Fi­nally, let us out­line one fur­ther mu­si­cal as­pect of rhyth­mic func­tional or­der in hu­mans. On the one hand, we were in­deed able to show that the fea­tures of a mu­si­cal-har­monic or­der can be par­ticu­larly in­ten­si­fied, when a per­son is sleep­ing. The stricter or­der of fre­quen­cies and phases of rhyth­mic func­tions and a si­mul­ta­ne­ous re­duc­tion to few spon­ta­ne­ous ba­sic rhythms are ob­vi­ously an im­por­tant pre­con­di­tion for noc­tur­nal rest and re­gen­era­tion, as har­monic co-act­ing of all par­tial func­tions re­duce the en­er­getic de­mands to a mini­mum.

On the other hand, how­ever, ac­tiv­ity and de­mands on bod­ily func­tions dur­ing the day lead to this har­monic or­der dis­solv­ing and/or split­ting up. This, how­ever, hap­pens in the three func­tional ar­eas of the spec­trum – as has al­ready been shown – in en­tirely dif­fer­ent ways (cf. il­lus­tra­tion 20). In the area of the more com­plex meta­bolic rhythms, each rhyth­mic func­tion has a whole se­ries of pre-set har­monic fre­quency bands, in which the func­tions change into – de­pend­ing on the de­mands put on them. From a mu­si­cal point of view this is a se­ries of over­tones and/or un­der­tones.

These rhythms in the meta­bolic area which are rich in over­tones face rhyth­mic func­tions in the in­for­ma­tion sys­tem which show their level of ac­tiv­ity through glid­ing fre­quency modu­la­tions, with­out pre­fer­ring cer­tain fre­quen­cies or let­ting them os­cil­late at the same time. These are, as it were, rhythms which are poor in over­tones. And, on the other hand, in the av­er­age area of the res­pi­ra­tory and cir­cu­la­tory rhythms these two quali­ties of polar op­po­sites pene­trate each other.

If this anal­ogy is per­mit­ted, one could as­sume an or­ches­tra-like or­gani­za­tion in the bio­logi­cal tem­po­ral struc­ture of hu­mans un­der the point of view of the tone color of vari­ous in­stru­ments. The wood­wind play­ers, poor in over­tones, would be clas­si­fied un­der the in­for­ma­tion sys­tem, the brass play­ers and per­cus­sion in­stru­ments, rich in over­tones, un­der the meta­bolic mo­bile sys­tem. The stringed in­stru­ments, very change­able in their tone color, would be in the cen­ter as a bal­ance be­tween the ex­tremes.

Ac­tu­ally, such clas­si­fi­ca­tions have al­ready been un­der­taken by e.g. BUEHLER (1976) and KOENIG (1969), fol­low­ing STEINER (1969) who had al­ready char­ac­ter­ized hu­mans as an or­ches­tra.

The in­ves­ti­ga­tion of the whole tem­po­ral or­gani­za­tion in hu­mans makes it clear that, be­sides the men­tioned ef­fects for all ba­sic ele­ments in mu­sic, ade­quate func­tional fea­tures can be found. Their con­sid­era­tion will con­sid­era­bly ex­pand the points of view and ques­tion­ing of mu­sic physi­ol­ogy and mu­sic ther­apy, as they are raised also by pro­fes­sional rhyth­mics. The me­thodi­cal pre­con­di­tions re­lat­ing to this have al­ready been stud­ied to a large ex­tent in mod­ern chro­no­bi­ol­ogy.