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THEORETICAL FUNDAMENTALS

CHRONOMEDICINE

Periodic Duration

Pain Sensitivity

Activity Rhythms

Cosmic Rhythms

Endogenous Rhythms

Three Way Structure

Muscular Rhythms

Pain Wave Rhythms

Circulation & Respiration

Puls Breath Frequency

Rhythms in Sleep

Therapeutic Changes

Inhalation & Heart Period

Mother & Child

Heart & Arterial Oscillation

Phase Coordination

Walk & Heart Rhythm

Breathing & Heart Rhythm

Autonomic Rhythm

Hierarchy of Rhythms

Spontaneous Rhythms

Muscular Blood Circulation

Healing & Resistance

Spontaneous Rhythms

Conclusion

Literature

 

 






Peter Hübner - Micro Music Laboratories
Prof. Dr. med. Gunther Hildebrandt  • Chronobiological Aspects of Music Physiology



In view of their central position in the total spectrum of the autonomic rhythms it comes as no surprise that the functional areas of breathing and pulse rhythm are in an especially close relationship to musical experience and musical movement.

As illustration 19 (middle column) shows, these areas practically include all un­con­scious, half-conscious and conscious rhythms of motor action. These continue on the one hand to the strictly harmonically regulated metabolic rhythms, on the other hand into the high frequency area of the frequency modulated processes of information rhythmics.

At the same time, the frequency areas of the pulse and breathing cover the area in which we have the immediate capability of feeling rhythms. Here, the frequency area of modu­la­tion of the pulse rhythm is in accordance with the area of all possible musical tempi (length of beat), while the range of variations of the breathing frequency is in accordance with the lengths of time in music.

Hereby, the original temporal ratio of length of time in music and length of beat of 4:1 is taken as a basis, as was substantiated in the early stages of musical notation de­vel­op­ment in obvious dependence on the normal frequency ratio of breathing and heart beat.

The fact that, in later times, too, the musical tempi were still related to the central rhyth­mic functions of heartbeat and breathing, is widely known. Until this day we speak of three-four time, although three quarters do not make a whole.

From illustration 19 we can also see that the sensation of tones must be classified as belonging to the field of information rhythmics, in which, once again, the conformity to the natural laws of harmonic orders take effect.





Illustration 19

The frequency areas of breathing and heart rhythm in their relation to rhyth­mic functions, mainly to motor action rhythms, as well as to the musical rhythms.

(According to HILDEBRANDT 1990, amended)



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