surround® Dynamic Spatial Surround Dynamic adds movement of the instruments to the process. Using our individual recording tracks, instruments are moved in a 360-degree spatial field. This provides another level of interest to the listening experience, and provides further opportunities to train auditory processing skills. When listening to music with Spatial Surround Dynamic, see how well you or your listener can follow the movement of the instruments. The more you practice, the better you will get, and the better listener you will become. The dynamics provide stimulation to the vestibular portion of the auditory system that controls balance, posture, rotational, and gravitational movement. Spatial dynamics increase spatial awareness and enhance the listener’s auditory attention as the listener identifies the location of sounds. Improving spatial awareness helps the listener become more oriented to where his or her body is in relation to physical space, and helps a listener become more comfortable and aware of the listener’s surroundings. It further helps synchronize the left and right hemispheres of the brain, which improves inter-hemispheric communication and brain integration. Because some people find the experience of these dynamics a little difficult to listen to at first, the treatment is very gentle in LEVEL ONE. LEVEL ONE is designed with graded spatial training so that, within each treatment category, the listener will initially listen in Spatial Surround and then proceed to Spatial Surround Dynamic.

The first album in the Blue, Green and Orange zones incorporate Spatial Surround® and the second of each Spatial Surround Dynamic. In the Red zone it is the first two and second two respectively. The spatial dynamics in LEVEL ONE are at an advanced level of treatment intensity perspective. If a listener is experiencing any


discomfort with the spatial dynamics substitute with the non-dynamic albums in the same zone, until they are ready for dynamic version. Albums with Spatial Surround®; 1, 3, 5, 7, 8 Albums with Spatial Surround® Dynamic; 2, 4, 6, 9, 10 Dolby Headphone® Dolby Headphone is a technology that allows ABT’s Spatial Surround® technology to be experienced on headphones. It simulates the sounds of surround sound speakers that are clearly outside and away from the listener’s head. This gives the effect of listening in a home theater where sounds may come from different directions and reflect off various surfaces. This technology works by creating an acoustical model based on how the ear and brain localize sound using a powerful signal-processing algorithm. It generates audio clues modeled from real life. The listener perceives they are in a home theater when in fact they are listening through stereo headphones. Dolby Headphone technology offers several advantages over earlier attempts to provide multi-channel “Surround Sound” via headphones. First, the Dolby Headphone technology simulates the sound of speakers that are clearly outside or away from the listener’s head. This gives the effect of listening in a room where sounds may come from different directions and reflect off various surfaces. Second, the system is universal to all listeners and does not require special settings to accommodate for individual listening differences. Third, its relative simplicity enables the technology to be incorporated into our no degradation of quality. And last, no additional special headphones are required other than TLP-approved headphones. According to Dolby, their Dolby Headphone technology replaces the effect of regular stereo headphones and provides spacious, natural sound files that a listener can enjoy for extended periods of listening. ABT offers this technology in partnership with Dolby Laboratories coupled with Spatial Surround technology. Note: Dolby Headphone is not a special pair of headphones, but a technology that ABT encodes in music files for Spatial Surround.

Headphone Selection For LEVEL ONE, we recommend Waves™ for best results, or other TLP-approved open-air headphones to maximize the benefits and for an enhanced listening experience. Listening Schedules Each cycle or listening schedule for the LEVEL ONE is 25 hours, with the completion of 100 modules (which includes repeated modules) over the course of 10 to 20 weeks. The time it takes to conclude the course depends on how many modules a day the listener completes. When a listener is scheduled for two modules a day, then the listening schedule will be completed in 10 weeks; when a listener is scheduled for only one daily module, then the listening schedule will take 20 weeks. There are four standard listening schedules; Extended, Base, Condensed, and Advanced. Use these listening schedules to accommodate the particular needs of the listener. To realize the maximum benefits from The Listening Program®, it is important to maintain a consistent listening schedule. Past research and clinical experience have demonstrated that the best results are achieved when listeners complete a minimum of two schedules back to back for a total of 50 hours or two cycles of listening.


When following the first cycle it is recommended that the listener progresses through the 10 albums in LEVEL ONE in sequence from numbers 1 through 10. LEVEL ONE includes complete listening schedules that outline what albums and which modules should be listened to for each listening session. Listening is done in sequence for five (5) days followed by two (2) days off for each week. When completing the second cycle of listening it is recommended that the listener progress from albums 10 through 1, in the reverse order of the first cycle. Each of the four (4) modules on an album has the same psychoacoustic modification intensity. To prevent the brain from habituating to the auditory stimulation and to maintain listener interest, the music is varied from one module to the next. Each module is unique based on the many diverse elements within the music itself and on the psychoacoustic modifications. When a listener proceeds through the listening schedule, note that each album is listened to for a total of 2 ½ hours. Because the TLP albums are 60 minutes long, this means the listener will repeat each module at least twice. The listener should complete the modules in sequence as they proceed through their schedule starting with the first, followed by the second, third, fourth, and then repeat. When listening to a module that has been experienced before, the listener will discover new elements to the music they weren’t aware of previously. As they build and refine their auditory processing skills, they will be amazed at how many layers of new sound will be revealed.


LEVEL ONE Blue (Full Spectrum) Album 1 - Technical Design

Album # Channel Balance Curves

# 1 TLP LV1 – FS8101 Equal None

A Phase B Phase C Phase

Full Spectrum Full Spectrum music with contrasting low and high frequency Audio Bursting Individual Instruments

Full Spectrum

The Listening Program technical design is protected by international copyrights.

LEVEL ONE Blue (Full Spectrum) Album 1 - Compositions

Module 1 Time

Phase 1A Slow Introduction Franz Danzi Joseph Haydn

Wind Quintet Op 56 #1 String Quartet Op 17 #6 1st mvt

( 5:07 )

Phase 2B Wolfgang Mozart Symphony K133 4th mvt ( 4:33 )

Phase 3C Joseph Haydn Slow Ending

String Quartet Op 17 #6 1st mvt ( 5:21 )

Total ( 15:01 )

Module 2 Time

Phase 4A Slow Introduction Wolfgang Mozart Wolfgang Mozart

Divertimento #8 in F K213 1st mvt Symphony K43 4th mvt

( 5:23 )

Phase 5B Joseph Haydn Wolfgang Mozart Joseph Haydn

String Quartet Op 74 #2 4th mvt Symphony K43 4th mvt String Quartet Op 74 #2 4th mvt

( 5:07 )

Phase 6C Joseph Haydn Wolfgang Mozart Slow Ending

String Quartet Op 74 #2 4th mvt Divertimento #8 in F K213 ( 4:22 )

Total ( 14:52 )

Module 3 Time

Phase 7A Slow Introduction Joseph Haydn Joseph Haydn Wolfgang Mozart

String Quartet Op 1 #1 1st mvt Divertimento #1 mvt Divertimento #9 K240 Allegro

( 5:35 )

Phase 8B Antonio Vivaldi Antonio Vivaldi

Concerto Op 3 #5 1st mvt Concerto Op 3 #5 3rd mvt

( 5:34 )

Phase 9C Joseph Haydn Wolfgang Mozart Joseph Haydn Slow Ending

Divertimento #1 mvt Divertimento #9 K240 Allegro String Quartet Op 1 #1 1st mvt

( 4:23 )

Total ( 15:33 )

Module 4 Time

Phase 10A Antonio Vivaldi Bassoon Concerto in C 1st mvt ( 4:05 )

Phase 11B Joseph Haydn Wolfgang Mozart

Wind Quintet Presto Symphony K96 1st mvt

( 5:09 )

Phase 12C Wolfgang Mozart Joseph Haydn

Symphony K96 1st mvt String Quartet Op 1 #6 1st mvt

( 5:47 )


Slow Ending

Total ( 15:01 )

LEVEL ONE Blue (Full Spectrum) Album 2 - Technical Design


# 2 TLP LV1 – FS8102 Equal None


Full Spectrum Full Spectrum music with contrasting low and high frequency Audio Bursting Individual Instruments

Full Spectrum


LEVEL ONE Blue (Full Spectrum) Album 2 - Compositions

Module 1 Time

Phase 1A Slow Introduction Wolfgang Mozart Franz Danzi

Divertimento #8 in F K213 Allegro Wind Quintet Op 56 #3 3rd

( 4:57 )

Phase 2B Franz Danzi Wolfgang Mozart Joseph Haydn

Wind QuintetOp 56 #3 3rd Divertimento #9 K240 Minuet Divertimento #1 1st mvt

( 4:36 )

Phase 3C Joseph Haydn J. Joseph Haydn Wolfgang Mozart Slow Ending

Divertimento #1 1st mvt Op55 #3 last mvt Divertimento #9 K240 Minuet

( 5:49 )

Total ( 15:20 )

Module 2 Time

Phase 4A Slow Introduction Joseph Haydn Antonio Vivaldi

Wind Quintet Minuet Bassoon Concerto in C 3rd mvt

( 5:17 )

Phase 5B Antonio Vivaldi Wolfgang Mozart

Bassoon Concerto in C 3rd mvt Symphony K73 1st mvt

( 5:10 )


Wind Quintet Minuet Symphony K73 1st mvt ( 4:47 )

Total ( 15:14 )

Module 3 Time


Symphony K73 4th mvt Divertimento #16 K289 Presto Finale

( 5:03 )

Phase 8B Wolfgang Mozart Joseph Haydn

Divertimento #16 K289 Presto Finale String Quartet Op 17 #1 4th mvt

( 5:01 )


String Quartet Op 17 #1 4th mvt ( 5:46 )

Total ( 15:49 )

Module 4 Time


Symphony K81 3rd mvt Minuet K421

( 4:58 )

Phase 11B Wolfgang Mozart Wolfgang Mozart

Symphony K81 3rd mvt Symphony K19 1st mvt

( 4:53 )


Phase 12C Wolfgang Mozart Wolfgang Mozart Wolfgang Mozart Wolfgang Mozart Slow Ending

Symphony K19 1st mvt Minuet K421 Symphony K19 1st mvt Symphony K81 3rd mvt

( 5:49 )

Total ( 15:01 )

LEVEL ONE Green (Sensory Integration) Album 3 - Technical Design


# 3 TLP LV1 – SI8101 Equal Medium Curve


Full Spectrum, Low-Pass Filter 750Hz

Full Spectrum, Audio Bursting Individual Instruments Low-Pass Filter 750Hz

Low-Pass Filter 750Hz, Full Spectrum


LEVEL ONE Green (Sensory Integration) Album 3 - Compositions

Module 1 Time

Phase 1A Joseph Haydn Joseph Haydn Joseph Haydn

Symphony #12 1st mvt Trio #1 Symphony #12 3rd mvt

( 3:55 )

Phase 2B Joseph Haydn Joseph Haydn Joseph Haydn

Symphony #123rd mvt Trio #1 Symphony #12 1st mvt

( 5:45 )

Phase 3C Joseph Haydn Joseph Haydn Joseph Haydn Joseph Haydn Joseph Haydn Joseph Haydn

String Quartet Op 1 #3 5th mvt Symphony #12 1st mvt String Quartet Op 1 #3 5th mvt Symphony #12 1st mvt String Quartet Op 1 #3 5th mvt Symphony #12 1st mvt

( 5:50 )

Total ( 15:30 )

Module 2 Time

Phase 4A Slow Introduction Joseph Haydn Wolfgang Mozart Joseph Haydn

Trio #9 Symphony K22 1st mvt String Quartet Op 6 #2 3rd mvt

( 4:55 )



( 5:32 )

Phase 6C Joseph Haydn Wolfgang Mozart Wolfgang Mozart Slow Ending

String Quartet Op 6 #2 3rd mvt Symphony K16 3rd mvt Symphony K22 1st mvt

( 4:31 )

Total ( 14:59 )

Module 3 Time

Phase 7A Slow Introduction Wolfgang Mozart Wolfgang Mozart Antonio Vivaldi

Symphony K22 3rd mvt Divertimento #9 in F K240 Allegro Concerto Op 3 #6 1st mvt

( 4:55 )

Phase 8B Antonio Vivaldi Antonio Vivaldi

Concerto Op 3 #6 1st mvt Concerto Op 3 #8 3rd mvt

( 5:28 )

Phase 9C Wolfgang Mozart Wolfgang Mozart Slow Ending

Divertimento #9 in F K240 Allegro Symphony K22 3rd mvt ( 4:57 )

Total ( 15:32 )


Module 4 Time

Phase 10A Antonio Vivaldi Bassoon Concerto 1st mvt ( 4:06 )

Phase 11B Arcangelo Corelli Antonio Vivaldi

Op6 #4 Allegro Concerto Op 3 #1 3rd mvt

( 5:46 )



Total ( 15:19 )

LEVEL ONE Green (Sensory Integration) Album 4 - Technical Design


# 4 TLP LV1– SI8102 Equal Medium Curve


Full Spectrum, Low-Pass Filter 750Hz

Full Spectrum, Audio Bursting Individual Instruments Low-Pass Filter 750Hz

Low-Pass Filter 750Hz, Full Spectrum


LEVEL ONE Green (Sensory Integration) Album 4 - Compositions

Module 1 Time

Phase 1A Slow Introduction Wolfgang Mozart Joseph Haydn Wolfgang Mozart

Symphony K141a 1st mvt String Quartet Op 1 #3 5th mvt Symphony K141a 1st mvt

( 5:45 )


Symphony K141a 1st mvt Symphony K48 1st mvt

( 5:27 )

Phase 3C Slow Interlude Wolfgang Mozart Slow Ending

Symphony K141a 1st mvt ( 4:11 )

Total ( 15:22 )

Module 2 Time

Phase 4A Slow Introduction Wolfgang Mozart Franz Danzi Wolfgang Mozart

Symphony K134 4th mvt Wind Quintet Op 67 #3 Symphony K110 4th mvt

( 4:44 )


Phase 6C Franz Danzi Joseph Haydn Franz Danzi Slow Ending

Wind Quintet Op 67 #3 String Quartet Op 20 #6 4th mvt Wind Quintet Op 67 #3

( 4:59 )

Total ( 14:55 )

Module 3 Time


German Dance Symphony K95 4th mvt

( 4:56 )

Phase 8B Wolfgang Mozart Symphony K133 1st mvt ( 5:06 )


Symphony K133 1st mvt German Dance ( 6:18 )

Total ( 16:21 )

Module 4 Time

Phase 10A Slow Introduction Wolfgang Mozart

Symphony K19 3rd mvt

( 5:05 )


Wolfgang Mozart Symphony K81 3rd mvt

Phase 11B Wolfgang Mozart Antonio Vivaldi Joseph Haydn

Symphony K81 3rd mvt Concerto Op 3 #3 1st mvt String Quartet Op 1 #4 1st mvt

( 4:55 )


String Quartet Op 1 #4 1st mvt Symphony K19 3rd mvt

( 5:11 )

Total ( 15:10 )

LEVEL ONE Orange (Speech and Language) Album 5 - Technical Design


#5 TLP LV1 – SL8101 Equal Steep Curve


Full Spectrum, Band-Pass Filter 500-4000Hz

Full Spectrum, Audio Bursting Individual Instruments Band-Pass Filter 500-4000Hz

Band-Pass Filter 500-4000Hz, Full Spectrum


LEVEL ONE Orange (Speech and Language) Album 5 - Compositions

Module 1 Time

Phase 1A Slow Introduction Franz Danzi Wolfgang Mozart

Wind Quintet Op 67 #1 Symphony K110 1st mvt

( 4:48 )



String Quartet Op 77 #1 3rd mvt ( 4:47 )

Total ( 15:08 )

Module 2 Time

Phase 4A Slow Introduction Franz Danzi Antonio Vivaldi

Wind Quintet Op 56 #3 4th mvt Flute Concerto Op 10 #5 1st

( 4:46 )

Phase 5B Antonio Vivaldi Wolfgang Mozart Joseph Haydn

Flute Concerto Op 10 #5 1st

Symphony K112 4th mvt String Quartet Op 2 #4 1st mvt

( 5:14 )

Phase 6C Joseph Haydn Franz Danzi Slow Ending

String Quartet Op 2 #4 1st mvt Wind Quintet Op 56 #3 4th mvt

( 4:42 )

Total ( 14:43 )

Module 3 Time

Phase 7A Slow Introduction Franz Danzi Joseph Haydn

Wind Quintet Op 56 #1 Minuet String Quartet Op 20 #3 4th mvt

( 5:11 )


String Quartet Op 20 #3 4th mvt Symphony K141a 1st mvt

( 5:07 )

Phase 9C Wolfgang Mozart Slow Ending

Symphony K141a 1st mvt ( 5:07 )

Total ( 15:26 )

Module 4 Time

Phase 10A Slow Introduction ( 5:00 )


Wolfgang Mozart Joseph Haydn

Symphony K129 3rd mvt String Quartet Op 64 #4 4th mvt

Phase 11B Joseph Haydn Wolfgang Mozart Joseph Haydn

String Quartet Op 64 #4 4th mvt Symphony K129 3rd mvt String Quartet Op 64 #4 4th mvt

( 4:58 )

Phase 12C Joseph Haydn Slow Interlude Wolfgang Mozart Slow Ending

String Quartet Op 64 #4 4th mvt Duo

( 5:00 )

Total ( 14:58 )

LEVEL ONE Orange (Speech and Language) Album 6 - Technical Design


# 6 TLP LV1– SL8102 Equal Steep Curve


Full Spectrum, Band-Pass Filter 500-4000Hz

Full Spectrum, Audio Bursting Individual Instruments Band-Pass Filter 500-4000Hz

Band-Pass Filter 500-4000Hz, Full Spectrum


LEVEL ONE Orange (Speech and Language) Album 6 - Compositions

Module 1 Time

Phase 1A Slow Introduction Joseph Haydn

String Quartet Op 64 #4 1st mvt

( 5:05 )


String Quartet Op 64 #4 1st mvt Symphony K74 1st mvt

( 5:15 )


Symphony K74 1st mvt ( 4:38 )

Total ( 14:59 )

Module 2 Time

Phase 4A Slow Introduction Joseph Haydn Joseph Haydn Wolfgang Mozart

Trio #2 String Quartet Op 50 #6 3rd mvt Symphony K114 4th mvt

( 5:11 )


Symphony K114 4th mvt String Quartet Op 50 #6 3rd mvt ( 4:40 )

Phase 6C Joseph Haydn Arcangelo Corelli Joseph Haydn Slow Ending

String Quartet Op 50 #6 3rd mvt Op 6 #1 Allegro Trio #2

( 5:03 )

Total ( 14:55 )

Module 3 Time


Symphony K114 1st mvt

( 4:51 )


Symphony K114 1st mvt String Quartet Op 9 #1 4th mvt ( 5:03 )


String Quartet Op 9 #1 4th mvt Symphony K114 1st mvt Trio #21 ( 5:12 )

Total ( 15:07 )

Module 4 Time

Phase 10A Slow Introduction ( 4:43 )


Wolfgang Mozart Symphony K18 3rd mvt

Phase 11B Wolfgang Mozart Joseph Haydn Antonio Vivaldi

Symphony K18 3rd mvt String Quartet Op 0 #1 5th mvt Flute Concerto Op 10 #5 3rd mvt

( 5:36 )


Duo ( 4:39 )

Total ( 14:58 )

LEVEL ONE Red (High Spectrum) Album 7 - Technical Design


# 7 TLP LV1 – HS8101 Equal Medium Curve


Full Spectrum, High-Pass Filter 500Hz

High-Pass Filter 500Hz, Audio Bursting Individual Instruments HPF 1000Hz

High-Pass Filter 500Hz, Full Spectrum


LEVEL ONE Red (High Spectrum) Album 7 - Compositions

Module 1 Time

Phase 1A Slow Introduction Wolfgang Mozart Joseph Haydn

Divertimento #8 K213 Minuet String Quartet Op 77 #2 2nd mvt

( 4:56 )


Quartet Op 77 #2 2nd mvt Symphony K112 1st mvt ( 4:48 )

Phase 3C Wolfgang Mozart Joseph Haydn Slow Ending

Symphony K112 1st mvt String Quartet Op 2 #4 5th mvt

( 5:11 )

Total ( 14:56 )

Module 2 Time

Phase 4A Slow Introduction Joseph Haydn Wolfgang Mozart

Trio #4 Symphony K76 1st mvt

( 4:44 )


Symphony K76 1st mvt String Quartet Op 20 #6 1st mvt ( 4:56 )



Total ( 14:57 )

Module 3 Time

Phase 7A Slow Introduction Antonio Vivaldi

Flute Concerto Op 10 #3 3rd mvt

( 4:23 )


String Quartet Op 0 #1 1st mvt Symphony K16 1st mvt ( 4:59 )


Symphony K16 1st mvt String Quartet Op 0 #1 1st mvt ( 5:42 )

Total ( 15:06 )

Module 4 Time


String Quartet Op 1 #3 3rd mvt ( 5:03 )


Wolfgang Mozart Symphony K45 1st mvt Phase 11B Wolfgang Mozart

Wolfgang Mozart Symphony K45 1st mvt Symphony K45 4th mvt ( 4:51 )

Phase 12C Wolfgang Mozart Antonio Vivaldi Wolfgang Mozart Slow Ending

Symphony K45 4th mvt Concerto Op 3 #1 1st mvt Symphony K45 4th mvt ( 5:06 )

Total ( 14:59 )










Module 1 Time


String Quartet Op 1 #2 5th mvt Symphony K130 1st mvt

( 5:22 )


Symphony K130 1st mvt Symphony K43 1st mvt ( 4:56 )



Total ( 15:09 )

Module 2 Time


Symphony K129 2nd mvt ( 4:47 )


Phase 6C Wolfgang Mozart Arcangelo Corelli Wolfgang Mozart Slow Ending

Symphony K130 4th mvt Op 6 #1 Allegro Symphony K129 2nd mvt ( 4:54 )

Total ( 15:04 )

Module 3 Time



( 5:06 )


Symphony K97 1st mvt Symphony K95 1st mvt ( 5:00 )


Symphony K95 1st mvt Symphony K133 3rd mvt ( 5:10 )

Total ( 15:17 )


Module 4 Time




Symphony K124 4th mvt Symphony K124 1st mvt ( 4:54 )



Total ( 15:47 )










Module 1 Time

Phase 1A Slow Introduction Joseph Haydn Joseph Haydn

String Quartet Op 9 #3 4th mvt Symphony #8 1st mvt

( 4:55 )

Phase 2B Joseph Haydn Wolfgang Mozart Arcangelo Corelli

Symphony #8 1st mvt Op6 #12 Allegro Symphony K74 4th mvt

( 4:47 )

Phase 3C Arcangelo Corelli Joseph Haydn Slow Ending

Op6 #12 Allegro Quartet Op 9 #3 4th mvt

( 5:55 )

Total ( 15:38 )

Module 2 Time



( 5:35 )



Symphony #9 1st mvt Symphony K128 3rd mvt ( 4:14 )

Total ( 14:41 )

Module 3 Time

Phase 7A Slow Introduction Joseph Haydn Antonio Vivaldi

String Quartet Op 2 #1 1st mvt Concerto Op 3 #8 1st

( 5:04 )

Phase 8B Antonio Vivaldi Wolfgang Mozart

Concerto Op 3 #8 1st Symphony K134 1st mvt ( 5:03 )




Total ( 15:13 )

Module 4 Time


String Quartet Op 17 #6 4th mvt Symphony K97 4th mvt

( 4:40 )


Symphony K97 4th mvt Symphony K19 1st mvt ( 5:16 )


Symphony K19 1st mvt Quartet Op 17 #6 4th mvt ( 5:04 )

Total ( 14:59 )










Module 1 Time


Horn Quintet 4th mvt ( 4:16 )

Phase 2B Antonio Vivaldi Slow Interlude Joseph Haydn

Concerto Op 3 #6 3rd String Quartet Op 6 #2 5th mvt

( 6:06 )



Total ( 14:58 )

Module 2 Time




Symphony K129 1st mvt String Quartet Op 77 #1 4th mvt ( 5:12 )


String Quartet Op 1 #6 5th mvt Symphony K129 1st mvt String Quartet Op 1 #6 5th mvt ( 4:09 )

Total ( 14:52 )

Module 3 Time

Phase 7A Slow Introduction Wolfgang Mozart Joseph Haydn

Symphony K45a 3rd mvt String Quartet Op 54 #1 4th mvt

( 5:04 )

Phase 8B Joseph Haydn Antonio Vivaldi

String Quartet Op 54 #1 4th mvt Concerto Op 3 #3 3rd ( 4:59 )

Phase 9C Antonio Vivaldi Wolfgang Mozart Slow Ending

Concerto Op 3 #3 3rd Symphony K45a 3rd mvt ( 5:05 )


Total ( 15:09 )

Module 4 Time


String Quartet Op 20 #2 4th mvt Symphony K96 4th mvt

( 5:18 )

Phase 11B Wolfgang Mozart Antonio Vivaldi

Symphony K96 4th mvt Flute Concerto Op 10 #3 1st ( 4:56 )

Phase 12C Antonio Vivaldi Joseph Haydn Slow Ending

Flute Concerto Op 10 #3 1st String Quartet Op 20 #2 4th mvt ( 4:37 )

Total ( 14:50 )

level one provider reference - amazon s3 · level one provider reference description ... the blue...

Documents