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 con­trast, the rhythms of the meta­bolic sys­tem can no longer be modu­lated in their fre­quency. On the con­trary, each func­tional area has a se­ries of dif­fer­ent pre-formed fre­quency bands which, ac­cord­ing to the de­mands on per­form­ance, are util­ized in a rap­idly chang­ing man­ner. All these fre­quency bands, how­ever, re­late to each other in sim­ple whole num­bered fre­quen­cies, and are so sub­ject to a har­monic-mu­si­cal or­der.

The rhythm of the stom­ach peri­stal­sis, for in­stance, with its wave in­ter­val of approx. 20 sec­onds has a fre­quency ratio of 3:1 com­pared to the one-min­ute ba­sic rhythm of the fun­dus mus­cu­la­ture of the stom­ach and the con­trac­tion rhythm of the duo­de­num a ratio of 4:1 com­pared to the rhythm of the stom­ach peri­stal­sis.

An iso­lated piece of smooth in­tes­ti­nal mus­cu­la­ture shows spon­ta­ne­ous-rhyth­mic con­trac­tions whose pe­ri­odic du­ra­tion con­stantly changes in whole num­bered jumps (il­lus­tra­tion 8). There are proba­bly mu­si­cal-har­monic time struc­tures em­bod­ied in each in­di­vid­ual cell which cor­re­spond to the har­monic in­ter­val pro­por­tions.





Illustration 8


Fre­quency dis­tri­bu­tion of the pe­ri­odic du­ra­tion of spon­ta­ne­ous con­trac­tions in an iso­lated piece of smooth mus­cle from a guinea-pig’s in­tes­tines.
(Ac­cord­ing to GOLENHOFEN and v. LOH 1970).

In the lower part of the pic­ture the mu­si­cal in­ter­vals are given which cor­re­spond to the fre­quency jumps.



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