THEORETICAL FUNDAMENTALS

音楽という小宇宙に存在するハーモニーの自然法則

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
Page   1 2 3 4 5 6 7
Peter Hübner – Music as a Harmonic Medical Data Carrier
Ques­tion: But if I have un­der­stood you cor­rectly, the prin­ci­ple of po­lyph­ony is al­ready pre­sent in the mi­cro­cosm of mu­sic.

Peter Hübner: That’ s right. As has al­ready been said, it is pre­cisely this ar­tis­tic craft of po­lyph­ony which we find on closer ex­ami­na­tion of the mi­cro­cosm of mu­sic and which leads us to cog­ni­tion of the laws of har­mony of the mi­cro­cosm of mu­sic – and which then in turn pro­vokes the com­po­si­tional natu­ral con­cept of po­lyph­ony, of the coun­ter­point and of the art of the fugue.

In as much, one can say that the mi­cro­cosm of mu­sic con­ceals within the prin­ci­ples of the high­est com­po­si­tional art of clas­si­cal mu­sic and, on closer ex­ami­na­tion, also clearly dis­plays this crea­tive sphere.

Here one rec­og­nises that, with Bach too, this ar­tis­tic craft did not reach its end – not least be­cause of the miss­ing tech­ni­cal pos­si­bili­ties in mu­sic at that time. Nowa­days Bach would have a far greater in­stru­men­tal range avail­able to him for his poly­phonic art.

Ques­tion: Then ho­moph­ony is sim­ply not pre­sent in the mi­cro­cosm of mu­sic?

Peter Hübner: No. Ho­moph­ony can be ex­plained with just a su­per­fi­cial look into the mi­cro­cosm of mu­sic – from that lim­ited view where one thinks that the mi­cro­cosm of mu­sic con­sists of one base tone with its over­tones os­cil­lat­ing in the re­la­tion­ship of whole num­bers. But this kind of view is as weak and sketchy, as rec­og­nis­ing a per­son from his shadow – it gives us cer­tain clues but does not, how­ever, tell us very much about him.

Closer ob­ser­va­tion of the mi­cro­cosm of mu­sic opens up en­tirely dif­fer­ent views and leads to com­pletely new in­sights and un­der­stand­ing.

Ques­tion: But with his use of the mono­chord, did Pythagoras not point to­wards ho­moph­ony?

Peter Hübner: To­day there are very many pseudo-mu­si­colo­gists or mu­si­cal lay peo­ple who be­lieve that Pythagoras’s in­sight was re­stricted to find­ing out with his so-called mono­chord, the over­tones men­tioned and their dis­tance apart, i.e. their in­ter­vals or os­cil­la­tion re­la­tion­ships. But the in­sight of this bril­liant scholar of our early Euro­pean his­tory was far greater reach­ing.

Pythagoras only used this sim­ple ex­peri­men­tal ar­range­ment in or­der to make it clear to non-sci­en­tifi­cally trained peo­ple that there were fixed mathe­mati­cal re­la­tion­ships be­tween the external and in­ter­nal hear­ing and the mi­cro­cosm of mu­sic and that, there­fore, not only ex­ter­nal na­ture, but also man’s in­ter­nal na­ture – his mind, his feelings and his soul – could be mathe­mati­cally de­ter­mined.

For him the mono­chord was just the sim­plest ex­peri­men­tal ar­range­ment for mak­ing this natu­ral con­nec­tion be­tween man’s external and the in­ter­nal world com­pel­lingly clear, but in no way did it serve any other pur­pose – nei­ther in­tel­lec­tu­ally, musi­co­logi­cally, nor thera­peu­ti­cally.

For this pur­pose it is too primi­tive in struc­ture. The only thera­peu­tic pur­pose that he pur­sued with this in­stru­ment lay in forg­ing a bridge for an ar­tis­tic scholar to the natu­ral sci­ences or re­spec­tively a bridge to the ar­tis­tic sci­ences for a scholar of natu­ral sci­ence.

Music Therapy on the
Basis of Disharmony

“It would be ab­so­lutely wrong if one now wished to go and try to cre­ate or­der from the data on these at­trib­utes of dis­har­mony, i.e. on the basis of dis­har­moni­cally or­dered elec­tri­cal or bio­chemi­cal data – no matter how one went about it.
In the case of mu­sic medi­cine this means ac­cord­ingly: that one must look to natu­ral or­ders in or­der to pro­duce the natu­ral har­mony of bio­logi­cal sys­tems, and never to forms of dis­or­der.

The meas­ur­ing of brain, heart or other flows of a per­son whose bio­logi­cal or­der is dis­rupted may be of value for medi­cal analy­sis. If, how­ever, this data is ap­plied to a form of ther­apy, then it can only have a dam­ag­ing ef­fect – never one that is medi­cally bene­fi­cial. Such a course of ac­tion runs down­right con­trary to natu­ral evo­lu­tion”

Peter Hübner
Question:
What did Pythagoras teach his stu­dents?

Peter Hübner: The struc­ture of his teach­ing plan re­veals that, with an in­sight into the mi­cro­cosm of mu­sic, he let his pu­pils run through dif­fer­ent pha­sic leaps in knowl­edge – in the same way that we ex­peri­ence this to­day when we ex­am­ine the mi­cro­cosm of mu­sic.

We know such pha­sic leaps in knowl­edge in al­most all the sci­ences, in phys­ics for ex­ample, the one from me­chan­ics to atom phys­ics.

Pythagoras worked on the prem­ise that the func­tions of our or­gan­ism run in a com­plex fash­ion ac­cord­ing to the same laws of har­mony as those found in the mi­cro­cosm of mu­sic.

Stud­ies car­ried out in the field of chro­no­medi­cine con­firm this thesis of his ever more ex­ten­sively – par­ticu­larly in re­spect of the rhyth­mic proc­esses.

Dis­rup­tion of the natu­ral har­monic or­der of our bod­ily func­tions is ac­cepted in mod­ern medi­cine as the cause of ill­ness. These pre­sent–day sci­en­tific find­ings cor­re­spond with the views of medics from all the well–known high civi­li­sa­tions – where­by, even in for­mer times, the as­pects of har­mony and of the bal­ance of en­er­gies were re­garded more fa­voura­bly.

Any har­monic medi­cal ther­apy tra­di­tion­ally aims to sup­port the natu­ral com­plex or­der of the or­gan­ism and those bio­logi­cal en­er­gies work­ing within it, and to ward off dis­har­mony in the bio­logi­cal proc­esses.

If the natu­ral bal­ance of en­ergy in an or­gan­ism is dis­rupted, the har­monic re­la­tion­ships of all func­tions go off bal­ance – the dis­rup­tion of just one sin­gle ele­ment is ca­pa­ble of ef­fect­ing the dis­rup­tion of all other ele­ments in this ho­lis­tic bio­logi­cal in­te­grated sys­tem.

If, how­ever, the natu­ral har­mony of the func­tions of our or­gan­ism are dis­rupted, then we be­come sus­cep­ti­ble to ill­ness and sub­se­quently do in­deed be­come ill.

And all the elec­tri­cal, mag­netic, chemi­cal or bio­chemi­cal sig­nals a body gives to in­di­cate that its natu­ral bio­logi­cal har­mony is off bal­ance dis­play at­trib­utes of dis­har­mony.

Music Therapy
on the Basis of
Commercial
Music Recordings

“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.”

Peter Hübner
Question: And you can take this data into con­sid­era­tion in the mu­sic?

Peter Hübner: It would be ab­so­lutely wrong if one now wished to go and try to cre­ate or­der from the data on the at­trib­utes of dis­har­mony, i.e. on the basis of dis­har­moni­cally or­dered elec­tri­cal or bio­chemi­cal data – no matter how one went about it.

This is just as if one wished to try and build a new car out of dam­aged parts from vari­ous scrap yards.
There are in­deed in­di­vid­uals who do at­tempt this, but their num­bers are few and their suc­cess still smaller – in the ‘motor in­dus­try’ and in ‘mu­sic medi­cine’ alike.

In the motor in­dus­try it is at least usual to build new car com­po­nents and new cars ac­cord­ing to fixed con­struc­tion plans and de­sign pat­terns with the help of vari­ous ma­te­rials.

And bio­logi­cal evo­lu­tion also pre­fers the path of growth to that of re­ju­ve­na­tion. As a rule, at least, old peo­ple do not be­come young, but young peo­ple be­come old.

In the case of mu­sic medi­cine this means ac­cord­ingly: that one must look to natu­ral or­ders in or­der to pro­duce the natu­ral har­mony of bio­logi­cal sys­tems, and never to forms of dis­or­der.

The meas­ur­ing of brain, heart or other flows of a per­son whose bio­logi­cal or­der is dis­rupted may be of value for medi­cal analy­sis. If, how­ever, this data is ap­plied to a form of ther­apy, then it can only have a dam­ag­ing ef­fect – never one that is medi­cally bene­fi­cial. Such a course of ac­tion runs down­right con­trary to natu­ral evo­lu­tion.






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医療共鳴セラピーミュージック®
Medical Music Preparations on CD
 
RRR 935 Creativity
Creativity

RRR 102 Harmony
Harmony

RRR 951 Mental Distress / Fear
Mental Distress / Fear

RRR 932 General Stress Symptoms
General Stress Symptoms

RRR 128 Concentration / Memory
Concentration / Memory

RRR 940 Cardiac & Circulatory Disorders
Cardiac &
Circulatory Disorders


RRR 101 Vital Energy
Vital Energy

RRR 941 Neurophysiological & Sensory Disorders
Neurophysiological &
Sensory Disorders


RRR 934 Pregnancy & Birth
Pregnancy and Birth

 

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Subject to change in the interests of scientific advancement.