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Nature’s Laws of
Harmony in the
Microcosm of Music

Part 1   •   Part 2


Music as a Harmonic
Medical Data Carrier

The Special Status of the
Ear in the Organism

The Ear as a
Medical Instrument

The Significance of the
Soul to Medicine

The Significance of
our Consciousness
to Medicine

The Significance of the
Soul to Human Evolution

Scientists of Tuebingen discover the Brain Regions responsible for
Self Awareness

The Future of Pharmaceutics



Peter Hübner - Micro Music Laboratories
Page   1 2 3 4 5 6 7
Peter Hübner – Music as a Harmonic Medical Data Carrier
Ques­tion: And how can medi­cal mu­sic cor­re­spond to natu­ral evo­lu­tion?

Peter Hübner: The medi­cally cor­rect course of ac­tion of a sci­en­tifi­cally ori­ented mu­sic medi­cine lies in the har­monic re­in­force­ment of the natu­ral struc­ture of or­der of the bio­logi­cal sys­tem through the ap­pli­ca­tion of the laws of har­mony which natu­rally de­ter­mine the struc­ture of or­der of the bio­logi­cal sys­tem and also the mi­cro­cosm of mu­sic.

This was the view of the learned doc­tor, mu­si­colo­gist and mathe­ma­ti­cian Pythagoras – and, fol­low­ing ex­ten­sive re­search, this is also the view of mod­ern sci­ence.

One must, how­ever, ac­quaint and fa­mil­iar­ise one­self along the way with these natu­ral laws of na­ture and the mi­cro­cosm of mu­sic and – if one wishes to employ mu­sic as a thera­peu­tic me­dium – one must then also learn the high art of clas­si­cal com­po­si­tion.

And this then is not only true for the tonal as­pects of the mu­si­cal spa­tial or­der, but also for the rhyth­mic as­pects of its tem­po­ral or­der – the area of its tem­po­ral struc­tur­ing.

When music is employed for the structuring of natu­ral har­monic or­der in the bio­logi­cal sys­tem via the ear, it must defi­nitely be a work of mu­si­cal craft which em­ploys po­lyph­ony, the coun­ter­point and the high art of the fugue. For it is these kind of mu­si­cal struc­tures that are to be found in the mi­cro­cosm of mu­sic – and not ho­moph­ony which, on mere su­per­fi­cial ob­ser­va­tion of the mi­cro­cosm of mu­sic, one may be­lieve one rec­og­nises as in­trin­sic fea­tures in the over­tones.
The cor­re­spond­ing is then also true for the tem­po­ral har­monic or­der of the mu­sic. Here too there is no rhyth­mic defi­ni­tion like it is pre­sented to us by rock, pop, light mu­sic and, in the same way, by mod­ern in­ter­pre­ta­tions of clas­si­cal works.

From this it fol­lows that it is noth­ing short of stupid, if one uses some kind of sound car­rier with mu­si­cal re­cordings from those ar­eas of mu­sic cited as mu­sic medi­cine. Here too the or­der of the mu­si­cal struc­tures is just as in­cor­rect as in the case de­scribed, where elec­tri­cal im­pulses of an or­gan­ism whose har­mony is dis­rupted is used struc­tur­ally for the ther­apy.

So here too, if the cited cus­tom­ary mu­sic re­cordings are used for mu­sic medi­cine, the proc­ess of natu­ral evo­lu­tion is turned upside down.

Such a course of ac­tion is cer­tainly the sim­plest, but also the least in­tel­li­gent way of per­form­ing mu­sic medi­cine, since it re­quires of the thera­pist nei­ther musi­co­logi­cal nor medi­cal train­ing.

The cen­tral fail­ing of this kind of ther­apy us­ing cus­tom­ary mu­sic pro­duc­tions from the ar­eas cited lies in the fact that none of them are har­moni­cally struc­tured and thus are not har­monic in­for­ma­tion car­ri­ers – that they are dis­cor­dant ei­ther in their tonal or rhyth­mic as­pect and, as such, do not meet the har­monic re­quire­ments set by the natu­ral or­der of our bio­logi­cal sys­tem.

Also be­long­ing to this sec­tor is the fa­tal en­deav­our to struc­ture a piece of mu­sic ac­cord­ing to the av­er­age rhythm of any or­gan – for ex­ample, of the heart­beat or the res­pi­ra­tion. This run-of-the-mill form of in­sis­tent rhythm-fix­ated pro­ce­dure con­tra­dicts the prin­ci­ples of natu­ral har­monic or­ders and so gives rise to dis­rup­tion of the natu­ral bio­logi­cal or­der. Here too, thera­pists must learn to comply with na­ture, as na­ture will not comply with their re­stricted in­sight.
Any such dis­rup­tions aris­ing from the thera­peu­tic ap­pli­ca­tion of non-har­moni­cally struc­tured mu­sic do not be­come im­me­di­ately ap­par­ent, as eve­ry­day a mul­ti­tude of cor­re­spond­ing dis­rup­tions set in on the in­di­vid­ual any­way. How­ever, they are then pre­sent in the com­pound to­tal of these dis­rup­tions.
In phar­ma­ceu­tics the harm caused by this com­pound ef­fect is al­ready well-known – this is why pa­tients, doc­tors and phar­ma­cists are al­ways seek­ing new ways of re­duc­ing this com­pound ef­fect.

Ques­tion: What are then the es­sen­tial fea­tures of medi­cal mu­sic with­out side-ef­fects?

Peter Hübner: Har­moni­cally struc­tured medi­cal mu­sic will al­ways have par­ticu­lar fea­tures: no fixed or de­fined rhythm, no fixed or de­fined to­nal­ity, but in­stead a multi-lay­ered, in­te­grated poly­rhythm and a mul­ti­form, in­te­grated poly­tonal­ity – both of which are them­selves in­te­grated via the art of the fugue, po­lyph­ony and the coun­ter­point.

The high art of clas­si­cal com­po­si­tion will then be­come in­te­grated in har­moni­cally struc­tured medi­cal mu­sic.

So if to­day, a crea­tor of mu­sic ful­fils those com­po­si­tional re­quire­ments cited, but is un­able to find mu­si­cians who, in the range of their in­ter­pre­ta­tive skills, mas­ter the es­sen­tial poly­phonic art men­tioned, then he must take the matter into his own hands.

He must turn to elec­tronic or digi­tal in­stru­ments, ac­quire the knowl­edge and skills there, and exe­cute the in­ter­pre­ta­tion him­self.
For the clas­si­cal com­poser this is, with­out a doubt, a great ad­di­tional and costly learn­ing and work­ing proc­ess, but he has no al­ter­na­tive – if he wishes to struc­ture har­monic mu­sic ac­cord­ing to the laws of har­mony of the mi­cro­cosm of mu­sic which can then be used in the medi­cal field to sup­port the main­te­nance and struc­tur­ing of natu­ral bio­logi­cal or­der.

Music Therapy without
Scientific Foundation

“Con­ven­tional mu­sic can­not be de­fined in a natu­ral-sci­en­tific sense. Here we are talk­ing about art and the free­dom of art and ar­tis­tic in­ter­pretation, and this ex­tends from the sen­ti­ment of the pop song to the de­struc­tive fury of hard rock mu­sic.
To ap­proach medi­cal mu­sic in such a con­ven­tional mu­si­cal man­ner would remove the sci­en­tific ob­jec­tiv­ity – this ac­counts for the fail­ure of any at­tempt made to util­ise any kind of ar­tis­tic per­form­ance in mu­sic ther­apy – at least in so far as it can be nei­ther de­fined nor evalu­ated sci­en­tifi­cally.
The sci­en­tifi­cally ob­jec­tive de­fin­able and prov­able medi­cal bene­fit can only be es­tab­lished through a mu­sico­logi­cal ap­proach to the matter.”

Peter Hübner
Ques­tion: Is your Medi­cal Reso­nance Ther­apy Mu­sic® – mu­sic, medi­cine, or a type of in­for­ma­tion? The term ‘mu­sic’ sug­gests mu­sic; the terms ‘medi­cal’ and ‘ther­apy’ sug­gest medi­cine or me­di­ca­tion; and the term ‘reso­nance’ sug­gests some kind of physi­cal fact. How are these things con­nected?

Peter Hübner: We all know such things from other fields which can­not be clearly clas­si­fied.
Take, for ex­ample, elec­tri­cal cur­rent. One per­son might say cur­rent flows, whilst an­other might speak of a chang­ing mag­netic en­ergy field. Both are cor­rect.

Judge­ment is in the eye of the be­holder, or arises out of the method of ex­ami­na­tion: one ex­am­ines the elec­tric­ity, the other ex­am­ines the mag­net­ism.

But there is a still more gen­eral ex­ample in the natu­ral sci­ences. In phys­ics the ques­tion arose at one point: is light also some­thing ma­te­rial or does it con­sist merely of vi­bra­tions? Two theo­ries were fi­nally de­vel­oped here, the cor­pus­cu­lar the­ory and the wave the­ory. But nei­ther could prove to the other that only his own point of view is cor­rect.

It is much the same with Medi­cal Reso­nance Ther­apy Mu­sic®. From the musi­co­logi­cal point of view, it is a rep­re­sen­ta­tion of the struc­tural re­al­ity of the mi­cro­cosm of mu­sic, the aim of which is to convey in­for­ma­tion about its in­te­gral laws of har­mony – noth­ing more, noth­ing less.

As I make use of sounds in this pres­en­ta­tion of the har­monic world – like a writer makes use of the printed word on paper for his in­for­ma­tion – one ini­tially thinks that it is mu­sic.

Medical Music Preparations on CD
RRR 933 Neurodermatitis / Psoriasis
Neurodermatitis / Psoriasis

RRR 935 Creativity

RRR 102 Harmony
Disorders of the
Hormone & Immune System

RRR 133 Headache / Migraine
Headache / Migraine

RRR 101 Vital Energy
Vital Energy

RRR 106 Sleep Disordes
Sleep Disorders

RRR 102 Harmony

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With kind permission of AAR EDITION INTERNATIONAL
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