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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
An­swer: Yes. But now just the sec­ond ques­tion again: to what ex­tent is Medi­cal Reso­nance Ther­apy Mu­sic® ‘mu­sic’?

Peter Hübner: As I have al­ready said be­fore, from a musi­co­logi­cal point of view, our Euro­pean mu­si­cal his­tory sys­tem­ati­cally and logi­cally mir­rors a proc­ess of cog­ni­tion in the mi­cro­cosm of mu­sic sphere.

Even if, from the point of view of the sound crea­tors, this cog­ni­tion process runs intuitively – which is simply a sign that our thoughts too, in their very na­ture, fol­low a proc­ess of har­monic evo­lu­tion – then to­day it is pos­si­ble with the help of sci­en­tific cog­ni­tive meth­ods to prove that the in­tui­tive cog­ni­tion of our great clas­si­cal sound crea­tors co­in­cides with the har­monic re­al­ity of the mi­cro­cosm of mu­sic.
One can­not, of course, claim that these mu­sic crea­tors sought only to rep­re­sent and re­veal the laws of har­mony of the mi­cro­cosm of mu­sic – or, in­deed, the ex­tent of their knowl­edge in this sphere.

It is, how­ever, a fact that, be­yond all their crea­tive achieve­ments and di­ver­sity in re­spect of in­sight into the mi­cro­cosm of mu­sic, a con­ti­nu­ity in har­monic cog­ni­tion can be proven, as we only know in the de­vel­op­ment of the dif­fer­ent sci­en­tific dis­ci­plines.

From a musi­co­logi­cal point of view, Euro­pean mu­si­cal his­tory can in­as­much be seen as a pure proc­ess of cog­ni­tion in re­spect of the mi­cro­cosm of mu­sic, in which the dif­fer­ent mu­si­cal works re­veal a greater or lesser de­gree of in­sight into this har­monic crea­tive sphere.

On the other hand, we cus­tom­ar­ily pay scant re­gard to this cog­ni­tive the­ory as­pect and look only at the crea­tive di­ver­sity of the sounds – com­pletely re­moved from these laws of har­mony.

So it can also be ex­plained that for cen­tu­ries it did not occur to the pro­fes­sional mu­sic world that his­tori­cally, at some point, the har­monic proc­ess of cog­ni­tion in the mi­cro­cosm of mu­sic was no longer car­ried for­ward, but ac­tu­ally went into re­verse.
And it is proba­bly only be­cause I con­cern my­self in­ten­sively with this natu­ral sci­ence of mu­sic, that I am the first one to rec­og­nize this to­day.

But the de­vel­op­ment in com­po­si­tional tech­nique made by our great clas­si­cal com­pos­ers and the hi­er­ar­chy they im­posed on the in­di­vid­ual com­po­si­tional tech­niques ex­press very clearly that they too – if only in­tui­tively – at­tached far greater im­por­tance to the mi­cro­cosm of mu­sic and its har­monic struc­tures than to­day’s quali­fied mu­si­cal ex­perts would even think pos­si­ble.

Even if ul­ti­mately ac­cord­ing to the to­day`s in­ter­pre­ta­tions of their mu­sic the great clas­si­cal com­pos­ers mainly wrote homo­phonic mu­sic, they nev­er­the­less re­garded po­lyph­ony as the higher ar­tis­tic mu­si­cal craft – and it is only this that we find in the mi­cro­cosm of mu­sic.
The func­tion of the laws of har­mony in space and time can­not be con­veyed by ho­moph­ony; for this one needs po­lyph­ony, the coun­ter­point and the fugue.

It is then a ques­tion of whether our clas­si­cal sound crea­tors can be firstly seen from a hu­man­ist view point as in­tui­tive re­search­ers in the sphere of the laws of har­mony of the mi­cro­cosm of mu­sic and only sec­ondly as art­ists and crea­tors of emo­tion­ally char­ged work of sound, in the way that the world of pro­fes­sional mu­sic would have us be­lieve.

And if this thesis is cor­rect, then we have to com­pletely re­value and reas­sess our clas­si­cal sound crea­tors, their works and their his­tori­cal sig­nifi­cance, as well as their sig­nifi­cance for our fu­ture.

In early high civi­li­za­tions mu­sic was one of the most highly re­garded sci­ences or arts be­cause, in­deed, one saw in mu­sic the theo­ries of all other sci­ences most com­pre­hen­sively dis­played – po­ten­tially, at least – where­by the musi­co­logi­cal point of view surely pre­domi­nated.

Nowa­days, sight of this has been lost even to the ex­perts. The as­pect of mu­si­cal or­der has been given sec­ond place be­hind the as­pect of emo­tional ex­cite­ment, the interpreter before the sound crea­tor. The logi­cal re­sult is that, in terms of mu­sic the­ory, chaos domi­nates. And then in turn, the mu­sic it­self has a cor­re­spond­ing ef­fect on so­ci­ety.

The mi­cro­cosm of mu­sic does not know this dys­func­tion in the in­ter­pre­ta­tion. The sound crea­tions of the mi­cro­cosm of mu­sic de­velop and dis­in­te­grate quite with­out sen­sa­tion.

The mi­cro­cosm of mu­sic pre­sents us, then, with a mu­sic-na­ture, the sole pur­pose of which is to cele­brate and expose the crea­tor’s laws of har­mony and pro­vide us with a key to teach these laws of har­mony once more – there where they are no longer on an even keel.

Socrates propa­gated such teach­ing for those en­er­gies of the soul which had slipped off bal­ance, and Pythagoras wanted to use it in or­der to nor­mal­ize those en­er­gies of the hu­man or­gan­ism, which were no longer on an even keel.

If one looks around to­day’s mu­sic world, one asks one­self, along with Socrates, Pythagoras and nu­mer­ous other great minds from other high civi­li­za­tions: is this really still mu­sic?

The mi­cro­cosm of mu­sic pro­vides us with the an­swer of the crea­tor or of na­ture: it is, at best, a pe­riph­eral mu­si­cal phe­nome­non – in the same way that long fin­ger nails are a hu­man phe­nome­non of pe­riph­eral im­por­tance, the de­ceased parts of which we find ir­ri­tat­ing and so cut off.
Surely, how­ever, these fin­ger­nail clip­pings do not rep­re­sent the core or cen­ter of bio­logi­cal life, as, by com­pari­son, the mu­sic in­dus­try and those mu­si­cal ex­perts in its pay would have us be­lieve is the case with their mu­si­cal productions.

Ques­tion: So in our pre­sent sci­ence-domi­nated age one can best say about Medi­cal Reso­nance Ther­apy Mu­sic® that it is a medi­cal in­for­ma­tion car­rier, that is to say, it is medi­cally valu­able in­for­ma­tion which has a thera­peu­tic ef­fect – good for the health?!

Peter Hübner: Yes. This har­monic in­for­ma­tion can­not be ade­quately con­veyed in words alone, and it is there­fore that we use the sound as an in­for­ma­tion car­rier; but it is good to use the verbal in­for­ma­tion as a com­ple­ment.

“Every Disease
is a
Musical Problem”

Medical Music Preparations on CD
RRR 101 Vital Energy
Vital Energy

RRR 935 Creativity

RRR 128 Concentration / Memory
Concentration / Memory

RRR 951 Mental Distress / Fear
Mental Distress / Fear

RRR 133 Headache / Migraine
Headache / Migraine

RRR 102 Harmony

RRR 934 Pregnancy & Birth
Pregnancy and Birth

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With kind permission of AAR EDITION INTERNATIONAL
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