THEORETICAL FUNDAMENTALS

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MUSIC + BRAIN
Part 1   •   Part 2

Chronomedicine

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

 

 






Peter Hübner - Micro Music Laboratories
 Prof. Dr. med. Rosch / Prof. Dr. med. Koeditz  •  Music & Brain – Medical Perspective
This leads us to the third main point:

3. The brain systems for activating
    and controlling the muscles
His pa­tient Frances D. suf­fered from Park­in­son’s Dis­ease. The com­mon drugs did not help, but Dr. Sacks found an ex­traor­di­nar­ily ef­fec­tive treat­ment method for Mrs. D.’s symp­toms: mu­sic.

“Dr. Sacks de­scribes how one could see Mrs. D. sunk down in her­self, spas­tic, jerky bab­bling along – like a kind of a hu­man bomb. And in the next min­ute, when mu­sic started to play (mod­er­ate, quiet, nice, flow­ing mu­sic it had to be, rhyth­mi­cally stac­cato “BUM-BUM-mu­sic” was not al­lowed) one could wit­ness a com­plete dis­ap­pear­ing of all these ob­struc­tive-ex­plo­sive symp­toms and their re­moval by light and flow­ing move­ments with which Mrs D. – sud­denly freed from all her auto­ma­tisms – smil­ingly con­ducted the mu­sic or rose up and danced to it.”
The in­ves­ti­ga­tions with chil­dren born with se­vere hear­ing im­pair­ments (17, 18) state, that these chil­dren show sig­nifi­cantly dis­turbed motor skills, par­ticu­larly in the co-or­di­na­tion of their move­ments and in fine mo­torics. This shows that not only the mo­toric in­for­ma­tion of our mus­cles but also the acous­tic in­for­ma­tion of the ear is read by the sys­tem of bal­ance and is even nec­es­sary for its full un­fold­ment.

This is sup­ported by the ex­peri­ence that we have a de­sire to move ac­cord­ing to mu­sic. In all cul­tures of the world peo­ple dance to mu­sic; danc­ing and mu­sic nec­es­sar­ily be­long to­gether.
Prof. Tomatis docu­ments in his stud­ies (28) the close in­ter­con­nec­tion be­tween ear, acous­tic in­for­ma­tion, pos­ture and move­ment. For him the “pos­ture pro­file“ sits in the ear and ac­cord­ing to his in­ves­ti­ga­tions eve­ry mus­cle in the or­gan­ism is con­nected to the sys­tem of bal­ance – not only those mus­cles that help us move.

As the poor de­vel­op­ment of fine mo­torics in chil­dren born with hear­ing prob­lems in­di­cates, it could par­ticu­larly be the fine mu­si­cal move­ments in the melody of speak­ing and mu­sic, and their com­plex co-or­di­na­tion, which per­haps cre­ate in the brain very subtle mo­toric im­pulses, and which – even if they are not trans­formed into move­ment – leave be­hind a fine stimu­la­tion of the mo­toric sys­tem. How else can the poor mo­toric de­vel­op­ment of hear­ing im­paired chil­dren be ex­plained? Ob­vi­ously acous­tic move­ments are also es­sen­tial for de­vel­op­ing fine mo­torics and co-or­di­na­tion of move­ment.

And here, im­me­di­ately again the ques­tion arises con­cern­ing the qual­ity of the mu­sic. Which pat­terns of body move­ments are stimu­lated by mu­si­cal move­ments: more jerky, fixed, mono­tone, ma­chine like ones, or move­ments that are mani­foldly flow­ing and natu­rally woven into each other?

Prof. Tomatis (26) de­scribes a cy­ber­netic regu­la­tion cir­cle of move­ment: the brain gives the or­der for move­ment, the mus­cle per­forms the or­der and the sys­tem of bal­ance checks the move­ment, and, if nec­es­sary, for­mu­lates a cor­rec­tion or­der. Into this cir­cle of regu­la­tion mu­sic is able to in­ter­fere as we have seen in the above men­tioned ex­am­ples of Mr S. and Mrs D. and it is able, ac­cord­ing to the struc­ture of mu­sic, to strengthen har­mo­ni­ous mo­torics or to dis­turb it.

Let us take an­other ex­ample of how mu­sic ef­fects the mus­cle sys­tem. The prob­lem of a ten­sion head­ache is, that this kind of head­ache nor­mally gen­er­ates from a very tense neck, where the mus­cles of this part of the body are un­der con­stant ten­sion. This con­stant ten­sion re­ports to the brain and is felt as pain.

Who now is the medi­cal “ref­er­ence per­son“ in the or­gan­ism for this neck, “ar­mour plated“ with tense mus­cles?

On the one hand, for sure, the sys­tem of bal­ance, which also checks the mus­cles of the neck and ac­tu­ally should have given a cor­rec­tion or­der to relax long ago.
But on the other hand there is still the world of our emo­tions, which acts in this case su­pe­rior to the sys­tem of bal­ance. Be­cause if the tense neck has not, for ex­ample, come from a harm­ful work­ing po­si­tion, then it is mostly the ten­sion in our world of feel­ing (the hectic con­cerns, the pres­sure of prob­lems, the fear) which sit in our neck, and which, as time goes by, lead to chronic ten­sion of the neck mus­cles and in con­se­quence to a ten­sion head­ache.

To both, to the sys­tem of bal­ance as well as to the world of emo­tions the ear, and thus mu­sic, has the best con­nec­tions.

Seen purely physio­logi­cally one can un­der­stand the ac­tivi­ties of our feel­ings as a com­plex ex­change of bio­elec­tro­chemi­cal sig­nals in the brain, which be­come ac­tive within cer­tain ner­val net­works. In such a ma­te­ri­alis­tic view our feel­ings of be­ing at home with har­mony, in­ner se­cu­rity and re­laxa­tion cor­re­spond to such spe­cial ac­tiv­ity pat­terns of neu­ro­trans­mit­ters, hor­mones and elec­tri­cal im­pulses in the com­plex net­work of our brain nerves.

Many in­di­ca­tions sug­gest (22), that mu­sic of natu­ral har­monic or­der par­ticu­larly stimu­lates the cere­bral net­works of these feel­ings and through a regu­lar train­ing and the ex­peri­ence of deep natu­ral har­mony, the or­der to “ar­mour plate“ the neck with tense mus­cles is drawn back – this may ex­plain why in ten­sion head­aches MRT-Mu­sic® shows up to 80% treat­ment suc­cess (23).

And as the stud­ies show, an­other mus­cle com­po­nent is added here too. Dr. Shemagonov docu­mented in ul­tra­sound meas­ure­ments (24), how un­der MRT-Mu­sic® the slow spon­ta­ne­ous os­cil­la­tions (SSO) of the brain ar­ter­ies nor­mal­ize, whose rhythms change un­der ten­sion head­ache.
These os­cil­la­tions in the speed of blood flow are gen­er­ated by con­trac­tion and ex­pan­sion of the ar­te­rial ves­sels and are regu­lated by the auto­no­mous nerv­ous sys­tem. Ob­vi­ously MRT-Mu­sic® has ac­cess to this regu­la­tion, since the con­trac­tion rhythms har­mo­nise un­der lis­ten­ing to this mu­sic and ten­sion head­ache van­ishes.

Has the audi­tory-ves­ti­bu­lar sys­tem also ac­cess to the con­trac­tions of the vas­cu­lar sys­tem? And why at­tune the rhythms of breath and heart to the rhythm of mu­sic? A de­tailed an­swer to such ques­tions could open up new im­por­tant ho­ri­zons to the treat­ment of hy­per­ten­sion, rhyth­mi­cal dis­or­ders of the heart and asthma.

Fi­nally let us point out one of the most sig­nifi­cant re­sults with the Medi­cal Reso­nance Ther­apy Mu­sic®, which docu­ments the enor­mous power of acous­tic struc­tures on the ac­tiv­ity of the brain. It is well known, that cer­tain vis­ual and acous­tic im­pulse se­quences can ini­ti­ate an epi­lep­tic sei­zure. MRT-Mu­sic® cre­ates the op­po­site ef­fect: as Dr. Sidorenko could show, the rate of epi­lep­tic sei­zures re­duced by 75% (!) in se­verely ill epi­lep­tic pa­tients when treated with MRT-Mu­sic® (25).
Ac­cord­ing to Dr. Sidorenko proba­bly the highly com­plex and natu­rally flow­ing or­gani­sa­tion of time within MRT-Mu­sic® plays a par­ticu­larly im­por­tant role, which coun­ter­acts the fixed ner­val rhyth­mic of be­gin­ning epi­lep­tic sei­zures.






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